Press Release

Wednesday, August 10, 2016

Contact

Katherine E. Johnson Vice President, Communications (212) 875-5700; johnsonk@nyphil.org

For Immediate Release

Alan Gilbert and the New York Philharmonic: 175th Season Begins September 21

NEW YORK PHILHARMONIC 2016–17 SEASON — CELEBRATING 175 YEARS IN NEW YORK
ALAN GILBERT’S FAREWELL SEASON

ALAN GILBERT TO CONDUCT OPENING WEEK

OPENING GALA CONCERT: SEPTEMBER 21
DVOŘÁK’s Symphony No. 9, FROM THE NEW WORLD, Launching The New World Initiative
NEW YORK PREMIERE of John CORIGLIANO’s STOMP for Orchestra
GERSHWIN’s Concerto in F with AARON DIEHL in His Philharmonic Debut

EMPIRE STATE BUILDING To Be Lit in Philharmonic Red in Celebration of the Anniversary Season
__________________

OPENING SUBSCRIPTION PROGRAMS TO FEATURE:
LISA BATIASHVILI in TCHAIKOVSKY’s Violin Concerto, September 22–24
Principal Clarinet ANTHONY McGILL in MOZART’s Clarinet Concerto, September 27
John CORIGLIANO’s STOMP for Orchestra, September 27
DVOŘÁK’s Symphony No. 9, From the New World, September 22–27
__________________

FREE INSIGHTS AT THE ATRIUM EVENT
“Origins of a New World Voice: NYC in 1893”
September 12, 2016
MICHAEL BECKERMAN Named Leonard Bernstein Scholar-in-Residence for
2016–17 Season

Music Director Alan Gilbert opens the New York Philharmonic’s 175th anniversary season, which also marks his farewell season as Music Director, with three programs featuring Dvořák’s Symphony No. 9, From the New World — the Philharmonic’s first World Premiere of a work written in New York that would become part of the standard repertoire alongside a New York Premiere, a Philharmonic debut, and other works and soloists closely tied to the Orchestra.

The Opening Gala Concert, Wednesday, September 21, 2016, at 7:30 p.m., features a program honoring the Philharmonic’s legacy of premiering important works, particularly music connected to New York City: the New York Premiere of John Corigliano’s STOMP for Orchestra;Dvořák’s Symphony No. 9, From the New World; and Gershwin’s Concerto in F, with jazz pianist Aaron Diehl as soloist in his Philharmonic debut. In the season’s first subscription program, Mr. Gilbert will conduct Dvořák’s New World Symphony and Tchaikovsky’s Violin Concerto with Lisa Batiashvili, former Mary and James G. Wallach Artist-in-Residence, as soloist,Thursday, September 22, 2016, at 7:30 p.m.; Friday, September 23 at 2:00 p.m.; and Saturday, September 24 at 8:00 p.m. STOMP and Dvořák’s New World Symphony will again be performed on the program Tuesday, September 27, 2016, at 7:30 p.m., which also features Mozart’s Clarinet Concerto with Principal Clarinet Anthony McGill as soloist.

Opening Gala Concert and The New World Initiative
September 21, 2016

The 2016–17 Opening Gala Concert will mark the Philharmonic’s 370th performance of Dvořák’s Symphony No. 9, From the New World, which the Orchestra premiered in December 1893, led by Anton Seidl at Carnegie Hall. The season-opening performances of the New World Symphony launch The New World Initiative, a season-long, citywide project revolving around the work and its connection to the theme of “home” through performances, education projects, and community outreach on the occasion of the Philharmonic’s 175th anniversary season, honoring the Orchestra’s hometown and its role as an adopted home. Dvořák wrote the symphony in New York City while living here, and the famous Largo theme was later set to the words “Goin’ Home” by Dvořák’s student William Arms Fisher. 2016 also marks Dvořák’s 175th birthday year. In addition to the three season-opening programs, the Orchestra will also perform the work on a Young People’s Concert, Young People’s Concerts for Schools, and the free New York Philharmonic Concerts in the Parks, Presented by Didi and Oscar Schafer. Additional The New World Initiative details and activities will be announced.

