Gilbert Conducts: Dvorak, Beethoven, and Lindberg

The New York Philharmonic

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Gilbert Conducts: Dvorak, Beethoven, and Lindberg



Alan Gilbert

Alan Gilbert, former Music Director of the New York Philharmonic, launches a new appointment as chief conductor designate of Hamburg’s NDR Elbphilharmonie Orchestra this fall, shortly after the opening of its already iconic new home. The Grammy Award–winning conductor previously served as principal guest conductor of the orchestra (then known as NDR Symphony Orchestra Hamburg) for more than a decade, and will assume the role of chief conductor in September 2019. This position follows his truly transformative eight-year tenure as Music Director of the New York Philharmonic, during which, through such key initiatives as the NY PHIL BIENNIAL, he succeeded in making the Orchestra a leader on the cultural landscape. Alan Gilbert is also conductor laureate of the Royal Stockholm Philharmonic and the founder and president of Musicians for Unity. With the endorsement and guidance of the United Nations, this new organization will bring together musicians from around the world to perform in support of peace, development, and human rights.

Alan Gilbert makes regular guest appearances with orchestras including the Berlin Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, The Cleveland Orchestra, Boston Symphony Orchestra, The Philadelphia Orchestra, Dresden Staatskapelle, and Orchestre Philharmonique de Radio France. He has led operatic productions for Milan’s Teatro alla Scala, The Metropolitan Opera, Los Angeles Opera, Zurich Opera, Royal Swedish Opera, and Santa Fe Opera, where he was the inaugural music director.

His discography includes The Nielsen Project, a box set recorded with the New York Philharmonic, and John Adams’s Doctor Atomic, captured on DVD at The Metropolitan Opera, for which he won a Grammy Award. He received Emmy Award nominations for Outstanding Music Direction in PBS’s Live From Lincoln Center broadcasts of two star-studded New York Philharmonic productions: of Sweeney Todd and Sinatra: Voice for a Century.

Alan Gilbert has received Honorary Doctor of Music degrees from the Curtis Institute of Music and Westminster Choir College, as well as Columbia University’s Ditson Conductor’s Award. He is a member of The American Academy of Arts & Sciences, and was named an Officier de l’Ordre des Arts et des Lettres by the French government. At The Juilliard School, he is the first holder of the William Schuman Chair in Musical Studies and serves as Director of Conducting and Orchestral Studies. After giving the annual Royal Philharmonic Society Lecture on Orchestras in the 21st Century: A New Paradigm during the New York Philharmonic’s EUROPE / SPRING 2015 tour, he received a 2015 Foreign Policy Association Medal for his commitment to cultural diplomacy.

Learn more about Alan Gilbert



Yefim Bronfman by Dario Acosta

Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors, and recital series.

In recognition of a relationship of more than 30 years, Mr. Bronfman will join the Israel Philharmonic Orchestra and Zubin Mehta on the orchestra’s fall U.S. tour, including a stop at Carnegie Hall, followed by concerts in Munich, London, and Vienna with the Bavarian Radio Symphony Orchestra and Mariss Jansons, another frequent collaborator. In addition to returns to the New York and Los Angeles Philharmonic orchestras, The Cleveland and Philadelphia Orchestras, and Pittsburgh, National, Indianapolis, and Toronto symphony orchestras, in the spring he will tour with the Vienna Philharmonic and Andrés Orozco-Estrada in a special program celebrating the pianist’s 60th birthday. In Europe he can also be heard with the Berlin Philharmonic; in recital in Italy, France, Belgium, Germany, and London; and on tour with the Leipzig Gewandhaus Orchestra conducted by Andris Nelsons. A tour in Asia with the London Symphony Orchestra and Gianandrea Noseda brings the season to a close in June.

Mr. Bronfman has given numerous solo recitals in the leading halls of North America, Europe, and the Far East, including acclaimed debuts at Carnegie Hall in 1989 and Avery Fisher (now David Geffen) Hall in 1993. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman’s first public performances there since his emigration to Israel at age 15. That same year he was awarded the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, and in 2010 he was honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University.

Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973.

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Frank Peter Zimmermann

Frank Peter Zimmermann, widely regarded as one of the foremost violinists of his generation, performs with the world’s major orchestras, including the Berlin Philharmonic (with which he made his debut in 1985 conducted by Daniel Barenboim), the Vienna Philharmonic (debut in 1983, with Lorin Maazel, in Salzburg), Amsterdam’s Royal Concertgebouw Orchestra, all of London’s orchestras, and all the preeminent American orchestras. He is also a regular guest at the music festivals of cities including Salzburg, Edinburgh, and Lucerne. Over the years, Mr. Zimmermann has built an impressive discography for the EMI Classics, Sony Classical, BIS, Ondine, Hänssler, Decca, Teldec, and ECM labels. He has recorded virtually all the major concerto repertoire, ranging from J.S. Bach to Ligeti, Brett Dean to Matthias Pintscher, as well as Ysaÿe’s six solo sonatas, Paganini’s 24 Caprices, and the complete Violin Sonatas of J.S. Bach and Mozart. He served as the New York Philharmonic’s Mary and James G. Wallach Artist-in-Residence in the 2011–12 season. Born in 1965 in Duisburg, Germany, Frank Peter Zimmermann started learning to play the violin with his mother when he was five years old. He went on to study with Valery Gradov, Saschko Gawriloff, and Herman Krebbers. Mr. Zimmermann plays the 1711 Antonius Stradivari violin “Lady Inchiquin,” which is kindly provided by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, “Kunst im Landesbesitz.”

