New YorkPhilharmonic LORIN MAAZEL

The Complete

MAHLER symphonies LiveSymphony2 MAHLER Symphony No. 2 in C minor, New York Philharmonic Resurrection (1888–94) 84:28 and Lorin Maazel: The Complete Mahler 1 Allegro maestoso 22:42 Symphonies, Live 2 Andante moderato 10:13 is released in celebration 3 In quietly flowing motion 10:51 of Mr. Maazel’s seven-year 4 Primal Light: Very solemn, but simple 4:38 tenure as Music Director 5 In the speed of the scherzo — Allegro 36:04 of the New York Philharmonic, energico — Slow, mysterious 2002–2009.

Recorded Live June 19–21, 2003, Avery Fisher Hall Visit nyphil.org/maazelmahler for bonus at Lincoln Center for the Performing Arts content including a score with Mahler’s own notes, video interviews with Lorin Maazel, and audio samples from the complete series. Lorin Maazel Conductor JESSICA JONES Soprano cover photo: chris lee CORNELIA KALLISCH Mezzo-soprano unless otherwise noted, additional imagery: NEW YORK CHORAL ARTISTS, Joseph Flummerfelt Director New York Philharmonic Archives

Vince Ford Executive Producer Mark Travis Producer Larry Rock Recording and Mastering Engineer

Used by arrangement with Universal Edition A.G., Vienna Notes on the Program: MAHLER Symphony No. 2 3

Gustav Mahler was already a famous conductor when he embarked on his Second Symphony. Following formal training in Vienna, he obtained his first professional appointment in 1880 as conductor of a summer opera theater in the Upper Austrian town of Bad Hall.

From that modest beginning he built a Born steadily growing reputation thanks to July 7, 1860, in Kalisch (Kalis˘te˘), Bohemia, a quick succession of directorships with near the town of Humpolec musical organizations in Ljubljana, Olomouc, Kassel, Prague, Leipzig, and Died Budapest, where he unveiled his First May 18, 1911, in Vienna, Austria Symphony — disastrously — in late 1889. Work composed By that time Mahler had already begun 1888 through 1894, although Mahler to create what would become his Second continued to revise the symphony’s Symphony. In January 1888 he composed orchestration until 1909 the first movement, which he later named Todtenfeier (Funeral Rites) and cast (and even World premiere performed) as a stand-alone tone poem. That Mahler conducted the Berlin Philharmonic same year Mahler had also drawn up sketch- in the first three movements on March 4, 1895. es of the symphony second movement. The complete symphony was premiered on December 13, 1895, with Mahler again leading On July 8, 1893, Mahler completed the voice- the Berlin Philharmonic. and-piano version of the song “Des Antonius von Padua Fischpredigt” (“St. Anthony of New York Philharmonic premiere Padua’s Sermon to the Fishes”), which he December 8, 1908, with soprano Laura L. Combs, alto Gertrude Stein Bailey, and would immediately transform into strictly the Oratorio Society of New York, with Mahler conducting the New York Symphony instrumental format as the symphony’s (which merged with the New York Philharmonic in 1928 to form today’s Philharmonic). third-movement scherzo. By the end of June This was the work’s U.S. premiere. he also completed the second movement and the fourth movement (“Urlicht,” or “Primal Light,” also an orchestrated version of a song). At that point Mahler was still perplexed about the order in which the movements would fall, Notes on the Program 4

and he had not figured out how to end the As Mahler wrote three years later to the critic was working on at the time. — Then the piece — the overall structure of the Second Arthur Seidl (not to be confused with Anton choir, up in the organ-loft, intoned Symphony continued to elude him. Seidl, the New York Philharmonic’s music Klopstock’s Resurrection chorale. — It director at that time): flashed on me like lightning, and every- Mahler usually reserved his summers for thing became plain and clear in my mind! composing and gave over the concert seasons I had long contemplated bringing in the It was the flash that all creative artists wait themselves to his conducting duties. Such choir in the last movement, and only the for — “conceiving by the Holy Ghost”! was the case here, and he put aside further fear that it would be taken as a formal What I then experienced had now to be work on his Second until April 1894. By then, imitation of Beethoven made me hesitate expressed in sound. And yet — if I had not specific impetus toward the “solution” of again and again. Then Bülow died, and I already borne the work within me — how his symphony had arrived on March 29, when went to the memorial service. — The could I have had that experience? he attended the memorial service for the mood in which I sat and pondered on the great conductor and pianist Hans von Bülow. departed was utterly in the spirit of what I