The Philharmonic has performed more than a dozen works by Pulitzer Prize winner and native New Yorker John Corigliano — whose father, John Corigliano, Sr., served as the Orchestra’s Concertmaster from 1943 to 1966 — including commissioning and premiering his Clarinet Concerto (1977),Fantasia on an Ostinato (1986), Vocalise for Soprano, Electronics, and Orchestra (1999), and One Sweet Morning (2011). STOMP was originally written for solo violin for the 2011 International Tchaikovsky Competition. The composer writes: “I asked the players to tap or stomp on certain beats. This was because STOMP is actually ‘fiddle music’ — country music, bluegrass, and jazz combined, and the original players of this music often stomp to the rhythm. … In adapting STOMP for orchestra … I could not give up the tapping and stomping.”

Walter Damrosch commissioned Brooklynite Gershwin’s Concerto in F for the New York Symphony (one of the forebears of today’s New York Philharmonic), which gave the work’s World Premiere in December 1925, led by Damrosch, with Gershwin as piano soloist. The work built on the 1920s exploration of jazz as an intrinsically American element in classical composition, also manifest in Gershwin’s Rhapsody in Blue (1924) and An American in Paris (1928, which the Philharmonic also premiered). The Orchestra has performed the Concerto in F 93 times to date, collaborating not only with the composer (for a total of 9 performances) and the respected Gershwin interpreter Oscar Levant (16 performances), but also with eminent pianists including Earl Wild and those known for jazz-classical fusion, such as Jean-Yves Thibaudet.

“It’s unbelievable that the Orchestra has played premieres of pieces that have now become mainstays of the repertoire,” said Music Director Alan Gilbert. “These pieces are so popular that you can take them for granted — but if you realize it’s the New York Philharmonic that brought that piece into being, it becomes a very important message. There is a sense of discovery and freshness, which is exactly the kind of spirit that I live for. John Corigliano is one of the great composers, and his connections to the New York Philharmonic are very deep. He grew up around the Orchestra, as I did, and I love that he’s still part of the family and is as vital and creative as ever.”

Aaron Diehl said of the Gershwin work he is performing: “The Concerto in F is recognized for its strengths in possessing the orchestration and form of a symphonic work, all while maintaining the feeling of a jazz orchestra. My goal in playing with the New York Philharmonic is to provide a perspective of Gershwin’s music that is rooted in the American vernacular of syncopation and swing.”

Opening Subscription Programs
September 22–27, 2016

Lisa Batiashvili — who performs Tchaikovsky’s Violin Concerto September 22–24, conducted by Alan Gilbert — served as the 2014–15 season Mary and James G. Wallach Artist-in-Residence, and she appears again in the 2016–17 season as part of Mr. Gilbert’s 50th birthday concert, February 23, 2017. Anthony McGill — who performs Mozart’s Clarinet Concerto on September 27, led by Alan Gilbert — joined the New York Philharmonic as Principal Clarinet, The Edna and W. Van Alan Clark Chair, in September 2014. The New York Times wrote of Mr. McGill’s performance of Mozart’s Clarinet Concerto in June 2016 during the Philharmonic’s Concerts in the Parks, Presented by Didi and Oscar Schafer: “Anthony McGill, the Philharmonic’s extraordinary principal clarinetist, was the soloist in an elegant account of Mozart’s Clarinet Concerto. … Mr. McGill’s articulate and uncommonly lyrical performance, sensitively supported by Mr. Gilbert and the orchestra, brought out the autumnal beauties of this refined masterpiece.”

Insights at the Atrium, “Origins of a New World Voice: NYC in 1893
September 12, 2016

Kicking off the Philharmonic’s 175th anniversary activities and The New World Initiative, the New York Philharmonic will present a freeInsights at the Atrium event, “Origins of a New World Voice: NYC in 1893,”Monday, September 12, 2016, at 7:30 p.m., a theatrical exploration of Dvořák’s time in New York and the American influences in his New World Symphony. The event will be led by Professor Michael Beckerman, the author of Dvořák and His World, who has been named The Leonard Bernstein Scholar-in-Residence at the New York Philharmonic for the 2016–17 season. Dr. Beckerman will be joined by actors reenacting the reception of African American musical sources at the dawn of the Progressive Era and how they contributed to the development of an American musical voice. The event, co-presented with Lincoln Center for the Performing Arts, will take place at the David Rubenstein Atrium at Lincoln Center. As The Leonard Bernstein Scholar-in-Residence, Michael Beckerman will be involved with public outreach and education programs throughout the season and work with the Philharmonic Archives on projects related to Dvořák, contributing further to The New World Initiative.

