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Home , Alan Gilbert (conductor), Aus Italien, Giants Are Small, Glenn Dicterow, Joseph Alessi, Lee Holdridge

NEWYORKPHILHARMONIC NEWYORKPHILHARMONIC

“Over our five years together, the New thanks to high-quality, live recordings , Conductor York Philharmonic musicians and I have of more than 30 works. From the Ba- developed a fundamental mutual trust roque grandeur of Handel to the latest , that lets us take risks: this is what makes sounds by Anthony Cheung; from the The Chair always-fresh music-making possible. Our eloquence of Mozart to the power are made even more vibrant of ; from seldom- Recorded live November 14–16, 19, 2013 because of the musicians’ positive and performed masterpieces by Britten to a generous musical spirit, not to mention newly created piece by Mark-Anthony Avery Fisher Hall at for the Performing Arts their unbelievably high level of play- Turnage; plus lots and lots of Beethoven ing.” That is what Alan Gilbert said in — Alan Gilbert and the Philharmonic R. STRAUSS (1864–1949) the middle of the ’s 2013–14 excel in all, and are joined by a stellar ar- , Op. 20 (1888) 18:22 season. This energy is being combined ray of soloists, including , with the Music Director’s quintessential the Mary and James G. Wallach Artist- programs, which explore the widest in-Residence. range of repertoire and combine works These downloads include the pro- Christopher ROUSE (b. 1949) in illuminating ways, to create concerts of gram notes published in each perfor- Oboe (2004; Premiere) 25:10 excitement and beauty. mance’s , and often add to the Sereno — Molto allegro These performances are now avail- official concerts audio recordings of =50 able for download, thanks to Alan Alan Gilbert’s onstage commentaries Subito =176 — =50 Gilbert and the : and encores played by the soloists (The movements are played without pause) 2013–14 season, so that listeners can — all in the highest possible audio LIANG WANG share in the close connection between quality available for download. For the musicians and their audiences in more information about the series, R. STRAUSS Avery Fisher Hall at Lincoln Center visit nyphil.org/itunes. (Thus Spoke Zarathustra), Tone Poem (freely after Friedrich Nietzsche) for Large Orchestra, Op. 30 (1895–96) 24:47 Part One 18:03 Part Two 16:44 GLENN DICTEROW

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This program really celebrates the rich ar- tistic rewards that come from the cultivation of musical partnerships. We welcome back Christopher Rouse in his second season as our Marie-Josée Kravis Composer-in-Res- idence. I’ve long believed that Chris is one of the most important composers working today — his music is not only masterfully crafted but also intensely personal — and it has been fascinating to watch the rela- tionship between composer and orchestra grow even stronger over his first year here. I am so pleased to finally be performing his , which we’d scheduled for performance almost three years ago but had to postpone when a severe winter storm forced us to cancel rehearsals and alter the program. The soloist for these concerts, our Principal Oboe Liang Wang, is responsive and imaginative in his approach to a wide range of music, so it has been wonderful to collaborate with him as well as with Chris as we prepared for these concerts. This program also spotlights Glenn Dicterow, who has been the Philharmonic’s Con- certmaster since 1980. Glenn really is a legend. He is the epitome of what a - master should be: one of the world’s greatest violinists, he brings his incredible musical point of view to everything he plays, and palpably affects the morale of his colleagues in the Orchestra — he has helped make the Philharmonic the ensemble it is today. Many of my memories of hearing him since my childhood are of his performances of the great concertmaster solos, so I was delighted when he answered our question as to what he’d like to play in his last season by choosing Don Juan and Also sprach Zarathustra, two iconic works for the concertmaster. These performances are only part of our celebration of Glenn and his Philharmonic tenure, and I look forward to hearing the warmth of his sound and his impeccable virtuosity throughout his final season with the Orchestra.

