FOR IMMEDIATE RELEASE

August 24, 2016

Contact: Katherine E. Johnson

(212) 875-5700; johnsonk@nyphil.org

NEW YORK PHILHARMONIC ANNOUNCES

2016–17 SEASON OF INSIGHTS AT THE ATRIUM

FREE EVENTS AT THE DAVID RUBENSTEIN ATRIUM

Eight Free Events Exploring Season Themes and Concerts:

“Origins of a New World Voice: NYC in 1893” on Dvořák in New York

Launching the Philharmonic’s 175th Anniversary Season and The New World Initiative

“An Evening with Concertmaster Frank Huang”

“Inside the Orchestra: Living History” with Philharmonic Musicians

“Beloved Friend — Tchaikovsky and His World” with Semyon Bychkov

“An Evening with Leonidas Kavakos”

“Toscanini 150: The Maestro Lives On”

“From Tragedy to Triumph: A Survivor from Warsaw and the ‘Ode to Joy’”

“A Toast to Alan Gilbert”

The New York Philharmonic has announced the 2016–17 season’s Insights at the Atrium series,

free events exploring themes of the Philharmonic’s concert season through multimedia lectures,

conversations, and panel discussions. Expanding to eight events this season, Insights at the

Atrium has gained in popularity since its inception in 2011, helping thousands of audience

members delve more deeply into the music, musicians, and ideas featured in the Philharmonic’s

season through a dynamic and accessible forum. All events are held at the David Rubenstein

Atrium at Lincoln Center and begin at 7:30 p.m.

The Philharmonic is exploring new and evolving ways of delivering pre-concert adult

educational content to the largest number of people possible. As part of this development,

digitally enhanced program notes will be emailed to ticketholders before each concert and

made available for free on the Philharmonic’s website. The expanded Insights at the Atrium and

digitally enhanced program notes will take the place of Pre-Concert Insights, which featured

scholars and composers discussing the program before each subscription concert. Further updates

to these offerings will be announced at a later date.

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The 2016–17 Insights at the Atrium events include:

“Origins of a New World Voice: NYC in 1893,” September 12, 2016

In a theatrical exploration of Dvořák’s time in New York and the American influences in

his New World Symphony, the New York Philharmonic’s Leonard Bernstein Scholar-in-

Residence Michael Beckerman will be joined by actors reenacting the reception of

African American musical sources at the dawn of the Progressive Era and how they

contributed to the development of an American musical voice. This event kicks off the

Philharmonic’s 175th anniversary activities and The New World Initiative, a season-long,

citywide project revolving around Dvořák’s Symphony No. 9, From the New World, and its

connection to the theme of “home” through performances, education projects, and

community outreach on the occasion of the Philharmonic’s anniversary season.

“An Evening with Concertmaster Frank Huang,” October 17, 2016

In advance of his performance of Bruch’s Violin Concerto No. 1, October 27–29 and

November 1, 2016, New York Philharmonic Concertmaster Frank Huang talks about his

path to the Orchestra and his first season in New York.

“Inside the Orchestra: Living History,” December 6, 2016

In this special 175th anniversary Insights at the Atrium event, join New York

Philharmonic musicians past and present for up-close and personal reflections spanning

decades. From milestone events to endearing and enduring traditions, learn more about

the culture of this historic institution from the inside out.

“Beloved Friend — Tchaikovsky and His World,” January 25, 2017

On the eve of the New York Philharmonic’s three-week festival dedicated to

Tchaikovsky and composers close to him, January 24–February 11, 2017, conductor

Semyon Bychkov discusses the inspiration behind the festival’s programming and music.

What can we learn from Tchaikovsky’s closest confidants?

“An Evening with Leonidas Kavakos,” February 28, 2017

The Mary and James G. Wallach Artist-in-Residence Leonidas Kavakos is joined by

composer Lera Auerbach to discuss the challenges and rewards of creating a new musical

work. Discover the backstory of Ms. Auerbach’s Violin Concerto No. 4 — a New York

Philharmonic commission — and step into the soloist’s mind days before he gives the

World Premiere, March 1–3, 2017.

