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Wynton Marsalis and the Jazz at Lincoln Center Orchestra

Recorded March 12, 2014

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Conductor

Alan Gilbert

The 2016–17 season marks Alan Gilbert’s eighth and final season as Music Director of the New York Philharmonic. The first native New Yorker to hold the post, he has sought to make the Orchestra a point of pride for the city and country. The Financial Times called him “the imaginative maestro-impresario in residence.”

Mr. Gilbert and the Philharmonic have 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 2016–17 season by Esa-Pekka Salonen and violinist Leonidas Kavakos, respectively — as well as Artist-in-Association, currently held by pianist Inon Barnatan, who inaugurated the role in the 2014–15 season; an annual festival, which this season is Beloved Friend — Tchaikovsky and His World, featuring Russian-born Semyon Bychkov conducting works by Tchaikovsky as well as composers he was influenced by and whom he influenced; CONTACT!, the new-music series; and the NY PHIL BIENNIAL, an exploration of today’s music by a wide range of contemporary and modern composers. During his tenure the Philharmonic launched the New York Philharmonic Global Academy, partnerships with cultural institutions to offer training of pre-professional musicians, often alongside performance residencies. These include the Shanghai Orchestra Academy and Residency Partnership and collaborations with Santa Barbara’s Music Academy of the West and the Shepherd School of Music at Rice University. Alan Gilbert and the Philharmonic also launched a five-year partnership with the University Musical Society at the University of Michigan.

Alan Gilbert concludes his final season as Music Director with four programs that reflect signature themes of his tenure, featuring works that hold particular meaning for him and musicians with whom he has formed close relationships. These include a pairing of Beethoven’s Ninth Symphony with Schoenberg’s A Survivor from Warsaw; Wagner’s complete Das Rheingold in concert; the New York Premiere of Composer-in-Residence Esa-Pekka Salonen’s Wing on Wing alongside Artist-in-Residence Leonidas Kavakos in Brahms’s Violin Concerto and the New York Premiere of Aeriality by Anna Thorvaldsdottir, the second Kravis Emerging Composer, an honor introduced during Alan Gilbert’s tenure; and an exploration of how music can effect positive change in the world. Other 2016–17 season highlights include four World Premieres; Dvořák’s Symphony No. 9, From the New World, as part of the New York Philharmonic’s 175th anniversary celebrations; Mahler’s Fourth Symphony and Handel’s Messiah; the World Premiere presentation of Gershwin’s score to Manhattan, performed live to the film; Ligeti’s Mysteries of the Macabre; a concert with friends celebrating his 50th birthday; works by John Adams marking the composer’s 70th birthday; and the EUROPE / SPRING 2017 tour. As part of the New York Philharmonic Global Academy, he will lead the Orchestra in its third annual performance residency through the Shanghai Orchestra Academy and Residency Partnership, and will lead the Philharmonic and Academy Festival Orchestra together in Santa Barbara through the partnership with Santa Barbara’s Music Academy of the West.

Last season’s Philharmonic highlights included R. Strauss’s Ein Heldenleben to welcome newly appointed Concertmaster Frank Huang; Carnegie Hall’s 125th anniversary Opening Night Gala; premieres by William Bolcom, Franck Krawczyk, Magnus Lindberg, and Marc Neikrug; works by Sibelius in celebration of the 150th anniversary of the composer’s birth; as well as Mahler’s Das Lied von der Erde and an all-Mozart program. He also co-curated the second NY PHIL BIENNIAL — during which he conducted works by Boulez and Stucky, in tribute to the late composers, as well as premieres by William Bolcom, John Corigliano, and Per Nørgård, the second recipient of The Marie-Josée Kravis Prize for New Music at the New York Philharmonic, an honor introduced during Alan Gilbert’s tenure. The Music Director also performed violin in Messiaen’s Quartet for the End of Time alongside Philharmonic principals and Mr. Barnatan. Under the New York Philharmonic Global Academy he led the Orchestra in its second performance residency in Shanghai and made his second appearance conducting the Music Academy of the West’s Academy Festival Orchestra.

