12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:11 PM Page 1
Friday Evening, December 14, 2018, at 7:30 Isaac Stern Auditorium/Ronald O. Perelman Stage
RUSSIAN EVOLUTION: FROM RIMSKY-KORSAKOV TO GLIÈRE
LEON BOTSTEIN, Conductor
Performance #108: Season 4, Concert 14
NIKOLAI Symphony No. 1, Op. 1 (1861–65, rev. 1884) RIMSKY-KORSAKOV Largo assai—Allegro (1844–1908) Andante tranquillo Scherzo: Vivace—Trio Allegro assai
Intermission
REINHOLD GLIÈRE Symphony No. 3, Op. 42 (“Ilya Muromets”) (1875–1956) (1908–11) Wandering Pilgrims—Ilya Muromets and Svyatogor (Andante sostenuto— Allegro risoluto) Solovey the Brigand (Andante) At the Court of Vladimir, the Mighty Sun (Allegro) The Heroism and Petrification of Ilya Muromets (Allegro tumultuoso—Andante)
This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission.
PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:11 PM Page 2
We dedicate this concert to the memory of
HAROLD FARBERMAN
Harold Farberman was a distinguished conductor, composer, and percussionist, as well as a tireless advocate on behalf of young conductors. In the 1970s, while serving as a member of the American Symphony Orchestra League, he estab - lished conducting workshops for those just starting out. At the 1975 American Symphony Orchestra League conference, he proposed the creation of an associa - tion of conductors; the following year the Conductors Guild became a reality, and Farberman served two terms as its first president. He published a textbook, The Art of Conducting Technique , and, in 1999, brought the Conductor’s Institute to Bard College as a summer program. Later he became co-director of the Gradu - ate Conducting Program of the Bard College Conservatory of Music, and contin - ued to teach conducting students until his death.
He began his studies as a percussionist at The Juilliard School of Music and joined the Boston Symphony Orchestra in 1952 as a percussionist/timpanist. At the time he was the youngest player to ever become a full-time member of the orchestra. After 12 years he resigned to devote his energy to conducting and composing. In 1966 he was appointed principal guest conductor of the Denver Symphony Orchestra; subsequently, he became music director and conductor of the Colorado Springs Symphony and Oakland Symphony Orchestra, and principal guest con - ductor of the Bournemouth Sinfonietta in Great Britain.
During his career as a conductor, he worked with many of the world’s leading orchestras. He led, among others, the London Symphony, Royal Philharmonic, Philharmonia, BBC Symphony, English Chamber Orchestra, Bournemouth Sym - phony, Stockholm Philharmonic, Danish Radio Orchestra, Swedish Radio Orches - tra, Hessischer Rundfunk, BRT Philharmonic Orchestra (Brussels), Orchestre National de Lille, RAI National Symphony in Rome, Mozarteum Orchestra, Hong Kong Philharmonic, KBS Symphony (South Korea), Sydney and Melbourne Sym - phonies (Australia), and Puerto Rico Symphony.
Farberman recorded more of Charles Ives’ works than any other conductor and, as a result, he was honored with the Ives Award from the Charles Ives Society. The December 1993 issue of the American Record Guide listed his recordings with the 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:11 PM Page 3
London Symphony Orchestra of Mahler’s Symphonies Nos. 2, 5, and 6 as among the best ever recorded. His recording of the complete symphonies of Michael Haydn, recorded with the Bournemouth Sinfonietta for MMG Records, received acclaim from The New York Times and High Fidelity magazine. His recording of Glière’s Ilya Muromets with the Royal Philharmonic, on the Unicorn label, received the Saint Cecilia Award, Belgium’s highest recording award.
A prolific composer, Farberman counted orchestral works, chamber music, concer - tos, ballet music, film scores, song cycles, and three operas among his composi - tions. His opera The Losers was commissioned by The Juilliard School of Music and premiered in 1971 at Juilliard Opera Theater, Lincoln Center. His chamber opera Diamond Street premiered at the Hudson Opera House in October 2009; it was commissioned by the City of Hudson, New York, for the Hudson Fulton Champlain Quadricentennial. Most recently, he updated his opera Medea , which premiered at Bard in March 2015.