In the Composer’s Words Mahler was occasionally pressed to explain the inner experience of redemption, and so on. just what his overwhelming Second Symphony In a letter to his wife, Alma, however, was about. Listeners sensed that it must be Mahler dismissed the idea that the program informed by some programmatic scenario, he had deigned to provide could shed any but Mahler usually resisted calls to explain real insight — and he did so using a metaphor his music in specific literary terms. that speaks volumes about how he viewed In fact, he did not himself bestow the univer- his recent creation: sally employed subtitle of Resurrection on this work. Nonetheless, he did provide somewhat It gives only a superficial indication, all that formal programs on three occasions: to his any program can do for a musical work, let confidante Natalie Bauer-Lechner in January alone this one, which is so much all of a piece 1896; to the critic Max Marschalk in March that it can no more be explained than the 1896; and for King Albert of Saxony, who world itself. — I’m quite sure that if God were requested one when the Second Symphony asked to draw up a program of the world was offered in Dresden in 1901. Though he created he could never do it. — At best they differ in details, they follow the general it would be a “revelation” that would say as idea of the struggles of a titanic (or at least little about the nature of God and life as my Mahler conducting “well-loved”) hero, his succumbing to fate and analysis says about my C-minor Symphony. to death, the striving of the soul toward God, Notes on the Program 5

Mahler signed off on the complete “fair copy” The Centrality of the Second in Hamburg on December 18, 1894. The first Within its span of an hour and a half Mahler’s three movements were played the following Second Symphony conveys pretty much March and the entire symphony in December everything that is essential to understanding (in both cases in Berlin). Critical reception his brave conception of the symphony as a was nightmarish on both occasions, and, genre. Here we have the immense scale Mahler despite a more interested reaction from was intent on harnessing, represented not many in the audience, the work did not begin only by the work’s length but also through its making much impact in the concert world gigantic performing forces (including the vocal until decades later. It was, however, the first component of two soloists and a chorus), Mahler symphony to appear on recordings, which he directed should be deployed beyond thanks to Deutsche Grammophon’s release, the confines of the stage itself. circa 1923, of Oskar Fried and the Berlin In the first movement Mahler wrestles Staatsoper Orchestra valiantly struggling to with funereal thoughts — a true understanding fit its immense demands into the confines of Mahler requires considerable submersion of a period recording studio. in fatalism. In the second we glimpse Mahler’s enduring penchant for nature-painting, while — JAMES M. KELLER PROGRAM ANNOTATOR the third offers a fine example of his charac- teristic proclivity toward the sardonic and A 1908 Bulletin, published by the New York Symphony, highlighting Mahler’s December programs with the orchestra Instrumentation four flutes (all doubling macabre. In the fourth we are presented with piccolo), four oboes (two doubling English what is at heart a Lied, an art song, though horn), four clarinets (one doubling bass expanded to an orchestral format — a particular finale begins with two stanzas by the 18th- clarinet and another doubling E-flat clarinet) Mahler specialty — and its text is drawn from century author Friedrich Gottlieb Klopstock, plus another E-flat clarinet, four bassoons a poetic collection to which the composer but these lead to a more expansive textual (two doubling contrabassoon), ten horns, ten returned repeatedly during his career, the outpouring penned by Mahler himself. trumpets, four trombones, tuba, timpani classic German folk-verse anthology Des Programmatic considerations hover at (two players), cymbals, triangle, military Knaben Wunderhorn. In the fifth, the chorus the fringe of this symphony, although Mahler, drum, orchestra bells, chimes, bass drums, and soloists combine in a tremendous hymn true to his usual inclinations, preferred tam-tams, two harps, organ, and strings, plus on the theme of resurrection — not The to leave them relatively inexplicit — stuff to soprano and mezzo-soprano soloists and a Resurrection, in the sense most frequently inspire the composer rather than to inform mixed chorus. An off-stage band comprises encountered in Christian contexts, so much the listener. Others of Mahler’s symphonies four of the ten trumpets, bass drum with as the rebirth of the individual into immortal may delve more obsessively into specific cymbals attached, and additional triangle. triumph. In this apocalyptic movement, aspects suggested by the Second, but none Another off-stage band consists of four horns furthermore, we witness Mahler confronting presents as many facets so forthrightly and additional timpani. inherited artistic tradition not only as a and with such comprehensive breadth. composer but even as a poet; the text of the Texts and Translations 6

