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FOR IMMEDIATE RELEASE ARTIST CHANGE December 23, 2014 UPDATED January 26, 2015 Contact: Katherine E

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FOR IMMEDIATE RELEASE ARTIST CHANGE December 23, 2014 UPDATED January 26, 2015 Contact: Katherine E FOR IMMEDIATE RELEASE ARTIST CHANGE December 23, 2014 UPDATED January 26, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] CONTACT! THE NEW YORK PHILHARMONIC’S NEW-MUSIC SERIES “NEW MUSIC FROM ISRAEL” A Co-Presentation with 92nd Street Y PHILHARMONIC MUSICIANS To Perform Works by Josef BARDANASHVILI, Yotam HABER, Shulamit RAN, and Avner DORMAN Associate Conductor CASE SCAGLIONE To Conduct Work by Yotam Haber YOTAM HABER To Host Monday, February 9, 2015, at SubCulture The sixth season of CONTACT!, the New York Philharmonic’s new-music series, continues Monday, February 9, 2015, at 7:30 p.m. at SubCulture, with “New Music from Israel,” featuring musicians from the New York Philharmonic performing a program focusing on chamber music by contemporary Israeli composers: Quasi danza macabra from Josef Bardanashvili’s String Quartet No. 1; Yotam Haber’s Estro poetico–armonico II, conducted by Associate Conductor Case Scaglione; Shulamit Ran’s Mirage for five players; and the New York Premiere of Avner Dorman’s Jerusalem Mix. Yotam Haber will host the concert, introducing each piece. The program is a co-presentation by the New York Philharmonic and 92nd Street Y, which will present Israeli-themed programming throughout the season. The Mary and James G. Wallach Artist-in-Residence Lisa Batiashvili was previously scheduled to perform in Mr. Bardanshvili’s work but has had to withdraw due to scheduling conflicts. The other performers in “New Music from Israel” will include Philharmonic Acting Principal Associate Concertmaster Michelle Kim; violinists Shanshan Yao and Quan Ge; violist Rémi Pelletier; cellists Nathan Vickery and Patrick Jee; flutist Yoobin Son; Associate Principal Oboe Sherry Sylar; Associate Principal Clarinet Mark Nuccio and guest clarinetist Alcides Rodríguez; Associate Principal Bassoon Kim Laskowski; Third Horn Leelanee Sterrett; pianist Eric Huebner; guest alto flutist Helen Campo; and guest bass clarinetist Lino Gomez. “We combine pieces we think speak to each other — sometimes there are obvious reasons, such as all evoking a particular country, as we’ve done this year, but even then, there are also other elusive, not expressible reasons,” Alan Gilbert said. “The richness of the New York Philharmonic musicians’ capacity calls for multiple outlets for their mastery of different styles and expressions.” (more) CONTACT!: “New Music from Israel” / 2 In addition to this concert and the November 2014 program curated and hosted by John Adams, the 2014–15 season of CONTACT! will feature World, U.S., and New York Premieres, as well as seminal works by leading composers, in programs that explore the new-music scene from four different countries. CONTACT! will continue with one more program at SubCulture, co- presented with 92nd Street Y: “New Music from Italy” (May 11, 2015). Two CONTACT! programs will take place at The Metropolitan Museum of Art with Met Museum Presents: “New Music from Nordic Countries,” conducted by Music Director Alan Gilbert and Assistant Conductor Courtney Lewis (March 7, 2015), and “New Music from Japan,” conducted by Jeffrey Milarsky (June 5, 2015). Christopher Rouse, who in 2014–15 is completing his three-year term as The Marie-Josée Kravis Composer-in-Residence, advises the Philharmonic on the CONTACT! series. Artists American conductor Case Scaglione began his tenure as Assistant Conductor of the New York Philharmonic in September 2011, the same year he received the Conductor’s Prize by the Solti Foundation U.S. He made his Philharmonic subscription debut in November 2012, stepping in to lead the opening work on a concert otherwise conducted by Music Director Emeritus Kurt Masur, and in May–June 2013 he led the Orchestra in two works on a program also conducted by Music Director Alan Gilbert. He has also conducted seven New York Philharmonic Young People’s Concerts. In September 2014 he was elevated to Associate Conductor, a position revived for him by Alan Gilbert. This season Mr. Scaglione makes debuts with the Lucerne and Dallas Symphony Orchestras and the Rochester Philharmonic, and returns to the Hong Kong Philharmonic. He made his professional conducting debut with The Cleveland Orchestra in 2010 after being awarded the Aspen Conducting Prize the same year. Since then, he has appeared as a guest conductor with Orchestra of St. Luke’s and the St. Louis, Baltimore, Houston, Colorado, and Jacksonville symphony orchestras, among others. In September 2013 he assisted Andrew Davis on a production of Richard Strauss’s Elektra at the Lyric Opera of Chicago. Mr. Scaglione is a regular visitor to China, where he has given concerts with the Shanghai and Guangzhou Symphony Orchestras and China Philharmonic. Last season he conducted Bach’s Mass in B minor with Madrid’s Orquesta Clásica Santa Cecilia. Mr. Scaglione was music director of the Young Musicians Foundation Debut Orchestra of Los Angeles from 2008 to 2011, when