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Home , Alan Gilbert (conductor), Anne Sofie von Otter, Doug Fitch, Nancy Allen (harpist), Steve Davislim

New York Philharmonic

2 3 and the Philharmonic 2012–13 Season

Alan Gilbert has said that every concert offer with the audience in a very palpable, Alan Gilbert, Conductor should be an event, a philosophy that visceral, and potent way.” Dorothea Röschmann, Soprano pervades the New York Philharmonic’s pro- These high-quality recordings of almost Anne Sofie von Otter,Mezzo-Soprano grams week after week. Twelve of these 30 works, available internationally, reflect concerts are captured live in Alan Gilbert Alan Gilbert’s wide-ranging interests and , and the New York Philharmonic: 2012–13 passions, from Bach’s B-minor Mass to Eric Owens, Bass-Baritone Season, demonstrating the excitement sur- brand-new music by Christopher Rouse. New York Choral Artists rounding the Orchestra as the Music Direc- Bonus content includes audio record- Joseph Flummerfelt, Director tor has entered the fourth year of his tenure. ings of the Music Director’s occasional About his rapport with the Philharmonic onstage commentaries, program notes players, Alan Gilbert has said: “The chem- published in each concert’s Playbill, and Recorded live March 13–16, 2013 istry between the Orchestra and me is encores — all in the highest audio quality Avery Fisher Hall at for the Performing Arts ever-evolving and deepening. It is a great available for download. joy to make music with these incredible For more information about the series, J.S. BACH (1685–1750) musicians and to share what we have to visit nyphil.org/recordings. Mass in B minor, BWV 232 1:47:44 I. Kyrie and Gloria Kyrie eleison (Chorus) 9:00 Christe eleison (Duet: Soprano and Mezzo-Soprano) 4:57 Kyrie eleison (Chorus) 3:00 Gloria in excelsis (Chorus) 4:24 Et in terra pax (Chorus) Laudamus te (Aria: Mezzo-Soprano) 4:24 Gratias agimus tibi (Chorus) 2:43 Domine Deus (Duet: Soprano and Tenor) 9:25 Qui tollis peccata mundi (Chorus) Qui sedes ad dexteram Patris (Aria: Mezzo-Soprano) 4:39 Quoniam tu solus sanctus (Aria: Bass-Baritone) 8:40 Cum Sancto Spiritu (Chorus)

2 3 Alan Gilbert on This Program

II. Symbolum Nicenum (Credo) There is only one Bach. I have to admit that I got a frisson when I visited Thomaskirche in Credo in unum Deum (Chorus) 3:45 Leipzig, where the B-minor Mass was premiered. I was in the archives, glancing at the parts used in the performances, parts that were touched by Bach himself. There is a sense of Patrem omnipotentem (Chorus) monumentality, perfection, and universality of message that puts the B-minor Mass in a cat- Et in unum Dominum (Duet: Soprano and Mezzo-Soprano) 4:12 egory by itself. However, because of its monumental and devout nature it is possible to miss Et incarnatus est (Chorus) 3:22 its down-to-earthness. Because, in the very best sense, this is still “just” music, which has to Crucifixus (Chorus) 4:08 be studied, rehearsed, and performed like any other work. Et resurrexit (Chorus) 4:03 We are at the tail end of a period in which Bach and other Baroque composers have become the almost exclusive domain of musicians who adhere to what is known as Et in Spiritum sanctum (Chorus) 5:04 “historical performance practice” and play on period instruments. For some time such Confiteor (Chorus) 6:24 performers have appropriated this music, essentially saying that theirs was the only cor- Et expecto (Chorus) rect way to play it. They have contributed much to the variety of options that musicians can consider as they approach Bach. For this is music that withstands and is enriched III. Sanctus by varied interpretations — a breadth of options that can and should come into play just as much as with Beethoven, Mendelssohn, and Brahms. At the end of the day, what hap- Sanctus (Chorus) 4:47 pens in the concert hall must truly come from the performers’ hearts. For Bach to compose this piece was totally and magnificently impractical. Some IV. Osanna, Benedictus, and Agnus Dei instruments play in only one movement; there is grandiose choral writing, with trumpets Osanna (Chorus) 2:36 blaring and timpani pounding, alongside intimate movements that feel almost like a trio Benedictus (Aria: Tenor) 4:34 sonata. When would it have been financially and logistically reasonable to call together the forces required, and what setting would have suited this range of writing, all set to a Osanna [da capo] (Chorus) 2:40 liturgical text? The effect is almost like a salon with a variety of music being performed, Agnus Dei (Aria: Mezzo-Soprano) 6:10 but all sewn together by Bach’s miraculous thread to form a rich and coherent tapestry. Dona nobis pacem (Chorus) 3:09 DOROTHEA RÖSCHMANN ANNE SOFIE VON OTTER STEVE DAVISLIM ERIC OWENS NEW YORK CHORAL ARTISTS KENT TRITLE, Organ PAOLO BORDIGNON, Harpsichord

4 5 New York Philharmonic

6 7 Notes on the Program By James M. Keller, Program Annotator The Leni and Peter May Chair

