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Home , Aaron Jay Kernis, Brett Dean, Cello Concerto (Barber), Cello Concerto (Bates), Cello Concerto (Muhly), Cello Concerto (Salonen)

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CLASSICAL SERIES

THURSDAY, FEBRUARY 21, AT 7 PM | FRIDAY & SATURDAY, FEBRUARY 22 & 23, AT 8 PM NASHVILLE SYMPHONY , conductor CONCERT PARTNER ALBAN GERHARDT,

AARON JAY KERNIS Symphony No. 4, “Chromelodeon” Out of Silence Thorn, Rose | Weep, Freedom (after Handel) Fanfare Chromelodia

SAMUEL BARBER This weekend's performances are made for Cello and , Op. 22 possible through the generosity of Allegro moderato Drs. Mark & Nancy Peacock. Andante sostenuto Molto allegro ed appassionato Alban Gerhardt, cello

– INTERMISSION –

LUDWIG VAN BEETHOVEN Symphony No. 7 in A Major, Op. 92 Poco sostenuto – Vivace Allegretto Presto Allegro con brio

This concert will last 1 hour and 55 miutes, including a 20-minute intermission.

INCONCERT 33 TONIGHT’S CONCERT AT A GLANCE

AARON JAY KERNIS Symphony No. 4, “Chromelodeon”

• -based Kernis has earned the Pulitzer Prize in Music and the prestigious , as well a 2019 GRAMMY® nomination for Best Contemporary Classical Composition. (Winners had not yet been announced at the time of the program guide’s printing.) He also serves as workshop director for the Nashville Symphony’s Composer Lab & Workshop.

• The title of his latest symphony, “Chromelodeon,” comes from an unusual word previously used by maverick American composer Harry Partch to describe one of his musical inventions. As defined by the composer, this word aptly describes his own creation here: “chromatic, colorful, melodic music performed by an orchestra.”

• The idea of color is especially significant in Kernis’ work, as the composer has synesthesia, a condition that associates specific notes and chords and with distinct colors. In “Chromelodeon,” no one color emerges more strongly than any other — the impression this music creates is similar to that of a kaleidoscope, with its unpredictable variety.

SAMUEL BARBER Concerto for Cello and Orchestra, Op. 22

• Barber’s was commissioned in the mid-1940s by , music director of the Boston Symphony. The composer worked on the piece while serving as an Army Airman — he was discharged in September 1945, after Koussevitzky wrote letters on his behalf.

• Koussevitzky had a specific soloist in mind for his commission: fellow Soviet émigré . Barber met with the cellist prior to working on the concerto so that he could internalize her style. One immediately noticeable characteristic of the piece is the important role he assigned to the solo instrument’s high registers.

• While the music is overall “lyric and romantic,” in the composer’s own words, it is also notable for being extremely challenging for the soloist. This may account for why the piece is less frequently performed than other Barber .

LUDWIG VAN BEETHOVEN Symphony No. 7 in A Major, Op. 92

• Beethoven’s Seventh Symphony is notable in the composer’s oeuvre for its rhythmic, joyous spirit — a contrast to other his symphonic works, which tend to unfold as epic journeys from darkness to light. The composer Richard Wagner, one of this symphony’s biggest fans, famously called it “the apotheosis of the dance.”

• The piece received its premiere on December 8, 1813, at a special charity concert in Vienna for war veterans who’d fought against Napoleon. It was a significant time in European history, as Napoleon and his imperial pretensions were nearing defeat (which would ultimately come in the summer of 1815, after years of conflict).

• While the work’s overall mood is of exhilarating power, the second movement offers a melancholy reprieve from the churning speed that courses through the rest of the symphony. At the world premiere, the audience demanded an encore of this movement. The work closes with a powerhouse finale — one of the most memorable moments in the Beethoven repertoire.

