sign in sign up
<<
Home , George Hearn, Paul Gemignani, The San Remo

01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 19

SYMPHONIC SONDHEIM

Tuesday , January 29, 2013, 7:30 p.m. 15,492nd Concert This concert is made possible with generous support from Perry and Martin Granoff, Ted and Mary Jo Shen, and Thomas and Alice Tisch.

Paul Gemignani, Conductor , Host (New York Philharmonic debut)

Global Sponsor

Guest artist appearances are made possible through the This concert will last approximately two and one-quarter Hedwig van Ameringen Guest hours, which includes one intermission. Artists Endow ment Fund .

Avery Fisher Hall at Home of the New York Philharmonic Exclusive Timepiece of the New York Philharmonic

January 2013 19 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 20

New York Philharmonic

SYMPHONIC SONDHEIM Paul Gemignani, Conductor Nathan Lane, Host (New York Philharmonic debut)

STEPHEN SONDHEIM ( b. 1930) Suite from Sunday in the Park with George (1983–84), arr. Michael Starobin Selections from The Enclave (1973) ERIC HUEBNER, STEVEN BECK , piano CHRISTOPHER S. LAMB, DANIEL DRUCKMAN , percussion Dances from Pacific Overture s Prologue “The Advantages of Floating in the Middle of the Sea ” “There is No Other Way” (Tamate’s Dance) “March to the Treaty House” “Someone in a Tree” “Pretty Lady” “Next” Intermission

Suite from (1985–87) Suite from Stavisky (1974) Suite from : The Demon Barber of Fleet Street (1978–79)

Host remarks co-written by Nathan Lane and Mark Horowitz. The New York Philharmonic thanks the Musicians of the Orchestra for donating their services to benefit the pension fund of the New York Philharmonic.

Classical 105.9 FM WQXR is the Radio The New York Philharmonic’s concert -recording Station of the New York Philharmonic. series, Alan Gilbert and the New York Phil - harmonic: 2012 –13 Season, is now available for download at all major online music stores. The New York Philharmonic This Week, Visit nyphil.org/recordings for more information. nationally syndicated on the WFMT Radio Network, is broadcast 52 weeks per year ; Follow us on Tumblr, Facebook, Twitter, and visit nyphil.org for information . YouTube.

PLEASE SILENCE YOUR ELECTRONIC DEVICES .

20 New York Philharmonic 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 21

Notes on the Program By James M. Keller, Program Annotator The Leni and Peter May Chair

Symphonic Sondheim with words attached. In such cases we f ind ourselves listening differently to the melody towers over American with a text and the same melody without one. musical theater as a lyricist and a composer — Among Sondheim’s most remarkable gifts are very often as both at once. His career so far his artistry in matching the verbal expression has encompassed a string of 15 full-scale of an idea to the flow of a musical phrase and musicals plus a handful of “anthology shows” the ways in which the details of these ele - built on numbers cut from shows; a stack of ments combine to deepen our experience of a scores for film, television, and staged theater character or situation. But when we hear his productions; and a portfolio of librettos and pieces in strictly instrumental form, we may no - lyrics unmatched by his contemporaries. His tice things we do not when our minds are busy contributions to the musical theater now processing words along with notes. stretch back more than 50 years, and yet Stephen Sondheim is a New Yorker born they seem , for the most part , fresh and still and bred, an only child who spent his early young. Each of his major works has been ground - In Short breaking in its way, each unique, yet most exude a Born: March 22, 1930, in universality that makes them seem up to date. Resides: New York City Tonight we encounter a Works composed and premiered : less-visited side of this ex - Sunday in the Park with George , 1983–84; first produced at Playwrights ceptional artist: Sondheim Horizons in New York on July 6, 1983, with the Broadway opening at the Booth Theatre on May 2, 1984; this concert marks the world premiere of not as a lyricist or as a Michael Starobin’s concert arrangement songwriter, but rather as a The Enclave , 1973; opened Off-Broadway on November 15, 1973, at Theater composer pure and simple, a Four in New York, following tryouts at the Shubert Theatre in Boston, beginning creative soul represented November 8, 1975, and a short run at the Kennedy Center Opera House in through music on its own, Washington, D.C., beginning December 4, 1975

without words. We find , 1975; Broadway opening at the Winter Garden Theatre in New strictly instrumental expan- York on January 11, 1976

ses in many of his Broad way Into the Woods , 1986–87; premiered at the Old Globe Theatre in San Diego on shows — over tures, preludes, December 4, 1986, and opened on Broadway at the Martin Beck Theatre on dance sequences — though November 5, 1987 in many instances these in - Stavisky , 1974; the film was premiered on May 15, 1974, in Cannes, France.