Mass in B minor, BWV 232 into the B-minor Mass. He had produced The Path to Performance In Short the Sanctus to be performed in Leipzig Born: March 21, 1685, in Eisenach, Germany on Christmas Day of 1724, and it was Following Johann Sebastian Bach’s death, in 1750, the manuscript of the Mass in B minor The Mass in B minor by Johann Sebastian Died: July 28, 1750, in Leipzig given repeat performances during ensu- was entrusted to his composer-son Carl Bach is one of the pinnacle achievements of Work composed: over a 35-year span, with much ing years. He had written the Kyrie and Philipp Emanuel, who had two additional civilization, and yet one has to wonder: why of the music adapted from previous cantata settings: Gloria in 1733, and because such settings copies made during the period 1760–80. In does it even exist? Bach did not write it for the earliest music re-worked into the B-minor Mass were regularly used in the Lutheran 1786 Carl Phillipp also had the Symbolum is a chorus from 1714; the Sanctus dates from 1724, any particular liturgical celebration, although liturgy (which was otherwise in German), Nicenum copied out, with some of his own the Kyrie and Gloria, from 1733; the Credo, from emendations incorporated, and this he used portions of it may have been conceived with 1748–49 it is likely that those movements were when he gave that section its first-ever that in mind. The disparate requirements of World premiere: the Sanctus was performed on performed at that time. Bach promptly sent performances, in Berlin in 1786. Of those its several sections render it in some ways Christmas Day of 1724 in Leipzig; the Kyrie and performance parts of this Kyrie and Gloria concerts, the Hamburger Correspondent wrote: “One had herewith the opportunity ... impractical for a complete presentation, and Gloria, perhaps in 1733; the Credo, in March 1786 to the newly appointed Elector of Saxony, to admire in particular the five-voiced Credo Bach was probably under no illusion that he in Hamburg, directed by Carl Philipp Emanuel Bach; angling for an appointment as his court other movements in occasional performances of the immortal Sebastian Bach, which is would ever hear it performed in its entirety. beginning in the 19th century. The first complete composer in Dresden and begging him to one of the most splendid musical works that In fact, its first complete performance did not performance took place on April 10, 1859, in Leipzig, accept what the composer described in his has ever been heard.” Word of J.S. Bach’s extraordinary Mass take place until 109 years after his death. with Carl Riedel cover letter as “this trifling token of what disseminated through the far-flung musi- Although scholars have been gener- New York Philharmonic premiere: complete work, science I have achieved in music.” (He cal community, and copies were gradually ous in proposing possible answers, we May 27, 1965, William Steinberg, conductor, featuring did receive the appointment three years acquired by such major figures as Charles are left, in the end, with much information Lois Marshall, Shirley Verrett, Charles Bressler, and later, but it was an empty title that yielded Burney (the British chronicler of musical Kenneth Smith, soloists, and with The American but no overarching solution. Perhaps the neither monetary gain nor professional life), Johann Nikolaus Forkel (presumably Concert Choir after 1802, when he penned the first major best explanation for why Bach assembled advancement.) The Credo (Bach calls it Bach biography, since he makes no mention this work is that it is precisely the sort of musicians, ensuring that the Bach musical Symbolum Nicenum, following Lutheran of the piece in that book), , and thing that he did again and again during dynasty would persevere. usage), Osanna, Benedictus, and Agnus apparently Baron Gottfried van Swieten (the the 1740s. During that final decade of In the 1740s he found time to do what Dei were the last pieces to fall into place, Viennese court librarian whose early-music explorations proved revelatory to Mozart, his life, he could look back on a career he wanted, for a change. That took the near the end of Bach’s life. Still, as with among others). On two occasions Beethoven of overachievement, through which he form of large-scale musical explorations other sections of the Mass, these final tried to secure copies through publishers. had worked his way up the professional of limited practical use that drew on his portions include many self-borrowings Carl Friedrich Zelter’s Berlin Singakademie ladder in Weimar, Arnstadt, Mühlhausen, unique genius and inquisitiveness to drill and transformations of movements that rehearsed all the portions of the Mass in the 1810s; during the 1820s and 1830s its vari- Weimar again, Cöthen, and finally Leipzig. deeper into the realm of musical possibili- had existed in different form in cantatas ous movements received occasional stand- Since 1723 he had taught at the St. ties than anyone had done before. Princi- over the years. The Crucifixus section of alone performances; in 1843 the Sanctus Thomas School there, overseen the musi- pal among these arcane masterpieces the Credo reaches all the way back to a figured in the program for the dedication of cal programs at the city’s four principal were the Goldberg Variations (1741), chorus that first appeared in the cantata the Leipzig Bach monument; and in 1859 the B-minor Mass finally received its first com- churches, and effectively served as the The Art of Fugue (1742–46), A Musical Weinen, Klagen, Sorgen, Sagen (BWV 12), plete performance, also in Leipzig, with the civic music director. He had produced an Offering (1747), the Canonic Variations on written in Weimar in 1714. text translated into German and with Franz impressive body of compositions respond- “Vom Himmel hoch” (1747), and, finally, In the B-minor Mass, one may imagine Liszt among the attendees. ing to the varying needs of his employers, the B-minor Mass, which includes some of Bach summarizing his life as a composer, allowing him to support a family of more the last music he ever wrote. infusing some favorite past compositions than 20 children, half of whom survived to Portions of the work had served practi- with fresh insights from his fullest maturity. adulthood and several of whom became cal functions before they were grafted The circumstances of his career had never 8 9 Notes on the Program Texts and Translations (continued)

