New YorkPhilharmonic

The Complete

MAHLER symphonies LiveSymphony3 MAHLER Symphony No. 3 in D minor (1895–96, rev. through 1906) 103:46 and Lorin Maazel: The Complete Mahler Part One Symphonies, Live 1 Forcefully. Decisively. 36:51 is released in celebration Part Two of Mr. Maazel’s seven-year 2 Tempo di minuetto. Moderately. 10:34 tenure as Music Director 3 Comodo. Scherzando. Unhurriedly. 17:14 of the New York Philharmonic, 4 Very slow. Misterioso. Pianississimo throughout. 9:02 2002–2009. 5 Joyous in tempo and jaunty in expression. 4:21 Visit nyphil.org/maazelmahler for bonus 6 Slow. Calm. Deeply felt. 25:44 content including a score with Mahler’s own notes, video interviews with Recorded Live June 16–19, 2004, Avery Fisher Hall Lorin Maazel, and audio samples from at Lincoln Center for the Performing Arts the complete series.

Lorin Maazel Conductor cover photo: chris lee Anna Larsson Contralto unless otherwise noted, additional imagery: Women Of The Westminster Symphonic Choir, Joseph Flummerfelt Director New York Philharmonic Archives The American Boychoir, Vincent Metallo Director Vince Ford Executive Producer Larry Rock Producer, Recording and Mastering Engineer

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

“I find it quite strange that people talking about nature only make mention of flowers, birds, and fresh air. But nobody seems to know Pan, the god Dionysos. Nature is able to show all those phenomena, both pleasant and horrible, and I wanted to put these things in a kind of evolutionary development in my work.”

So wrote to a music critic Born who was trying to understand his Third July 7, 1860, in Kalischt (Kalis˘te˘), Bohemia, Symphony, a towering monument to nature, near the town of Humpolec but not so entirely reassuring a work as its subject might lead one to expect. onetheless, Died this longest of Mahler’s symphonies is May 18, 1911, in Vienna, Austria one of his most approachable, most relaxed, and least haunted by nightmares and Work composed apocalyptic visions. the summers of 1895 and 1896, at Steinbach am Attersee, in Upper Austria, drawing on mate- Because responsibilities on the podium rial from earlier songs; revised through 1906 completely occupied him during concert seasons, Mahler largely relegated his World premiere composing to the summer months, which the complete symphony, June 9, 1902, in he invariably spent as a near hermit at Krefeld, Germany, with contralto Luise Geller- one bucolic site or another in the Austrian Wolter, Mahler the orchestra and countryside. When he came to write his choruses of the Festival of the Allgemeiner Third Symphony, during the summers of deutscher Musikverein; individual movements 1895 and 1896, he was escaping the concert- had already been performed in 1896 and 1897 season rigors connected to his directorship of the orchestra and opera in Hamburg. New York Philharmonic premiere He had assumed that post in 1891, following February 28, 1922, conducting the New York Philharmonic at , a peripatetic career that had already led Julia Clausson, contralto, with the St. Cecilia Club and the Boys’ Choir of Father Finn’s Paulist him through increasingly prestigious music Choristers; this was the work’s premiere directorships at Bad Hall (his first profes- sional appointment, which he obtained in 1880), Ljubljana, Olomouc, Kassel, Prague, Leipzig, and Budapest. Notes on the Program 4

Mahler’s preferred summer retreat, for the As Mahler worked on the symphony he The movements were separated into two moment, was the village of Steinbach on the revised his program and titles considerably. uneven parts: the first movement (itself Attersee, in the breathtakingly beautiful Just after completing the work Mahler lasting just over a half hour, which is to say, Salzkammergut of Upper Austria, some 40 enumerated the movements’ revised titles in a third of the symphony’s total running miles southwest of . Initially this sym- a letter to Max Marschalk on August 6, 1896: time) alone comprising the first part, the phony was to be called The Happy Life, a remaining five movements the second. Summer Night’s Dream (not after Shakespeare Part One: … reviewer’s notes), and each of its six move- “Pan Awakes. Summer Marches In. That’s how things stood until the piece was ments was to carry an individual title: “What (Pan’s Procession)” finally premiered in 1902, when suddenly the Forest Tells Me,” “What the Twilight Part Two: Mahler decided to dispense with the pro- Tells Me,” “What Love Tells Me,” “What the “What the Flowers of the Meadow Tell Me” grammatic titles along with most of the Flowers of the Meadow Tell Me,” “What the “What the Animals of the Forest Tell Me” rather detailed programmatic markings he Cuckoo Tells Me,” and “What the Child “What Man Tells Me” had previously placed within the course Tells Me.” “What the Angels Tell Me” of the movements. How to explain all this “What Love Tells Me”