34 FEBRUARY 2019 AARON was among his early mentors. In his JAY KERNIS early 20s, Kernis emerged on the national scene when the premiered his first orchestral work. Born on January 15, 1960, Both the Pulitzer Prize in Music (1998, for in ; currently his Second ) and the prestigious lives in New York City Grawemeyer Award (2002, for Colored Field for CLASSICAL cello and orchestra) are among Kernis’ many Symphony No. 4, “Chromelodeon” accolades. The Seattle Symphony’s recording of his Concerto with received Composed: 2017-18 three nominations for the 2019 GRAMMY® First performance: April 18, 2018, with Hugh Wolff Awards, including Best Contemporary Classical the New England Conservatory of Music Philharmonia Composition. (The winners had not yet been First Nashville Symphony performance: announced before this program went to press.) These are the Nashville Symphony’s Kernis has developed an especially close relationship first performances. with Giancarlo Guerrero and the Nashville Estimated length: 23 minutes Symphony, which will release a recording of this work, along with his Color Wheel, on Naxos. In “ ’m always thinking about journeys,” Aaron addition, he has served as the workshop director IJay Kernis says when asked to describe his for the Nashville Symphony’s Composer Lab & creative process. “It’s very much a journey that Workshop, which supports the work of American I don’t want to express in words but that I hope under the age of 30. provokes the listener to find some connection Weighty topics figure frequently in Kernis’ with their own personal journey and experience compositions, corresponding to the intense of life.” In the course of writing his Symphony emotional reactions his music characteristically No. 4 (“Chromelodeon”), the Philadelphia-born elicits. Although, as he remarks, “writing composer set out on one path but found, to his symphonies can seem anachronistic” nowadays, he surprise, that the musical material “took its own is drawn to the Mahlerian ideal of the symphony’s way,” leading him into unexpected directions — potential to contain “the entire world. It is the rather like a novelist whose characters acquire, totality of the musical worlds of Mahler, Sibelius even demand, a life of their own, subverting their and Haydn (plus Messiaen) that speak most urgently creator’s original plans. to me.” Each of his symphonies indeed inhabits a Initially, Kernis notes, he was reading the remarkably different universe: the phenomenon work of Thích Nhất Hạnh, the peace activist and of waves as natural and metaphorical in the First Vietnamese Buddhist monk, which in turn recalled Symphony (“Symphony in Waves”), from 1989; to him avant-garde composer John Cage’s writings the First Gulf War in the Second, from 1991; and on music and silence. But the musical material Jewish spirituality in the choral Third (“Symphony led him down unanticipated paths, resulting in of Meditations”), from 2009. this richly colorful, event-filled, three-movement The Fourth Symphony was commissioned to work. “I’ve only begun on a journey suggested by mark the 150th anniversary of the New England those readings,” he observes, “and very possibly Conservatory of Music’s founding — with the the experience of writing this symphony is part Nashville Symphony and Bellingham Festival of of that.” Music as co-commissioners with the NEC. Given Kernis has earned a place among the most highly the occasion, Kernis addressed the power of the regarded composers of our time with a substantial orchestra itself, and of the musicians who comprise body of works for orchestra, chorus, chamber it, with his title Chromelodeon. Kernis points out formations and solo . He began teaching that this portmanteau word has been used as himself piano and composition at the age of 12, the name of a musical invention by American later studying at the San Francisco Conservatory maverick composer Harry Partch, as well as an and at the Manhattan and Yale Schools of Music; indie rock band from his native Philadelphia. But