I. Kyrie and Gloria Chorus required a complete Mass setting. None- Full Circle Kyrie eleison. Lord, have mercy. theless, it was a summit many of the most The late Michael Steinberg, who preceded Aria (Duet: Soprano and Mezzo-Soprano) revered composers of history had scaled, James M. Keller as the New York Philhar- Christe eleison. Christ, have mercy. and it may be that Bach felt driven to join monic’s Program Annotator, included an extensive historical and musical discussion them there. Chorus of Bach’s B-minor Mass in his compendium Kyrie eleison. Lord, have mercy. Choral Masterworks: A Listener’s Guide. He Instrumentation: two flutes, three oboes concludes his essay — after discussing the Chorus (one doubling oboe d’amore), oboe d’amore, mass as rite and musical genre — as well as Gloria in excelsis Deo. Glory be to God on high. two bassoons, horn, three trumpets, timpani, the history of his creation of this work, with a discussion of the final music of this almost strings, and continuo of organ and harpsi- Chorus two-hour work. chord; mixed chorus of four, five, or (in the Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. “Osanna”) eight parts; and vocal soloists For the “Dona nobis pacem,” Bach Aria (Mezzo-Soprano) exactly recapitulates the “Gratias (soprano, mezzo-soprano, tenor, and bass- Laudamus te, We praise thee, agimus tibi” in the Gloria, returning to baritone). benedicimus te, we bless thee, four-part choral writing. And here is an adoramus te, we worship thee, oddity. For this movement, which re- glorificamus te. we glorify thee. quires fourteen staves for its notation, Bach rules his paper with eighteen Chorus staves, leaving four of them blank. [The Gratias agimus tibi propter magnam gloriam tuam. We give thanks to thee for thy great glory. American music scholar and conduc- tor] Arthur Mendel thought that this Aria (Duet: Soprano and Tenor) perhaps indicates that Bach originally Domine Deus, Rex coelestis, O Lord God, heavenly King, envisioned a completely different set- Deus Pater omnipotens, God the Father Almighty, ting for this text. Or had Bach simply Domine Fili unigenite, O Lord, the only-begotten Son, forgotten how many staves his “Dona Jesu Christe altissime, Jesus Christ, the Most High, nobis pacem” would need? But there Domine Deus, Agnus Dei, Filius Patris. O Lord God, Lamb of God, Son of the Father. is one thing that Bach surely saw at this point when it came to concluding Chorus this masterpiece, at once so miscella- Qui tollis peccata mundi, miserere nobis, Thou that takest away the sins of the world, have neous and so integral: setting “Gratias mercy upon us. agimus tibi” and “Dona nobis pacem” qui tollis peccata mundi, suscipe deprecationem Thou that takest away the sins of the world, to the same music, he reminds us that nostram. receive our prayer. the prayer and the thanks are one. Aria (Mezzo-Soprano) — The Editors Qui sedes ad dexteram Patris, miserere nobis. Thou that sittest at the right hand of the Father, have mercy upon us. Aria (Bass-Baritone) Quoniam tu solus sanctus, For thou only art holy; tu solus Dominus, thou only art the Lord; tu solus altissimus Jesu Christe. thou only, O Jesus Christ, art most high.

Chorus Cum Sancto Spiritu in gloria Dei Patris, Amen. With the Holy Spirit in the glory of God the Father. Amen. 10 11 Texts and Translations (continued)

II. Symbolum Nicenum (Credo) Chorus Chorus Confiteor unum baptisma in remissionem I acknowledge one baptism for the remission of Credo in unum Deum. I believe in one God. peccatorum. sins.

Chorus Chorus Patrem omnipotentem, the Father Almighty, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead factorem coeli et terrae, maker of heaven and earth, et vitam venturi saeculi. Amen. and the life of the world to come. Amen. visibilium omnium et invisibilium. of all things visible and invisible. III. Sanctus Aria (Duet: Soprano and Mezzo-Soprano) Chorus Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Sanctus, sanctus, sanctus Holy, holy, holy, Filium Dei unigenitum the only begotten Son of God, Dominus Deus Sabaoth Lord God of hosts, et ex Patre natum ante omnia saecula. and born of the Father before all worlds. Pleni sunt coeli et terra gloria eius. heaven and earth are full of his glory. Deum de Deo, God of God, lumen de lumine, light of light, IV. Osanna, Benedictus, and Agnus Dei Deum verum de Deo vero, very God of very God, Chorus genitum, non factum consubstantialem Patri, begotten, not made, of one substance with Osanna in excelsis. Hosanna in the highest. per quem omnia facta sunt. the Father, by whom all things were made. Qui propter nos homines et propter nostram Who for us men and for our salvation came Aria (Tenor) salutem descendit de coelis. down from heaven. Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Chorus Et incarnatus est And was incarnate Chorus de Spiritu Sancto ex Maria virgine, by the Holy Spirit of the Virgin Mary, Osanna in excelsis. Hosanna in the highest. et homo factus est. and was made man. Aria (Mezzo-Soprano) Chorus Agnus Dei qui tollis peccata mundi, miserere nobis. Lamb of God, that takest away the sins of the Crucifixus etiam pro nobis And was crucified also for us world, have mercy upon us. sub Pontio Pilato, under Pontius Pilate, passus et sepultus est. suffered and was buried. Chorus Dona nobis pacem. Grant us peace. Chorus Et resurrexit tertia die And the third day he rose again secundum scripturas, according to the Scriptures, et ascendit in coelum, and ascended into heaven, sedet ad dextram Dei Patris, sitteth at the right hand of God the Father, et iterum venturus est and shall come again cum gloria judicare vivos et mortuos, with glory to judge the quick and the dead, cuius regni non erit finis. whose kingdom shall have no end.