Urlicht Primal Light

O Röschen roth! O little red rose! Der Mensch liegt in grösster Noth! Humankind lies in greatest need! Der Mensch liegt in grösster Pein! Humankind lies in greatest pain! Je lieber möcht’ ich im Himmel sein! Much rather would I be in Heaven!

Da kam ich auf einen breiten Weg; Then I came onto a broad path, Da kam ein Engelein und wollt’ mich abweisen. And an angel came and wanted to turn me away. Ach nein! Ich liess mich nicht abweisen! But no, I would not be turned away! Ich bin von Gott und will wieder zu Gott! I am from God and would return to God! Der liebe Gott wird mir ein Lichtchen geben, Dear God will give me a little light, Wird leuchten mir bis in das ewig selig Leben! Will light me to eternal, blissful life.

— from Des Knaben Wunderhorn

Die Auferstehung Resurrection

Aufersteh’n, ja aufersteh’n wirst du Rise again, yes, you will rise again, Mein Staub, nach kurzer Ruh! My dust, after brief rest! Unsterblich Leben! Unsterblich Leben Immortal life! Immortal life Wird der dich rief dir geben! Will He who called you grant you!

Wieder aufzublüh’n wirst du gesät! To bloom again you were sown! Der Herr der Ernte geht The Lord of the Harvest goes Und sammelt Garben And gathers sheaves, Uns ein, die starben! Us, who died!

— Friedrich Gottlieb Klopstock Texts and Translations 7

O glaube, mein Herz, o glaube: O believe, my heart, but believe: Es geht dir nichts verloren! Nothing will be lost to you! Dein ist, dein, ja dein, was du gesehnt! Yours is what you longed for, Dein, was du geliebt, Yours what you loved, Was du gestritten! What you fought for!

O glaube: O believe: Du wardst nicht umsonst geboren! You were not born in vain! Hast nicht umsonst gelebt, gelitten! You have not lived in vain, nor suffered!

Was entstanden ist, das muss vergehen! All that has come into being must perish! Was vergangen, auferstehen! All that has perished must rise again! Hör’ auf zu beben! Cease from trembling! Bereite dich zu leben! Prepare to live!

O Schmerz! Du Alldurchdringer! O Pain, piercer of all things, Dir bin ich entrungen! From you I have been wrested! O Tod! Du Allbezwinger! O Death, conqueror of all things, Nun bist du bezwungen! Now you are conquered!

Mit Flügeln, die ich mir errungen, With wings I won for myself In heissem Liebesstreben love’s ardent struggle, In Werd’ ich entschweben I shall fly upwards Zum Licht, zu dem kein Aug’ gedrungen! To that light which no eye has penetrated! Sterben werd’ ich, um zu leben! I shall die so as to live.

Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes, you will rise again, Mein Herz, in einem Nu! My heart, in the twinkling of an eye! Was du geschlagen, What you have conquered Zu Gott wird es dich tragen! Will bear you to God!