INCONCERT 35 he elucidates the particular meaning the word The very first musical idea that found its way into has for him: “chroma-, relating to the chromatic the Symphony No. 4 is the fanfare that opens the CLASSICAL scale of notes, or intensity of/or produced with final movement. Kernis had jotted this idea down color; melodi-, melody, a succession of tones that in 2014 while working on another commission, produce a distinct phrase or idea; and -eon, one realizing it belonged “to a different piece.” Work who performs. In other words, chromatic, colorful, proper on the new symphony began in 2017, when melodic music performed by an orchestra.” Kernis sensed that the idea he had set aside would The Symphony No. 4 is thus “created out of be ideally suited to the last movement. The process musical elements, not images or stories.” At the of composing and determining the “home” for same time, the work conveys a powerful emotional a given musical idea, he remarks, is “always so sensibility. “While there is no hidden program,” the mercurial.” composer explains, “underneath there is always for me a sense of living in the moment, of reflecting the emotional tenor of the time in which I write.” WHAT TO LISTEN FOR He hints at “the influence of living in the chaos of the world today” and how this might play a role ach of Chromelodeon’s three movements has “at a ‘molecular’ emotive level.” Ea title: Out of Silence; Thorn, Rose / Weep, The title also anchors the Symphony No. 4 in Freedom (after Handel); and Fanfare Chromelodia. Kernis’ own body of work, where the importance The first movement indeed emerges out of a kind of color, he says, “is present all the time.” In his of silence as bells sound mysterious harmonies. commentary on Color Wheel, from 2001, Kernis The then spells out a yearning melody, refers to a characteristic he shares with one of generating a mood of contemplation that, in the his admired predecessors, the French composer composer’s words, “grows in drama and intensity, : “I sometimes see colors when and through many variations in texture.” The first I compose, and the qualities of certain chords movement is also the longest and most richly do elicit specific sensation in me — for example, chromatic of the three. I see A major as bright yellow.” Currently, he is What follows is a moving reflection on the working on a commission for Stéphane Deneuve’s musical past courtesy of one of George Frideric inaugural season as music director of the St. Louis Handel’s best-loved tunes: the aria “Laschia ch’io Symphony (beginning this fall) that was inspired pianga” (“Let me weep”), which the composer used by the Guggenheim’s recent retrospective of the in the Almira and Rinaldo, as well as the pioneering Swedish artist Hilma af Klint and her oratorio The Triumph of Time and Truth. In each unusual use of reds. case, Handel used it to set different texts. Kernis In Chromelodeon, no single color emerges extracts keywords from those different contexts more strongly or more often than the others. The for the second movement’s title; he explains that impression this music generates is instead closer to the enduring beauty of the melody and its layers of that of a kaleidoscope and its wildly unpredictable reuse made him think about “history and glosses variety. “With a piece as big and varied as this,” says on history, accretions on top of the past.” An Kernis, “the orchestra becomes a sort of vehicle opening chorale introduces Kernis’ melody, which for color and combinations.” is “vaguely influenced” by Handel’s source, played The composer additionally notes a curious by “an antique-sounding string quartet which is relationship between creative work on a symphony soon opposed by shifting, chromatic chord clouds.” and his subsequent efforts in the more intimate The movement unfolds as a series of 10 variations, medium of the string quartet. Much as his pivotal with the longest of these reserved for the strings. First String Quartet (“musica celestis”) followed In the final variation of the melody, “wave-like in the wake of his First Symphony, Kernis’ String outbursts” overwhelm the picture. This unsettling Quartet No. 4 (“musica universalis”) was completed meeting of Neo-Baroque and Modernist music ends after the Symphony No. 4. His symphonies and with a sense of tonality broken and melting away. quartets each tend to push the limits of their Fanfare Chromelodia, the shortest movement, is respective genres with each new endeavor. notably different in character, though it continues

36 FEBRUARY 2019 the Symphony’s exploration of the tension between of a cataclysmic moment in each movement. In ambitious, open-ended chromaticism and stably Fanfare Chromelodia, that moment arrives in the defined consonance. Here, the conflict is staged huge outburst for full orchestra at the end, which as a juxtaposition of “ringing brass exhortations, comes to rest on a vast, loud, open fifth of F and repetitive little ‘musical machines,’ and wide-ranging C (potentially either major or minor). disjunct melodies…,” the composer notes, “with a final slow chorale placed below fast runs and Symphony No. 4 is scored for a large orchestra of nearly ecstatic melodic figures.” The finale achieves 3 (3rd doubling piccolo), 3 (3rd doubling CLASSICAL a kind of resolution of the tension that has built English horn), 3 (2nd doubling E-flat , up across the Symphony. 3rd doubling ), 3 (3rd doubling In all three movements, different strategies of ), 4 horns, 3 , 3 , , , five percussionists, piano (doubling variation underlie the musical process and serve celesta), harp and strings. as a unifying element. Another is the appearance

SAMUEL BARBER Composed: 1945 First performance: April 5, 1946, with Born on March 9, 1910, in Raya Garbousova as the soloist and Sergei West Chester, ; Koussevitzky conducting the Boston Symphony died on January 23, 1981, First Nashville Symphony performance: in New York City These are the orchestra’s first performances. Estimated length: 27 minutes

Concerto for Cello and Orchestra, Op. 22

ome very powerful allies in the music industry came when Serge Koussevitzky, music director Scan be thanked for helping launch Samuel of the Boston Symphony (and, unlike Toscanini, Barber’s career as a composer. He started out as a a fervent champion of contemporary music), prodigy, growing up in a supportive environment; commissioned a choral-symphonic piece in 1942. Louise Homer, a famed Metropolitan alto, After a long delay, this was premiered in 1954 as was his aunt. By the age of 7, Barber was already the cantata . Koussevitzky composing, and at 14 he entered the newly founded also led Boston in the premiere of Barber’s Curtis Conservatory (later Curtis Institute), Second Symphony in 1944, but the composer later where he distinguished himself as a student of officially withdrew that work. voice and piano in addition to composition. The It was Koussevitzky who came up with the idea Conservatory’s founder, Mary Louise Curtis Bok, of commissioning a cello concerto for his friend set Barber up with the internationally renowned and fellow émigré from the , Raya American music publisher Schirmer. Garbousova, whose grandson is the acclaimed Roughly a decade later, in 1937, Arturo Toscanini pianist . The commission fee was was impressed by Barber’s Symphony in One covered by John Nicholas Brown, a musical Movement, the first orchestral piece by an American philanthropist and amateur cellist. Barber, who to be played at the Salzburg Festival. The star tended to work slowly, began composing the Cello conductor requested that Barber compose a work for Concerto at the start of 1945, while he was still his fledgling radio orchestra, the NBC Symphony. an Army Airman. (He had been drafted into the The result was the radio premiere, in November Army Air Corps in 1942 and was given leeway 1938, of , which firmly put to write music as moral support.) Koussevitzky Barber on the map. Another major opportunity wrote letters at Barber’s request to help effect his

