WOLFGANG AMADEUS MOZART (1756-1791)
Sinfonia concertante for Oboe, Clarinet, Bassoon, and Horn, K. 297b/K. Anh. C 14.01) (1778)
Is it Mozart or isn’t it? That question has frustrated and intrigued scholars for decades—Robert Levin has written an entire book on the subject. What we know about this lovely hybrid of a symphony and a concerto is that Mozart described such a work to his father in a letter from Paris. He had been asked for the piece by wind players of the renowned Mannheim orchestra for performance at the Concert Spirituel in the Loge Olympique—the Carnegie Hall equivalent in Paris at the time. He fulfilled his commission and turned in the score to the director for copying. On the day of the concert, however, a Sinfonia concertante for the same wind complement by a rival composer, Giuseppe Cambini, was on the music stands. Mozart’s piece was mysteriously cancelled, and his original never surfaced. Instead, a manuscript not in Mozart’s hand, and with clarinet replacing flute, turned up nearly a century later in Berlin in 1870. This is the version performed at these Philharmonic concerts. The cloak-and-dagger circumstances aside, this beautifully wrought work shows off the distinctive qualities and capabilities of each instrument: the expressiveness of the oboe and its ability to soar above the orchestra; the soft, liquid sonorities of the clarinet that Mozart loved so much; the bassoon’s multi-tasking throughout, and the horn’s noble perorations in the upper registers. Because of the complexity of composing for four soloists, the cadenzas for each movement were written out—not left open for the customary improvisation. From the opening movement, dominated by the solo quartet, to a sublime Adagio, to the ten variations in the finale that showcase the talents of the wind quartet, this work is an elegant contribution to a genre that was all the rage in Europe. It’s easy to hear why.

CHRISTOPHER ROUSE (born in 1949)
Odna Zhizn (A Life) 2008 (New York Philharmonic commission, world premiere)
“Odna Zhizn is a biographical picture of someone very near and dear to me,” says Christopher Rouse, “and because she is of Russian extraction, I gave my piece a Russian name.” Naming the piece wasn’t difficult: he decided on the title before he had written even one note. Though he knew what he wanted to compose, the title helped him focus the emotional intent of the piece. When composing he likes to play games with himself to make the process more interesting—like spelling out names with pitches or assigning motifs or rhythms to symbolic content. In this work, for example, all the music is derived from and related to the name of the beloved and events in her life. “I’ve never come close to using these techniques to this extent in one piece.” Zhizn is cast in one movement with three parts. The first section (slow), using tonal language, portrays the innocence of childhood, but rumblings already point to a future fraught with pain. The music then turns into a veritable whirlwind of dissonant, astringent harmonies, reflecting danger and suffering (fast). Finally, calm is restored (slow). There is even a brief symbolic reference to the composer himself before the affecting final music intones her name. As you listen, suggests the composer, imagine a life filled with struggle—perhaps like that of someone you know—and follow its journey. “But I hope that, even without knowing the program of Odna Zhizn, my music will speak powerfully to the hearts of the audience.” Previously, Christopher Rouse’s Pulitzer Prize-winning Trombone Concerto was commissioned by the New York Philharmonic for principal trombonist Joseph Alessi, as was Seeing, featuring Emanuel Ax; and Musical America recently named him 2009 Composer of the Year, saying, “Few composers have written as skillfully for orchestra... His self-described ‘off-the-wall inventiveness’ has thrilled audiences worldwide.”

WOLFGANG AMADEUS MOZART (1756-1791)
Symphony No. 41, K. 551, Jupiter (1788)
Mozart finished his Symphony No. 40 in late July, 1788; a mere 16 days later, he had completed the present Symphony No. 41—an amazing achievement by any measure. Aptly nicknamed for the king of the gods (probably by the impresario Johann Peter Salomon), his last symphony would set a crown upon his symphonic output. It is one of the illustrious trio of symphonies, No. 39, 40, and 41, composed by Mozart in 1788. We’re plunged immediately into the spirited first movement, with trumpets and drums punctuating the proceedings. Two elegant inner movements ultimately give way to a magnificent finale. Mozart had become acquainted with Johann Sebastian Bach’s music in around 1782, and was particularly fascinated by his fugues. In the last movement of the “Jupiter” he pays homage to the old master, while at the same time showing off his own command of the fugue. It would be a head-spinning exercise to try to explain the interplay of the six intersecting themes; but in the coda they are heard in brilliant profusion in five-part counterpoint until they all come together in a dazzling finale. Suffice it to say, that hearing is believing in Mozart’s genius and is exuberant proof of his mastery of the symphonic form.