clude musical mate rial that Sweeney Todd , 1978 –79; Broadway opening on March 1, 1979, at the Uris also surfaces elsewhere , Theatre, New York City

January 2013 21 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 22

years at the San Remo on West. distinguished lyricist Oscar Hammerstein II. When he was ten his family unraveled, and a Hammerstein provided Sondheim with an en - few years later he entered the orbit of what trée to Broadway by hiring him as an assistant would become a surrogate family, that of the for the production of Allegro, which opened

The New York Philharmonic Connection

Stephen Sondheim is no stranger to the New York Philharmonic. The Orchestra has presented his music on numerous occasions, including some now-legendary performances. Of the 1985 pro - duction of , New York Times critic Frank Rich wrote: “As played by the New York Philharmonic, conducted by Paul Gemignani, and sung and acted by an illustrious cast of past and present Broadway hands, Follies filled Avery Fisher Hall with the sound of an audience losing its mind.” The recording of the 2000 semi-staged production of Sweeney Todd , starring George Hearn and Patti LuPone, was nominated for a Grammy Award. A cast of Broadway greats joined forces with the Orchestra for SOND - HEIM: The Birthday Concert! in 2010, honoring the composer’s 80th birthday, and the popular 2011 production of , from 2011, was presented in movie theaters and then released on DVD last fall, due to popular demand. — The Editors

Clockwise from top left: in Follies ; Martha Plimpton, Stephen Colbert, and joined Company ; Sondheim takes a bow at his 80th birthday celebration; George Hearn and Patti LuPone led the cast of Sweeney Todd . (Fol - lies photo: Martha Swope; SONDHEIM: The Birthday Concert!: Richard Termine; Sweeney Todd, Company : Chris Lee)

22 New York Philharmonic 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 23

in 1947. By that time Sondheim was already helping fine-tune his ability as a composer. “I deeply engaged in musical studies. In 1950 he am his maverick,” Sondheim would later say, graduated from Williams College, where he “his one student who went into the popular was encouraged by one of his teachers, the arts armed with all his serious artillery.” composer Joaquín Nin-Culmell, to pursue fur - Notwithstanding his extensive training as ther studies as a private pupil of Milton Babbitt. a composer, Sondheim embraced the work - In Babbitt’s studio, Sondheim worked his way ing style of the musical theater. This included through scores by such composers as Mozart, the tradition of enlisting professional orches - Beethoven, Copland, and Ravel. (In 1952 he trators to work out the sonic surfaces of the even composed a piano concerto, giving its music, an essential process that, apart from first movement the title “Letters from Aaron its practical value, can serve to enhance or to Copland to Maurice Ravel.”) Although Babbitt reinforce the essence of the composer’s score. was famous for a rigorous brand of serial com - Sondheim is generous about recognizing his position, he had nourished aspirations for pop - orchestrators publicly, and he has worked ular music early in his career, and he supported repeatedly with a few who have proved Sondheim’s interest in musical theater while adept in matching his musical con ceptions.

Rarities Stephen Sondheim aficionados may draw comparisons between his 1970 musical Company and the 1973 play The Enclave by Arthur Laurents, for which the composer contributed incidental music. Both revolve around a group of friends that includes a confirmed bachelor. In The Enclave the friends have restored adjoining houses in an up-and-coming New York neighborhood and plan to move in at the same time, creating a sort of urban commune. Unlike Company, in which all of the married couples try to persuade their dear friend Bobby to take the plunge, the single man of The Enclave is a closeted homosexual whose plan to bring along his young lover creates a crisis among those in his circle who had considered themselves tolerant and open- minded. The original production had a short run, but the work is remembered for its exploration, by a major playwright, of a subject that society had only begun to address. “Arthur Laurents has turned to the subject of homosexuals and society’s problem in accept - ing them in its conventional midst,” wrote the New York Post. The next year Sondheim contributed the sound track to Stavisky, directed by Alain Renais. Today’s audiences may well identify with the sto ry- line, which is based on the true-life tale of a charming and mysterious con man (played by the charming Paul Belmondo), dubious financial dealings, and high-ranking government scandal , set in 1930s France. Film critic Rogert Ebert called it “an elegant, sparkling period piece” to which Sondheim contributed a pastiche score of foxtrot music that was mostly original, with a few segments drawn from music that had been cut from Follies. Like that work, Stravisky is not as frothy as the plot description might seem at first glance . “ The movie is finally about two things, truth and death, both of which Stavisky prefers to avoid at any possible cost,” wrote Ebert. Cover art for the Stavisky sound track, ca. 1973 —The Editors

