• Tuesday, Oct 12, 2010

    New York Philharmonic at Carnegie Hall with Alan Gilbert and Midori, 11/12

     

    CARNEGIE HALL PRESENTS MUSIC DIRECTOR ALAN GILBERT LEADING
    THE NEW YORK PHILHARMONIC ON NOVEMBER 12 AT 8:00 PM

    Program Includes John Adams’s Harmonielehre,
    Marking 25th Anniversary of Work’s Premiere

    Midori Featured as Guest Soloist in Beethoven’s Violin Concerto
     

    On Friday, November 12 at 8:00 p.m., Carnegie Hall presents the New York Philharmonic, led by Music Director Alan Gilbert, in a program of John Adams’s Harmonielehre and Beethoven’s Violin Concerto in D Major featuring Midori as soloist.

    This is the first of two appearances by Mr. Gilbert and the New York Philharmonic this season at Carnegie Hall. They return to perform at Carnegie Hall’s 120th Anniversary Concert on May 5, 2011 with soloists violinist Gil Shaham, cellist Yo-Yo Ma, pianist Emanuel Ax, and vocalist Audra McDonald. Violinist Midori also appears later this season at Carnegie Hall, performing two programs—a solo recital on March 23 and a chamber music program on April 5—as part of JapanNYC, Carnegie Hall’s extensive citywide festival celebrating Japanese culture.

    25th Anniversary of John Adams’s Harmonielehre
    The title of Adams’s Harmonielehre, which celebrates the 25th anniversary of its premiere this year, is roughly translated as “the book of harmony” or “treatise on harmony” and is borrowed from the title of Schoenberg’s extensive 1911 study of tonal harmony in which the composer more or less renounced the laws of tonality. It was this moment in time, in which the course of music history would be changed forever, that Adams focuses on in his massive, three-movement Harmonielehre. Throughout the work, Adams, who can claim a connection to Schoenberg through his teacher Leon Kirchner, combines the developmental techniques of Minimalism with the harmonic structure of late Romanticism—shades of Mahler, Sibelius, Debussy, and early Schoenberg being very present—to address this pivotal shift in composition. Calling his work “parody of a different sort…without the intent to ridicule,” Adams addresses what Schoenberg means to him:

                     He was a "master" in the same sense that Bach, Beethoven, and Brahms
                     were masters. That notion in itself appealed to me then and continues to
                     do so. But Schoenberg also represented to me something twisted and
                     contorted. He was the first composer to assume the role of high-priest,
                     a creative mind whose entire life ran unfailingly against the grain of society,
                     almost as if he had chosen the role of irritant. Despite my respect for and
                     even intimidation by the persona of Schoenberg, I felt it only honest to
                     acknowledge that I profoundly disliked the sound of twelve-tone music.
                     His aesthetic was to me an overripening of 19th century Individualism,
                     one in which the composer was a god of sorts, to which the listener would
                     come as if to a sacramental altar. It was with Schoenberg that the "agony
                     of modern music" had been born, and it was no secret that the classical
                     music audience during the twentieth century was rapidly shrinking, in no small
                     part because of the aural ugliness of so much of the new work being written.

    In a review of a 1995 performance by the San Francisco Symphony (which premiered the work on March 21, 1985) the San Francisco Chronicle said “the music is beautiful, subtle, dramatically forceful and exquisitely scored…Harmonielehre also reaches beyond its 40-minute span to address larger issues of musical style and history. It does so with thrilling ambition and equally thrilling success.”

    About the Artists
    The violinist Midori is recognized for the evolution and scope of her career—which began 28 years ago with a performance with the New York Philharmonic—and increasingly for innovative community engagement initiatives worldwide. Named a Messenger of Peace by U.N. Secretary-General Ban Ki-moon in 2007, she has created a model for young artists who seek to balance the joys and demands of a performing career at the highest level with a hands-on investment in the power of music to change lives. Midori's involvement with community engagement began in earnest in 1992 and to date over 180,000 children have participated in Midori & Friends programs in every borough of New York City. Midori’s 2010–2011 season includes performances at the Ravinia, Schleswig-Holstein, Caramoor, and Edinburgh festivals, and will continue with over 100 concerts in 19 countries. Midori will appear with the BBC Symphony, the Baltimore Symphony Orchestra, the New York Philharmonic, the London Symphony Orchestra, and the Orchestre symphonique de Montréal, among others, with such conductors Christoph Eschenbach, Sir Donald Runnicles, Kent Nagano, Alan Gilbert, Antonio Pappano, and Edo de Waart. She will make her fifth recital tour devoted entirely to new music, which will culminate in a performance in Zankel Hall on March 23 as part of Carnegie Hall’s JapanNYC festival. Midori also performs chamber music with violist Nobuko Imai, cellist Antoine Lederlin, and pianist Jonathan Biss on April 5 as part of the festival. Midori was born in Osaka, Japan, in 1971 and began studying the violin with her mother, Setsu Goto, at a very early age. In 1982, when Zubin Mehta first heard her play, he was so impressed that he invited her to be a surprise guest soloist for the New York Philharmonic's New Year's Eve concert.

