FOR RELEASE: February 22, 2012

SUPPLEMENT

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL A COLLABORATION WITH 92ND STREET Y SPRING 2013

Perspectives on Bach by , ALAN GILBERT, ANDRÁS SCHIFF, BERNARD LABADIE Mass in B Minor, Orchestral Suites, Mendelssohn, and Schumann ______

“Bach’s music really can be full of its most meaningful expression in a huge range of interpretations and stylistic approaches, and that’s one of the things that we’re trying to show. We also want to show that there are different, equally valid ways to approach the music through different lenses.” — Alan Gilbert ______

In the spring of 2013 the will present The Bach Variations: A Philharmonic Festival, exploring the work of Baroque master through the lens of a variety of conductors’ and artists’ interpretations. Four orchestral programs, spanning March 6–April 6, 2013, will be led by different conductors, each bringing a different perspective to the composer’s work.

Also in 2012–13, 92nd Street Y presents Bach Through the Season, which includes performances by some of the artists featured at the Philharmonic as well as a symposium with Mr. Gilbert. Together, the two institutions will offer a multidimensional portrait of Bach, featuring events that will explore varying interpretations of some of the composer’s greatest works.

Alan Gilbert said: “Bach is the composer who, more often than not, ends up at the top of anybody’s list of greatest composers or favorite composers. The idea that great music, and particularly Bach’s music, can withstand interpretation and can be treated in different ways led us to try to find different conductors who would approach the music in different ways.”

The festival’s first orchestral program, March 6–9, 2013, will be conducted by Japanese Bach specialist Masaaki Suzuki in his Philharmonic debut; Alan Gilbert will lead the festival’s second orchestral program, featuring Bach’s Mass in B minor, March 13–16, 2013; Bernard Labadie, who takes an early-music approach but with modern instruments, will conduct the

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concerts on March 21–23, 2013; and pianist András Schiff will make his Philharmonic debut leading the final program, April 3–6, 2013.

Mr. Gilbert said: “I think it will be fascinating to see Suzuki, who has mostly worked with his own ensembles, with his rigorous performance practice. Bernard Labadie has been very successful in applying the principles of performance practice with modern symphony orchestras. András Schiff’s program, in which he’ll be playing and conducting, is really exciting because it combines the music of Bach with that of Mendelssohn and Schumann, composers who both loved Bach very much and were very influenced by him. I’m conducting the B-minor Mass; I’m not a Bach specialist, but I will try to approach the music with sincerity as a musician. I think it will be fascinating to see how these weeks play out.”

PROGRAM I

Japanese Bach Specialist Masaaki Suzuki To Make His Philharmonic Debut Conducting J.S. Bach and Mendelssohn With the Bach Collegium , , and Soloists

For the first orchestral program of the festival, March 6–9, 2013, Japanese Bach specialist Masaaki Suzuki, known for his mastery of Bach and his work with period instruments, will make his New York Philharmonic debut conducting the Orchestra, sopranos Sherezade Panthaki (debut) and Joelle Harvey (debut), countertenor Iestyn Davies (debut), tenor Nicholas Phan, baritone Tyler Duncan (debut), the (debut), and Yale Schola Cantorum (debut) in an historically-informed interpretation of Bach’s motet Singet dem Herrn and , followed by Mendelssohn’s Christus and Magnificat.

Masaaki Suzuki said: “It is a wonderful and great honor for me to work with the New York Philharmonic. My earliest experience with a symphony orchestra was the concert of Mahler’s Ninth with Leonard Bernstein and the Philharmonic in the early 1960s in Osaka, Japan, which I will always remember, so this project is very emotional for me.”

Bach composed the first version of the Magnificat in E-flat in 1723 for Christmas Vespers, during his first year as director of music at St. Thomas Church in . A revised version, from which Bach had removed the Christmas-specific portions and which he transposed to D major, was premiered at that church in July 1733. The Magnificat — a grand work for large orchestra, five-part choir, and five soloists — sets a libretto that is based on the canticle of the Blessed Virgin Mary, which is perhaps the most often-used liturgical text other than the Mass.

