New York Philharmonic
LORIN MAAZEL
The Complete
MAHLER symphonies
Live Symphony3
MAHLER Symphony No. 3 in D minor
(1895–96, rev. through 1906)
Part One
1 Forcefully. Decisively.
103:46
2
3
4
5
6
Part Two
Tempo di minuetto. Moderately.
Comodo. Scherzando. Unhurriedly.
Very slow. Misterioso. Pianississimo throughout.
Joyous in tempo and jaunty in expression.
Slow. Calm. Deeply felt.
36:51
10:34
17:14
9:02
4:21
25:44
Recorded Live June 16–19, 2004, Avery Fisher Hall
at Lincoln Center for the Performing Arts
Lorin Maazel Conductor
Anna Larsson Contralto
Women Of The Westminster Symphonic Choir, Joseph Flummerfelt Director
The American Boychoir, Vincent Metallo Director
New York Philharmonic
and Lorin Maazel:
The Complete Mahler
Symphonies, Live
is released in celebration
of Mr. Maazel’s seven-year
tenure as Music Director
of the New York Philharmonic,
2002–2009.
Visit nyphil.org/maazelmahler for bonus
content including a score with Mahler’s
own notes, video interviews with
Lorin Maazel, and audio samples from
the complete series.
cover photo: chris lee
unless otherwise noted, additional imagery:
New York Philharmonic Archives
Vince Ford Executive Producer
Larry Rock Producer, Recording
and Mastering Engineer
Used by arrangement with Universal Edition A.G., Vienna
Notes on the Program: MAHLER Symphony No. 3
“I find it quite strange that people talking about nature only make mention of
flowers, birds, and fresh air. But nobody seems to know Pan, the god Dionysos.
Nature is able to show all those phenomena, both pleasant and horrible, and
I wanted to put these things in a kind of evolutionary development in my work.”
So wrote Gustav Mahler to a music critic
who was trying to understand his Third
Symphony, a towering monument to nature,
but not so entirely reassuring a work as its
subject might lead one to expect. onetheless,
this longest of Mahler’s symphonies is
one of his most approachable, most relaxed,
and least haunted by nightmares and
apocalyptic visions.
Because responsibilities on the podium
completely occupied him during concert
seasons, Mahler largely relegated his
composing to the summer months, which
he invariably spent as a near hermit at
one bucolic site or another in the Austrian
countryside. When he came to write his
Third Symphony, during the summers of
1895 and 1896, he was escaping the concertseason rigors connected to his directorship
of the orchestra and opera in Hamburg.
He had assumed that post in 1891, following
a peripatetic career that had already led
him through increasingly prestigious music
directorships at Bad Hall (his first professional appointment, which he obtained in
1880), Ljubljana, Olomouc, Kassel, Prague,
Leipzig, and Budapest.
Born July 7, 1860, in Kalischt (Kalis̆tĕ), Bohemia,
near the town of Humpolec
Died
May 18, 1911, in Vienna, Austria
Work composed
the summers of 1895 and 1896, at Steinbach
am Attersee, in Upper Austria, drawing on material from earlier songs; revised through 1906
World premiere
the complete symphony, June 9, 1902, in
Krefeld, Germany, with contralto Luise GellerWolter, Mahler conducting the orchestra and
choruses of the Festival of the Allgemeiner
deutscher Musikverein; individual movements
had already been performed in 1896 and 1897
New York Philharmonic premiere
February 28, 1922, Willem Mengelberg conducting the New York Philharmonic at Carnegie Hall,
Julia Clausson, contralto, with the St. Cecilia Club and the Boys’ Choir of Father Finn’s Paulist
Choristers; this was the work’s New York City premiere
3
Notes on the Program
Mahler’s preferred summer retreat, for the
moment, was the village of Steinbach on the
Attersee, in the breathtakingly beautiful
Salzkammergut of Upper Austria, some 40
miles southwest of Linz. Initially this symphony was to be called The Happy Life, a
Summer Night’s Dream (not after Shakespeare
… reviewer’s notes), and each of its six movements was to carry an individual title: “What
the Forest Tells Me,” “What the Twilight
Tells Me,” “What Love Tells Me,” “What the
Flowers of the Meadow Tell Me,” “What the
Cuckoo Tells Me,” and “What the Child
Tells Me.”