January 2013 23 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 24

Sondheim’s most frequent collaborator in this of which there have been many. The En - area has been , who orches - clave was a 1973 play by Arthur Laurents, trated seven of Sondheim’s Broadway pre - who also wrote the books for four other mieres as well as many revivals. Of the works major stage works in the Sondheim represented in this concert, four benefited canon: West Side Story, Gypsy, Anyone Can from Tunick’s orchestrations: Pacific Over - Whistle — for all of which Sondheim served tures , Into the Woods , Sweeney Todd, and as lyricist — and Do I Hear a Waltz? , for which Stavisky . Another of Sondheim’s most no - Sondheim wrote both music and lyrics. table orchestrators is Michael Starobin, who Sondheim had provided incidental music for orchestrated Sunday in the Park with George Laurents’s 1960 play Invitation to a March , and ; his symphonic suite from the and in 1973 he did the same for The En - former gets its first airing in this concert. clave , composing a modernist score for piano Each show in Sondheim’s oeuvre has ex - and percussion. plored a subject that could not have been an - Apart from screen adaptations of his ticipated, and each is supported by a musical stage musicals, Sondheim has contributed personality that seems distinctly crafted to music for six films, including Dick Tracy (for the specific task. In Sunday in the Park which he took home an Academy Award for with George one finds telling touches of Best Song for “Sooner or Later I Always minimalism, repetitive notes and phrases that Get My Man”) , Reds , and The Seven- correspond to the dots of paint Georges Seu - Per-Cent Solution . Stavisky, directed by rat affixed to canvas. In Pacific Overtures, Alain Renais, explores the life and mysteri - spare textures evoke an Asian perspective on ous death (in 1934) of a historical charac - rapprochement with the West. The fabulist ter whose escapades of high-level financial drama Into the Woods often breaks step to fraud are played out against a panorama of invite its audience to share in personal intro - French politics and cultural history. Most of spection, and Sweeney Todd, one of the Sondheim’s inviting score was original to most symphonic of all Sondheim’s scores, the project, though a few segments of the can inspire terror and recur in nightmares. music had been composed for his musical Tonight’s program also includes music from Follies but cut before that work reached its two of Sondheim’s non-Broadway projects, final form.

24 New York Philharmonic 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 25

New York Philharmonic

2012 –2013 SEASON ALAN GILBERT, Music Director Case Scaglione, Assistant Conductor Joshua Weilerstein, Assistant Conductor , Laureate Conductor, 1943–1990 Kurt Masur, Music Director Emeritus

VIOLINS Soohyun Kwon CELLOS FLUTES Glenn Dicterow The Joan and Joel I. Picket Carter Brey Robert Langevin Concertmaster Chair Principal Principal The Charles E. Culpeper Duoming Ba The Fan Fox and Leslie R. The Lila Acheson Wallace Chair Samuels Chair Chair Sheryl Staples Marilyn Dubow Eileen Moon* Sandra Church* Principal Associate The Sue and Eugene The Paul and Diane Yoobin Son Concertmaster Mercy, Jr. Chair Guenther Chair Mindy Kaufman The Elizabeth G. Beinecke Martin Eshelman Eric Bartlett+ Chair The Shirley and Jon Judith Ginsberg PICCOLO Michelle Kim Brodsky Foundation Chair Hyunju Lee Assistant Concertmaster Maria Kitsopoulos Mindy Kaufman The William Petschek Joo Young Oh Sumire Kudo Family Chair Daniel Reed OBOES Enrico Di Cecco Mark Schmoockler Elizabeth Dyson Liang Wang Carol Webb Na Sun The Mr. and Mrs. James E. Principal Buckman Chair Yoko Takebe Vladimir Tsypin The Alice Tully Chair Alexei Yupanqui Gonzales Sherry Sylar* Quan Ge VIOLAS Qiang Tu Robert Botti The Gary W. Parr Chair Cynthia Phelps Ru-Pei Yeh The Lizabeth and Frank The Credit Suisse Chair Newman Chair Hae-Young Ham Principal The Mr. and Mrs. Timothy M. in honor of Paul Calello The Mr. and Mrs. Frederick Keisuke Ikuma++ George Chair P. Rose Chair Wei Yu Lisa GiHae Kim Rebecca Young* Susannah Chapman++ ENGLISH HORN Kuan Cheng Lu The Joan and Joel Smilow Alberto Parrini++ Keisuke Ikuma++ Newton Mansfield Chair The Edward and Priscilla Irene Breslaw** BASSES CLARINETS Pilcher Chair The Norma and Lloyd Fora Baltacigil Mark Nuccio Kerry McDermott Chazen Chair Principal Acting Principal Anna Rabinova Dorian Rence The Redfield D. Beckwith The Edna and W. Van Alan Charles Rex Chair Clark Chair Katherine Greene The Shirley Bacot Shamel David J. Grossman* Pascual Martínez Chair The Mr. and Mrs. William J. The Herbert M. Citrin Chair McDonough Chair Forteza* Fiona Simon Orin O’Brien Dawn Hannay Acting Associate Principal Sharon Yamada Vivek Kamath The Honey M. Kurtz Family Elizabeth Zeltser William Blossom Chair The William and Elfriede Peter Kenote The Ludmila S. and Carl B. Alucia Scalzo++ Ulrich Chair Kenneth Mirkin Hess Chair Amy Zoloto++ Yulia Ziskel Judith Nelson Randall Butler Robert Rinehart Blake Hinson Marc Ginsberg E-F LAT CLARINET The Mr. and Mrs. G. Chris Satoshi Okamoto Principal Andersen Chair Pascual Martínez Lisa Kim* Max Zeugner Forteza Rex Surany++ In Memory of Laura Mitchell (continued)

Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund .

January 2013 25 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 26

BASS CLARINET BASS TROMBONE ORGAN Amy Zoloto++ Kent Tritle The Daria L. and William C. Foster BASSOONS Chair LIBRARIANS Judith LeClair George Curran++ Lawrence Tarlow Principal Principal The Pels Family Chair TUBA Sandra Pearson** Kim Laskowski* Alan Baer Sara Griffin** Roger Nye Principal Arlen Fast ORCHESTRA PERSONNEL TIMPANI MANAGER CONTRABASSOON Markus Rhoten Carl R. Schiebler Arlen Fast Principal The Carlos Moseley Chair STAGE REPRESENTATIVE HORNS Kyle Zerna ** Philip Myers Joseph Faretta Principal PERCUSSION The Ruth F. and Alan J. Broder Chair Christopher S. Lamb AUDIO DIRECTOR R. Allen Spanjer Principal Lawrence Rock Howard Wall The Constance R. Hoguet Friends of Richard Deane++ the Philharmonic Chair * Associate Principal Leelanee Sterrett++ Daniel Druckman* ** Assistant Principal The Mr. and Mrs. Ronald J. Ulrich Chair + On Leave TRUMPETS Kyle Zerna ++ Replacement/Extra Philip Smith Principal The Paula Levin Chair HARP The New York Philharmonic uses Matthew Muckey* Nancy Allen the revolving seating method for Ethan Bensdorf Principal section string players who are The Mr. and Mrs. William T. Knight III listed alpha betically in the roster. Thomas V. Smith Chair TROMBONES HONORARY MEMBERS OF THE KEYBOARD SOCIETY Joseph Alessi In Memory of Paul Jacobs Principal Emanuel Ax The Gurnee F. and Marjorie L. Hart HARPSICHORD Pierre Boulez Chair Stanley Drucker David Finlayson Paolo Bordignon The Donna and Benjamin M. Rosen Lorin Maazel Chair PIANO Zubin Mehta Eric Huebner the late Carlos Moseley

Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall.

Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs , New York State Council on the Arts , and the National Endowment for the Arts .

26 New York Philharmonic 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 27

The Artists

Street, starring , Kramer vs. Kramer, Reds, and Eyewitness. He received the 2001 Tony Award for Lifetime Achieve - ment in the Theater, the Los Angeles Drama Critics Award (1994), and a special (1989) for “consistently out - standing musical direction and commitment to the theater.” In 2003 he was awarded an hon - orary doctorate of musical arts from the Man - hattan School of Music; in 2006 he received an Emmy Award for Best Musical Direction for a presentation of ; and the Drama League of New York Paul Gemignani has been the musical di - honored him for Distinguished Achievement in rector for more than 40 Broadway and West in 2008. He was inducted into End shows, including Stephen Sondheim’s the American Theatre Hall of Fame in 2011. Follies, Pacific Overtures, A Little Night Paul Gemignani’s other work with the New Music, Sweeney Todd: The Demon Barber of York Philharmonic has included the produc - Fleet Street, Into the Woods, and Sunday in tion of in May 2008, and One Sin - the Park with George. He served as musical gular Sensation: Celebrating , director of the New York Philharmonic’s con - which was broadcast on Live From Lincoln cert performance of Sondheim’s Follies in Center this past New Year’s Eve. 1985. More recently, his work for the Phil - harmonic has included the May 2008 pro - gram SONDHEIM: The Birthday Concert ! and the 2011 production of Company , both of which have been released on DVD. He has been musical director for produc - tions of , , Dreamgirls, Merrily We Roll Along, , , High Soci - ety, and Kiss Me, Kate; has made recordings with the American Theatre Orchestra in addi - tion to many cast albums; appeared as guest conductor with numerous orchestras; and is a regular guest conductor at , Lyric Opera of , Royal Opera Tony, Emmy, and Screen Actors Guild (Covent Garden), and . Award–winning actor Nathan Lane most Mr. Gemignani’s film work has included recently starred in The Iceman Cometh at Sweeney Todd : The Demon Barber of Fleet Chicago’s Goodman Theatre. His recent

