The Philharmonic 360 Concert

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The Philharmonic 360 Concert

The New York Philharmonic 360 concert at the Park Avenue Armory.

In two epic evenings, the New York Philharmonic explored the spatial qualities of the Armory’s soaring, 55,000-square-foot Wade Thompson Drill Hall with four iconic works in which the orchestra members surround the audience. The centerpiece of the evening was the rarely-performed Gruppen by Karlheinz Stockhausen—a work that requires three orchestras and three conductors. Also on the program are Pierre Boulez's Rituel in Memoriam Bruno Maderna, the Finale of Act I from Mozart's opera Don Giovanni, and Charles Ives' The Unanswered Question.



Alan Gilbert

Alan Gilbert, former Music Director of the New York Philharmonic, launches his tenure as chief conductor of Hamburg’s NDR Elbphilharmonie Orchestra in September 2019. 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 began serving as chief conductor designate in 2017, shortly after the opening of the orchestra’s already iconic new home. 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







Joshua Weilerstein

Joshua Weilerstein is the artistic director of the Orchestre de Chambre de Lausanne. Noted for his clarity of musical expression, exuberance, and deep, natural musicianship, he has conducted extensively in Europe and North America. He combines enthusiasm for a wide range of repertoire with an ambition to bring new audiences to the concert hall. In the 2017–18 season, Mr. Weilerstein makes debuts with the Bamberg Symphony, BBC Philharmonic, St. Paul Chamber Orchestra, and West Australian Symphony Orchestra. This season also features return engagements with the Milwaukee, Vancouver, and Melbourne symphony orchestras; the Oslo, Royal Liverpool, and Netherlands philharmonic orchestras; and Orchestre philharmonique de Radio France and Deutsche Kammerphilharmonie Bremen. Joshua Weilerstein’s career was launched after he won both the First Prize and the Audience Prize at the 2009 Malko Competition for Young Conductors in Copenhagen. He then completed a three-year appointment as Assistant Conductor of the New York Philharmonic. Since then, he has steadily gained a national and international profile. Recent guest conducting engagements have included the symphony orchestras of Baltimore, Dallas, Detroit, Fort Worth, Indianapolis, Milwaukee, San Diego, Calgary, and Vancouver, as well as the Los Angeles Chamber Orchestra and the Aspen Music Festival, among others. In Europe, he has established strong relationships with the BBC and Danish National Symphony Orchestras; the Royal Liverpool, NDR Hannover, Oslo, Royal Stockholm philharmonic orchestras; and Swedish Chamber Orchestra. Elsewhere in Europe, he has conducted Amsterdam’s Royal Concertgebouw Orchestra, Rotterdam Philharmonic, Czech Philharmonic, SWR Stuttgart, Mahler Chamber Orchestra, Orchestre philharmonique de Radio France, Orchestre national de Lyon, and London Philharmonic Orchestra. Mr. Weilerstein believes strongly that the best programming combines traditional and contemporary repertoire: whenever possible, he endeavors to include at least one piece by a living composer in each of his programs. Committed to music education both on and off the podium, he was actively involved in Young People’s Concerts during his time as Assistant Conductor with the New York Philharmonic and served as concertmaster of Discovery Ensemble, a Boston-based chamber orchestra dedicated to presenting classical music to inner-city schools. He is the creator and host of Sticky Notes, a highly successful podcast aimed at music lovers and casual listeners alike.

Learn more about Joshua Weilerstein




Juilianna DiGiacomo

During the 2013–14 season, soprano Julianna Di Giacomo made her debuts with the Vienna Philharmonic, in performances of Beethoven's Symphony No. 9 with Gustavo Dudamel, and at the Teatro Municipal de Santiago as Leonora in Il trovatore. She also returns to the New York Philharmonic for Beethoven's Symphony No. 9, Teatro Massimo in Palermo as Desdemona in Otello, and the Teatro Real de Madrid as Elena in I Vespri Siciliani.