INCONCERT 37 When he set about writing the Cello Concerto, Barber met with soloist CLASSICAL Raya Garbousova to listen to her play her repertoire and imprint on his inner ear what would be best suited to her style.

early discharge in September 1945. At that point, achievement for the 20th century with the Cello the composer reported, all that remained was to Concerto was comparable to what Brahms did for orchestrate the concerto. his century with the . Biographer Barbara B. Heyman reports that over the previous winter, while in the thick of composing the piece, Barber was allowed to continue living WHAT TO LISTEN FOR at the home he shared with his life partner, the composer , in Mount Kisco, in he music overall is “lyric and romantic” — in the New York’s Westchester County. He spent much Tcomposer’s own words — “with, however, some of his free time reading French literature, taking of the vivacity and rhythmic tension of Capricorn” weekly breaks in New York City to attend lectures [referring to his chamber Capricorn Concerto of on philosophy. 1944 for fl ute, , and strings]. Barber’s Barber had undertaken his fi rst work in the layout follows the familiar concerto pattern of concerto genre in 1939, just before the outbreak two faster movements surrounding a slow one. of World War II, producing a major success and Indeed, he expected the music to be so self-evident one of the best-loved works of his career with the “on its own musical terms, which do not call for Violin Concerto. When he set about writing the verbal description or analysis,” that he requested Cello Concerto, Barber met with Garbousova to no program note be printed for the premiere and listen to her play her repertoire and imprint on his fi rst recording. inner ear what would be best suited to her style. In very Brahmsian fashion, the substance of the One immediately noticeable characteristic is the fi rst movement develops out of the fi rst two dozen important role Barber assigns to the instrument’s measures, which present two main themes. Th e high registers. As work continued, he consulted soloist comes in with a cadenza-like monologue that closely with Garbousova, who reminded him makes use of the passage bringing those themes. that Stravinsky had relied heavily on input from Aft er a far-far-reaching, passionate development soloist Samuel Dushkin for his Violin Concerto. of these ideas, the cello takes center stage for a “Th e cellist reported this collaboration to be one lengthier, tour de force cadenza. of the most creative and happiest times of her life,” In the Andante sostenuto, Barber’s signature notes Heyman. “But there was frustration and lyricism is fi rst assigned to the oboe, which plays quarreling as well.” a melody that originates from the fi rst movement. Garbousova became an enthusiastic advocate The music unfolds as variations on this lilting of the work. Yet in contrast to Barber’s Violin idea, which is contrasted with another expressive Concerto and his — which came idea on the cello. Barber concludes the Concerto later and earned him the second of his two Pulitzer with an agitated fi nale of striking contrasts and Prizes — the Cello Concerto has suff ered serious includes a funereal theme. Th e ending gave Barber neglect. Th is is in part because of its severe technical particular trouble — this is one of the passages he challenges, though Barber later revised the score later revised, extending it in an eff ort to achieve a and clarifi ed the cello part. Still, at its premiere, more satisfying balance between the soloist and the curmudgeonly critic/composer Virgil Th omson orchestra. praised the Concerto: “Th e working up of [its ideas] into a richly romantic, well-sustained structure is In addition to solo cello, Barber’s Concerto is scored musical, masterful, thoughtful and not without a for 2 fl utes, oboe, English horn, 2 clarinets (2nd doubling certain Brahms-like grandeur.” In the estimation bass clarinet), 2 bassoons, 2 horns, 3 trumpets, timpani, of Koussevitzky, Heyman points out, Barber’s and strings.