Program Music vs. Absolute Music In the late 19th century the musical world more connected to the “absolutists”; on the bring your ears and a heart along and — not was swept up in a heated aesthetic contro- other hand, program music was proving very least — willingly surrender to the rhapsodist.” versy about the relative merits of program popular in the concert hall — of course, every In his first two symphonies Mahler basically music and absolute music — blatantly de- composer wants his music to be loved. In retrofitted descriptive programs to music he scriptive music versus music written more 1902, in a letter to the critic Max Kalbeck, had already composed — essentially purveying abstractly, strictly on its own terms. The Mahler tried to clarify (or at least justify) his absolute music as program music — but absolute music camp included then-recent his position. “Beginning with Beethoven,” he then he balked and deleted the programs symphonists such as Brahms and Bruckner, wrote, “there is no modern music without its entirely. In the case of his Third Symphony, a while the program faction was making great underlying program. — But no music is worth program was part and parcel of the work all strides through the symphonic poems being anything if first you have to tell the listener along; however, in the course of composition, turned out by the young . what experience lies behind it and what he is as the symphony “found its shape,” Mahler Mahler was torn, and seemingly tried to supposed to experience in it. And so, yet again, amended his program considerably. In the straddle the divide. At heart he doubtless felt to hell with every program! You just have to end, he decided to withhold the program from his listeners. Notes on the Program 5 shilly-shallying? Mahler tried to, in a letter Sources and Inspirations to the conductor Josef Krug-Waldsee: Mahler wrote his Third Symphony during visited the composer at Steinbach in July two summers in the bucolic Upper Austrian 1896, Mahler, seeing the young conductor Those titles were an attempt on my part village of Steinbach on the Attersee. Many survey the jaw-dropping scenery, said to him, to provide non-musicians with something of the movers and shakers of the music “You need not stand staring at that; I have to hold onto and with signposts for the industry were passing their summers at already composed it all.” intellectual, or better, the expressive content Bad Ischl, a dozen miles to the south. Not of the various movements and for their Mahler — his was the quest for solitude. relationship to each other and to the whole. Apart from a couple of trips to visit Brahms That it didn’t work (as, in fact, it never in Bad Ischl, he spent much of his time in could work) and that it led only to misinter- Steinbach alone, in a cabin at the end of a pretations of the most horrendous sort field, near the shore of the lake itself. became painfully clear all too quickly. … The furnishings inside his composition Those titles … will surely say something to studio were spartan, sufficient to meet his

you after you know the score. You will draw needs, but not inviting distraction: a desk intimations from them about how I imag- and a couple of chairs, a stove, a baby-grand

ined the steady intensification of feeling, piano. Mahler dependably entered his ollection from the indistinct, unyielding, elemental “composing house” at seven in the morning existences (of the forces of nature) to the and stayed there at least until mid-afternoon, tender formation of the human heart, sometimes into the evening if his creative which in turn points toward and reaches juices were really flowing. That this symphony Samuel Schweizer C a region beyond itself (God). is to a great extent a reflection of the land- The Gasthof zum Höllengebirge, where Mahler scape in which it was created cannot be spent his summers in the years 1893 to 1986, including This last comment goes to the heart of the doubted. When the conductor those when he composed his Symphony No. 3. Third Symphony perhaps more than any other, but one has trouble overcoming the lingering suspicion that the earlier titles in fact have a great deal to do with what this piece is about.

— JAMES M. KELLER PROGRAM ANNOTATOR Notes on the Program 6

Instrumentation four flutes (all doubling The New York Philharmonic piccolo), four oboes (one doubling English Connection horn), four clarinets (one doubling E-flat Gustav Mahler’s connection with the New clarinet and one doubling bass clarinet) plus York Philharmonic began on November 29, another E-flat clarinet, four bassoons (one 1908, when he first led the New York doubling contrabassoon), eight horns, Symphony (which would merge with the New four trumpets, post horn (offstage), four York Philharmonic in 1928 to form today’s trombones, tuba, timpani, orchestra bells, Philharmonic). He became the New York snare drum, triangle, tambourine, bass Philharmonic’s Conductor (the equivalent of drum with attached cymbal, suspended today’s Music Director) in 1909 and still held cymbals, tam-tam, birch brush, two harps, that position when he died in 1911. and strings, in addition to a vocal contin- In his two years in the post he did not use gent comprising solo contralto, women’s the Orchestra as a bully pulpit, only leading chorus, and boys’ chorus. two of his works — the Symphony No. 1 and — in their U.S. premieres. It would fall to his successors, who included his acolytes Willem Mengelberg and Bruno Walter, to champion his works. Mengelberg, of whom Mahler wrote, “There’s no one else