January 2013 27 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 28

television appearances have included a re - curring role in CBS’s The Good Wife in the fall of 2012 . He starred in Samuel Beckett’s Waiting for Godot, David Mamet’s November, Neil Simon’s The Odd Couple, and Stephen Sondheim’s adaptation of , for which Mr. Lane wrote the book. For his por - trayal of Max Bialystock in the Tony Award– winning musical The Producers he won the Drama Desk, Outer Critics Circle, and for Best Actor in a Musical, and he earned a Golden Globe nomination for his performance in the film adaptation of the Pianist Eric Huebner joined the New York show. In 1996 his performance in Sond - Philharmonic in January 2012, after having heim’s A Funny Thing Happened on the Way been a guest pianist with the Orchestra since to the Forum earned him Tony, Outer Critics 2004. In June 2012 he performed as a soloist Circle, and Drama Desk awards. Mr. Lane’s in the world premiere of Elliott Carter’s Two other Broadway appearances have included Controversies and a Conversation — a double The Addams Family, Terrence McNally’s concerto for piano and percussion with per - Love! Valor! Compassion! (Drama Desk, cussionist Colin Currie — on a CONTACT! pro - Outer Critics Circle, and Obie Awards), Neil gram conducted by David Robertson. Simon’s Laughter on the 23rd Floor, and A native of Los Angeles, Mr. Huebner is a Guys and Dolls (Drama Desk and Outer Crit - graduate of The Juilliard School and has ics Circle Awards and Tony nomination). been a featured recitalist at the Ojai Festival On film Nathan Lane starred as Albert in in California and appeared on the Monday Mike Nichols’s The Birdcage, which earned Evening Concerts and Piano Spheres series him a Screen Actors Guild Award and a in Los Angeles, in addition to solo appear - Golden Globe Nomination. He won acclaim ances at the Carlsbad Music Festival, Miller as the voice of Timon in Disney’s The Lion Theater, Le Poisson Rouge, and Carnegie King and appeared in the films Stuart Little , Hall’s Zankel Hall. Since 2001 He has been Trixie, Love’s Labour’s Lost, Addams Family a member of Antares, a quartet comprising Values, Frankie and Johnny, and Nicholas clarinet, violin, cello, and piano. Nickleby. Mr. Lane earned an Emmy nomina - Eric Huebner is assistant professor of tion for his recent guest appearance on piano at the University at Buffalo , where he Modern Family, and he has been recognized maintains an active piano studio and per - with two Daytime for Out - forms as part of the Slee Sinfonietta. He has standing Performer in an Animated Program recorded solo piano and chamber works for for The Lion King’s Timon and Pumbaa and the Col Legno, Centaur, Bridge, Albany, Teacher’s Pet . Tzadik, Innova, New Focus Recordings , and Mode Records labels.