Donations in his memory may be made to the Farberman Fund of the Bard College Conservatory of Music, either by mail or online at annandaleonline.org/conservatory. 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:11 PM Page 4
Notes ON THE MUSIC
NIKOLAI RIMSKY-KORSAKOV Symphony No. 1, Op. 1 M A
T interfered, and at the age of 18 he T
D began a three-year tour with only an ini - I N
E tial draft of the symphony’s first and final movements. He initially preferred the company of his composition to that of his fellow seamen and wrote the second movement of his symphony while at sea, dutifully stopping to buy additional scores at port cities to further his self- taught studies. Quickly, though, the won - ders of the world took hold of him. For the first time he experienced London, Rio de Janiero, and Niagara Falls. He absorbed the writings of Goethe, Schiller, and Homer, and returned home to St. Petersburg in 1865 to compose the third - TON’s Emily Melendes on Rimsky- movement of his symphony, the Scherzo . Korsakov’s Symphony No. 1, Op. 1 Balakirev edited and polished the work, and by December 31 of that same year In the Navy Balakirev conducted and premiered the Rimsky-Korsakov’s Symphony No. 1 symphony at his Free School of Music. has perhaps the strangest origin story of any musical work I’ve performed. The First “Russian Symphony” Born in Russia, Rimsky-Korsakov was Rimsky-Korsakov’s friends hailed the fascinated by music from early boy - work as the first truly Russian sym - hood; he marveled at the wonders of phony due to Rimsky-Korsakov’s use opera, learned to play the piano, and of Russian folk melodies and his avoid - even began writing compositions at the ance of traditionally German composi - age of ten. When he turned 17, how - tional techniques. I find it interesting, ever, his family decided piano lessons though, that the first “Russian sym - should take a back seat to a career in phony” came about through Rimsky- the Russian navy. His former piano Korsakov’s tour of the wider world, teacher suggested he study theory and and I enjoy looking at his work through composition in lieu of an instrument, a this lens. The piece brims with youthful path that in 1861 led him to Mily exuberance and pizzazz, and while per - Balakirev, who would become Rimsky- haps lacking the sophisticated compo - Korsakov’s mentor and collaborator. sitional mastery of his later works, to Balakirev gave the fledgling composer a me it tells a tale of adventure and dis - monumental initial challenge: write an covery, one rife with Russian identity entire symphony. Rimsky-Korsakov set and tender recollections of home. about this task eagerly, but naval duty From the bombastic statement of the 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:11 PM Page 5
first move ment, to the swelling sincer - Rimsky-Korsakov’s Symphony No. 1 is ity of the second, the frenzied energy of a treat both to hear and to perform. I the Scherzo , and the densely packed hope you enjoy its creativity and imag - resplendency of the fourth movement, ination as much as I have.
REINHOLD GLIÈRE Symphony No. 3, Op. 42 (“Ilya Muromets”)
- M A
TON’s Denis Savelyev on Glière’s T T
Symphony No. 3, Op. 42 (“Ilya D I N
Muromets”) E
The Story “Ilya Muromets” is Glière’s most mon - umental orchestral composition. The basis of the story is the epic tale The Tale of the Bogatyr Ilya Muromets – A Peasant’s Son . Muromets is a famous folk hero of ancient Kievan Rus’, and is associated with an actual historical figure: the medieval warrior and monk Ilya Pechersky. Glière , who studied with Rimsky-Korsakov, taught at the Moscow Conservatory, Gnesin Insti - tute, and Kiev Conservatory, where his who hides in the shelter of the mighty students included Sergei Prokofiev. oaks of a threatening forest. Ilya shoots His third symphony achieved huge an arrow into Solovey’s eye, ties him to popularity in Russia and around the his horse, and rides to the court of world. A massive, multi-movement Prince Vladimir in Kiev . tone poem, the symphony is written in four t ableaux (movements). At the Court of Vladimir, the Mighty Sun Wandering Pilgrims—Ilya Muromets Tableaux III has an absolutely differ - and Svyatogor ent, dancing feel. Ilya appears with Tableaux I begins with portentous and Solovey still tied to his horse, but slow music representing the early child - releases him upon arrival at court. All hood of Muromets, crippled and unable the guests fall to their knees with fear, to walk since birth, until he is healed by but Ilya beheads the monster, demon - some wandering pilgrims. The second strating to Prince Vladimir that he is section of this movement is about our worthy to be a bogatyr, which is similar hero meeting a new friend, Svyatogor, to a knight. who teaches Ilya about wisdom. The music changes as Svyatogor dies, then The Heroism and Petrification of Ilya Ilya rides off on his horse to Kiev. Muromets The final movement shows Ilya’s and Solovey the Brigand his fellow bogatyrs’ battles against The second movement is about Ilya those who are trying to turn the country capturing the dreaded monster Solovey back to paganism. The last section of the Brigand, or Nightingale the Robber, the movement depicts the defeat of Ilya 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:11 PM Page 6
and the bogatyrs. All of the bogatyrs music reaches its climax in minor are haughty over their victories in bat - chords, then slowly evaporates. The tle until a celestial army comes down symphony is filled with emotion and to earth and defeats them. Ilya tries to contemplation , conveying a heroic and run away and turns into stone. The beautiful story.