I could entrust a work of mine to with entire program for the New York City premiere of Mahler’s confidence,” conducted New York City’s first Third Symphony, given by the New York Philharmonic on February 28, 1922. performances of the Symphony No. 3, on February 28, 1922, and of the Symphony No. 7, on March 8, 1923. of the Symphony No. 6 and New York’s first Mahler’s presence on Philharmonic pro- performance of the Symphony No. 10), grams would continue through that century (credited by many for and into the present through the luminaries instigating the mid-century Mahler revival), who succeeded him on the podium, including and now Lorin Maazel’s complete cycle of (who led the U.S. premiere Mahler symphonies. Texts and Translations 7

Fourth Movement

O Mensch! Gib acht! Oh, man, give heed! Was spricht die tiefe Mitternacht? What does deep midnight say? Ich schlief! I slept! Aus tiefem Traum bin ich erwacht! From a deep dream have I awakened. Die Welt ist tief! The world is deep, Und tiefer als der Tag gedacht! And deeper than the day had thought! Tief ist ihr Weh! Deep is its pain! Lust tiefer noch als Herzeleid! Joy deeper still than heartbreak! Weh spricht: Vergeh! Pain speaks: Vanish! Doch alle Lust will Ewigkeit! But all joy seeks eternity, Will tiefe, tiefe Ewigkeit! Seeks deep, deep eternity.

— Friedrich Nietzsche Texts and Translations 8

Fifth Movement

Es sungen drei Engel einen süssen Gesang, Three angels were singing a sweet song: Mit Freuden es selig im Himmel klang; With joy it resounded blissfully in Heaven. Sie jauchzten fröhlich auch dabei, At the same time they happily shouted with joy Dass Petrus sei von Sünden frei. That Peter was absolved from sin.

Und als der Herr Jesus zu Tische sass, For as Lord Jesus sat at table, Mit seinen zwölf Jüngern das Abendmal ass, Eating supper with his twelve apostles, So sprach der Herr Jesus: “Was stehst du denn hier? So spoke Lord Jesus: “Why are you standing here? Wenn ich dich anseh’, so weinest du mir!” When I look upon you, you weep for me!”

“Und sollt’ ich nicht weinen, du gütiger Gott! “And how should I not weep, you kind God! Du sollst ja nicht weinen! No, you mustn’t weep! Ich hab’ übertreten die zehn Gebot. I have trespassed against the Ten Commandments.

Ich gehe und weine ja bitterlich, I go and weep, and bitterly. Du sollst ja nicht weinen! No, you mustn’t weep! Ach, komm und erbarme dich über mich!” Ah, come and have mercy on me!”

“Hast du denn übertreten die zehen Gebot, “If you have trespassed against the Ten Commandments, So fall auf die Kniee und bete zu Gott. Then fall on your knees and pray to God. Liebe nur Gott in alle Zeit! Only love God forever, So wirst du erlangen die himmlische Freud’.” And you will attain heavenly joy.”

Die himmlische Freud’ ist eine selige Stadt, Heavenly joy is a blessed city, Die himmlische Freud’, die kein Ende mehr hat. Heavenly joy, that has no end. Die himmlische Freude war Petro bereit’t, Heavenly joy was prepared for Peter Durch Jesum und allen zur Seligkeit. By Jesus and for the salvation of all.

