New York Philharmonic Global Academy
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[email protected] CHRISTOPH ESCHENBACH to CO
FOR IMMEDIATE RELEASE March 7, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] CHRISTOPH ESCHENBACH TO CONDUCT THE NEW YORK PHILHARMONIC MOZART’s Piano Concerto No. 22 with TILL FELLNER in His Philharmonic Debut BRUCKNER’s Symphony No. 9 April 19, 21, and 24, 2018 Christoph Eschenbach will conduct the New York Philharmonic in a program of works by Austrian composers: Mozart’s Piano Concerto No. 22, with Austrian pianist Till Fellner as soloist in his Philharmonic debut, and Bruckner’s Symphony No. 9 (Ed. Nowak), Thursday, April 19, 2018, at 7:30 p.m.; Saturday, April 21 at 8:00 p.m.; and Tuesday, April 24 at 7:30 p.m. German conductor Christoph Eschenbach began his career as a pianist, making his New York Philharmonic debut as piano soloist in Mozart’s Piano Concerto No. 24 in 1974. Both Christoph Eschenbach and Till Fellner won the Clara Haskil International Piano Competition, in 1965 and 1993, respectively. Mr. Fellner subsequently recorded Mozart’s Piano Concerto No. 22 on the Claves label in collaboration with the Clara Haskil Competition. The New York Times wrote of Mr. Eschenbach’s conducting Bruckner’s Symphony No. 9 with the New York Philharmonic in 2008: “Mr. Eschenbach, a compelling Bruckner interpreter, brought a sense of structure and proportion to the music without diminishing the qualities of humility and awe that make it so gripping. … the orchestra responded with playing of striking power and commitment.” Artists Christoph Eschenbach is in demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, including those in Vienna, Berlin, Paris, London, New York, Boston, Chicago, Los Angeles, Milan, Rome, Munich, Dresden, Leipzig, Madrid, Tokyo, and Shanghai. -
[email protected] N
FOR IMMEDIATE RELEASE UPDATED May 28, 2015 February 17, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] NEW YORK PHILHARMONIC TO RETURN TO BRAVO! VAIL FOR 13th-ANNUAL SUMMER RESIDENCY, JULY 24–31, 2015 Music Director Alan Gilbert To Lead Three Programs Bramwell Tovey and Joshua Weilerstein Also To Conduct Soloists To Include Violinist Midori, Cellist Alisa Weilerstein, Pianists Jon Kimura Parker and Anne-Marie McDermott, Acting Concertmaster Sheryl Staples, Principal Viola Cynthia Phelps, Soprano Julia Bullock, and Tenor Ben Bliss New York Philharmonic Musicians To Perform Chamber Concert The New York Philharmonic will return to Bravo! Vail in Colorado for the Orchestra’s 13th- annual summer residency there, featuring six concerts July 24–31, 2015, as well as a chamber music concert performed by Philharmonic musicians. Music Director Alan Gilbert will conduct three programs, July 29–31, including an all-American program and works by Mendelssohn, Mahler, Mozart, and Shostakovich. The other Philharmonic concerts, conducted by Bramwell Tovey (July 24 and 26) and former New York Philharmonic Assistant Conductor Joshua Weilerstein (July 25), will feature works by Grieg, Elgar, Tchaikovsky, Rachmaninoff, and Richard Strauss, among others. The soloists appearing during the Orchestra’s residency are pianists Jon Kimura Parker and Anne-Marie McDermott, cellist Alisa Weilerstein, violinist Midori, soprano Julia Bullock and tenor Ben Bliss, and Acting Concertmaster Sheryl Staples and Principal Viola Cynthia Phelps. The New York Philharmonic has performed at Bravo! Vail each summer since 2003. Alan Gilbert will lead the concert on Wednesday, July 29, featuring Mendelssohn’s Violin Concerto, with Midori as soloist, and Mahler’s Symphony No. -
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious. -
Social Media Manager to the Join Its Marketing Department
