12-14+ NYP :Layout 1 12/6/10 11:58 AM Page 1

HANDEL’S MESSIAH

Presented by the Robert Hekemian Family Foundation

Tuesday, December 14, 2010, 7:30 p.m. 15,101st Concert Open rehearsal at 9:45 a.m.

Wednesday, December 15, 2010, 7:30 p.m. 15,102nd Concert

Thursday, December 16, 2010, 7:30 p.m. 15,103rd Concert

Friday, December 17, 2010, 7:30 p.m. 15,105th Concert

Saturday, December 18, 2010, 7:30 p.m. 15,107th Concert

Global Sponsor

Bernard Labadie, Conductor Guest artist appearances are Karina Gauvin, Soprano+ made possible through the Hedwig van Ameringen Guest Marie-Nicole Lemieux, Contralto+ Artists Endowment Fund . Tilman Lichdi, Tenor+ Classical 105.9 FM WQXR is the Andrew Foster-Williams, Bass+ Radio Station of the New York New York Choral Artists Philharmonic. Joseph Flummerfelt, Director 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 . This concert will last approximately two Instruments made possible, in part, by and one-half hours, which includes one The Richard S. and Karen LeFrak intermission. Composer Joelle Wallach Endowment Fund . will give a talk one hour prior to the Steinway is the Official Piano of the New York performance. Philharmonic and Avery Fisher Hall.

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

December 2010 27 12-14+ NYP Messiah:Layout 1 12/6/10 11:58 AM Page 2

New York Philharmonic

Bernard Labadie, Conductor Karina Gauvin, Soprano+ Marie-Nicole Lemieux, Contralto+ Tilman Lichdi, Tenor+ Andrew Foster-Williams, Bass+ New York Choral Artists Joseph Flummerfelt, Director

HANDEL Messiah (1741)* (1685–1759) Part I Sinfonia () (Tenor): Comfort ye, comfort ye my people Air (Tenor): Ev’ry valley shall be exalted Chorus: And the glory of the Lord Recitative (Bass): Thus saith the Lord of Hosts Air (Contralto): But who may abide the day of His coming? Chorus: And He shall purify Recitative (Contralto): Behold, a virgin shall conceive Air and Chorus (Contralto): O thou that tellest Recitative (Bass): For, behold, darkness shall cover the earth Air (Bass): The people that walked in darkness Chorus: For unto us a Child is born Pifa (“Pastoral Symphony”) Recitative (Soprano): There were shepherds abiding in the field Recitative (Soprano): And lo! the angel of the Lord came upon them Recitative (Soprano): And the angel said unto them Recitative (Soprano): And suddenly there was with the angel Chorus: Glory to God in the highest Air (Soprano): Rejoice greatly, O daughter of Zion Recitative (Contralto): Then shall the eyes of the blind Duet (Soprano and Contralto): He shall feed His flock Chorus: His yoke is easy, His burthen is light

Intermission

28 New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:58 AM Page 3

Part II Chorus: Behold the Lamb of God Air (Contralto): He was despised Chorus: Surely, He hath borne our griefs Chorus: And with His stripes we are healed Chorus: All we like sheep have gone astray Recitative (Tenor): All they that see Him laugh Him to scorn Chorus: He trusted in God Recitative (Tenor): Thy rebuke hath broken His heart Air (Tenor): Behold, and see if there be any sorrow Recitative (Soprano): He was cut off out of the land of the living Air (Soprano): But Thou didst not leave His soul in hell Chorus: Lift up your heads Air (Soprano): How beautiful are the feet of them Air (Bass): Why do the nations so furiously rage together? Chorus: Let us break their bonds asunder Recitative (Tenor): He that dwelleth in heaven Air (Tenor): Thou shalt break them Chorus: Hallelujah!

Part III Air (Soprano): I know that my Redeemer liveth Recitative (Bass): Behold, I tell you a mystery Air (Bass): The trumpet shall sound Chorus: Worthy is the Lamb that was slain CARTER BREY, Cello EUGENE LEVINSON, Bass KIM LASKOWSKI, Bassoon PHILIP SMITH, Trumpet LIONEL PARTY, Harpsichord KENT TRITLE, Organ

+ Denotes New York Philharmonic debut The New York Philharmonic This Week, nationally syndicated on the WFMT Radio Network, is *Recorded by the New York Philharmonic and broadcast 52 weeks per year. Radio schedule currently available subject to change; for updated information visit nyphil.org. The New York Philharmonic’s recording series, Alan Gilbert and the New York Philharmonic: In consideration of both the artists and the audi - 2010 –11 Season, is available through iTunes ence, please be sure that your cell phones and via an iTunes Pass. For more information, visit paging devices have been set to remain silent. nyphil.org/itunes. The photography, sound recording, or videotaping Other New York Philharmonic recordings are of these performances is prohibited. available on all major online music stores as well as on major labels and the New York Philharmonic’s own series.