—Gustav Mahler Chris Lee NEW YORK PHILHARMONIC 2002–2003 SEASON 9

LORIN MAAZEL Marc Ginsberg CELLOS PICCOLO TRUMPETS KEYBOARD Music Director Principal Carter Brey Mindy Kaufman Philip Smith In Memory of Lisa Kim* Principal Principal Paul Jacobs Sir Colin Davis, In Memory of The Fan Fox and Leslie OBOES The Paula Levin Chair HARPSICHORD Principal Guest Laura Mitchell R. Samuels Chair Joseph Robinson Robert Sullivan* Principal Lionel Party Conductor Oscar Ravina Hai-Ye Ni* Vincent Penzarella The Alice Tully Chair Qiang Tu Thomas V. Smith PIANO Roberto Minczuk Matitiahu Braun Sherry Sylar* Evangeline Benedetti The Karen and Associate Conductor Marilyn Dubow Robert Botti TROMBONES Richard S. LeFrak Martin Eshelman Eric Bartlett Joseph Alessi Leonard Bernstein ENGLISH HORN Chair Judith Ginsberg Nancy Donaruma Principal Laureate Conductor, Thomas Stacy Harriet Wingreen Lisa GiHae Kim Elizabeth Dyson The Gurnee F. and 1943–1990 Jonathan Feldman Myung-Hi Kim Valentin Hirsu CLARINETS Marjorie L. Hart Chair Kurt Masur Soohyun Kwon Maria Kitsopoulos Stanley Drucker James Markey* ORGAN Music Director Hanna Lachert Avram Lavin Principal David Finlayson Kent Tritle Emeritus Anton Polezhayev Eileen Moon The Edna and W. Van BASS TROMBONE LIBRARIANS Anna Rabinova Brinton Smith Alan Clark Chair VIOLINS Donald Harwood Lawrence Tarlow Daniel Reed Mark Nuccio* Glenn Dicterow BASSES Principal Concertmaster Mark Schmoockler Pascual Martinez TUBA Eugene Levinson Sandra Pearson** The Charles E. Forteza Warren Deck+ Vladimir Tsypin Principal Thad Marciniak Culpeper Chair Yulia Ziskel Stephen Freeman Principal The Redfield D. Kyle Turner++ Sheryl Staples Setsuko Nagata++ Beckwith Chair E-FLAT CLARINET ORCHESTRA Principal Associate Sandra Park++ Jon Deak* Mark Nuccio TIMPANI PERSONNEL Concertmaster Roland Kohloff MANAGER The Elizabeth G. VIOLAS Orin O’Brien BASS CLARINET Principal Carl R. Schiebler BeineckeChair Cynthia Phelps William Blossom Stephen Freeman The Carlos Michelle Kim Principal Randall Butler STAGE BASSOONS Moseley Chair Assistant The Mr. and Mrs. David J. Grossman REPRESENTATIVE Frederick P. Rose Chair Judith LeClair Joseph Pereira** Concertmaster Lew Norton Louis J. Patalano The William Petschek Rebecca Young* Principal PERCUSSION Michele Saxon AUDIO DIRECTOR Family Chair Irene Breslaw** The Pels Family Chair Christopher S. Lamb Anthony Morris++ Lawrence Rock Enrico Di Cecco The Norma and Lloyd Leonard Hindell Principal Carol Webb Chazen Chair FLUTES Arlen Fast The Constance R. Yoko Takebe Dorian Rence Robert Langevin Hoguet Friends of the * Associate Principal CONTRABASSOON ** Assistant Principal Principal Philharmonic Chair Katherine Greene Arlen Fast + On Leave Emanuel Boder The Lila Acheson Daniel Druckman* Dawn Hannay ++ Replacement/Extra Kenneth Gordon Wallace Chair HORNS Joseph Pereira Hae-Young Ham Vivek Kamath Sandra Church* Philip Myers The New York Philharmonic HARP Newton Mansfield Peter Kenote Renee Siebert Principal uses the revolving seating Nancy Allen Kerry McDermott+ Barry Lehr Mindy Kaufman The Ruth F. and Alan method for section string Charles Rex Kenneth Mirkin J. Broder Chair Principal players who are listed Gino Sambuco Judith Nelson Jerome Ashby* alphabetically in the roster. Fiona Simon Robert Rinehart L. William Kuyper** Oscar Weizner R. Allen Spanjer Sharon Yamada Erik Ralske Howard Wall about the artists 10

