FOR RELEASE: February 22, 2012

SUPPLEMENT

CHRISTOPHER ROUSE THE 2012–13 MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE

First Season of Two-Year Term: WORLD PREMIERE, SEEING, PHANTASMATA Advisory Role on CONTACT!, with WORLD, U.S., AND NEW YORK PREMIERES, Led by JAYCE OGREN and ALAN GILBERT ______

“I just love the Philharmonic musicians: I love working with them, and they play my music with incredible commitment. As a kid in Baltimore I grew up with their recordings, and then, of course, I also heard them on the Young People’s Concerts on television. I’ve always had a special feeling for the Philharmonic because the musicians have always played like they really meant it, with such energy and commitment; and when I got older and wrote music that they played, they did it the same way. I’m thrilled to be able to work with them more closely.” — Christopher Rouse ______

Christopher Rouse has been named The Marie-Josée Kravis Composer-in-Residence at the Philharmonic, and will begin his two-year tenure in the 2012–13 season. He is the second composer to hold this title, following the tenure of Magnus Lindberg. The Pulitzer Prize- and Grammy Award-winning American composer will be represented by three works with the Philharmonic this season in concerts conducted by Alan Gilbert: Phantasmata, February 21 and 22, 2013; a World Premiere–New York Philharmonic Commission, April 17–20, 2013, which will also be taken on the EUROPE / SPRING 2013 tour; and the reprise of Seeing for Piano and Orchestra (commissioned by the Philharmonic and premiered in 1999), June 20–22, 2013, performed by Emanuel Ax, the 2012–13 Mary and James G. Wallach Artist-in-Residence, for whom it was written.

Mr. Rouse will also advise on CONTACT!, the Orchestra’s new-music series with performances at The Metropolitan Museum of Art and Peter Norton Symphony Space. The first program, December 21–22, 2012, will feature American conductor/composer Jayce Ogren leading an all- American program, with soprano Elizabeth Futral as soloist; on the second, April 5–6, 2013, Music Director Alan Gilbert will conduct a combination of U.S. and New York premieres of works by contemporary Europe-based composers, with Principal Oboe Liang Wang as the soloist.

2

Alan Gilbert said: “Chris Rouse is one of the most important composers working today. I’ve recorded a lot of his music, and it has been a very meaningful and a large part of my musical life for a long time. He has a unique voice and is one of the composers who truly hears what he writes. He doesn’t leave anything to chance: he actually shapes the sound and the emotional flow of his music in a way that only great composers can.”

Christopher Rouse said: “I have great admiration for Alan Gilbert, and I think our feelings about music line up very, very often. I think we’ll work well together because I think we’re on the same page most of the time.”

Orchestra To Perform World Premiere–New York Philharmonic Commission of New Rouse Work

On April 17–20, 2013, Mr. Gilbert will conduct the World Premiere of a New York Philharmonic Commission by Christopher Rouse, the 2012–13 Marie-Josée Kravis Composer- in-Residence. The program — featuring three iconic American composers — will also include Serenade (after Plato’s “Symposium”) from 1954 by the Philharmonic’s Laureate Conductor Leonard Bernstein, with violinist Joshua Bell as soloist, and Ives’s Symphony No. 4, of 1910– 16. Following its premiere, the new work by Rouse will be performed in May 2013 on the EUROPE / SPRING 2013 tour. Details on the new work will be announced at a later date. The Philharmonic has commissioned three previous works by Mr. Rouse: Concerto for Trombone and Orchestra (December 1992, which won the Pulitzer Prize); Seeing for Piano and Orchestra (May 1999), which will be reprised at the end of the 2012–13 season by Emanuel Ax; and Odna zhizn (A Life), which Alan Gilbert led in its premiere (February 2010).

Alan Gilbert To Conduct Rouse’s 1985 Phantasmata

On February 21– 22, 2013, Mr. Gilbert will lead Phantasmata, Mr. Rouse’s 1985 work that builds upon his 1981 The Infernal Machine, which is used as Phantasmata’s middle movement. Encouraged to expand that earlier work by composer Joseph Schwantner, the work was originally composed for the St. Louis Symphony, which gave the premiere of the complete 18- minute piece under Leonard Slatkin on October 24, 1986.

Mr. Rouse said: “It’s one of my kind of wild and crazy works, particularly because of the last movement, Bump, which is a somewhat quasi-apocalyptic affair…. These essentially are dream images, and each movement is quite different — the first movement is very slow and atmospheric; the second movement, The Infernal Machine … imagines an enormous machine eternally in motion for no particular purpose; and then Bump is the Boston Pops in Hell.”