December 2010 29 12-14+ NYP Messiah:Layout 1 12/6/10 11:58 AM Page 4

Notes on the Program By James M. Keller, Program Annotator

Messiah the vicissitudes of his life on earth; and the third to the events surrounding the Resur - rection and the promise of redemption. Messiah was unveiled in an open re - When George Frideric Handel received an hearsal on April 9, 1742, and at two official invitation in 1741 to produce a series of con - performances, on April 13 and June 3. The certs in Dublin, the idea of an escape from premiere was given as a benefit, organized the failing fortunes of his operatic ventures in with the assistance of the Charitable Musical London appealed to him. He traveled to Society, “For Relief of the Prisoners in the Dublin in mid-November 1741 and remained several Gaols, and for the Support of Mer - until August 13, 1742. Without a doubt, the cer’s Hospital in St. Stephen’s-street, and of highpoint of Handel’s Dublin season was the the Charitable Infirmary on the Inns Quay” premiere of his new oratorio, Messiah . He (as The Dublin Journal announced it a couple had composed it while still in London during of weeks in advance). After the open re - the summer of 1741, over the course of hearsal, The Dublin News Letter pronounced about three weeks. His librettist, Charles that the new oratorio “in the opinion of the Jennens, had been pressed into service to best judges, far surpasses anything of that assemble a text for the new work . This he Nature, which has been performed in this or apparently did in the early summer of 1741, any other Kingdom.” The Journal concurred drawing creatively on Biblical passages from that it “was allowed by the greatest Judges to the books of Isaiah, Haggai, Malachi, Mat- In Short thew, Luke, Zechariah, Born: John, Job, Psalms, February 23, 1685, in Halle, Germany

Lamentations, Hebrews, Died: April 14, 1759, in London, England Romans, First Corinthi - ans, and Revelation to Work composed : 1741, in London create a loose story World premiere: April 13, 1742, in a matinee at the Great Music Hall in Fishamble comprising historical Street, Dublin, Ireland (though an open rehearsal had been held four days earlier) narrative and reflec - tions about the life of New York Philharmonic premiere: December 28, 1878, Walter Damrosch Jesus. He organized conducting the New York Symphony (which would merge with the New York Philharmonic in 1928 to become today's Philharmonic), with Minnie Hauk, Anna the text into three dis - Drasdil, George Simpson, and Myron William Whitney, soloists crete sections: the first relating to the prophecy Most recent New York Philharmonic performance: December 19, 2009, of Christ’s coming and , conductor, with soloists Annette Dasch, Daniel Taylor, , and Shenyang the circumstances of his birth; the second to Estimated duration: ca. 120 minutes

30 New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:58 AM Page 5

be the finest Composition of Musick that ever So Many Messiahs was heard, and the sacred Words as properly Following its Dublin premiere in 1742 and its London adapted for the Occasion.” It continued with premiere a year later, Messiah was revived in London a bit of advice for persons lucky enough to in 1745, again in 1749, and again in 1750. By the 1750s Messiah was becoming widely performed, specifically hold tickets for the official premiere: as an Easter tradition. Handel revised his score for many of the early productions, largely to fulfill the Many Ladies and Gentlemen who are well- practical demands of differing soloists and instru - wishers to the Noble and Grand Charity for mental ensembles, although partly (many argue) to reflect his changing conception of the piece. Surely which this Oratorio was composed, request no work in the standard repertoire offers so vast a it as a Favour, that the Ladies who honour buffet of performing possibilities to choose from. this Performance with their Presence From one version to the next, we find variations in - would be pleased to come without Hoops volving which numbers are sung and in what order, which solo pieces are assigned to which vocal as it will greatly encrease the Charity, by soloist, and which versions of competing individual making Room for more Company. movements should be used. There are no easy an - swers, although performers should not discount that To which it added in a follow-up article: “The practical considerations may be as important today as they were in Handel’s time. Some modern per - Gentlemen are desired to come without their formances adhere to the documented practices of a Swords, to increase audience accommoda - specific Messiah performance that Handel oversaw. tion yet further.” It is more common, however, to encounter modern, Messiah was an immense success, and its practical solutions to the conundrum of Messiah edi - tions, productions that hew to a basic and quite de - reputation spread quickly to London, which fensible Messiah text while typically shedding a few had to wait nearly a year to hear it. That event of the less popular items from the score. That is the finally took place on March 23, 1743, at course followed in this performance.

Hail, “Hallelujah”!

In 1784 a grand commemoration of Handel was held in London. The music historian Charles Burney published a detailed description of the events the following year, under the title An Account of the Musical Performances in Westminster-Abbey and the Pantheon. Two of the five festival concerts were given over to Messiah, and Burney waxed ecstatic about the Hallelujah chorus:

The opening is clear, cheerful, and bold. And the words, “For the Lord God omnipotent reigneth” (Rev. XIX. 6.), set to a fragment of canto fermo, which all the parts sing, as such, in unisons and octaves, has an effect truly ecclesiastical. It is afterwards made the subject of fugue and groundwork for the Allelujah. Then, as a short episode in plain counterpoint, we have “The kingdom of this world” (Ib. XI. 15.) — which being begun piano, was solemn and affecting. But the last and principal subject proposed … “And he shall reign for ever and ever,” is the most pleasing and fertile that has ever been invented since the art of fugue was first cultivated. … And, finally, the words “King of Kings, and Lord of Lords (Ib. XIX. 16.) … is a most happy and marvelous concatination of harmony, melody, and great effects. A depiction of Westminster Abbey in the 18th century

December 2010 31 12-14+ NYP Messiah:Layout 1 12/6/10 11:58 AM Page 6

Covent Garden. A measure of controversy (and indeed I believe few or none go to an crept into the proceedings, however, perhaps Oratorio out of Devotion ), what a Propha - fueled the slightest bit by Jennens, who in nation of Go d ’s Name and Word is this, to the meantime had experienced a falling-out make so light Use of them? with Handel. The Universal Spectator ran an article, coinciding with the London premiere, Many a London wag lent his voice to the emphatically calling into question the ensuing fray, either in poetry or prose; but it propri ety of performing such a sacred work all added up to a tempest in a teapot and in any setting but a church. “An Oratorio,” the audiences seem to have enjoyed Handel’s article declared, “New Sacred Oratorio” all the more for the altercation it provoked. either is an Act of Religion, or it is not; if it Instrumentation: is, I ask if the Playhouse is a fit Temple to two oboes, two trumpets, perform it in, or a Company of Players fit timpani, strings, and basso continuo (com - Ministers of God’s Word, for in that Case prising bassoon, cello, bass, harpsichord, and such they are made … In the other Case, organ), in addition to the four vocal soloists if it is not perform’d as an Act of Religion, (soprano, contralto, tenor, and bass) and but for Diversion and Amusement only mixed choir.

