BERNSTEIN’S PHILHARMONIC: A CENTENNIAL FESTIVAL Conducted by ALAN GILBERT and LEONARD SLATKIN October 25–November 14, 2017 New York Philharmonic Explores BERNSTEIN’S SYMPHONIES Soloists To Include JOSHUA BELL, CARTER BREY, ANTHONY McGILL, KELLEY O’CONNOR, MAKOTO OZONE, CYNTHIA PHELPS, and TAMARA WILSON JEREMY IRONS To Be Speaker in Bernstein’s Kaddish Symphony YOUNG PEOPLE’S CONCERT: Inspirations and Tributes: “Celebrating Leonard Bernstein”

OTHER CENTENNIAL ACTIVITES TO INCLUDE:

Free INSIGHTS AT THE ATRIUM: “Inside the Orchestra: Working with Bernstein” 

With New York Philharmonic Musicians

BERNSTEIN’S MAHLER MARATHON: 13 Hours of Bernstein’s Mahler Recordings

Archival EXHIBIT: Leonard Bernstein: The Philharmonic’s First American Voice

Harvard and University of Michigan Students To Study Impact of Bernstein’s 

Young People’s Concerts and His Role as Educator and Conductor in Conjunction with the Philharmonic

Collaborations with NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS

Philharmonic RECORDINGS Featured on Sony Classical’s Leonard Bernstein Remastered

New Year’s Eve: Bernstein on Broadway with Bramwell Tovey To Be Broadcast on Live From Lincoln Center

Symphonic Dances from West Side Story Conducted by Assistant Conductor Joshua Gersen

The New York Philharmonic will present Bernstein’s Philharmonic: A Centennial Festival, October 25–November 14, 2017,celebrating the former Philharmonic Music Director and Laureate Conductor on the centennial of his birth. The festival — which is part of the worldwide salute to the legacy of the renowned composer, conductor, pianist, and educator — will center on Bernstein’s symphonic cycle, conducted by Alan Gilbert and Leonard Slatkin, complemented by other Bernstein works as well as by music by composers he admired and championed. In addition, the Philharmonic will present a Young People’s Concert — the series that Bernstein famously brought to national attention through the television broadcasts — titled Inspirations and Tributes: “Celebrating Leonard Bernstein,” conducted by Leonard Slatkin and featuring pianist Makoto Ozone on November 11. A number of other events — ranging from a marathon of Bernstein’s Mahler recordings to a partnership with Harvard and University of Michigan to explore Bernstein as an educator and conductor — complement the concerts throughout the centennial season. Bernstein served as the Philharmonic’s Music Director from 1958 to 1969, when he was named Laureate Conductor, a title he held until his death in 1990.

“It is impossible to overstate the important role that Leonard Bernstein played in American cultural life and at the New York Philharmonic,” former Philharmonic Music Director Alan Gilbert said. “He was and remains a larger-than-life cultural personality, and his love for music and for people was boundless. Something of his spirit still remains in this Orchestra. I think that the New York Philharmonic has a natural sense of his music — they capture the outsized nature of Lenny’s personality, and bring an energy, power, and feeling that few other orchestras can match.”

Leonard Slatkin, a Bernstein protégé, writes in his book Conducting Business: Unveiling the Mystery Behind the Maestro, about seeing Bernstein conduct the Philharmonic while he was a student: “Watching the master was always a joy to me. … clarity of beat and, more importantly, a genuine musical meaning conveyed by every gesture.” He recounts his first time meeting Bernstein, at Tanglewood in 1986: “He looked me in the eyes and exclaimed, ‘My God, finally,’ and proceeded to give me a gigantic hug. … The first thing he asked me was why I did so much of his music. My reply was that I loved it.” Leonard Slatkin conducted the Philharmonic’s Bernstein memorial concert following his death in October 1990.

BERNSTEIN’s Serenade (after Plato’s Symposium) with JOSHUA BELL

BERNSTEIN’s Symphony No. 1, Jeremiah, with KELLEY O’CONNOR

U.S. PREMIERE of Joey ROUKENS’s Boundless (Homage to L.B.)

October 25–28 and 31

In his first New York Philharmonic appearance after concluding his tenure as Music Director, Alan Gilbert will open Bernstein’s Philharmonic on October 25–28 and 31, 2017, with the U.S. Premiere of Joey Roukens’s Boundless (Homage to L.B.); Bernstein’sSerenade (after Plato’s Symposium), with violinist Joshua Bell; and Bernstein’s Symphony No. 1, Jeremiah, with mezzo-soprano Kelley O’Connor.

Bernstein wrote that the subject of his Jeremiah Symphony, dedicated to his father, is “not one of literalness, but of emotional quality.” He led the Orchestra in the New York Premiere of his Symphony No. 1, Jeremiah, in March 1944, with mezzo-soprano Jennie Tourel as soloist, a few months after his Philharmonic debut, when he stepped in as Assistant Conductor to replace an ailing Bruno Walter. Bernstein conducted the Philharmonic’s first performance of his Serenade (after Plato’s Symposium) in July 1965, with Zino Francescatti as soloist.

Dutch composer Joey Roukens’s Boundless (Homage to L.B.) was commissioned by the Royal Concertgebouw Orchestra to honor Bernstein’s centennial; Alan Gilbert led the World Premiere of the work in Amsterdam in February 2017.

BERNSTEIN’s Prelude, Fugue, and Riffs with Principal Clarinet ANTHONY McGILL

GERSHWIN’s Rhapsody in Blue & BERNSTEIN’s Symphony No. 2, The Age of Anxiety, with MAKOTO OZONE

November 2–4

On November 2–4, 2017, Alan Gilbert leads Bernstein’s Prelude, Fugue, and Riffs, with Principal Clarinet Anthony McGill as soloist, as well as Gershwin’s Rhapsody in Blue and Bernstein’s Symphony No. 2, The Age of Anxiety, both featuring jazz pianist Makoto Ozone in his Philharmonic subscription debut.

Bernstein greatly admired Gershwin as both a composer and performer, and his incorporation of blues and jazz in his music. The riffs in Bernstein’s Prelude, Fugue, and Riffs are what give the classical work its feeling of improvisation. Bernstein said that he hoped audiences would “feel in [this piece] some of the special beauty of jazz that I felt when I was writing the piece,” and that he considers the work “a serious piece of American music.”

The Philharmonic first performed Gershwin’s Rhapsody in Blue in July 1927, with Gershwin as soloist, at Lewisohn Stadium. Gershwin performed it with the Orchestra seven more times; Bernstein later championed the work, performing it with the Orchestra 37 times, in each case leading it from the piano. Makoto Ozone made his Philharmonic debut performing Gershwin’s Rhapsody in Blue on the ASIA / WINTER 2014 tour; his performances were so celebrated that the Philharmonic created a one-night-only concert for Mr. Ozone in New York after the tour, featuring works by Gershwin and Bernstein. The New York Timescalled Mr. Ozone’s performance “thrilling, virtuosic and unabashedly personal.”