The title Phantasmata comes from the writings of Paracelsus (1493–1541), the physician and occultist who used the term to refer to “hallucinations created by thought.” The first movement, “The Evestrum of Juan de la Cruz in the Sagrada Familia, 3 A.M.,” is scored for strings and percussion; according to Mr. Rouse’s notes on the work, it “makes use of Paracelsian terminology — ‘vestrum’ is Paracelsus’s name for the astral body; thus, this opening movement represents a dreamt out-of-body ‘somnambulatory journey’ through Antonio Gaudí’s remarkable

3

Cathedral of the Sagrada Familia in Barcelona.” The second movement, The Infernal Machine, for full orchestra, is “a darker hallucinatory image, as the immense juggernaut, eternally in motion for no particular purpose, is represented by a perpetuum mobile, wherein the leviathan sometimes whirs along in mercurially unconcerned fashion but at others groans or throws off slightly hellish sparks, grinding occasionally as it changes gears.” The final movement, Bump is a “nightmare conga.”

Mr. Rouse also said of the final movement: “I make some insane demands … because there’s that bass drum every measure in the entire 8 ½ minutes … that’s your conga dance, and it’s rather extreme in terms of what it demands of the players. …. It’ll be a challenge, I’m sure, for the orchestra — and maybe for some people in the audience, too!”

Artist-in-Residence Emanuel Ax to Perform Seeing for Piano and Orchestra

The third orchestral program, June 20–22, 2013, will feature Artist-in-Residence Emanuel Ax, conducted by Mr. Gilbert, in Christopher Rouse’s Seeing for Piano and Orchestra, which was commissioned by the Philharmonic for Mr. Ax, who premiered it in 1999 under the baton of Leonard Slatkin; Mr. Ax and the Orchestra reprised the work in 2003 with David Zinman.

Alan Gilbert said: “I think this is a very nice intersection of our two residencies — the Artist-in-Residence and the Composer-in-Residence. I heard Manny play this piece years ago, in Aspen, and I love it. I’ve been begging him to play it ever since then. It’s a perfect end to his residency — Seeing nicely balances out the other works he’s performing. And I also think it’s really important and gives a very strong message to be able to bring back a work that was commissioned by the New York Philharmonic for Manny and composed by Christopher Rouse.”

A non-traditional piano concerto, Seeing’s genesis lies in Robert Schumann’s piano concerto and the song “Seeing” by Moby Grape’s guitarist, Skip Spence; both Schumann and Spence suffered from psychosis.

Mr. Rouse said: “This piece involves mental illness, so it had a kind of complicated gestation. The title, Seeing, comes from an actual rock song by Moby Grape that was composed by Skip Spence, and it was about his impending descent into schizophrenia, which was in its early stages — and indeed he did end up irretrievably psychotic and was institutionalized for the remainder of his life, or a lot of it anyway. There’s also Robert Schumann, who suffered from bipolar disorder, and there are references to the Schumann Piano Concerto. All of these things are mixed in to the work; in a general way, it’s seeing life through the eyes of someone who’s suffering from one of these conditions, so there is a strong programmatic element.”

The program pairs Seeing with A Ring Journey, Mr. Gilbert’s arrangement of Wagner’s Ring Cycle.

4

Mr. Gilbert said: “Inasmuch as Chris Rouse really loves and admires Wagner, there is an emotional and dramatic connection between Chris’s music and that of Wagner. There’s a piece that Chris wrote called Garettete Alberich, which is a percussion concerto entirely based on music from the Ring. I think the pieces work very, very well together.”

Mr. Rouse Also To Advise on CONTACT!, the New-Music Series To Include All-American Program With World, U.S., and New York Premieres Conducted by Alan Gilbert and Jayce Ogren in His New York Philharmonic Debut

Christopher Rouse will advise on the 2012–13 installments of CONTACT!, the Orchestra’s new- music series. In its fourth season, the series will present two World Premieres, three U.S. Premieres, and two New York Premieres. Each of the two CONTACT! programs will be performed twice — once at The Metropolitan Museum of Art and once at Peter Norton Symphony Space.