LORIN MAAZEL, who has led more than of Italy in June 2006, sponsored by Generali; 150 orchestras in more than 5,000 opera the two-part 75th Anniversary European and concert performances, became Music Tour to thirteen cities in five countries in the Director of the New York Philharmonic in fall of 2005; and residencies in Cagliari, September 2002. His appointment came 60 Sardinia, and at the Bravo! Vail Valley Music years after his debut with the Orchestra at Festival in Colorado. Lewisohn Stadium, then the Orchestra’s In addition to the New York Philharmonic, summer venue. As Music Director he has Mr. Maazel is music director of the Palau de conducted nine World Premiere–New York les Arts Reina Sofia in Valencia, Spain. A Philharmonic Commissions, including the frequent conductor on the world’s operatic Pulitzer Prize– and Grammy Award–winning stages, he returned to The Metropolitan On the Transmigration of Souls by John Opera in January 2008 for the first time in 45 Adams; Stephen Hartke’s Symphony No. 3; years to conduct Wagner’s Die Walküre. Melinda Wagner’s Trombone Concerto; and Prior to his tenure as New York Steven Stucky’s Rhapsodies for Orchestra. He Philharmonic Music Director, Mr. Maazel

has led cycles of works by Brahms, Beethoven, led more than 100 performances of the A ndrew G ndrew and Tchaikovsky; and he conducted the Orchestra as a guest conductor. He served

Orchestra’s inaugural performances in the as music director of the Bavarian Radio arn DG Concerts series — a groundbreaking Symphony Orchestra (1993–2002), and has initiative to offer downloadable New York held positions as music director of the Philharmonic concerts exclusively on iTunes. Pittsburgh Symphony Orchestra (1988–96); lesson at age five, and first conducting lesson Mr. Maazel has taken the Orchestra on general manager and chief conductor of the at seven. Between ages 9 and 15 he conducted numerous international tours, including Vienna Staatsoper (1982–84); music director most of the major American orchestras. In the historic visit to Pyongyang, Democratic of The Cleveland Orchestra (1972–82); and 1953 he made his European conducting People’s Republic of Korea, in February artistic director and chief conductor of the debut in Catania, Italy. 2008 — the first performance there by an Deutsche Oper Berlin (1965–71). He is an Mr. Maazel is also an accomplished American orchestra. Other recent tours have honorary member of the Israel and Vienna composer. His opera, 1984, received its included Europe 2008 in August–September; Philharmonic Orchestras, and a Commander world premiere on May 3, 2005, at London’s Asia 2008 — to Taipei, Kaohsiung, Hong Kong, of the Legion of Honor of France. Royal Opera House, Covent Garden. It was Shanghai, and Beijing in February; the May A second-generation American, born in revived in the 2007–08 season at the Teatro 2007 Tour of Europe; the November 2006 visit Paris, Mr. Maazel was raised and educated in alla Scala in Milan, and has been released to Japan and Korea; the Philharmonic Tour the United States. He took his first violin on DVD by Decca. about the artists 11

Soprano Jessica Jones has performed and Love Simpson in Floyd’s Cold Sassy Tree with America’s leading opera companies and (Utah Opera). Her concert appearances orchestras, including the Atlanta, Baltimore, have included Aaron Jay Kernis’s Simple Chicago, Detroit, and San Francisco sympho- Songs (Chicago Symphony and New York ny orchestras, Los Angeles and New York Philharmonic, both under Lorin Maazel), Philharmonics, and the St. Paul Chamber Britten’s Les Illuminations (San Francisco Orchestra. Recent engagements include Symphony under Yan-Pascal Tortelier), and Ravel’s L’Enfant et les sortilèges with the Zemlinsky’s Lyric Symphony (Baltimore New York Philharmonic and Lorin Maazel at Symphony under Emmanuel Krivine). Carnegie Hall; the role of the Countess in Jessica Jones attended the New England Seattle Opera’s production of Mozart’s Le Conservatory and The Juilliard School. She nozze di Figaro; and the role of Fiordiligi in has been the recipient of numerous prizes, Mozart’s Così fan Tutte with the Madison including a 2000 Sullivan Foundation Grant, Opera. In the 2007–8 season, she made her First Place in the 1998 Jenny Lind Competition, Seattle Symphony debut under Gerard which resulted in a recital tour of Sweden, Schwarz in Beethoven’s Ninth Symphony and the Opera Birmingham Competition the Lisa Kohler Lisa and a Bach cantata. Other operatic roles have same year. She was the recipient of the Lotte included Marguerite in Gounod’s Faust Lehmann Fellowship at the Music Academy of (Tulsa Opera), Micaela in Bizet’s Carmen the West and was also a participant in the (Houston Grand Opera), Madame Lidoine in Britten-Pears School in England, the ensem- Poulenc’s Dialogues of the Carmelites (Aspen ble of the Opera Theatre of St. Louis, and the Music Festival, conducted by James Conlon), Steans Institute at the Ravinia Festival. about the artists 12