The Leonard Bernstein Scholar-in-Residence at the New York Philharmonic program honors and recognizes the enduring contribution of Leonard Bernstein, the Orchestra’s Music Director from 1958 to 1969 and subsequent Laureate Conductor. The position was created in the 2005–06 season to coincide with the 15th anniversary of Bernstein’s death, on October 14, 1990. Charles Zachary Bornstein served as the first Leonard Bernstein Scholar-in-Residence, from 2005–06 through 2007–08. New York Philharmonic Program Annotator James M. Keller, The Leni and Peter May Chair, held the post in the 2008–09 season; baritone Thomas Hampson, in combination with the role of The Mary and James G. Wallach Artist-in-Residence, in 2009–10; Jack Gottlieb, in 2010–11 until his untimely passing in February 2011; Harvey Sachs, through the 2012–13 season; Carol J. Oja, through the 2014–15 season; and Matthew Mugmon in the 2015–16 season.

Related Events

  • Opening Gala
    The black-tie Opening Gala, September 21, will include a pre-concert champagne reception from 6:00 to 7:00 p.m., the concert, and a dinner immediately following the performance. The Opening Gala Co-Chairmen are Kristen and Alexander Klabin, Daisy M. Soros, and Agnes Hsu-Tang and Oscar L. Tang. BMW is a Major Corporate Sponsor of the Opening Gala. Generous underwriting support is provided by BNY Mellon, Kristen and Alexander Klabin, Agnes Hsu-Tang and Oscar L. Tang, and Daria L. and Eric J. Wallach.

  • Empire State Building Salute
    On September 21 the Empire State Building will be lit in Philharmonic red in celebration of the Philharmonic’s Opening Gala and the start of the 2016–17 season, the Philharmonic’s 175th anniversary season.

  • Insights at the Atrium — “Origins of a New World Voice: NYC in 1893”
    New York Philharmonic Leonard Bernstein Scholar-in-Residence Michael Beckerman, speaker
    Actors tba
    Kevin Del Aguila, director
    Monday, September 12, 2016, 7:30 p.m.
    David Rubenstein Atrium at Lincoln Center (Broadway at 62nd Street)

Artists
As Music Director of the New York Philharmonic since 2009, Alan Gilbert has introduced the positions of The Marie-Josée Kravis Composer-in-Residence, The Mary and James G. Wallach Artist-in-Residence, and Artist-in-Association; CONTACT!, the new-music series; the NY PHIL BIENNIAL, an exploration of today’s music; and the New York Philharmonic Global Academy, partnerships with cultural institutions to offer training of pre-professional musicians, often alongside performance residencies. The Financial Times called him “the imaginative maestro-impresario in residence.”

Alan Gilbert concludes his final season as Music Director with four programs that reflect themes, works, and musicians that hold particular meaning for him, including Beethoven’s Ninth Symphony alongside Schoenberg’s A Survivor from Warsaw, Wagner’s complete Das Rheingold in concert, and an exploration of how music can effect positive change in the world. Other highlights include three World Premieres, Mahler’s Fourth Symphony, Ligeti’s Mysteries of the Macabre, and Manhattan, performed live to film. He also leads the Orchestra on the EUROPE / SPRING 2017 tour and in performance residencies in Shanghai and Santa Barbara. Past highlights include acclaimed stagings of Ligeti’s Le Grand Macabre, Janáček’s The Cunning Little Vixen, Stephen Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson (2015 Emmy nomination), and Honegger’s Joan of Arc at the Stake starring Marion Cotillard; 28 World Premieres; a tribute to Boulez and Stucky during the 2016 NY PHIL BIENNIAL; The Nielsen Project; the Verdi Requiem and Bach’s B-minor Mass; the score from 2001: A Space Odyssey, performed live to film; Mahler’s Resurrection Symphony on the tenth anniversary of 9/11; performing violin in Messiaen’s Quartet for the End of Time; and ten tours around the world.