The first CONTACT! program, led by Jayce Ogren, with soprano Elizabeth Futral, on December 21–22, 2012, will include works by three young composers; it will feature two World Premiere– New York Philharmonic Commissions, by Andy Akiho (2012) and Jude Vaclavik (2012), and one New York Premiere — Andrew Norman’s Try (2011) — as well as the ensemble version of Counterpoise (1994) by the late Jacob Druckman, who served as the Philharmonic’s Composer- in-Residence from 1982 to 1986. Both Andy Akiho and Andrew Norman are New Yorkers. Composer/conductor Jayce Ogren will make his Philharmonic conducting debut in these concerts. A native of Hoquiam, Washington, who worked with Alan Gilbert when both were associated with the Royal Stockholm Philharmonic Orchestra, Mr. Ogren received rave reviews for his New York City Opera conducting debut leading Bernstein’s A Quiet Place.

The second program, led by Alan Gilbert, April 5–6, 2013, will survey music written in Europe in the past few years, along with one earlier work never performed in New York. The three U.S. Premieres are Gougalon (2011) by Berlin-based Korean composer Unsuk Chin; Danish composer Poul Ruders’s Oboe Concerto (1998), with Philharmonic Principal Oboe Liang Wang as soloist; and French composer Yann Robin’s Backdraft (2011). The New York Premiere will be Anders Hillborg’s Vaporized Tivoli (2010).

Two World Premiere–New York Philharmonic Commissions

The first CONTACT! program of the season, December 21–22, 2012, includes the World Premiere–New York Philharmonic Commission by Andy Akiho, a New York–based composer/percussionist whose interests span a wide range of musical styles, from steel pan to western Classical. A graduate of the University of South Carolina and currently a Ph.D. candidate in composition at Princeton University, he is the winner of numerous honors, including a 2010 Horatio Parker Award at the Yale School of Music, a 2009 ASCAP Morton Gould Young Composers Award, and a 2008 Brian M. Israel Prize. Mr. Akiho’s works have been featured on PBS’s News Hour with Jim Lehrer, and by organizations including Meet the Composer, Bang on a Can, American Composers Forum, and The Society for New Music. His current commissions include a chamber work for the Grammy Award-winning ensemble eighth blackbird, a string

5

quartet for ETHEL, a percussion piece for the Volta Trio, and a marimba/trumpet duet for the Times Two Duo.

Also on the first program is the World Premiere–New York Philharmonic Commission by Jude Vaclavik, a young New York composer whose works have already been performed in venues including Carnegie Hall and at Lincoln Center. He has been commissioned or recognized by numerous organizations including the American Academy of Arts and Letters and ASCAP. A graduate of The Juilliard School, he is an assistant professor at Utah State University’s Caine College of the Arts and composer-in-residence for the Lubbock Symphony in Lubbock, Texas.

Two New York Premieres

The December CONTACT! program, on December 21–22, 2012, will include the New York Premiere of Andrew Norman’s Try, a piece for chamber orchestra that was premiered by the Los Angeles Philharmonic in 2011, conducted by John Adams. Born in the Midwest and a graduate of the University of Southern California and Yale University, Mr. Norman specializes in chamber and orchestral music inspired by architecture and forms he encounters in the visual world. He has had works commissioned and premiered by the Minnesota Orchestra, Zurich’s Tonhalle Orchestra, Oakland East Bay Symphony, Grand Rapids Symphony, New York Youth Symphony, Los Angeles Philharmonic, and Aspen Music Festival; his Theremin concerto was written for Carolina Eyck and the Heidelberg Philharmonic. Mr. Norman has recently been named composer-in-residence at the Boston Modern Orchestra Project and the Los Angeles Chamber Orchestra.

The April program, on April 5–6, 2013, will feature the New York premiere of Anders Hillborg’s Vaporized Tivoli, originally commissioned by the Ensemble Modern and dedicated to conductor Franck Ullu, who led the premiere in September 2010 at the Sacrum Profanum Festival in Poland. The work begins by imagining children running around and exploring a carnival at Tivoli Gardens, excitedly trying everything out. Then the energy suddenly changes, “as if a plug is pulled, and all the speed and energy is pouring out into a lush, strangely beautiful, and much more ambiguous soundscape,” according to the composer. A more sinister side influences the work, harkening to Ray Bradbury’s Something Wicked This Way Comes, and then, “Finally, the music literally vaporizes, while accompanying an eerily sentimental melody line played by a lonely double-bass.” In the 2012–13 season the Orchestra will also perform the World Premiere of a new song cycle by Hillborg — a Philharmonic Co-Commission with Carnegie Hall, conducted by Alan Gilbert and sung by soprano Renée Fleming at Carnegie Hall on April 26, 2013.