German mezzo-soprano Cornelia Cornelia Kallisch has appeared with re- Kallisch began her musical career playing nowned orchestras and leading conductors violin and piano, but subsequently focused including Herbert Blomstedt, Christoph von on voice. She studied with Josef Metternich, Dohnányi, Iván and Adam Fischer, Nicholas Siglind Bruhn, and Anna Reynolds, Harnoncourt, Sir Neville Marriner, Kent and graduated from the opera studio of the Nagano, Roger Norrington, Helmuth Rilling, Bayerische Staatsoper. As a permanent Wolfgang Sawallisch, and Franz Welser-Möst. member of Opera Zürich, Ms. Kallisch has Her numerous recordings include Mahler’s increasingly devoted herself to the operatic Second and Third Symphonies, both with the repertoire. Having started out performing SWF Sinfonieorchester Baden-Baden under “breeches parts” from Mozart to Strauss, she Michael Gielen and with the Orchestra de la has established a reputation in more dramatic Suisse Romande under Armin Jordan. With roles, including Brangäne, Fricka, and the same orchestra and conductor she has Waltraute in Wagner’s Ring cycle, as well as also recorded Franck’s Les Béatitudes and roles in rarer works such as Zemlinsky’s Der Zemlinsky’s Maeterlinck Lieder. On EMI she

Kreidekreis, Glinka’s A Life for the Tsar, and can be heard in Hartmann’s Symphony No. 1 Swinkels Jan Mussorgsky’s Khovanshchina. A favorite role with the Bamberg Symphony, and Wagner’s is Judith in Bartók’s Bluebeard’s Castle, which Die Meistersinger von Nürnberg. Recordings she has performed in numerous international on Hänssler include Mendelssohn’s Elijah stagings and also recorded with the SWR with the Bach Collegium Stuttgart and the Radio-Sinfonieorchester Stuttgart under Peter Gächinger Kantorei under Helmuth Rilling Eötvös (Hänssler). As a committed performer and Beethoven’s Missa solemnis under of contemporary music, Ms. Kallisch ap- Roger Norrington. peared as the Queen in the world premieres of Heinz Holliger’s Schneewittchen and HK Gruber’s Der Herr Nordwind, both in Zurich, as well as in Boesmann’s A Winter’s Tale in Brussels and Barcelona. about the artists 13