Mr. Suzuki said: “Bach’s music can be interpreted and performed not only by the period instruments. I think there must be another way for the symphony orchestra to present it, and the wonderful quality of music-making of the New York Philharmonic will certainly shed light on the different aspects of Bach’s music.”

Mendelssohn began to compose his unfinished oratorio Christus in 1846, and continued working on it until just before his death the following year. With a German libretto by Christian Karl

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Josias von Bunsen (who had suggested the idea of the piece to Mendelssohn), the completed portions include a tenor recitative on Christ’s birth, the chorus “Where is the Newborn,” the chorus “There Shall a Star from Jacob Shine Forth” (based on Philipp Nicolai’s chorale Wie schön leuchtet der Morgenstern), and the concluding chorale “Welt, sieh’ hier dein Leben.”

Heavily influenced by Bach, Mendelssohn completed his Magnificat in 1822, when he was only 13, while he was studying the music of the pre-Classical composers with Carl Friedrich Zelter at the Berlin Singakademie. Although he was still a student, Mendelssohn interpreted the Baroque ideas for a contemporary orchestra, creating a sound world that, while tipping his hand to Bach, is definitely Mendelssohn’s own.

Mr. Suzuki said: “Mendelssohn is one of the most important composers who loved Bach and was influenced by Bach. When we juxtapose these two composers, it will be possible to appreciate both of them more deeply. This concept is not easy for period instruments, but can be ideally realized by an orchestra like the New York Philharmonic.”

PROGRAM II

Alan Gilbert Conducts the Mass in B minor With Soprano Dorothea Röschmann, Mezzo-Soprano Anne Sofie von Otter, Tenor Steve Davislim, and Bass-Baritone Eric Owens, with the New York Choral Artists

On the festival’s second orchestral program, March 13–16, 2013, Alan Gilbert will conduct the Philharmonic in Bach’s Mass in B minor, with soprano Dorothea Röschmann, mezzo-soprano Anne Sofie von Otter, tenor Steve Davislim, bass-baritone Eric Owens, and the New York Choral Artists, Joseph Flummerfelt, director. The 1749 work is considered by many to be one of the composer’s greatest, and one of the late-Baroque era’s monumental pieces. A setting of the complete Latin Mass — unusual for someone working in the Lutheran tradition — the Mass in B minor includes pieces Bach had previously composed, as well as new sections that were ultimately his last major compositions.

Alan Gilbert said: “The Mass in B minor is a consummate masterpiece that makes me feel humble as a musician when I hear it. Bach took a liturgical, religious starting point and made it even more universal. No matter what you believe, no matter your religious credo, or whether or not you even have a religious credo, it is impossible not to be incredibly moved by this music because it speaks from one human directly into the heart of another. This is the kind of piece that orchestras should be playing. I feel very privileged to be able to touch this music.”

The New York Philharmonic has presented selected movements from the Mass in B minor five times in the past (in 1917, 1918, 1927, 1935, and 2011), and has presented the entire work on only four occasions: in 1965, conducted by William Steinberg; 1982, with Erich Leinsdorf conducting his own arrangement; 1989, with Helmuth Rilling; and in 1996, with Kurt Masur.

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PROGRAM III

Bernard Labadie Conducts Two Bach Orchestral Suites, Two Violin Concertos with Violinist Isabelle Faust, And the Sinfonia from No. 42

The third orchestral program, March 21–23, 2013, will be led by Bernard Labadie — a conductor whose perspective blends traditional and modern — overseeing a program comprising Bach’s Sinfonia from Cantata No. 42, Orchestral Suites Nos. 3 and 4, and Violin Concertos in A minor and E major, performed by violinist Isabelle Faust in her Philharmonic debut.

Mr. Labadie said: “I think it’s fantastic that the New York Philharmonic is doing this festival, because for many years symphony orchestras have almost abandoned the field of 18th-century music to specialized groups, and I think it’s sad. Not that specialized groups shouldn’t be doing it — on the contrary, and I’m working with a lot of them – but I think it’s about time symphony orchestras reclaimed that territory. To actually present a complete festival is admirable; I think it’s very important for the orchestra and for the musicians because it basically opens them up to a completely different world. The life of an orchestra is not complete without adding regular access to that world.”