— from Des Knaben Wunderhorn Chris Lee NEW YORK PHILHARMONIC 2003–2004 SEASON 10

LORIN MAAZEL Elizabeth Zeltser CELLOS PICCOLO Erik Ralske KEYBOARD Music Director Yulia Ziskel Carter Brey Mindy Kaufman Howard Wall In Memory of Principal Paul Jacobs Roberto Minczuk Marc Ginsberg The Fan Fox and Leslie OBOES TRUMPETS HARPSICHORD Associate Conductor Principal R. Samuels Chair Joseph Robinson Philip Smith Lionel Party Lisa Kim* Hai-Ye Ni* Principal Principal Leonard Bernstein In Memory of The Alice Tully Chair The Paula Levin Chair Qiang Tu PIANO Laureate Conductor, Laura Mitchell Sherry Sylar* Robert Sullivan*+ 1943–1990 The Shirley and The Karen and Richard Soohyun Kwon Jon Brodsky Robert Botti Thomas V. Smith S. LeFrak Chair Oscar Ravina Foundation Chair Acting Associate Harriet Wingreen ENGLISH HORN Principal Music Director Duoming Ba Evangeline Benedetti Jonathan Feldman Thomas Stacy Vincent Penzarella Emeritus Matitiahu Braun Eric Bartlett CLARINETS ORGAN Marilyn Dubow TROMBONES VIOLINS Nancy Donaruma+ Stanley Drucker Kent Tritle Martin Eshelman Joseph Alessi Glenn Dicterow Elizabeth Dyson Principal Principal LIBRARIANS Concertmaster Judith Ginsberg Valentin Hirsu The Edna and W. Van The Gurnee F. and Lawrence Tarlow The Charles E. Myung-Hi Kim Maria Kitsopoulos Alan Clark Chair Marjorie L. Hart Chair Principal Culpeper Chair Hanna Lachert Avram Lavin Mark Nuccio* James Markey* Sandra Pearson** Sheryl Staples Sarah O’Boyle Eileen Moon Pascual Martinez Principal Associate David Finlayson Thad Marciniak Anton Polezhayev Brinton Smith Forteza Concertmaster Daniel Reed Stephen Freeman BASS TROMBONE ORCHESTRA The Elizabeth G. BASSES Mark Schmoockler Donald Harwood PERSONNEL BeineckeChair Eugene Levinson E-FLAT CLARINET Vladimir Tsypin MANAGER Michelle Kim Principal Mark Nuccio TUBA Assistant VIOLAS The Redfield D. Kyle Turner++ Carl R. Schiebler BASS CLARINET Concertmaster Cynthia Phelps Beckwith Chair STAGE Stephen Freeman TIMPANI The William Petschek Principal Jon Deak* REPRESENTATIVE Family Chair Roland Kohloff The Mr. and Mrs. Orin O’Brien BASSOONS Louis J. Patalano Enrico Di Cecco Frederick P. Rose Chair Principal Judith LeClair Carol Webb Rebecca Young* William Blossom The Carlos AUDIO DIRECTOR Randall Butler Principal Moseley Chair Yoko Takebe Irene Breslaw** The Pels Family Chair Lawrence Rock The Norma and Lloyd David J. Grossman Joseph Pereira** Emanuel Boder Kim Laskowski* Chazen Chair Lew Norton * Associate Principal Leonard Hindell PERCUSSION Kenneth Gordon Dorian Rence Satoshi Okamoto ** Assistant Principal Arlen Fast Christopher S. Lamb Hae-Young Ham Michele Saxon + On Leave Katherine Greene Principal Lisa GiHae Kim CONTRABASSOON The Constance R. ++ Replacement/Extra Dawn Hannay FLUTES Newton Mansfield Arlen Fast Hoguet Friends of the Robert Langevin The New York Philharmonic Kerry McDermott Vivek Kamath Philharmonic Chair Peter Kenote Principal HORNS uses the revolving seating Anna Rabinova Daniel Druckman* method for section string Barry Lehr The Lila Acheson Philip Myers Charles Rex Joseph Pereira players who are listed Wallace Chair Principal Fiona Simon Kenneth Mirkin alphabetically in the roster. Sandra Church* The Ruth F. and Alan Sharon Yamada Judith Nelson HARP Robert Rinehart Renee Siebert J. Broder Chair Nancy Allen Mindy Kaufman Jerome Ashby* Principal L. William Kuyper** The Mr. and Mrs. William R. Allen Spanjer T. Knight III Chair about the artists 11

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 the Vienna Staatsoper (1982–84); music director most of the major American orchestras. In 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 2008 artistic director and chief conductor of the debut in Catania, Italy. — the first performance there by an American Deutsche Oper Berlin (1965–71). He is an Mr. Maazel is also an accomplished orchestra. Other recent tours have included honorary member of the Israel and Vienna composer. His opera, 1984, received its Europe 2008 in August–September; Asia 2008 Philharmonic Orchestras, and a Commander world premiere on May 3, 2005, at London’s — 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 . He took his first violin on DVD by Decca. about the artists 12

