New York Philharmonic. Currier Bruckner. Alan Gilbert and the New York Philharmonic Season

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1 10 New York Philharmonic Currier Bruckner Alan Gilbert and the New York Philharmonic Season 2 3

2 Alan Gilbert and the New York Philharmonic: Season New York Philharmonic Alan Gilbert s journey of musical discovery can be traced on Alan Gilbert and the New York Philharmonic: Season; the series wide-ranging repertoire reflects his programmatic belief that individual works, both familiar and brand-new, should be combined in innovative ways in order to surprise, challenge, and delight the listener. When I became the Music Director of the New York Philharmonic a year ago, I was excited by the prospect of creating a close connection with the audience, Alan Gilbert has said, adding, I wanted our listeners to know that we choose every work we perform out of a real commitment to its value, so that even if someone isn t familiar with a piece, they would feel comfortable coming to hear it simply because we programmed it. Alan Gilbert and the New York Philharmonic: Season 12 highquality recordings of almost 30 works, available internationally represents the breadth of Alan Gilbert s programs in his second season as Music Director. Building on the success of last year s Alan Gilbert: The Inaugural Season, the first time an orchestra offered a season s worth of recorded music for download, the new series is more accessible and more flexible, offering performances either as a complete series or as individual works. The series allows listeners to explore and own music that spans world premieres of Philharmonic commissions to works by past masters. Subscribers also receive bonus content, including audio recordings of Alan Gilbert s onstage commentaries, the program notes published in each concert s Playbill, and encores given by the soloists all in the highest possible audio quality available for download. For more information about the series, visit nyphil.org/itunes. Alan Gilbert, Conductor Anne-Sophie Mutter, Violin Recorded live June 2 4, 2011, Avery Fisher Hall at Lincoln Center for the Performing Arts Sebastian CURRIER (b. 1959) Time Machines (2007; World Premiere) 28:47 fragmented time 2:31 delay time 4:17 compressed time 1:24 overlapping time 3:42 entropic time 6:26 backwards time 1:37 harmonic time 8:50 ANNE-SOPHIE MUTTER BRUCKNER ( ) Symphony No. 2 in C minor ( , rev. 1877; ed. W. Carragan, 2007) 1:00:33 Moderato 18:53 Andante 17:00 Scherzo (Moderately Fast) Trio 7:05 Finale (Faster) 17:35 2 3

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4 Notes on the Program By James M. Keller, Program Annotator Time Machines Sebastian Currier Sebastian Currier was born into a musical family: his mother and brother are both composers, his father a violinist. He studied violin under his father s tutelage and later switched to guitar and became involved in playing rock music. When he was growing up in Rhode Island, music was a constant, both through live music-making and recordings. As Currier told Ann Mc- Cutchan in an interview published in her book The Muse That Sings: Composers Speak about the Creative Process (1999): I remember how, still engrossed in rock music, I started to listen to this other music: Beethoven piano sonatas, Bach s Goldberg Variations, Bartók s Music for Strings, Percussion, and Celesta. A whole universe opened up in front of me. As much as I loved rock music, it was entirely pale by comparison. The range of expression [in classical music] was so vast, the way one idea followed another was so intricate and compelling. There seemed to be nothing one could not express. Currier pursued his advanced education at the Manhattan School of Music and received a doctorate in composition from The Juilliard School. He taught at Juilliard from 1992 to 1998 and at Columbia University from 1999 to Among his honors are awards from the American Academy of Arts and Letters, the Berlin In Short Born: March 16, 1959, in Huntingdon, Pennsylvania Resides: in New York City Work composed: in 2007 (completed on October 22 that year in New York City), on commission from Anne-Sophie Mutter World premiere: these performances Prize, Rome Prize, a Friedheim Award, and fellowships from the Guggenheim Foundation, National Endowment for the Arts, and Tanglewood Music Festival. Sebastian Currier s music is philosophically engaging and confounds listeners expectations. He often devises formulas and explores ideas that we don t typically associate with concert music. His most notable works can be described as conceptual in the sense that they resemble what we may expect more from contemporary visual arts or literature than from music. His Vocalissimus (1991), for soprano and chamber ensemble, sets a single brief poem by Wallace Stevens no fewer than 18 times, each time looking at the text from the viewpoint of a strikingly different temperament or mindframe: a recluse, an optimist, a pessimist, a miser, a satirist, and so on. Theo s Sketchbook (1992), for solo piano, is purveyed as an anthology of the works of a fictional composer, ranging from well-intentioned juvenilia to the autumnal utterances of his old age (including a lullaby for a granddaughter). His Quartetset (1995), for string quartet, attempts to reconcile the composer s conflicting responses to classic The Work at a Glance Sebastian Currier offers these observations about Time Machines: In the first movement, fragmented time, the solo violin holds together diverse short, abrupt, and incongruous fragments drawn from later movements. In this way the movement is also about future time, as it allows for brief glimpses of material heard in the rest of the piece. In delay time, the second movement, with the exception of three held chords, the entire fabric of orchestral textures is nothing but a reverberation, a resonance, of the violin s lyrical line: not a note sounds that wasn t first formulated in the violin before its delayed representation is reflected in the orchestra. The violin seems to propel everything forward at a frenzied, fast pace in the third movement, compressed time, which ends as abruptly as it begins. In the fourth movement, overlapping time, passages of contrasting character, and rhythmic and metric structure, constantly cross paths, so that as one passage gradually fades into nothingness another is heard gradually coming into the foreground. Entropy the principle that ordered systems move toward greater disorder, and which defines the forward moving aspect of time is the basis for the musical rhetoric in the fifth movement, entropic time. This movement begins with a sharply chiseled motive presented in an orchestral unison. From this point on, this ordered presentation gives way to more chaotic elements, as the theme itself is gradually dissembled. In backwards time, the sixth movement, the flow of time is momentarily reversed. Both the musical rhetoric and aspects of instrumental acoustics run backwards while brief flashes of previous movements mysteriously float by. In this way, it forms a relation to the first movement: where at the beginning there are glimpses of future time, here there are now glimpses of time past. In harmonic time, the final movement, the violin presents a long cantabile line amidst a varied harmonic landscape. 6 7