Conductor laureate of the Royal Stockholm Philharmonic Orchestra and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, Alan Gilbert regularly conducts leading orchestras around the world. This season he returns to the foremost European orchestras, including the Leipzig Gewandhaus, Munich Philharmonic, Amsterdam’s Royal Concertgebouw, and Orchestra della Accademia Nazionale di Santa Cecilia. He will record Beethoven’s complete piano concertos with the Academy of St Martin in the Fields and Inon Barnatan, and conduct Gershwin’s Porgy and Bess at Milan’s Teatro alla Scala, his first time leading a staged opera there. He made his acclaimed Metropolitan Opera debut conducting John Adams’s Doctor Atomic in 2008, the DVD of which received a Grammy Award, and he conducted Messiaen’s Des Canyons aux étoiles on a recent album recorded live at the Santa Fe Chamber Music Festival. Mr. Gilbert is Director of Conducting and Orchestral Studies at The Juilliard School, where he holds the William Schuman Chair in Musical Studies. His honors include Honorary Doctor of Music degrees from The Curtis Institute of Music (2010) and Westminster Choir College (2016), Columbia University’s Ditson Conductor’s Award (2011), election to The American Academy of Arts & Sciences (2014), a Foreign Policy Association Medal for his commitment to cultural diplomacy (2015), Officier de l’Ordre des Arts et des Lettres (2015), and New York University’s Lewis Rudin Award for Exemplary Service to New York City (2016).

Pianist, composer, and bandleader Aaron Diehl (September 21) is a dynamic, virtuosic, and versatile artist. He is one of the most sought after musicians of his generation, as evidenced by his critically acclaimed performances, collaborations, and compositions across multiple disciplines. A Steinway artist, Mr. Diehl is a 2007 graduate of The Juilliard School, the American Pianists Association’s 2011 Cole Porter Fellow, and a Monterey Jazz Festival Commission Artist. His work on Cécile McLorin Salvant’s For One To Love garnered him a Grammy Award, and his latest album, Space, Time, Continuum (on the Mack Avenue Records label), emphasizes artistic interactions between generations. Aside from leading his own ensembles, Aaron Diehl has amassed an impressive list of musical accomplishments, including serving as the music director for Cécile McLorin Salvant, collaborating with Philip Glass on his complete piano études, and scoring Jeremy McQueen’s ballet The Black Iris Project. He is the music director of a large ensemble project that celebrates the music of Jelly Roll Morton and George Gershwin; it is set to tour North America in 2017. The Opening Gala Concert marks Aaron Diehl’s New York Philharmonic debut.

Violinist Lisa Batiashvili (September 22–24), Musical America’s 2015 Instrumentalist of the Year, is this season’s artist-in-residence with Amsterdam’s Royal Concertgebouw Orchestra. The Georgian-born violinist, who has lived in Germany for more than 25 years, has developed longstanding relationships with some of the world’s leading orchestras, including the New York Philharmonic (with whom she was the 2014–15 Mary and James G. Wallach Artist-in-Residence), Berlin Philharmonic, Zurich’s Tonhalle Orchestra, and Chamber Orchestra of Europe. Ms. Batiashvili’s 2016–17 season highlights include performances with Dresden Staatskapelle (with Gautier Capuçon and Christian Thielemann), Los Angeles Philharmonic (Gustavo Dudamel), London Symphony Orchestra (Michael Tilson Thomas), and Chamber Orchestra of Paris (François Leleux). She also performs the World Premiere of Anders Hillborg’s Violin Concerto No. 2 with the Royal Stockholm Philharmonic Orchestra (Sakari Oramo), and later by performs it with the Leipzig Gewandhaus Orchestra (Alan Gilbert). As part of her Royal Concertgebouw Orchestra residency, she plays Tchaikovsky’s Violin Concerto led by Antonio Pappano, Prokofiev’s Violin Concerto No. 2 led by Daniele Gatti, and Shostakovich’s Violin Concerto No. 1 led by Vladimir Jurowski. She also spends two weeks as a Bamberg Symphony portrait artist, performing Dvořák’s Violin Concerto with Ingo Metzmacher, as well as J.S. Bach’s and Thierry Escaich’s Concertos for Violin and Oboe with François Leleux led by Jakub Hrůša. Chamber music projects include the opening celebration of the Boulez Saal in Berlin, recitals with Georgian jazz pianist Beka Gochiashvili, and a tribute concert to Alfred Brendel. Ms. Batiashvili records exclusively for Deutsche Grammophon; her next album, to be released in November 2016, will feature Tchaikovsky’s and Sibelius’s Violin Concertos with the Berlin Staatskapelle, led by Daniel Barenboim. Her most recent release is an album of works by J.S. and C.P.E. Bach featuring, among others, François Leleux, Emmanuel Pahud, and the Chamber Orchestra of the Bavarian Radio Symphony Orchestra. Earlier recordings include Brahms’s Violin Concerto with the Dresden Staatskapelle and Shostakovich’s Violin Concerto No. 1 with the Bavarian Radio Symphony Orchestra. Lisa Batiashvili plays a Joseph Guarneri “del Gesu” from 1739. She made her New York Philharmonic debut in March 2005, performing works by Chausson and Saint-Saëns conducted by Lorin Maazel. She most recently joined the Philharmonic in October 2015 for Brahms’s Double Concerto for Violin and Cello with Gautier Capuçon, led by Semyon Bychkov.