5 6 New York Philharmonic

7 8 NOTESONTHEPROGRAM By James M. Keller, Program Annotator

Don Juan, Op. 20 Views and Reviews Also sprach Zarathustra (Thus Spoke Zarathustra), Tone Austro-Hungarian poet Nikolaus Lenau Poem (freely after Friedrich Nietzsche) for Large Orchestra, had produced in 1844. Lenau’s Don Juan Eduard Hanslick, the generally conserva- is a Romantic dreamer, and his compulsion tive, high-handed, and greatly feared music Op. 30 critic of the Neue freie Presse of Vienna, to seduce and desert an endless suc- encountered Strauss’s Don Juan in 1892, cession of women derives from a deeply and launched a subtle attack on the work Richard Strauss In Short Romantic quest for the ever-elusive ideal at hand: — in this case, “to enjoy in one woman all Born: June 11, 1864, in Munich, Germany The tendency is ... to use purely instru- he concept of the , or women, since he cannot possess them as mental music merely as a means of Died: September 8, 1949, in Garmisch Ttone poem, may trace its ancestry to individuals.” This may seem a rationaliza- describing certain things; in short, not the dramatic or depictive overtures of the Work composed and premiered: Don Juan tion for bad behavior, but it was a popular to make music, but to write poetry and early 19th century, such as Mendelssohn’s composed May–September 30, 1888; premiered idea among the Romantics. By way of to paint. Virtuosity in orchestration has November 11, 1889, in , Germany, with become a vampire sapping the creative Fingal’s Cave Overture or Berlioz’s Waver- the composer the Grand Ducal Court precedent one thinks of Liszt’s A Faust power of our composers. ley Overture. As time went by, composers Orchestra. Also sprach Zarathustra composed , with its concluding, ecstatic These outwardly brilliant composi- derived influence from paintings or other 1895–96; score dated August 24, 1896; premiered hymn to “the eternal feminine.” tions are nothing if not successful. I have artworks. The repertoire grew quickly, November 27, 1896, with the composer conducting Strauss traces a series of Don Juan’s seen Wagner disciples talking about the the Frankfurt City Orchestra. Strauss Don Juan with such enthusiasm thanks to impressive contributions by such exploits in this symphonic poem, with that it seemed as though shivers of New York Philharmonic premieres: Don Juan composers as Smetana, Dvorˇák, Musorg- several episodes of love music conveying delight were running up and down their premiered December 15, 1905, , spines. Others have found the thing sky, Tchaikovsky, Saint-Saëns, Franck, and conductor. Also sprach Zarathustra, complete work the disparate characters of the women he repulsive, and this sensation seems to — most impressively — Richard Strauss. premiered November 13, 1908, Wassily Safonoff, conquers. (During a 1904 rehearsal with me more likely to be the right one. This is conductor. In 1886 Strauss produced what might the Symphony, Strauss stopped no “tone painting” but rather a tumult of be considered his first symphonic poem, the orchestra at one point with the ad- brilliant daubs, a faltering tonal orgy, half (it is more precisely a sort of works, in which the poetic idea was really the monishment, “Gentlemen, I must confess bacchanal, half witches’ Sabbath. He who desires no more from an descriptive symphony), and he continued formative element, became henceforward the that I did not intend this passage to be so orchestral piece than that it transport him with hardly a break through the series of guiding principle for my own symphonic work. beautiful; that woman was just a to the dissolute ecstasy of a Don Juan, that many feel represent the tramp!”) Don Juan meets his inevitable panting for everything feminine, may well genre at its height: (1886–88), Don Juan falls near the beginning of doom with a violent crash in the orchestra find pleasure in this music, for with its Don Juan (1888), Todund Verklärung (also Strauss’s procession of tone poems, pre- representing the thrust of a sword being exquisite skillfulness it achieves the de- sired objective in so far as it is musically 1888–89), Till Eulenspiegels lustige St- ceding Also sprach Zarathustra by a good run through him by a father avenging the attainable. The composer may thus be reiche (1894–95), Also sprach Zarathustra seven years, and it is the first of his com- death of one of the Don’s victims; his life compared with a routined chemist who (1895–96), (1896-97), Ein positions to reveal his distinct symphonic slips away via a discordant note on the well understands how to mix all the ele- Heldenleben (1897–98), and Symphonia personality. The extra-musical impetus for . Thus the piece achieves its final ments of the musical-sensual stimulation to produce