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JANUARY 5, 7 & 10, 2012

Thursday , January 5 , 2012, 7:3 0 p.m. 15,2 93rd Concert Open rehearsal at 9:45 a.m.

Saturday , January 7 , 2012, 8:00 p.m. 15,295 th Concert

Tuesday, January 10 , 2012, 7:3 0 p.m. 15,296 th Concert

Alan Gilbert , Conductor

Global Sponsor

Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair .

This concert will last approximately two hours, which includes Major support provided by the Francis one intermission . Goelet Fund .

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

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New York Philharmonic

Alan Gilbert, Conductor

Thomas ADÈS : Voyage for Orchestra (2010–11; New York (b. 1971) Premiere, Co-Commissioned by the New York Philharmonic and Miami’s New World Symphony, Amsterdam’s Royal Concertgebouw Orchestra, Lisbon’s Calouste Gulbenkian Foundation, London’s Barbican Centre, the , and the )

Intermission

MAHLER Symphony No. 9 (1908–10) (1860–1911) Andante comodo In the tempo of a comfortable ländler, somewhat clumsy and very coarse Allegro assai, very insolent Very slow and even holding back

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Alan Gilbert on This Program

Thomas Adès is a composer who has an incredible ear and sense of rhythm, so the com - plexity in his scores is always there for a reason — Tom really knows how to express feelings through his craft. This quality is very apparent in his opera , which I conducted in Santa Fe some years ago, and in In Seven Days, which the Philharmonic and I performed last year, as there are dramatic aspects to both of those pieces, but even in non-narrative works he tells a story. Always in his work, what the audience hears is understandable even at the first exposure: there are colors and harmonies that are recognizable , but are combined in a very unique and personal way. Tom is such an honest, serious composer that I’ve always known that Polaris would be interesting, and I am looking forward to the increased focus on the orches - tra that is possible when not presenting the visuals that can be associated with this work . Mahler’s Ninth Symphony is the last symphony he completed, and as such has a particu - lar resonance. It ends with a powerful, valedictory moment, which seems like death , or per - haps the attainment of the ultimate spiritual peace. All of Mahler’s symphonies are great, and all attempt to really encapsulate the human experience, but the Ninth probably goes the far - thest. I think that all conductors wrestle with this piece — approaching it feels like climbing an epic mountain — but the rewards are tremendous. It really does say it all, and it seems to give a picture of what it means to be human in every sense, both the joys of living and the difficulty of coming to the end of one’s life. Mahler’s Ninth Symphony never fails to go straight to the heart.

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

Polaris: Voyage for Orchestra operas have met with considerable success: was premiered at the Chel - Thomas Adès tenham Festival in 1995, and The Tempest was premiered and later revived at Covent The British composer Thomas Adès studied Garden and has received further perform - piano and composition at the Guildhall School ances from the opera companies of Copen - of Music and Drama and at King’s College, hagen, Strasbourg, and Santa Fe (where it Cambridge, where his composition teachers was conducted by Alan Gilbert). included Alexander Goehr and Robin Hol - Adès has served as Britten Professor of loway. In 1989 he was awarded second prize Composition at the Royal Academy of Music; in the BBC’s “Musician of the Year” contest, was music director of the Birmingham Con - in recognition of his skill as a pianist, and to temporary Music Group (1998 –2000); and this day he continues to concertize and from 1999 to 2008 was artistic director of the record as a pianist, both in solo repertoire and Aldeburgh Festival. He has been honored with as a collaborative artist. many awards, including the Stoeger Prize He also appears regularly as a conductor of The Chamber Music Society of Lincoln of symphony orchestras and opera. Adès has Center (1998) and an honorary doctor ate served as composer in residence for several from Essex University (2004). In 2000 he organizations, including the Hallé Orchestra received the prestigious Grawemeyer Award (1993–95) and the Ojai Festival (2000). He held In Short Carnegie Hall’s composer chair during the 2007–08 Born: March 1, 1971, in London, England season, and in 2009–10 he was the Royal Stock - Resides : in London holm Philharmonic’s fea - Work composed: in 2010 , co-commissioned by the New York Philharmonic and tured composer. He has Miami’s New World Symphony, Amsterdam’s Royal Concertgebouw Orchestra, recently been fêted Lisbon’s Calouste Gulbenkian Foundation, London’s Barbican Centre, the Los through the “Aspects of Angeles Philharmonic, and the San Francisco Symphony; musical score revised Adès” festival at the Los through April 2011