“Toscanini 150: The Maestro Lives On,” March 22, 2017

Arturo Toscanini left an indelible mark on the New York Philharmonic, both musically

and politically. Drawing on materials from the New York Philharmonic Archives and

collections of Toscanini’s letters, writer, music historian, and former Leonard Bernstein

Scholar-in-Residence Harvey Sachs surveys the New York Philharmonic milestones that

defined Toscanini at the height of his career, in conjunction with the 150th anniversary of

the conductor’s birth, March 25, 1867.

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“From Tragedy to Triumph: A Survivor from Warsaw and the ‘Ode to Joy,’” April 24, 2017

On this Holocaust Remembrance Day, discover how two musical works divided by tonality

and 125 years of fateful history share many of the same aspirations. Musicologist Amy

Wlodarski and The Leonard Bernstein Scholar-in-Residence Michael Beckerman discuss

these powerful musical settings and how the music in Schoenberg’s A Survivor from

Warsaw and Beethoven’s Symphony No. 9, which Music Director Alan Gilbert conducts

May 3–6 and 9, 2017, reflects the invincible nature and freedom of the human spirit.

“A Toast to Alan Gilbert,” May 2017 (date to be announced)

In his final Insights at the Atrium engagement as Music Director and as he concludes his

New York Philharmonic tenure, Alan Gilbert looks back on his eight years leading the

Orchestra — the people, projects, and stories — and what lies in store for him.

For more information, visit nyphil.org/insights.

INSIGHTS AT THE ATRIUM PARTICIPANTS

“Origins of a New World Voice: NYC in 1893” (September 12, 2016) Michael Beckerman, The Leonard Bernstein Scholar-in-Residence at the New York

Philharmonic for the 2016–17 season, is Carroll and Milton Petrie Chair and Collegiate Professor

of Music at New York University. He has written articles on such subjects as film scoring, music

of the Roma (Gypsies), Mozart, Brahms, exiled composers, and music in the camps, as well as

many studies and several books on Czech topics, including Dvořák and His World (Princeton

University Press, 1993), Janáček as Theorist (Pendragon Press, 1994), New Worlds of Dvořák

(W.W. Norton, 2003), Janáček and His World (Princeton, 2004), and Martinů’s Mysterious

Accident (Pendragon, 2007). He has been a frequent contributor to The New York Times and was

a regular guest on Live From Lincoln Center and other radio and television programs in the

United States, Europe, and Japan. Dr. Beckerman lectures nationally and internationally and has

organized many concerts and symposia. He was awarded the Janáček Medal by the Czech

Ministry of Culture, is a recipient of the Dvořák Medal, and is also a Laureate of the Czech

Music Council; he has twice received the Deems Taylor Award. He was chair of the New York

University Department of Music (2004–13), served as distinguished professor at Lancaster

University (2011–15), and last year received an honorary doctorate from Palacký University in

the Czech Republic.

The Leonard Bernstein Scholar-in-Residence at the New York Philharmonic program honors and

recognizes the enduring contribution of Leonard Bernstein, the Orchestra’s Music Director from

1958 to 1969 and subsequent Laureate Conductor. The position was created in the 2005–06

season to coincide with the 15th anniversary of Bernstein’s death, on October 14, 1990. Charles

Zachary Bornstein served as the first Leonard Bernstein Scholar-in-Residence, from 2005–06

through 2007–08. New York Philharmonic Program Annotator James M. Keller, The Leni and

Peter May Chair, held the post in the 2008–09 season; baritone Thomas Hampson, in

combination with the role of The Mary and James G. Wallach Artist-in-Residence, in 2009–10;

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Jack Gottlieb, in 2010–11 until his untimely passing in February 2011; Harvey Sachs, through

the 2012–13 season; Carol J. Oja, through the 2014–15 season; and Matthew Mugmon in the

2015–16 season.

Kevin Del Aguila is a two-time Emmy-winning writer of the PBS show Peg + Cat, book writer

of the Off-Broadway musical Altar Boyz (New York Outer Critics Circle Award; Lucille Lortel

and Drama Desk nominations), and recipient of the Heideman Award for his play The Greekest

of Tragedies (Actors Theatre of Louisville). Other works include his stage adaptations of Diary

of a Wimpy Kid (CTC in Minneapolis), the DreamWorks film Madagascar (Radio City Music

Hall), and his middle-aged superhero musical The Astonishing Return of the Protagonists! (2013

National Alliance for Music Theatre Festival). He has been commissioned to write many stage

adaptations of children’s literature, including Click Clack Moo (Lucille Lortel and Drama Desk

Award nominations) and Skippyjon Jones (Lucille Lortel Award nomination). As a director, Mr.