Bernstein’s Symphony No. 2, The Age of Anxiety, was inspired by W.H. Auden’s 80-page, 1947 poem, The Age of Anxiety.Bernstein wrote that the poem “began immediately to affect me lyrically,” and that the idea for the symphony emerged “from the extremely personal identification of myself with the poem.” Bernstein led the Philharmonic in the New York Premiere of the work in February 1950, with pianist Lukas Foss as soloist.

BERNSTEIN’s Symphony No. 3, Kaddish, with JEREMY IRONS as Speaker, 

Soprano TAMARA WILSON, Concert Chorale of New York, and Brooklyn Youth Chorus

R. STRAUSS’s Don Quixote with Principal Cello CARTER BREY and Principal Viola CYNTHIA PHELPS

November 9, 11, and 14

On November 9, 11, and 14, 2017, Leonard Slatkin conducts Bernstein’s Symphony No. 3, Kaddish — with Jeremy Irons as speaker, soprano Tamara Wilson in her Philharmonic debut, Concert Chorale of New York directed by James Bagwell, and Brooklyn Youth Chorus directed by Dianne Berkun Menaker — and Richard Strauss’s Don Quixote, featuring Principal Viola Cynthia Phelps and Principal Cello Carter Brey. These performances of the Kaddish Symphony will feature Jeremy Irons reciting the 1977 revised version of Bernstein’s text, in which he made it possible for the speaker to be either a woman or a man.

Bernstein dedicated his Symphony No. 3, Kaddish, to the memory of President John F. Kennedy, who had been assassinated less than three weeks before the Israel Philharmonic Orchestra premiered the work in December 1963. In the Jewish liturgy, Kaddish is used as a prayer for mourners, although it never explicitly mentions death. The structure and content of the KaddishSymphony reflect Bernstein’s complex relationship with religion and his nuanced reflections on faith and mortality. He led the New York Philharmonic in the New York Premiere of the work in April 1964.

Leonard Bernstein made his Philharmonic debut at age 25, then the Orchestra’s Assistant Conductor, leading Richard Strauss’s Don Quixote — famously filling in with a few hours’ notice and without rehearsal for an ailing Bruno Walter. The New York Times ran a front-page story the next day, calling his performance “a good American success story.”

YOUNG PEOPLE’S CONCERT

Inspirations and Tributes: “Celebrating Leonard Bernstein”

November 11

On November 11, 2017, Leonard Slatkin leads the Young People’s Concert Inspirations and Tributes: “Celebrating Leonard Bernstein,” an all-Bernstein program featuring his Candide Overture; selections from On the Town; Masque from Symphony No. 2, The Age of Anxiety, with Makoto Ozone as soloist; Profanation from Symphony No. 1, Jeremiah; and selections from West Side Story. Vice President, Education, Theodore Wiprud will host the event; Leonard Bernstein’s daughter, Jamie, will appear as a speaker, reminiscing about growing up with Bernstein as her father; vocalists will be announced at a later date. Bernstein made the Philharmonic’s Young People’s Concerts, which had been introduced in 1924, an international sensation through televised broadcasts, which he conducted and hosted, that ran from 1958 to 1972 and were syndicated in 40 countries. Bernstein is credited with inspiring generations of young musicians through his Young People’s Concerts, which he described as “among my favorite, most highly prized activities of my life.” Throughout his career, Bernstein coupled his musical mastery with eloquence as a pedagogue, with the Young People’s Concerts being complemented by other projects including the Omnibus television series in the 1950s and his Norton Lectures at Harvard University in the 1970s.

OTHER CENTENNIAL ACTIVITIES AT THE NEW YORK PHILHARMONIC

The New York Philharmonic will present Leonard Bernstein: The Philharmonic’s First American Voice, an archival exhibit focusing on Bernstein as interpreter and as the first American Music Director of the New York Philharmonic. The exhibit will feature original material from the New York Philharmonic Archives, including Bernstein’s plans for his inaugural season as Music Director, 1958–59. It will be on display in the Bruno Walter Gallery on David Geffen Hall’s Grand Promenade September 19–November 14, 2017, and is open to Philharmonic ticketholders.

On Friday, October 27, 2017, Sony Classical will release Leonard Bernstein Remastered, a 100-CD box set of Bernstein’s Columbia recordings. Among the Philharmonic performances on the set are Mahler’s complete symphonies, recorded between 1960 and 1967, which is considered to have helped launch the “Mahler Renaissance”; the 1962 recording of Nielsen’s Fifth Symphony, which contributed to a wider appreciation of Nielsen’s works; the 1961 recording of Sibelius’s Fifth Symphony; and the 1961 recording of Beethoven’s Fifth Symphony.

On Saturday, November 11, 2017, at the David Rubenstein Atrium, in addition to the Young People’s Concert that day, the Philharmonic will present the free Insights at the Atrium event “Inside the Orchestra: Working with Bernstein,” featuring Philharmonic musicians past and present reflecting on Bernstein as conductor and colleague, moderated by Philharmonic Archivist / Historian Barbara Haws.

The Philharmonic is working with Harvard University (with Professor Carol J. Oja, former Leonard Bernstein Scholar-in-Residence at the New York Philharmonic) and the University of Michigan (with Professor Mark Clague), both of which are offering courses exploring Bernstein’s role as an educator and conductor in fall 2017, with assistance from New York University’s Steinhardt School of Culture, Education, and Human Development faculty. The students will visit New York November 10–12, 2017, as part of a collaborative research project led by the Philharmonic Archives. They will record interviews with Philharmonic audience members who attended Bernstein’s Young People’s Concerts as children and believe that those concerts inspired their lifelong love of music. The recordings will be preserved in the Philharmonic Archives and Harvard’s Loeb Music Library. The students and interviewees will together attend the Young People’s Concert taking place on November 11; the students will also attend that day’s Insights at the Atrium event, the evening’s Philharmonic concert featuring Bernstein’s Kaddish Symphony, and a reception hosted by Bernstein’s children.

The Philharmonic will present two of its Bernstein concerts during its second residency at the University Musical Society of the University of Michigan (UMS), November 17–19, 2017, both led by Leonard Slatkin. The first concert reprises the Young People’s Concert Inspirations and Tributes: “Celebrating Leonard Bernstein.” The second concert reprises Bernstein’s Symphony No. 3, Kaddish, and Richard Strauss’s Don Quixote.