In a Jiffy

That so great — and large — a masterpiece as Messiah should have been created in so brief a span as three weeks seems all but incredible to most of us, but that it is the case is clear from the dates Handel entered on his score as work progressed. With the libretto in hand, Handel leapt into action on August 22, 1741. He finished the draft of Part One on August 28, of Part Two on September 6, and of Part Three on September 12 — and then he took another two days to polish details on the whole score. This prodigious pace was not exceptional for Handel, and it is no more than Romantic fantasy to view it (as it once was routinely) as a fever of divine inspiration peculiar to the composition of Messiah . In fact, he allowed himself about a week’s rest after finishing Messiah before embarking on his next oratorio, , which he wrote in the relatively leisurely span of five weeks.

Above: Portrait of Handel from the frontispiece of a 1767 edition of the score of Messiah. Left: The opening of “I know that my Redeemer liveth” (from Part Three) from Handel’s autograph score of Messiah.

32 New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:58 AM Page 7

Handel’s Messiah Libretto assembled by Charles Jennens from passages in The Bible Part I Sinfonia (Overture) Recitative (Tenor) Comfort ye, comfort ye my people, saith your God. Isaiah XL: 1 Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplish’d, that her iniquity is pardon’d. Isaiah XL: 2 The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God. Isaiah XL: 3 Air (Tenor) Ev’ry valley shall be exalted, and ev’ry mountain and hill made low, the crooked straight, and the rough places plain. Isaiah XL: 4 Chorus And the glory of the Lord shall be revealed. And all flesh shall see it together, for the mouth of the Lord hath spoken it. Isaiah XL: 5 Recitative (Bass) Thus saith the Lord of Hosts; Yet once, a little while, and I will shake the heav’ns and the earth, the sea and the dry land, Haggai II: 6 and I will shake all nations; and the desire of all nations shall come. Haggai II: 7 The Lord, whom ye seek, shall suddenly come to His temple; ev’n the messenger of the Covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts. Malachi III: 1 Air (Contralto) But who may abide the day of His coming? and who shall stand when He appeareth? For He is like a refiner’s fire. Malachi III: 2 Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. Malachi III: 3 Recitative (Contralto) Behold, a virgin shall conceive, and bear a Son, and shall call his name Emmanuel, “God with us.” Isaiah VII:14 Air and Chorus (Contralto) O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Isaiah XL:9

(Please turn the page quietly.) December 2010 33 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 8

Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee. Isaiah LX:1 Recitative (Bass) For, behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. Isaiah LX: 2 And the Gentiles shall come to thy light, and kings to the brightness of thy rising. Isaiah LX: 3 Air (Bass) The people that walked in darkness have seen a great light. And they that dwell in the land of the shadow of death, upon them hath the light shined. Isaiah IX: 2 Chorus For unto us a Child is born, unto us a Son is given: and the government shall be upon His shoulder: and His name shall be called Wonderful, Counsellor, The Mighty God, The Ever - lasting Father, The Prince of Peace! Isaiah IX: 6 Pifa (“Pastoral Symphony”) Recitative (Soprano) There were shepherds abiding in the field, keeping watch over their flocks by night. Luke II: 8 Recitative (Soprano) And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. Luke II: 9 Recitative (Soprano) And the angel said unto them, Fear not; for, behold, I bring you good tidings of great joy, which shall be to all people. Luke II: 10 For unto you is born this day in the city of David a Savior, which is Christ the Lord. Luke II: 11 Recitative (Soprano) And suddenly there was with the angel a multitude of the heavenly host , praising God, and saying : Luke II: 13 Chorus Glory to God in the highest, and peace on earth, good will towards men. Luke II: 14 Air (Soprano) Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem: behold, thy King cometh unto thee. He is the righteous Savior, Zechariah IX: 9 and He shall speak peace unto the heathen. Zechariah IX: 10 Recitative (Contralto) Then shall the eyes of the blind be open’d, and the ears of the deaf unstopped. Isaiah XXXV: 5 Then shall the lame man leap as an hart, and the tongue of the dumb shall sing. Isaiah XXXV: 6

34 New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 9

Duet (Soprano and Contralto) He shall feed His flock like a shepherd: and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. Isaiah XL: 11 Come unto Him, all ye that labor and are heavy laden, and He will give you rest. Matthew XI: 28 Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. Matthew XI: 29 Chorus His yoke is easy, His burthen is light. Matthew XI: 30 Part II Chorus Behold the Lamb of God, that taketh away the sin of the world. John I: 29 Air (Contralto) He was despised and rejected of men, a man of sorrows, and acquainted with grief. Isaiah LIII: 3 He gave His back to the smiters, and His cheeks to them that plucked off the hair; He hid not His face from shame and spitting. Isaiah L: 6 Chorus Surely, He hath borne our griefs and carried our sorrows; Isaiah LIII: 4 He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him. Isaiah LIII: 5 Chorus And with His stripes we are healed. Isaiah LIII: 5 Chorus All we like sheep have gone astray, we have turned ev’ry one to his own way; and the Lord hath laid on Him the iniquity of us all. Isaiah LIII: 6 Recitative (Tenor) All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: Psalm XXII: 7 Chorus He trusted in God that He would deliver Him: let Him deliver Him, if He delight in Him. Psalm XXII: 8 Recitative (Tenor) Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him. Psalm LXIX: 20