Anthony McGill (September 27) joined the New York Philharmonic as Principal Clarinet, The Edna and W. Van Alan Clark Chair, in September 2014. Previously principal clarinet of The Metropolitan Opera Orchestra beginning in 2004, he is recognized as one of the classical music world’s finest solo, chamber, and orchestral musicians. He has appeared as soloist at Carnegie Hall with many orchestras including the MET Orchestra, American Symphony Orchestra, and New York String Orchestra. He has also recently performed with the Baltimore, New Jersey, San Diego, and Memphis symphony orchestras and Orchestra 2001. As a chamber musician Mr. McGill has appeared throughout the United States, Europe, and Asia with quartets including the Guarneri, Tokyo, Brentano, Pacifica, Shanghai, Miró, and Daedalus. He has also appeared with Musicians from Marlboro and at The Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, and University of Chicago Presents. His festival appearances have included Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, and Santa Fe Chamber Music. He has collaborated with pianists Emanuel Ax, Yefim Bronfman, Mitsuko Uchida, and Lang Lang, as well as violinists Gil Shaham and Midori. On January 20, 2009, he performed with Itzhak Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration of President Barack Obama. He has appeared on Performance Today, MPR’s Saint Paul Sunday, and Mister Rogers’ Neighborhood. In 2013 with his brother Demarre, he appeared on NBC Nightly News, the Steve Harvey Show, and on MSNBC with Melissa Harris-Perry. In demand as a teacher, Anthony McGill serves on the faculties of The Juilliard School, Peabody Institute of The Johns Hopkins University, Bard College Conservatory of Music, and Manhattan School of Music, and has given master classes throughout the United States, Europe, and South Africa. Anthony McGill made his Philharmonic solo debut performing Nielsen’s Clarinet Concerto in the final performances of The Nielsen Project; most recently he performed Mozart’s Clarinet Concerto in June 2016 during the Philharmonic’s Concerts in the Parks, Presented by Didi and Oscar Schafer, led by Alan Gilbert.

Insights at the Atrium Speakers
Michael Beckerman is Carroll and Milton Petrie Chair and Collegiate Professor of Music at New York University. He has written articles on such subjects as film scoring, music of the Roma (Gypsies), Mozart, Brahms, exiled composers, and music in the camps, as well as many studies and several books on Czech topics, including Dvořák and His World (Princeton University Press, 1993), Janáček as Theorist (Pendragon Press, 1994), New Worlds of Dvořák (W.W. Norton, 2003), Janáček and His World (Princeton, 2004), and Martinů’s Mysterious Accident (Pendragon, 2007). He has been a frequent contributor to The New York Times and was a regular guest on Live From Lincoln Center and other radio and television programs in the United States, Europe, and Japan. Dr. Beckerman lectures nationally and internationally and has organized many concerts and symposia. He was awarded the Janáček Medal by the Czech Ministry of Culture, is a recipient of the Dvořák Medal, and is also a Laureate of the Czech Music Council; he has twice received the Deems Taylor Award. He was chair of the New York University Department of Music (2004–13), served as distinguished professor at Lancaster University (2011–15), and last year received an honorary doctorate from Palacký University in the Czech Republic.

