The New York Philharmonic

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Inaugural Composing Inclusion Composer Commissions Announced

Composers James Díaz and Jordyn Davis

The New York Philharmonic has championed diverse, contemporary artistic voices since our founding, and with a new season — and a new home — on the horizon, this commitment is as vital as ever. The NY Phil is partnering with The Juilliard School’s Preparatory Division and American Composers Forum in Composing Inclusion, a new two-year program designed to develop the next generation of composers, made possible by a $100,000 grant from Sphinx Venture Fund.

Out of a competitive field, nine Black and / or Latino composers have been chosen to develop adaptable works — which can be performed by a variety of ensembles, from professionals to students, and in various instrumental configurations — through a series of workshops and rehearsals, engaging multiple generations and members of New York’s musical community. The works of two of the nine composers — Colombian-born James Díaz (above, left) and American bassist, composer, songwriter, vocalist, and multi-award-winner Jordyn Davis (right) — will be featured on the NY Phil’s Young People’s Concert: New Voices, on May 6, 2023, at David Geffen Hall’s Wu Tsai Theater, conducted by Paolo Bortolameolli in his NY Phil debut.

“The work of these incredible musical creators will send an important message about who should be represented and how that can happen within a concert experience,” said Gary A. Padmore, the NY Phil’s Vice President of Education and Community Engagement, The Sue B. Mercy Chair. “This will be a transformative experience for the Philharmonic and our community, as we celebrate the inauguration of this initiative in our new David Geffen Hall.”

To read more about the program and the featured composers, click here.

NY Phil Returns to Bravo! Vail Music Festival

The New York Philharmonic’s nomadic 2021–22 season concluded with the return to the Bravo! Vail Music Festival, which included the announcement of the residency’s extension through 2027. With repertoire ranging from works by Mozart and Mahler to a World Premiere by Carlos Simon, and soloists including Conrad Tao, Bomsori Kim, and Seong-Jin Cho, Music Director Jaap van Zweden and the NY Phil treated concertgoers to an eclectic, spirited series of performances amid breathtaking Rocky Mountain vistas. The residency concluded with back-to-back concerts led by Leonard Slatkin, one marking the NY Phil debut of Zlatomir Fung, first-prize winner of the Tchaikovsky Competition, and the other a salute to Sondheim featuring Isabel Leonard and Emmett O'Hanlon. It’s an altogether fitting ending to an unpredictable, but ultimately triumphant, season for the Orchestra, as it now looks ahead to its return home to the new David Geffen Hall this October.

NY Phil Concerts in the Parks: A Storied Tradition Returns

Of all the New York Philharmonic activities that were put on hold over the past two years as a result of the pandemic, perhaps none was more sorely missed than the Concerts in the Parks, Presented by Didi and Oscar Schafer. After two years of silence the stars aligned — and the weather cooperated — allowing the beloved tradition to return.

Over four consecutive nights, June 14–17, the Orchestra performed for a collective audience of 100,000 who gathered in Van Cortlandt Park in the Bronx, Central Park’s Great Lawn in Manhattan, Cunningham Park in Queens, and Prospect Park in Brooklyn. Music Director Jaap van Zweden conducted works by Wagner, Bruch, and Dvořák, as well as two original works by NY Phil Very Young Composers, and violinist Bomsori Kim was the soloist. On Sunday — which marked both Father’s Day and Juneteenth — the Free Indoor Concert, Presented by Didi and Oscar Schafer, returned to the St. George Theatre, where NY Phil Musicians joined special guests in the day of double celebration.

(All photos by Chris Lee unless otherwise noted.)

Glad You Could Join Us

Looking back at NY Phil’s 2021-22 Donor Events.

Usedom Music Festival: NY Phil On the Road Again!

The New York Philharmonic made its triumphant return to international touring — following two years in which the pandemic kept the Orchestra homebound — with its first-ever appearances at the Usedom Music Festival, on an island in the Baltic Sea, and became the first US orchestra to travel overseas since the pandemic. Music Director Jaap van Zweden and the Orchestra performed a series of concerts at the Peenemünde Historical Technical Museum, the site of a former Nazi weapon testing facility during World War II — a transformation that is a statement of peace, freedom, and unity among nations. Joining them as soloists were pianist Jan Lisiecki, violinist Anne-Sophie Mutter, and baritone Thomas Hampson, and the repertoire ranged from Beethoven and Bartók to European premieres by Nina Shekhar and Joan Tower. The festival also marked a collaboration with the Baltic Sea Philharmonic, with members of that orchestra joining in the performance of Shostakovich’s Ninth Symphony, and joining New York Philharmonic players for chamber concerts featuring works by Barber, Brahms, and Mozart. 

(All photos by Chris Lee unless otherwise noted.)

Public Art Commissions for the New David Geffen Hall

Artists Jacolby Satterwhite and Nina Chanel Abney

When the new David Geffen Hall opens this October, music may be the centerpiece in the state-of-the-art theater, but contemporary art will also have a prominent place. Tens of thousands of square feet of new public space will allow the New York Philharmonic and Lincoln Center to expand the way that they engage and connect with the diverse community of New Yorkers.

Lincoln Center has commissioned two original works by acclaimed artists Nina Chanel Abney (above, right) and Jacolby Satterwhite (left) — in a partnership with The Studio Museum in Harlem and Public Art Fund — that will utilize much of this space and help inaugurate the new concert hall, while honoring New York City’s storied — and often complex — cultural history.