Del Aguila has staged Lincoln Center Theater’s annual Celebration of Student Songs since 2008

and has helmed World Premieres of many new musicals at Barrington Stage Company. As a

performer, he appeared as Smee in Broadway’s Peter and the Starcatcher and as a singing troll

in the Disney blockbuster Frozen.

“An Evening with Concertmaster Frank Huang” (October 17, 2016)

Frank Huang joined the New York Philharmonic as Concertmaster, The Charles E. Culpeper Chair,

in September 2015. The First Prize Winner of the 2003 Walter W. Naumburg Foundation’s Violin

Competition and the 2000 Hannover International Violin Competition, he has established a major

career as a violin virtuoso. Since performing with the Houston Symphony in a nationally broadcast

concert at the age of 11 he has appeared with orchestras throughout the world including The Cleveland

Orchestra, Los Angeles Philharmonic, Saint Paul Chamber Orchestra, Indianapolis Symphony, NDR

Radio Philharmonic Orchestra of Hannover, Amadeus Chamber Orchestra, and the Genoa Orchestra.

He has also performed on NPR’s Performance Today, ABC’s Good Morning America, and CNN’s

American Morning with Paula Zahn. He has performed at Wigmore Hall (in London), Salle Cortot

(Paris), Kennedy Center (Washington, D.C.), and the Herbst Theatre (San Francisco), as well as a

second recital in Alice Tully Hall (New York), which featured the World Premiere of Donald

Martino’s Sonata for Solo Violin. Mr. Huang’s first commercial recording — featuring fantasies by

Schubert, Ernst, Schoenberg, and Waxman — was released on Naxos in 2003. He has had great

success in competitions since the age of 15 and received top prize awards in the Premio Paganini

International Violin Competition and the Indianapolis International Violin Competition. Other honors

include Gold Medal Awards in the Kingsville International Competition, Irving M. Klein International

Competition, and D’Angelo International Competition. In addition to his solo career, Mr. Huang is

deeply committed to chamber music. He has performed at the Marlboro Music Festival, Ravinia’s

Steans Institute, Seattle Chamber Music Festival, and Caramoor. He frequently participates in

Musicians from Marlboro’s tours, and was selected by The Chamber Music Society of Lincoln Center

to be a member of the prestigious CMS Two program. Before joining the Houston Symphony as

concertmaster in 2010, Frank Huang held the position of first violinist of the Grammy Award–winning

Ying Quartet and was a faculty member at the Eastman School of Music. He is an alumnus of the

Music Academy of the West, now a partner in the New York Philharmonic Global Academy, and now

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serves on the faculties of The Shepherd School of Music at Rice University and the University of

Houston. Mr. Huang made his New York Philharmonic solo debut leading and performing Vivaldi’s

The Four Seasons and Piazzolla’s Four Seasons of Buenos Aires, as well as leading Grieg’s The Last

Spring in June 2016.

“Beloved Friend — Tchaikovsky and His World” (January 25, 2017)

Semyon Bychkov won the Rachmaninoff Conducting Competition at age 20, but after being

denied the prize of conducting the Leningrad Philharmonic, he left the former Soviet Union two

years later. By the time he returned in 1989 to be principal guest conductor of the Leningrad

Philharmonic he had been recognized for his concerts with the Berlin Philharmonic and

Amsterdam’s Royal Concertgebouw Orchestra, and had enjoyed success as music director of the

Grand Rapids Symphony and the Buffalo Philharmonic Orchestra. He has since served as music

director of the Orchestre de Paris (1989–98) and as chief conductor of Cologne’s WDR

Symphony Orchestra (1997–2010) and Dresden Semperoper (1998). In addition to regular

appearances at the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Orchestra della

Accademia Nazionale di Santa Cecilia, Orchestra Sinfonica Nazionale della RAI, New York and

Los Angeles Philharmonic orchestras, and the BBC, London, Chicago, and San Francisco

symphony orchestras, Mr. Bychkov’s symphonic engagements include annual tours with the