Previous high points among Mr. Gilbert’s Philharmonic appearances include critically celebrated staged productions such as Ligeti’s Le Grand Macabre (2010) and Janáček’s The Cunning Little Vixen (2011), both cited as the top cultural events of their respective years; Philharmonic 360 at Park Avenue Armory (2012), the acclaimed spatial music program featuring Stockhausen’s Gruppen; A Dancer’s Dream: Two Works by Stravinsky (2013, and later presented in movie theaters internationally); a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson that was broadcast on Live From Lincoln Center, earning Mr. Gilbert an Emmy nomination for Outstanding Music Direction (2014); and the U.S. Premiere of a staging of Honegger’s Joan of Arc at the Stake featuring Oscar winner Marion Cotillard (2015). Other highlights include the first two editions of the NY PHIL BIENNIAL; World Premieres of works by Christopher Rouse, Magnus Lindberg, Peter Eötvös , and composers featured on CONTACT!; the score from 2001: A Space Odyssey, performed live to the film; Mahler’s Second Symphony, Resurrection, on A Concert for New York on September 10; the Verdi Requiem; the conclusion of The Nielsen Project, the multi-year initiative to perform and record the Danish composer’s symphonies and concertos; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; six concerts at Carnegie Hall; and ten tours around the world. In August 2015 he led the Mahler Chamber Orchestra in the U.S. Stage Premiere of George Benjamin’s Written on Skin, co-presented by the New York Philharmonic and Lincoln Center, the inaugural production of the Lincoln Center–New York Philharmonic Opera Initiative.

Conductor laureate of the Royal Stockholm Philharmonic Orchestra and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras nationally and internationally, such as the Boston Symphony Orchestra, The Philadelphia Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orchestre philharmonique de Radio France. He has appeared at The Metropolitan, Los Angeles, Zurich, Royal Swedish, and Santa Fe opera companies. This season Mr. Gilbert returns to the foremost European orchestras, records Beethoven’s complete piano concertos with the Academy of St Martin in the Fields and Inon Barnatan, and conducts Gershwin’s Porgy and Bess at Milan’s Teatro alla Scala, his first time leading a staged opera there.

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. He 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 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. He received his second Emmy nomination for Outstanding Music Direction for Sinatra: Voice for a Century, broadcast on Live From Lincoln Center in 2015. Mr. Gilbert conducted Messiaen’s Des Canyons aux étoiles on a recent album recorded live at the Santa Fe Chamber Music Festival.

Alan Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). He received Honorary Doctor of Music degrees from Curtis in May 2010 and from Westminster Choir College in May 2016, 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.” In 2014 he was elected to The American Academy of Arts & Sciences, in 2015 he received a Foreign Policy Association Medal for his commitment to cultural diplomacy and was named Officier de l’Ordre des Arts et des Lettres, and in 2016 he received New York University’s Lewis Rudin Award for Exemplary Service to New York City in recognition of his leadership in making New York one of the world’s great centers for music and the arts.

Visit Alan Gilbert's Official Website

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Associate Conductor, The Arturo Toscanini Chair