(Please turn the page quietly.) December 2010 35 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 10

Air (Tenor) Behold, and see if there be any sorrow like unto His sorrow! Lamentations I: 12 Recitative (Soprano) He was cut off out of the land of the living; for the transgression of Thy people was He stricken. Isaiah LIII: 8 Air (Soprano) But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption. Psalm XVI: 10 Chorus Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in! Psalm XXIV: 7 Who is this King of Glory? The Lord strong and mighty, the Lord mighty in battle. Psalm XXIV: 8 Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in! Psalm XXIV: 9 Who is the King of Glory? The Lord of Hosts, He is the King of Glory. Psalm XXIV: 10 Air (Soprano) How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things! Romans X: 15 Air (Bass) Why do the nations so furiously rage together: why do the people imagine a vain thing? Psalm II: 1 The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed. Psalm II: 2 Chorus Let us break their bonds asunder, and cast away their yokes from us. Psalm II: 3 Recitative (Tenor) He that dwelleth in heaven shall laugh them to scorn, the Lord shall have them in derision. Psalm II: 4 Air (Tenor) Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel. Psalm II: 9 Chorus Hallelujah! For the Lord God omnipotent reigneth. Revelation XIX: 6 The Kingdom of this world is become the Kingdom of our Lord and of His Christ; and He shall reign for ever and ever. Revelation XI: 15 King of Kings, and Lord of Lords. Revelation XIX: 16

36 New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 11

Part III Air (Soprano) I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. Job XIX: 25 And though worms destroy this body, yet in my flesh shall I see God. Job XIX: 26 For now is Christ risen from the dead, the first fruits of them that sleep. I Corinthians XV: 20 Recitative (Bass) Behold, I tell you a mystery; we shall not all sleep, but we shall all be chang’d, I Corinthians XV: 51 in a moment, in the twinkling of an eye, at the last trumpet. I Corinthians XV: 52 Air (Bass) The trumpet shall sound, and the dead shall be rais’d incorruptible, and we shall be chang’d. I Corinthians XV: 52 Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Revelation V: 12 Blessing and honour, glory and pow’r be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Revelation V: 13 Amen.

December 2010 37 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 12

New York Philharmonic

2010 –2011 SEASON ALAN GILBERT Music Director Daniel Boico, Assistant Conductor Leonard Bernstein, Laureate Conductor, 1943–1990 Kurt Masur, Music Director Emeritus

VIOLINS Marilyn Dubow ENGLISH HORN Glenn Dicterow The Sue and Eugene The Shirley and Jon Concertmaster Mercy, Jr. Chair Brodsky Foundation Chair The Joan and Joel Smilow The Charles E. Culpeper Martin Eshelman Evangeline Benedetti Chair Chair Quan Ge Sheryl Staples Judith Ginsberg Eric Bartlett CLARINETS Principal Associate Stephanie Jeong The Mr. and Mrs. James E. Mark Nuccio Concertmaster The Gary W. Parr Chair Buckman Chair Acting Principal The Elizabeth G. Beinecke Hanna Lachert Elizabeth Dyson The Edna and W. Van Alan Chair Maria Kitsopoulos Clark Chair Michelle Kim Hyunju Lee Pascual Martinez Assistant Concertmaster Joo Young Oh Sumire Kudo Qiang Tu Forteza The William Petschek Daniel Reed Acting Associate Principal Family Chair Mark Schmoockler Ru-Pei Yeh The Honey M. Kurtz Family Enrico Di Cecco Na Sun Wei Yu Chair Carol Webb Vladimir Tsypin Wilhelmina Smith++ Alucia Scalzo++ Yoko Takebe Amy Zoloto++ BASSES Minyoung Chang+ VIOLAS Cynthia Phelps Eugene Levinson E-F LAT CLARINET Hae-Young Ham Principal The Mr. and Mrs. Timothy Principal Pascual Martinez The Mr. and Mrs. Frederick The Redfield D. Beckwith M. George Chair Chair Forteza Lisa GiHae Kim P. Rose Chair Rebecca Young* Orin O’Brien Kuan-Cheng Lu Acting Associate Principal BASS CLARINET Irene Breslaw** The Herbert M. Citrin Chair Amy Zoloto++ Newton Mansfield The Norma and Lloyd The Edward and Priscilla Chazen Chair Pilcher Chair William Blossom Dorian Rence The Ludmila S. and Carl B. BASSOONS Kerry McDermott Hess Chair Judith LeClair Anna Rabinova Katherine Greene Randall Butler Principal Charles Rex The Mr. and Mrs. William J. David J. Grossman The Pels Family Chair The Shirley Bacot Shamel McDonough Chair Satoshi Okamoto Kim Laskowski* Chair Dawn Hannay Roger Nye Fiona Simon Vivek Kamath FLUTES Arlen Fast Sharon Yamada Peter Kenote Robert Langevin Elizabeth Zeltser Kenneth Mirkin Principal CONTRABASSOON The William and Elfriede Judith Nelson Ulrich Chair The Lila Acheson Wallace Arlen Fast Chair Yulia Ziskel Robert Rinehart The Mr. and Mrs. G. Chris Sandra Church* HORNS Andersen Chair Marc Ginsberg Mindy Kaufman Philip Myers Principal Principal Lisa Kim* CELLOS PICCOLO The Ruth F. and Alan J. In Memory of Laura Mitchell Carter Brey Mindy Kaufman Broder Chair Soohyun Kwon Principal Stewart Rose++* The Joan and Joel I. Picket The Fan Fox and Leslie R. OBOES Acting Associate Principal Samuels Chair Chair Liang Wang Cara Kizer Aneff** Duoming Ba Eileen Moon* Principal R. Allen Spanjer The Paul and Diane The Alice Tully Chair Guenther Chair Erik Ralske+ Sherry Sylar* Howard Wall Robert Botti David Smith+