a stupefying “pleasure gas.” Domestica (1902–03), with Eine Alpen- this work was Don Juan, the famous wom- tableau. For my part, I prefer, with all due homage symphonie (1911–15) arriving as a late anizer of legend, whose libertine exploits to such chemical skill, not to be its victim; pendant. He was drawn to the idea (as he were apparently born in popular literature Strauss immersed himself in the writings nor can I be, for such musical narcotics would recall in his memoirs) of the 16th century and then embroidered of Friedrich Nietzsche in the early 1890s simply leave me cold. through generations of poets, playwrights, and was impressed by the philosopher’s at- that new ideas must search for new forms; and novelists. Strauss based his symphon- tacks on formalized religion, which mirrored this basic principle of Liszt’s symphonic ic poem on a version of the tale that the his own opinions. Nietzsche’s philosophy 9 10 NOTESONTHEPROGRAM (continued) had just reached its mature formulation Who Come Later,” the discrepancy coming From a Friend and Critic then, as articulated in his four-part treatise from an apparent misprint in the score Also sprach Zarathustra (published whereby Nacht-wandlerlied is misspelled The French author and critic Romain Rolland (1866–1944) attended the premiere 1883–85). In this work, the philosopher as Nachwandlerlied. The consensus is that of Also sprach Zarathustra and remarked of its composer: speaks in a prose narrative (as opposed to the former is correct. the formalized style of traditional philosoph- The whole of him is to be found in this work, his highly poetic aspirations, and that harmonic and orchestral audacity which, in 1897 [sic], was shocking to ical treatises) through the voice of Zara- Instrumentation: Don Juan employs those neo-classical circles beyond the Rhine whose gods were Brahms and thustra, a fanciful adaptation of the Persian three (one doubling piccolo), two the famous violinist Joachim. prophet Zoroaster, who spends years medi- and English , two , two tating on a mountaintop and then descends and , four horns, In an 1899 essay on Strauss, he summarized the “narrative” of this tone poem: to share his insights with the world. Most of three , three , , In it man is seen, at first crushed the catch-phrases popularly associated with , , orchestra bells, triangle, by the enigma of nature, searching Nietzsche — “God is dead,” “Will to Power,” harp, and strings. Also sprach Zarathustra for a refuge in faith; then, rebelling “Übermensch” or “Superman” — appear as calls for three flutes (one doubling piccolo) against ascetic ideas, plunging touchstones in these volumes. Nietzsche’s and piccolo, three oboes and English horn, madly into the passions; soon sated, nauseated, tired to death, he ideas went to the heart of human existence two clarinets plus E-flat and bass tries learning, then rejects it, and and aspiration, which he viewed (quite pes- clarinet, three bassoons and contrabas- succeeds in freeing himself from simistically) as an endless process of self- soon, six horns, four trumpets, three the anxiety of knowledge; finally he aggrandizement and self-perpetuation, over trombones, two , timpani, , finds his release in laughter, master which the much heralded achievements of cymbals, triangle, orchestra bells, chime, of the world, the blissful dance, civilization — morality, religion, the arts — two harps, organ, and strings. the dance of the universe, into stand merely as pleasant distractions from which all human sentiments enter: religious beliefs, unsatisfied desires, the underlying reality of humanity. passions, disgust, and joy. “Lift up Strauss wrote to his friend Romain Rol- your hearts, brothers, high, higher! land that Nietzsche’s text was “the starting And don’t forget your legs, either! I point, providing a form for the expression have canonized laughter; supermen, and the purely musical development of learn to laugh!” [Rolland is quoting emotion.” Nonetheless, a sort of narrative Nietzsche.] Then the dance moves away, and is lost in the ethereal does exist, and following the stentorian regions. Zarathustra disappears, Richard Strauss, ca. 1904 fanfares of the work’s immensely famous dancing beyond the worlds. But he has not solved the enigma of the world for introduction, textual indications inscribed other men: therefore, in contrast to the harmony of light which characterizes in the score punctuate the sections of him, is set the sad note of interrogation, with which the poem closes. the piece’s narrative: “Of Those of the Unseen World,” “Of the Great Longing,” “Of Joy and Passions,” “The Dirge,” “Of Science,” “The Convalescent,” “Dance Song,” “Night Wanderer’s Song.” This last is sometimes given as “Song of Those