New Year’s Eve: Bernstein on Broadway, will feature Members of the New York Philharmonic led by Bramwell Tovey, Sunday, December 31, 2017. The concert will feature selections from On the Town, Wonderful Town, West Side Story, and Candide;soloists will be announced at a later date. Bernstein wrote the scores for the Broadway musicals West Side Story, On the Town, and Wonderful Town, as well as for the operetta Candide, which was premiered and has been revived on Broadway — all of which were nominated for or won Tony Awards. New Year’s Eve: Bernstein on Broadway will be broadcast on Live From Lincoln Center. Later in the season Assistant Conductor Joshua Gersen will lead Bernstein’s Symphonic Dances from West Side Story,which the Philharmonic premiered in 1961, on February 22–24, 2018.

As part of its free Insights at the Atrium series, the Philharmonic will present “Bernstein’s Mahler Marathon: The Sony Recordings,” 13 hours of his performances of his Philharmonic predecessor’s complete symphonies on Sunday, February 25, 2017, 10:00 a.m.–11:00 p.m., at the David Rubenstein Atrium. The marathon will feature Bernstein’s recordings originally released by Columbia Records as the first-ever complete set of Mahler symphonies, which quickly gained landmark status. All of the recordings feature the New York Philharmonic except the recording of the Eighth Symphony with the London Symphony Orchestra. Throughout the listening, Bernstein’s marked scores from the New York Philharmonic Leon Levy Digital Archives will be projected in real-time. Between each symphony, special guests will read excerpts from Bernstein’s own writings on Mahler, and video clips of Bernstein talking about Mahler will be projected.

The New York Philharmonic is collaborating with the New York Public Library for the Performing Arts in exhibits and events celebrating Leonard Bernstein. The Library will host the GRAMMY Museum’s traveling exhibit Leonard Bernstein at 100, which features more than 30 items on loan from the New York Philharmonic Archives highlighting Bernstein’s relationship with the Philharmonic, including the score to Schumann’s Manfred Overture that he used at his Philharmonic conducting debut in 1943; the script from his first Young People’s Concert in 1958; a podium he used at the Lewisohn Stadium summer concerts in the 1940s; sharpened pencil stubs for score-marking, which he referred to as “soldiers”; as well as additional scores, photographs, programs, and more. The exhibit will include an interactive display allowing visitors to lead the New York Philharmonic, and video clips of Bernstein’s Young People’s Concerts and Philharmonic performances. The exhibit will be on view December 9, 2017–March 24, 2018. The New York Public Library for the Performing Arts will also present “Bernstein / Mahler ‘Titan’ Training”on Wednesday, February 21, 2018, an event preparing audience members for the Philharmonic’s free Insights at the Atrium event “Bernstein’s Mahler Marathon: The Sony Recordings” on February 25. The library’s “training” event will guide audience members through excerpts from Bernstein’s recordings of Mahler symphonies, suggesting what to listen for. In addition, the library will display select Mahler scores marked by Bernstein from the New York Philharmonic Archives alongside the library’s Mahler manuscripts. The library will also present “Play-Along: Mahler 5 Adagietto” on Wednesday, February 14, 2018, inviting any string player or harpist to participate in a one-night-only reading session of the Adagietto from Mahler’s Fifth Symphony; the library will also display Bernstein’s marked score of Mahler’s Fifth Symphony from the New York Philharmonic Archives alongside the library’s Mahler materials.

Related Events

National and International Radio Broadcast

The performance of Bernstein’s Symphony No. 3, Kaddish, and Richard Strauss’s Don Quixote from the Orchestra’s residency at the University Musical Society of the University of Michigan will be broadcast at a later date on The New York Philharmonic This Week.

The New York Philharmonic This Week is a radio concert series syndicated weekly to more than 400 outlets nationally and in dozens of countries by the European Broadcasting Union and Chicago’s WFMT Radio Network, including to the Shanghai East Radio Co.; streamed to approximately 25,000 listeners via the Philharmonic’s website, nyphil.org; available on SoundCloud; and distributed worldwide to millions of households abroad. The program is heard locally in the New York metropolitan area on 105.9 FM WQXR on Thursdays at 9:00 p.m. (Check local listings for times outside New York City.) The 52-week series, hosted by actor Alec Baldwin, is generously underwritten by The Kaplen Brothers Fund, the Audrey Love Charitable Foundation, the National Endowment for the Arts, and the Philharmonic’s corporate partner, MetLife Foundation.

Artists

Alan Gilbert (October 25–28 and 31, and November 2–4), former Music Director of the New York Philharmonic, launches a new appointment as chief conductor designate of Hamburg’s NDR Elbphilharmonie Orchestra this fall, shortly after the opening of its already iconic new home. The Grammy Award–winning conductor previously served as principal guest conductor of the orchestra (then known as NDR Symphony Orchestra Hamburg) for more than a decade, and will assume the role of chief conductor in September 2019. This position follows his transformative eight-year tenure as Music Director of the New York Philharmonic, which saw the Orchestra reassert its presence as a leader on the cultural landscape. Alan Gilbert is also conductor laureate of the Royal Stockholm Philharmonic and the founder and president of Musicians for Unity. With the endorsement and guidance of the United Nations, this new organization will bring together musicians from around the world to perform in support of peace, development, and human rights. Alan Gilbert makes regular guest appearances with orchestras including the Berlin Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, The Cleveland Orchestra, Boston Symphony Orchestra, The Philadelphia Orchestra, Dresden Staatskapelle, and Orchestre Philharmonique de Radio France. He has led operatic productions for Milan’s Teatro alla Scala, The Metropolitan Opera, Los Angeles Opera, Zurich Opera, Royal Swedish Opera, and Santa Fe Opera, where he was the inaugural music director. His discography includes The Nielsen Project, a box set recorded with the New York Philharmonic, and John Adams’s Doctor Atomic, captured on DVD at The Metropolitan Opera, for which he won a Grammy Award. He received Emmy Award nominations for Outstanding Music Direction in PBS’s Live From Lincoln Center broadcasts of two star-studded New York Philharmonic productions: Sweeney Todd and Sinatra: Voice for a Century. Alan Gilbert has received honorary doctor of music degrees from the Curtis Institute of Music and Westminster Choir College, as well as Columbia University’s Ditson Conductor’s Award. He is a member of The American Academy of Arts & Sciences, and was named an Officier de l’Ordre des Arts et des Lettres by the French government. At The Juilliard School, he is the first holder of the William Schuman Chair in Musical Studies and serves as Director of Conducting and Orchestral Studies. After giving the annual Royal Philharmonic Society Lecture on Orchestras in the 21st Century: A New Paradigm during the New York Philharmonic’s EUROPE / SPRING 2015 tour, he received a 2015 Foreign Policy Association Medal for his commitment to cultural diplomacy.