The NEW YORK CHORAL ARTISTS, a Stephen Sondheim’s Sweeney Todd. an album of Christmas songs featuring professional chorus founded by Joseph Recordings with other orchestras include soprano Kathleen Battle; and a Christmas Flummerfelt in 1979, appears regularly with Stravinsky’s Symphony of Psalms, Oedipus album conducted by Joseph Flummerfelt. the New York Philharmonic. Recent perfor- Rex, and Requiem Canticles; Beethoven’s The The New York Choral Artists are managed mances with the Orchestra include Brahms’s Ruins of Athens; Gershwin’s Porgy and Bess; by Jacqueline Pierce. A German Requiem in September 2001, commemorating the events of September 11; the world premiere, in fall 2002, of John SOPRANOS ALTOS TENORS BASSES Adams’s On the Transmigration of Souls; Jennifer Bates Juliana Anderson James Bassi Daniel Alexander Verdi’s Requiem in 2006; Ravel’s L’Enfant Melissa Bauman Yvonne Anderson Tor Blaisdell Alan Arak et les sortilèges in 2006 and at Carnegie Marion Beckenstein Maria Bedo Rodne Brown Wayne Bailey Hall in February 2009; Handel’s Messiah in Mary Sue Berry Monica Bellner David Bryan Frank Barr 2007; Puccini’s Tosca in June 2008; and Gail Blache-Gill Bo Chang Martin Doner Lee Compton Bernstein’s West Side Story Suites Nos. 1 Gayla Blaisdell Grace Check Brian Dougherty Clyde Crewey and 2 in November 2008 at Carnegie Hall. Kathlene Ritch Brown Valerie Coates William Easterling Walter Du Melle Other performance highlights include Judy Cope Esther David Robert Etherington Mischa Frusztajer celebrating the rededication of the Statue Margery Daley Naomi DeVries Drew Martin Roderick Gomez of Liberty in 1986 and the 100th anniversary Patti Dunham Lainie Diamond Thomas Mooney Cooper Grodin of Carnegie Hall, and the U.S. premiere Michele Eaton Annalise Eberhart Timothy O’Connor Michael Healy of Paul McCartney’s Standing Stone with Annalise Eberhart BJ Fredricks John Pickle David Huneryager the Orchestra of St. Luke’s. The New York Galienne Erikson Yonah Gershator Frank Ream Daniel Judge Choral Artists have sung under the batons of Laura Green Diane Higginbotham Daniel Rigazzi Stephan Kirchgraber Bernstein, Chailly, Sir Colin Davis, Leinsdorf, Virginia Green Jennifer Holloway David Ronis Robert Kuehn Masur, Muti, Nelson, Shaw, Slatkin, Tilson Phenisher Harris Trish Hussey Stefan Schermerhorn Timothy Lafontaine Thomas, and others. Ann Jones Karen Krueger Dinyar Vania Charles Mays The chorus’s discography features many Amy Justman Minda Larsen Sorab Wadia Steven Moore recordings with the New York Philharmonic, Melissa Kelley Mary Runyan Marathe Scott Williamson Joseph Neal including On the Transmigration of Souls Kendall Kookogey Maren Montalbano James Archie Worley Joseph Onstott with Lorin Maazel and Mahler’s Symphony Beverly Myers Nedra Neal Mark Rehnstrom No. 3 with Leonard Bernstein, both of which Karen Patton-Hall Georga Osborne Christopher Roselli won Grammy Awards; Beethoven’s Symphony Jaime Roth Rosa Pascarella Vladimir Schvets No. 9 and Schoen berg’s Gurrelieder with Cynthia Shaw Jacqueline Pierce Charles Sprawls Zubin Mehta; Shostakovich’s Symphony Elissa Weiss Lara Stevens Peter Van Derick No. 13 (Babi Yar) with Kurt Masur; and Carla Wesby Wilma Wever Lewis White Elena Williamson Suzanne Woods about the artists 14

JOSEPH FLUMMERFELT, named Conductor Sawallisch, Shaw, and Steinberg, among many of the Year in 2004 by Musical America, is others. Mr. Flummerfelt’s choirs have been the founder and musical director of the New featured on 45 recordings, including Grammy York Choral Artists, and an artistic director Award–winning versions of Mahler’s of Spoleto Festival U.S.A. For 33 years he was Symphony No. 3 with Leonard Bernstein, conductor of the Westminster Choir. Mr. Samuel Barber’s opera Antony and Cleopatra, Flummerfelt has led more than 50 perfor- and John Adams’s On the Transmigration of mances with the Spoleto Festival Orchestra in Souls. Mr. Flummerfelt has also received two both Italy and the U.S., and has appeared as other Grammy nominations, and his recent guest conductor with numerous U.S. orches- Delos recording of Brahms’s choral works, tras. He made his conducting debut with the Singing for Pleasure, with the Westminster New York Philharmonic in a performance Choir, was chosen by The New York Times as a of Haydn’s The Creation, and, more recently, favorite among Brahms recordings. In addi- Flummerfelt Joseph courtesy he led the Orchestra and the Westminster tion to his Grammy awards, Mr. Flummerfelt’s Choir in the world premiere of Stephen Paulus’s many honors include Le Prix du Président Voices of Light. Over the course of nearly four de la République from L’Académie du Disque decades, Mr. Flummerfelt has collaborated Français and four honorary doctoral degrees. with such conductors as Abbado, Barenboim, Mr. Flummerfelt oversees most of the choral Bernstein, Boulez, Chailly, Sir Colin Davis, presentations of the New York Philharmonic. Giulini, Maazel, Masur, Mehta, Muti, Ozawa, about the orchestra 15