Bach wrote his two violin concertos, No. 1 in A minor, BWV 1041 (1723), and No. 2 in E major, BWV 1042 (1730), for his concertmaster at the court of Prince Leopold at Cöthen. The genesis of Bach’s Orchestral Suites is uncertain: the Orchestral Suite No. 3 in D minor, BWV 1068, may have been written circa 1730 when he was the director of Leipzig’s Collegium Musicum; it contains one of the composer’s most famous movements, the Air, which was arranged by German violinist August Wilhelmj and has become known as Air on the G String. The original version of Bach’s Orchestral Suite No. 4, BWV 1069, has never been found, but it is likely to have been written during the same period of the composer’s career.

Mr. Labadie said: “What is amazing about Bach is that he didn’t invent anything, yet, what he did do has been used by so many generations of composers, musicians, and performers as a stepping-stone to move forward, because he summarizes everything that has been done before him. He brought many genres to the ultimate state of perfection that things could only change drastically after him.”

Mr. Labadie will also lead the Rush Hour Concert on March 20, 2013, featuring the Sinfonia from Cantata No. 42, the Violin Concertos in A minor and E major with Isabelle Faust, and the Orchestral Suite No. 3.

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PROGRAM IV

Pianist András Schiff To Make His Philharmonic Conducting Debut Leading and Performing Bach’s Keyboard Concertos in F Minor and D Major And Conducting Mendelssohn’s String Symphony No. 9 and Schumann’s Symphony No. 4

For the final orchestral program of the festival, noted pianist András Schiff will make his Philharmonic conducting debut, April 3–6, 2013, in a program juxtaposing Bach’s Keyboard Concertos in F minor and in D major — which Mr. Schiff will lead from the keyboard — with Mendelssohn’s String Symphony No. 9 and Schumann’s Symphony No. 4.

András Schiff said: “Why does one decide to play or conduct certain works? Well, first of all because one loves them. I programmed these works because I believe that they will work beautifully together. It would please both Mendelssohn and Schumann to be presented together with Bach, the greatest composer of all time.”

Alan Gilbert says: “It’s difficult to think of Bach’s music as ever needing to be brought back, but it wasn’t very much in favor, and Mendelssohn was really crucial in bringing back the music of Bach. Schumann’s Fourth Symphony has passages that are clear references to Bach, and really the whole symphony is kind of a homage to Bach. I think it’s a very meaningful and important combination to put these pieces together.”

Bach wrote the Keyboard Concerto in F minor, BWV 1056 — believed to be a transcription of a lost concerto (perhaps for violin or oboe) — in the late 1730s. The shortest of his keyboard concertos, it was composed in three movements, each in ritornello form, and its popular Adagio was used as the introduction to his cantata Ich steh’ mit einem Fuß im Grabe (“I stand with one foot in the grave”). The 1738 Keyboard Concerto in D major, BWV 1054, is an adaptation of his earlier Violin Concerto in E major, BWV 1042. Composed for the Leipzig Collegium Musicum, it is one of the few keyboard concertos whose source material also survives, allowing scholars insight into how the composer transformed his previously-written works into something entirely new.

Mendelssohn, a champion of Bach, composed the String Symphony No. 9 in 1823, when he was only 14 years old. It is one of two pieces that he composed after a family trip to Switzerland, and the young Mendelssohn not only utilizes the influences of the composers he was studying at the time, but also the traditional Swiss folk melodies that he collected during the trip. Schumann completed the first version of his Symphony No. 4 in 1841, the year following his marriage to Clara Wieck. The symphony wasn’t much of a success when it premiered that December in Leipzig; he eventually revised it in 1851, to much greater success.

Mr. Schiff’s appearances with the New York Philharmonic are part of his own season-long focus on Bach in concerts throughout New York that begins October 27, 2012, at 92nd Street Y.