Repertoire
John Corigliano (b. 1938) first created STOMP as a solo (unaccompanied) violin piece written for the semi-finalists of the Tchaikovsky Competition. He composed it in the style of fiddle music (inspired by country, bluegrass, and jazz), adding a few twists in order to test abilities of the performers — including changing the tuning of the instrument and instructing the performer to tap or stomp on certain beats. When Corigliano adapted STOMP for Orchestra in 2010, he faced a few difficulties, which he explains in the program note: “How was I to take a mostly single-line instrument like a violin and fill it out so a whole orchestra could play it? Very often the melodies of the solo violin implied harmonies, and sometimes the violin played chords with its four strings. I took both ideas to beef up the texture of the piece, and did away with the changed tuning (after all, I had violas to play my low E now!). But I could not give up the tapping and stomping — so you will hear sections of the orchestra, and finally the full orchestra stomping away. … this should be fun for everyone, and I hope it is.”

After Walter Damrosch saw the legendary Paul Whiteman conduct George Gershwin’s (1898–1937) Rhapsody in Blue (1924), he commissioned the young composer to write a “proper” piano concerto; the result was the full-fledged, three-movement Concerto in F (1925). Despite Gershwin’s claim (tongue in cheek) that, after receiving Damrosch’s commission, he bought “four or five books on musical structure to find out exactly what the concerto form really was,” he was no stranger to subjects like orchestration, harmony, and musical forms. Still, to someone who had spent his life searching for respect from the “serious” music establishment, the assignment was daunting. Unlike Rhapsody in Blue, which was orchestrated by Ferde Grofé, Gershwin orchestrated the Concerto in F himself. Originally commissioned as the “New York Concerto,” Gershwin gave it a title that would sound more “classical.” He was the soloist when Walter Damrosch conducted the New York Symphony (a forebear of today’s New York Philharmonic) in the work’s 1925 World Premiere at Carnegie Hall. Jeffrey Kahane conducted and performed for the Orchestra’s most recent performance of the piece, in March 2014.

Antonín Dvořák’s (1841–1904) Symphony No. 9, From the New World (1893) has become one of the composer’s most popular works — Neil Armstrong took a recording of it to the Moon during the Apollo 11 mission in 1969. Dvořák wrote the work in New York in 1893, while he was serving as director of the National Conservatory of Music of America. The work was premiered on December 15, 1893, with Anton Seidl conducting the New York Philharmonic in a public rehearsal; the official premiere took place the following evening at Carnegie Hall. The symphony illustrates Dvořák’s strong interest in Native American music and African American spirituals he heard while in America. He wrote: “I am convinced that the future of music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them.” Christoph von Dohnányi led the Orchestra’s most recent performance of the New World Symphony in December 2014.

Pyotr Ilyich Tchaikovsky (1840–93) wrote his Violin Concerto in one month in 1877, toward the end of the tumultuous year in which he entered into an ill-conceived marriage to Antonina Milyukova (whom he had just met) in order to hide his homosexuality (he channeled the year’s anguish into his Fourth Symphony). But by the time he approached work on the Violin Concerto, his spirits had improved. He wrote: “From the day I began to write it [a] favorable mood has not left me. In such a spiritual state composition loses all aspect of work — it is a continuous delight.” The concerto was originally intended for Leopold Auer, but the violin virtuoso deemed the complicated solo part unplayable and refused to perform it. The work was not premiered until December 4, 1881, when Adolf Brodsky took on the challenge in Vienna. In this concerto, Tchaikovsky creates a song-like solo violin part that lies over an orchestral score packed with energy and bold melodies. Maud Powell was the soloist when Walter Damrosch led the New York Symphony (which merged with the New York Philharmonic in 1928 to form today’s New York Philharmonic) in the first complete performance of the concerto in the United States, in January 1889. The Orchestra most recently performed it in January 2015, with Maxim Vengerov as soloist, conducted by Long Yu.

Wolfgang Amadeus Mozart’s (1756–91) partnership with fellow Freemason and virtuoso clarinetist Anton Stadler yielded some of the composer’s greatest masterpieces. Mozart, who on occasion supported Stadler financially, created the Clarinet Quintet for him in 1789, and two years later, dedicated the Clarinet Concerto to him as well. It would be one of Mozart’s final works before his death. Although Stadler performed the concerto’s premiere on his unique extended-range instrument, a revised version (dating from at least a decade after Mozart’s death) has since become the standard for clarinetists. The combination of Mozart’s mature compositional style and his idiomatic writing for the instrument places this work at the pinnacle of the clarinet canon. Josef Stransky led the Philharmonic’s initial performance of the work in 1913, with clarinetist Henri Leon Le Roy. Alan Gilbert led Anthony McGill for the Orchestra’s most recent presentation of the Clarinet Concerto in June 2016 as part of the Concerts in the Parks, Presented by Didi and Oscar Schafer.

