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Local Broadcast:
Alan Gilbert Conducts The Rite of Spring

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Beethoven’s Third Piano Concerto and The Rite of Spring
This concert is now past.
Location: Avery Fisher Hall  (Directions)
Price Range: $41.00 - $123.00
 
Wed, Sep, 19, 2012
7:30 PM
 
Thu, Sep, 20, 2012
7:30 PM
 
Fri, Sep, 21, 2012
8:00 PM
 
Sat, Sep, 22, 2012
8:00 PM
Alan Gilbert

Program

  (Click the red play button to listen)
... quasi una fantasia ...
GYÖRGY KURTÁG (born in 1926)
... quasi una fantasia ... Op. 27, No. 1 (1987–88)

Like his Budapest music school colleague György Ligeti, György Kurtág didn't encounter the European avant-garde till the 1950s. He studied with Darius Milhaud and Olivier Messiaen, and was greatly influenced (as is audible in the present ... quasi una fantasia ...) by his countryman Béla Bartók, Anton Webern's economy of expression, and Karl-Heinz Stockhausen's spatial aspects of music (as in his Gruppen). With its four movements compressed into less than 10 minutes, this "miniature piano concerto" is the first composition in which Kurtág introduced his concept of spatial music by placing five instrumental groups around the concert hall. It was composed for Hungarian pianist Zoltán Kocsis on the occasion of a series of concerts featuring the composer's works at the Berlin Festival in October 1988. ... quasi una fantasia ... is Kurtág's Op. 27, No. 1, a reference to Beethoven's piano sonatas Op. 27, Nos. 1 and 2 (the latter being the famous "Moonlight Sonata"), which both bear the notation "like a fantasy." After a descending figure in the opening Largo, the music expands into a vista of colors and textures, mirrored by the spaces among the players; the very brief second movement is marked "Like disturbances in a dream"; the third features a huge explosion of percussion and brass; and the finale "Aria" alludes to lines from the poem "Andenken" ("Remembrance") by the 19th century German poet Friedrich Hölderlin, inscribed in the score: "But it is the sea/that takes and gives remembrance/And love no less keeps eyes attentively fixed/But what is lasting the poets provide." (Translated by Michael Hamburger)
Piano Concerto No. 3
LUDWIG VAN BEETHOVEN (1770-1827)
Piano Concerto No. 3 (1803)

Ludwig van Beethoven was notorious for not having works ready in time for performances. This was certainly the case with this concerto, a work "in progress," at best, at its first presentation. The composer conducted from the keyboard, while Ignaz von Seyfried turned pages: "I saw almost nothing but empty pages; at the most, on one page or another a few Egyptian hieroglyphs, wholly unintelligible to me, were scribbled down to serve as clues for him; for he played nearly all of the solo part from memory, since... he had not had time to set it all down on paper. He gave me a surreptitious nod whenever he was at the end of one of the invisible passages, and my scarcely concealable anxiety not to miss the decisive moment amused him greatly, and he laughed heartily at the jovial supper afterwards." The concerto was part of a benefit marathon for the composer himself in spring of 1803 that went on for hours, also including premieres of the Second Symphony, the oratorio Christ on the Mount of Olives, and a reprise of the Symphony No. 1. Despite the improvisations, the Piano Concerto No. 3 was a masterpiece that spoke with a new voice — a personal statement from the heart of its creator and a showcase for his prodigious pianistic abilities, but sadly also one of the last in which he saw himself as soloist: his increasing deafness would soon make ensemble playing nearly impossible. He uses the dramatic key of C Minor — one he turned to in other revolutionary works — and expands the orchestral introduction to a gargantuan 110 measures. And, when the piano finally announces its presence, it is with three crashing fortissimo chords. In the magnificent Largo, the partnership between soloist and orchestra is rich and melodious, although the primacy of the piano is never in question. The Allegro is robust and vibrant, with the final Presto bringing the concerto to a fast, furious, jubilant close.
The Rite of Spring
IGOR STRAVINSKY (1882-1971)
Le sacre du printemps (The Rite of Spring: Pictures of Pagan Russia in Two Parts) (1911-13)