In 2017–18, conductor Leonard Slatkin (November 9–11 and 14) celebrates his tenth and final season as music director of the Detroit Symphony Orchestra (DSO), and his first in the new role of honorary music director of the Orchestre national de Lyon (ONL). He also welcomes the publication of his second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, and serves as jury chairman of the Besançon International Competition for Young Conductors. His guest conducting schedule includes engagements with the St. Louis Symphony, National Symphony Orchestra, Polish National Radio Orchestra, Deutsches Symphonie-Orchester Berlin, and Finnish Radio Symphony Orchestra, in addition to the New York Philharmonic. Recent highlights include a three-week tour of Asia with the DSO; tours of the U.S. and Europe with the ONL; a winter Mozart Festival in Detroit; and engagements with the St. Louis Symphony, WDR Symphony Orchestra Cologne, Orchestra Sinfonica di Milano Giuseppe Verdi, and Naples’s Orchestra of the Teatro di San Carlo. He also served as chairman of the jury and conductor of the 2017 Van Cliburn International Piano Competition. Mr. Slatkin’s more than 100 recordings have garnered 7 Grammy Awards and 64 nominations. His recent Naxos releases include works by Saint-Saëns, Ravel, and Berlioz (with the ONL) and music by Copland, Rachmaninoff, Alla Borzova, Cindy McTee, and John Williams (with the DSO). In addition, Mr. Slatkin has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonic cycles with the DSO (available as digital downloads). A recipient of the prestigious National Medal of Arts, Mr. Slatkin holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. Leonard Slatkin has conducted virtually all the leading orchestras in the world. He has served as music director in New Orleans; St. Louis; Washington, D.C.; London (with the BBC Symphony Orchestra); and Lyon, France. He has also served as principal guest conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. Leonard Slatkin made his New York Philharmonic debut in January 1974 leading works by Berlioz, Beethoven, and Prokofiev. He most recently led music by Copland and Ravel, as well as the New York Premiere of Christopher Rouse’s Flute Concerto, with Principal Flute Robert Langevin as soloist, in October 2014.

With a career spanning more than 30 years as a soloist, chamber musician, recording artist, and conductor, Joshua Bell(October 25–28 and 31) is one of the most celebrated violinists of our time. An exclusive Sony Classical artist, Mr. Bell has recorded more than 40 albums, garnering Grammy, Mercury, Gramophone, and Echo Klassik awards, and is a recipient of the Avery Fisher Prize. Named music director of the Academy of St Martin in the Fields in 2011, he is the only person to hold this post since Neville Marriner, who formed the orchestra in 1958. In summer 2017 Mr. Bell led the Academy of St Martin in the Fields at the Edinburgh Festival and Bravo! Vail, and performed with the Royal Philharmonic Orchestra and at Lincoln Center’s Mostly Mozart Festival, Tanglewood, and the Hollywood Bowl. In the fall he participates in the New York Philharmonic’s Bernstein’s Philharmonic: A Centennial Festival. Alessio Bax joins him in recitals in nine North American cities, after which he performs with the Vienna Symphony, Monte-Carlo Philharmonic Orchestra, and with Academy of St Martin in the Fields at London’s Wigmore Hall. In spring 2018 Mr. Bell will return to the Academy in tours of the United Kingdom, the United States, and Asia. He performs ten recitals in Europe and America with pianist Sam Haywood, and on February 7, 2018, he will reunite with pianist Jeremy Denk, a regular collaborator, for a recital broadcast live from Carnegie Hall. Other season highlights include appearances with The Philadelphia Orchestra, Danish National Symphony Orchestra, and an all-Beethoven play / direct program with the Orchestre national de Lyon. On August 18, 2017, Sony Classical released Joshua Bell — The Classical Collection, a 14-CD set of albums of classical repertoire that displays his breadth, versatility, and breathtaking virtuosity. A dedicated arts advocate, Mr. Bell is involved with Education Through Music and Turnaround Arts. He performs on the 1713 Huberman Stradivarius violin. Joshua Bell made his New York Philharmonic debut in April 1990 performing Prokofiev’s Violin Concerto No. 1, conducted by Charles Dutoit; he most recently appeared with the Orchestra in February 2017 as part of the Orchestra’s celebration of then Music Director Alan Gilbert’s 50th birthday.

Grammy Award–winning mezzo-soprano Kelley O’Connor (October 25–28 and 31) has emerged as one of the most compelling performers of her generation. During the 2017–18 season, her symphonic calendar includes performances of Bernstein’s Symphony No. 1, Jeremiah, with Alan Gilbert and the New York Philharmonic and with Jahja Ling and the San Diego Symphony; Beethoven’s Missa solemnis with David Robertson and the St. Louis Symphony; Mahler’s Eighth Symphony with Andrés Orozco-Estrada leading the Tonkunstler Orchestra; and Mahler’s Des Knaben Wunderhorn with Krzysztof Urbański and the Indianapolis Symphony Orchestra. She returns to the Kennedy Center for John Adams’s The Gospel According to the Other Mary, marking her first collaboration with Gianandrea Noseda, and sings Beethoven’s Ninth Symphony with Jun Märkl and the Milwaukee Symphony Orchestra. Ms. O’Connor gives the World Premiere of a song cycle by Bryce Dessner at Carnegie Hall with Robert Spano leading the Orchestra of St. Luke’s; later in the season she joins Robert Spano and the Atlanta Symphony for the World Premiere of a new work written for her by Michael Kurth. Her recent highlights include Wagner’s Wesendonck Liederwith Matthias Pintscher conducting the Indianapolis Symphony Orchestra, Mahler’s Das Lied von der Erde with Louis Langrée and the Detroit Symphony Orchestra and with Donald Runnicles and the Atlanta Symphony Orchestra, Ravel’s Shéhérazadewith Esa-Pekka Salonen and the Philharmonia Orchestra, Berio’s Folk Songs with Daniel Harding and the London Symphony Orchestra, and Lieberson’s Neruda Songs with Christoph Eschenbach and the National Symphony Orchestra, Bernard Haitink and the Chicago Symphony Orchestra, Robert Spano and the Minnesota Orchestra, and David Zinman leading the Berlin Philharmonic. Kelley O’Connor made her New York Philharmonic debut in October 2006 in Ravel’s L’Enfant et les sortilèges,conducted by then Music Director Lorin Maazel. She most recently appeared in Wagner’s Das Rheingold, led by then Music Director Alan Gilbert in June 2017.