In September 2009 Alan Gilbert began his tenure as Music Director of the New York Philharmonic, the first native New Yorker to hold the post.

For his inaugural season he introduced a number of new initiatives: the positions of The Marie-Josée Kravis Composer-in-Residence, held by Magnus Lindberg, and Artist-in-Residence, first held by Thomas Hampson; an annual three-week festival; and CONTACT!, the New York Philharmonic's new-music series. In the 2009–10 season he led the Orchestra on a major tour of Asia in October 2009, with debuts in Hanoi and Abu Dhabi. He also took the Philharmonic to nine cities on the EUROPE / WINTER 2010 tour in January–February 2010, and is conducting world, U.S., and New York premieres. Also in the 2009–10 season, Mr. Gilbert became the first person to hold the William Schuman Chair in Musical Studies at The Juilliard School, a position that includes coaching, conducting, and hosting performance master classes.

Highlights of Mr. Gilbert's 2008–09 season with the New York Philharmonic included the Bernstein anniversary concert at Carnegie Hall and a performance with the Juilliard Orchestra, presented by the Philharmonic. In May 2009 he conducted the World Premiere of Peter Lieberson's The World in Flower, a New York Philharmonic Commission, and in July 2009 he led the Philharmonic's Concerts in the Parks and Free Indoor Concerts, Presented by Didi and Oscar Schafer, and performances at the Bravo! Vail Valley Music Festival in Colorado.

In June 2008 Mr. Gilbert was named conductor laureate of the Royal Stockholm Philharmonic Orchestra, following his final concert as its chief conductor and artistic advisor. He has been principal guest conductor of Hamburg's NDR Symphony Orchestra since 2004, and he has conducted other leading orchestras in the U.S. and abroad, including the Boston, Chicago, and San Francisco symphony orchestras; the Cleveland and Philadelphia Orchestras; and the Berlin Philharmonic, Munich's Bavarian Radio Symphony Orchestra, Amsterdam's Royal Concertgebouw Orchestra, and Orchestre National de Lyon. In 2003 he was named the first music director of the Santa Fe Opera.

Alan Gilbert studied at Harvard University, The Curtis Institute of Music, and The Juilliard School. From 1995 to 1997 he was the assistant conductor of The Cleveland Orchestra. In November 2008 he made his acclaimed Metropolitan Opera debut conducting John Adams's Doctor Atomic. His recording of Prokofiev's Scythian Suite with the Chicago Symphony Orchestra was nominated for a 2008 Grammy Award, and his recording of Mahler's Symphony No. 9 received top honors from the Chicago Tribune and Gramophone magazine. On May 15, 2010, The Curtis Institute of Music awarded Mr. Gilbert an Honorary Doctor of Music degree.

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Liang Wang joined the Philharmonic as Principal Oboe in September 2006; in February 2008 he performed Richard Strauss’s Oboe Concerto with the Orchestra in Hong Kong. Previously he was principal oboe of the Cincinnati Symphony Orchestra, Santa Fe Opera, and San Francisco Ballet Orchestra, and was guest principal oboe at the Chicago and San Francisco Symphony Orchestras. Born in Qing Dao, China, he studied at the Beijing Central Conservatory and at California’s Idyllwild Arts Academy. He received his bachelor’s degree from Philadelphia’s Curtis Institute of Music, studying with Richard Woodhams, and was a fellowship recipient at the Aspen Music Festival and School and at the Music Academy of the West. He has won awards at the Spotlight Competition of the Los Angeles Philharmonic, and the Pasadena Instrumental, Fernard Gillet International Oboe, and Tilden Prize competitions, and he has twice received the Los Angeles Philharmonic Fellowship. He has performed chamber music at the Santa Fe and Angel Fire Festivals; given master classes at the Cincinnati Conservatory; was on the oboe faculty of the University of California–Berkeley; and is currently on the faculties of the Manhattan School of Music and New York University.