Ms. Di Giacomo made her debut at The Metropolitan Opera as Clotilde in Norma and was subsequently re-engaged for Lina in Stiffelio and Leonora in Il trovatore. Other recent North American engagements have included: the Verdi Requiem at the Hollywood Bowl and special performances of Mahler’s Symphony No. 8 with Gustavo Dudamel and the Los Angeles Philharmonic; Donna Anna in Don Giovanni at the Los Angeles Opera; excerpts from Don Giovanni with the New York Philharmonic Il trovatore and Mathilde in Guillaume Tell at the Caramoor International Music Festival; and Fiordiligi in Così fan tutte and Donna Elvira in Don Giovanni at the New York City Opera. She made her Carnegie Hall debut as Lucrezia in I due Foscari with the Opera Orchestra of New York.

Ms. Di Giacomo recently made her debut at the Teatro dell’Opera di Roma in the Terme di Caracalla as the title role in Norma. Other European opera engagements have included her debut at Teatro alla Scala as Lucrezia in I due Foscari, Otello at the Petruzelli e Teatri di Bari, Valentine in Les Huguenots and the title role in Suor Angelica at the Teatro Real de Madrid.

A native of Santa Monica, Calif., Ms. Di Giacomo is a graduate of the San Francisco Opera’s Merola Program and the Santa Fe Opera’s Apprentice Program. Her awards include the Leonie Rysanek Prize from the George London Foundation, the Top Prize from the Gerda Lissner Foundation, and First Prize from the Licia Albanese Puccini Foundation Competition.



Russell Thomas by Dario Acosta

In the 2016–17 season, tenor Russell Thomas (Loge) returns to The Metropolitan Opera to sing Ismaele in Verdi’s Nabucco; Canadian Opera Company and Lyric Opera of Chicago as Pollione in Bellini’s Norma; and Los Angeles Opera as Cavaradossi in Puccini’s Tosca. He also makes his debut at the Salzburg Festival singing the title role in Mozart’s La clemenza di Tito. Concert highlights this season include performances of Mahler’s Das Lied von der Erde with the Detroit and Atlanta Symphony Orchestras, Florestan in Beethoven’s Fidelio with the Houston Symphony Orchestra, and Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra at Tanglewood. Future engagements include debuts with the Bavarian Staatsoper, Washington National Opera, and Netherlands Opera, and returns to San Francisco Opera, Lyric Opera of Chicago, Canadian Opera Company, and Oper Frankfurt. Mr. Thomas’s role debuts last season included Turiddu in Mascagni’s Cavalleria rusticana with Deutsche Oper Berlin, the title role of a new production of Verdi’s Stiffelio with Oper Frankfurt, Don José in Bizet’s Carmen with Canadian Opera Company, and Florestan in Beethoven’s Fidelio with Cincinnati Opera. He made his Los Angeles Opera debut as Pollione in Norma and reprised his portrayal of Lazarus in John Adams’s The Gospel According to the Other Mary in Strasbourg.

Learn more about Russell Thomas



Sasha Cooke

During the 2019–20 season, two-time Grammy-winning mezzo-soprano Sasha Cooke returns to San Francisco Opera to reprise the title role in Humperdinck’s Hansel and Gretel and Laurene Jobs in Mason Bates’s The (R)evolution of Steve Jobs. In addition to reuniting with Jaap van Zweden and the New York Philharmonic for Mahler’s Symphony No. 2, Resurrection, at David Geffen Hall, Barbican Centre, and Amsterdam’s Royal Concertgebouw, she sings Mahler’s Symphony No. 3 with Myung-Whun Chung at Rome’s Accademia nazionale di Santa Cecilia, Beethoven’s Missa solemnis with the Atlanta Symphony Orchestra and Robert Spano, Ravel’s Shéhérazade with Radio Filharmonisch Orkest and James Gaffigan, Lieberson’s Rilke Songs with The Cleveland Orchestra and Michael Tilson Thomas, and Mascagni’s Cavalleria rusticana with the Chicago Symphony Orchestra and Riccardo Muti.

She is building on a decade of collaborating with the San Francisco Symphony to undertake an artist-in-residency encompassing concerts with the orchestra, educational events, and a solo recital in Davies Hall. Additional recitals include a return to London’s Wigmore Hall, with Malcolm Martineau, and the Kennedy Center’s Terrace Theater, with Julius Drake, as well as a solo recital for Santa Fe Chamber Music Festival, with Pei-Yao Wang. She also sings the world premiere of Jake Heggie and Gene Scheer’s Violins of Hope with violinist Daniel Hope for Music at Kohl Mansion.