Three U.S. Premieres

Gougalon (Scenes from a Street Theater), by the Berlin-based Korean composer Unsuk Chin, will receive its U.S. Premiere on the second CONTACT! program, April 5–6, 2013, conducted by Alan Gilbert. Gougalon is inspired by a visit to China, where the composer noticed how the poor residential neighborhoods were closely situated to the newer, ultra-modern neighborhoods. It reminded her of Seoul in the 1960s, after the Korean War, and of the conditions that no longer exist in modern South Korea.

6

Unsuk Chin writes: “I was particularly reminded of a troupe of entertainers I saw a number of times as a child in a suburb of Seoul. These amateur musicians and actors traveled from village to village in order to foist self-made medicines on the people. To lure the villagers, they put on a play with singing, dancing, and various stunts. This was all extremely amateurish and kitschy, yet it aroused incredible emotions among the spectators; this is hardly surprising, considering that it was practically the only entertainment in an everyday life marked by poverty and repressive structures.”

A native of Seoul, Unsuk Chin now resides in Berlin. Winner of the 2004 Grawemeyer Award and the 2005 Arnold Schoenberg Prize, she is known for both electronic and acoustic music. Her works have been performed by the Berlin Philharmonic, Chicago Symphony Orchestra, Los Angeles Philharmonic, London Philharmonic, Radio France Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, China Philharmonic, and others. She has been the composer-in- residence at the Seoul Philharmonic Orchestra and artistic director of its Contemporary Music Series since 2006.

French composer Yann Robin’s Backdraft, a Co-Commission by the New York Philharmonic and the Fundação Casa da Musica, Portugal, will receive its U.S. Premiere on the April 5–6, 2013, CONTACT! program, conducted by Alan Gilbert.

Mr. Robin said: “Backdraft, scored for 16 instruments, will be about 12 to 15 minutes long. It will continue my explorations of the natural phenomena evoked in Vulcano, which I wrote for the Ensemble Intercontemporain in 2010. It will be an explosive piece in which I want to work with big, strong, and energetic sounds. That’s the way of my music — energetic, violent, and rhythmic, with a strong pulse! I need to feel the sound pulsating in my body.”

Yann Robin has received numerous prizes and commissions, and a place at the IRCAM in Paris since beginning his studies in 1994. He is also the founder and artistic director of the Multilateral Composers Ensemble. In 2003 he was awarded his first state commission and won the Frédéric Mompou International Competition in Barcelona; in 2004 the Ensemble Intercontemporain premiered his quartet Phigures; and in 2005, during a residence at La Muse en Circuit, he created Chaostika for percussion and electronics. His piece Polycosm, for traditional instruments and large orchestra, was premiered at UNESCO’s 60th anniversary concert. From 2006 to 2008 Mr. Robin was composer-in-residence at the National Orchestra of Lille, for which he composed two pieces. In 2009 he wrote a piece for string quartet and electronics in collaboration with the Quatuor Diotima.

Since November 2008 Mr. Robin has been working with Gérard Assayag and Arshia Cont on the IRCAM’s Omax software as a resident composer-researcher. Winner of the Rome Prize, he was in residence at the Villa Medici in Rome in 2009 and 2010.

Poul Ruders wrote his Oboe Concerto in 1998 for the Athelas-Sinfonietta Copenhagen and Swedish oboist Helen Jahren as part of the inauguration of The Royal Library of Copenhagen’s Black Diamond Concert Hall. The concerto is a contemplative work in four tone poem-like

7

movements, the title of each corresponding to craters on the Moon: “Lake of Dream,” “Ocean of Storms,” “Sea of Tranquility,” and “Lake of Death.”

Born in Ringsted, Denmark, Poul Ruders had an early interest in piano and organ that led to orchestration studies with composer Karl Aage Rasmussen. Ruders has since composed a range of works, including operas, symphonies, and choral, solo, and chamber pieces. He has been commissioned by the New York Philharmonic, Berlin Philharmonic, BBC Symphony Orchestra, and the Royal Danish Opera. The Philharmonic has previously presented four of his works, including the World Premiere of Final Nightshade: An Adagio of the Night in June 2004, a New York Philharmonic Commission conducted by Lorin Maazel; the U.S. Premiere of Corpus Cum Figuris in May 1986, conducted by Oliver Knussen; and the U.S. Premiere of Listening Earth: Symphonic Drama for Orchestra in February 2003.