Case Scaglione

American conductor Case Scaglione began his tenure as Assistant Conductor of the New York Philharmonic in September 2011, the same year he received the Conductor’s Prize by the Solti Foundation U.S. He made his Philharmonic subscription debut in November 2012, stepping in to lead the opening work on a concert otherwise conducted by Music Director Emeritus Kurt Masur, and in May–June 2013 he led the Orchestra in two works on a program also conducted by Music Director Alan Gilbert. He has also conducted seven New York Philharmonic Young People’s Concerts. In September 2014 he was elevated to Associate Conductor, a position revived for him by Alan Gilbert. This season Mr. Scaglione makes debuts with the Lucerne and Dallas Symphony Orchestras and the Rochester Philharmonic, and returns to the Hong Kong Philharmonic. He made his professional conducting debut with The Cleveland Orchestra in 2010 after being awarded the Aspen Conducting Prize the same year. Since then, he has appeared as a guest conductor with Orchestra of St. Luke’s and the St. Louis, Baltimore, Houston, Colorado, and Jacksonville symphony orchestras, among others. In September 2013 he assisted Andrew Davis on a production of Richard Strauss’s Elektra at the Lyric Opera of Chicago. Mr. Scaglione is a regular visitor to China, where he has given concerts with the Shanghai and Guangzhou Symphony Orchestras and China Philharmonic. Last season he conducted Bach’s Mass in B minor with Madrid’s Orquesta Clásica Santa Cecilia. Mr. Scaglione was music director of the Young Musicians Foundation Debut Orchestra of Los Angeles from 2008 to 2011, when he was the driving force behind the continued artistic growth and diversification of the organization and founded 360° Music, which took that orchestra to inner-city schools. His programs ranged from Wagner to Ligeti and included the orchestra’s first staged opera in almost 60 years as well as the Los Angeles Premiere of John Adams’s Doctor Atomic Symphony, supported by the National Endowment of the Arts. Case Scaglione was a student of David Zinman at the American Academy of Conducting at Aspen, where he won the James Conlon Prize, and was assistant conductor of the Aspen Music Festival and School. In 2011 Mr. Scaglione was one of three conducting Fellows at Tanglewood, chosen by James Levine and Stefan Asbury. He received his bachelor’s degree from the Cleveland Institute of Music, and his post-graduate studies were spent at the Peabody Institute, studying with Gustav Meier.

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Conductor

Kurt Masur by Frans Jansen

Kurt Masur is well known to orchestras and audiences alike as both a distinguished conductor and a humanist. In September 2002 he became music director of the Orchestre National de France in Paris, and, in September 2008, became that ensemble's honorary music director for life. From September 2000 to 2007 he was principal conductor of the London Philharmonic Orchestra. From 1991 to 2002 he was Music Director of the New York Philharmonic, and was subsequently named Music Director Emeritus — the first New York Philharmonic music director to receive that title, and only the second (after Leonard Bernstein, who had been named Laureate Conductor) to be so recognized. The New York Philharmonic established the Kurt Masur Fund for the Orchestra, which endows a conductor debut week at the Philharmonic in his honor in perpetuity. From 1970 until 1996 Mr. Masur served as Gewandhaus Kapellmeister of the Leipzig Gewandhaus Orchestra, a position of profound historic importance; upon his retirement in 1996 the Gewandhaus named him its first-ever conductor laureate. Mr. Masur is a guest conductor with the world's leading orchestras and holds the lifetime title of honorary guest conductor of the Israel Philharmonic Orchestra. In July 2007 he celebrated his 80th birthday in a concert at the BBC Proms in London, where he conducted the joint forces of the London Philharmonic Orchestra and the Orchestre National de France.

A professor at the Leipzig Academy of Music since 1975, Kurt Masur has received numerous honors, including the Cross of the Order of Merits of the Federal Republic of Germany (1995); Gold Medal of Honor for Music from the National Arts Club (1996); the titles of Commander of the Legion of Honor from the French Government, and of New York City Cultural Ambassador from the City of New York (1997); and the Commander Cross of Merit of the Polish Republic (1999). In March 2002 the President of the Federal Republic of Germany, Johannes Rau, bestowed upon him the Cross with Star of the Order of Merits of the Federal Republic of Germany, and in September 2007 he received the Great Cross of the Legion of Honor with Star and Ribbon from the President of Germany, Horst Köhler.

In September 2008 Mr. Masur received the Furtwängler Prize in Bonn, Germany. He is also an honorary citizen of his hometown, Brieg. He has made more than 100 recordings with numerous orchestras, and in 2008 celebrated 60 years as a professional conductor.