5 Notes on the Program (continued) monuments and contemporary experiments in classical music by juxtaposing the styles of, for example, Bach, Beethoven, and Schubert with those of Cage, Carter, and Boulez. In 2007 Currier won the prestigious Grawemeyer Award for his chamber piece Static. Characteristically, its six movements reveal six perspectives on the idea of stasis. Similarly, Traces, his harp concerto commissioned by the Berlin Philharmonic (which introduced it in 2009), provides a framework in which ruined fragments of past structures make ephemeral appearances. Both of these reveal an interest in time, and in how things exist and are perceived within it. That is very much an engine of Time Machines, the second piece Currier has written for Anne-Sophie Mutter; it follows his After-song for violin and piano, which she premiered at the 1994 Schleswig- Holstein Music Festival. It s only a little bit of an exaggeration to say that music is made of nothing but time, Currier observes in connection with this composition: Clearly the form of a piece is how it unfolds in time... The rest is air. A musician bows a string, blows air in a cylinder, strikes a metal object, and a series of sound waves take that information to our ears, the intensity of those waves affecting the relative amplitude. It has always been fascinating to me that an art form that is so penetrating, that seems to be able to inhabit a place inside one, is made of such ephemeral stuff. His Time Machines accordingly serves as a detailed study of various ramifications of time, and of how a large-scale, sevenmovement violin concerto can grow out of such ephemeral stuff. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, vibraphone, suspended cymbals, triangle, tambourine, orchestra bells, two brake drums, hi-hat, cowbell, whip, piano, harp, and strings, in addition to the solo violin. Symphony No. 2 in C minor Anton Bruckner In Short Born: September 4, 1824, in Ansfelden, Upper Austria Died: October 11, 1896, in Vienna Work composed: October 11, 1871 September 11, 1872; revised in 1873, 1876, and 1877, with final emendations made in 1892, prior to publication World premiere: in its original version, on October 26, 1873, in Vienna, the composer conducting the Vienna Philharmonic New York Philharmonic premiere: December 17, 1925, Willem Mengelberg, conductor Anton Bruckner spent his first 44 years in the Austrian environs of Linz. Not until 1868 did he move to the musical capital of Vienna, becoming professor of harmony and counterpoint at the Vienna Conservatory (where he also took on organ pupils), and finally flowering into a dedicated composer of symphonies. He had completed a Study Symphony in F minor and his Symphony No. 1 in C minor while still living in Linz, but the artistic stimulation of Vienna appears to have released the vigorous flow of ensuing works: a D-minor Symphony that he later withdrew it is occasionally revived under the curious rubric Symphony No. 0 in 1869 (and another Symphony, in B-flat major, that was similarly retracted later that year); Symphony No. 2 in C minor in ; Symphony No. 3 in D minor in 1873; Symphony No. 4 in E-flat major in 1874; and Symphony No. 5 in B-flat major in Apart from the Study Symphony and the No. 0, each of these would be considerably revised, with work on various pieces often occupying the composer at the same time. The chronology of Bruckner symphonies is accordingly hard to pin down, but at least the first versions of his Symphonies Nos. 2, 3, 4, and 5 were produced during an intense five-year period of creativity. Bruckner made his first sketches for the Second Symphony in 1871 while in London, where he was representing Austria among a group of leading European organists, invited to perform on the newly constructed instrument at the Royal Albert Hall. His success in those concerts led to an immediate booking for five organ concerts at London s Crystal Palace and plans (never realized) for an extended English tour the following year. At first Bruckner labeled the C-minor Symphony the Third; only after he withdrew No. 0 did this work take its canonical place in the lineup. The composition occupied him for exactly 11 months, after which the premiere was tentatively scheduled in Vienna. At a reading rehearsal in which Otto Dessoff conducted the Vienna Philharmonic, the piece was judged to be too long, and the premiere was pushed back a year. Bruckner made numerous changes and the rescheduled premiere took place in October 1873 at a concert of Vienna s Gesellschaft der Musikfreunde, an event that was the closing concert of the Vienna World Exhibition. These were the first in a series of alterations that the composer effected, a process that continued when he returned to the piece in 1876 and again in 1877, after which he made still further emendations just before the symphony was published in The 9