Founded in 1842, the New York Philharmonic is the oldest symphony orchestra in the United States, and one of the oldest in the world. Each season the Philharmonic connects with up to 50 million music lovers through live concerts in New York City, worldwide tours, and residencies, as well as its digital recording series; international broadcasts on television, radio, and online; and through its varied education programs and expansive digital archive. With the renovation of David Geffen Hall, the New York Philharmonic is now poised for transformation, exciting growth, and development. The New York Philharmonic is looking for an ambitious and creative Social Media Manager to the join its Marketing department. This new role will be responsible for managing its social media channels to promote its mission and brand. The Social Media Manager will develop and project a unique brand voice for all social channels to engage with our community of audiences, partners, and influencers with a goal to increase brand affinity, engage audiences, and drive revenue. The Manager will oversee the social media process from beginning to end, from concept to execution, including content planning, content creation, cultivation of our global community of followers, and optimization and reporting, while working with stakeholders across the organization. Responsibilities: Help establish a social media strategy that will engage audiences with always-relevant content and align with organizational goals and marketing objectives. Plan and maintain the social media calendar. Schedule and post all social media content. Manage creative and copy from beginning to end, resulting in engaging posts in a variety of formats, working with in-house designers and content creators to develop engaging content. -
By MARTIN BOOKSPAN
December 31, 2007, 8:00pm on PBS New York Philharmonic New Year’s Eve Gala with Joshua Bell In September Live From Lincoln Center observed one of its longtime traditions: the Gala opening concert of the new season of the New York Philharmonic. On December 31 we'll re-invent another longtime Live From Lincoln Center tradition: the Gala New Year's Eve concert by the New York Philharmonic. Music Director Lorin Maazel will be on the podium for a program of music appropriate for the festive occasion, and the guest artist will be the acclaimed violinist, Joshua Bell. I first encountered Joshua Bell at the Spoleto Festival, U.S.A. in Charleston, South Carolina. He was then barely into his teens but he was already a formidable violinist, playing chamber music with some of the world's most honored musicians. Not long afterward he burst upon the international scene at what was described as "a sensational debut" with the Philadelphia Orchestra and its Music Director of the time, Riccardo Muti. Joshua Bell was brought up in Bloomington, Indiana, where his father was a Professor at Indiana University. I.U., as it is known in academia, is an extraordinary university, with a School of Music that is world-renowned. Among its outstanding faculty was the eminent violinist Josef Gingold, who became Josh's inspired (and inspiring) mentor and devoted friend. Indeed it was the presence of Gingold in Indiana that led to the establishment of the Indianapolis International Violin Competition. One way for a young musician to attract attention is to win one of the major international competitions. -
Daniel Saidenberg Faculty Recital Series
Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. -
ARSC Journal
TOSCANINI LIVE BEETHOVEN: Missa Solemnis in D, Op. 123. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Alexander Kipnis, bass; Westminster Choir; VERDI: Missa da Requiem. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Nicola Moscona, bass; Westminster Choir, NBC Symphony Orchestra, Arturo Toscanini, cond. Melodram MEL 006 (3). (Three Discs). (Mono). BEETHOVEN: Symphony No. 9 in D Minor, Op. 125. Vina Bovy, soprano; Kerstin Thorborg, contralto; Jan Peerce, tenor; Ezio Pinza, bass; Schola Cantorum; Arturo Toscanini Recordings Association ATRA 3007. (Mono). (Distributed by Discocorp). BRAHMS: Symphonies: No. 1 in C Minor, Op. 68; No. 2 in D, Op. 73; No. 3 in F, Op. 90; No. 4 in E Minor, Op. 98; Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56A. Philharmonia Orchestra. Cetra Documents. Documents DOC 52. (Four Discs). (Mono). BRAHMS: Symphony No. 1 in C Minor, Op. 68; Concerto for Piano and Orchestra, No. 2 in B Flat, Op. 83. Serenade No. 1 in D, Op. 11: First movement only; Vladimir Horowitz, piano (in the Concerto); Melodram MEL 229 (Two Discs). BRAHMS: Symphony No. 1 in C Minor, Op. 68. MOZART: Symphony No. 40 in G Minor, K. 550. TCHAIKOVSKY: Romeo and Juliet (Overture-Fantasy). WAGNER: Lohengrin Prelude to Act I. WEBER: Euryanthe Overture. Giuseppe Di Stefano Presenta GDS 5001 (Two Discs). (Mono). MOZART: Symphony No. 35 in D, K. 385 ("Haffner") Rehearsal. Relief 831 (Mono). TOSCANINI IN CONCERT: Dell 'Arte DA 9016 (Mono). Bizet: Carmen Suite. Catalani: La Wally: Prelude; Lorelei: Dance of the Water ~· H~rold: Zampa Overture. -