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COLLABORATION WITH 92ND STREET Y

Also in 2012–13, 92nd Street Y presents Bach Through the Season, which includes performances by some of the artists featured at the Philharmonic as well as a symposium with Mr. Gilbert. Events will include a pair of recitals by András Schiff performing The Well- Tempered Clavier on October 27, 2012, and November 1, 2012, opening his city-wide “Bach Project;” a mostly-Bach recital of Baroque works performed by recorder player Michala Petri and harpsichordist Anthony Newman on February 13, 2013; violinist Jennifer Koh’s Bach and Beyond concert, Part II of a series linking Bach’s solo violin partitas to the present day, will feature works by Bach and Bartók as well as a new work by Phil Kline on March 2, 2013; a symposium on March 3, 2013, that will include Alan Gilbert, Masaaki Suzuki, and Jennifer Koh, moderated by Hanna Gaifman; a guitar recital by Raphaella Smits performing works by Bach and Mertz on March 23, 2013; and recitals by pianist Marc-André Hamelin on January 30, 2013, and guitarist Benjamin Verdery on May 23, 2013, both of which feature arrangements of Bach alongside more contemporary works.

Alan Gilbert said: “The collaboration we’re doing with the 92nd Street Y is important and resonant on a number of levels. It adds dimension to the festival in that it gives us the possibility of having a symposium as well as intimate performances in a different location. It also allows our celebration to be informed by the 92nd Street Y’s sensibility and audience. The idea of collaborating with other cultural institutions in the city is really important to me: it appropriately places the New York Philharmonic in the center of a kind of intellectual and cultural dialogue, and gets the whole city ‘buzzing’ in a way that I think is really exciting.”

Principal Cello Carter Brey To Perform Complete Bach Suites for Unaccompanied Cello

In one concert New York Philharmonic Principal Cello Carter Brey will perform all six Bach Suites for Unaccompanied Cello. Taken as a cycle, these works exemplify the Baroque master’s ability to be both profound and intimate. Mr. Brey, a noted soloist as well as member of the Orchestra since 1996, will bring insight and passion to these landmark works. The venue and date will be announced.

MASAAKI SUZUKI

Masaaki Suzuki, considered a leading authority on the works of J.S. Bach, founded the Bach Collegium Japan in 1990; he still serves as its music director, taking the ensemble regularly to major venues and festivals in Europe and the United States. He also works with renowned period ensembles such as and Philharmonia Baroque in addition to conducting modern-instrument orchestras in works by composers as diverse as Britten, Haydn, Mahler, Mendelssohn, Mozart, and Stravinsky.

Last season Mr. Suzuki made debuts with the Boston Symphony Orchestra and Zurich’s Tonhalle Orchestra. Highlights with Bach Collegium Japan included 20th-anniversary concerts in Tokyo, a visit to the Hong Kong Arts Festival, and a U.S. tour that included an appearance at Carnegie Hall. His 2011–12 season engagements include the Deutsches Symphonie-Orchester

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Berlin, Melbourne Symphony, Rotterdam Philharmonic, St. Paul Chamber Orchestra, and Netherlands Radio Chamber Philharmonic Orchestra and Choir. In 2012 Bach Collegium Japan embarks on a European tour and festival appearances.

Mr. Suzuki is recording Bach’s complete works for and as well as Bach’s major choral works and sacred with Bach Collegium Japan, with almost 50 volumes completed (on the BIS label). In 2010 he and the ensemble received a Preis der Deutschen Schallplattenkritik and a Diapason d’Or de l’Année for their recording of Bach motets, which in 2011 was also honored with a BBC Music Magazine Award. In April 2001 he was decorated with Germany’s Das Verdienstkreuz am Bande des Verdienstordens der Bundesrepublik.

Born in , Japan, Masaaki Suzuki graduated from the Tokyo University of Fine Arts and Music with a degree in composition and organ performance, and went on to study harpsichord and organ at the Sweelinck Conservatory in Amsterdam under and Piet Kee. In addition to conducting, Mr. Suzuki continues to perform as organist and harpsichordist. Founder and head of the early-music department at the Tokyo University of the Arts, he is currently Visiting Professor of Choral Conducting at the Yale School of Music and Yale Institute of Sacred Music, as well as the conductor of the Yale Schola Cantorum.

BERNARD LABADIE

Bernard Labadie has established himself worldwide as one of the leading conductors of the Baroque and Classical repertoire, a reputation that is closely tied with Les Violons du Roy and La Chapelle de Québec, both of which he founded and continues to lead as music director. He regularly tours with both ensembles in Canada, the United States, and across Europe, and in major venues and festivals such as New York’s Carnegie Hall and Lincoln Center, Walt Disney Concert Hall, Kennedy Center for the Performing Arts, Barbican Centre, Amsterdam’s Royal Concertgebouw, and the Salzburg Festival.