Contemporary Classic by the Late Composer-in-Residence, Jacob Druckman

The first CONTACT! program, conducted by Jayce Ogren on December 21–22, 2012, will include the chamber version of Counterpoise for soprano and orchestra or chamber orchestra — featuring soprano Elizabeth Futral — by the late Jacob Druckman, who served as the Philharmonic’s Composer-in-Residence from 1982 to 1986. One of his last major works, it was originally composed for soprano Dawn Upshaw and The Philadelphia Orchestra, and was premiered in April 1994 under the baton of Wolfgang Sawallisch. Druckman completed the ensemble version the following year. Counterpoise reflects numerous aspects of Druckman’s style, including his interest in the ancient Grecian cults of Apollo and Dionysus, and according to Druckman’s notes, partly focuses on the contrast between the poets Emily Dickinson and Guillaume Apollinaire: “The American poet’s giddy spiritual ecstasy and the French poet’s visions of sadness and dementia seem to pull in opposite directions at the ends of a single line.”

Over his acclaimed career, Jacob Druckman (1928–96) produced works in a wide range of genres, including orchestral, chamber, vocal, and electronic music. Winner of the 1972 Pulitzer Prize for Windows, his first composition for large orchestra, he was commissioned by numerous organizations. The New York Philharmonic has presented 16 of Druckman’s works over the years, including two World Premiere–New York Philharmonic Commissions: the Viola Concerto (1978) and Aureole (1979).

CHRISTOPHER ROUSE’S WORKS AT THE NEW YORK PHILHARMONIC

June 1984 The Infernal Machine Leonard Slatkin, conductor

December 1992 Concerto for Trombone and Orchestra* Leonard Slatkin, conductor, Joseph Alessi, trombone

May 1999 Seeing for Piano and Orchestra* Leonard Slatkin, conductor, Emanuel Ax, piano May 1999 The Infernal Machine Leonard Slatkin, conductor

8

May 2000 Ogoun Badagris Leonard Slatkin, conductor

May 2001 Compline (chamber work)

May 2001 Concerto for Violin and Orchestra+ David Zinman, conductor, Cho-Liang Lin, violin

February 2002 Ogoun Badagris David Alan Miller, conductor

March 2003 Seeing for Piano and Orchestra David Zinman, conductor, Emanuel Ax, piano

December 2006 Symphony No. 2 Bramwell Tovey, conductor

October 2008 Rapture David Robertson, conductor

February 2010 Odna Zhizn* Alan Gilbert, conductor

*World Premiere–New York Philharmonic Commission

+New York Premiere

CHRISTOPHER ROUSE

Christopher Rouse is one of America’s most prominent composers of orchestral music. Winner of the 1993 Pulitzer Prize in Music for his Trombone Concerto (commissioned and premiered by the New York Philharmonic), he has created a body of work perhaps unequalled in its emotional intensity. The New York Times has described his oeuvre as “some of the most anguished, most memorable music around,” and Stephen Wigler of The Baltimore Sun stated: “When the music history of the late 20th century is written, I suspect the explosive and passionate music of Rouse will loom large.”

Born in Baltimore in 1949, Christopher Rouse developed an early interest in both classical and popular music. He graduated from Oberlin Conservatory and Cornell University, numbering among his principal teachers George Crumb and Karel Husa. He taught composition at the Eastman School of Music for two decades and currently teaches composition at The Juilliard School.

Mr. Rouse’s music has been performed by almost every major orchestra in the United States and by numerous ensembles abroad, including the Berlin Philharmonic, City of Birmingham Symphony Orchestra, Sydney and Melbourne Symphony Orchestras, and the Austrian Radio

9

Orchestra. Recent highlights include the world premieres of the Requiem (2007, by the Los Angeles Master Chorale), Concerto for Orchestra (2008, by the Cabrillo Festival of Contemporary Music), Oboe Concerto (2009, by the Minnesota Orchestra), and Odna Zhizn (2010, by the New York Philharmonic). His Symphony No. 3 was premiered by the Saint Louis Symphony in May 2011. Mr. Rouse wrote Seeing for Piano and Orchestra for Emanuel Ax on commission from the Philharmonic, which gave its premiere in May 1999. Christopher Rouse’s works are published by Boosey & Hawkes.