38 FEBRUARY 2019 LUDWIG VAN BEETHOVEN

Composed: 1811-12 December 8, 1813, in Born on December 16, 1770, First performance: Vienna, with the composer conducting in Bonn (now part of Germany); First Nashville Symphony performance: December 10, 1946, with Music Director

died on March 26, 1827, CLASSICAL William Strickland — at the orchestra’s very in Vienna fi rst public performance. Estimated length: 36 minutes

Symphony No. 7 in A Major, Op. 92

n December 8, 1813, Beethoven conducted It’s interesting to note that Wagner chose Oa special charity concert in Vienna for war to program the Seventh Symphony when he veterans and their families, victims of one of rebooted his conducting career during his exile the major battles against Napoleon’s retreating in Switzerland, after he had fled his position armies. was on the verge of a major at Dresden Opera in the aft ermath of the 1849 paradigm shift that would usher in dramatic revolutions there. Wagner repeatedly claimed to political and social changes. Th e fi rst audience to be the true inheritor of Beethoven’s mantel. Th e experience the Seventh Symphony may well have musicologist Klaus Kropfi nger writes that “this associated the work’s outsize exuberance with work’s ecstatic rhythmic progressions fascinated the sense of impending triumph over Napoleon’s Wagner all his life,” with the Seventh forming “a once seemingly invincible power: aft er years of crowning experience” in his youth, when he fi rst disruptive warfare, a lasting peace fi nally beckoned began to explore Beethoven. The Seventh also on the horizon. The program also included played a key role in converting another musical Beethoven’s patriotic Wellington’s Victory, a shorter revolutionary, , into a Beethoven and now rarely performed composition sometimes follower during a series of Paris Conservatoire known as “Th e Battle Symphony.” concerts in 1829. In other words, the Seventh Symphony comes Even such modern commentators as the at the conclusion of the French Revolutionary biographer Maynard Solomon echo Wagner in fervor that had so deeply aff ected Beethoven at discerning a consensus impression of the Seventh the beginning of his career — a fervor expressed Symphony as conveying a “festive Paradise, outside above all in his Th ird Symphony (“Eroica”) as well of time and history, untouched by mortality.” as his only opera, Fidelio. As far as the composer Instead of an epic struggle through suff ering toward was concerned, Napoleon had co-opted that spirit triumph or joy, the Seventh gives us a series of and corrupted it through his imperial pretensions. diff erentiated states of Dionysian ecstasy. Solomon “The apotheosis of the dance” — Richard also describes the work as “a modernist symphony” Wagner’s endlessly quoted epithet for this work that “bears what may be the hallmarks of a dynamic — off ers one way of thinking about the signifi cant era of revolution and war — a rhythm-dominated role that rhythmic energy plays in this music. In his musical language, rhetoric and grammar.” 1870 essay marking the centennial of Beethoven’s Along with all of these varied associations, the birth, Wagner also observed: “Never has any art Seventh might be said ultimately to be “about” in the world created anything so serenely buoyant the power of music itself. Wagner persuasively as these Symphonies in A [No. 7] and F [No. 8].… approached the Seventh as a work that seems to Th e eff ect upon the hearer is the deliverance from take that power as its very subject — in contrast all earthly guilt, precisely as the aft ereff ect is the with the more concretely allegorical programs feeling of a forfeited paradise so that we return to that Wagner liked to dream up, such as the “hero’s the world of semblances.” struggle” for the Eroica. Beethoven builds the work

INCONCERT 39 CLASSICAL Even more than an “apotheosis,” the Seventh Symphony embodies what Wagner found especially awe-inspiring in Beethoven’s genius: “the power to shape the unfathomable” and to endow it with the “most transparent” immediacy.