he was the driving force behind the continued artistic growth and diversification of the organization and founded 360° Music, which took that orchestra to inner-city schools. His programs ranged from Wagner to Ligeti and included the orchestra’s first staged opera in almost 60 years as well as the Los Angeles Premiere of John Adams’s Doctor Atomic Symphony, supported by the National Endowment of the Arts. Case Scaglione was a student of David Zinman at the American Academy of Conducting at Aspen, where he won the James Conlon Prize, and was assistant conductor of the Aspen Music Festival and School. In 2011 Mr. Scaglione was one of three conducting Fellows at Tanglewood, chosen by James Levine and Stefan Asbury. He received his bachelor’s degree from the Cleveland Institute of Music, and his post-graduate studies were spent at the Peabody Institute, studying with Gustav Meier. Mr. Scaglione made his New York Philharmonic debut leading a Young People’s Concert in November 2011; his most recent appearance was in November 2014 leading the New York Philharmonic in works by Debussy, Glazunov, and Prokofiev with Joshua Bell as soloist. (more) CONTACT!: “New Music from Israel” / 3 Repertoire Josef Bardanashvili (b. 1948) composed his String Quartet No.1 (1985), commissioned by the Georgian State Quartet, in the classical style, but it also utilizes tango rhythm, quasi-jazz rhythmic patterns, vertical harmonic constructions, and a reference to the Dies irae. Mr. Bardanashvili’s influences include Jewish folk music and sound from Georgian, his homeland, as well as liturgical traditions, jazz, rock, and Western art music. Many of these styles are apparent in this work, and its first movement, Quasi danza macabra, especially features what Mr. Bardanashvili describes as “Oriental-coloured melodic figures,” which he has also likened to the ornamentations popular in Baroque vocal repertoire. Josef Bardanashvili is currently composer- in-residence of the Israel Camerata Jerusalem. Yotam Haber (b. 1977) based his Estro poetico–armonico II (2014, commissioned by the Fromm Foundation) on 50 psalm settings by Benedetto Marcello, a contemporary of J.S. Bach, who was inspired by the liturgical music of the Venetian Jewish community. Mr. Haber was introduced to Marcello’s music while living in Rome, where he also studied archival recordings of Roman cantors from the 1940s. Mr. Haber states: “I was inspired by the Jewish communities of Rome and Venice that were segregated for so many generations since their initial arrival in Italy after the destruction of the second temple in Jerusalem. I imagined that one generation passed on to another these ancient musical traditions, and through a kind of telephone-game- evolution, the music lost or gained its essence on each transference. When I came across the first edition of Marcello’s psalms, I read his introduction with great astonishment and pleasure: he, too, spoke of an imagined musical filament connecting the music sung in the Venetian synagogue of his day with an ‘ancient music sung passed down from Mount Sinai.’ The theory, of course, can never be proved, nor should it be, in order to appreciate the beauty and brilliant inventiveness of his music.” Yotam Haber’s recent commissions include works for Pritzker Prize–winning architect Peter Zumthor, new works for the Alabama Symphony Orchestra, CalArts’s REDCAT, Contemporaneous, Gabriel Kahane, Either/Or, Alarm Will Sound, the 2012 and 2014 Venice Biennales, 2012 Bang on a Can Summer Festival, the Neue Vocalsolisten Stuttgart, Ensemble L’arsenale, FLUX Quartet, JACK Quartet, Cantori New York, the Tel Aviv– based Meitar Ensemble, and the Berlin-based Quartet New Generation. Born in Holland and raised in Israel, Nigeria, and Milwaukee, Mr. Haber is the recipient of a 2013 NYFA award, the 2007 Rome Prize, and a 2005 John Simon Guggenheim Memorial Foundation Fellowship. Shulamit Ran’s Mirage for five players (1990), commissioned by the National Endowment for the Arts Consortium in celebration of the 20th anniversary of the Da Capo Chamber Players, features harmonic and melodic nods to Middle-Eastern music. “Throughout, I aimed for a free- flowing, yet intense, at times incantational style of delivery,” she writes. Mirage had its World Premiere at 92nd Street Y in 1991. A single-movement work composed for five players, Mirage utilizes amplified alto flute in order to add a new timbral coloring to the mix (rather than just amplification for balance). Shulamit Ran is the second female composer to have been awarded the Pulitzer Prize for Music (for her 1990 Symphony). Her music has been performed by the Israel and Amsterdam Philharmonic orchestras; Chicago, Baltimore, and National symphony orchestras; Philadelphia, Cleveland, American Composers, and Jerusalem orchestras; and l’Orchestre de la Suisse Romande and Orchestra of St. Luke’s. Ms. Ran served as composer-in- (more) CONTACT!: “New Music from Israel” / 4 residence of the Chicago Symphony Orchestra for seven seasons, beginning in 1990. She joined the Philharmonic as soloist when the Orchestra presented her Cappriccio for Piano in November 1963, conducted by Pedro Calderon.
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