Munich and Vienna Philharmonic orchestras and Royal Concertgebouw Orchestra. Mr. Bychkov

is recognized for his interpretations of operas by Richard Strauss, Wagner, and Verdi. While

principal guest conductor of Maggio Musicale Fiorentino, his productions of Janáček’s Jenůfa,

Schubert’s Fierrabras, Puccini’s La bohème, Shostakovich’s Lady Macbeth of Mtsensk, and

Musorgsky’s Boris Godunov were awarded the Premio Abbiati. Other conducting appearances

have included Tchaikovsky’s Eugene Onegin at the Royal Opera, Covent Garden; Musorgsky’s

Khovanshchina at the Vienna Staatsoper; and Wagner’s Parsifal at Madrid’s Teatro Real. Mr.

Bychkov’s recordings on the Philips label include discs with the Berlin and London

Philharmonic orchestras, Bavarian Radio Symphony Orchestra, Royal Concertgebouw

Orchestra, London’s Philharmonia Orchestra, and Orchestre de Paris. A series of benchmark

recordings with Cologne’s WDR Symphony Orchestra includes a cycle of Brahms’s complete

symphonies; works by Richard Strauss, Mahler, Shostakovich, Rachmaninoff, Verdi, Detlev

Glanert, and York Höller; and a recording of Wagner’s Lohengrin. Semyon Bychkov holds the

Klemperer Chair of Conducting at the Royal Academy of Music, and the Günter Wand

Conducting Chair with the BBC Symphony Orchestra, with which he appears annually at the

BBC Proms. He was named Conductor of the Year at the 2015 International Opera Awards. He

made his New York Philharmonic debut in March 1984 leading works by Beethoven, Liszt, and

Rachmaninoff; he most recently conducted the Orchestra in February 2016 in Mahler’s

Symphony No. 6. He is the featured conductor of Beloved Friend — Tchaikovsky and His World:

A Philharmonic Festival, January 24–February 11, 2017.

Edward Yim is Vice President, Artistic Planning, of the New York Philharmonic. In this

capacity, he works closely with Music Director Alan Gilbert and Philharmonic President

Matthew VanBesien on programming, artistic planning, and engaging guest artists. Prior to

joining the New York Philharmonic, Mr. Yim was director of artistic planning for the Los

Angeles Philharmonic. Leading a team that worked across a wide range of musical genres —

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including classical, jazz, world music, and popular entertainment — he created artistic

programming for more than 200 concerts per season for the Los Angeles Philharmonic, both at

Walt Disney Concert Hall (where he was involved in planning the inaugural seasons) and at the

Hollywood Bowl. He later served as director of artistic planning for New York City Opera and

senior vice president and director of the conductors and instrumentalists division of IMG Artists

North America. He is a graduate of the League of American Orchestra’s Management

Fellowship Program. Born and raised in Los Angeles, Edward Yim holds an A.B. degree in

government from Harvard College and an M.B.A. from Case Western Reserve University. He

serves on the board of New Music USA.

“An Evening with Leonidas Kavakos” (February 28, 2017)

The New York Philharmonic has named violinist and conductor Leonidas Kavakos The Mary

and James G. Wallach Artist-in-Residence for the 2016–17 season. His residency features three

solo appearances in repertoire ranging from the Baroque to the contemporary, his Philharmonic

conducting debut, a recital with pianist Yuja Wang (presented in association with Lincoln

Center’s Great Performers), and a Young People’s Concert. Also in the season he appears with

The Philadelphia Orchestra; plays and conducts the Houston Symphony; embarks on a recital

tour with Ms. Wang in both Europe and the U.S.; and undertakes a European tour with the

Budapest Festival Orchestra and a tour to Switzerland with the Mariinsky Orchestra. Mr.

Kavakos had already won three major competitions by age 21: the Sibelius, the Paganini, and

Naumburg. This success led to his making the first recording in history of the original Sibelius

Violin Concerto (1903–04), which won the 1991 Gramophone Concerto of the Year Award. He

has since appeared regularly as soloist with the Vienna, Berlin, New York, and Los Angeles

philharmonic orchestras; London, Boston, and Chicago symphony orchestras; and Amsterdam’s

Royal Concertgebouw and Philadelphia Orchestras. As a conductor Mr. Kavakos has worked

with the Atlanta, Boston, London, and Vienna symphony orchestras; Deutsches Symphonie-

Orchester Berlin; Maggio Musicale Fiorentino; Chamber Orchestra of Europe; Orchestre

Philharmonique de Radio France; and Budapest Festival Orchestra. This season he makes

conducting debuts with the Gürzenich-Orchester Köln and Finnish Radio Symphony Orchestra.

