CARNEGIE HALL PRESENTS

Performance Thursday, February 16, 2012 | 8 PM

Orchestra of St. Luke's

Stern Auditorium / Perelman Stage Seating Chart
The Orchestra of St. Luke’s presents music written at the end of the 1700s by the composers who set the standard for over a century of classical music to come. Sir Roger Norrington, a master interpreter of this repertoire, takes the podium for this concert, and adventurous American pianist Jeremy Denk joins them in Beethoven’s First Piano Concerto.

Performers

  • Orchestra of St. Luke's
    Sir Roger Norrington, Conductor
  • Jeremy Denk, Piano

Program

  • HAYDN Symphony No. 39 in G Minor
  • BEETHOVEN Piano Concerto No. 1 in C Major
  • MOZART Symphony No. 39

Bios

  • Orchestra of St. Luke's


    Now in its 37th year, Orchestra of St. Luke's (OSL) is one of America's foremost and most versatile ensembles. Dedicated to engaging audiences throughout New York City and beyond, OSL performs approximately 70 orchestral, chamber, and educational concerts each year-including an annual orchestra series at Carnegie Hall, an annual chamber music series at The Morgan Library & Museum and Brooklyn Museum, and summer concerts as orchestra-in-residence at the Caramoor International Music Festival. OSL's principal conductor is Pablo Heras-Casado.

    OSL collaborates regularly with the world's great artists, such as Renée Fleming, Yo-Yo Ma, Jessye Norman, Anna Netrebko, Anne-Sophie Mutter, Mark Morris Dance Group, Peter Gabriel, Sting, Elton John, and many more. OSL's 2011-2012 orchestra series at Carnegie Hall began with a program of works by Bach and Messiaen conducted by Robert Spano. Following tonight's concert, Iván Fischer closes the series in April 2012 with an all-Mozart program that includes the Requiem and Symphony No. 34.

    Committed to community-building, OSL produces free concerts in each of the five boroughs, and has engaged more than one million children in its arts education programs. OSL's discography of more than 70 recordings includes four acclaimed releases on its own label, St. Luke's Collection, and four Grammy Award-winning recordings. OSL has commissioned more than 50 new works and performed more than 150 world, US, and New York premieres.

    In March 2011, OSL opened The DiMenna Center for Classical Music, its first permanent home, and New York City's first rehearsal and recording facility dedicated to classical music. The Center has already hosted thousands of musicians from a wide range of ensembles and serves as the venue for OSL's new free concert series, OSL@DMC, which connects the public to the artistic process of composers and musicians.


    Sir Roger Norrington


    For nearly 50 years, Sir Roger Norrington has been at the forefront of the movement for historically informed orchestral playing. With his own London Classical Players in the 1980s, his Stuttgart Radio Symphony Orchestra, Camerata Salzburg in recent years, or with the Orchestra of the Age of Enlightenment, he has sought to put modern players in touch with the historical style.

    Mr. Norrington-who was knighted by the Queen in 1997-sang and played the violin from a young age, and began to conduct at Cambridge. He studied at the Royal College of Music under Sir Adrian Boult and founded the first of several early-music groups, the Heinrich Schütz Choir. This was followed 10 years later by the London Classical Players, which established Mr. Norrington as a key exponent of historical style.

    In 1966, Mr. Norrington was named music director of the new Kent Opera. He conducted hundreds of performances for Kent, and went on to work at Covent Garden and the English National Opera, as well as at La Scala, La Fenice, and the Vienna State Opera. Mr. Norrington then moved on to share his historical findings with more "modern" orchestras, choirs, and opera companies. Mr. Norrington served as Orchestra of St. Luke's first music director from 1991 to 1994. He is a frequent guest with many of the world's major orchestras, including the Berliner Philharmoniker, Vienna Philharmonic Orchestra, Deutsche Symphonie-Orchester Berlin, Leipzig Gewandhaus Orchestra, Royal Concertgebouw Orchestra, Orchestre de Paris, NHK Symphony Orchestra Tokyo, and London's Philharmonia Orchestra. In the US, he has appeared with the Boston, Chicago, Cincinnati, and Detroit symphony orchestras; the San Francisco Symphony; The Philadelphia Orchestra, and the Los Angeles Philharmonic.