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Composer, Conductor, Trumpet

Wynton Marsalis by Clay Patrick McBride

Wynton Marsalis is music director and trumpet of the Jazz at Lincoln Center Orchestra, and managing and artistic director of Jazz at Lincoln Center. Born in New Orleans in 1961, he began his classical training on trumpet at age 12 and soon began playing in local bands. He entered The Juilliard School at age 17, and joined Art Blakey and the Jazz Messengers. Mr. Marsalis made his recording debut as a leader in 1982, and has since recorded more than 70 jazz and classical albums, which have garnered him nine Grammy Awards. In 1983 he became the first and only artist to win classical and jazz Grammys in the same year, a feat he repeated in 1984.

Mr. Marsalis’s compositions include Sweet Release; Jazz: Six Syncopated Movements; Jump Start and Jazz; Citi Movement/Griot New York; At the Octoroon Balls; In This House, On This Morning; and Big Train. In 1997 he won the Pulitzer Prize in music for his oratorio Blood on the Fields, which was commissioned by Jazz at Lincoln Center. That same year he premiered the monumental work All Rise, commissioned and performed by the New York Philharmonic along with the Jazz at Lincoln Center Orchestra and the Morgan State University Choir. Mr. Marsalis’s second symphony, Blues Symphony, was premiered in 2009 by the Atlanta Symphony Orchestra and by the Boston Symphony Orchestra in 2010. That same year, Mr. Marsalis premiered Swing Symphony (Symphony No. 3), a co-commission by the New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, and The Barbican Centre. The Jazz at Lincoln Center Orchestra with Wynton Marsalis performed the piece with the Berlin Philharmonic in Berlin and the New York Philharmonic in New York City in 2010, the Los Angeles Philharmonic in Los Angeles in 2011, and the London Symphony Orchestra in London in 2012.

Wynton Marsalis is an internationally respected teacher and spokesman for music education, and has received honorary doctorates from dozens of universities and colleges throughout the U.S. He conducts educational programs for students of all ages and hosts the popular Jazz for Young People concerts produced by Jazz at Lincoln Center. He led the effort to construct Jazz at Lincoln Center’s new home, Frederick P. Rose Hall (which opened in October 2004), the first education, performance, and broadcast facility devoted to jazz. In 2009 Mr. Marsalis was awarded France’s Legion of Honor, the highest honor bestowed by the French government.

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The Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO) comprises 15 of the finest jazz soloists and ensemble players today. Led by Wynton Marsalis, Jazz at Lincoln Center managing and artistic director, this remarkably versatile orchestra performs a vast repertoire ranging from original compositions and Jazz at Lincoln Center–commissioned works to rare historic compositions and masterworks by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman, Charles Mingus, and many others. JLCO has been the Jazz at Lincoln Center resident orchestra since 1988, performing and leading educational events in New York, across the United States, and around the globe. Alongside symphony orchestras, ballet troupes, local students, and an ever-expanding roster of guest artists, JLCO has toured to more than 300 cities across six continents. Guest conductors have included Benny Carter, John Lewis, Jimmy Heath, Chico O’Farrill, Ray Santos, Paquito D’Rivera, Jon Faddis, Robert Sadin, David Berger, Gerald Wilson, and Loren Schoenberg. JLCO has been voted best Big Band in the annual DownBeat Readers’ Poll for the past three years (2013–15).

In 2015 Jazz at Lincoln Center announced the launch of Blue Engine Records, a new platform to make its archive of recorded concerts available to jazz audiences everywhere. The first release from Blue Engine Records, Live in Cuba, was recorded on JLCO’s historic 2010 trip to Havana and was released in October 2015. Big Band Holidays was released in December 2015, and The Abyssinian Mass was released in March 2016. To date, 14 other recordings featuring JLCO have been released and distributed internationally: Vitoria Suite (2010), Portrait in Seven Shades (2010), Congo Square (2007), Don’t Be Afraid ... The Music of Charles Mingus (2005), A Love Supreme (2005), All Rise (2002), Big Train (1999), Sweet Release & Ghost Story (1999), Live in Swing City (1999), Jump Start and Jazz (1997), Blood on the Fields (1997), They Came to Swing (1994), The Fire of the Fundamentals (1993), and Portraits by Ellington (1992).