An exclusive Decca Classics recording artist, Mr. Kavakos’s first release on the label, of the

complete Beethoven Violin Sonatas with Enrico Pace (2013), earned him an ECHO Klassik

Instrumentalist of the Year award. Later recordings include Brahms’s Violin Concerto with the

Leipzig Gewandhaus Orchestra and Riccardo Chailly; Brahms’s violin sonatas with Yuja Wang;

and, his most recent recording, Virtuoso (released in April 2016). His earlier discography

includes recordings for BIS, ECM, and Sony Classical. Mr. Kavakos was named Gramophone

Artist of the Year 2014. Leonidas Kavakos plays the “Abergavenny” Stradivarius violin of 1724.

He made his New York Philharmonic debut playing Bruch’s Scottish Fantasy as part of a July

2002 Concerts in the Parks performance, led by Bramwell Tovey; he most recently joined the

Orchestra for J.S. Bach and Sibelius, conducted by Alan Gilbert, in March 2016.

Lera Auerbach has published more than 120 works for orchestra, opera, ballet, and chamber

ensemble. Her orchestral pieces have been brought to life by conductors including Boreyko,

Dutoit, Eschenbach, Jurowski, and Vänskä, and she collaborates with distinguished soloists

including violinists Hilary Hahn, Vadim Repin, Gidon Kremer, and Julian Rachlin. Recent

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productions have been staged by the Lincoln Center Festival, Hamburg State Theatre, Moscow’s

Stanislavsky Theatre, and the national ballets of China, Canada, Finland, and Denmark. Vienna’s

historic Theatre an der Wein has produced both of Auerbach’s operas, GOGOL and The Blind.

Ms. Auerbach has been composer-in-residence of the Dresden Staatskapelle, São Paulo

Symphony Orchestra, Rheingau Musik Festival, Japan’s Pacific Music Festival, Switzerland’s

Verbier Festival, Norway’s Trondheim Festival, Canada’s Banff Centre, and Marlboro Music

Festival. Her work has been broadcast on ARTE, PBS’s Great Performances, and BBC Radio 3.

She has been featured in Harper’s Bazaar, The New York Times, The Washington Post,

Financial Times, and Opernwelt. Highlights have included the premiere of The Infant Minstrel

and His Peculiar Menagerie for violin, choir, and orchestra at the BBC Proms; Violin Concerto

No. 3 at the Trans-Siberian Art Festival; Requiem: Ode To Peace by the Dresden Staatskapelle;

Symphony No. 2 by the São Paulo Symphony; and Tatiana, Little Mermaid Ballet, and Preludes

CV, all choreographed by John Neumeier. Her Violin Concerto No. 4 will be premiered by

Leonidas Kavakos and the New York Philharmonic, conducted by Alan Gilbert, in March 2017.

Auerbach’s work incorporates literature and visual arts, simultaneously expressing ideas

visually, in words, and through music. She contributes regularly to The Best American Poetry

series, has published three books of poetry and prose in Russian, and her first book in English, a

collection of aphorisms titled Excess of Being (Arch Street Press). Lera Auerbach has received

prizes including International Pushkin Society Poet of the Year, two Golden Masks, an Echo

Klassik Award, and the Hindemith Prize. Since 2007 she has been a Young Global Leader of the

World Economic Forum in Davos, Switzerland, where she often speaks about borderless

creativity. Her music is available on ECM, Deutsche Grammophon, Nonesuch, BIS,

Cedille, AristLed, Bridge, Centaur, and other labels.

See Edward Yim’s biography above.

“Toscanini 150: The Maestro Lives On” (March 22, 2017)

Harvey Sachs served as the New York Philharmonic’s Leonard Bernstein Scholar-in-Residence

in the 2011–12 and 2012–13 seasons. His books — of which there are almost 70 editions in 17

languages — include the standard biographies of Arturo Toscanini and Arthur Rubinstein,

Virtuoso, Music in Fascist Italy, Reflections on Toscanini, and The Ninth: Beethoven and the

Year 1824. He co-authored Plácido Domingo’s My First Forty Years and Georg Solti’s Memoirs.