(continued) 38 New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 13

TRUMPETS Daniel Druckman* STAGE REPRESENTATIVE Philip Smith The Mr. and Mrs. Ronald J. Ulrich Louis J. Patalano Principal Chair The Paula Levin Chair Kyle Zerna AUDIO DIRECTOR Matthew Muckey* Lawrence Rock Ethan Bensdorf HARP Thomas V. Smith Nancy Allen Principal * Associate Principal ** Assistant Principal TROMBONES The Mr. and Mrs. William T. Knight III Chair + On Leave Joseph Alessi Principal ++ Replacement/Extra The Gurnee F. and Marjorie L. Hart KEYBOARD Chair In Memory of Paul Jacobs The New York Philharmonic uses Amanda Davidson* the revolving seating method for HARPSICHORD David Finlayson section string players who are The Donna and Benjamin M. Rosen Lionel Party listed alphabetically in the roster. Chair PIANO HONORARY MEMBERS OF THE BASS TROMBONE The Karen and Richard S. LeFrak James Markey Chair SOCIETY Harriet Wingreen Pierre Boulez TUBA Jonathan Feldman Stanley Drucker Alan Baer Lorin Maazel Principal ORGAN Zubin Mehta Kent Tritle Carlos Moseley TIMPANI Markus Rhoten LIBRARIANS Principal Lawrence Tarlow The Carlos Moseley Chair Principal Kyle Zerna ** Sandra Pearson** Sara Griffin** PERCUSSION Christopher S. Lamb ORCHESTRA PERSONNEL Principal MANAGER The Constance R. Hoguet Friends of the Philharmonic Chair Carl R. Schiebler

December 2010 39 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 14

The Artists

Labadie has conducted major North Ameri - can orchestras including the New York and Los Angeles Philharmonic orchestras, The Philadelphia Orchestra, and the Chicago, Boston, San Francisco, St. Louis, Houston, Atlanta, Detroit, Montreal, Toronto, and Van - couver symphony orchestras. Internationally, he has led Amsterdam’s Royal Concert- gebouw, Glasgow’s Royal Scottish National Orchestra, Hannover’s NDR Symphony Or - chestra, and the Melbourne ABC Orchestra. In September 2009 Mr. Labadie made his Bernard Labadie has established himself debut with The in worldwide as one of the leading conductors Mozart’s The Magic Flute, and in early 2010 of Baroque and Classical repertoire, a repu - he made his Cleveland Orchestra debut. Re - tation that is closely tied with his connections cent appearances include with the Orchestra to Les Violons du Roy and La Chapelle de of the Collegium Vocale Ghent and the Québec, which he founded and continues to Northern Sinfonia in Newcastle. lead as music director to this day. He regularly Mr. Labadie has recorded extensively on tours Canada, the United States, and Europe the Dorian, ATMA, and Virgin Classics labels; with the two ensembles, visiting major ven - works include Handel’s e and his ues such as Carnegie Hall, Lincoln Center, collaboration with Les Violons du Roy and La Walt Disney Concert Hall, Kennedy Center, Chapelle de Québec for Mozart’s Requiem. Barbican Centre, and Amsterdam’s Royal Both recordings won Canada’s Juno Award. Concertgebouw, as well as the Salzburg Fes - A complete recording of C.P.E. Bach’s Cello tival. Mr. Labadie has also been artistic di - Concertos with Truls Mørk and Les Violons du rector of L’Opéra de Québec and L’Opéra de Roy is slated for release soon, as well as a Montréal, and has conducted Handel’s Or - recording with Ian Bostridge and The English lando with Glimmerglass Opera, Mozart’s Concert, both for Virgin Classics. Così fan tutte at the Mostly Mozart Festival, The Canadian government named Bernard and Mozart’s Lucio with Santa Fe Opera . Labadie an Officer of the Order of Canada in Since he made his conducting debut 2005, and Quebec appointed him a Chevalier with the Minnesota Orchestra in 1999, Mr. de l’Ordre National du Québec in 2006.