11 1212 NOTESONTHEPROGRAM (continued)

Oboe Concerto In Short have emerged as a particu- In the Composer's Words lar interest for Rouse. In addition to his Christopher Rouse Born: February 15, 1949, in Baltimore, Maryland Unlike some of my other concerti, there Concerto and , a is no overt program to this piece. It aims, Resides: in Baltimore concerto premiered by the Philharmonic in of course, to explore the capabilities of hristopher Rouse, who is in his second Work composed: 2004, on commission from 1999 with Emanuel Ax, he has produced the oboe, of which the first in everyone’s the Minnesota Orchestra, in celebration of that mind is its capacity to play long, lyrical season as The Marie-Josée Kravis concertos for (introduced by Yo-Yo C orchestra’s centennial lines. However, to compose a score that Composer-in-Residence at the New York Ma), (for Carol Wincenc), clarinet would only concern itself with this aspect World premiere: February 5, 2009, at Orchestra Hall Philharmonic, is among the most respected (first played by Larry Combs), percus- of the oboe would be to deny the instru- in Minneapolis, Minnesota, by the Minnesota Orchestra, ment’s more virtuosic attributes, and so composers of his generation, noted for Osmo Vänskä, conductor, Basil Reeve, soloist sion (Der gerettete Alberich, premiered by there are plenty of moments when the works of compulsive rhythm, vivid color, and Evelyn Glennie), and trumpet (Heimdall’s New York Philharmonic premiere: these soloist is asked to play music requiring catholicity in bringing together the traditions performances, which mark the New York premiere Trumpet, composed on commission from substantial agility. Notwithstanding the fast of classical and popular music. He gradu- the Chicago Symphony Orchestra and — sometimes extremely fast — music that ated from Oberlin College Conservatory of premiered in 2012), as well as others for abounds in the work, I feel that there is an overall feeling of coloristic romanticism in Music in 1971 (and was awarded an honor- Letters Award in Music, and in 2002 the guitar and . the concerto, especially in the central slow ary doctorate 25 years later). He studied Academy elected him to its membership. The composer has observed that his movement. privately with for two years Also in 2002 Rouse’s Concert de Gaudí, concertos tend to fall into two catego- It is cast in the more or less traditional and then pursued composition studies with a guitar concerto, won the Grammy Award ries: “somber” (e.g., trombone, cello) and three-movement mold (fast — slow — fast), with brief and rather static slow sections at Karel Husa and Robert Palmer at Cornell for Best Classical Contemporary Composi- “genial” (guitar, clarinet). He describes his the beginning and end providing a frame for University, which awarded him a doctoral tion. He was named Musician of the Year by Oboe Concerto as falling into the “genial” the piece. Much of the musical material in the degree in 1977. Also influential was the Musical America (2009), which particularly family: concerto is derived from the five-note chord composer , past president noted his skill as a composer of symphonic played by the strings at the very opening. As the music progresses, this chord undergoes I used to employ the term “recreational” to re- of The and a founder of scores. He has served as composer-in-res- a variety of metamorphoses, being used to Lincoln Center. idence for the Indianapolis, Baltimore, and fer to works of this type, until I realized that it generate both melodic and further harmonic Rouse went on to teach at the University Pittsburgh symphony , as well as would be wrong to create the impression that content. of Michigan, the Eastman School of Music, at the Santa Cecilia and Schleswig-Holstein composing them was a form of recreation. It and Juilliard (where he has served on the Festivals (both of these at the invitation of isn’t. It’s hard work! faculty since 1997, full-time since 2002). ), the festival, In 1988 he received the Kennedy Center Pacific Music Festival, and Aspen Music Instrumentation: two flutes and pic- Friedheim Award for his Symphony No. 1, Festival and School. colo (doubling alto flute), two clarinets, and in 1993 he was awarded the Pulitzer Rouse’s music has been programmed by two bassoons, two horns, two trumpets, Prize for Music for his Trombone Concerto, every major American orchestra in addi- three trombones, xylophone, temple block, one of the New York Philharmonic’s 150th tion to many of the principal orchestras of claves, , tam-tam, orches- Anniversary Commissions, which was Europe, Australia, and Asia. In June 2014 the tra bells, guiro, , tom-toms, premiered by the Orchestra and Principal Orchestra will unveil his Symphony No. 4 as suspended , Chinese cymbal, Trombone . part of the NY PHIL BIENNIAL. This April bass drum, wood block, harp, celesta, and In that same year Rouse was honored the Pittsburgh Symphony Orchestra will strings, in addition to the solo oboe. with an American Academy of Arts and introduce his orchestral work .