Aria (Bass-Baritone) Et in Spiritum Sanctum Dominum et vivificantem, And in the Holy Spirit, the Lord and giver of life, qui ex Patre Filioque procedit; who proceedeth from the Father and the Son; qui cum Patre et Filio simul adoratur et who with the Father and the Son together is conglorificatur; worshipped and glorified; qui locutus est per Prophetas. who spake by the prophets. Et unam sanctam catholicam et And in one holy catholic and apostolic Church. apostolicam ecclesiam.

12 13 New York Philharmonic

ALAN GILBERT Marilyn Dubow Ru-Pei Yeh CLARINETS BASS TROMBONE ORCHESTRA PERSONNEL The Sue and Eugene Mercy, Jr. Chair The Credit Suisse Chair MANAGER Music Director Mark Nuccio in honor of Paul Calello Martin Eshelman Acting Principal The Daria L. and William C. Foster Carl R. Schiebler Case Scaglione Judith Ginsberg Wei Yu The Edna and W. Van Alan Clark Chair Chair Joshua Weilerstein Hyunju Lee Susannah Chapman++ Pascual Martínez Forteza* George Curran++ STAGE REPRESENTATIVE Assistant Conductors Joo Young Oh Alberto Parrini++ Acting Associate Principal Joseph Faretta The Honey M. Kurtz Family Chair TUBA Daniel Reed BASSES Alucia Scalzo++ AUDIO DIRECTOR Laureate Conductor, 1943–1990 Mark Schmoockler Alan Baer Amy Zoloto++ Principal Na Sun Fora Baltacigil* Lawrence Rock Principal Vladimir Tsypin Music Director Emeritus The Redfield D. Beckwith Chair E-FLAT CLARINET TIMPANI * Associate Principal David J. Grossman* Pascual Martínez Forteza Markus Rhoten ** Assistant Principal VIOLINS VIOLAS The Herbert M. Citrin Chair Principal + On Leave Glenn Dicterow Cynthia Phelps Orin O’Brien BASS CLARINET The Carlos Moseley Chair ++ Replacement/Extra Principal Concertmaster Kyle Zerna** The Charles E. Culpeper Chair The Mr. and Mrs. Frederick P. Rose Amy Zoloto++ The New York Philharmonic uses the Chair William Blossom Sheryl Staples revolving seating method for section The Ludmila S. and Carl B. Hess Chair BASSOONS PERCUSSION Principal Associate Rebecca Young* string players who are listed Concertmaster The Joan and Joel Smilow Chair Randall Butler Judith LeClair Christopher S. Lamb alphabetically in the roster. The Elizabeth G. Beinecke Chair Irene Breslaw** Blake Hinson Principal Principal The Constance R. Hoguet Friends of HONORARY MEMBERS Michelle Kim The Norma and Lloyd Chazen Chair Satoshi Okamoto The Pels Family Chair the Philharmonic Chair OF THE SOCIETY Assistant Concertmaster Dorian Rence Max Zeugner Kim Laskowski* The William Petschek Family Chair Daniel Druckman* Rex Surany++ Roger Nye Emanuel Ax Enrico Di Cecco The Mr. and Mrs. Ronald J. Ulrich Chair Katherine Greene Arlen Fast Carol Webb Kyle Zerna The Mr. and Mrs. William J. McDonough FLUTES Stanley Drucker Yoko Takebe Chair Robert Langevin CONTRABASSOON HARP Dawn Hannay Principal Arlen Fast Nancy Allen Quan Ge Vivek Kamath The Lila Acheson Wallace Chair The Gary W. Parr Chair Principal the late Carlos Moseley Peter Kenote Sandra Church* HORNS The Mr. and Mrs. William T. Knight III Hae-Young Ham Kenneth Mirkin Yoobin Son Chair The Mr. and Mrs. Timothy M. George Philip Myers Chair Judith Nelson Mindy Kaufman Principal The Ruth F. and Alan J. Broder Chair KEYBOARD Lisa GiHae Kim Robert Rinehart The Mr. and Mrs. G. Chris Andersen PICCOLO R. Allen Spanjer In Memory of Paul Jacobs Kuan Cheng Lu Chair Mindy Kaufman Howard Wall Newton Mansfield HARPSICHORD The Edward and Priscilla Pilcher Chair Richard Deane++ CELLOS OBOES Paolo Bordignon Kerry McDermott Leelanee Sterrett++ Carter Brey Liang Wang Anna Rabinova Principal Principal TRUMPETS PIANO Charles Rex The Fan Fox and Leslie R. Samuels The Alice Tully Chair Philip Smith Eric Huebner The Shirley Bacot Shamel Chair Chair Sherry Sylar* Principal Eileen Moon* Fiona Simon The Paula Levin Chair ORGAN The Paul and Diane Guenther Chair Robert Botti Sharon Yamada The Lizabeth and Frank Matthew Muckey* Eric Bartlett+ Kent Tritle Elizabeth Zeltser Newman Chair The Shirley and Jon Brodsky Ethan Bensdorf The William and Elfriede Ulrich Chair Foundation Chair Keisuke Ikuma++ Thomas V. Smith LIBRARIANS Yulia Ziskel Maria Kitsopoulos Lawrence Tarlow ENGLISH HORN TROMBONES Sumire Kudo Principal Marc Ginsberg Keisuke Ikuma++ Joseph Alessi Sandra Pearson** Principal Elizabeth Dyson Principal Sara Griffin** The Gurnee F. and Marjorie L. Hart Lisa Kim* The Mr. and Mrs. James E. Buckman Chair In Memory of Laura Mitchell Chair David Finlayson Soohyun Kwon Alexei Yupanqui Gonzales The Joan and Joel I. Picket Chair The Donna and Benjamin M. Rosen Qiang Tu Chair Duoming Ba