Program Music vs. Absolute Music
In the late 19th century the musical world
was swept up in a heated aesthetic controversy about the relative merits of program
music and absolute music — blatantly descriptive music versus music written more
abstractly, strictly on its own terms. The
absolute music camp included then-recent
symphonists such as Brahms and Bruckner,
while the program faction was making great
strides through the symphonic poems being
turned out by the young Richard Strauss.
Mahler was torn, and seemingly tried to
straddle the divide. At heart he doubtless felt
4
As Mahler worked on the symphony he
revised his program and titles considerably.
Just after completing the work Mahler
enumerated the movements’ revised titles in
a letter to Max Marschalk on August 6, 1896:
Part One:
“Pan Awakes. Summer Marches In.
(Pan’s Procession)”
Part Two:
“What the Flowers of the Meadow Tell Me”
“What the Animals of the Forest Tell Me”
“What Man Tells Me”
“What the Angels Tell Me”
“What Love Tells Me”
more connected to the “absolutists”; on the
other hand, program music was proving very
popular in the concert hall — of course, every
composer wants his music to be loved. In
1902, in a letter to the critic Max Kalbeck,
Mahler tried to clarify (or at least justify)
his position. “Beginning with Beethoven,” he
wrote, “there is no modern music without its
underlying program. — But no music is worth
anything if first you have to tell the listener
what experience lies behind it and what he is
supposed to experience in it. And so, yet again,
to hell with every program! You just have to
The movements were separated into two
uneven parts: the first movement (itself
lasting just over a half hour, which is to say,
a third of the symphony’s total running
time) alone comprising the first part, the
remaining five movements the second.
That’s how things stood until the piece was
finally premiered in 1902, when suddenly
Mahler decided to dispense with the programmatic titles along with most of the
rather detailed programmatic markings he
had previously placed within the course
of the movements. How to explain all this
bring your ears and a heart along and — not
least — willingly surrender to the rhapsodist.”
In his first two symphonies Mahler basically
retrofitted descriptive programs to music he
had already composed — essentially purveying
his absolute music as program music — but
then he balked and deleted the programs
entirely. In the case of his Third Symphony, a
program was part and parcel of the work all
along; however, in the course of composition,
as the symphony “found its shape,” Mahler
amended his program considerably. In the
end, he decided to withhold the program from
his listeners.
Notes on the Program
Those titles were an attempt on my part
to provide non-musicians with something
to hold onto and with signposts for the
intellectual, or better, the expressive content
of the various movements and for their
relationship to each other and to the whole.
That it didn’t work (as, in fact, it never
could work) and that it led only to misinterpretations of the most horrendous sort
became painfully clear all too quickly. …
Those titles … will surely say something to
you after you know the score. You will draw
intimations from them about how I imagined the steady intensification of feeling,
from the indistinct, unyielding, elemental
existences (of the forces of nature) to the
tender formation of the human heart,
which in turn points toward and reaches
a region beyond itself (God).
This last comment goes to the heart of the
Third Symphony perhaps more than any
other, but one has trouble overcoming the
lingering suspicion that the earlier titles in
fact have a great deal to do with what this
piece is about.
—JAMES M. KELLER PROGRAM ANNOTATOR
Sources and Inspirations
Mahler wrote his Third Symphony during
two summers in the bucolic Upper Austrian
village of Steinbach on the Attersee. Many
of the movers and shakers of the music
industry were passing their summers at
Bad Ischl, a dozen miles to the south. Not
Mahler — his was the quest for solitude.
Apart from a couple of trips to visit Brahms
in Bad Ischl, he spent much of his time in
Steinbach alone, in a cabin at the end of a
field, near the shore of the lake itself.
The furnishings inside his composition
studio were spartan, sufficient to meet his
needs, but not inviting distraction: a desk
and a couple of chairs, a stove, a baby-grand
piano. Mahler dependably entered his
“composing house” at seven in the morning
and stayed there at least until mid-afternoon,
sometimes into the evening if his creative
juices were really flowing. That this symphony
is to a great extent a reflection of the landscape in which it was created cannot be
doubted. When the conductor Bruno Walter
visited the composer at Steinbach in July
1896, Mahler, seeing the young conductor
survey the jaw-dropping scenery, said to him,
“You need not stand staring at that; I have
already composed it all.”
Samuel Schweizer Collection
shilly-shallying? Mahler tried to, in a letter
to the conductor Josef Krug-Waldsee:
5
The Gasthof zum Höllengebirge, where Mahler
spent his summers in the years 1893 to 1986, including
those when he composed his Symphony No. 3.