Trumpet player and composer Wynton Marsalis is the managing and artistic director of Jazz at Lincoln Center. Born in New Orleans, he began classical trumpet at 12, entered The Juilliard School at 17, and then joined Art Blakey and the Jazz Messengers. He made his recording debut as a leader in 1982, and has since made more than 60 jazz and classical albums, earning him nine Grammy Awards. In 1983 he became the first artist to win both classical and jazz Grammys in the same year, a feat he repeated in 1984. A teacher and spokesman for music education, he has received honorary doctorates from dozens of U.S. universities and has written six books. In 1997 he became the first jazz artist to be awarded the Pulitzer Prize in music for his oratorio Blood on the Fields, and he is a United Nations Messenger of Peace and cultural ambassador for the U.S. in the State Department’s CultureConnect program. He was instrumental in the Higher Ground Hurricane Relief concert, which raised more than $3 million to benefit those affected by Hurricane Katrina in the Greater New Orleans area.

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Mark Nuccio

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. He is an alumnus of the Music Academy of the West, now a partner in the New York Philharmonic Global Academy.

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.

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Ragtime

IGOR STRAVINSKY (1882-1971)
Ragtime for 11 Instruments (1917-1918)


An "essay in jazz portraiture" — that's what Igor Stravinsky called his compact, witty homage to that jazzy genre, ragtime. Jazz was all the rage in Paris in the early part of the 20th century when he wrote it. According to her article "Stravinsky and Ragtime," Barbara Heyman writes that when conductor Ernest Ansermet returned from the Russian Ballet's second American tour in 1918 he presented Stravinsky with a "bundle of ragtime music in the form of piano reductions and instrumental parts," which the composer then copied out. He had also become acquainted with the cimbalom (a central European folk instrument, sometimes called a hammered dulcimer that the listener might recall hearing in Zoltán Kodály's Hári János). The "bundle" became the inspiration for L'histoire du soldat, which includes a section called "Ragtime," and the present piece of the same name for 11 instruments: flute, clarinet, two horns, trombone, percussion, two violins, viola, double bass, and the featured cimbalom. Full of syncopations against a steady 4/4 pulse, the piece keeps us slightly off-kilter with its marvelous, typically Stravinskian wind harmonies and punctuations by a variety of percussion instruments. Ragtime lends itself quite naturally to being choreographed, and George Balanchine set a ballet on the work in 1966. Its infectious rhythm is bound to make it hard to sit still in your seat at Avery Fisher Hall.
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Tahiti Trot

DMITRI SHOSTAKOVICH (1906–1975)
Tahiti Trot (Tea for Two), Op. 16 (1927)

“Tea for Two,” a song from Vincent Youmans’s musical No, No, Nanette: how harmful could that be to the nascent Soviet Union? Apparently enough to chastise Dmitri Shostakovich for his decadent, capitalist orchestration of it. It all started out as a bet proposed by conductor Nikolai Malko (the man who premiered Shostakovich’s Symphony No. 1). The composer and the conductor had heard a recording of the song, and according to his Reminiscences, Malko said: “Well, Mitenka, if you really have as much genius as they say, I give you one hour to go into the next room, put this little piece down on paper and orchestrate it for me to play.” (Shostakovich had great sight-reading abilities, as well as a reputation for excellent memory when it came to music.) Malko bet Shostakovich 100 rubles. But to Malko’s great surprise, Shostakovich did it in 45 minutes. Tahiti Trot, Op. 16 was premiered in Moscow by the Leningrad Philharmonic in late 1928 and became a hit with audiences, dance bands, and as a popular encore. Shostakovich must have liked it too, as he used it — with small changes to the orchestration — as an entr’acte at the beginning of Act III for his 1929–30 ballet The Age of Gold, Op. 22. The composer had a lot of fun with the piece, excelling at parody in his music. Tahiti Trot opens grandly — out of all proportion with the original song—and Shostakovich’s score features a rich and colorful array of instruments, including orchestra bells, harp, celesta, and ultra-romantic strings. Tahiti Trot sports wonderful brass riffs, glissandos, and horn calls, sparkling throughout its brief four minutes or so. As for its name? Tahiti Trot is how the original tune was known in the Soviet Union. 
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Clarinet Concerto