* * *

BMW is a Major Corporate Sponsor of the Opening Gala.

Generous underwriting support is provided by BNY Mellon, Kristen and Alexander Klabin, Agnes Hsu-Tang and Oscar L. Tang, and Daria L. and Eric J. Wallach.

* * *

Insights at the Atrium is presented in partnership with Lincoln Center for the Performing Arts, Inc.

* * *

Citi. Preferred Card of the New York Philharmonic.

* * *

Emirates is the Official Airline of the New York Philharmonic.

* * *

Programs are supported, in part, by public funds from 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.

Tickets
Single tickets for the Opening Gala Concert start at $79. Single tickets for the September 22–24 program start at $31. Single tickets for the September 27 performance start at $39. Tickets are available online at nyphil.org or by calling (212) 875-5656, 10:00 a.m. to 6:00 p.m. Monday through Friday; 1:00 p.m. to 6:00 p.m. Saturday; and noon to 5:00 p.m. Sunday. The Box Office opens at 10:00 a.m. Monday through Saturday, and at noon on Sunday. On performance evenings, the Box Office closes one-half hour after performance time; other evenings it closes at 6:00 p.m. To determine ticket availability, call the Philharmonic’s Customer Relations Department at (212) 875-5656. (Ticket prices subject to change.)

Insights at the Atrium events are free and open to the public. Seating is available on a first-come, first-served basis. Subscribers, Friends at the Fellow level and above, and Patrons may secure guaranteed admission by e-mailing AdultEd@nyphil.org. Space is limited.

For press tickets, call Lanore Carr at the New York Philharmonic at (212) 875-5714, or e-mail her at carrl@nyphil.org.

For more information about the Opening Gala, which includes a pre-concert champagne reception, concert, and post-concert dinner, please call the Office of Special Events at (212) 875-5755, or e-mail specialevents@nyphil.org.


Opening Gala Concert of the New York Philharmonic’s 2016–17 Season

David Geffen Hall at Lincoln Center

Wednesday, September 21, 2016, 7:30 p.m.

Alan Gilbert, conductor
Aaron Diehl*, piano

John CORIGLIANO STOMP for Orchestra (New York Premiere)
GERSHWIN Concerto in F
DVOŘÁK Symphony No. 9, From the New World


New York Philharmonic

David Geffen Hall at Lincoln Center

Thursday, September 22, 2016, 7:30 p.m.
Friday, September 23, 2016, 2:00 p.m.
Saturday, September 24, 2016, 8:00 p.m.

Alan Gilbert, conductor
Lisa Batiashvili, violin

TCHAIKOVSKY Violin Concerto
DVOŘÁK Symphony No. 9, From the New World


New York Philharmonic

David Geffen Hall at Lincoln Center

Tuesday, September 27, 2016, 7:30 p.m.

Alan Gilbert, conductor
Anthony McGill, clarinet

John CORIGLIANO STOMP for Orchestra
MOZART Clarinet Concerto
DVOŘÁK Symphony No. 9, From the New World


INSIGHTS AT THE ATRIUM: ORIGINS OF A NEW WORLD VOICE: NYC IN 1893”
David Rubenstein Atrium at Lincoln Center (Broadway at 62nd Street)

Monday, September 12, 2016, 7:30 p.m.

New York Philharmonic Leonard Bernstein Scholar-in-Residence Michael Beckerman, speaker
Actors tba
Kevin Del Aguila, director
In a theatrical exploration of Dvořák’s time in New York and the American influences in his New World Symphony, premiered by the New York Philharmonic in 1893, Professor Michael Beckerman — the Philharmonic’s Leonard Bernstein Scholar-in-Residence and the author of Dvořák and His World — is joined by actors reenacting the reception of African American musical sources at the dawn of the Progressive Era and how they contributed to the development of an American musical voice.


* New York Philharmonic debut

# # #

ALL PROGRAMS SUBJECT TO CHANGE

What’s New — Get the Latest News, Video, Slideshows, and More

Photography is available in the New York Philharmonic’s online newsroom, nyphil.org/newsroom/1617 or by contacting (212) 875-5700 or PR@nyphil.org .