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Carnival Overture

ANTONÍN DVOŘÁK (1841–1904)
Carnival Overture (1891)

Bursting with spirit and energy, Carnival is the second of Dvořák’s three concert overtures (the other two are In Nature’s Realm and Othello, originally titled “Nature, Life, and Love”). The running thread among them is a theme representing the life force, which the composer called “nature,” and which has the power “to create and sustain life, but also, in its negative form, could destroy it,” according to John Clapham’s study of the composer. Dvořák’s own commentary for Carnival describes the music perfectly: “The lonely, contemplative wanderer reaches the city at nightfall, where a carnival is in full swing. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of people giving vent to their feelings in their songs and dance tunes.” The vibrant Bohemian flavors so integral to Dvořák’s music depict this joyful scene with bright orchestral colors and rhythms.


Violin Concerto

Violin Concerto (1806)

It has been called “the Mount Everest of violin concertos” and, jokingly, Beethoven’s “tenth symphony with violin obbligato.” The Violin Concerto, his only one for the instrument, is a bravura composition of startling emotional scope, and longer by far than concertos written before that time. Starting with soft taps on the timpani — a recurring motif that is integral to the work’s fabric — a lengthy orchestral introduction heralds the soloist’s entrance, after which the composition unfolds as a marvelous exchange between violin and orchestra. In the first movement you’ll hear the lyrical theme that the soloist finally gets to play all the way through — after a cadenza. The calm of the Larghetto movement leads into a finale that gives violinists the opportunity to display their art and craft, especially in the unusually long and dazzling coda. After a final burst of fireworks, this masterpiece that has thrilled audiences for more than two centuries comes to a glorious conclusion.


Piano Concerto No. 2

MAGNUS LINDBERG (born in 1958 in Helsinki, Finland)
Piano Concerto No. 2 (2012)

During Finnish composer Magnus Lindberg’s tenure as Composer-in-Residence of the New York Philharmonic (2009–12), audiences had the opportunity to hear a substantial portion of his notable creations, including Kraft, Feria, Al Largo, EXPO, and the 2012 premiere of his Piano Concerto No. 2, co-commissioned by the New York Philharmonic. The work received rave reviews, and the soloist Yefim Bronfman was praised by The New York Times as someone “who can seemingly play anything. It took all of his technique and stamina to dispatch this monster concerto…He gave a brilliant and triumphant performance.... and mastered every challenge: thick chords that leap across the keyboard; spiraling bursts of runs and sputtering arpeggios; cascades of double thirds; finger-twisting counterpoint; on and on.... I look forward to hearing it again. ” Maestro Alan Gilbert concurs, “With Yefim Bronfman you don’t have to worry about technical limitations. He will be able conquer whatever challenges are in the score.” The pianist, too, acknowledges that it was a “complex and fascinating piece.... I love the second movement; I think it has some of the most beautiful moments of lyricism and power and drama ... a nice, quiet, introspective beginning of the solo piano, interrupted by jolts of explosions; then comes the most difficult passage in the whole piece for piano and percussion playing together.... Some of the [Concerto is] almost unplayable ... but my job is to be able to play what’s written, not to complain.” Yet Magnus Lindberg makes it sound so simple: “The concerto runs continuously; there are three clear sections, which evolved naturally during composition. The first presents everything in expository fashion; the second is a contrasting slow movement with cadenza, and the third is a more direct, straightforward finale.” Now, get ready for an encore performance of this amazing work. It’s a not-to- be-missed event.

Symphony No. 7

ANTONÍN DVOŘÁK (1841–1904)
Symphony No. 7 (1885)

When Dvořák was commissioned to compose a new symphony, he wrote to a friend, “My new symphony must be such as to make a stir in the world,” a goal that the Seventh fulfilled magnificently. Many consider this to be Dvořák’s most perfect symphony — a work of beauty, drama, turbulence, and melodic riches. Although pressured to abandon his musical allegiance to his native Bohemia to be viewed more favorably in Vienna, Dvořák defended the nationalism in his works. in fact, it may be that his response this pressure to forsake his musical roots infused the Seventh Symphony with both a melancholy and decidedly Czech spirit. While he did not quote any folk songs verbatim, their rhythms and cadences are there. In the third movement, listen for the exciting sounds of the furiant, an aptly named Czech dance. And when, at the end, D major triumphs over D minor, it feels like being embraced by sunlight.

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