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Mark Nuccio joined the New York Philharmonic in 1999 as Associate Principal and Solo E-flat Clarinet. He previously held positions with orchestras in Pittsburgh, Denver, Savannah, and Florida. He has worked with distinguished conductors such as Lorin Maazel, Kurt Masur, Mariss Jansons, Zubin Mehta, Riccardo Muti, Erich Leinsdorf, Claudio Abbado, Riccardo Chailly, André Previn, Christoph von Dohnányi, and Gustavo Dudamel. Additionally, Mr. Nuccio has toured with both the New York Philharmonic and the Pittsburgh Symphony Orchestra to numerous countries, recorded with both orchestras, and performed with the Philharmonic on the award-winning series, Live From Lincoln Center, broadcast on PBS. A recent New York Philharmonic tour included a historic visit to North Korea — an event watched around the world.

An active solo and chamber musician, Mark Nuccio has been the featured performer with several orchestras in the United States and on numerous occasions at the International Clarinet Association conventions. He made his New York recital debut at Carnegie Hall’s Weill Recital Hall in 2001, his Japan recital debut in 2002, and he now regularly performs in recital in the Far East and Europe, as well as across the U.S. In New York, he often can be heard at Merkin Concert Hall, the 92nd Street Y, Carnegie Hall, and the Metropolitan Museum of Art. Mr. Nuccio is also a member of the Philharmonic Quintet of New York (PQNY) — a group of five woodwind players from the New York Philharmonic. Since its inception, in 2001, the PQNY has performed across the globe. During summers, Mr. Nuccio performs chamber music at the Strings in the Mountain Music Festival in Steamboat, Colorado.

As a studio musician, Mr. Nuccio is featured on several movie soundtracks, including Failure to Launch, The Last Holiday, The Rookie, The Score, Intolerable Cruelty, Alamo, Pooh’s Heffalump, Hitch, The Manchurian Candidate, and numerous television commercials. He also performed on the Late Show with David Letterman as well as on the 2003 Grammy Awards.

In November 2006, Mr. Nuccio’s first CD, Opening Night,featuring the clarinet quintets of Mozart and Brahms, was released, and is available at dorian.com as well as on iTunes and amazon.com.

A Colorado native, Mark Nuccio holds a master’s degree from Northwestern University, where he studied with the renowned pedagogue Robert Marcellus. He received his bachelor’s degree from the University of Northern Colorado.

Beyond his active performing schedule, Mr. Nuccio is committed to training the next generation of musicians. He currently serves on the faculty of the Manhattan School of Music in New York City and teaches master classes in the U.S. and abroad. Mr. Nuccio is a Rico advising artist and clinician as well as an artist/clinician for Buffet Crampon, and performs exclusively on Buffet clarinets.

Judith LeClair joined the Philharmonic as Principal Bassoon (The Pels Family Chair) in 1981, at the age of 23, and has since made more than 50 solo appearances with the Orchestra. Previously she was principal bassoon with the San Diego Symphony and San Diego Opera. She has participated in the Music from Angel Fire, Bridgehampton, Bay Chamber, and Aspen music festivals, and she performs as a member of the Philharmonic Woodwind Quintet of New York. Ms. LeClair has given solo recitals and master classes at the Eastman School of Music, Oberlin College, University of Colorado at Boulder, and Northwestern, Michigan, and Ohio universities. Every August she gives a solo recital and weeklong master class at the Hidden Valley Music Seminar in Carmel Valley, California. In April 1995 she premiered The Five Sacred Trees, a concerto written for her by John Williams and commissioned by the Philharmonic as part of its 150th Anniversary celebration. Her recording of the piece with the London Symphony Orchestra and her solo New York Legends CD for Cala Records were released in 1997. Ms LeClair is on the faculty of The Juilliard School.

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Philip Myers joined the Philharmonic as Principal French Horn (The Ruth F. and Alan J. Broder Chair) in January 1980, and made his solo debut with the Orchestra that month in the premiere of William Schuman’s Three Colloquies for French Horn and Orchestra. He has since appeared as a Philharmonic soloist often, most recently performing Mozart’s Horn Concerto No. 2, conducted by Lorin Maazel, in New York in January 2008 and again in February 2008 in Kaohsiung, Taiwan, and Shanghai, China. Mr. Myers began his orchestral career in 1971 with a three-year term as principal horn of the Atlantic Symphony in Halifax, Nova Scotia. He was third horn with the Pittsburgh Symphony from 1974 until 1977. As principal horn of the Minnesota Orchestra for a season and a half, he made a solo debut with that ensemble in 1979, performing Richard Strauss’s Horn Concerto No. 1, Sir Neville Marriner conducting. A native of Elkhart, Indiana, Mr. Myers holds two degrees from Carnegie–Mellon University in Pittsburgh. He plays Engelbert Schmid French horns.

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