"I had only my ear to help me. I heard, and I wrote what I heard. I am the vessel through which The Rite passed." This calm assessment in no way reflect the wild scene at the Théâtre des Champs-élysées in Paris on May 29, 1913, when the premiere of Igor Stravinsky's Rite of Spring caused the most notorious scandal in music. The playing was nearly inaudible, what with the catcalls and booing from the audience. Stravinsky stormed out of the hall and went backstage. "I stood in the wings behind Nijinsky [the choreographer], holding on to the tails of his coat, while he stood on a chair, beating out the rhythm with his fist and shouting numbers to the dancers like a coxswain." And this after more than 120 rehearsals! Stravinsky also provided a description of Pierre Monteux, the conductor of the complex, revolutionary score: "He stood there, apparently impervious and as nerveless as a crocodile. It is still almost incredible to me that he actually brought the orchestra through to the end." The French writer, Jean Cocteau, reported: "The public...laughed, spat, hissed, imitated animal cries. They might have eventually tired themselves of that had it not been for the crowd of aesthetes and a few musicians who, carried by excess of zeal, insulted and even pushed the occupants of the loges. The riot degenerated into a fight." Stravinsky's music was based on an imagined scene, in which he saw "a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring." The violent Russian spring "seemed to begin in an hour and was like the whole earth cracking." Wild abandon, pulsing rhythms, and primitive rituals proclaim the veneration of spring and climax in the sacrificial dance of the victim.

Artists

Alan Gilbert New York Philharmonic Music Director Alan Gilbert began his tenure in September 2009, launching what New York magazine called “a fresh future for the Philharmonic.” The first native New Yorker to hold the post, he has sought to make the Orchestra a point of civic pride for the city and country. “The Philharmonic is once again part of any conversation about the liveliness of the arts: a goal that Mr. Gilbert announced on arrival, then wasted no time in achieving,” The New York Times praised.

Mr. Gilbert’s creative approach to programming combines works in fresh and innovative ways. He has also forged artistic partnerships, introducing the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence, held in the 2012–13 season by Christopher Rouse and pianist Emanuel Ax, respectively; an annual, multi-week festival, which this season is The Bach Variations in collaboration with 92nd Street Y; and CONTACT!, the new-music series in which Philharmonic musicians perform works by today’s leading and emerging composers in New York’s more intimate venues.

In the 2012–13 season, Alan Gilbert conducts world premieres by Anders Hillborg, Steven Stucky, and Christopher Rouse; presides over a cycle of Brahms’s complete symphonies and concertos; conducts Bach’s Mass in B minor and an all-American program that includes Ives’s Fourth Symphony; leads the Orchestra on the EUROPE / SPRING 2013 tour; and continues The Nielsen Project, the multi-year initiative to perform and record the Danish composer’s symphonies and concertos, the first release of which was named by The New York Times as among the Best Classical Music Recordings of 2012. The season concludes with Gilbert’s Playlist, four programs showcasing themes and ideas that Alan Gilbert has introduced since becoming Music Director, including the season finale: a theatrical reimagining of Stravinsky’s Petrushka and The Fairy’s Kiss in collaboration with director/designer Doug Fitch that features New York City Ballet principal dancer Sara Mearns.