Anthony McGill (November 2–4) joined the New York Philharmonic as Principal Clarinet, The Edna and W. Van Alan Clark Chair, in September 2014. Previously principal clarinet of The Metropolitan Opera Orchestra beginning in 2004, he is recognized as one of the classical music world’s finest solo, chamber, and orchestral musicians. He has appeared as soloist at Carnegie Hall with many orchestras including the MET Orchestra, American Symphony Orchestra, and New York String Orchestra. He has also recently performed with the Baltimore, New Jersey, San Diego, and Memphis symphony orchestras and Orchestra 2001. As a chamber musician Mr. McGill has appeared throughout the United States, Europe, and Asia with quartets including the Guarneri, Tokyo, Brentano, Pacifica, Shanghai, Miró, and Daedalus. He has also appeared with Musicians from Marlboro and at The Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, and University of Chicago Presents. His festival appearances have included Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, and Santa Fe Chamber Music. He has collaborated with pianists Emanuel Ax, Yefim Bronfman, Mitsuko Uchida, and Lang Lang, as well as violinists Gil Shaham and Midori. On January 20, 2009, he performed with Itzhak Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration of President Barack Obama. He has appeared on Performance Today, MPR’s Saint Paul Sunday, and Mister Rogers’ Neighborhood. In 2013 with his brother Demarre, he appeared on NBC Nightly News, the Steve Harvey Show, and on MSNBC with Melissa Harris-Perry. In demand as a teacher, Anthony McGill serves on the faculties of The Juilliard School, Peabody Institute of The Johns Hopkins University, Bard College Conservatory of Music, and Manhattan School of Music, and has given master classes throughout the United States, Europe, and South Africa. Anthony McGill made his Philharmonic solo debut performing Nielsen’s Clarinet Concerto in the final performances of The Nielsen Project, available on the Dacapo label; most recently he performed in Kinan Azmeh’s Ibn Arabi Postlude as part of Alan Gilbert Season Finale: A Concert for Unity in June 2017.

Pianist Makoto Ozone (November 2–4) taught himself to play the organ while very young, made his first television appearance at age six, began performing regularly on Osaka Mainichi Broadcasting, and, after attending an Oscar Peterson concert at 12, turned his attention toward jazz piano. He moved to the United States in 1980 to study at Boston’s Berklee College of Music; in 1983 he graduated at the top of his class and gave a solo recital at Carnegie Hall. He became the first Japanese musician to sign an exclusive contract with CBS. Mr. Ozone has recently explored classical repertoire with conductors including Charles Dutoit, Thomas Zehetmair, Joseph Swensen, Alexandre Rabinovitch, Arie van Beek, Francois-Xavier Roth, Tadaaki Otaka, Eiji Oue, and Michiyoshi Inoue. He has played works by Gershwin, Bernstein, Mozart, Beethoven, Rachmaninoff, and Shostakovich with the NDR and NHK symphony orchestras, Orchestre de chambre de Paris, Orchestre d’Auvergne, Sinfonia Varsovia, and others. He made his New York Philharmonic debut on the ASIA / WINTER 2014 tour, performing Gershwin’s Rhapsody in Blue, led by Alan Gilbert, and was immediately engaged to reprise the work with them in New York two months later. The same year he gave the World Premiere of his own jazz arrangement of Mozart’s Piano Concerto No. 9, Jeunehomme, with Scottish National Jazz Orchestra, and appeared with NDR Radio Philharmonic and São Paulo Symphony Orchestra. He also toured Japan with his big band, No Name Horses, and celebrated its tenth anniversary with a new recording. Mr. Ozone has collaborated with numerous other jazz artists including Gary Burton, Paquito D’Rivera, Arturo Sandoval, Branford Marsalis, Jeff “Tain” Watts, Christian McBride, Dave Weckl, and Mike Stern. He is a regular guest of classical music festivals including the Festival de la Roque d’Anthéron in France and La Folle Journée in Nantes and Japan. In 2016 he joined Chick Corea for the Piano Duo Plays “Acoustic” tour throughout Japan, including two performances of Mozart’s Concerto for Two Pianos with the NHK Symphony Orchestra led by Tadaaki Otaka. Makoto Ozone most recently appeared with the Philharmonic as part of its New Year’s Eve concert on December 31, 2015, led by then Music Director Alan Gilbert.

Cynthia Phelps (November 9–11 and 14) is the New York Philharmonic’s Principal Viola, The Mr. and Mrs. Frederick P. Rose Chair. Her solo appearances with the Orchestra have included the New York Premiere–Philharmonic Co-Commission of Julia Adolphe’s Unearth, Release, conducted by Jaap van Zweden in 2016; Mozart’s Sinfonia concertante in 2010 and 2014; and Sofia Gubaidulina’s Two Paths, a concerto for two violas that the Orchestra commissioned for her and Philharmonic Associate Principal Viola Rebecca Young, in 1999 and 2011. Other solo engagements have included the Minnesota Orchestra, San Diego Symphony, Orquesta Sinfónica de Bilbao, and Hong Kong Philharmonic. Ms. Phelps is a member of the New York Philharmonic String Quartet and performs with The Chamber Music Society of Lincoln Center, Jupiter Chamber Players, and the Santa Fe, La Jolla, Seattle, Chamber Music Northwest, and Bridgehampton festivals. She has appeared with the Guarneri, Tokyo, Orion, American, Brentano, and Prague quartets, and the Kalichstein-Laredo-Robinson Trio. She is a founding member of Les Amies, a chamber group formed with Philharmonic Principal Harp Nancy Allen and flutist Carol Wincenc. Winner of the Pro Musicis International Award, Ms. Phelps’s recording Air, for flute, harp, and viola, was nominated for a Grammy Award. She has performed as soloist on Live From Lincoln Center, American Public Media’s Saint Paul Sunday Morning, and Radio France. Cynthia Phelps made her New York Philharmonic solo debut in Mozart’s Sinfonia concertante alongside then Concertmaster Glenn Dicterow in March 1993, led by then Music Director Kurt Masur; most recently she performed the New York Premiere of Julia Adolphe’s Unearth, Release (Concerto for Viola and Orchestra), led by Jaap van Zweden in November 2016, as well as in Kinan Azmeh’s Ibn Arabi Postlude and The Latina 6/8 Suite as part of Alan Gilbert Season Finale: A Concert for Unity in June 2017.