Abney, whose work “conveys a sense of expansiveness” (The New York Times), will create an installation for David Geffen Hall’s nearly 200-foot north façade, along 65th Street, one of the most visible areas of the building that has not previously been utilized for artworks. Her new work will be a celebration of the rich cultural heritage of San Juan Hill — the Upper West Side community that existed before Lincoln Center’s construction — and will feature portraits of its notable residents and scenes drawn from the daily life of that community, all rendered in her signature bright colors.

Satterwhite, who is known for his dreamlike digital animations that synthesize a wide variety of media, will create a new video displayed on the 50-foot Digital Wall in David Geffen Hall’s new lobby, viewable to the public at no cost. The video will feature performances by music and dance students from local New York City schools, composited onto fantastical landscapes along with archival footage from Lincoln Center’s history — a merging of past and present with an eye toward a more inclusive future.

“A guiding principle of the new David Geffen Hall is to open our campus to our community — through the structure of the building and by how we present the art we curate,” said Deborah Borda, the NY Phil’s Linda and Mitch Hart President and CEO. “The very public unveiling of these two dynamic pieces will announce to New York City and the world that we are back, and that we welcome all artists and all art lovers.”

Orin O’Brien, NY Phil Bass for 55 Years


“It may sound naïve, but for a musician, playing in a great orchestra is like being at one with the universe. The whole is greater than any one individual, and you combine to make something that in the best concerts is like a religious experience.” Orin O’Brien said that some 20 years ago. Today she adds: “I’ve always felt this way.”

Her earliest memories include the New York Philharmonic. Her parents, both Hollywood actors, encouraged their children’s in­terest in culture, from books to ballet. She recalls: “They listened to classical music all the time” — including, on every Sunday, NY Phil radio broadcasts. Orin moved from piano to double bass at age 14 to join her high school orchestra. Her distinguished instructors included two NY Phil veterans, Herman Reinshagen and Freder­ick Zimmermann, the latter serving as Associate Principal Bass. “These teacher-players stressed clear articulation and fidelity to the musical page, and under­standing how to follow a conductor’s instructions,” Orin recalls. While studying at The Juilliard School she worked as a Carnegie Hall usher, an experience that enhanced her studies. “I heard the Philharmonic perform four, five times a week, with my teacher in the bass section!”

She passes these lessons on to her own students, focusing on how the individual fits in with the ensemble. “The bass is so low pitched that you have to be very precise in your articulation to make it clear when you’re playing in a section for an audience,” she explains. “I would insist that my students attend Philharmonic rehearsals so they could learn from a living example.”

Orin has handed down the Philharmonic performance tradition to orchestral bass players around the country, including three current members of the Orchestra. And she still teaches at the Manhattan School of Music and Mannes School of Music. (Note to would-be professionals: check out her Double-Bass Notebook, published by Carl Fischer.) She remains connected with the NY Phil, and will return this fall to listen in during the testing of the new David Geffen Hall’s acoustic. Still, leaving is bittersweet. “I miss the camaraderie of the bass section, and experienc­ing music in the midst of the Orchestra.” Yet her Philharmonic connection continues: she still attends concerts, and friendships forged with players live on.

On Orin’s retirement, Associate Principal Bassoon Kim Laskowski, one of her closest friends, says: “I was in complete awe of Orin O’Brien when I joined the Orchestra. She was hired by Ber­nstein, had played with so many legendary conductors and soloists, and had recorded so many of the LPs we all cherished as young musicians. As a teacher, she educated a generation of dou­ble bassists, many of whom peopled orchestras all over the world. We shared many of the same freelance experiences, and we both were mem­bers of the New York City Ballet Orchestra, al­though not at the same time. She also shared with me anecdotes, clippings, letters, and pro­grams from the Philharmonic’s past that edu­cated me. I will miss seeing her smiling, attentive face as I look to the left.”

In photo: Orin O’Brien with Philharmonic Laureate Conductor Leonard Bernstein, the Music Director during whose tenure she joined the Orchestra

Ackman Prize Awarded to Beatrice Rana

 Pianist Beatrice Rana

“I was speechless. It is a way to recognize the work, to see that the life, the musical and interpretational choices, have been recognized by an institution like the New York Philharmonic, which is so important in the music scene.”

So said Beatrice Rana when she learned that she was to receive the Ronnie and Lawrence Ackman Classical Piano Prize at the New York Philharmonic, which honors and supports rising pianists. Recipients — chosen by a confidential panel — receive $30,000, perform with the Orchestra, and serve as classical music ambassadors around the city. Benjamin Grosvenor received the inaugural award, in 2017.

The Prize is made possible by Lawrence and Ronnie Ackman, long-standing supporters of the New York Philharmonic and lovers of classical music: Lawrence has served on the NY Phil’s Board of Directors since 2010, and Ronnie is on the Lincoln Center Board — and she’s a gifted pianist.

Rana’s activities connected with the Ackman Prize include her NY Phil debut, performing Tchaikovsky’s Piano Concerto No. 1 on June 2–4, conducted by Music Director Jaap van Zweden; a collaboration with the New York Philharmonic String Quartet at the 92nd Street Y on June 7; and an after-school visit with student instrumentalists from Fiorello H. LaGuardia High School of Music & Art and Performing Arts, on June 1.

In the words of Lawrence Ackman, Beatrice Rana “perfectly captures the artistry and advocacy that the Prize was created to celebrate, and we look forward to experiencing both in her upcoming Philharmonic collaborations.”