Notes on the Program
Instrumentation four flutes (all doubling
piccolo), four oboes (one doubling English
horn), four clarinets (one doubling E-flat
clarinet and one doubling bass clarinet) plus
another E-flat clarinet, four bassoons (one
doubling contrabassoon), eight horns,
four trumpets, post horn (offstage), four
trombones, tuba, timpani, orchestra bells,
snare drum, triangle, tambourine, bass
drum with attached cymbal, suspended
cymbals, tam-tam, birch brush, two harps,
and strings, in addition to a vocal contingent comprising solo contralto, women’s
chorus, and boys’ chorus.
6
The New York Philharmonic
Connection Gustav Mahler’s connection with the New
York Philharmonic began on November 29,
1908, when he first led the New York
Symphony (which would merge with the New
York Philharmonic in 1928 to form today’s
Philharmonic). He became the New York
Philharmonic’s Conductor (the equivalent of
today’s Music Director) in 1909 and still held
that position when he died in 1911.
In his two years in the post he did not use
the Orchestra as a bully pulpit, only leading
two of his works — the Symphony No. 1 and
Kindertotenlieder — in their U.S. premieres.
It would fall to his successors, who included
his acolytes Willem Mengelberg and Bruno
Walter, to champion his works. Mengelberg,
of whom Mahler wrote, “There’s no one else
I could entrust a work of mine to with entire
confidence,” conducted New York City’s first
performances of the Symphony No. 3, on
February 28, 1922, and of the Symphony
No. 7, on March 8, 1923.
Mahler’s presence on Philharmonic programs would continue through that century
and into the present through the luminaries
who succeeded him on the podium, including
Dimitri Mitropoulos (who led the U.S. premiere
program for the New York City premiere of Mahler’s
Third Symphony, given by the New York Philharmonic on
February 28, 1922.
of the Symphony No. 6 and New York’s first
performance of the Symphony No. 10),
Leonard Bernstein (credited by many for
instigating the mid-century Mahler revival),
and now Lorin Maazel’s complete cycle of
Mahler symphonies.
Texts and Translations
7
Fourth Movement
O Mensch! Gib acht!
Was spricht die tiefe Mitternacht?
Ich schlief!
Aus tiefem Traum bin ich erwacht!
Die Welt ist tief!
Und tiefer als der Tag gedacht!
Tief ist ihr Weh!
Lust tiefer noch als Herzeleid!
Weh spricht: Vergeh!
Doch alle Lust will Ewigkeit!
Will tiefe, tiefe Ewigkeit!
— Friedrich Nietzsche
Oh, man, give heed!
What does deep midnight say?
I slept!
From a deep dream have I awakened.
The world is deep,
And deeper than the day had thought!
Deep is its pain!
Joy deeper still than heartbreak!
Pain speaks: Vanish!
But all joy seeks eternity,
Seeks deep, deep eternity.
Texts and Translations
8
Fifth Movement
Es sungen drei Engel einen süssen Gesang,
Mit Freuden es selig im Himmel klang;
Sie jauchzten fröhlich auch dabei,
Dass Petrus sei von Sünden frei.
Three angels were singing a sweet song:
With joy it resounded blissfully in Heaven.
At the same time they happily shouted with joy
That Peter was absolved from sin.
Und als der Herr Jesus zu Tische sass,
Mit seinen zwölf Jüngern das Abendmal ass,
So sprach der Herr Jesus: “Was stehst du denn hier?
Wenn ich dich anseh’, so weinest du mir!”
For as Lord Jesus sat at table,
Eating supper with his twelve apostles,
So spoke Lord Jesus: “Why are you standing here?
When I look upon you, you weep for me!”
“Und sollt’ ich nicht weinen, du gütiger Gott!
Du sollst ja nicht weinen!
Ich hab’ übertreten die zehn Gebot.
Ich gehe und weine ja bitterlich,
Du sollst ja nicht weinen!
Ach, komm und erbarme dich über mich!”
“Hast du denn übertreten die zehen Gebot,
So fall auf die Kniee und bete zu Gott.
Liebe nur Gott in alle Zeit!
So wirst du erlangen die himmlische Freud’.”
Die himmlische Freud’ ist eine selige Stadt,
Die himmlische Freud’, die kein Ende mehr hat.
Die himmlische Freude war Petro bereit’t,
Durch Jesum und allen zur Seligkeit.
— from Des Knaben Wunderhorn
“And how should I not weep, you kind God!
No, you mustn’t weep!