out of primal elements, from obsessively repeated procedure Beethoven also uses in the orchestral rhythmic patterns to the rudimentary character introduction of the “joy” theme in the Ninth of most of his actual thematic material (scales Symphony’s finale — and he adds a poignant and outlines of the basic harmony that defines countermelody to its almost monotonic, long- the home key). But if the components are primal, short-short tread. The key warms to A major in Beethoven develops them to construct a complex the middle section, in which the clarinet basks architecture of epic proportions. in a fresh melody — Beethovenian lyricism at its warmest. Scherzos by nature are heavily rhythmic, and WHAT TO LISTEN FOR here Beethoven also wittily alludes to the scalar pattern we heard in the grand introduction. But The introduction to the first movement, almost in this case, it’s a rapidly descending scale. The a movement in itself, uses the basic idea of the scale contrasting middle section has a ceremonial flair, to gloriously dramatic effect; the overall impression climaxing in an insistent trumpet call. After one is massive in proportion and unprecedented for a complete repeat of all this material, Beethoven slow introduction. It segues, via a call-and-response brings the Scherzo to an abrupt halt. between flutes and , to the first movement The finale begins with powerhouse chords proper, a Vivace that makes prominent use of and proceeds with an almost terrifying fury. long-short-short rhythms (the ancient classical Beethoven, writes Solomon, composes what might meter of epics) against slowly grinding drones be interpreted as “a critique” that “undermines the deep in the bass. The resulting tension generates precepts of a calm and symmetrical Classicism, an electrifying, even seismic, sense of energy in the preferring those dynamic polarities of tranquility coda. Composer and Beethoven contemporary Carl and terror, containment and abandon, and dream Maria von Weber allegedly compared this music and intoxication that Nietzsche later identified as to the musings of a madman (at least according to ‘the Apollonian-Dionysian duality.’ ” Even more Beethoven’s first, though unreliable, biographer, than an “apotheosis,” the Seventh Symphony Anton Schindler). But there is method to the embodies what Wagner found especially awe- “madness.” This drone, a musical metaphor for inspiring in Beethoven’s genius: “the power to outdoor, rustic celebration, plays an important shape the unfathomable” and to endow it with the role later in the Seventh, literally grounding its “most transparent” immediacy. sense of Dionysian festivity. Overall, the Seventh Symphony exudes a mood Symphony No. 7 is scored for pairs of flutes, oboes, of exhilarating power, but that still leaves room for clarinets, bassoons, horns and trumpets; timpani; the melancholy strain that emerges in the main part and strings. of the Allegretto, with its shift to A minor and its solemn long-short-short-long-long pattern. This — Thomas May is the Nashville Symphony’s is an unusual tempo indication for a Beethovenian program annotator. slow movement. Still, the Allegretto offers a reprieve from the churning speed of the other movements. At the world premiere, the audience demanded an encore of this movement. Ever-changing layers of orchestration clothe the Allegretto’s main idea with each repetition — a

40 FEBRUARY 2019 ABOUT THE SOLOIST

ALBAN GERHARDT Gerhardt is passionate about sharing cello his discoveries with audiences far beyond the traditional concert hall: outreach projects lban Gerhardt has, undertaken in Europe and the U.S. have involved

A for 25 years, made a performances and workshops not only in schools CLASSICAL unique impact on audiences and hospitals, but also in public spaces and young worldwide with his intense offender institutions. In early 2017, Gerhardt musicality, compelling stage presence and founded #Musicians4UnitedEurope, a group of insatiable artistic curiosity. His gift for shedding international musicians working together to voice fresh light on familiar scores, along with his their support for a united and democratic Europe. appetite for investigating new repertoire from Following early competition success, Gerhardt’s centuries past and present, truly sets him apart international career was launched by his debut from his peers. with Berliner Philharmoniker and Semyon Highlights of Gerhardt’s 2018/19 season Bychkov in 1991. Notable orchestra collaborations include the premiere of a new concerto by since have included Concertgebouw Amsterdam, with Sydney Symphony Orchestra London Philharmonic, all of the British and and Berliner Philharmoniker, and concerts with German radio , Tonhalle Zürich, Leipzig Hong Kong Philharmonic, Gewandhaus and Orchestre National de France, Orchestra, Bavarian Radio Symphony Orchestra, as well as the Cleveland, Philadelphia, Boston and MDR Sinfonieorchester Leipzig, and WDR Chicago orchestras, under conductors including Sinfonieorchester Köln under Jukka-Pekka Kurt Masur, Christoph von Dohnányi, Christoph Saraste, with whom he will record both Eschenbach, Michael Tilson Th omas, Esa-Pekka Shostakovich concertos. Salonen and . Gerhardt will also give recitals at Th e Phillips As a recording artist, Gerhardt has won several Collection Museum in Washington, D.C., London’s awards, and his recording of ’s Cello Wigmore Hall and Shanghai Concert Hall. Next Concerto, released by Deutsche Grammophon, season sees the development of a new project, won the BBC Music Magazine Award and was “Love in Fragments,” with violinist Gergana shortlisted for a Gramophone Award in 2015. He Gergova, choreographer Sommer Ulrickson and has recorded extensively for Hyperion. In 2019, sculptor Alexander Polzin bringing together his complete recording of the Bach suites will music, movement and the spoken word; the be released. project will receive its U.S. premiere at the 92nd Alban Gerhardt plays a Matteo Gofriller cello Street Y. dating from 1710.

INCONCERT 41