Ms. Cooke has sung at The Metropolitan Opera, English National Opera, Opéra national de Bordeaux, and Gran Teatre del Liceu, as well as with more than 60 orchestras worldwide under conductors including Andrew Davis, Gustavo Dudamel, Bernard Haitink, James Levine, Yannick Nézet-Séguin, Edo de Waart, and Franz Welser-Möst. She has recorded for labels including Hyperion, BIS, and Chandos. She studied at Rice University, The Juilliard School, and The Metropolitan Opera’s Lindemann Young Artist Development Program.

Learn more about Sasha Cooke









Founded in 1873 by Leopold Damrosch, the Oratorio Society of New York is one of the city’s oldest musical organizations. From its earliest days, the Society played an integral role in the musical life of the city, presenting its own concerts and performing at musically and historically significant events. It also created a fund to finance building a concert hall. When Andrew Carnegie became the Society’s fifth president in 1888, he adopted the cause, enlisting architect William Tuthill, a fellow board member, to design a “Music Hall” that would provide a suitable artistic home for the Society. In 1891, singing under Tchaikovsky’s baton, the Society — as well as the New York Symphony (one of the forebears of today’s New York Philharmonic) — helped inaugurate the concert hall that came to be known as Carnegie Hall. It has appeared there ever since. Throughout its history, the Society has sung the traditional repertory — it has performed Handel’s Messiah every December since 1874 — as well as infrequently performed and contemporary works. In May 2016 it will present the New York Premiere of Marjorie Merryman’s Jonah and Haydn’s Missa Angustiis (Nelson Mass) at Carnegie Hall, and in November 2015 it presented the Carnegie Hall premiere of Juraj Filas’s Requiem: Opera Spei. In the summer of 2015 it presented a series of concerts in Germany. In March 2003 the Society received the UNESCO Commemorative Medal and the Cocos Island World Natural Heritage Site Award for its series of benefit concerts in Costa Rica. It made its European debut in 1982 and has since performed in Europe, Asia, and Latin and South America. On its 100th anniversary the Society was presented with the Handel Medallion, New York City’s highest cultural award, in recognition of these contributions. The Oratorio Society’s Women’s Chorus is drawn from the Society’s full membership. The Women’s Chorus also performed in the New York Philharmonic’s 2013 The Planets — An HD Odyssey. The Oratorio Society’s relationship with the Philharmonic dates to January 1877, when the ensemble participated in a program led by Leopold Damrosch; it most recently appeared on a July 2013 Summertime Classics concert conducted by Bramwell Tovey.

Learn more about Oratorio Society of New York


Associate Director



Magnus Lindberg

Finnish composer Magnus Lindberg's position as The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic has been extended for a third season. As such, he will write music for the Philharmonic and serve in a curatorial role for CONTACT!, the Orchestra's new-music series.

In the 2010–11 season, the Orchestra performed Mr. Lindberg's groundbreaking, theatrical Kraft, conducted by Music Director Alan Gilbert. The work, premiered in 1985, employs a mammoth orchestra, unusual instruments, soloists, and groups of musicians who move around the hall; the performances marked Mr. Lindberg's piano debut with the Philharmonic as well as the work's New York Premiere. In November 2010 the Philharmonic performed the World Premiere–New York Philharmonic Commission of Mr. Lindberg's Souvenir (in memoriam Gérard Grisey), which was paired with a work by the late Gérard Grisey — one of Mr. Lindberg's teachers — on the first of the season's two CONTACT! programs.

In the 2009–10 season the Orchestra performed two World Premiere–New York Philharmonic Commissions by Mr. Lindberg. The first, EXPO, opened the Philharmonic's 168th season and was repeated in subscription concerts, on the Asian Horizons tour in October 2009, and on the Europe / Winter 2010 tour in January–February 2010. The other was Al largo, which closed the subscription season in June 2010. The Orchestra also performed the U.S. premiere of Mr. Lindberg's Clarinet Concerto — in Carnegie Hall — written for and performed by Finnish clarinetist Kari Kriikku, and his 1995 work, Arena. An excerpt from Feria was the centerpiece of the Philharmonic's Young People's Concert in March 2010.