40 New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 15

galante, her collection of French art songs with Mr. Hamelin , received the 2000 Opus award for Best Vocal Recording and was Chamber Music America’s Recording of the Year. Other honors include first prize at the CBC Young Performers Competition; the Lieder and Public’s prize at the s’Hertogen - bosch International Vocal Competition in the Netherlands, and the Opus Award as Per - former of the Year. A graduate of the Mon - treal Conservatory of Music, Karina Gauvin studied with Marie Daveluy and pursued her Canadian soprano Karina Gauvin ’s reper - post-graduate studies with Pamela Bowden toire ranges from the music of J.S. Bach to at the Royal Scottish Academy in Glasgow. Luciano Berio. She has sung with many In 2010 Ms. Gauvin is scheduled to record major orchestras including the Chicago Sym - Handel’s with Alan Curtis and phony Orchestra, Philadelphia Orchestra, Los Complesso Barocco for Virgin Classics. Angeles Philharmonic, Montreal Symphony Orchestra, and Toronto Symphony Orchestra, as well as period-instrument groups such as Akademie für Alte Musik Berlin, Musica An - tiqua Köln, Tafelmusik Baroque Orchestra, Les Violons du Roy, and Accademia Bizantina. She has performed with conductors includ - ing Charles Dutoit, , Semyon Bychkov, Roger Norrington, Christopher Hog wood, Alan Curtis, Helmuth Rilling, Bernard Labadie, and Christophe Rousset. An active recitalist, she has collaborated with several chamber music ensembles and with pianists Marc-André Hamelin, Michael In 2000 contralto Marie-Nicole Lemieux McMahon, and Roger Vignoles. Highlights of became the first Canadian to win both First the current season include her debut ap - Prize and the Special Prize for Lieder at the pearance with the New York Philharmonic; Queen Elisabeth International Music Compe - performances of Mahler’s Second Symphony tition. Since then she has performed in presti - with the San Francsico Symphony, under gious venues and international music festivals Michael Tilson Thomas ; and performances at across Europe and North America, such as the Grant Park Festival and with the Orches- the Berlin Staatsoper, Amsterdam’s Concert - tre Métropolitain in Montreal. gebouw, Paris’s Théâtre des Champs Élysées, Ms. Gauvin’s recording catalogue includes Walt Disney Concert Hall in Los Angeles, and more than 20 releases. She has been con - the Théâtre de la Monnaie in Brussels. Ms. sistently nominated for the Juno Award, and Lemieux regularly performs the works of twice for a Grammy in the past decade. Fête Berlioz, Debussy, Gluck, Handel, Honegger,

December 2010 41 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 16

Monteverdi, Mozart, Rossini, Verdi, Vivaldi, Bach, and recently sang Bach’s St. Matthew and Wagner. She has recorded extensively Passion with Ton Koopman and the Amster - on the Cyprès, Dorian Recordings, Analekta, dam Barock in a tour across Italy and Spain. Deutsche Grammophon, and EMI/Virgin Recent engagements have brought Mr. Lichdi Classics labels. She has an exclusive contract to Charlotte, N.C., where he performed Haydn’s with the Naïve label, for which she recorded with Christoph Perick; to Brazil, the title roles in Vivaldi’s Griselda and to perform Bach’s St. Matthew Passion with furioso, in addition to seven discs, among Kent Nagano; to Chicago, where he made his them her first recital CD, L’Heure exquise. debut with the Chicago Symphony Orchestra In 2010 Ms. Lemieux appeared in Verdi’s under the baton of Bernard Labadie; and to Falstaff at the Théâtre des Champs Élysées; in the opera houses of Würzburg, Heidelberg, Bach’s St. Matthew Passion at the Concert - Flensburg, Kaiserslautern, and Mannheim, as gebouw, under Bernard Labadie; in Bach’s well as to the Munich Biennale. Later this Mass in B minor in Washington, D.C., with the season Tilman Lichdi will perform in a staged National Symphony Orchestra; and concerts version of Handel’s Messiah at the Théâtre with Les Violons du Roy in Québec City and du Châtelet in Paris, conducted by Martin Montreal. Highlights of the current season Haselböck. He has recorded Hans Werner include her New York Philharmonic debut, Henze’s Boulevard Solitude under the aus - the release of a new recording, concerts with pices of the Ruhr Festival in Germany. the Orchestre National de France, Orlando furioso at the Theâtre des Champs Élysées, and a recital tour in Quebec.

Bass Andrew Foster-Williams has per - formed frequently with many of the world’s leading conductors and ensembles including Tilman Lichdi grew up near Heilbronn, Ger - with Sir Colin Davis and the London Symphony many, and began singing lessons at the age Orchestra; Nicholas McGegan and the Phil - of 18. He has performed all of the major harmonia Baroque; Andreas Delfs and the works in the realm of oratorio, and has Milwaukee Symphony Orchestra; Paul Good - worked with conductors such as Christoph win and The Philadelphia Orchestra; Sir Roger Poppen, Wolfgang Gönnenwein, and Jörg Norrington and the Orchestra of the Age of Straube. Mr. Lichdi devotes himself especially Enlightenment; and Bernard Labadie and to the Evangelist parts in the music of J.S. Les Violons du Roy. In the current season his