I have trespassed against the Ten Commandments.
I go and weep, and bitterly.
No, you mustn’t weep!
Ah, come and have mercy on me!”
“If you have trespassed against the Ten Commandments,
Then fall on your knees and pray to God.
Only love God forever,
And you will attain heavenly joy.”
Heavenly joy is a blessed city,
Heavenly joy, that has no end.
Heavenly joy was prepared for Peter
By Jesus and for the salvation of all.
Chris Lee
NEW YORK PHILHARMONIC 2003–2004 SEASON
LORIN MAAZEL
Music Director
Elizabeth Zeltser
Yulia Ziskel
Roberto Minczuk
Associate Conductor
Marc Ginsberg
Leonard Bernstein
Laureate Conductor,
1943–1990
Kurt Masur
Music Director
Emeritus
VIOLINS
Glenn Dicterow
Concertmaster
The Charles E.
Culpeper Chair
Sheryl Staples
Principal Associate
Concertmaster
The Elizabeth G.
BeineckeChair
Michelle Kim
Assistant
Concertmaster
The William Petschek
Family Chair
Enrico Di Cecco
Carol Webb
Yoko Takebe
Emanuel Boder
Kenneth Gordon
Hae-Young Ham
Lisa GiHae Kim
Newton Mansfield
Kerry McDermott
Anna Rabinova
Charles Rex
Fiona Simon
Sharon Yamada
Principal
Lisa Kim*
In Memory of
Laura Mitchell
Soohyun Kwon
Oscar Ravina
Duoming Ba
Matitiahu Braun
Marilyn Dubow
Martin Eshelman
Judith Ginsberg
Myung-Hi Kim
Hanna Lachert
Sarah O’Boyle
Anton Polezhayev
Daniel Reed
Mark Schmoockler
Vladimir Tsypin
VIOLAS
Cynthia Phelps
Principal
The Mr. and Mrs.
Frederick P. Rose Chair
Rebecca Young*
Irene Breslaw**
The Norma and Lloyd
Chazen Chair
Dorian Rence
Katherine Greene
Dawn Hannay
Vivek Kamath
Peter Kenote
Barry Lehr
Kenneth Mirkin
Judith Nelson
Robert Rinehart
CELLOS
Carter Brey
Principal
The Fan Fox and Leslie
R. Samuels Chair
Hai-Ye Ni*
Qiang Tu
The Shirley and
Jon Brodsky
Foundation Chair
Evangeline Benedetti
Eric Bartlett
Nancy Donaruma+
Elizabeth Dyson
Valentin Hirsu
Maria Kitsopoulos
Avram Lavin
Eileen Moon
Brinton Smith
BASSES
Eugene Levinson
Principal
The Redfield D.
Beckwith Chair
Jon Deak*
Orin O’Brien
William Blossom
Randall Butler
David J. Grossman
Lew Norton
Satoshi Okamoto
Michele Saxon
FLUTES
Robert Langevin
Principal
The Lila Acheson
Wallace Chair
Sandra Church*
Renee Siebert
Mindy Kaufman
10
PICCOLO
Mindy Kaufman
Erik Ralske
Howard Wall
OBOES
Joseph Robinson
TRUMPETS
Philip Smith
Sherry Sylar*
Robert Botti
Robert Sullivan*+
Thomas V. Smith
Principal
The Alice Tully Chair
Principal
The Paula Levin Chair
Acting Associate
Principal
ENGLISH HORN
Thomas Stacy
Vincent Penzarella
CLARINETS
Stanley Drucker
TROMBONES
Joseph Alessi
Principal
The Edna and W. Van
Alan Clark Chair
Mark Nuccio*
Pascual Martinez
Forteza
Stephen Freeman
E-FLAT CLARINET
Mark Nuccio
BASS CLARINET
Stephen Freeman
BASSOONS
Judith LeClair
Principal
The Pels Family Chair
Kim Laskowski*
Leonard Hindell
Arlen Fast
CONTRABASSOON
Arlen Fast
HORNS
Philip Myers
Principal
The Ruth F. and Alan
J. Broder Chair
Jerome Ashby*
L. William Kuyper**
R. Allen Spanjer
Principal
The Gurnee F. and
Marjorie L. Hart Chair
KEYBOARD
In Memory of
Paul Jacobs
HARPSICHORD
Lionel Party
PIANO
The Karen and Richard
S. LeFrak Chair
Harriet Wingreen
Jonathan Feldman
ORGAN
Kent Tritle
LIBRARIANS
Lawrence Tarlow
Principal
James Markey*
David Finlayson
Sandra Pearson**
Thad Marciniak
BASS TROMBONE
Donald Harwood
ORCHESTRA
PERSONNEL
MANAGER
Carl R. Schiebler
TUBA
Kyle Turner++
TIMPANI
Roland Kohloff
Principal
The Carlos
Moseley Chair
Joseph Pereira**
PERCUSSION
Christopher S. Lamb
Principal
The Constance R.