Anna Larsson started her musical edu­ Saint-Saëns’s Samson et Dalila at theaters cation at the age of ten, when she began including Bayerisches Staatsoper München, studies in Stockholm at the Adolf Fredriks Festspiele Salzburg and Aix-en-Provence, Musikskola. She graduated after nine years, Teatro Maggio Musicale Firenze, Palau des having majored in language and music. Arts Valencia, Royal Opera Copenhagen, At the age of 17 Anna met singing teacher Finnish National Opera, and Royal Florence Düselius, with whom she would Opera Stockholm. study until Ms. Düselius passed away in In concert, Anna Larsson has sung with August 2006. Ms. Larsson trained at Opera many major orchestras including the Berlin Studio 67 for three years before entering Philharmonic, Lucerne Festival Orchestra, the Stockholm College of Opera. There she , Chicago Symphony, met vocal coach Anna Sims, with whom Los Angeles Philharmonic, London Symphony she continues to work. and London Philharmonic orchestras, and Ms. Larsson made her international with distinguished conductors including debut in 1997 in Mahler’s Symphony No. 2, , , Esa-Pekka with the Orchestra Salonen, Sir , Gustavo Dudamel, T and Claudio Abbado, and her opera debut Seiji Osawa, Kurt Masur, , and . Ullberg as Erda in Wagner’s Das Rheingold at the Nikolaus Harnoncourt. Her wide repertoire Deutsche Oper Berlin, conducted by Daniel includes works as diverse as Handel’s Messiah, Barenboim. Erda has become a signature Elgar’s Sea Pictures, Gustav Mahler’s song cycles, role for Ms. Larsson, with performances at Verdi’s Requiem, and contemporary music. opera houses in Berlin, Vienna, Munich, Ms. Larsson was nominated for a Grammy Salzburg, Aix-en-Provence, and Stockholm. in 2005 for the recording of Richard She has also performed such roles as Strauss’s Daphne with the Westdeutsche Waltraute in Wagner’s Götterdämmerung, Rundfunks Symphonieorchester conducted the title role in Gluck’s Orphée, Fricka by Semyon Bychkov. in Wagner’s Das Rheingold, and Dalila in about the artists 13

The WESTMINSTER SYMPHONIC CHOIR, Highlights of previous seasons include WESTMINSTER SYMPHONIC CHOIR composed of students at Westminster Choir performances of Beethoven’s Symphony SOPRANOS ALTOS College of Rider University, has recorded No. 9 with the Lucerne Festival Orchestra, Christine Bass Amanda Berry and performed with major orchestras under conducted by David Robertson, and Jessica Brand Kate Boose virtually every internationally known con- Brahms’s A German Requiem with the Elizabeth Brown Lucia Bradford ductor of the last 75 years. Recognized as one Dresden Philharmonic, conducted by Rafael Layla Cassavaugh Rachel Brager of the world’s leading choral ensembles, the Frühbeck de Burgos. Forty members of the Katie Comstock Afton Burton Choir has sung more than 300 performances Westminster Symphonic Choir are selected Paige Cutrona Lauren Connors with the New York Philharmonic alone. The every year for the Westminster Choir, Katie Dunn Valerie Eckert Choir’s most recent performances with the which has been the chorus in residence for Eliza Edwards Julia Fernandez Philharmonic have included Mendelssohn’s the Spoleto Festival USA since 1977. Its most Heather Fetrow Julie Hamula Die erste Walpurgisnacht, conducted by Kurt recent recording is Heaven to Earth with Rebecca Fetrow Erika Hennings Masur, Handel’s Messiah, conducted by Ton conductor laureate Joseph Flummerfelt on Shannon Gray Daniels Holderby Koopman; and Ravel’s Daphnis et Chloé at the AVIE label. Westminster Choir College is Sarah Griffiths Teresa Hui Carnegie Hall, conducted by Music Director a division of Rider University’s Westminster Rachel Howell Maia Judd Lorin Maazel. Other performances in the College of the Arts. A professional college Michele Kalman Jenna Lebherz 2008–09 season included Beethoven’s of music with a unique choral emphasis, Tricia Kersh Rebecca Martin Symphony No. 9 with and Westminster prepares students at the under- Soo Yeon Lee Stephanie Naylis the Bavarian Radio Symphony Orchestra, graduate and graduate levels for careers in Diana Blythe Lilly Rebecca Olsson and Mahler’s three choral symphonies teaching, sacred music, and performance. Marisa Maupin Jane Park with the Berlin Staatskapelle conducted Jennifer Miller Sarah Sensenig by . Amanda Moody Megan Sheridan Margo Nothnagel Eleonore Thomas Clara Rottsolk Phyllis Tritto Jennifer Silberstein Laurel Unwin Mollie Stone Lai Foon Wong Sarah Sweet Meghan Troxel Carolyn Winkler about the artists 14