6 Notes on the Program (continued) difference between the 1872 original and the 1877 revision is momentous. The Finale of the 1872 version, for example, runs 806 measures; in 1877 Bruckner abridged it to 613, and it makes a strikingly different impression. There is no question that he felt pressured into some of these changes by wellmeaning colleagues, in this case principally by the conductor Johann Herbeck. This has led to divergent opinions about which musical text best reflects the composer s desires and intentions. It s not a clear-cut issue Bruckner may have adopted some changes happily, others less so. This performance employs the most up-to-date edition, which reflects information in some sources that had not been previously available. In the Music Director s Words There are few composers whose music I could conduct every day for the rest of my life and be satisfied as a musician, and Bruckner is one of them. He is a traditional symphonist, but what he does with the symphonic form is truly personal. There s a kind of suspension of time in which all the elements that you expect from a symphony are there, but they unfold at a pace that he controls very exquisitely, and very deliberately. Bruckner s music has no program: there s something utterly pure about it. It s really not about anything: it s hard to say what it is that he s expressing. It s just music, but still it somehow goes straight to the heart. Alan Gilbert Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings. The Edition: The study-score edition prepared by William Carragan and published in 2007 by the Austrian National Library in Vienna in conjunction with the Musicological Publications of the International Bruckner Society, Vienna, represents a refinement of the previous Bruckner Society edition by Leopold Novak (1965), and is effectively based on Bruckner s revision of

