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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall

Vienna Philharmonic Orchestra

Tuesday, March 5, 2019 8 PM Stern Auditorium / Perelman Stage
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Michael Tilson Thomas by Art Streiber, Igor Levit by Robbie Lawrence
Solemnity, fury, and joy—sometimes in a single work—characterize the music on this program. Ives’s Decoration Day (now known as Memorial Day) with its allusions to church bells, hymns, and military band music evokes a mood of reverence. Brahms also conjures a serious tone in the second movement of his Symphony No. 2, but the work’s overall warmth and jubilant finale dispels all sorrow. Beethoven balances a stormy mood, melancholy, and high spirits in his groundbreaking Piano Concerto No. 3, a work played by Igor Levit, “one of the essential artists of his generation” (The New York Times).

Part of: Perspectives: Michael Tilson Thomas

Vienna Philharmonic Orchestra is also performing March 2, March 3, and March 6.

Michael Tilson Thomas is also performing October 3, October 4, March 6, May 1, and May 2.

Igor Levit is also performing October 19.


Vienna Philharmonic Orchestra
Michael Tilson Thomas, Conductor
Igor Levit, Piano


IVES Decoration Day
BEETHOVEN Piano Concerto No. 3
BRAHMS Symphony No. 2

Pre-Concert Talk

Pre-concert talk at 7 PM with Elaine Sisman, Anne Parsons Bender Professor of Music, Columbia University.
Learn more

Michael Tilson Thomas: 2018–2019 Perspectives Artist
Bank of America logo

This performance is sponsored by Bank of America, Carnegie Hall's Proud Season Sponsor.

Major support for this concert is provided by the Audrey Love Charitable Foundation.

The Vienna Philharmonic Residency at Carnegie Hall is made possible by a leadership gift from the Mercedes T. Bass Charitable Corporation.

Have you heard?

Ives’s Decoration Day 

Ives’s Decoration Day paints a vivid musical portrait of the holiday, now called Memorial Day, in a New England town. From hushed tones that depict early morning to the sounds of a distant church bell, Ives evokes a sense of reverence. By weaving a complex tapestry of hymns and military band music—including moving allusions to “Adeste Fideles” and “Taps”—he paints a compelling tableaux of musical Americana.

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