PREVIOUS NEW YORK PHILHARMONIC COMPOSERS-IN-RESIDENCE

There have been six Philharmonic Composers-in-Residence: David Amram (1966–67); Lester Trimble (1967–68); Fredric Myrow (1968–69); Jacob Druckman (1982–86); David Del Tredici (1988–90); and Magnus Lindberg, The Marie-Josée Kravis Composer-in-Residence (2009–12). A similar role was held by Tania León, who was the Philharmonic’s Charles H.A. Revson Composer Fellow (1993–96) and New Music Advisor (1996–97).

10

CHRONOLOGICAL LISTING OF CHRISTOPHER ROUSE’S 2012–13 SEASON

CONTACT!, THE NEW YORK PHILHARMONIC NEW-MUSIC SERIES

Friday, December 21, 2012, 7:00 p.m. Grace Rainey Rogers Auditorium The Metropolitan Museum of Art 1000 Fifth Avenue

Saturday, December 22, 2012, 8:00 p.m. Peter Norton Symphony Space 2537 Broadway, at 95th Street

Jayce Ogren, conductor* Elizabeth Futral, soprano

Andy AKIHO New work (World Premiere–New York Philharmonic Commission) Andrew NORMAN Try (New York Premiere) Jude VACLAVIK New work (World Premiere–New York Philharmonic Commission) DRUCKMAN Counterpoise (ensemble version)

ALAN GILBERT CONDUCTS: MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE CHRISTOPHER ROUSE’S PHANTASMATA

Avery Fisher Hall

Thursday, February 21, 2013, 7:30 p.m. Friday, February 22, 2013, 11:00 a.m.

Alan Gilbert, conductor Jan Vogler, cello

Christopher ROUSE Phantasmata BLOCH Schelomo BRAHMS Symphony No. 1

*denotes New York Philharmonic debut

11

CONTACT!, THE NEW YORK PHILHARMONIC NEW-MUSIC SERIES

Friday, April 5, 2013, 7:00 p.m. Grace Rainey Rogers Auditorium The Metropolitan Museum of Art 1000 Fifth Avenue

Saturday, April 6, 2013, 8:00 p.m. Peter Norton Symphony Space 2537 Broadway, at 95th Street

Alan Gilbert, conductor Liang Wang, oboe

Unsuk CHIN Gougalon (U.S. Premiere) Poul RUDERS Oboe Concerto (U.S. Premiere) Anders HILLBORG Vaporized Tivoli (New York Premiere) Yann ROBIN Backdraft (U.S. Premiere–New York Philharmonic Co-Commission with the Fundação Casa da Musica, Portugal)

ALAN GILBERT CONDUCTS: THREE AMERICANS

Avery Fisher Hall

Wednesday, April 17, 2013, 7:30 p.m. Thursday, April 18, 2013, 7:30 p.m. Friday, April 19, 2013, 8:00 p.m. Saturday, April 20, 2013, 8:00 p.m.

Alan Gilbert, conductor Joshua Bell, violin Chorus tba

Christopher ROUSE New work (World Premiere–New York Philharmonic Commission) BERNSTEIN Serenade (after Plato’s “Symposium”) IVES Symphony No. 4

12

EUROPE / SPRING 2013

The Philharmonic will take Christopher Rouse’s new work on tour after giving its world premiere on concerts at Avery Fisher Hall on April 17–20, 2013. The tour will also include concerts in Istanbul, Zurich, the 100th Anniversary of Vienna’s Konzerthaus, and a performance of Magnus Lindberg’s Kraft at the Volkswagen Transparent Factory in Dresden, Germany; Emanuel Ax and Joshua Bell to be soloists. Additional details tba.

JUNE JOURNEY: GILBERT’S PLAYLIST A RING JOURNEY, COMPOSER-IN-RESIDENCE CHRISTOPHER ROUSE’S SEEING WITH ARTIST-IN-RESIDENCE EMANUEL AX

Avery Fisher Hall

Thursday, June 20, 2013, 7:30 p.m. Friday, June 21, 2013, 8:00 p.m. Saturday, June 22, 2013, 8:00 p.m.

Alan Gilbert, conductor Emanuel Ax, piano

Christopher ROUSE Seeing, for Piano and Orchestra WAGNER/arr. Alan Gilbert, after Erich Leinsdorf A Ring Journey

# # #

Additional contact: Katherine E. Johnson (212) 875-5718; [email protected]

ALL PROGRAMS SUBJECT TO CHANGE

Your Inside Access — Tumblr 2.0 for news, photos, and more

Photography is available in the New York Philharmonic’s online newsroom, nyphil.org/newsroom, or by contacting the Communications Department at (212) 875-5700; [email protected].