THE Artists
LEON BOTSTEIN, Conductor M A
Leon Botstein brings a renowned T T
career as both a conductor and educa - D I N
tor to his role as music director of The E Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic co-directo r of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11, and is now conductor laure - ate. This year he assumed artistic direc - torship of the Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous record - received many honors for his contribu - ings, and is a prolific author and music tions to music. historian. He is the editor of the presti - gious The Musical Quarterly , and has More info online at leonbotstein.com. 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:11 PM Page 7
THE ORCHESTRA NOW D A V I D
D E N E E
The Orchestra Now (T N) is a group Conductor, educator, and music historian Ō of vibrant young musicians from Leon Botstein founded T N in 2015 as a Ō across the globe who are making master’s degree program at Bard College, orchestral music relevant to 21st-cen - where he also serves as president. The tury audiences. They are lifting the orchestra is in residence at Bard’s Richard curtain on the musicians’ experience B. Fisher Center for the Performing Arts, and sharing their unique personal performing multiple concerts there insights in a welcoming environment. each season as well as taking part in the Hand-picked from the world’s leading annual Bard Music Festival. They also conservatories—including The Juilliard perform regularly at the finest venues in School, Shanghai Conservatory of New York, including Carnegie Hall, Lin - Music, Royal Conservatory of Brussels, coln Center, The Metropolitan Museum and the Curtis Institute of Music—the of Art, and others across New York City members of T N are not only thrilling and beyond. The orchestra has per - Ō audiences with their critically acclaimed formed with many distinguished conduc - performances, but also enlightening tors, including Fabio Luisi, Neeme Järvi, curious minds by giving on-stage intro - Gerard Schwarz, and JoAnn Falletta. ductions and demonstrations, writing concert notes from the musicians’ per - We invite you to get to know T N Ō spective, and having one-on-one discus - and discover music in the making! sions with patrons during intermissions. Explore upcoming concerts, see what our musicians have to say, and more at theorchestranow.org. 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:11 PM Page 8
THE ORCHESTRA NOW Leon Botstein, Music Director
Violin I Bass William Loveless VI Cello Coline Berland, Mariya-Andoniya Jamie Sanborn Theo Zimmermann Concertmaster Andonova- Ethan Brozka Leonardo Pineda Henderson, Bass Sophia Bernitz Principal Trumpet Kaden Henderson Jiayu Sun Zhenyuan Yao Anita Tóth, Justin Morgan Stuart McDonald Luke Stence Principal 1 Jacques Gadway Joshua Depoint Guillermo García Flute Drew Youmans Cuesta, Principal 2 Adrienn Kantor 2 Clara Engen Flute Diego Gabete- Leah Stevens, Trombone Oboe Rodriguez Principal 1 Matt Walley, Teresa Lin 2 Denis Savelyev, Principal Violin II Principal 2 Federico Ramos, Bassoon Weiqiao Wu, Matthew Ross, Bass Trombone William Beecher 2 Principal Piccolo 2 Gaia Mariani Tuba Horn Ramsdell Oboe Dan Honaker Daniel Salera 2 Gerg Tóth James Jihyun Kim, Cameron West 2 Dilloőn Robb Principal 1 Timpani Emma Reber 2 Yuqian Zhang Regina Brady, Miles Salerni Thea Humphries, Yurie Mitsuhashi Principal 2 Assistant 2 Linda Duan ( on leave ) Kelly Mozeik, Percussion English Horn 2 William Kaufman Trumpet Viola Tomasz Kowalczyk Angela Gosse 2 Batmyagmar Clarinet James Lake 2 Erdenebat, Rodrigo Orviz Harp Principal Pevida, Principal 1; Emily Melendes, Trombone Emmanuel Koh Bass Clarinet 2 Principal Ron Hay Leonardo Vásquez Viktor Tóth, Benjamin Oatmen, Chacón Principal 2 Bass Trombone 2 Lucas Goodman Micah Candiotti- Guest Musicians Pacheco Percussion Cello Ye Hu Violin I Charles Kiger 2 Lauren Peacock, Brendan Speltz Thomas Mulvaney 2 Principal Bassoon Ragga Petursdottir Yuri Yamashita 2 Kelly Knox Matthew Gregoire, Simon Bilyk Kyle Anderson Principal 1 Harp Alana Shannon Adam Romey, Violin II Madeline Olson 2 Lucas Button Principal 2 Wei Tan Sarah Schoeffler Carl Gardner, Robin Braun Celeste Cameron Collins Contrabassoon 2 Jessica Belflower Sindy Yang 2 Zhilin Wang Horn Viola Emily Buehler, Junah Chung 1 Rimsky-Korsakov Principal 1 William Hakim 2 Glière Luke Baker, Joanna Mattrey Principal 2; Gabrielle Skinner Assistant 1