Julia Bullock, Soprano John Arida, Piano
Sunday, March 25, 2018, 3pm Hertz Hall Julia Bullock, soprano John Arida, piano Franz SCHUBERT (1797 –1828) Suleika I Lachen und Weinen Wanderers Nachtlied II Seligkeit Samuel BARBER (1910 –1981) Hermit Songs At St Patrick’s Purgatory Church Bell at Night St Ita’s Vision The Heavenly Banquet The Crucifixion Sea-Snatch Promiscuity The Monk and his Cat The Praises of God The Desire for Hermitage INTERMISSION Gabriel FAURÉ (1845 –1924) From La chanson d’Ève Prima verba Roses ardentes Comme Dieu rayonne Veilles-tu, ma senteur de soleil Crépuscule O mort, poussière d’étoile Spencer WILLIAMS (1889 –1969) Driftin’ Tide* Maceo PINKARD (1897 –1962) You Can’t Tell the Difference After Dark* Cora “Lovie” AUSTIN (1887 –1972) Downhearted Blues* Alberta HUNTER (1895 –1984) Jeremy SISKIND (b. 1986) Frog Tongue Stomp: A Lovie Austin Tribute* Billie HOLIDAY (1915 –1959) Our Love is Different* Sonny WHITE (1917 –1971) Nina SIMONE (1933 –2003) Revolution Weldon Jonathan IRVINE, Jr. (1943–2002) SIMONE Four Women* * arrangements by Jeremy Siskind Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. PLAYBILL ABOUT THE ARTISTS Equally at home with opera and concert Medical Center, and the Shropshire Music repertoire, soprano Julia Bullock has captivated Foun dation, a nonprofit that serves war- audiences with her versatile artistry and com - affected children and adolescents through manding stage presence. During the current music education and performances in Kosovo, season, s he launched the Boston Symphony Or - Northern Ireland, and Uganda. chestra’s -
Julia Bullock, Collaborative Partner Biography
Julia Bullock, Collaborative Partner Biography Combining versatile artistry with a probing intellect and commanding stage presence, American classical singer Julia Bullock has, in her early thirties, already headlined productions and concerts at some of the preeminent arts institutions worldwide. An innovative programmer whose artistic curation is in high demand, her curatorial positions include San Francisco Symphony Artist-in-Residence in 2019–20 and Collaborative Partner beginning with the 2020–21 season, Esa-Pekka Salonen’s first as Music Director; Artist-in-Residence of London’s Guildhall School for the 2020–21 and 2021–22 seasons; opera- programming host of new broadcast channel All Arts; founding core member of the American Modern Opera Company (AMOC); and 2018–19 Artist-in-Residence of New York’s Metropolitan Museum of Art. Bullock is also a prominent voice of social consciousness and activism. Bullock has made key operatic debuts at San Francisco Opera in the world premiere of John Adams’ Girls of the Golden West; Santa Fe Opera in Adams’ Doctor Atomic; Festival d’Aix-en-Provence and Dutch National Opera in Stravinsky’s The Rake’s Progress; and the English National Opera, Spain’s Teatro Real, and Russia’s Bolshoi Theatre in the title role of Purcell’s The Indian Queen. In concert, she has collaborated with the Los Angeles Philharmonic and Gustavo Dudamel, the New York Philharmonic and Alan Gilbert, the Boston Symphony Orchestra and Andris Nelsons, Japan’s NHK Symphony and Paavo Järvi, and both the Berlin Philharmonic and London Symphony Orchestra with Sir Simon Rattle, among others. Her recital highlights include appearances at New York’s Carnegie Hall, the Philadelphia Chamber Music Society, Cal Performances at UC Berkeley, Boston’s Celebrity Series, Washington’s Kennedy Center, and the Mostly Mozart and Ojai Music festivals, where she joined Roomful of Teeth and the International Contemporary Ensemble for the world premiere of Josephine Baker: A Portrait. -
Guest Artist Recital: Barry Snyder, Piano Barry Snyder