14 15 The Music Director

New York Philharmonic Music Director all-American program, including Ives’s Fourth Centre) and California; and Philharmonic Amsterdam’s Royal Concertgebouw Or- Alan Gilbert began his tenure in Sep- Symphony; leads the Orchestra’s EUROPE 360, the Philharmonic and Park Avenue chestra, Leipzig Gewandhaus Orchestra, tember 2009, launching what New York / SPRING 2013 tour; and continues The Armory’s acclaimed spatial-music program and . magazine called “a fresh future for the Nielsen Project, the multi-year initiative to featuring Stockhausen’s Gruppen, building Alan Gilbert’s acclaimed 2008 Met- Philharmonic.” The first native New Yorker perform and record the Danish composer’s previous seasons’ successful produc- ropolitan debut, leading John to hold the post, he has sought to make symphonies and concertos, the first release tions of Ligeti’s Le Grand Macabre and Adams’s Doctor Atomic, received a the Orchestra a point of civic pride for the of which was named by The New York Times Janácˇek’s The Cunning Little Vixen, each 2011 Grammy Award for Best Opera city and country. as among the Best Classical Music Record- acclaimed in 2010 and 2011, respectively, Recording. Renée Fleming’s recent Mr. Gilbert combines works in fresh ings of 2012. The season concludes with Gil- as New York magazine’s number one clas- Decca recording Poèmes, on which he and innovative ways; has forged impor- bert’s Playlist, four programs showcasing the sical music event of the year. conducted, received a 2013 Grammy tant artistic partnerships, introducing Music Director’s themes and ideas, culminat- In September 2011 Alan Gilbert be- Award. Mr. Gilbert studied at Harvard the positions of The Marie-Josée Kravis ing in a theatrical reimagining of Stravinsky came Director of Conducting and Orches- University, The Curtis Institute of Music, Composer-in-Residence and The Mary ballets with director/designer and tral Studies at The , where and Juilliard and was assistant conductor and James G. Wallach Artist-in-Residence; Ballet principal dancer Sara he is the first to hold the of The (1995–97). and introduced an annual multi-week festi- Mearns. Last season’s highlights included Chair in Musical Studies. Conductor Lau- In May 2010 he received an Honorary val and CONTACT!, the new-music series. performances of three Mahler symphonies, reate of the Royal Philharmonic Doctor of Music degree from Curtis, and In the 2012–13 season he conducts including the Second, Resurrection, on Orchestra and Principal Guest Conductor in December 2011 he received Columbia world premieres; presides over a cycle A Concert for New York; tours to Europe of Hamburg’s NDR Symphony Orchestra, University’s Ditson Conductor’s Award for of Brahms’s symphonies and concertos; (including the Orchestra’s first International he regularly conducts leading ensembles his commitment to performing American conducts Bach’s Mass in B minor and an Associates residency at London’s Barbican such as the Boston Symphony Orchestra, and contemporary music. 16 17 The Artists