    Alan Gilbert became Music Director of the New York Philharmonic in September 2009, the first native New Yorker to hold the post. In his inaugural season he introduced a number of new initiatives: the positions of The Marie-Josée Kravis Composer-in-Residence, held by Magnus Lindberg; The Mary and James G. Wallach Artist-in-Residence, held in 2010–11 by violinist Anne-Sophie Mutter; an annual three-week festival, which in 2010–11 is titled Hungarian Echoes, led by Esa-Pekka Salonen; and CONTACT!, the New York Philharmonic’s new-music series. In the 2010–11 season Mr. Gilbert is leading the orchestra on two tours of European music capitals; two performances at Carnegie Hall, including the venue’s 120th Anniversary Concert on May 5; and a staged presentation of Janáček’s The Cunning Little Vixen. Highlights of his inaugural season included major tours of Asia and Europe and an acclaimed staged presentation of Ligeti’s Le Grand Macabre. Mr. Gilbert is the first person to hold the William Schuman Chair in Musical Studies at The Juilliard School, and is conductor laureate of the Royal Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra. He has conducted other leading orchestras in the U.S. and abroad, including the Boston, Chicago, and San Francisco symphony orchestras; Los Angeles Philharmonic; Cleveland and Philadelphia Orchestras; the Berliner Philharmoniker, Munich’s Bavarian Radio Symphony Orchestra, and Amsterdam’s Royal Concertgebouw Orchestra. From 2003 to 2006 he served as the first music director of the Santa Fe Opera and in 2008 made his Metropolitan Opera debut conducting John Adams’s Doctor Atomic. On May 15, 2010, Mr. Gilbert received an Honorary Doctor of Music degree from The Curtis Institute of Music.

    Founded in 1842, the New York Philharmonic is the oldest symphony orchestra in the United States and one of the oldest in the world. On May 5, 2010, it performed its 15,000th concert. The orchestra has always played a leading role in American musical life, championing the music of its time, and is renowned around the globe, having appeared in 429 cities in 62 countries — including its 2009 debut in Vietnam, and its 2008 historic visit to Pyongyang, DPRK. The Philharmonic’s concerts are broadcast on the weekly syndicated radio program; The New York Philharmonic This Week, which is streamed on the orchestra’s website, nyphil.org; and are telecast annually on Live From Lincoln Center on U.S. public television. The Philharmonic has made nearly 2,000 recordings since 1917, with more than 500 currently available. The first major American orchestra to offer downloadable concerts, recorded live, the Philharmonic, in 2009–10, released the first-ever classical iTunes Pass. The orchestra has built on the long-running Young People’s Concerts® to develop a wide range of education programs, including the School Partnership Program, enriching music education in New York City, and Learning Overtures, fostering international exchange. Alan Gilbert became Music Director in September 2009, succeeding Lorin Maazel in a distinguished line of musical giants.


    Program Information
    Friday, November 12 at 8:00 p.m.
    Stern Auditorium/Perelman Stage
    NEW YORK PHILHARMONIC

    Alan Gilbert, Music Director and Conductor
    Midori, Violin

    LUDWIG VAN BEETHOVEN Violin Concerto in D Major, Op. 61
    JOHN ADAMS Harmonielehre

    Pre-concert talk starts at 7:00 p.m. in Stern Auditorium/Perelman Stage with Thomas Cabaniss, Composer & Faculty, The Juilliard School.

    Sponsored by Continental Airlines, the Official Airline of Carnegie Hall


    Bank of America is the Proud Season Sponsor of Carnegie Hall. 

    Ticket Information
    Tickets, priced at $39, $46, $58, $78, $105, and $116 are available at the Carnegie Hall Box Office, 154 West 57th Street, or can be charged to major credit cards by calling CarnegieCharge at 212-247-7800 or by visiting the Carnegie Hall website, carnegiehall.org.

    For Carnegie Hall Corporation presentations taking place in Stern Auditorium/Perelman Stage, a limited number of seats, priced at $10, will be available day-of-concert beginning at 11:00 a.m. Monday through Saturday and 12:00 noon on Sunday until one hour before the performance or until supply lasts. The exceptions are Carnegie Hall Family Concerts and gala events. These $10 tickets are available to the general public on a first-come, first-served basis at the Carnegie Hall Box Office only. There is a two-ticket limit per customer.

    In addition, for all Carnegie Hall presentations in Stern Auditorium/Perelman Stage a limited number of partial view (seats with obstructed or limited sight lines or restricted leg room) will be sold for 50% of the full price. For more information on this and other discount ticket programs, including those for students, Notables members, and Bank of America customers, visit carnegiehall.org/discounts.

     

     

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