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

15 16 THEMUSICDIRECTOR

New York Philharmonic Music Direc- Times as among the Best Classical tor Alan Gilbert began his tenure in Music Recordings of 2012. The Music September 2009. The first native New Director will preside over the ASIA / Yorker to hold the post, he has sought WINTER 2014 tour, featuring Artist-in- to make the Orchestra a point of pride Residence Yefim Bronfman performing for the city and country. “He is building ’s No. a legacy that matters and is helping to 2, Composer-in-Residence Christo- change the template for what an Ameri- pher Rouse’s , and Alan Gilbert can orchestra can be,” The New York narrating Britten’s The Young Person’s Times praised. Guide to the Orchestra in Japanese at a Mr. Gilbert and the Philharmonic Young People’s Concert in Tokyo. have forged important artistic partner- Last season’s highlights included ships — establishing The Marie-Josée Bach, Ives, and Dallapiccola, and, during Kravis Composer-in-Residence and The the EUROPE / SPRING 2013 tour, Mary and James G. Wallach Artist-in- participating in the Vienna Konzerthaus’s Residence — and introduced CON- centennial and performing Lindberg’s TACT!, the new-music series; an annual, Kraft and Rouse’s Prospero’s Rooms at multi-week festival; and, beginning in the Volkswagen Transparent Factory. the spring of 2014, the NY PHIL BIEN- The season concluded with A Dancer’s Christopher Rouse, and compos- Amsterdam’s Royal Concertgebouw NIAL, an exploration of today's music Dream, a multidisciplinary reimagin- ers featured on !; Mahler’s Orchestra, Leipzig Gewandhaus Or- by a wide range of contemporary and ing of Stravinsky’s The Fairy’s Kiss and Second Symphony, Resurrection, on A chestra, and Berlin Philharmonic. modern composers. , created by Concert for New York on September Alan Gilbert’s acclaimed 2008 Met- In the 2013–14 season Alan Gilbert and starring Ballet prin- 10; Mr. Gilbert’s Philharmonic debut as ropolitan debut, leading John conducts Mozart’s three final sympho- cipal dancer Sara Mearns. A film of the violin soloist in J.S. Bach’s Concerto for Adams’s Doctor Atomic, received a nies; the score from 2001: A Space Od- production is being screened in movie Two Violins; five concerts at Carnegie 2011 Grammy Award for Best Opera yssey as the film was screened; the U.S. theaters in the U.S. and internationally. Hall; five tours to Europe; and the Asia Recording. Renée Fleming’s recent Premiere of Mark-Anthony Turnage’s High points of Mr. Gilbert’s first three Horizons tour. Decca recording Poèmes, on which Frieze coupled with Beethoven’s Ninth Philharmonic seasons included the In September 2011 Alan Gilbert he conducted, received a 2013 Symphony; world premieres; an all-Brit- critically celebrated productions of became Director of Conducting and Grammy Award. He studied at Har- ten program celebrating the composer’s Ligeti’s Le Grand Macabre (2010) and Orchestral Studies at The Juilliard vard University, The Curtis Institute of centennial; and a staged production Janácek’s The Cunning Little Vixen School, where he is the first to hold the Music, and Juilliard and was assistant of Sondheim’s Sweeney Todd starring (2011) — both cited as the top cultural William Schuman Chair in Musical Stud- conductor of The Cleveland Orches- Bryn Terfel and Emma Thompson. He events of their respective years — and ies. Conductor laureate of the Royal tra (1995–97). His accolades include also continues The Nielsen Project, Philharmonic 360 (2012), the ac- Stockholm Philharmonic Orchestra and an Honorary Doctor of Music degree the multi-year initiative to perform and claimed spatial music program featuring principal guest conductor of Hamburg’s from Curtis and Columbia University’s record the Danish composer’s sympho- Stockhausen’s Gruppen. Other high- NDR Symphony Orchestra, he regu- Ditson Conductor’s Award for his nies and concertos, the first release lights include World Premieres of works larly conducts leading ensembles such commitment to performing American of which was named by The New York by Magnus Lindberg, , as the Boston Symphony Orchestra, and contemporary music.