Angeles Philharmonic, as World premiere: January 26, 2011, Michael Tilson Thomas the New an artist in residence at World Symphony at the opening of the New World Center in Miami Beach, Florida the Melbourne Festival, New York Philharmonic premiere: and as a featured com - these performances, which mark the New York premiere poser at the 2011 Hol - land Festival. His two Estimated duration: ca. 13 minutes

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for his orchestral work . The EMI music, a possi ble influence, although the recording of The Tempest has earned him effect here is quite different.) Even if one’s two impressive honors: the “Diapason d’Or ear does not pick up on the canons, there is de l’année” and the 2010 Classical BRIT no mistaking the overall effect, which sug - Award for Composer of the Year. gests the process of change-ringing and Polaris was conceived for performance which yields a kind of ostinato that repeats with a projected visual work by the film- and (not literally, but in its general contour) to video-maker . The work has been lend a clarity of structure through nearly all given with projections arranged in different of the piece. ways, but it is also written so that it can be A gradual enriching of the texture leads to presented as a purely musical piece. the entry of the brass section, bit by bit, again A work of some 13 minutes in duration, with canons at play. Adès allows the brass Polaris is structured broadly in three sections. section to be located at a distance from the At the very outset we hear piano and second rest of the orchestra if the conductor so de - violins intoning delicate droplets of eighth sires. Their slow undulation suggests billow - notes. High woodwinds, harp, and touches of ing waves, with the sparkle of the ostinato percussion join this remote, chilly texture. always hovering starlike above. Only a minute Here Adès uses the technique of diminution before the end does the ostinato retreat, leav - canon, through which the same melodic ing the orchestra to hammer out its last pages sequence sounds against itself at different with weighty finality. Just as Polaris, the North speeds. (This method of melodic-rhythmic Star, serves as the center of magnetism, so construction is inherent to Indonesian game lan Adès zeroes in on a single note at the end:

In the Composer’s Words

Polaris explores the use of star constellations for naval navigation and the emotional navigation between the absent sailors and what they leave behind. … It is scored for orchestra, including groups of brass instruments that may be iso - lated from the stage. These instruments play in canon, one in each of the three sections of the piece, entering in order, from the highest (trum - pets) to the lowest (bass ). Their melody, like all the music in this work, is derived from a magnetic series, a musical device heard here for the first time, in which all 12 notes are gradually presented, but persistently return to an anchor - ing pitch, as if magnetized. With the first appear - ance of the twelfth note, marked clearly with the first entrance of the timpani, the poles are re - versed. At the start of the third and final section, a third pole is discovered, which establishes a stable equilibrium with the first. Thomas Adès — Thomas Adès

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the note “A” — to which all the instruments ad - piccolo , three , tuba, tim - just their tuning before a concert begins. For pani, marimba, vibraphone, orchestra bells, an orchestra, the note “A” serves as the tubular bells, crotales, wood chimes, shell lodestar. It is the musicians’ Polaris. chimes, tam-tam, bass drum, two harps, piano (doubling celesta), and strings. Instrumentation: three flutes (one doubling piccolo, another doubling piccolo and alto This note is adapted from an essay that flute), three , three (one dou - originally appeared in the programs of the bling bass ), two and con - San Francisco Symphony, and is used with trabassoon, four horns, three trum pets and permission. © James M. Keller