7 New York Philharmonic Season ALAN GILBERT Music Director, The Yoko Nagae Ceschina Daniel Boico, Assistant Conductor Leonard Bernstein, Laureate Conductor, Kurt Masur, Music Director Emeritus Violins Glenn Dicterow Concertmaster The Charles E. Culpeper Sheryl Staples Associate Concertmaster The Elizabeth G. Beinecke Michelle Kim Assistant Concertmaster The William Petschek Family Enrico Di Cecco Carol Webb Yoko Takebe Minyoung Chang+ Hae-Young Ham The Mr. and Mrs. Timothy M. George Lisa GiHae Kim Kuan-Cheng Lu Newton Mansfield The Edward and Priscilla Pilcher Kerry McDermott+ Anna Rabinova Charles Rex The Shirley Bacot Shamel Fiona Simon Sharon Yamada Elizabeth Zeltser The William and Elfriede Ulrich Yulia Ziskel Marc Ginsberg Lisa Kim* In Memory of Laura Mitchell Soohyun Kwon The Joan and Joel I. Picket Duoming Ba Marilyn Dubow The Sue and Eugene Mercy, Jr. Martin Eshelman Quan Ge The Gary W. Parr Judith Ginsberg Stephanie Jeong Hanna Lachert Hyunju Lee Joo Young Oh Daniel Reed Mark Schmoockler Na Sun Vladimir Tsypin Violas Cynthia Phelps The Mr. and Mrs. Frederick P. Rose Rebecca Young* Irene Breslaw** The Norma and Lloyd Chazen Dorian Rence Katherine Greene The Mr. and Mrs. William J. McDonough Dawn Hannay Vivek Kamath Peter Kenote Kenneth Mirkin Judith Nelson Robert Rinehart The Mr. and Mrs. G. Chris Andersen Cellos Carter Brey The Fan Fox and Leslie R. Samuels Eileen Moon* The Paul and Diane Guenther The Shirley and Jon Brodsky Foundation Evangeline Benedetti Eric Bartlett The Mr. and Mrs. James E. Buckman Elizabeth Dyson Maria Kitsopoulos Sumire Kudo Qiang Tu Ru-Pei Yeh The Credit Suisse in honor of Paul Calello Wei Yu Wilhelmina Smith++ Basses Eugene Levinson The Redfield D. Beckwith Orin O Brien Acting Associate * The Herbert M. Citrin William Blossom The Ludmila S. and Carl B. Hess Randall Butler David J. Grossman Satoshi Okamoto Flutes Robert Langevin The Lila Acheson Wallace Sandra Church* Mindy Kaufman Piccolo Mindy Kaufman Oboes Liang Wang The Alice Tully Sherry Sylar* Robert Botti The Lizabeth and Frank Newman English Horn The Joan and Joel Smilow Clarinets Ricardo Morales Designate Mark Nuccio Acting The Edna and W. Van Alan Clark Pascual Martinez Forteza Acting Associate * The Honey M. Kurtz Family Alucia Scalzo++ Amy Zoloto++ E-Flat Clarinet Pascual Martinez Forteza Bass Clarinet Amy Zoloto++ Bassoons Judith LeClair The Pels Family Kim Laskowski* Roger Nye Arlen Fast Contrabassoon Arlen Fast Horns Philip Myers The Ruth F. and Alan J. Broder Stewart Rose++* Acting Associate Cara Kizer Aneff** R. Allen Spanjer Erik Ralske+ Howard Wall David Smith++ Trumpets Philip Smith The Paula Levin Matthew Muckey* Ethan Bensdorf Thomas V. Smith Trombones Joseph Alessi The Gurnee F. and Marjorie L. Hart Amanda Davidson* David Finlayson The Donna and Benjamin M. Rosen Bass Trombone James Markey The Donna and Benjamin M. Rosen Tuba Alan Baer Timpani Markus Rhoten The Carlos Moseley Kyle Zerna** Percussion Christopher S. Lamb The Constance R. Hoguet Friends of the Philharmonic Daniel Druckman* The Mr. and Mrs. Ronald J. Ulrich Kyle Zerna Harp Nancy Allen The Mr. and Mrs. William T. Knight III Keyboard In Memory of Paul Jacobs Harpsichord Lionel Party Piano The Karen and Richard S. LeFrak Harriet Wingreen Jonathan Feldman Organ Kent Tritle Librarians Lawrence Tarlow Sandra Pearson** Sara Griffin** Orchestra Personnel Manager Carl R. Schiebler Stage Representative Louis J. Patalano Audio Director Lawrence Rock * Associate ** Assistant + On Leave ++ Replacement/Extra The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster. Honorary Members of the Society Emanuel Ax Pierre Boulez Stanley Drucker Lorin Maazel Zubin Mehta Carlos Moseley New York Philharmonic Gary W. Parr man Zarin Mehta President and Executive Director 12 13