He also edited and translated The Letters of Arturo Toscanini. Mr. Sachs has written for The New

Yorker, The New York Times, The Wall Street Journal, Times Literary Supplement of London,

and many other publications, as well as for Arte, BBC, CBC, PBS, RAI, RTSI (Switzerland), and

other radio and television networks. He lectures at universities and cultural institutions

worldwide; has held fellowships from the Guggenheim Foundation, the New York Public

Library’s Cullman Center for Scholars and Writers, and the National Endowment for the

Humanities; and holds an honorary doctorate from the Cleveland Institute of Music. Born in the

United States, Harvey Sachs lived in Canada for eight years and in Europe for more than thirty

years. He is a former artistic director of the Società del Quartetto di Milano. He resides in New

York, is on the faculty of the Curtis Institute of Music, and writes frequently for Il Sole-24 Ore in

Italy. His newly completed biography of Toscanini is scheduled for publication in 2017.

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“From Tragedy to Triumph: A Survivor from Warsaw and the ‘Ode to Joy’” (April 24, 2017)

Amy Lynn Wlodarski is associate professor of music at Dickinson College, where she teaches

music history and conducts the college choir, and where she has received both of the college’s

institutional teaching awards and a pedagogical award from the Oral History Association. Dr.

Wlodarski’s scholarly work explores the expressive and political dynamics that lie at the

intersection of Jewish history, memory, and creativity; it specifically considers how 20th-century

composers have responded to the Holocaust in their music, and how these works have been

received over time in various performance spaces. Amy Lynn Wlodarski is the author of Musical

Witness and Holocaust Representation (Cambridge, 2015) — the first book to attempt a thematic

chronology of postwar Holocaust representation in music — and with Elaine Kelly is the co-

editor of Art Outside the Lines: New Perspectives on GDR Art Culture (Rodopi/Brill, 2011), a

volume dedicated to reconsidering the legacy of East German art. A leading scholar in postwar

Jewish art music, Dr. Wlodarski has written on topics as diverse as Arnold Schoenberg, Richard

Wagner’s anti-Semitism, and the Jewish musicians of Terezín. Her work has been commissioned

for several valuable scholarly collections, including the Cambridge Companion to Jewish Music

(Cambridge, 2015) and Dislocated Memories: Jews, Music, and Postwar German Culture

(Oxford, 2014). She has published in the leading journals in her field, and her 2010 article on

Steve Reich, “The Testimonial Aesthetics of Different Trains,” received the Irving Lowens

Award for best musicological article from the Society for American Music. Her research has

been supported by prestigious institutions, such as the Fulbright Foundation, National

Endowment for the Humanities, Posen Foundation, and Presser Foundation. She was selected as

a Harry T. Starr Fellow in Judaica at Harvard University in 2012–13, and is currently a fellow-

in-residence at the Paul Sacher Stiftung in Basel, Switzerland. Dr. Wlodarski earned her

doctorate in musicology from the Eastman School of Music. In addition to teaching and

conducting at Dickinson College, she regularly conducts pre-concert forums for ensembles such

as The Philadelphia Orchestra and Los Angeles Opera.

See Michael Beckerman’s biography above.

“A Toast to Alan Gilbert” (May 2017, date to be announced)

As Music Director of the New York Philharmonic since 2009, Alan Gilbert has introduced the

positions of The Marie-Josée Kravis Composer-in-Residence, The Mary and James G. Wallach

Artist-in-Residence, and Artist-in-Association; CONTACT!, the new-music series; the NY PHIL

BIENNIAL, an exploration of today’s music; and the New York Philharmonic Global Academy,

partnerships with cultural institutions to offer training of pre-professional musicians, often

alongside performance residencies. The Financial Times called him “the imaginative maestro-

impresario in residence.” Alan Gilbert concludes his final season as Music Director with four

programs that reflect themes, works, and musicians that hold particular meaning for him,

including Beethoven’s Ninth Symphony alongside Schoenberg’s A Survivor from Warsaw,

Wagner’s complete Das Rheingold in concert, and an exploration of how music can effect

positive change in the world. Other highlights include three World Premieres, Mahler’s Fourth