Star Light, Star Bright

Polaris, a multiple-star approximately 434 light years from the Earth, is the brightest star in the Ursa Minor constellation and currently holds the title of North Star. Because of its current position — always visible due north in the sky, about one degree from the north celestial pole — it appears to be fixed while the stars of the Northern sky seemingly move around it, making it an important guide for naviga - tion. Because of this role, it has been known by many names — from the Latin stella polaris (pole star) and stella maris (star of the sea) to the English “steadfast star” and “guiding star” — and has influ - enced artists and writers for centuries, from Shakespeare’s Sonnets to Van Gogh’s Starry Night (left) . — The Editors

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Symphony No. 9 ending after only two seasons, with his death in May 1911 in Vienna. On April 1, 1910, Mahler wrote to his amanuensis, the conductor , to Throughout his career Gustav Mahler bal - report that he had completed his Ninth Sym - anced the competing demands of his dual phony. “In it,” he declared, “something is said vocation as a composer and conductor. Re - that I have had on the tip of my tongue for sponsibilities on the podium and in the ad - some time; perhaps (as a whole) it comes ministrative office completely occupied him closest to the 4th. (But it is completely dif - during the concert season, thereby forcing ferent.)” Indeed, this heartrending revelation him to relegate his composing to the summer of Mahler’s soul is “completely different” from months, which he would spend as a near- the often dreamlike expanses of his fairy-tale hermit at some idyllic spot in the countryside. Fourth (which preceded the Ninth by a Mahler wrote his Ninth Symphony mostly decade). Nevertheless, the two do share a during the summer of 1909 at Alt-Schluder - sense of conveying something about the bach near Toblach, an Italian community in transience of life — perhaps somewhat fan - South Tyrol, on the border with Austria in the cifully in the Fourth, certainly with unre - Dolomite Alps. He had constructed a compo - strained emotion and sentiment in the Ninth. sition studio set at the edge of a spruce for - Mahler was pushing himself to his limit est, not far from the home that he and his wife, through his overbooked calendar of con - Alma, rented; a fence topped with barbed wire duct ing commitments, not to mention the ensured that nobody would interrupt him physical and intellectual drain of his compos - while he worked, which he did beginning at ing, and he was doing so against doctors’ or - six o’clock every morning. Gustav and Alma ders. The year 1907 had been a cruel one for had already spent the summer of 1908 there, Mahler: in addition to his break from the mu - where he recharged himself after an extended sical life of Vienna, where he had been based visit to conduct various works at The Metro - for years, he had lost his eldest daughter to politan Opera in New York. He was back in scar let fever; then, that summer, he had New York for the 1908 season, conducting the In Short New York Symphony as well as at The Met; near Born: July 7, 1860, in Kalischt (Kalište), Bohemia, near the town of Humpolec the end of the season he Died: also led the New York May 18, 1911, in Vienna, Austria

Philharmonic, which he Work composed: sketches begun in summer 1908, mostly composed late had agreed to take over spring 1909 through April 1, 1910 as Music Director begin - World premiere: ning in the fall of 1909. June 26, 1912, by the Vienna Philharmonic, Bruno Walter, conductor The composition of the Ninth Symphony therefore New York Philharmonic premiere: December 20, 1945, Bruno Walter, conductor coincided with the begin - Most recent New York Philharmonic performance: ning of his New York June 13, 2008, , conductor Philharmonic years, which were regrettably brief, Estimated duration: ca. 79 minutes January 2012 25 01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 26