Magnus Lindberg was born in Helsinki, Finland. Following piano studies, he entered the Sibelius Academy, where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. The latter encouraged his pupils to look beyond the prevailing Finnish conservative and nationalist aesthetics, and to explore the works of the European avant-garde. In 1980 Mr. Lindberg became part of the informal group known as the Ears Open Society, which also included his contemporaries Eero Hämeeniemi, Jouni Kaipainen, Kaija Saariaho, and Esa-Pekka Salonen, and which sought to encourage a greater awareness of mainstream modernism. In 1981 Mr. Lindberg traveled to Paris for studies with Vinko Globokar and Gérard Grisey and attended Franco Donatoni's classes in Siena, Italy. Also in the 1980s he was in contact with Brian Ferneyhough, Helmut Lachenmann, and Karl Höller.

Mr. Lindberg's compositional breakthrough came with two large-scale works, Action-Situation-Signification (1982) and Kraft (1983–85), which were inextricably linked with his co-founding, with Mr. Salonen, of the experimental Toimii Ensemble. This group — in which Mr. Lindberg plays piano and percussion — provided the composer with a laboratory for his sonic development. His compositions of the early 1980s combined experimentalism, complexity, and primitivism, working with extremes of musical material. Toward the end of that decade, his compositional style transformed, moving toward a new modernist classicism, in which many of the communicative ingredients of a vibrant musical language (harmony, rhythm, counterpoint, and melody) were reinterpreted afresh for the post-serial era. Key scores in this stylistic evolution were the orchestral/ensemble triptych Kinetics (1988), Marea (1989–90), and Joy (1989–90), reaching fulfillment in Aura (1993–94) and Arena (1994–95).

Over the past decade Magnus Lindberg's output has positioned him at the forefront of orchestral composition, including the concert opener Feria (1997), which was given its U.S. Premiere by the New York Philharmonic on October 23, 1997, led by Jukka-Pekka Saraste; large-scale statements such as Fresco (1997), Cantigas (1999), Concerto for Orchestra (2002–03), and Sculpture (2005); and concertos for cello (1999), clarinet (2002), and violin (2006). Recent works include Seht die Sonne (2007), commissioned by the Berlin Philharmonic, under Sir Simon Rattle, and the San Francisco Symphony, in addition to his New York Philharmonic commissions.

Mr. Lindberg's music has been recorded on the Deutsche Grammophon, Sony, Ondine, and Finlandia labels and is published by Boosey & Hawkes. He is the recipient of numerous awards, including the UNESCO International Rostrums (1982 and 1986), Nordic Council Music Prize (1988), Koussevitsky Prize (1988), Prix Italia (1986), Royal Philharmonic Society (1993), First European Composer Prize of the “young.euro.classic — Musik Sommer Berlin 2000” (which he shared), and the Wihuri Sibelius Prize (2003).

Learn more about Magnus Lindberg


Composer, Conductor, Speaker

Matthias Pintscher Felix Broede

Matthias Pintscher is music director of Ensemble intercontemporain, the contemporary music ensemble founded by Pierre Boulez. Equally known as one of today’s foremost composers, Mr. Pintscher will have two works premiered this season: Nur, a concerto for piano and ensemble performed by Daniel Barenboim and the Boulez Ensemble conducted by the composer, and a new work for baritone, chorus, and orchestra performed by Dietrich Henschel and Zurich’s Tonhalle Orchestra led by Kent Nagano.

This season Mr. Pintscher serves as creative chair for Zurich’s Tonhalle Orchestra and artist-in-residence at the Los Angeles Chamber Orchestra, and he is finishing a nine-year term as the BBC Scottish Symphony Orchestra’s artist-in-association. Additionally, he makes his debuts with the St. Louis Symphony Orchestra, Rotterdam Philharmonic, and Berlin Staatsoper, where he conducts the World Premiere of Violetter Schnee, a new opera by Beat Furrer. He returns to conduct the New York Philharmonic, leading the New York Premiere of his own mar’eh and curating a Kravis Nightcap event, as well as The Cleveland Orchestra and the Chicago, Cincinnati, Indianapolis, Milwaukee, and New World symphony orchestras. In Europe, Mr. Pintscher returns to the Orchestre de Paris, Danish National Symphony Orchestra, and Helsinki Philharmonic.

Learn more about Matthias Pintscher

Rituel in memoriam Bruno Maderna for Orchestra in Eight Groups

Finale to Act I of Don Giovanni

Gruppen for Three Orchestras

The Unanswered Question

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