Hoguet Friends of the
Philharmonic Chair
Daniel Druckman*
Joseph Pereira
HARP
Nancy Allen
Principal
The Mr. and Mrs. William
T. Knight III Chair
STAGE
REPRESENTATIVE
Louis J. Patalano
AUDIO DIRECTOR
Lawrence Rock
*Associate Principal
**Assistant Principal
+On Leave
++Replacement/Extra
The New York Philharmonic
uses the revolving seating
method for section string
players who are listed
alphabetically in the roster.
about the artists
LORIN MAAZEL, who has led more than
of Italy in June 2006, sponsored by Generali;
the two-part 75th Anniversary European
Tour to thirteen cities in five countries in the
fall of 2005; and residencies in Cagliari,
Sardinia, and at the Bravo! Vail Valley Music
Festival in Colorado.
In addition to the New York Philharmonic,
Mr. Maazel is music director of the Palau de
les Arts Reina Sofia in Valencia, Spain. A
frequent conductor on the world’s operatic
stages, he returned to The Metropolitan
Opera in January 2008 for the first time in 45
years to conduct Wagner’s Die Walküre.
Prior to his tenure as New York
Philharmonic Music Director, Mr. Maazel
led more than 100 performances of the
Orchestra as a guest conductor. He served
as music director of the Bavarian Radio
Symphony Orchestra (1993–2002), and has
held positions as music director of the
Pittsburgh Symphony Orchestra (1988–96);
general manager and chief conductor of the
Vienna Staatsoper (1982–84); music director
of The Cleveland Orchestra (1972–82); and
artistic director and chief conductor of the
Deutsche Oper Berlin (1965–71). He is an
honorary member of the Israel and Vienna
Philharmonic Orchestras, and a Commander
of the Legion of Honor of France.
A second-generation American, born in
Paris, Mr. Maazel was raised and educated in
the United States. He took his first violin
Andrew Garn
150 orchestras in more than 5,000 opera
and concert performances, became Music
Director of the New York Philharmonic in
September 2002. His appointment came 60
years after his debut with the Orchestra at
Lewisohn Stadium, then the Orchestra’s
summer venue. As Music Director he has
conducted nine World Premiere–New York
Philharmonic Commissions, including the
Pulitzer Prize– and Grammy Award–winning
On the Transmigration of Souls by John
Adams; Stephen Hartke’s Symphony No. 3;
Melinda Wagner’s Trombone Concerto; and
Steven Stucky’s Rhapsodies for Orchestra. He
has led cycles of works by Brahms, Beethoven,
and Tchaikovsky; and he conducted the
Orchestra’s inaugural performances in the
DG Concerts series — a groundbreaking
initiative to offer downloadable New York
Philharmonic concerts exclusively on iTunes.
Mr. Maazel has taken the Orchestra on
numerous international tours, including
the historic visit to Pyongyang, Democratic
People’s Republic of Korea, in February
2008 — the first performance there by an
American orchestra. Other recent tours have
included Europe 2008 in August–September;
Asia 2008 — to Taipei, Kaohsiung, Hong Kong,
Shanghai, and Beijing in February; the May
2007 Tour of Europe; the November 2006 visit
to Japan and Korea; the Philharmonic Tour
11
lesson at age five, and first conducting lesson
at seven. Between ages 9 and 15 he conducted
most of the major American orchestras. In
1953 he made his European conducting
debut in Catania, Italy.
Mr. Maazel is also an accomplished
composer. His opera, 1984, received its
world premiere on May 3, 2005, at London’s
Royal Opera House, Covent Garden. It was
revived in the 2007–08 season at the Teatro
alla Scala in Milan, and has been released
on DVD by Decca.
about the artists
Anna Larsson started her musical edu­
Saint-Saëns’s Samson et Dalila at theaters
including Bayerisches Staatsoper München,
Festspiele Salzburg and Aix-en-Provence,
Teatro Maggio Musicale Firenze, Palau des
Arts Valencia, Royal Opera Copenhagen,
Finnish National Opera, and Royal
Opera Stockholm.