learned that he was suffering from heart dis - a poignant swan song. The idea of this work ease (a valvular defect) that, while not likely as a sort of leave-taking seems reinforced by to prove immediately fatal, was potentially its musical content; its principal theme is dangerous and could well shorten his life. An derived from Beethoven’s Farewell (Les outdoor enthusiast, he was forced to curtail Adieux) Piano Sonata, and the symphony — his physical activities drastically. particularly its opening and concluding Against such a background, the composition movements, both of which are slow — is filled of a ninth symphony also held other troubling with intimations of yearning, nostalgia, regret, prospects. Beethoven, Schubert, Bruckner, and despair, isolation, resignation, and even Dvo rˇák had all brought their symphonic cycles personal solace. to completion with their Ninth Symphonies. To Mahler, whose mind-set had recently devel - Instrumentation: four flutes and piccolo, oped a superstitious streak, the very idea of a three oboes (one doubling English horn) , three ninth symphony summoned up thoughts of clarinets and E-flat clarinet and bass clarinet, mortality. On the other hand, pretty much every - four bassoons (one doubling contra ), thing summoned up thoughts of his own mor - four horns, three , three trombones, tality, but he was not yet ready to give in to fate. tuba, timpani (two pairs), cymbals, snare drum, When he completed his Ninth Symphony he bass drum, tam-tam, triangle, orchestra bells, was still three months short of his 50th birth - low-pitched chimes, two harps, and strings. day, and upon finishing it he promptly plunged Mahler’s autograph uses a single harp, but into the composition of yet another symphony. Bruno Walter divided the part between two in - Sadly, Mahler’s Tenth would remain an in - struments, an arrangement that is used in complete torso, leaving his Ninth to stand as these performances.

The End of an Era

Mahler’s Ninth Symphony not only brings to a conclusion his completed orchestral oeuvre, but it also represents a final achievement in the mainstream symphonic tradition that had been developing for more than a century and a half. Bruno Walter wrote of “the prophetic significance” of the work:

Here Mahler stands once more upon the mysterious threshold beyond which lies a new unexplored province of the realm of music. Mahler’s “quotation” themes appear as ghostly symbols, reduced to bare outlines; the texture is thinned out, much as in some passages of the latest Beethoven; the independent melodic lines are projected bluntly against a vast empty horizon and clash with each other in harsh, portentous friction. This is not only Mahler’s last symphony: the symphonic form as such is torn apart after having been tried to the limit.

Gustav Mahler (left) and Bruno Walter

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New York Philharmonic

2011 –2012 SEASON ALAN GILBERT, Music Director, The Yoko Nagae Ceschina Chair Case Scaglione, Assistant Conductor Joshua Weilerstein, Assistant Conductor , Laureate Conductor, 1943–1990 , Music Director Emeritus

VIOLINS Soohyun Kwon CELLOS FLUTES Glenn Dicterow The Joan and Joel I. Carter Brey Robert Langevin Concertmaster Picket 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 Mindy Kaufman Concertmaster Mercy, Jr. Chair Guenther Chair The Elizabeth G. Beinecke Martin Eshelman Eric Bartlett PICCOLO Chair Quan Ge The Shirley and Jon Brodsky Foundation Chair Mindy Kaufman Michelle Kim The Gary W. Parr Chair Assistant Concertmaster Maria Kitsopoulos The William Petschek Judith Ginsberg OBOES Stephanie Jeong+ Liang Wang Family Chair Elizabeth Dyson Enrico Di Cecco Hanna Lachert Principal The Mr. and Mrs. James E. The Alice Tully Chair Carol Webb Hyunju Lee Buckman Chair Yoko Takebe Joo Young Oh Sumire Kudo Sherry Sylar* Daniel Reed Qiang Tu Robert Botti Hae-Young Ham Mark Schmoockler The Lizabeth and Frank The Mr. and Mrs. Timothy Ru-Pei Yeh Newman Chair M. George Chair Na Sun The Credit Suisse Chair in honor of Paul Calello Lisa GiHae Kim Vladimir Tsypin ENGLISH HORN Wei Yu Kuan-Cheng Lu Wilhelmina Smith++ Newton Mansfield VIOLAS The Joan and Joel Smilow The Edward and Priscilla Cynthia Phelps Chair ASSES Pilcher Chair Principal B Kerry McDermott The Mr. and Mrs. Frederick Timothy Cobb++ CLARINETS Acting Principal Anna Rabinova P. Rose Chair Ricardo Morales Rebecca Young* The Redfield D. Beckwith Principal Designate Charles Rex Chair The Shirley Bacot Shamel Irene Breslaw** Mark Nuccio The Norma and Lloyd Orin O’Brien* Acting Principal Chair Acting Associate Principal Chazen Chair The Edna and W. Van Alan Fiona Simon The Herbert M. Citrin Clark Chair Dorian Rence Chair Sharon Yamada Pascual Martinez Katherine Greene Elizabeth Zeltser William Blossom Forteza* The William and Elfriede The Mr. and Mrs. William J. The Ludmila S. and Carl B. Ulrich Chair McDonough Chair Acting Associate Principal Hess Chair The Honey M. Kurtz Yulia Ziskel Dawn Hannay Randall Butler Family Chair Marc Ginsberg Vivek Kamath David J. Grossman Alucia Scalzo++ Principal Peter Kenote Satoshi Okamoto Amy Zoloto++ Lisa Kim* Kenneth Mirkin In Memory of Laura Mitchell Judith Nelson E-F LAT CLARINET Robert Rinehart Pascual Martinez The Mr. and Mrs. G. Chris Andersen Chair Forteza