42 New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 17

appearances include J.S. Bach’s Lutheran highlights include celebrating the rededica - Mass with The Cleveland Orchestra and tion of the Statue of Liberty in 1986 and the Franz Welser-Möst; Mozart’s Requiem with 100th anniversary of Carnegie Hall, and the The Philadelphia Orchestra and Yannick U.S. premiere of Paul McCartney’s Standing Nézet-Séguin; Mendelssohn’s Elijah with the Stone with the Orchestra of St. Luke’s. The Deutsches Symphonie-Orchester Berlin, led New York Choral Artists have sung under the by Andrew Manze; Bach’s St. John Passion batons of Bernstein, Chailly, Sir Colin Davis, in Leipzig with Al Ayre Español; and Stravin - Leinsdorf, Masur, Muti, Nelson, Shaw, Slatkin, sky’s Pulcinella with the BBC Scottish Sym - Tilson Thomas, among many others. phony Orchestra. The chorus’s discography features many In recent seasons Mr. Foster-Williams has recordings with the New York Philharmonic, sung the bass-baritone roles in Purcell’s The including On the Transmigration of Souls with Fairy Queen; Zebul in Handel’s ; and Lorin Maazel and Mahler’s Symphony No. 3 Borée in Rameau’s Les Bor éades. Other roles with Leonard Bernstein, both of which won included The Count in Mozart’s The Marriage Grammy Awards; Beethoven’s Symphony of Figaro at the Beaune Festival; Publio in No. 9 and Schoenberg’s Gurrelieder with Zubin Mozart’s La clemenza di Tito for the English Mehta; Shostakovich’s Symphony No. 13 National Orchestra; Alidoro in Rossini’s La (Babi Yar ) with Kurt Masur; and Stephen cenerentola for Welsh National Opera, and Sondheim’s Sweeney Todd . Recordings with Glyndebourne on tour; Nick Shadow in other orchestras include Stravinsky’s Sym - Stravinsky’s The Rake’s Progress with Basel phony of Psalms , Oedipus Rex , and Requiem Chamber Orchestra; Larkens in Puccini’s The Canticles ; Beethoven’s The Ruins of Athens ; Girl of the Golden West at the Royal Opera Gershwin’s Porgy and Bess ; an album of House, Covent Garden; and Garibaldo in Han - Christmas songs featuring soprano Kathleen del’s , Melisso in , and Argante Battle; and a Christmas album conducted by in at the Göttingen Handel Festival. Joseph Flummerfelt. The New York Choral Artists are managed The New York Choral Artists, a profes - by Jacqueline Pierce. sional chorus founded by Joseph Flummer - felt in 1979, appears regularly with the New York Philharmonic. Recent performances with the Orchestra include Ligeti’s Le Grand Macabre in May 2010; Ravel’s L’Enfant et les sortilèges in 2006 and at Carnegie Hall in February 2009; Puccini’s Tosca in June 2008; Bernstein’s West Side Story Suites Nos. 1 and 2 in November 2008 at Carnegie Hall ; Handel’s Messiah in 2007 ; Verdi’s Re - quiem in 2006; the world premiere, in 2002, of John Adams’s On the Transmigration of Souls ; and Brahms’s A German Requiem in September 2001, in commemoration of the Named Conductor of the Year in 2004 by events of September 11. Other performance Musical America , Joseph Flummerfelt is

December 2010 42A 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 18

the founder and musical director of the New Joseph Flummerfelt’s choirs have been York Choral Artists and an artistic director of featured on 45 recordings, including Grammy Spoleto Festival U.S.A. He was conductor of Award–winning versions of Mahler’s Sym - the Westminster Choir for 33 years . phony No. 3 with Leonard Bernstein, Samuel Mr. Flummerfelt has led more than 50 Barber’s opera Antony and Cleopatra , and performances with the Spoleto Festival Or - John Adams’s On the Transmigration of Souls . chestra in both Italy and the U.S. and has He has also received two other Grammy appeared as guest conductor with numerous nominations, and his Delos recording of American orchestras. He made his New York Brahms’s choral works, Singing for Pleasure, Philharmonic conducting debut in a perform - with the Westminster Choir, was chosen by ance of Haydn’s The Creation, and in 2001 The New York Times as a favorite among he led the Orchestra and the Westminster Brahms recordings. Choir in the world premiere of Stephen Mr. Flummerfelt’s many honors include Paulus’s Voices of Light . He has collaborated Le Prix du Président de la République from with such conductors as Abbado, Barenboim, L’Académie du Disque Français and four Bernstein, Boulez, Chailly, Sir Colin Davis, honorary doctoral degrees. He is sought out Gilbert, Giulini, Maazel, Masur, Mehta, Muti, as a guest conductor and master teacher of Ozawa, Sawallisch, Shaw, and Steinberg, choral conducting, and also oversees the choral among many others. presentations of the New York Philharmonic.

New York Choral Artists Joseph Flummerfelt, Director Sopranos Altos Tenors Basses Jennifer Bates Maria Bedo James Bassi Adam Alexander Gail Blache-Gill Teresa Buchholz Matthew Deming Daniel Alexander Margery Daley David Martin Doner Frank Barr Toni Dolce Emily Eyre Matthew Kreger Dennis Blackwell Michele Eaton BJ Fredricks Adam MacDonald Christopher DeVage Lori Engle Yonah Gershator Drew Martin Mischa Frusztajer Katherine Harris Misa Iwama Isai Minoz Roderick Gomez Phenisher Harris Kirsten Kane Matthew Pena Steven Moore Linda Jones Helen Karloski Frank Ream Joseph Neal Melissa Casey Jose Erin Kemp Kannan Vasudevan Peter Van Derick Maragarita Martinez Tami Petty Scott Wheatley Beverly Myers Jacqueline Pierce Lewis White Erika Grace Powell Rhesa Williams Elena Williamson Jan Wilson

(Current as of December 1, 2010)

42B New York Philharmonic 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 19