28 New York Philharmonic 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 29

A graduate of The Juilliard School, pianist Christopher S. Lamb , Principal Percus - Steven Beck has performed with the sionist, The Constance R. Hoguet Friends of National Symphony Orchestra, New Juilliard the Philharmonic Chair, joined the New York Ensemble, Sequitur, Jupiter Symphony Philharmonic in 1985. He made his solo Chamber Players, and Virginia Symphony Or - debut with the Orchestra in the world pre - chestra, and has toured Japan as soloist with miere of Joseph Schwantner’s Percussion the New York Symphonic Ensemble. His solo Concerto, commissioned by the Philhar - and chamber appearances have included monic, which he has since performed The Kennedy Center, Alice Tully Hall, Weill throughout the United States . Mr. Lamb has Recital Hall, and Merkin Concert Hall, and given the world premieres of two other Phil - WNYC radio. His summer engagements harmonic commissions: Tan Dun’s Concerto have included the Aspen Music Festival and for Water Percussion (and then performed it Lincoln Center Out of Doors. An artist pre - on the Orchestra’s South America tour, as senter and regular performer at Bargemusic, well as with the London Philharmonic, Royal he also makes frequent appearances with Concertgebouw, and Leipzig Gewandhaus the Mark Morris Dance Group. Mr. Beck has orchestras) and Susan Botti’s EchoTempo . worked with composers Elliott Carter, Henri In 1999 Mr. Lamb was the recipient of a Dutilleux, George Perle, and Charles Wuori - Fulbright Scholar Award to lecture and con - nen, and with new-music ensembles such as duct research in Australia. In 2010 he was Speculum Musicae, Da Capo Chamber Play - invited to join the faculty of the Royal Con - ers, New York New Music Ensemble, En - servatoire of Scotland as an international semble Sospeso, Argento Ensemble, and fellow. On the faculty of the American Contemporary Music Ensemble, School of Music since 1989, he has given and he is a member of the Knights, clinics and master classes worldwide. counter)induction, Talea, Pleasure Is the Law, Mr. Lamb has recorded chamber works on and the new music ensemble Future in RE - the New World, Cala, and CRI labels, and his verse (FIRE). He has recorded on the Albany, Grammy Award–winning performance of Bridge, Monument, Mulatta, and Annemarie Schwantner’s Percussion Concerto with the Classics labels. Nashville Symphony Orchestra is available

January 2013 29 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 30

on the Nonesuch label. Christopher Lamb is the New York Philharmonic’s Horizons con - a former member of The Metropolitan Opera certs, and San Francisco Symphony’s New Orchestra and Buffalo Philharmonic and a and Unusual Music series, and recitals in graduate of the Eastman School of Music. New York, Los Angeles, San Francisco, and Tokyo. He has performed frequently with ensembles including The Chamber Music Society of Lincoln Center, Group for Con - temporary Music, Orpheus, Steve Reich and Musicians, and the Philip Glass Ensemble, and has appeared at the major U.S. summer music festivals. As soloist and a member of the New York New Music Ensemble and Speculum Musicae, Mr. Druckman has pre - miered works by composers from Babbitt to Wuorinen. He is a faculty member of The Juilliard School, where he received his bach - elor’s and master’s degrees and where he Daniel Druckman , Associate Principal Per - serves as chairman of the percussion de - cussionist, The Mr. and Mrs. Ronald J. Ulrich partment and director of the percussion en - Chair, joined the New York Philharmonic in semble. Recent solo recordings include 1991. His solo engagements have included Elliott Carter’s Eight Pieces for Four Timpani appearances with the Los Angeles Philhar - and Jacob Druckman’s Reflections on the monic and American Composers Orchestra, Nature of Water on Koch International.