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

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

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

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

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The Artist

alongside Frank Peter Zimmer mann in Octo - ber 2011. Last season’s highlights included two tours of European music capitals, Carnegie Hall’s 120th Anniversary Concert, and Janá cˇek’s The Cunning Little Vixen, hailed by The Washington Post as “another victory,” building on 2010’s wildly successful staging of Ligeti’s Le Grand Macabre, which The New York Times called “an instant Phil - harmonic milestone.” In September 2011 Alan Gilbert became Director of Conducting and Orchestral Stud - ies at The , where he is the first to hold the Chair in Musical Studies. Conductor Laureate of the New York Philharmonic Music Director Alan Royal Stockholm Philharmonic Orchestra Gilbert , The Yoko Nagae Ceschina Chair, and Principal Guest Conductor of Hamburg’s began his tenure in September 2009, creat - NDR Symphony Orchestra , he regularly con - ing what New York magazine called “a fresh ducts the world’s leading orchestras, such as future for the Philharmonic.” The first native the Boston Symphony Orchestra, Amster - New Yorker to hold the post, he has sought dam’s Royal Concertgebouw Orchestra, and to make the Orchestra a point of civic pride the . for both the city and the country. Alan Gilbert made his acclaimed Metropoli - Mr. Gilbert’s creative approach to program - tan Opera debut in 2008 leading John ming combines works in fresh and innovative Adams’s Doctor Atomic , the DVD of which was ways. He has forged artistic partnerships, in - nominated for a Grammy Award for Best troducing the positions of The Marie-Josée Opera Recording in 2011 . Other recordings Kravis Composer-in-Residence and The Mary have garnered Grammy Award nominations and James G. Wal lach Artist-in-Residence, and top honors from the Chicago Tribune and an annual three-week festival, and CON - Gramophone magazine. Mr. Gilbert studied at TACT!, the new-music series. In 2011–12 he , The Curtis Institute of conducts world premieres, Mahler sym - Music, and Juilliard, and was assistant conduc - phonies, a residency at London’s Barbican tor of The (1995–97). In Centre, tours to Europe and California, and a May 2010 he received an Honorary Doctor of season-concluding musical exploration of Music degree from Curtis, and in December space at the Park Avenue Armory featuring 2011 he received Columbia University’s Ditson Stockhausen’s theatrical immersion, Gruppen. Conductor’s Award for his “exceptional com - He also made his Philharmonic soloist debut mitment to the performance of works by Amer - performing J.S. Bach’s Concerto for Two Vio lins ican composers and to contemporary music.”

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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- (Music Director 1928–36), Igor born , is by far the oldest sym - Stravinsky, Aaron Copland, Bruno Walter (Music phony orchestra in the United States, and one of Advisor 1947–49), (Music Di - the oldest in the world. It plays some 180 con - rector 1949–58), Klaus Tennstedt, 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 430 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 becomes 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 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 ’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; ’s and Al largo ; Philharmonic: 2011– 12 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, , York Philharmonic.

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