New York Philharmonic

The New York Philharmonic , founded in 1842 by Klaus Tennstedt, George Szell (Music Advisor, a group of local musicians led by American-born Ureli 1969–70), and Erich Leinsdorf. Corelli Hill, is by far the oldest symphony orchestra Long a leader in American musical life, the Phil - in the United States, and one of the oldest in the harmonic has over the last century become renowned world. It currently plays some 180 concerts a year, around the globe, appearing in 429 cities in 62 coun - and on May 5, 2010, gave its 15,000th concert — a tries on 5 continents. In October 2009 the Orchestra, milestone unmatched by any other symphony led by Music Director Alan Gilbert, made its debut in orchestra in the world. Hanoi, Vietnam. In February 2008 the Orchestra, led Alan Gilbert began his tenure as Music Director in by then-Music Director Lorin Maazel, gave a historic September 2009, the latest in a distinguished line of performance in Pyongyang, Democratic People’s Re - 20th-century musical giants that has included Lorin public of Korea — the first visit there by an American Maazel (2002–09); Kurt Masur (Music Director from orchestra and an event watched around the world and 1991 to the summer of 2002; named Music Director for which the Philharmonic earned the 2008 Com - Emeritus in 2002); Zubin Mehta (1978–91); Pierre mon Ground Award for Cultural Diplomacy. Other his - Boulez (1971–77); and Leonard Bernstein, who was toric tours have included the 1930 Tour to Europe, appointed Music Director in 1958 and given the life - with Toscanini; the first Tour to the USSR, in 1959; time title of Laureate Conductor in 1969. the 1998 Asia Tour with Kurt Masur, featuring the first Since its inception the Orchestra has championed performances in mainland China; and the 75th An - the new music of its time, commissioning or pre - niversary European Tour, in 2005, with Lorin Maazel. miering many important works, such as Dvo rˇák’s A longtime media pioneer, the Philharmonic began Symphony No. 9, From the New World; Rachmani - radio broadcasts in 1922 , and is currently repre - noff’s Piano Concerto No. 3; Gershwin’s Piano Con - sented by The New York Philharmonic This Week — certo in F; and Copland’s Connotations . The syndicated nationally 52 weeks per year, and avail - Philharmonic has also given the U.S. premieres of able on nyphil.org. On television, in the 1950s and such works as Beethoven’s Symphonies Nos. 8 and 1960s, the Philharmonic inspired a generation 9 and Brahms’s Symphony No. 4. This pioneering tra - through Bernstein’s Young People’s Concerts on dition has continued to the present day, with works of CBS. Its television presence has con tinued with major contemporary composers regularly scheduled annual appearances on Live From Lincoln Center each season, including John Adams’s Pulitzer Prize– on PBS, and in 2003 it made history as the first and Grammy Award–winning On the Transmigration Orchestra ever to perform live on the Grammy of Souls; Stephen Hartke’s Symphony No. 3; Au - Awards, one of the most-watched television events gusta Read Thomas’s Gathering Paradise, Emily worldwide. In 2004 the Philharmonic became the Dickinson Settings for Soprano and Orchestra; Esa- first major American orchestra to offer download - Pekka Salonen’s Piano Concerto; Magnus Lindberg’s able concerts, recorded live, and in 2009 the EXPO; and Christopher Rouse’s Odna Zhizn . Orchestra announced the first-ever subscription The roster of composers and conductors who download series: Alan Gilbert: The Inaugural have led the Philharmonic includes such historic fig - Season, available exclusively on iTunes, compris - ures as Theodore Thomas, Antonín Dvo rˇák, Gustav ing more than 50 works performed during the Mahler (Music Director, 1909–11), Otto Klemperer, 2009–10 season. Since 1917 the Philharmonic Richard Strauss, Willem Mengelberg (Music Director, has made nearly 2,000 recordings, with more than 1922–30), Wilhelm Furtwängler, Arturo Toscanini 500 currently available. (Music Director, 1928–36), Igor Stravinsky, Aaron On June 4, 2007, the New York Philharmonic Copland, Bruno Walter (Music Advisor, 1947–49), proudly announced a new partnership with Credit Dimitri Mitropoulos (Music Director, 1949–58), Suisse, its first-ever and exclusive Global Sponsor.

December 2010 42C 12-14+ NYP Messiah:Layout 1 12/6/10 11:59 AM Page 20

The Music Director

nine cities on the EUROPE / WINTER 2010 tour in February 2010. Also in the 2009–10 season, he conducted world, U.S., and New York premieres, as well as an acclaimed staged presentation of Ligeti’s opera, Le Grand Macabre . Mr. Gilbert is the first person to hold the William Schuman Chair in Musical Studies at The Juilliard School, and is conductor laure - ate of the Royal Stockholm Philharmonic Or - chestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra . He has conducted other leading orchestras in the U.S. and abroad, including the Boston, Alan Gilbert became Music Director of the Chicago, and San Francisco symphony or - New York Philharmonic in September 2009 , chestras; Los Angeles Philharmonic; Cleve - the first native New Yorker to hold the post , land and Philadelphia Orchestras; and the ushering in what The New York Times called Berlin Philharmonic, Munich’s Bavarian Radio “an adventurous new era” at the Philharmonic. Symphony Orchestra, and Amsterdam’s In his inaugural season he introduced a num - Royal Concertgebouw Orchestra . From ber of new initiatives: the positions of The 2003 to 2006 he served as the first music Marie-Josée Kravis Composer-in-Residence, director of the Santa Fe Opera. held by Magnus Lindberg ; The Mary and Alan Gilbert studied at Harvard University, James G. Wallach Artist-in-Residence , held in The Curtis Institute of Music, and The Juilliard 2010–11 by violinist Anne-Sophie Mutter; an School. From 1995 to 1997 he was the as - annual three-week festival , which in 2010– 11 sistant conductor of The Cleveland Orches - is titled Hungarian Echoes, led by Esa-Pekka tra. In November 2008 he made his Salonen; and CONTACT! , the New York Phil - acclaimed Metropolitan Opera debut con - harmonic’s new-music series . In the 2010– 11 ducting John Adams’s Doctor Atomic. His season Mr. Gilbert will lead the Orchestra on recording of Prokofiev’s Scythian Suite with two tours of European music capitals; two the Chicago Symphony Orchestra was nom - performances at Carnegie Hall, including the inated for a 2008 Grammy Award, and his venue’s 120th Anniversary Concert; and recording of Mahler’s Symphony No. 9 re - a staged presentation of Janá cˇek’s The Cun - ceived top honors from the Chicago Tribune ning Little Vixen . In his 2009–10 inaugural sea - and Gramophone magazine. On May 15, son Mr. Gilbert led the Orchestra on a major 2010, Mr. Gilbert re ceived an Honorary Doc - tour of Asia in October 2009, with debuts in tor of Music degree from The Curtis Institute Hanoi and Abu Dhabi, and perform ances in of Music.

42D New York Philharmonic