Last season’s highlights included performances of three Mahler symphonies, including the Second, Resurrection, on A Concert for New York on September 10; the Orchestra’s first International Associates residency at London’s Barbican Centre as part of its EUROPE / WINTER 2012 tour; the CALIFORNIA / SPRING 2012 tour; and Philharmonic 360, the Philharmonic and Park Avenue Armory’s acclaimed spatial music program featuring Stockhausen’s Gruppen, about which The New York Times said: “Those who think classical music needs some shaking up routinely challenge music directors at major orchestras to think outside the box. That is precisely what Alan Gilbert did.” Highpoints of Mr. Gilbert’s first two Philharmonic seasons included the acclaimed performance of Janáček’s The Cunning Little Vixen, hailed by The Washington Post as “another victory,” building on 2010’s wildly successful staging of Ligeti’s Le Grand Macabre, which The New York Times called “an instant Philharmonic milestone”; world premieres of works by Marie-Josée Kravis Composer-in-Residence Magnus Lindberg, John Corigliano, Christopher Rouse, and composers featured on CONTACT!; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; four concerts at Carnegie Hall; and four tours to Europe, as well as the Asia Horizons tour, which included the Philharmonic’s Vietnam debut at the historic Hanoi Opera House.

In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at The Juilliard School, where he is also the first holder of Juilliard’s William Schuman Chair in Musical Studies. Conductor Laureate of the Royal Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras nationally and internationally, such as the Boston Symphony Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, and the Berlin Philharmonic. His 2012–13 season engagements include appearances with the Boston Symphony Orchestra, Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra, NDR Symphony Orchestra, and Berlin Staatskapelle.

Alan Gilbert made his acclaimed Metropolitan Opera debut in 2008 leading John Adams’s Doctor Atomic; the DVD and Blu-ray of this production received the 2012 Grammy Award for Best Opera Recording. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. Earlier releases garnered Grammy Award nominations and top honors from the Chicago Tribune and Gramophone magazine.

Mr. Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). In May 2010 he received an Honorary Doctor of Music degree from Curtis, and in December 2011 he received Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.”

Visit Alan Gilbert's Official Website

Leif Ove Andsnes by Ozgur Albayrak

Pianist Leif Ove Andsnes has won international acclaim giving recitals and playing concertos in the world's leading concert halls and with the foremost orchestras. An active recording artist, he is also an avid chamber musician, regularly appearing at Norway's Risør Festival of Chamber Music. In 2012 he will serve as music director of the Ojai Music Festival in California.

Beethoven figures prominently in Mr. Andsnes's 2011–12 season and beyond, in concerto performances with orchestras from Boston to Vienna, as well as in recitals and recordings. His performances of Beethoven on tour with the Mahler Chamber Orchestra in Prague will be recorded live for his Sony Classical label debut: the beginning of a multi-year project titled Beethoven – A Journey, playing and recording all five of Beethoven's piano concertos; this project is sponsored by the Stiftelsen Kristian Gerhard Jebsen, a Bergen based foundation established to honor the memory of Krisitan Gerhard Jebsen and his contribution to the Norwegian and international shipping business.

Also in the 2011–12 season, Leif Ove Andsnes performs Rachmaninoff's Piano Concerto No. 3 with Hannover's NDR Radio Philharmonic, Japan's NHK Symphony, and his hometown orchestra, the Bergen Philharmonic. Music by Chopin, Debussy, Bartók, and Haydn are the focus of a recital program in 16 cities across North America and Europe, and he returns to the U.S. for a spring recital tour with baritone Matthias Goerne featuring Mahler and Shostakovich songs.

Mr. Andsnes's discography comprises more than 30 solo, chamber, and concerto releases, spanning repertoire from Bach to the present day and garnering seven Grammy nominations and five Gramophone Awards. The New York Times selected his 2004 recording of the Grieg Piano Concerto as Best CD of the Year. He has been named Commander of the Royal Norwegian Order of St. Olav, Norway's most distinguished honor, and has received the Peer Gynt Prize, Royal Philharmonic Society's Instrumentalist Award, and Gilmore Artist Award. Vanity Fair named Mr. Andsnes one of the "Best of the Best" in 2005.

Leif Ove Andsnes was born in Karmøy, Norway, in 1970, and studied at the Bergen Music Conservatory under the renowned Czech professor Jirí Hlinka. Mr. Andsnes is a professor at the Norwegian Academy of Music in Oslo, a visiting professor at the Royal Music Conservatory of Copenhagen, and a member of the Royal Swedish Academy of Music.

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