    More permanent posts have included the Bournemouth Sinfonietta, Salzburg Camerata, Stuttgart Radio Symphony Orchestra, and Zurich Chamber Orchestra. With Stuttgart, Mr. Norrington has made a remarkable series of recordings on the Hänssler label that spans the core orchestral repertoire. Together, these recordings offer a vivid glimpse of how a modern orchestra can cherish the gesture and sound each composer expected in his lifetime.

    More Info

  • Jeremy Denk


    An active soloist and chamber musician, pianist Jeremy Denk performs repertoire that ranges from standard works of the 18th and 19th centuries to 20th-century masters such as Ives, Ligeti, Lutosławski, and Messiaen, as well as new works by today's leading composers. He has garnered critical acclaim for his engagements with leading orchestras and presenters around the world.

    Mr. Denk has appeared as soloist with The Philadelphia Orchestra; the St. Louis, Houston, and San Francisco symphonies; the Atlanta, Indianapolis, and Detroit symphony orchestras; Orchestra of St. Luke's; and Orpheus Chamber Orchestra, among many other ensembles. In March 2011, Mr. Denk made his long-awaited Los Angeles Philharmonic debut, stepping in at short notice to replace Martha Argerich with conductor Gustavo Dudamel. In the same month, Mr. Denk graciously agreed to replace Maurizio Pollini in recital; the performance marked his solo recital debut in Carnegie Hall's Stern Auditorium / Perelman Stage.

    Mr. Denk has premiered works by Jake Heggie, Libby Larsen, Kevin Puts, and Ned Rorem; in addition, as an avid chamber musician, he has performed at Marlboro Music, toured with Musicians from Marlboro, and played at the Santa Fe, Seattle, Verbier, and Spoleto festivals. For his 2008 recital in Zankel Hall, Mr. Denk paired two of the repertoire's most daunting masterworks-Ives's "Concord" Sonata and Beethoven's "Hammerklavier" Sonata-for what was a highlight of New York's 2008-2009 concert season. Most recently, he played a sold-out recital in Zankel Hall, performing Ligeti's Études, Books I and II, and Bach's Goldberg Variations. In fall 2010, Mr. Denk released his first solo recording, Jeremy Denk Plays Ives- which includes Ives's sonatas nos. 1 and 2-on his Think Denk Media label. Mr. Denk's popular blog, Think Denk, has been praised by both colleagues and the press.

    More Info

Audio

Mozart Symphony No. 39
Orchestra of St. Luke's; Donald Runnicles, Conductor
Delos Records

At a Glance

The three great masters of the Viennese Classical era knew and admired one another. Haydn and Mozart were known to be close friends, and Haydn was devastated by the younger man’s early death. Beethoven intended to study with Mozart until he received news of his mother’s terminal illness, and then studied instead with Haydn. Both Mozart and Beethoven learned a great deal from Haydn. Elements of this education show up in both of their pieces on this program.

Haydn’s G-Minor Symphony is one of a series of works that experiment with new expressive modes that proved enormously influential over the next half-century and beyond. Like so many of Haydn’s earlier symphonies, we know almost nothing about its history, but rejoice in its existence.

Though published as “No. 1,” this was the second of Beethoven’s completed piano concertos. It marked a signal advance over the earlier concerto (which was published as “No. 2”) and reveals what Beethoven learned from Haydn’s music. In the 1790s, Beethoven was wary of approaching genres in which Haydn was pre-eminent (symphonies, string quartets, and so on). However, he was willing to embark on piano concertos, since he, and not Haydn, was a virtuoso pianist.

Haydn and Mozart became friends in Vienna in the 1780s. Though Mozart already had developed his own musical personality, he sometimes demonstrated what he had learned from his musical father figure (Haydn was 23 years his elder). The E-flat–Major Symphony revels in Haydnesque wit.
This performance is part of Orchestra of St. Luke's, The Three B's, and Pioneers - Students.

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