Boulez; Chicago Symphony Orchestra Turk in Stravinsky’s The Rake’s Prog- with Barenboim; Munich Philharmonic ress, Didon in Berlioz’s Les Troyens, with ; Cleveland Orches- and Waltraute in Wagner’s Götter- tra with Franz Welser-Möst; Bavarian dämmerung. In the 2012–13 season and Swedish Radio Symphony Or- she appears in concert with the chestras with Harding; and Rotterdam Berlin Philharmonic, Royal Stockholm Philharmonic with Nézet-Séguin. In Philharmonic Orchestra, Amsterdam’s recital, Dorothea Röschmann has Royal Concertgebouw Orchestra, and performed concerts in venues such the Gothenburg, Boston, and National as Amsterdam’s Concertgebouw symphony orchestras. and Carnegie Hall, as well as at the Ms. von Otter has a lengthy and Schwarzenberg Schubertiade, and exclusive relationship with Deutsche Born in Flensburg, Germany, Dorothea the Edinburgh and Munich Festivals, Swedish mezzo-soprano Anne Sofie Grammophon, with which she has Röschmann gained international recog- and at the Deutsche Staatsoper with von Otter earned international acclaim produced a wealth of recordings and nition in 1995 when she sang the role of Barenboim. Her recordings include as Octavian in ’s Der garnered numerous awards, includ- Susanna in Mozart’s The Marriage of Figa- with Harnon- Rosenkavalier with performances at the ing Recording Artist of the Year and ro at the , conducted by court; Richard Strauss’s Four Last , Covent Garden, a Grammy Award for Best Classical . She has returned Songs with Nézet-Séguin; Brahms’s A Bavarian Staatsoper, Opéra National de Vocal Performance. Her most recent to Salzburg regularly to perform Mozart German with Rattle (win- Paris, and Vienna Staatsoper. She also recording, Sogno Barocco (Naïve) — roles — including Donna Elvira in Don ner of a Grammy and a Gramophone performed the role as part of a series a collection of Italian baroque arias, Giovanni, Countess Almaviva in The Mar- Award); Mahler’s Symphony No. 4 of engagements with The Metropolitan scenes, and duets — was nominated riage of Figaro, Ilia in , Servilia with Harding; and a CD of Schumann Opera. Recent opera highlights have for a Grammy. and Vitellia in , and songs with Ian Bostridge and Graham included her role debut in Charpentier’s Anne Sofie von Otter was born in Pamina in — under con- Johnson. Her performance with the Médée for Oper Frankfurt, Count- Stockholm, graduated from the Stock- ductors such as , Daniel New York Philharmonic of Mahler’s ess Geschwitz in Berg’s Lulu at The holm College of Music, and studied Harding, , Christoph Symphony No. 2, Resurrection, con- conducted by at the Guildhall School of Music and von Dohnányi, and Yannick Nézet-Séguin. ducted by Alan Gilbert, is captured on Fabio Luisi, Clytemnestre in Gluck’s Drama in London. Ms. Röschmann recently made her debut the DVD of A Concert for New York, Iphigénie en Aulide at De Nederlandse at Milan’s Teatro alla Scala and she is a In Remembrance and Renewal on the Opera conducted by , regular guest at the Deutsche Staatsoper, tenth anniversary of 9/11. and Geneviève in Debussy’s Pelléas et Munich Staatsoper, Vienna Staatsoper, Mélisande under for Royal Opera House, Covent Garden, and Opéra National de Paris. She appeared The Metropolitan Opera. in Handel’s at the 2012 Ms. Roschmann’s recent concert en- Salzburg Festival with an all-star cast gagements have included the Berlin Phil- including and Andreas harmonic with and Bernard Scholl. Her ever-evolving repertoire has Haitink; Vienna Philharmonic with Har- encompassed the roles of Brangäne in noncourt, , and Pierre Wagner’s Tristan und Isolde, Baba the

18 19 The Artists (continued)

Christian Thielemann, Sir , Seattle Symphony, and concerts with Rafael Frühbeck de Burgos, Bernard the Baltimore and Detroit symphony Haitink, , Charles orchestras. Mackerras, and David Zinman. Other recent highlights include Mr. Davislim’s numerous recordings engagements in Washington, D.C., include Handel’s Rinaldo, Holliger’s Berkeley, California, Portland, Phila- Schneewittchen, Beethoven’s Ninth delphia, and at Carnegie Hall’s Zankel Symphony (with David Zinman), Hall. He has sung Bach cantatas Szymanowski’s der Nacht with The Chamber Music Society of (with Pierre Boulez and the Vienna Lincoln Center and Beethoven’s Missa Philharmonic), Beethoven’s Christ solemnis with the Boston Symphony on the Mount of Olives, Tippett’s A Orchestra at Carnegie Hall, and has Australian tenor Steve Davislim has Child of Our Time (with Colin Davis), American bass-baritone Eric Owens served as artist-in-residence at the appeared with many of the leading opera Rossini’s Petite Messe Solennelle, portrayed the title role in the world Glimmerglass Festival, appearing in companies of the world, including the Martin’s Le Vin herbé, Haydn’s The premiere of Elliot Goldenthal’s Grendel Verdi’s Aida and Weill’s Lost in the Berlin Staatsoper, Vienna Staatsoper, Creation, and Martinu° ’s (with with the Los Angeles Opera, reprising Stars, and performing in a jazz concert. Hamburg Opera, Royal Opera, Covent Charles Mackerras). His recordings his performance in a Lincoln Center Eric Owens appeared in the New York Garden, Australian Opera, Chicago Lyric on Australia’s Melba and Deutsche Festival production directed and de- Philharmonic’s acclaimed production Opera, and The Metropolitan Opera. In Grammophon labels include Bach signed by Julie Taymor. A champion of of Ligeti’s Le Grand Macabre, in May 2005 he made his debut with Milan’s cantatas with and new music, he enjoys a close associa- 2010, and returned a month later for Teatro alla Scala singing the title role Mozart’s Requiem under the direction tion with composer , and Beethoven’s Missa solemnis, in June in the season-opening performance of of . performed the role of General Leslie 2010, both conducted by Alan Gilbert. Mozart’s Idomeneo, conducted by Daniel Groves in the world premiere of Doctor Harding, and he has been reengaged Atomic at the San Francisco Opera, there several times, most recently as and of the Storyteller in the world Tamino in Mozart’s The Magic Flute. Mr. premiere of A Flowering Tree at New Davislim has performed with orchestras Crowned Hope Festival in Vienna. He around the world, including the New York later recorded Doctor Atomic, con- Philharmonic, The Cleveland Orchestra, ducted by Alan Gilbert (Grammy Award , Australian for Best Opera Recording, 2012). Mr. Chamber Orchestra, Munich Philharmon- Owens sings the role of Alberich in The ic, and the , Chicago, London, Metropolitan Opera’s production of the and National symphony orchestras; and Ring cycle, directed by Robert Lepage. in major international festivals, including During the 2012–13 season he per- the BBC Proms and the Lincoln Center, forms Bellini’s I Capuleti e i Montecchi Mostly Mozart, Lucerne, and Salzburg at San Francisco Opera, Puccini’s Ma- festivals. He has worked with conductors, dama Butterfly at Los Angeles Opera, including Claudio Abbado, Valery Gergiev, Beethoven’s Symphony No. 9 with the