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

THE AMERICAN BOYCHOIR is regarded as performs and records regularly with such THE AMERICAN BOYCHOIR the United States’ premier concert boys’ world-class artists and ensembles as the Roy Bhame Eric Lee-Schalow choir and one of the finest boychoirs in the Symphony Orchestra, Philadelphia Arun Blatchley David Maliakel world. It continues to dazzle audiences with Orchestra, soprano , pop Frasher Bolton Simon May its unique blend of musical sophistication, diva Beyoncé, jazz vocalist and conductor Devin Bostick Trevor McLaughlin effervescent spirit and ensemble virtuosity. Bobby McFerrin, and Sir Paul McCartney. Morgan Bothwell Kazunari Nakamura Its members ­— boys from grades 4 through 8, The American Boychoir has been exten- Daniel Chen Schafer Newman reflecting the ethnic, religious, and cultural sively recorded and broadcast on radio Lawson Daves Christopher Prewitt diversity of our nation —­ come from nine and television, with some 45 commercial Aaron Davis Ricardo Regalado states and four foreign countries to pursue a recordings to its name. During 2007, it Peter Day Luther Rinehart rigorous musical and academic curriculum achieved Gold Record status for recordings Ryan Duncan Paul Ryder at The , the only it made with the Trans-Siberian Orchestra Kian Fan Daniel Sabatini non-sectarian boys’ choir school in the and Michael W. Smith. A CD entitled Harmony: Martin Flynt Daniel Silva nation. Founded in Columbus, Ohio, in 1937, American Songs of Faith, the seventh to be Cedar Georgevich Robert Skolsky The American Boychoir has been located in produced for its own label, Albemarle Juan Carlos Hernandez Grey Spencer Princeton, , since 1950. In addition Records, was released in October, 2007. Andrew Hill Aaron Trebing to maintaining an active national and inter- www.americanboychoir.org Logan Hill Tucker Wheatley national touring schedule, the ensemble Patrick Keeler Jonathan Yi Benjamin Keiper about the artists 16

VINCENT METALLO has distinguished for Public Radio International; PBS Live himself in recent years as an eagerly sought From Lincoln Center; A&E’s Breakfast with the after conductor, singer, and music educator. Arts; The Lost Christmas Eve with the Trans- Currently director of the Princeton High Siberian Orchestra; Voice of America; United School Choral Department, Mr. Metallo has States Government Program; Prayer Cycle II held the positions of chair of the performing by ; Hymns of Heaven and Earth, arts at the , artistic Dorian Records; and numerous others. director of the American Boychoir, and Mr. Metallo is a member of the choir assistant professor of Music at Westminster of St. Clements Church of Philadelphia, the Choir College, DePauw University, Wellesley Crossing Vocal Ensemble of Philadelphia, College, and Lehigh University. Fuma Sacra of Princeton, New Jersey, and has Mr. Metallo has collaborated on numerous performed with the Carmel Bach Festival, performances with the New York Philharmonic, the New York Collegium, Boston Early Music , Chicago Symphony Festival, Bloomington Early Muic Festival, Orchestra, Boston Symphony Orchestra, Connecticut Early Music Festival, Lincoln San Francisco Symphony, and New York Center Summer Music Fesival, Brandywine Innis C Innis Collegium. Mr. Metallo has toured through- Baroque, St. Ignatius Loyola Church of NYC, out the United States, U.S. Virgin Islands, and the Spoleto Festivals of South Carolina asey Japan, Latvia, Sweden, and Denmark for more and Italy. than 700 performances. A graduate of the Hartt School of Music in Recorded and televised events include Music Education and Vocal Performance and Heinrich Biber’s Missa Christi Resurgentis Westminster Choir College in Conducting, with the New York Collegium under the Mr. Metallo is certified in Kodály music direction of Andrew Parrott; A Ceremony of pedagogy through the Kodály Musical Carols at the Metropolitan Museum of Arts Training Institute. about the orchestra 17

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 , 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. (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

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