NEW YORK PHILHARMONIC 2014–15 SEASON AT-A-GLANCE (As of January 22, 2014)

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NEW YORK PHILHARMONIC 2014–15 SEASON AT-A-GLANCE (as of January 22, 2014) WORLD PREMIERES John ADAMS Scheherazade.2 — Symphony for violin and orchestra (New York Philharmonic Co-Commission with the Royal Concertgebouw Orchestra Amsterdam; the Royal Concertgebouw; and the Sydney Symphony Orchestra, David Robertson, Chief Conductor and Artistic Director) Peter EÖTVÖS Senza sangue (New York Philharmonic Co-Commission, with the support of the Kravis Prize for New Music, with the Kölner Philharmonie) Christopher ROUSE Thunderstuck (The Marie-Josée Kravis (New York Philharmonic Commission) Composer-in-Residence) U.S. PREMIERES Thomas ADÈS Totentanz Unsuk CHIN Clarinet Concerto (New York Philharmonic Co-Commission with the Gothenburg Symphony Orchestra, Philharmonia Orchestra, and the Barcelona Symphony Orchestra) Peter EÖTVÖS Senza sangue (New York Philharmonic Co-Commission, with the support of the Kravis Prize for New Music, with the Kölner Philharmonie) Thierry ESCAICH Concerto for Violin and Oboe (New York Philharmonic Co-Commission) ZHAO Lin Duo for cello, sheng, and orchestra NEW YORK PREMIERES CHEN Qigang Enchantements oubliés James MAC MILLAN Piano Concerto No. 3, The Mysteries of Light Christopher ROUSE Flute Concerto GUEST CONDUCTORS Debuts Thomas ADÈS Susanna MÄLKKI Stéphane DEN ÈVE Juanjo MENA (over) 2 GUEST CONDUCTORS Returning Christoph von DOHNÁNYI Case SCAGLIONE (Dohnányi / Dvo řák) Leonard SLATKIN Manfred HONECK Bramwell TOVEY Jeffrey KAHANE Long YU Sakari ORAMO Gary Thor WEDOW David ROBERTSON David ZINMAN Esa-Pekka SALONEN Jaap van ZWEDEN GUEST ARTISTS Debuts Inon BARNATAN (Artist-in-Association) Simon KEENLYSIDE Thomas BLONDELLE François LELEUX Marion COTILLARD Angela MEADE Jeremy DENK Simone OSBORNE Éric GÉNOVÈSE Faith SHERMAN Christian GONON Christianne STOTIJN Martin HELMCHEN Camilla TILLING Steven HUMES James WESTMAN Brandon JOVANOVICH GUEST ARTISTS Returning Emanuel AX Jeffrey KAHANE Lisa BATIASHVILI (The Mary and James Kari KRIIKKU G. Wallach Artist-in-Residence) Lang LANG Jonathan BISS Yo-Yo MA Russell BRAUN Anne Sofie von OTTER Yefim BRONFMAN Eric OWENS Joshua BELL Lilli PAASIKIVI Iestyn DAVIES Michael SLATTERY Renée FLEMING Jean-Yves THIBAUDET Josh GROBAN Daniil TRIFONOV Augustin HADELICH Alisa WEILERSTEIN Hilary HAHN WU Tong Leila JOSEFOWICZ Frank Peter ZIMMERMANN ENSEMBLES Silk Road Ensemble — New York Philharmonic debut New York Choral Artists, directed by Joseph Flummerfelt Westminster Symphonic Choir, directed by Joe Miller # # # ALL INFORMATION SUBJECT TO CHANGE .

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2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No.
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THE TWENTY-FIFTH HOUR COMPOSER’S NOTE the same musical stuff, as if each were a THE CHAMBER MUSIC OF THOMAS ADÈS (b. 1971) different view through a kaleidoscope. ‘Six of Nearly twenty years separate the two string the seven titles’, he has noted, ‘evoke quartets on this record, and all I have been able various vanished or vanishing “idylls”. The Piano Quintet (2001) * to discover over this time is that music only gets odd-numbered are all aquatic, and would splice 1 I [11.43] more and more mysterious. I am very grateful if played consecutively.’ 2 II [4.35] for this enjoyable collaboration to Signum, Tim 3 III [3.00] Oldham, Steve Long at Floating Earth, and my In the ﬁrst movement the viola is a gondolier friends the Calder Quartet. poling through the other instruments’ moonlit The Four Quarters (2011) World Premiere Recording 4 I. Nightfalls [7.06] water, with shreds of shadowy waltz drifting 5 II. Serenade: Morning Dew [3.12] Thomas Adès, 2015 in now and then. Next, under a quotation 6 III. Days [3.50] from The Magic Flute (‘That sounds so 7 IV. The Twenty-Fifth Hour [3.51] The Chamber Music delightful, that sounds so divine’ sing of Thomas Adès Monostatos and the slaves when Papageno Arcadiana (1993) plays his bells), comes a song for the cello 8 I. Venezia notturno [2.39] These three works are not only in classic under glistening harmonics. The music is 9 II. Das klinget so herrlich, das klinget so schon [1.22] genres but themselves becoming classics, with stopped twice in its tracks by major chords, 0 III.
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Repertoire List
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Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
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A Study of Tyzen Hsiao's Piano Concerto, Op. 53
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PROGRAM NOTES: “Violin Concerto”
PROGRAM NOTES: “Violin Concerto” I believe that one of the most rewarding aspects of life is exploring and discovering the magic and mysteries held within our universe. For a composer this thrill often takes place in the writing of a concerto…it is the exploration of an instrument’s world, a journey of the imagination, confronting and stretching an instrument’s limits, and discovering a particular performer’s gifts. The first movement of this concerto, written for the violinist, Hilary Hahn, carries a somewhat enigmatic title of “1726”. This number represents an important aspect of such a journey of discovery, for both the composer and the soloist. 1726 happens to be the street address of The Curtis Institute of Music, where I first met Hilary as a student in my 20th Century Music Class. An exceptional student, Hilary devoured the information in the class and was always open to exploring and discovering new musical languages and styles. As Curtis was also a primary training ground for me as a young composer, it seemed an appropriate tribute. To tie into this title, I make extensive use the intervals of unisons, 7ths, and 2nds, throughout this movement. The excitement of the first movement’s intensity certainly deserves the calm and pensive relaxation of the 2nd movement. This title, “Chaconni”, comes from the word “chaconne”. A chaconne is a chord progression that repeats throughout a section of music. In this particular case, there are several chaconnes, which create the stage for a dialog between the soloist and various members of the orchestra. The beauty of the violin’s tone and the artist’s gifts are on display here.
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Calder Quartet
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