20 21 The Artists (continued)

New York Choral Artists, a professional ing Grammy Award–winning versions chorus founded and directed by Joseph of Mahler’s Symphony No. 3 with Leon- Flummerfelt, has been heard with the ard Bernstein, Barber’s opera Antony New York Philharmonic in recent seasons and Cleopatra, and John Adams’s performing repertoire ranging from On the Transmigration of Souls. He ’s A Child of Our Time to has also received two other Grammy Mozart’s Requiem. The chorus opened nominations, and his Delos recording the Philharmonic’s 2002–03 subscription of Brahms’s choral works, Singing for season, performing the World Premiere Pleasure, with the Westminster Choir, of John Adams’s On the Transmigra- was chosen by The New York Times as tion of Souls, commissioned by the New a favorite among Brahms recordings. York Philharmonic with Lincoln Center’s Mr. Flummerfelt’s many honors Great Performers. Other highlights of the Named Conductor of the Year in 2004 by include Le Prix du Président de la Ré- group’s history include participation in the Musical America, Joseph Flummerfelt publique from L’Académie du Disque 1995 New York Philharmonic concert is the founder and musical director of the Français and four honorary doctoral celebrating the 50th anniversary of the New York Choral Artists and an artistic degrees. He is sought out as a guest United Nations, and a televised perfor- director of Spoleto Festival U.S.A. He conductor and master teacher of mance of the 1986 Statue of Liberty was conductor of the Westminster choral conducting, and also oversees Concert in Central Park. The chorus Choir for 33 years. most of the choral presentations of performed Britten’s War Requiem and Mr. Flummerfelt has led more than the New York Philharmonic. Mahler’s Symphony No. 8 in June 2009 50 performances with the Spoleto Fes- during Lorin Maazel’s final weeks as the tival Orchestra in both Italy and the U.S. New York Philharmonic’s Music Direc- and has appeared as guest conductor tor; in May 2010 in the Philharmonic’s with numerous American orchestras. staged presentation of Ligeti’s Le Grand He made his New York Philharmonic Macabre; in June 2010, Beethoven’s conducting debut in a performance of Missa solemnis; and in June 2012, Mo- Haydn’s The Creation, and in 2001 he zart’s Mass in C minor, Great, on the final led the Orchestra and the Westminster program of the season. Choir in the world premiere of Ste- phen Paulus’s Voices of Light. He has collaborated with such conductors as Claudio Abbado, Barenboim, Bernstein, Boulez, Chailly, Sir Colin Davis, Gilbert, Giulini, Maazel, Masur, Mehta, Muti, Ozawa, Sawallisch, Shaw, and Stein- berg, among many others. Joseph Flummerfelt’s choirs have been featured on 45 recordings, includ-

22 23 The Artists (continued)

New York Choral Artists Joseph Flummerfelt, Director

Sopranos Altos Basses Wendy Baker Maria Bedo James Bassi Daniel Alexander Gail Blache-Gill Katherine Benfer Jonathan Blalock Frank Barr Margery Daley Bo Chang Matthew Deming Dennis Blackwell Toni Dolce Linda Child Michael Denos Christopher DeVage Lori Engle Esther David Martin Doner Mischa Frusztajer Sarah Griffiths Emily Eyre Adam MacDonald Roderick Gomez Phenisher Harris BJ Fredricks Drew Martin Elliott Carlton Hines Jeanmarie Lally Megan Friar Frank Ream Steven Moore Margarita Martinez Yonah Gershator Thomas Wazzelle Brian Mummert Tami Petty Misa Iwama James Archie Worley Joseph Neal Erika Grace Powell Kirsten Kane Mark Rehnstrom Elisa Singer Helen Karloski Sean Sullivan Eileen Clark Janara Kellerman Scott Wheatley Kathy Theil Erin Kemp Lewis White Arlene Travis Margaret O’Connell Sarah Viola Jacqueline Pierce Elena Williamson Lara Stevens Ryan Rhesa Williams