AARON COPLAND (1900-1990)
Clarinet Concerto (1947-1948)

No stranger to the classical repertoire, "the King of Swing" Benny Goodman commissioned Aaron Copland to compose a clarinet concerto at a time when big band jazz was in decline. (The jazz legend also asked Béla Bartók, Darius Milhaud, and Paul Hindemith to create works for him, but only the latter obliged.) Copland took on the task and provided brief characterizations of each section of the concerto, consisting of two contrasting movements linked by a cadenza and played without pause. The first movement is "lyrical and expressive. The cadenza that follows — a soliloquy for the clarinet — provides the soloist with considerable opportunity to demonstrate his prowess ..." This middle "movement," which links the other two is a mere two-and-a-half minutes long and foreshadows material yet to come. The finale, marked simply "Rather fast," is in the form of "a free rondo ... an unconscious fusion of North and South American popular music." (Listen here for boogie-woogie rhythms, the Charleston, and Brazilian folk tunes.) "The instrumentation being clarinet with strings, harp, and piano, I did not have a large battery of percussion to achieve jazzy effects, so I used slapping basses and whacking harp sounds to simulate them ... the decision to use jazz materials was mine, inspired, of course, by Goodman's playing. Although I didn't mention this to him, I was certain that he would approve." While it remains firmly and unmistakably Coplandesque, the concerto does bear the imprint of the composer's South American sojourn, where he was touring and composing. Goodman, though an accomplished clarinetist, expressed concern over rhythmic and range difficulties — much of the concerto is set in the upper register of the instrument; and even though Copland revised it, Goodman did not premiere the concerto until 1950, performing it with the NBC Symphony Orchestra under Fritz Reiner. (Pop culture fun fact: The Clarinet Concerto is featured throughout Ken Burn's PBS film, The War, a documentary about World War II.)
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Swing Symphony (Symphony No. 3)

WYNTON MARSALIS (b. 1961)
Swing Symphony (Symphony No. 3) (2010)

About the U.S. premiere of Wynton Marsalis's Symphony No. 3 The New York Times wrote: "Mr. Gilbert seemed totally in his element, conducting with a mix of cool command and jazzy swing. The Philharmonic players should be proud. They played with verve and color, never sounding like classical music stiffs. I have never seen so many people at a Philharmonic concert tapping their feet and hands." Wynton Marsalis returns to the New York Philharmonic with his Jazz at Lincoln Center Orchestra for an encore performance of the Swing Symphony, first heard on opening night of the 2010 season. Co-commissioned by the Philharmonic, Berlin Philharmonic, London Symphony Orchestra, and Los Angeles Philharmonic, the Third Symphony is "a symphonic meditation on the evolution of swing," according to the composer, the most acclaimed jazz musician and composer of his generation and a distinguished classical performer. By force of personality, intelligence, and achievement he has brought jazz back to center stage in American culture. Wynton Marsalis is Juilliard-educated and the first jazz composer ever to earn a Pulitzer Prize. He serves as Artistic Director for the internationally recognized Jazz at Lincoln Center program, which he co-founded in 1987. Under his leadership, the Jazz Department earned the distinction of being named Lincoln Center's first new constituent since 1969, and his music — whether as composer or arranger — has been heard on many occasions at Avery Fisher Hall. He was also the delightful host for Ken Burns's acclaimed 10-part documentary, Jazz, on PBS in 2001. Wynton Marsalis's large-scale work for full symphony and jazz orchestras exploits the rhythmic potentialities of these powerful ensembles in a galvanizing fusion of traditions. From the marching cadences of New Orleans to the softer sounds of brasses and woodwinds intoning a hymn-like melody, the Swing Symphony invites the audience to tap their feet to America's classical music.
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