In concert, Anna Larsson has sung with
many major orchestras including the Berlin
Philharmonic, Lucerne Festival Orchestra,
Vienna Philharmonic, Chicago Symphony,
Los Angeles Philharmonic, London Symphony
and London Philharmonic orchestras, and
with distinguished conductors including
Claudio Abbado, Zubin Mehta, Esa-Pekka
Salonen, Sir Simon Rattle, Gustavo Dudamel,
Seiji Osawa, Kurt Masur, Alan Gilbert, and
Nikolaus Harnoncourt. Her wide repertoire
includes works as diverse as Handel’s Messiah,
Elgar’s Sea Pictures, Gustav Mahler’s song cycles,
Verdi’s Requiem, and contemporary music.
Ms. Larsson was nominated for a Grammy
in 2005 for the recording of Richard
Strauss’s Daphne with the Westdeutsche
Rundfunks Symphonieorchester conducted
by Semyon Bychkov.
T. Ullberg
cation at the age of ten, when she began
studies in Stockholm at the Adolf Fredriks
Musikskola. She graduated after nine years,
having majored in language and music.
At the age of 17 Anna met singing teacher
Florence Düselius, with whom she would
study until Ms. Düselius passed away in
August 2006. Ms. Larsson trained at Opera
Studio 67 for three years before entering
the Stockholm College of Opera. There she
met vocal coach Anna Sims, with whom
she continues to work.
Ms. Larsson made her international
debut in 1997 in Mahler’s Symphony No. 2,
with the Berlin Philharmonic Orchestra
and Claudio Abbado, and her opera debut
as Erda in Wagner’s Das Rheingold at the
Deutsche Oper Berlin, conducted by Daniel
Barenboim. Erda has become a signature
role for Ms. Larsson, with performances at
opera houses in Berlin, Vienna, Munich,
Salzburg, Aix-en-Provence, and Stockholm.
She has also performed such roles as
Waltraute in Wagner’s Götterdämmerung,
the title role in Gluck’s Orphée, Fricka
in Wagner’s Das Rheingold, and Dalila in
12
about the artists
The WESTMINSTER SYMPHONIC CHOIR,
composed of students at Westminster Choir
College of Rider University, has recorded
and performed with major orchestras under
virtually every internationally known conductor of the last 75 years. Recognized as one
of the world’s leading choral ensembles, the
Choir has sung more than 300 performances
with the New York Philharmonic alone. The
Choir’s most recent performances with the
Philharmonic have included Mendelssohn’s
Die erste Walpurgisnacht, conducted by Kurt
Masur, Handel’s Messiah, conducted by Ton
Koopman; and Ravel’s Daphnis et Chloé at
Carnegie Hall, conducted by Music Director
Lorin Maazel. Other performances in the
2008–09 season included Beethoven’s
Symphony No. 9 with Mariss Jansons and
the Bavarian Radio Symphony Orchestra,
and Mahler’s three choral symphonies
with the Berlin Staatskapelle conducted
by Pierre Boulez.
13
Highlights of previous seasons include
performances of Beethoven’s Symphony
No. 9 with the Lucerne Festival Orchestra,
conducted by David Robertson, and
Brahms’s A German Requiem with the
Dresden Philharmonic, conducted by Rafael
Frühbeck de Burgos. Forty members of the
Westminster Symphonic Choir are selected
every year for the Westminster Choir,
which has been the chorus in residence for
the Spoleto Festival USA since 1977. Its most
recent recording is Heaven to Earth with
conductor laureate Joseph Flummerfelt on
the AVIE label. Westminster Choir College is
a division of Rider University’s Westminster
College of the Arts. A professional college
of music with a unique choral emphasis,
Westminster prepares students at the undergraduate and graduate levels for careers in
teaching, sacred music, and performance.