The NEW YORK PHILHARMONIC, founded of major contemporary composers regularly Ground Award for Cultural Diplomacy. Other in 1842 by a group of local musicians led scheduled each season, including John historic tours have included the 1930 Tour to by American-born Ureli Corelli Hill, is by far Adams’s Pulitzer Prize– and Grammy Award Europe, with Toscanini; the first Tour to the the oldest symphony orchestra in the United winning On the Transmigration of Souls; USSR, in 1959; the 1998 Asia Tour, the first States, and one of the oldest in the world. Stephen Hartke’s Symphony No. 3; Augusta performances in mainland China; and the It currently plays some 180 concerts a year, Read Thomas’s Gathering Paradise, Emily 75th Anniversary European Tour, in 2005, and on December 18, 2004, gave its 14,000th Dickinson Settings for Soprano and with Lorin Maazel. concert — a milestone unmatched by any Orchestra; and Esa-Pekka Salonen’s A longtime media pioneer, the other symphony orchestra in the world. Piano Concerto. Philharmonic began radio broadcasts in Lorin Maazel began his tenure as Music The roster of composers and conductors 1922 and is currently represented by The New Director in September 2002, the latest in a who have led the Philharmonic includes York Philharmonic This Week — syndicated distinguished line of 20th-century musical such historic figures as Theodore Thomas, nationally 52 weeks per year, and available on giants that has included Kurt Masur (Music Antonín Dvorˇák, Gustav Mahler (Music nyphil.org and Sirius XM Radio. On television, Director from 1991 to the summer of 2002; Director, 1909–11), Otto Klemperer, Richard in the 1950s and 1960s, the Philharmonic named Music Director Emeritus in 2002); Strauss, Willem Mengelberg (Music Director, inspired a generation through Bernstein’s Zubin Mehta (1978–91); Pierre Boulez (1971– 1922–30), Wilhelm Furtwängler, Arturo Young People’s Concerts on CBS. Its television 77); and Leonard Bernstein, who was ap- Toscanini (Music Director, 1928–36), Igor presence has continued with annual appear- pointed Music Director in 1958 and given the Stravinsky, Aaron Copland, Bruno Walter ances on Live From Lincoln Center on PBS, and lifetime title of Laureate Conductor in 1969. (Music Advisor, 1947–49), Dimitri Mitropoulos in 2003 it made history as the first Orchestra In September 2009 Alan Gilbert will become (Music Director, 1949–58), Klaus Tennstedt, ever to perform live on the Grammy Awards, the Orchestra’s next Music Director. George Szell (Music Advisor, 1969–70), and one of the most-watched television events Since its inception the Orchestra has Erich Leinsdorf. worldwide. The Philharmonic became the championed the new music of its time, Long a leader in American musical life, first major American orchestra to offer commissioning or premiering many impor- the Philharmonic has over the last century downloadable concerts, recorded live, and tant works such as Dvorˇák’s Symphony become renowned around the globe, appear- released by DG Concerts exclusively on iTunes. No. 9, From the New World; Rachmaninoff’s ing in 425 cities in 59 countries on five conti- Since 1917 the Philharmonic has made nearly Piano Concerto No. 3; Gershwin’s Piano nents. In February 2008 the Orchestra, led by 2,000 recordings, with more than 500 cur- Concerto in F; and Copland’s Connotations. Music Director Lorin Maazel, gave a historic rently available. On June 4, 2007, the New The Philharmonic has also given the U.S. performance in Pyongyang, Democratic York Philharmonic proudly announced a new premieres of works such as Beethoven’s People’s Republic of Korea — the first visit partnership with Credit Suisse, its first-ever Symphonies Nos. 8 and 9 and Brahms’s there by an American orchestra, and an event and exclusive Global Sponsor. Symphony No. 4. This pioneering tradition watched around the world and for which the has continued to the present day, with works Philharmonic received the 2008 Common Performed, produced, and distributed by the New York Philharmonic © 2009 New York Philharmonic

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