Members of T N can be identified by their distinctive blue attire. Ō 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:12 PM Page 9
– MEET THE T ON Musicians CLARA ENGEN, Violin M A
Clara will talk briefly about Rimsky- T T
Korsakov’s Symphony No. 1, Op. 1 on D I N
stage before the performance. E
Hometown: Minneapolis, MN Alma mater: Oberlin College and Con - servatory What is your earliest memory of classi - cal music? I started violin at the age of eight after I found my mom’s old violin from high school underneath her bed. Which composer or genre of music do you feel you connect with the most? In classical music I connect with Dvo ák ř the most, especially his chamber music; his writing has the capability of being contemplative and serious, but also extremely bubbly and joyful. or librarian—one of my favorite things What is some advice you would give to about performing music is digging up your younger self? Don’t limit yourself interesting pieces of history and personal by thinking you’re not good enough to connections to pieces. If I can’t do that in do something—instead, reach for what music, I’d be doing it in another field. you really want and you will eventu - Piece of advice for a young classical ally achieve your goals through hard musician: PRACTICE! But also, I work and sheer force of will! Also, heard this piece of advice in a master stop slouching. class: “Nothing good is done without If you weren’t a musician, what would passion, but nothing excellent is ever you be doing? I’d definitely be a historian achieved through passion alone.” 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:12 PM Page 10
EMMANUEL KOH, Viola M A
T Appearances: Bowdoin International T
D Music Festival, 2012; Montecito Inter - I N
E national Music Festival, 2011 Favorite piece to play: Richard Strauss’ Death and Transfiguration Favorite obscure piece: Erik Satie’s Embryons desséchés Favorite composer fact: Erik Satie wrote a song about a sea cucumber. Favorite musical memory: Sometimes when I take my viola out of a case, it’s already in tune. #soundslikespringtime Which composer would have had the best social media: Franz Liszt. Apparently, women would scream and faint when Emmanuel will talk briefly about he performed. Glière’s Symphony No. 3, Op. 42 Favorite fact about your instrument: (“Ilya Muromets”) on stage before Playing the viola is like playing the vio - the performance. lin, but with the difficulty setting turned up to “hardcore.” Home countries: Singapore and Malaysia Musical guilty pleasure: K-pop Alma maters: University of Michigan, University of Akron
THE T O–N FUND WE’VE BROUGHT MUSIC TO MORE THAN 35,000 NEW YORKERS IN ALMOST 100 CONCERTS THANKS TO SUPPORT FROM DONORS LIKE YOU!
Inspire Greatness! Support the next generation of great performers—more than 60 players from 14 countries around the globe—as they learn to communicate the transformative power of music to 21st-century audiences.
Your gift allows us to share music with the communities who need it most: • Live concerts at Coxsackie, Fishkill, and Woodbourne correctional facilities • One-on-one mentoring for low-income students in NYC • Outreach to public schools, senior homes, and community service agencies • Free concerts for children and families in NYC, the Hudson Valley, and beyond
There’s simply no other music degree program like T N. Help us to inspire great - Ō ness by making a contribution today!