Carter Brey (November 9–11 and 14) was appointed New York Philharmonic Principal Cello, The Fan Fox and Leslie R. Samuels Chair, in 1996. He has since appeared as soloist almost every season; he was also featured in The Bach Variations: A Philharmonic Festival, performing all six Bach cello suites. His honors include the Rostropovich International Cello Competition, Gregor Piatigorsky Memorial Prize, Avery Fisher Career Grant, and Young Concert Artists’ Michaels Award; he was the first musician to win the Arts Council of America’s Performing Arts Prize. Mr. Brey has appeared as soloist with virtually all of the major American orchestras, performing under conductors Claudio Abbado, Semyon Bychkov, Sergiu Comissiona, and Christoph von Dohnányi. He is a member of the New York Philharmonic String Quartet, has collaborated regularly with the Tokyo and Emerson String Quartets, and has appeared at the Spoleto, Santa Fe, and La Jolla chamber music festivals. His most recent recording features Chopin’s complete works for cello and piano with pianist Garrick Ohlsson. Mr. Brey studied at the Peabody Institute and Yale University, where he was a Wardwell Fellow and Houpt Scholar. His cello is a rare J.B. Guadagnini made in Milan in 1754. Carter Brey made his Philharmonic solo debut in May 1997 performing Tchaikovsky’s Rococo Variations, led by then Music Director Kurt Masur; most recently he performed Schumann’s Cello Concerto, led by then Music Director Alan Gilbert in April–May 2016 in New York and on the CALIFORNIA 2016 tour, as well as in Kinan Azmeh’s Ibn Arabi Postlude as part of Alan Gilbert Season Finale: A Concert for Unity in June 2017.

American soprano Tamara Wilson (November 9–11 and 14) is quickly gaining international recognition for her interpretations of Verdi, Mozart, Richard Strauss, and Wagner. The 2016 recipient of the prestigious Richard Tucker Award, Ms. Wilson begins the 2017–18 season as Verdi’s Aida in Francesca Zambello’s production at Washington National Opera. She returns to Houston Grand Opera for her role debut as Chrysothemis in Richard Strauss’s Elektra, and makes her Paris debut as Sieglinde in Wagner’s Die Walküre with the Mariinsky Orchestra conducted by Valery Gergiev. She returns for Mahler’s Symphony No. 8 with the BBC National Orchestra of Wales at the BBC Proms, and makes her Italian debut with Riccardo Chailly at Milan’s Teatro alla Scala in the Verdi Requiem. Ms. Wilson made her Metropolitan Opera debut in Aida and her London debut in Calixto Bieto’s new production of Verdi’s La forza del destino at English National Opera, for which she received an Olivier Award nomination. She inaugurated Kyoto’s new opera house as Rosalinde in R. Strauss’s Die Fledermaus, led by Seiji Ozawa, and was heard at Oper Frankfurt as the Empress in R. Strauss’s Die Frau ohne Schatten, conducted by Sebastian Weigle. She recently made her Bavarian Staatsoper and Zurich Opera House debuts as Elisabetta di Valois in Verdi’s Don Carlo conducted by Fabio Luisi, and made her Deutsche Oper Berlin debut as Amelia in Verdi’s Un ballo in maschera. She performed in two different presentations of Act III of Die Walküre: as Brünnhilde with Mark Wigglesworth and the BBC National Orchestra of Wales at Royal Albert Hall, and as Sieglinde in her debut at Amsterdam’s Royal Concertgebouw Orchestra conducted by Valery Gergiev. These performances mark Tamara Wilson’s New York Philharmonic debut.

Jeremy Irons (November 9–11 and 14) won the Academy Award for Best Actor for his performance as Claus von Bülow in 1990’s Reversal of Fortune. He is also a Golden Globe, Emmy, Tony, and Screen Actors Guild award winner. His film highlights include The French Lieutenant’s Woman (1981), The Mission (1986), Dead Ringers (1988), Damage (1992), M. Butterfly (1993), and Lolita (1997). He is the voice of the evil lion Scar in Disney’s The Lion King (1994) and starred opposite Bruce Willis in Die Hard with a Vengeance (1995). More recent work includes the award-winning independent feature Margin Call (2011) with Kevin Spacey; Giuseppe Tornatore’s The Correspondence (2016); Jeremy Thomas’s adaptation of J.G. Ballard’s High-Rise, directed by Ben Wheatley; Stephen Hopkins’s Race (2016), based on the true story of Jesse Owens and the 1936 Olympics; Zack Snyder’sBatman v Superman: Dawn of Justice (2016); and Matthew Brown’s The Man Who Knew Infinity (2015). Additionally, he was the featured actor and executive producer of TRASHED, Candida Brady’s award-winning documentary on the environment. Mr. Irons will next be seen in Justice League, reprising his role as Alfred Pennyworth, and in Red Sparrow, co-starring Jennifer Lawrence. He was awarded both a Golden Globe and an Emmy for Best Supporting Actor for his role in the television miniseries Elizabeth I, alongside Helen Mirren (2005). He went on to play Pope Alexander in the Showtime historical series The Borgias (2011) and Henry IV in the BBC Two series The Hollow Crown opposite Tom Hiddleston. Mr. Irons received a Tony for his performance in Tom Stoppard’s play The Real Thing (1983), and appeared on the London stage in the National Theatre’s Never So Good (2008) and the Royal Shakespeare Company’s The Gods Weep (2010). In 2016 he portrayed James Tyron in Eugene O’Neill’s Long Day’s Journey Into Night as part of the Bristol Old Vic’s 250th anniversary; this production will transfer to London’s West End in January 2018. Jeremy Irons made his New York Philharmonic debut in March 2005, narrating the New York Premiere of Lorin Maazel’s The Empty Pot, conducted by the composer; he most recently appeared during May 2010’s The Russian Stravinsky: A Philharmonic Festival, narrating Stravinsky’s Oedipus Rex, led by Valery Gergiev.