8 The Music Director Alan Gilbert became Music Director, The Yoko Nagae Ceschina of the New York Philharmonic in September The first native New Yorker to hold the post, he ushered in what The New York Times called an adventurous new era at the Philharmonic. 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 by violinist Anne-Sophie Mutter; an annual three-week festival, which in is titled Hungarian Echoes, led by Esa-Pekka Salonen; and CONTACT!, the New York Philharmonic s new-music series. In the season Mr. Gilbert has lead the Orchestra on two tours of European music capitals; two performances at Carnegie Hall, including the venue s 120th Anniversary Concert; and a staged presentation of Janáček s The Cunning Little Vixen. In his inaugural season Mr. Gilbert led the Orchestra on a major tour of Asia in October 2009, with debuts in Hanoi and Abu Dhabi, and performances in nine cities on the EUROPE / WINTER 2010 tour in February Also in the season, he conducted world, U.S., and New York premieres, as well as an acclaimed staged presentation of Ligeti s opera, Le Grand Macabre. In January 2011 Alan Gilbert was named Director of Conducting and Orchestral Studies at The Juilliard School, a position that will begin in fall This adds to his responsibilities as the first holder of Juilliard's William Schuman in Musical Studies, establishing Mr. Gilbert as the principal teacher for all conducting majors at the school. He is also 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; and the Berlin Philharmonic, 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. Alan Gilbert studied at Harvard University, The Curtis Institute of Music, and The Juilliard School. From 1995 to 1997 he was the assistant conductor of The Cleveland Orchestra. In November 2008 he made his acclaimed Metropolitan Opera debut conducting John Adams s Doctor Atomic. His recording of Prokofiev s Scythian Suite with the Chicago Symphony Orchestra was nominated for a 2008 Grammy Award, and his recording of Mahler s Symphony No. 9 received top honors from the Chicago Tribune and Gramophone magazine. On May 15, 2010, Mr. Gilbert received an Honorary Doctor of Music degree from The Curtis Institute of Music.

9 The Artist Violinist Anne-Sophie Mutter joined the New York Philharmonic in the season as The Mary and James G. Wallach Artist-in-Residence. In this role she performs three concerts with the Orchestra; two chamber concerts; and a recital. These programs reflect a mix of eras, offering established violin repertoire alongside new works. Since her international debut at the Lucerne Festival in 1976 at the age of 13, Ms. Mutter has appeared in all the major concert halls of Europe, North and South America, and Asia. She has had new works composed for her by Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, André Previn, and Wolfgang Rihm. She also devotes her time to numerous charity projects and supports the development of young, exceptionally talented musicians. In addition to her year-long residency with the New York Philharmonic, in the season Ms. Mutter joined the Chicago Symphony Orchestra for its inaugural Symphony Ball playing Beethoven s Violin Concerto, and performed Dutilleux s Sur le même accord and Gubaidulina s In tempus praesens with the Montreal Symphony Orchestra and Kent Nagano. A North American tour with violist Yuri Bashmet and cellist Lynn Harrell performing the Beethoven trios in San Francisco, Vancouver, Costa Mesa, and Mexico City was followed by a solo recital of Brahms s violin sonatas with her longtime recital partner, pianist Lambert Orkis, at the Kennedy Center in Washington, D.C. Internationally, Ms. Mutter s appearances this season include the Kirov Orchestra and Valery Gergiev, London Symphony Orchestra and Sir Colin Davis, and London Philharmonic and Kurt Masur. She toured Germany with Sir Simon Rattle and the Berlin Philharmonic, and is slated for an extensive recital tour throughout Asia. In October 2010 her recording of the complete Brahms violin sonatas with Lambert Orkis was released in the United States on the Deutsche Grammophon label, adding to her discography of more than 60 recordings. In 2010 Ms. Mutter was awarded the Doctor Honoris Causa from the Norwegian University of Science and Technology in Trondheim. In 2009 she was granted the European St. Ulrich s Prize and the Cristobal Gabaroon Award; in 2008 she received the International Ernst von Siemens Music Prize as well as the Leipzig Mendelssohn Prize. She is a bearer of the Grand Order of Merit of the German Federal Republic, French Order of the Legion of Honor, Bavarian Order of Merit, and Great Austrian Order of Merit. Anne- Sophie Mutter has been named Musical America s 2011 Musician of the Year