TO DONATE: Text TON to 41444 Visit THEORCHESTRANOW.ORG/SUPPORT Call 646.244.8028 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:12 PM Page 11
THE T O- N FUND DONORS
The Orchestra Now gratefully acknowledges the generosity of each and every donor who makes our work possible. Thank you for making an investment in the future of music.
The Yvonne Nadaud Christine J. Edwards Ernest and Erika Dr. Nora Post Mai Concertmaster Lauren Effron Lieber Kurt and Lorenzo Chair Barbara Ewert Bonnie Loopesko Rausch Made possible by Arnold and Milly and Daniel Robert Renbeck The Mai Family Feinsilber Shapiro Arthur S. Reynolds Foundation Mark Feinsod Robert Losada Ellen Reynolds Roz Forman Andrea Louie Brigitte R. Roepke LEADERSHIP GIFTS Elaine Frankle Erika Lowenberg Glen and Denise Anonymous (2) GE Foundation Paul Lowrey Ross Rockefeller Brothers Gary M. Giardina Catherine and Charles Roth Fund Debby and Fred Jacques Luiggi Susan and D. Felicitas S. Thorne Glynn Todd D. Marcus Richard Rowland David Gmuca Lisa Marshall Roberta Downs Anonymous (12) Hans R. Gunderud James M. Mas - Sandeman Leslie and Louis Hastings Digital trangelo Edward Sandfort Baker Stephen J. Hoffman Ginny and Guenther Lynda Schwab- Joseph J. Baxer and Martin Holub and May Edmundson Barbara Bacewicz Sandra Sanders James McLafferty Gilbert Seligman Susan Beckerman Hospitality Commit - Maryanne C. Mary Sheerin Miriam R. Berger tee for United Mendelsohn Jo Shute and Allan Pamela Berlinghof Nations Delega - Mollie Meikle Wieman Diane and Ronald tions (HCUND) Rikki Michels Jen Shykula and Tom Blum Scott Huang Warren R. Mikulka Ochs Richard Bopp Malcolm G. Idelson Karen E. Moeller Peter Sipperley Claudine Brenner Jill Jackson and Charles H. Paul Stoddard Jeannette Canaday Burton R. Kassell Talleur Joseph Storch Dr. László Z. Bitó Caroline Kelch Roy Moses Allan and Ronnie and Olivia Cariño George A. Kellner Joanne and Richard Streichler Rosemary Carroll John and Mary Kelly Mrstik Rose Veccia Maria J. Chiu Steven Kent Patrick Mucerino Howard Wallick Lisa Cohen Bridget Kibbey Christine Munson Patricia Ross Weis Theodore and Alice Erica Kiesewetter John D. Murphy Philip and Martha Ginot Cohn Younghee Kim-Wait Bonni Nechemias White Ramon Cordies Marilyn and William Marcia Neeley Ann and Douglas Ann Cunningham - L. Kirchner James and Andrea William Tigue Lise Laurent Nelkin Maria R. Wilson Elaine Dale Joy Lee and Richard Maury Newburger Wendy Wolfenson José M. de Jesús, Jr. Packert Hoang-Oanh Nelson Yan and Rebecca Arthur S. Leonard Nguyen Ingrid Yen Shafer-de Jesús Nancy Leonard and Philip and Carol Carrie E. Yotter Nicole M. de Jesús Lawrence Kramer Niles Shirley Young and Brian P. Peter J. and Susan B. Yuka Nishino Marlene Zaslavsky Walker LeVangia Bette and Stan Leila Zogby Thomas De Stefano Elinor Wallach Levin Nitzky Ian Zimmerman and Phyllis DiBianco Amala and Eric Harold Oaklander Heather Jane Marvis Dickinson Levine Douglas Okerson McCormick Vincent M. Dicks David Levering and William Khoa Doan Lewis Williams List current as of Michael Dorf James H. Ottaway Jr. December 5, 2018 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:12 PM Page 12
THE ORCHESTRA NOW