The Concert Chorale of New York (November 9–11 and 14) is a group of professional singers that has appeared at the Caramoor Festival in concert versions of Handel’s L’Allegro and Theodora, Britten’s A Midsummer Night’s Dream, and Rossini’s La Cenerentola. Other credits include the Brooklyn Academy of Music productions of Philip Glass’s Civil Wars, John Adams’s Nixon in China and The Death of Klinghoffer, and Purcell’s Dido and Aeneas and Handel’s L’Allegro with the Mark Morris Dance Company. The chorale performed in Gilbert & Sullivan productions at the Performing Arts Center at Purchase; a Haydn, Bach, and Beethoven series; and Live From Lincoln Center’s Emmy-nominated A Salute to the American Musical. The chorale has also appeared with American Symphony Orchestra, Chicago Symphony Orchestra, Opera Orchestra of New York, and Judy Collins. It participated in the New York Premiere of Paul McCartney’s Ecce Cor Meum, and a concert version of Rodgers & Hammerstein’s Carousel with Leonard Slatkin at Carnegie Hall. The ensemble makes regular appearances at the Mostly Mozart Festival, having performed Beethoven’s Choral Fantasy and Ninth Symphony (the latter with Gianandrea Noseda as well as previously with Iván Fischer and the Budapest Festival Orchestra), Mozart’s Requiem and Mass in C minor, and Haydn’s Creation with Louis Langrée. As part of the Lincoln Center Festival it appeared in Julie Taymor’s production of Eliot Goldenthal’s Grendl, Richard Strauss’s Daphne, and Danny Elfman’s Music from the Movies of Tim Burton, also televised on Live From Lincoln Center. Upcoming performances include Beethoven’s Ninth Symphony and Bernstein’s Chichester Psalms with Gustavo Dudamel and the Los Angeles Philharmonic. The ensemble’s discography includes Lederer & Davis’s Kismet and Wasserman’s Man of La Mancha with Paul Gemignani (CBS Records), Stephen Sondheim’s The Frogs (Nonesuch), and recordings with the American Symphony Orchestra and Opera Orchestra of New York. The men of the chorale were featured on a Pet Shop Boys recording (EMI). The Concert Chorale of New York made its New York Philharmonic debut in July 1995 as part of Richard Strauss’s The Gypsy Baron, conducted by then Music Director Kurt Masur; it most recently appeared with the Philharmonic in December 2016 in Handel’s Messiah, led by then Music Director Alan Gilbert. James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. In 2015 he was named associate conductor of The Orchestra Now while continuing his role as principal guest conductor of the American Symphony Orchestra. From 2009 to 2015 he was music director of The Collegiate Chorale; highlights of his tenure with the ensemble include conducting rarely performed operas-in-concert, including Bellini’s Beatrice di Tenda, Rossini’s Moise et Pharaon, and Boito’s Mefistofele. He also conducted the New York Premieres of Philip Glass’s Toltec Symphony and Osvaldo Golijov’s Oceana, both at Carnegie Hall. He has trained choruses for the Boston Symphony, Mostly Mozart, Israel Philharmonic, San Francisco Symphony, Los Angeles Philharmonic, NHK Symphony, St. Petersburg Symphony, Budapest Festival, American Symphony, and Cincinnati Symphony orchestras. He has prepared choruses with conductors including Charles Dutoit, Andris Nelsons, Gianandrea Noseda, Valery Gergiev, Zubin Mehta, Riccardo Muti, Lorin Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langrée, and Robert Shaw. He is professor of music and director of performance studies at Bard College and Bard College Conservatory of Music.

The Grammy Award–winning Brooklyn Youth Chorus, named WQXR’s 2016–17 artist-in-residence, is a collective of young singers and vocal ensembles reimagining choral music performance through artistic innovation, collaboration, and a versatile range and repertoire. The Chorus’s multilevel training program draws students from across the five boroughs and combines intensive voice and musicianship study with exceptional performance experiences. The Chorus has appeared with orchestras including the New York and Los Angeles Philharmonic orchestras, London and Atlanta Symphony Orchestras, and Mariinsky Orchestra, and with conductors including Marin Alsop, Gustavo Dudamel, Alan Gilbert, James Levine, and Esa-Pekka Salonen. The Chorus has performed with major recording artists including Barbra Streisand, Arcade Fire, Elton John, Grizzly Bear, and John Legend. The Chorus, which received a 2005 Grammy Award for the New York Philharmonic’s recording of John Adams’s On the Transmigration of Souls, recently released its first solo recording, Black Mountain Songs, through New Amsterdam Records. Brooklyn Youth Chorus has garnered a strong reputation as an arts producer. Current productions include Silent Voices, which premiered at the BAM Opera House in May 2017; Aging Magician, which received its Off-Broadway premiere in March 2017; and Black Mountain Songs, which tours to Asheville, North Carolina, in September 2017. Founded in 1992 by artistic director Dianne Berkun Menaker, Brooklyn Youth Chorus serves more than 600 students in its core after-school and public school outreach programs. Classes take place at its Cobble Hill headquarters and neighborhood locations in Bedford-Stuyvesant, Red Hook, and Sunset Park, Brooklyn. The Chorus made its New York Philharmonic debut in September 2002 in the World Premiere of John Adams’s On the Transmigration of Souls, conducted by then Music Director Lorin Maazel. It most recently appeared with the Philharmonic in June 2015 in Honegger’s Joan of Arc at the Stake, conducted by then Music Director Alan Gilbert, and participated in programs presented as part of the 2016 NY PHIL BIENNIAL. Dianne Berkun Menaker is the founder and artistic director of Brooklyn Youth Chorus, which, under her leadership, has become one of the most highly regarded ensembles in the country and has stretched the artistic boundaries for the youth chorus. Ms. Berkun Menaker has prepared choruses for performances with acclaimed conductors including Marin Alsop, Gustavo Dudamel, Alan Gilbert, James Levine, Esa-Pekka Salonen, and Robert Spano. She prepared the chorus for its 2002 New York Philharmonic debut in John Adams’s On the Transmigration of Souls, the recording of which won a 2005 Grammy Award. Dianne Berkun Menaker is the creator of the chorus’s Cross-Choral Training program, a holistic and experiential approach to developing singers in a group setting encompassing both voice and musicianship pedagogy.

Theodore Wiprud (November 11) — New York Philharmonic Vice President, Education, The Sue B. Mercy Chair — has directed the Orchestra’s Education Department since 2004. The Philharmonic’s education programs include the famed Young People’s Concerts (which Mr. Wiprud hosts), Philharmonic Schools (an immersive classroom program that reaches thousands of New York City students), Very Young Composers (which enables students to express themselves through original works, often performed by Philharmonic musicians), adult education programs, and many special projects. Mr. Wiprud has also created innovative programs as director of education and community engagement at the Brooklyn Philharmonic and the American Composers Orchestra; served as associate director of The Commission Project; and assisted the Orchestra of St. Luke’s on its education programs. He has worked as a teaching artist and resident composer in a number of New York City schools. From 1990 to 1997 he directed national grant-making programs at Meet the Composer. Prior to that position, he taught at and directed the music department for Walnut Hill School, a pre-professional arts boarding school near Boston. Mr. Wiprud is also an active composer, whose Violin Concerto (Katrina) was released on Champs Hill Records. His music for orchestra, chamber ensembles, and voice is published by Allemar Music. Theodore Wiprud holds degrees from Harvard and Boston Universities and studied at Cambridge University as a visiting scholar.