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Mr. Wang began oboe studies at the age he performed Bernstein’s Serenade with of seven. In 1993 Liang Wang enrolled the Curtis Symphony Orchestra in Isaac at the Central Conservatory, and Stern at Eighty: A Birthday Celebration at two years later became a full-scholarship . Mr. Dicterow is featured in student at the Idyllwild Arts Academy in the violin solos in Richard Strauss’s Ein . He received his bachelor’s de- Heldenleben and Also sprach Zarathustra gree from The Curtis Institute of Music, with Zubin Mehta for CBS Records and studying with Orchestra has recorded works by Wieniawski and principal oboist Richard Woodhams. He with Zubin Mehta and the was also a fellowship recipient at the Philharmonic; Lee Holdridge’s Violin Aspen Music Festival and School and at Concerto with the London Symphony the Music Academy of the West, where Orchestra, conducted by the composer; he was a Career Grant recipient. and Shostakovich’s No. 1 Mr. Wang was a prizewinner at the with the New York Philharmonic. His most Liang Wang joined the New York Phil- 2003 Fernard Gillet International Oboe Glenn Dicterow made his solo debut at recent CD is a recital on Cala Records’ harmonic in September 2006 as Principal Competition and the 2002 Tilden Prize the age of 11 in Tchaikovsky’s Violin Con- New York Legends series. Glenn Dicterow Oboe, The Alice Tully Chair. Previously, Competition. He has appeared with the certo with the . is on the faculty of The Juilliard School he was principal oboe of the Cincinnati Santa Fe Chamber and Angel Fire Music His honors include the Young Musicians and the School of Music. In Symphony Orchestra, , and Festivals. He has been a soloist with the Foundation Award, Coleman Competition September 2013 he became the first to Ballet Orchestra, as well as San Francisco Ballet Orchestra, and has Award, Julia Klumpke Award, and Bronze hold the Chair in Strings associate principal oboe of the San Fran- given master classes at the Cincinnati Medal in the International Tchaikovsky and Chamber Music at the University of cisco Symphony. Born in Qing Dao, , Conservatory; he is on the faculties of Competition. Mr. Dicterow appears as Southern California’s Thornton School of his mother was an amateur singer and the Manhattan School of Music and New soloist with orchestras around the world; Music. his uncle a professional oboist with whom York University.