WESTMINSTER SYMPHONIC CHOIR
SOPRANOS
ALTOS
Christine Bass
Amanda Berry
Jessica Brand
Kate Boose
Elizabeth Brown
Lucia Bradford
Layla Cassavaugh
Rachel Brager
Katie Comstock
Afton Burton
Paige Cutrona
Lauren Connors
Katie Dunn
Valerie Eckert
Eliza Edwards
Julia Fernandez
Heather Fetrow
Julie Hamula
Rebecca Fetrow
Erika Hennings
Shannon Gray
Daniels Holderby
Sarah Griffiths
Teresa Hui
Rachel Howell
Maia Judd
Michele Kalman
Jenna Lebherz
Tricia Kersh
Rebecca Martin
Soo Yeon Lee
Stephanie Naylis
Diana Blythe Lilly
Rebecca Olsson
Marisa Maupin
Jane Park
Jennifer Miller
Sarah Sensenig
Amanda Moody
Megan Sheridan
Margo Nothnagel
Eleonore Thomas
Clara Rottsolk
Phyllis Tritto
Jennifer Silberstein
Laurel Unwin
Mollie Stone
Lai Foon Wong
Sarah Sweet
Meghan Troxel
Carolyn Winkler
about the artists
JOSEPH FLUMMERFELT, named Conductor
featured on 45 recordings, including Grammy
Award–winning versions of Mahler’s
Symphony No. 3 with Leonard Bernstein,
Samuel Barber’s opera Antony and Cleopatra,
and John Adams’s On the Transmigration of
Souls. Mr. Flummerfelt has also received two
other Grammy nominations, and his recent
Delos recording of Brahms’s choral works,
Singing for Pleasure, with the Westminster
Choir, was chosen by The New York Times as a
favorite among Brahms recordings. In addition to his Grammy awards, Mr. Flummerfelt’s
many honors include Le Prix du Président
de la République from L’Académie du Disque
Français and four honorary doctoral degrees.
Mr. Flummerfelt oversees most of the choral
presentations of the New York Philharmonic.
These performances of Mahler’s Symphony
No. 3 marked Mr. Flummerfelt’s final performances with the New York Philharmonic as
artistic director and principal conductor of
Westminster Choir College of Rider University.
courtesy Joseph Flummerfelt
of the Year in 2004 by Musical America, is
the founder and musical director of the New
York Choral Artists, and an artistic director
of Spoleto Festival U.S.A. For 33 years he was
conductor of the Westminster Choir. Mr.
Flummerfelt has led more than 50 performances with the Spoleto Festival Orchestra in
both Italy and the U.S., and has appeared as
guest conductor with numerous U.S. orchestras. He made his conducting debut with the
New York Philharmonic in a performance
of Haydn’s The Creation, and, more recently,
he led the Orchestra and the Westminster
Choir in the world premiere of Stephen Paulus’s
Voices of Light. Over the course of nearly four
decades, Mr. Flummerfelt has collaborated
with such conductors as Abbado, Barenboim,
Bernstein, Boulez, Chailly, Sir Colin Davis,
Giulini, Maazel, Masur, Mehta, Muti, Ozawa,
Sawallisch, Shaw, and Steinberg, among many
others. Mr. Flummerfelt’s choirs have been
14
about the artists
THE AMERICAN BOYCHOIR is regarded as
the United States’ premier concert boys’
choir and one of the finest boychoirs in the
world. It continues to dazzle audiences with
its unique blend of musical sophistication,
effervescent spirit and ensemble virtuosity.
Its members ­— boys from grades 4 through 8,
reflecting the ethnic, religious, and cultural
diversity of our nation —
­ come from nine
states and four foreign countries to pursue a
rigorous musical and academic curriculum
at The American Boychoir School, the only
non-sectarian boys’ choir school in the
nation. Founded in Columbus, Ohio, in 1937,
The American Boychoir has been located in
Princeton, New Jersey, since 1950. In addition
to maintaining an active national and international touring schedule, the ensemble
15
performs and records regularly with such
world-class artists and ensembles as the
Boston Symphony Orchestra, Philadelphia
Orchestra, soprano Jessye Norman, pop
diva Beyoncé, jazz vocalist and conductor
Bobby McFerrin, and Sir Paul McCartney.
The American Boychoir has been extensively recorded and broadcast on radio
and television, with some 45 commercial
recordings to its name. During 2007, it
achieved Gold Record status for recordings
it made with the Trans-Siberian Orchestra
and Michael W. Smith. A CD entitled Harmony:
American Songs of Faith, the seventh to be
produced for its own label, Albemarle
Records, was released in October, 2007.