10 New York Philharmonic The New York Philharmonic, founded in 1842 by a group of local musicians led by American-born Ureli Corelli Hill, is by far the oldest symphony orchestra in the United States, and one of the oldest in the world. It currently plays some 180 concerts a year, and on May 5, 2010, gave its 15,000th concert a milestone unmatched by any other symphony orchestra in the world. Alan Gilbert began his tenure as Music Director, The Yoko Nagae Ceschina, in September 2009, the latest in a distinguished line of 20th-century musical giants that has included Lorin Maazel ( ); Kurt Masur (Music Director from 1991 to the summer of 2002; named Music Director Emeritus in 2002); Zubin Mehta ( ); Pierre Boulez ( ); and Leonard Bernstein, who was appointed Music Director in 1958 and given the lifetime title of Laureate Conductor in Since its inception the Orchestra has championed the new music of its time, commissioning or premiering many important works, such as Dvořák s Symphony No. 9, From the New World; Rachmaninoff s Piano Concerto No. 3; Gershwin s Piano Concerto in F; and Copland s Connotations. The Philharmonic has also given the U.S. premieres of such works as Beethoven s Symphonies Nos. 8 and 9 and Brahms s Symphony No. 4. This pioneering tradition has continued to the present day, with works of major contemporary composers regularly scheduled each season, including John Adams s Pulitzer Prize- and Grammy Award-winning On the Transmigration of Souls; Stephen Hartke s Symphony No. 3; Augusta Read Thomas s Gathering Paradise, Emily Dickinson Settings for Soprano and Orchestra; Esa-Pekka Salonen s Piano Concerto; Magnus Lindberg s EXPO; and Christopher Rouse s Odna Zhizn. The roster of composers and conductors who have led the Philharmonic includes such historic figures as Theodore Thomas, Antonín Dvořák, Gustav Mahler (Music Director, ), Otto Klemperer, Richard Strauss, Willem Mengelberg (Music Director, ), Wilhelm Furtwängler, Arturo Toscanini (Music Director, ), Igor Stravinsky, Aaron Copland, Bruno Walter (Music Advisor, ), Dimitri Mitropoulos (Music Director, ), Klaus Tennstedt, George Szell (Music Advisor, ), and Erich Leinsdorf. Long a leader in American musical life, the Philharmonic has over the last century become renowned around the globe, appearing in 430 cities in 63 countries on 5 continents. In October 2009 the Orchestra, led by Music Director Alan Gilbert, made its debut in Hanoi, Vietnam. In February 2008 the Orchestra, led by then-music Director Lorin Maazel, gave a historic performance in Pyongyang, Democratic People s Republic of Korea the first visit there by an American orchestra and an event watched around the world and for which the Philharmonic earned the 2008 Common Ground Award for Cultural Diplomacy. Other historic tours have included the 1930 Tour to Europe, with Toscanini; the first Tour to the USSR, in 1959; the 1998 Asia Tour with Kurt Masur, featuring the first performances in mainland China; and the 75th Anniversary European Tour, in 2005, with Lorin Maazel. A longtime media pioneer, the Philharmonic began radio broadcasts in 1922, and is currently represented by The New York Philharmonic This Week syndicated nationally 52 weeks per year, and available on nyphil.org. On television, in the 1950s and 1960s, the Philharmonic inspired a generation through Bernstein s Young People s Concerts on CBS. Its television presence has continued with annual appearances on Live From Lincoln Center on PBS, and in 2003 it made history as the first Orchestra ever to perform live on the Grammy Awards, one of the most-watched television events worldwide. In 2004 the Philharmonic became the first major American orchestra to offer downloadable concerts, recorded live. The most recent initiative is Alan Gilbert and the New York Philharmonic: downloadable concerts, recorded live, available either as a subscription or as 12 individual releases. Since 1917 the Philharmonic has made nearly 2,000 recordings, with more than 500 currently available. On June 4, 2007, the New York Philharmonic proudly announced a new partnership with Credit Suisse, its first-ever and exclusive Global Sponsor

11 Executive Producer: Vince Ford Producers: Lawrence Rock and Mark Travis Recording and Mastering Engineer: Lawrence Rock Performance photos: Chris Lee Alan Gilbert portrait: Hayley Sparks Sebastian Currier's Time Machines used by arrangement with Boosey & Hawkes, Inc. Bruckner's Symphony No. 2 in C minor used by arrangement with Musikwissenschaftlicher Verlag and C. F. Peters Corporation Major funding for this recording is provided to the New York Philharmonic by Rita E. and Gustave M. Hauser. Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina. Anne-Sophie Mutter is The Mary and James G. Wallach Artist-in-Residence. This concert is made possible, in part, by a grant from The National Endowment for the Arts. Major support provided by the Francis Goelet Fund. Classical FM WQXR is the Radio Home of the New York Philharmonic. Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund. Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall. Exclusive Timepiece of the New York Philharmonic 20 21

12 Performed, produced, and distributed by the New York Philharmonic 2011 New York Philharmonic NYP