19 20 NEWYORKPHILHARMONIC

Founded in 1842 by a group of local nus Lindberg’s Piano Concerto No. 2; and, and is currently represented by The New musicians led by American-born Ureli as of the end of the 2012–13 season, 22 York Philharmonic This Week — syndicated Corelli Hill, the New York Philharmonic works in CONTACT!, the new-music series. nationally 52 weeks per year and available is by far the oldest symphony orchestra in The roster of composers and conductors at nyphil.org. Its television presence has the , and one of the oldest who have led the Philharmonic includes continued with annual appearances on Live in the world. It currently plays some 180 such historic figures as Theodore Thomas, From Lincoln Center on PBS, and in 2003 concerts a year, and on May 5, 2010, gave Antonín Dvoˇrák, (Music it made history as the first orchestra ever to its 15,000th concert — a milestone un- Director, 1909–11), , Rich- perform live on the Grammy awards. Since matched by any other symphony orchestra. ard Strauss, (Music 1917 the Philharmonic has made almost Alan Gilbert began his tenure as Music Director, 1922–30), Wilhelm Furtwängler, 2,000 recordings, and in 2004 it became Director in September 2009, the latest in (Music Director, 1928–36), the first major American orchestra to offer a distinguished line of musical giants that , , Bruno downloadable concerts, recorded live. The has included Lorin Maazel (2002–09); Kurt Walter (Music Advisor, 1947–49), Dimitri Philharmonic’s self-produced recordings Masur (Music Director 1991–2002; Music Mitropoulos (Music Director, 1949–58), continue with Alan Gilbert and the New York Director Emeritus since 2002); Zubin Meh- , (Music Philharmonic: 2013–14 Season. ta (1978–91); Pierre Boulez (1971–77); Advisor, 1969–70), and . The Orchestra has built on its long-run- and Leonard Bernstein (appointed Music Long a leader in American musical life, ning Young People’s Concerts to develop a Director in 1958; given the lifetime title of the Philharmonic has become renowned wide range of education programs, includ- Laureate Conductor in 1969). around the globe, having appeared in 432 ing Very Young People’s Concerts, for Since its inception the Orchestra has cities in 63 countries on five continents. In pre-schoolers; School Day Concerts, with championed the new music of its time, 2009 the Orchestra, led by Music Direc- supporting curriculum for grades 3–12; commissioning or premiering important tor Alan Gilbert, made its Vietnam debut. the School Partnership Program, enrich- works such as Dvoˇrák’s Symphony No. 9, Its historic performance in , ing music education in New York City; From the New World; Rachmaninoff’s D.P.R.K., received the 2008 Common Very Young Composers, enabling students Piano Concerto No. 3; Gershwin’s Con- Ground Award for Cultural Diplomacy. In to express themselves through original certo in F; and Copland’s , 2012 the Orchestra became an Interna- works; Learning Overtures, fostering in addition to the U.S. premieres of works tional Associate of London’s Barbican. The international exchange among educators; such as Beethoven’s Nos. 8 ASIA / WINTER 2014 tour, with appear- and online resources used in homes and and 9 and Brahms’s Symphony No. 4. This ances in Japan and South Korea, includes classrooms around the world. pioneering tradition has continued to the performances of music by The Marie-Josée Credit Suisse is the Global Sponsor of present day, with works of major contem- Kravis Composer-in-Residence Christopher the New York Philharmonic. porary composers regularly scheduled Rouse, performances by The Mary and each season. These include ’s James G. Wallach Artist-in-Residence Ye- Pulitzer Prize–and Grammy Award–winning fim Bronfman, and Alan Gilbert’s narration On the Transmigration of Souls; Christopher of Britten’s The Young Person’s Guide to the Rouse’s Prospero’s Rooms; Melinda Wag- Orchestra in Japanese. ner’s Trombone Concerto; Wynton Marsalis’s A longtime media pioneer, the Philhar- Swing Symphony (Symphony No. 3); Mag- monic began radio broadcasts in 1922

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Executive Producer: Vince Ford Producers: Lawrence Rock and Mark Travis Recording and Mastering Engineer: Lawrence Rock

Photos of Alan Gilbert and the New York Philharmonic: Chris Lee

Christopher Rouse’s Oboe Concerto courtesy Boosey & Hawkes

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

Major support provided by the Francis Goelet Fund.

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

Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, the National Endowment for the Arts, and the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature.

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

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

Exclusive Timepiece of the New York Philharmonic

23 24 Performed, produced, and distributed by the New York Philharmonic © 2014 New York Philharmonic

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