(Current as of March 4, 2013)

24 25 New York Philharmonic

Founded in 1842 by a group of local (Symphony No. 3); Christopher Rouse’s the Philharmonic’s first appearance in musicians led by American-born Ureli Odna Zhizn; John Corigliano’s One Sweet Turkey in 18 years. Corelli Hill, the New York Philharmonic Morning, for mezzo-soprano and orches- The New York Philharmonic, a longtime is by far the oldest symphony orchestra in tra; ’s Piano Concerto media pioneer, began radio broadcasts the United States, and one of the oldest No. 2; and, as of the end of the 2011–12 in 1922 and is currently represented by in the world. It currently plays some 180 season, 14 works in CONTACT!, the new- The New York Philharmonic This Week — concerts a year, and on May 5, 2010, gave music series. syndicated nationally 52 weeks per year its 15,000th concert — a milestone un- The roster of composers and conductors and available at nyphil.org. Its television matched by any other symphony orchestra. who have led the Philharmonic includes presence has continued with annual ap- Alan Gilbert began his tenure as such historic figures as Theodore Thomas, pearances on Live From Lincoln Center on Music Director in September 2009, the Antonín Dvorˇák, (Music PBS, and in 2003 it made history as the latest in a distinguished line of musical Director, 1909–11), , Rich- first orchestra ever to perform live on the giants that has included Lorin Maazel ard Strauss, (Music Grammy Awards. Since 1917 the Philhar- (2002–09); Kurt Masur (Music Director Director, 1922–30), Wilhelm Furtwängler, monic has made almost 2,000 recordings, 1991–2002; Music Director Emeritus (Music Director, 1928– and in 2004 it became the first major since 2002); Zubin Mehta (1978–91); 36), , Aaron Copland, Bruno American orchestra to offer downloadable Pierre Boulez (1971–77); and Leonard Walter (Music Advisor, 1947–49), Dimitri concerts, recorded live. The Philharmonic’s Bernstein (appointed Music Director in Mitropoulos (Music Director, 1949–58), self-produced recordings continue with 1958; given the lifetime title of Laureate Klaus Tennstedt, (Music Alan Gilbert and the New York Philharmonic: Conductor in 1969). Advisor, 1969–70), and Erich Leinsdorf. 2012–13 Season. Since its inception the Orchestra has Long a leader in American musical life, The Orchestra has built on its long-run- championed the new music of its time, the Philharmonic has become renowned ning Young People’s Concerts to develop a commissioning or premiering many around the globe, having appeared in 431 wide range of education programs, includ- important works, such as Dvorˇák’s cities in 63 countries on five continents. ing the School Partnership Program, which Symphony No. 9, From the New World; In October 2009 the Orchestra, led by enriches music education in New York Rachmaninoff’s Piano Concerto No. 3; Music Director Alan Gilbert, made its City, and Learning Overtures, which fosters Gershwin’s Concerto in F; and Copland’s Vietnam debut at the Hanoi Opera House. international exchange among educators Connotations, in addition to the U.S. In February 2008 the musicians, led by and has already reached as far as Japan, premieres of works such as Beethoven’s then-Music Director Lorin Maazel, gave a South Korea, Venezuela, and Finland. Symphonies Nos. 8 and 9 and Brahms’s historic performance in Pyongyang, DPRK, Credit Suisse is the Global Sponsor of Symphony No. 4. This pioneering tradition earning the 2008 Common Ground Award the New York Philharmonic. has continued to the present day, with for Cultural Diplomacy. In 2012 the Or- works of major contemporary composers chestra became an International Associate regularly scheduled each season, including of London’s Barbican. Highlights of the John Adams’s Pulitzer Prize– and Grammy EUROPE / SPRING 2013 tour include a Award–winning On the Transmigration of performance of Magnus Lindberg’s Kraft Souls; Melinda Wagner’s Trombone Con- at Volkswagen’s Die Gläserne Manufaktur certo; ’s Swing Symphony (The Transparent Factory) in Dresden and

26 27 New York Philharmonic

Executive Producer: Vince Ford Producers: Lawrence Rock and Mark Travis Assistant Producer: Nick Bremer Korb Recording and Mastering Engineer: Lawrence Rock

Photos: Chris Lee

Major funding for this recording is provided to the New York Philharmonic by Rita E. and Gustave M. Hauser.

Guest artist appearances are made possible through the Hedwig van Ameringen Guest Artists Endowment Fund.

Classical 105.9 FM WQXR is the Radio Station of the New York Philharmonic.

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

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

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

Exclusive Timepiece of the New York Philharmonic

28 29 Performed, produced, and distributed by the New York Philharmonic © 2013 New York Philharmonic

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