Symphony, Ligeti’s Mysteries of the Macabre, and Manhattan, performed live to film. He also

leads the Orchestra on the EUROPE / SPRING 2017 tour and in performance residencies in

Shanghai and Santa Barbara. Past highlights include acclaimed stagings of Ligeti’s Le Grand

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Macabre, Janáček’s The Cunning Little Vixen, Stephen Sondheim’s Sweeney Todd starring Bryn

Terfel and Emma Thompson (2015 Emmy nomination), and Honegger’s Joan of Arc at the Stake

starring Marion Cotillard; 28 World Premieres; a tribute to Boulez and Stucky during the 2016

NY PHIL BIENNIAL; The Nielsen Project; the Verdi Requiem and Bach’s B-minor Mass; the

score from 2001: A Space Odyssey, performed live to film; Mahler’s Resurrection Symphony on

the tenth anniversary of 9/11; performing violin in Messiaen’s Quartet for the End of Time; and

ten tours around the world. Conductor laureate of the Royal Stockholm Philharmonic Orchestra

and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, Alan Gilbert

regularly conducts leading orchestras around the world. This season he returns to the foremost

European orchestras, including the Leipzig Gewandhaus, Munich Philharmonic, Amsterdam’s

Royal Concertgebouw, and Orchestra dell’Accademia Nazionale di Santa Cecilia. He will record

Beethoven’s complete piano concertos with the Academy of St Martin in the Fields and Inon

Barnatan, and conduct Gershwin’s Porgy and Bess at Milan’s Teatro alla Scala, his first time

leading a staged opera there. He made his acclaimed Metropolitan Opera debut conducting John

Adams’s Doctor Atomic in 2008, the DVD of which received a Grammy Award, and he

conducted Messiaen’s Des Canyons aux étoiles on a recent album recorded live at the Santa Fe

Chamber Music Festival. Mr. Gilbert is Director of Conducting and Orchestral Studies at The

Juilliard School, where he holds the William Schuman Chair in Musical Studies. His honors

include Honorary Doctor of Music degrees from The Curtis Institute of Music (2010) and

Westminster Choir College (2016), Columbia University’s Ditson Conductor’s Award (2011),

election to The American Academy of Arts & Sciences (2014), a Foreign Policy Association

Medal for his commitment to cultural diplomacy (2015), Officier de l’Ordre des Arts et des

Lettres (2015), and New York University’s Lewis Rudin Award for Exemplary Service to New

York City (2016).

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Insights at the Atrium is presented in partnership with Lincoln Center for the Performing Arts, Inc.

* * *

Semyon Bychkov’s appearance is made possible by the Daisy and Paul Soros Endowment

Fund and the Charles A. Dana Distinguished Conductors Endowment Fund.

* * *

Leonidas Kavakos is The Mary and James G. Wallach Artist-in-Residence.

* * *

Citi. Preferred Card of the New York Philharmonic.

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Emirates is the Official Airline of the New York Philharmonic.

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* * *

Programs are supported, in part, by public funds from New York City Department of Cultural

Affairs in partnership with the City Council, the National Endowment for the Arts, and the

New York State Council on the Arts, with the support of Governor Andrew Cuomo and the

New York State Legislature.

Tickets

Insights at the Atrium events are free and open to the public. Seating is available on a first-come,

first-served basis. Subscribers, Friends at the Fellow level and above, and Patrons may secure

guaranteed admission by emailing AdultEd@nyphil.org. Space is limited.

For press tickets, call Lanore Carr in the New York Philharmonic Communications Department

at (212) 875-5714, or email her at carrl@nyphil.org.

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INSIGHTS AT THE ATRIUM

2016–17 SEASON

All Events Are Free and Take Place at the David Rubenstein Atrium at Lincoln Center

(Broadway between 62nd and 63rd Streets)

Events To Include:

“ORIGINS OF A NEW WORLD VOICE: NYC IN 1893”

Monday, September 12, 2016, 7:30 p.m.

New York Philharmonic Leonard Bernstein Scholar-in-Residence Michael Beckerman, speaker

Actors tba

Kevin Del Aguila, director

In a theatrical exploration of Dvořák’s time in New York and the American influences in his

New World Symphony, the New York Philharmonic’s Leonard Bernstein Scholar-in-Residence

Michael Beckerman will be joined by actors reenacting the reception of African American

musical sources at the dawn of the Progressive Era and how they contributed to the development

of an American musical voice. This event kicks off the Philharmonic’s 175th anniversary

activities and The New World Initiative, a season-long, citywide project revolving around

Dvořák’s Symphony No. 9, From the New World, and its connection to the theme of “home”

through performances, education projects, and community outreach on the occasion of the

Philharmonic’s anniversary season.