30 New York Philharmonic 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 31

New York Philharmonic

The New York Philharmonic , founded in 1842 (Music Director 1922–30), Wilhelm Furtwängler, by a group of local musicians led by American- Arturo Toscanini (Music Director 1928–36), Igor born Ureli Corelli Hill, is by far the oldest sym - Stravinsky, Aaron Copland, Bruno Walter (Music phony orchestra in the United States, and one of Advisor 1947–49), Dimitri Mitropoulos (Music Di - the oldest in the world. It plays some 180 con - rector 1949–58), Klaus Tennstedt, George Szell certs a year, and on May 5, 2010, gave its (Music Advisor 1969–70), and Erich Leinsdorf. 15,000th concert — a milestone unmatched by Long a leader in American musical life, the Phil - any other symphony orchestra in the world. harmonic has become renowned around the Music Director Alan Gilbert, The Yoko Nagae globe, appearing in 431 cities in 63 countries on Ceschina Chair, began his tenure in September 5 continents. Under Alan Gilbert’s leadership, the 2009, the latest in a distinguished line of 20th- Orchestra made its Vietnam debut at the Hanoi century musical giants that has included Lorin Opera House in October 2009. In February 2008 Maazel (2002–09); Kurt Masur (Music Director the Philharmonic, conducted by then Music Di - 1991–2002, Music Director Emeritus since rector Lorin Maazel, gave a historic performance 2002); Zubin Mehta (1978–91); Pierre Boulez in Pyongyang, D.P.R.K., earning the 2008 Com - (1971–77); and Leonard Bernstein (appointed mon Ground Award for Cultural Diplomacy. In Music Director in 1958; given the lifetime title of 2012 the Philharmonic became an International Laureate Conductor in 1969). Associate of London’s Barbican. Since its inception the Orchestra has champi - The Philharmonic has long been a media pio - oned the new music of its time, commissioning neer, having begun radio broadcasts in 1922, and and/or premiering many important works, such is currently represented by The New York Phil - as Dvo rˇák’s Symphony No. 9, From the New harmonic This Week — syndicated nationally and World; Rachmaninoff’s Piano Concerto No. 3; internationally 52 weeks per year, and available at Gershwin’s Piano Concerto in F; and Copland’s nyphil.org. It continues its television presence on Connotations . The Philharmonic has also given Live From Lincoln Center on PBS, and in 2003 the U.S. premieres of such works as Beethoven’s made history as the first symphony orchestra ever Symphonies Nos. 8 and 9 and Brahms’s Sym - to perform live on the Grammy Awards. Since phony No. 4. This pioneering tradition has con - 1917 the Philharmonic has made nearly 2,000 tinued to the present day, with works of major recordings, and in 2004 became the first major contemporary composers regularly scheduled American orchestra to offer downloadable con - each season, including John Adams’s Pulitzer certs, recorded live. Since June 2009 more than Prize– and Grammy Award–winning On the 50 concerts have been released as downloads, Transmigration of Souls; Melinda Wagner’s Trom - and the Philharmonic’s self-produced recordings bone Concerto; Esa-Pekka Salonen’s Piano Con - will continue with Alan Gilbert and the New York certo; Magnus Lindberg’s EXPO and Al largo ; Philharmonic: 2012– 13 Season, comprising 12 re - Wynton Marsalis’s Swing Symphony (Symphony leases. Famous for its long-running Young People’s No. 3); Christopher Rouse’s Odna Zhizn; and, by Concerts, the Philharmonic has developed a wide the end of the 2010–11 season, 11 works in range of educational programs, among them the CONTACT!, the new-music series. School Partnership Program that enriches music The roster of composers and conductors who education in New York City, and Learning Over - have led the Philharmonic includes such historic tures, which fosters international exchange among figures as Theodore Thomas, Antonín Dvo rˇák, educators . Gustav Mahler (Music Director 1909–11), Otto Credit Suisse is the Global Sponsor of the New Klemperer, Richard Strauss, Willem Mengelberg York Philharmonic.

January 2013 31 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 32

The Music Director

season finale: a theatrical reimagin ing of Stravinsky ballets, directed an d designed by Doug Fitch and featuring New York City Ballet Principal Dancer Sara Mearns. Last season’s highlights in cluded performances of three Mahler symphonies, with the Second, Resurrec - tion, on A Concert for New York; tours to Europe (including the Orchestra’s first International Associ ates residency at London’s Barbican Centre) and California; and Philharmonic 360, the Philharmonic’s and Park Avenue Armory’s acclaimed spa tial-music program featuring Stockhausen’s Gruppen, building on the success of previous seasons ’ productions of Ligeti’s Le Grand Macabre and Janá cˇek’s The Cunning Lit - tle Vixen , each acclaimed in 2010 and 2011, re - New York Philharmonic Music Director Alan spectively, as New York magazine’s number one Gilbert began his tenure in September 2009 . classical music event of the year. The New York Times has said: “Those who think In September 2011 Alan Gilbert became Di - classical music needs some shaking up routinely rector of Conducting and Orchestral Studies at challenge music directors at major orchestras to The Juilliard School, where he is the first to hold think outside the box. That is precisely what Alan the William Schuman Chair in Musical Studies. Gilbert did.” The first native New Yorker to hold the Conductor Laureate of the Royal Stockholm Phil - post, he has sought to make the Orchestra a point harmonic Orchestra and Principal Guest Con - of civic pride for the city and country. ductor of Hamburg’s NDR Symphony Orchestra, Mr. Gilbert combines works in fresh and inno - he regularly conducts leading ensembles such as vative ways ; has forged important artistic the Boston Symphony Orchestra, Amsterdam’s partnerships, introducing the positions of The Royal Concertgebouw Orchestra , Leipzig Marie-Josée Kravis Composer-in-Residence Gewandhaus Orchestra, and Berlin Philharmonic . and The Mary and James G. Wallach Artist-in- Alan Gilbert’s acclaimed 2008 Metropolitan Residence ; and introduced an annual multi- Opera debut , leading John Adams’s Doctor week festival and CONTACT!, the new-music Atomic , received a 2011 Grammy Award for series. In 2012–13, he conducts world pre - Best Opera Recording. Earlier releases garnered mieres; presides over a cycle of Brahms’s com - Grammy Award nominations and top honors plete symphonies and concertos; continues The from the Chicago Tribune and Gramophone Nielsen Project, the multiyear initiative to perform magazine. Mr. Gilbert studied at Harvard Univer - and record the Danish composer’s symphonies sity, The Curtis Institute of Music, and Juilliard and concertos; conducts Bach’s Mass in B minor and was assistant conductor of The Cleveland and an all-American program, including Ives’s Orchestra (1995–97). In May 2010 he received Fourth Symphony; and leads the Orchestra on an Honorary Doctor of Music degree from Cur - the EUROPE / SPRING 2013 tour. The season tis, and in December 2011 he received Colum - concludes with June Journey: Gilbert’s Playlist, bia University’s Ditson Conductor’s Award for his four programs showcasing themes and ideas commitment to performing American and con - that Alan Gilbert has intro duced, including the temporary music.