Mr. Labadie has also been artistic director of L’Opéra de Québec and L’Opéra de Montréal. As a guest he conducted operas including Handel’s Orlando with Glimmerglass Opera, Mozart’s Così fan tutte at the Mostly Mozart Festival, and Mozart’s Lucio Silla with Santa Fe Opera. He made his Metropolitan Opera debut in September 2009 leading Mozart’s The Magic Flute, a work he will conduct at Cincinnati Opera in 2011.

Since his Minnesota Orchestra debut in 1999 Mr. Labadie has appeared with major North American orchestras including the New York and Los Angeles Philharmonic orchestras, Cleveland and Philadelphia orchestras, and the Chicago, Boston, San Francisco, St. Louis, Houston, Atlanta, Detroit, Montreal, Toronto, and Vancouver symphony orchestras. His 2011–12 season includes his Tanglewood debut and returns to the Los Angeles Philharmonic and the Chicago, New World, Utah, and Vancouver symphony orchestras.

In the 2010–11 season Bernard Labadie returned to the New York Philharmonic and the Toronto, San Francisco, and St. Louis symphony orchestras, as well as to Boston’s Handel & Haydn Society. Overseas he made debuts with the Orchestra of the Age of Enlightenment, , and Zurich Chamber Orchestra. Other recent guest appearances have included

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the Royal Concertgebouw Orchestra, Orchestra of the Collegium Vocale Gent, Glasgow’s Royal Scottish National Orchestra, NDR Orchestra in Hannover, and Melbourne’s ABC Orchestra.

Mr. Labadie’s discography includes critically acclaimed recordings on the Dorian, ATMA, and Virgin Classics labels, with two receiving Canada’s Juno Award. A complete recording of C.P.E. Bach’s Cello Concertos with Truls Mørk and Les Violons du Roy and another with Ian Bostridge and are scheduled for release on Virgin Classics.

The Canadian government honored Mr. Labadie with the appointment as Officer of the Order of Canada in 2005, and Quebec made him a Chevalier de l’Ordre National du Québec in 2006.

ANDRÁS SCHIFF

András Schiff was born in Budapest, Hungary, and started piano lessons at age five with Elisabeth Vadász. He continued musical studies at the Ferenc Liszt Academy with Professor Pál Kadosa, György Kurtág, and Ferenc Rados, and in London with George Malcolm. He has given recitals and special cycles of the major keyboard works of J.S. Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann, and Bartók. Between 2004 and 2009 he performed complete cycles of the 32 Beethoven piano sonatas in 20 cities throughout the United States and Europe, a project recorded live in Zurich’s Tonhalle and released in eight volumes for ECM New Series.

In the 2011–12 season András Schiff serves as one of Carnegie Hall’s Perspectives artists; in this capacity he is focusing on Bartók and that composer’s legacy in their native Hungary. He also performs in Washington, D.C., Philadelphia, Princeton, Vancouver, Toronto, Berkeley, Boulder (Colorado), and Napa (California).

In 1999 András Schiff created the chamber orchestra Cappella Andrea Barca. He also works every year with the Philharmonia Orchestra of London and the Chamber Orchestra of Europe. From 1989 until 1998 he was artistic director of Musiktage Mondsee, a chamber music festival near Salzburg, and in 1995 he founded the Ittinger Pfingstkonzerte with Heinz Holliger in Kartause Ittingen, Switzerland. In 1998 Mr. Schiff started a similar series, Hommage to Palladio, at the Teatro Olimpico in Vicenza. From 2004 to 2007 he was artist-in-residence of the Kunstfest Weimar, and in the 2007–08 season he was the Berlin Philharmonic’s pianist-in-residence.

Mr. Schiff’s discography includes recordings for London/Decca (1981–94), Teldec (1994–97), and, since 1997, ECM New Series. He has received several international recording awards, including two Grammy Awards. An all-Schumann disc was released in the fall of 2011. In 2006 András Schiff and the music publisher G. Henle began collaborating on editions of music by Mozart and Bach; to date, both volumes of Bach’s Well-Tempered Klavier have been edited in the Henle original text with fingerings by Mr. Schiff.