Artistic Staff Administrative Staff Leon Botstein, Music Director Vincent Roca, General Manager James Bagwell, Associate Conductor and Brian J. Heck, Director of Marketing Academic Director Nicole M. de Jesús, Director of Development Zachary Schwartzman, Resident Conductor Sebastian Danila, Music Preparer and Researcher Andrés Rivas, Assistant Conductor Marielle Metivier, Orchestra Manager Erica Kiesewetter, Director of Audition Alice Terrett, Marketing Associate Preparation and Principal String Coach Benjamin Oatmen, Librarian Bridget Kibbey, Director of Chamber Music Hsiao-Fang Lin, IT Associate and Arts Advocacy Viktor Tóth, Production Coordinator Kristin Roca, Administrative Assistant
BARD COLLEGE
Board of Trustees Sally Hambrecht Charles P. Stevenson Jr., Chair Emeritus Marieluise Hessel James C. Chambers ’81, Chair Maja Hoffmann George F. Hamel Jr., Vice Chair Matina S. Horner+ Emily H. Fisher, Vice Chair Charles S. Johnson III ’70 Elizabeth Ely ’65, Secretary; Life Trustee Mark N. Kaplan, Life Trustee Stanley A. Reichel ’65, Treasurer; Life Trustee George A. Kellner Fredric S. Maxik ’86 Fiona Angelini James H. Ottaway Jr., Life Trustee Roland J. Augustine Martin Peretz, Life Trustee Leon Botstein+, President of the College Stewart Resnick, Life Trustee Stuart Breslow+ David E. Schwab II ’52 Mark E. Brossman Roger N. Scotland ’93, Alumni/ae Trustee Marcelle Clements ’69, Life Trustee Jonathan Slone ’84 Craig Cogut Jeannette Taylor+ The Rt. Rev. Andrew M. L. Dietsche, James A. von Klemperer Honorary Trustee Brandon Weber ’97, Alumni/ae Trustee Asher B. Edelman ’61, Life Trustee Susan Weber Robert S. Epstein ’63 Patricia Ross Weis ’52 Barbara S. Grossman ’73, Alumni/ae Trustee Andrew S. Gundlach + ex officio
THE ORCHESTRA NOW: UPCOMING EVENTS
Sunday, January 27, 2019, at 4 p.m. FREE CONCERT ON THE UPPER WEST SIDE: PICTURES AT AN EXHIBITION
Don’t miss this afternoon packed with beloved favorites, including the suite from Stravinsky’s The Firebird , Ravel’s arrangement of Mussorgsky’s classic Pictures at an Exhibition , and more.
Zachary Schwartzman , conductor
Anatoly Lyadov The Enchanted Lake Stravinsky The Firebird Suite Ravel La valse Mussorgsky Pictures at an Exhibition (arr. Ravel) 12-14 Orchestra Now.qxp_Carnegie Hall Rental 12/4/18 12:12 PM Page 13
Tuesday, March 26, 2019, at 7:30 p.m. at Rose Theater at Jazz at Lincoln Center’s Frederick P. Rose Hall FABIO LUISI CONDUCTS BRAHMS’ SECOND SYMPHONY
Fabio Luisi, former principal conductor of the Metropolitan Opera, returns to T N to lead Ō Brahms’ jubilant pastoral symphony, along with Grieg’s majestic piano concerto.
Fabio Lusi , conductor Alessandro Taverna , piano
Grieg Piano Concerto Brahms Symphony No. 2
Thursday, May 2, 2019, at 7 p.m. at Carnegie Hall, Stern Auditorium/Perelman Stage DE PROFUNDIS : OUT OF THE DEPTHS A co-presentation with the Trans-Siberian Arts Festival
Four composers, including Pulitzer Prize winner Virgil Thompson, interpret Psalm 130 in a unique and stirring concert that includes two U.S. premieres.
Leon Botstein , conductor Vadim Repin , violin Elizabeth de Trejo , soprano Bard Festival Chorale James Bagwell , choral director
Virgil Thomson De Profundis Joachim Raff Psalm 130: De Profundis (U.S. Premiere) Lera Auerbach De Profundis (Violin Concerto No. 3) (U.S. Premiere) Lili Boulanger Psalm 130: Du fond de l’abîme (De Profundis)
Sunday, May 19, 2019, at 2 p.m. ABSTRACTION IN MUSIC AND ART
Conductor and music historian Leon Botstein explores the parallels between music and art. A discussion is accompanied by musical excerpts and on-screen artworks, then a full perfor - mance and audience Q&A.
Leon Botstein , conductor
Webern Six Pieces for Orchestra Feldman Orchestra (NY Premiere) the artwork of the Abstract Expressionists
More information available at theorchestranow.org.