Writer, narrator, broadcaster, and filmmaker Jamie Bernstein (November 11) has devised multiple ways of communicating her own excitement about orchestral music, inspired by her father, Leonard Bernstein. Beginning 15 years ago with The Bernstein Beat, a family concert about her father’s music modeled after his New York Philharmonic Young People’s Concerts, she has designed, written, and narrated concerts for worldwide audiences of all ages. She creates and narrates two educational Discovery Concerts a year with the New World Symphony, designed to attract audiences less familiar with concert-going. She also travels the world narrating concerts in English and Spanish, and has presented talks around the world, from Japan to Harvard University. Ms. Bernstein has produced and hosted shows for radio stations in the United States and Great Britain. She has appeared on the New York Philharmonic’s live national radio broadcasts and hosted live broadcasts from Tanglewood. She is the co-director of the documentary Crescendo: the Power of Music, which focuses on children in struggling urban communities who participate in youth orchestra programs for social transformation inspired by Venezuela’s El Sistema movement. The film has won numerous prizes on the festival circuit, and is now available on Netflix. She has also directed Trouble in Tahiti, Bernstein’s chamber opera, around the country, including at the Moab Music Festival and Festival del Sole. Ms. Bernstein is currently at work on a memoir, to be published by HarperCollins in the spring of 2018, when the global celebrations of her father’s centennial will be underway. Her articles and poetry have appeared in Symphony, DoubleTake, Gourmet, Opera News, and Musical America. She also edits Prelude, Fugue & Riffs, a newsletter about issues and events pertaining to Bernstein’s legacy. Jamie Bernstein has previously appeared with the New York Philharmonic in two Young People’s Concerts: in October 2008, conducted by Delta David Gier, and in November 2011, led by Case Scaglione. She also hosted a Young People’s Concert at London’s Barbican Centre in February 2012, conducted by Alan Gilbert, during the EUROPE / WINTER 2012 tour.

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Major support for Bernstein’s Philharmonic: A Centennial Festival is provided by Laura Chang and Arnold Chavkin.

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Joshua Bell’s appearance is made possible by the Florence Blau Trust.

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The October 25–31 concerts are made possible by generous support from The Fan Fox and Leslie R. Samuels Foundation, in memory of Carlos Moseley, past Managing Director, President, and Chairman of the New York Philharmonic.

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Corporate support for the November 2–4 concerts is provided by Tiffany & Co.

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Support for Young People’s Concerts is provided by The Theodore H. Barth Foundation.

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

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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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PurePoint Financial. Season Sponsor of the New York Philharmonic.

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Programs are supported, in part, by public funds from the 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

Single tickets for these performances start at $33. Individual tickets for the Young People’s Concerts are $15 to $42; all tickets include admission to YPC Overtures. Tickets are available online at nyphil.org or by calling (212) 875-5656, 10:00 a.m. to 6:00 p.m. Monday through Friday; 1:00 p.m. to 6:00 p.m. Saturday; and noon to 5:00 p.m. Sunday. The Box Office opens at 10:00 a.m. Monday through Saturday, and at noon on Sunday. On performance evenings, the Box Office closes one-half hour after performance time; other evenings it closes at 6:00 p.m. A limited number of $18 tickets for select concerts may be available for students within 10 days of the performance at nyphil.org, or in person the day of. Valid identification is required. To determine ticket availability, call the Philharmonic’s Customer Relations Department at (212) 875-5656. (Ticket prices subject to change.)

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

BERNSTEIN’S PHILHARMONIC: A CENTENNIAL FESTIVAL — Program I

New York Philharmonic

David Geffen Hall at Lincoln Center

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

Open Rehearsal — 9:45 a.m.

Thursday, October 26, 2017, 7:30 p.m.

Friday, October 27, 2017, 8:00 p.m.

Saturday, October 28, 2017, 8:00 p.m.

Tuesday, October 31, 2017, 7:30 p.m.

Alan Gilbert, conductor

Joshua Bell, violin

Kelley O’Connor, mezzo-soprano

Joey ROUKENS Boundless (Homage to L.B.) (U.S. Premiere)

BERNSTEIN Serenade (after Plato’s Symposium)

BERNSTEIN Symphony No. 1, Jeremiah

BERNSTEIN’S PHILHARMONIC: A CENTENNIAL FESTIVAL — Program II

New York Philharmonic

David Geffen Hall at Lincoln Center

Thursday, November 2, 2017, 7:30 p.m.

Open Rehearsal — 9:45 a.m.

Friday, November 3, 2017, 2:00 p.m.

Saturday, November 4, 2017, 8:00 p.m.

Alan Gilbert, conductor

Anthony McGill, clarinet

Makoto Ozone**, piano

BERNSTEIN Prelude, Fugue, and Riffs

GERSHWIN Rhapsody in Blue, for Piano and Orchestra

BERNSTEIN Symphony No. 2, The Age of Anxiety

BERNSTEIN’S PHILHARMONIC: A CENTENNIAL FESTIVAL — Program III

New York Philharmonic

David Geffen Hall at Lincoln Center

Thursday, November 9, 2017, 7:30 p.m.

Open Rehearsal — 9:45 a.m.

Saturday, November 11, 2017, 8:00 p.m.

Tuesday, November 14, 2017, 7:30 p.m.

Leonard Slatkin, conductor

Cynthia Phelps, viola

Carter Brey, cello

Tamara Wilson*, soprano

Jeremy Irons, speaker

Concert Chorale of New York

James Bagwell, director

Brooklyn Youth Chorus

Dianne Berkun Menaker, director

R. STRAUSS Don Quixote

BERNSTEIN Symphony No. 3, Kaddish

New York Philharmonic Young People’s Concerts®

David Geffen Hall at Lincoln Center

Inspirations and Tributes: “Celebrating Leonard Bernstein”

Saturday, November 11, 2017, 2:00 p.m.

YPC Overtures at 12:45 p.m.

Leonard Slatkin, conductor

Makoto Ozone, piano

Vocalists tba

Jamie Bernstein, speaker

Theodore Wiprud, host

BERNSTEIN Candide Overture

BERNSTEIN Selections from On the Town

BERNSTEIN Masque from Symphony No. 2, The Age of Anxiety

BERNSTEIN Profanation from Symphony No. 1, Jeremiah

BERNSTEIN Selections from West Side Story

INSIGHTS AT THE ATRIUM: “INSIDE THE ORCHESTRA: WORKING WITH BERNSTEIN”

Saturday, November 11, 2017, 4:00 p.m.

Musicians from the New York Philharmonic

New York Philharmonic Archivist / Historian Barbara Haws, moderator

New York Philharmonic musicians past and present reflect on the influential former Music Director as conductor and colleague. This event complements Bernstein’s Philharmonic: A Centennial Festival, a three-week celebration of the late Laureate Conductor as composer, interpreter, and educator as part of the global celebration of his 100th birthday year.

** New York Philharmonic subscription debut

* New York Philharmonic debut