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 9-21-2003 Guest Artist Recital: Barry Snyder, piano Barry Snyder Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Snyder, Barry, "Guest Artist Recital: Barry Snyder, piano" (2003). All Concert & Recital Programs. 2997. https://digitalcommons.ithaca.edu/music_programs/2997 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. VISITING ARTISTS SERIES 2003-4 Barry Snyder, piano Sonata in B Minor Antonio Soler (1729-1783) Sonata in A Minor, D. 784 Franz Schubert (1797-1828) Allegro giusto Andante Allegro vivace Four Songs Schubert-Liszt Fruhlingsglaube Auf den Wasser Standchen vonShakespeare Ratlose Liebe Variations on a theme of Paganini, Book II Johannes Brahms (1833-1897) INTERMISSION Waltz from Coppelia Delibes-Dohnanyi Sonata No. 7 in B-flat Major, Op. 83 Sergei Prokofiev (1891-1953) Allegro inquiete Andante caloroso Precipitato Hockett Family Recital Hall C Sunday, September 21, 2003 8:15 p.m. Barry Snyder appears by arrangement with MCM Artists Internationally renowned, Barry Snyder's musical career has encompassed solo, concerto and chamber repertoires. Since winning three prizes at the 1966 Van Cliburn International Piano Competition (silver medal, Pan American Union and chamber music), Mr. Snyder's extensive performing knowledge of the complete piano literature has brought praise for his interesting programming. His performances have taken him throughout the United States, Canada, Europe, Poland, South American and Asia. -
The Black Clown
Wednesday–Saturday, July 24–27, 2019 at 7:30 pm Post-performance talk with Davóne Tines, Zack Winokur, and Chanel DaSilva on Thursday, July 25 NEW YORK PREMIERE The Black Clown Adapted from the Langston Hughes poem by Davóne Tines & Michael Schachter Music by Michael Schachter Directed by Zack Winokur A production of American Repertory Theater at Harvard University With the kind cooperation of the Estate of Langston Hughes Please make certain all your electronic devices are switched off. Major endowment support for contemporary dance and theater is provided by the Doris Duke Charitable Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Gerald W. Lynch Theater at John Jay College Mostly Mozart Festival American Express is the lead sponsor of the Mostly Mozart Festival Major endowment support for contemporary dance and theater is provided by the Doris Duke Charitable Foundation Additional endowment support is provided by the Blavatnik Family Foundation Fund for Dance, Nancy Abeles Marks and Jennie L. and Richard K. DeScherer The Mostly Mozart Festival is also made possible by Rita E. and Gustave M. Hauser. Additional support is provided by The Shubert Foundation, LuEsther T. Mertz Charitable Trust, Howard Gilman Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., The Katzenberger Foundation, Inc., Mitsui & Co. (U.S.A.), Inc, Harkness Foundation for Dance, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, Friends of Mostly Mozart, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. -
RICCARDO MUTI New World Records 80370 CHARLES DUTOIT the PHILADELPHIA ORCHESTRA VINCENT PERSICHETTI
RICCARDO MUTI New World Records 80370 CHARLES DUTOIT THE PHILADELPHIA ORCHESTRA VINCENT PERSICHETTI Symphony for Strings Piano Concerto ROBERT TAUB, piano During the last four decades of his life, the name of Vincent Persichetti came to signify musicianship of a comprehensiveness virtually unmatched among American composers. Today his influence continues, reaching young pianists nurtured on his Sonatinas and Little Piano Book, school musicians who first experience serious contemporary music through his works for band, church choirs who turn to his Hymns and Responses for the Church Year as an inexhaustible resource, young composers who find his classic textbook Twentieth Century Harmony an indispensable tool, and soloists and conductors for whom his sonatas, concertos, and symphonies stand among the masterworks of American music. Throughout his life Persichetti encouraged healthy, creative participation in music at all levels of sophistication, while shunning dogmas that advocate one compositional approach at the expense of others. Persichetti was born in Philadelphia in 1915, and remained a lifelong resident of that city. At the age of five, he learned to play the piano, organ, and double bass at the Combs Conservatory. He also studied theory and composition under Russell King Miller, who became his most influential teacher. Immershing himself in music while in his teens, Persichetti memorized the scores to be performed weekly by the Philadelphia Orchestra and then attended the concerts to compare his mental realizations with the actual sounds. Composition was an integral part of his study from the start, as was exposure to other arts. Persichetti attended art school during his adolescence, and sculpture continued to be an important creative outlet for him until his death in 1987.