“AN EVENING WITH CONCERTMASTER FRANK HUANG”

Monday, October 17, 2016, 7:30 p.m.

New York Philharmonic Concertmaster Frank Huang, speaker

In advance of his performance of Bruch’s Violin Concerto No. 1, October 27–29 and November

1, 2016, New York Philharmonic Concertmaster Frank Huang talks about his path to the

Orchestra and his first season in New York.

“INSIDE THE ORCHESTRA: LIVING HISTORY”

Tuesday, December 6, 2016, 7:30 p.m.

Musicians from the New York Philharmonic

In this special 175th anniversary Insights at the Atrium event, join New York Philharmonic

musicians past and present for up-close and personal reflections spanning decades. From

milestone events to endearing and enduring traditions, learn more about the culture of this

historic institution from the inside out.

(more)

Insights at the Atrium / 12

“BELOVED FRIEND — TCHAIKOVSKY AND HIS WORLD”

Wednesday, January 25, 2017, 7:30 p.m.

Semyon Bychkov, speaker

New York Philharmonic Vice President, Artistic Planning, Edward Yim, moderator

On the eve of the New York Philharmonic’s three-week festival dedicated to Tchaikovsky and

composers close to him, January 24–February 11, 2017, conductor Semyon Bychkov discusses

the inspiration behind the festival’s programming and music. What can we learn from

Tchaikovsky’s closest confidants?

“AN EVENING WITH LEONIDAS KAVAKOS”

Tuesday, February 28, 2017, 7:30 p.m.

The Mary and James G. Wallach Artist-in-Residence Leonidas Kavakos, speaker

Lera Auerbach, speaker

New York Philharmonic Vice President, Artistic Planning, Edward Yim, moderator

The Mary and James G. Wallach Artist-in-Residence Leonidas Kavakos is joined by composer Lera

Auerbach to discuss the challenges and rewards of creating a new musical work. Discover the

backstory of Ms. Auerbach’s Violin Concerto No. 4 — a New York Philharmonic commission —

and step into the soloist’s mind days before he gives the World Premiere, March 1–3, 2017.

“TOSCANINI 150: THE MAESTRO LIVES ON”

Wednesday, March 22, 2017, 7:30 p.m.

Harvey Sachs, speaker

Arturo Toscanini left an indelible mark on the New York Philharmonic, both musically and

politically. Drawing on materials from the New York Philharmonic Archives and collections of

Toscanini’s letters, writer, music historian, and former Leonard Bernstein Scholar-in-Residence

Harvey Sachs surveys the New York Philharmonic milestones that defined Toscanini at the

height of his career, in conjunction with the 150th anniversary of the conductor’s birth, March

25, 1867.

(more)

Insights at the Atrium / 13

“FROM TRAGEDY TO TRIUMPH: A SURVIVOR FROM WARSAW AND THE ‘ODE TO JOY’”

Monday, April 24, 2017, 7:30 p.m.

Amy Wlodarski, speaker

New York Philharmonic Leonard Bernstein Scholar-in-Residence Michael Beckerman, moderator

On this Holocaust Remembrance Day, discover how two musical works divided by tonality and

125 years of fateful history share many of the same aspirations. Musicologist Amy Wlodarski

and The Leonard Bernstein Scholar-in-Residence Michael Beckerman discuss these powerful

musical settings and how the music in Schoenberg’s A Survivor from Warsaw and Beethoven’s

Symphony No. 9, which Music Director Alan Gilbert conducts May 3–6 and 9, 2017, reflects the

invincible nature and freedom of the human spirit.

“A TOAST TO ALAN GILBERT”

May 2017 (date to be announced)

New York Philharmonic Music Director Alan Gilbert, speaker

In his final Insights at the Atrium engagement as Music Director and as he concludes his New

York Philharmonic tenure, Alan Gilbert looks back on his eight years leading the Orchestra —

the people, projects, and stories — and what lies in store for him.

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