www.americanboychoir.org
THE AMERICAN BOYCHOIR
Roy Bhame
Eric Lee-Schalow
Arun Blatchley
David Maliakel
Frasher Bolton
Simon May
Devin Bostick
Trevor McLaughlin
Morgan Bothwell
Kazunari Nakamura
Daniel Chen
Schafer Newman
Lawson Daves
Christopher Prewitt
Aaron Davis
Ricardo Regalado
Peter Day
Luther Rinehart
Ryan Duncan
Paul Ryder
Kian Fan
Daniel Sabatini
Martin Flynt
Daniel Silva
Cedar Georgevich
Robert Skolsky
Juan Carlos Hernandez Grey Spencer
Andrew Hill
Aaron Trebing
Logan Hill
Tucker Wheatley
Patrick Keeler
Jonathan Yi
Benjamin Keiper
about the artists
VINCENT METALLO has distinguished
for Public Radio International; PBS Live
From Lincoln Center; A&E’s Breakfast with the
Arts; The Lost Christmas Eve with the TransSiberian Orchestra; Voice of America; United
States Government Program; Prayer Cycle II
by Jonathan Elias; Hymns of Heaven and Earth,
Dorian Records; and numerous others.
Mr. Metallo is a member of the choir
of St. Clements Church of Philadelphia, the
Crossing Vocal Ensemble of Philadelphia,
Fuma Sacra of Princeton, New Jersey, and has
performed with the Carmel Bach Festival,
the New York Collegium, Boston Early Music
Festival, Bloomington Early Muic Festival,
Connecticut Early Music Festival, Lincoln
Center Summer Music Fesival, Brandywine
Baroque, St. Ignatius Loyola Church of NYC,
and the Spoleto Festivals of South Carolina
and Italy.
A graduate of the Hartt School of Music in
Music Education and Vocal Performance and
Westminster Choir College in Conducting,
Mr. Metallo is certified in Kodály music
pedagogy through the Kodály Musical
Training Institute.
Innis Casey
himself in recent years as an eagerly sought
after conductor, singer, and music educator.
Currently director of the Princeton High
School Choral Department, Mr. Metallo has
held the positions of chair of the performing
arts at the Princeton Day School, artistic
director of the American Boychoir, and
assistant professor of Music at Westminster
Choir College, DePauw University, Wellesley
College, and Lehigh University.
Mr. Metallo has collaborated on numerous
performances with the New York Philharmonic,
Philadelphia Orchestra, Chicago Symphony
Orchestra, Boston Symphony Orchestra,
San Francisco Symphony, and New York
Collegium. Mr. Metallo has toured throughout the United States, U.S. Virgin Islands,
Japan, Latvia, Sweden, and Denmark for more
than 700 performances.
Recorded and televised events include
Heinrich Biber’s Missa Christi Resurgentis
with the New York Collegium under the
direction of Andrew Parrott; A Ceremony of
Carols at the Metropolitan Museum of Arts
16
about the orchestra
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 December 18, 2004, gave its 14,000th
concert — a milestone unmatched by any
other symphony orchestra in the world.
Lorin Maazel began his tenure as Music
Director in September 2002, the latest in a
distinguished line of 20th-century musical
giants that has included Kurt Masur (Music
Director from 1991 to the summer of 2002;
named Music Director Emeritus in 2002);
Zubin Mehta (1978–91); Pierre Boulez (1971–
77); and Leonard Bernstein, who was appointed Music Director in 1958 and given the
lifetime title of Laureate Conductor in 1969.
In September 2009 Alan Gilbert will become
the Orchestra’s next Music Director.
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 works such 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
17
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; and Esa-Pekka Salonen’s
Piano Concerto.
The roster of composers and conductors
who have led the Philharmonic includes
such historic figures as Theodore Thomas,
Antonín Dvořák, Gustav Mahler (Music
Director, 1909–11), Otto Klemperer, Richard
Strauss, Willem Mengelberg (Music Director,
1922–30), Wilhelm Furtwängler, Arturo
Toscanini (Music Director, 1928–36), Igor
Stravinsky, Aaron Copland, Bruno Walter
(Music Advisor, 1947–49), Dimitri Mitropoulos
(Music Director, 1949–58), Klaus Tennstedt,
George Szell (Music Advisor, 1969–70), and
Erich Leinsdorf.
Long a leader in American musical life,
the Philharmonic has over the last century
become renowned around the globe, appearing in 425 cities in 59 countries on five continents. In February 2008 the Orchestra, led by
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 received 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, 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 and Sirius XM Radio. 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. The Philharmonic became the
first major American orchestra to offer
downloadable concerts, recorded live, and
released by DG Concerts exclusively on iTunes.
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.
Performed, produced, and distributed by the New York Philharmonic
© 2009 New York Philharmonic
NYP 200903