Mr. Schiff’s numerous prizes include Zwickau’s Schumann Prize, Italy’s Premio della critica musicale Franco Abbiati, Klavier-Festival Ruhr Prize, Wigmore Hall Medal, and Bach Prize. He has been named an honorary member of the Beethoven House in Bonn; honorary professor of the music schools in Budapest, Detmold, and Munich; and

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special supernumerary fellow of Balliol College (Oxford, U.K.). He is married to violinist Yuuko Shiokawa.

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CHRONOLOGICAL LISTING OF THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL SYMPOSIUM AT 92ND STREET Y

92nd Street Y 1395 Lexington Avenue

Sunday, March 3, 11:00 a.m.

“Interpreting Bach: A Symposium”

Hanna Arie-Gaifman, moderator

Panel to include Alan Gilbert, Masaaki Suzuki, and Jennifer Koh

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL BACH AND MENDELSSOHN WITH MASAAKI SUZUKI

Avery Fisher Hall

Wednesday, March 6, 2013, 7:30 p.m. Thursday, March 7, 2013, 7:30 p.m. Friday, March 8, 2013, 8:00 p.m. Saturday, March 9, 2013, 8:00 p.m.

Masaaki Suzuki, conductor Sherezade Panthaki, soprano* Joelle Harvey, soprano* Iestyn Davies, countertenor* Nicholas Phan, tenor Tyler Duncan, baritone* Bach Collegium Japan* Yale Schola Cantorum*

J.S. BACH Singet dem Herrn, BWV 225 J.S. BACH Magnificat MENDELSSOHN Christus MENDELSSOHN Magnificat

*denotes New York Philharmonic debut

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THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL MASS IN B MINOR WITH ALAN GILBERT

Avery Fisher Hall

Wednesday, March 13, 2013, 7:30 p.m. Thursday, March 14, 2013, 7:30 p.m. Friday, March 15, 2013, 8:00 p.m. Saturday, March 16, 2013, 8:00 p.m.

Alan Gilbert, conductor Dorothea Röschmann, soprano Anne Sofie von Otter, mezzo-soprano Steve Davislim, tenor Eric Owens, bass-baritone New York Choral Artists Joseph Flummerfelt, director

J.S. BACH Mass in B minor

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL RUSH HOUR CONCERT: ISABELLE FAUST WITH BERNARD LABADIE

Avery Fisher Hall

Wednesday, March 20, 2013, 6:45 p.m.

Bernard Labadie, conductor Isabelle Faust, violin*

J.S. BACH Sinfonia from Cantata No. 42 J.S. BACH Violin Concerto in A minor J.S. BACH Violin Concerto in E major J.S. BACH Orchestral Suite No. 3

*denotes New York Philharmonic debut

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THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL ISABELLE FAUST WITH BERNARD LABADIE

Avery Fisher Hall

Thursday, March 21, 2013, 7:30 p.m. Friday, March 22, 2013, 2:00 p.m. Saturday, March 23, 2013, 8:00 p.m.

Bernard Labadie, conductor Isabelle Faust, violin*

J.S. BACH Orchestral Suite No. 4 J.S. BACH Violin Concerto in E major J.S. BACH Sinfonia from Cantata No. 42 J.S. BACH Violin Concerto in A minor J.S. BACH Orchestral Suite No. 3

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL BACH, MENDELSSOHN, AND SCHUMANN WITH ANDRÁS SCHIFF

Avery Fisher Hall

Wednesday, April 3, 2013, 7:30 p.m. Thursday, April 4, 2013, 7:30 p.m. Friday, April 5, 2013, 11:00 a.m. Saturday, April 6, 2013, 8:00 p.m.

András Schiff, conductor† and piano

J.S. BACH Keyboard Concerto in F minor MENDELSSOHN String Symphony No. 9 in C major J.S. BACH Keyboard Concerto in D major SCHUMANN Symphony No. 4

*denotes New York Philharmonic debut †denotes New York Philharmonic conducting debut

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