32 New York Philharmonic 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 33

User’s Guide to the New York Philharmonic

To Order Tickets or Subscribe New York Philharmonic Gift Kiosk The Philharmonic Gift Kiosk, located on the Grand Visit nyphil.org to order tickets online with a major Promenade, is open prior to concert time and during credit card. intermissions. Staffed entirely by volunteers, all proceeds benefit the Philharmonic. Call (212) 875-5656.

The Avery Fisher Hall Box Office at Broadway and For Patrons with Disabilities 65th Street is open 10 a.m. to 6 p.m., Monday through For information or to obtain a complimentary accessibil - Saturday; and noon to 6 p.m., Sunday; and remains open ity guide, please call the Department of Programs and one-half hour past concert time on performance evenings. Services for People with Disabilities at (212) 875-5375. For 24-hour information call the Accessibility Hotline at Groups of 20 or more can save up to 27% by calling (212) 875-5380. Group Sales at (212) 875-5672. Large type and Braille programs are available free Donate Your Concert Tickets of charge and are made possible by a generous endow - If you can’t attend a concert as planned, please call ment established by Frederick P. Rose, Daniel Rose, and Customer Relations at (212) 875-5656 to donate your Elihu Rose in honor of their mother, Belle B. Rose. tickets for re-sale. You will receive a receipt for tax purposes in return. Sennheiser infrared hearing systems are available at the House Manager’s Desk on the Orchestra Level of For the Enjoyment of All Avery Fisher Hall. Latecomers will be seated in the hall after the comple - tion of a work; if there is no late seating available in the If you require a wheelchair please dial house phones first half of the concert patrons are invited to watch in located in the lobby (extension 5005 or 5006). the Helen Hull Room. For Your Safety Quiet, please. Set cell phones and other electronic Fire notice. The exits indicated by a red light and the devices to remain silent throughout the performance. sign nearest to the seat you occupy are the shortest routes to the street. In the event of fire or other emer - Please note: The sound recording or videotaping of per - gency, do not run — walk to that exit. formances is prohibited. You may take photographs before and after the concert, as well as during intermission and applause, but not during the performance; anyone seen Resuscitation masks and latex gloves are available using a device for these activities will be asked to leave. at the house manager’s station in the center of the Grand Promenade and from any of the ushers on the For Your Comfort and Convenience second tier. Rest rooms are located on all levels. Grand Prome - nade: Men’s Room on West side only. Second and Third Tiers: Men’s Room on east side only. Third Tier: Women’s Avery Fisher Hall Staff Room on west side only. Wheelchair accessible rest rooms for women on Plaza and Orchestra Level and for Timothy Hassett, Vice President, Concert Halls and men on Plaza Level. Operations Gerry DeCastro, Director of Concert Hall Performance Public telephones Lobby level, Northeast corner Services Jack L. Kirkman, Associate Director of Production, Coat rooms Plaza Level, east and west Concert Halls Alison Walters Diesen, Director, Venue Sales Elevators One elevator east, two elevators west Terence Michael Larsen, Assistant Director, Production and Maintenance Escalators Southeast and southwest corners of Plaza and Grand Promenade levels Pete Meyers, Box Office Treasurer Richard Norton, Stage Crew Head Restaurants Espresso Bar in west lobby; Arpeggio Adessii Austin , Assistant to the Vice President Food and Wine in east lobby

For information about renting Avery Fisher Hall auditorium or public areas, contact the Director of Concert Halls/ Administration at (212) 875-5003.

January 2013 33