Jaap van Zweden conducts A German Requiem

The New York Philharmonic

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Jaap van Zweden conducts A German Requiem

Recorded February 07, 2019

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Music Director

Jaap van Zweden

Conductor Jaap van Zweden has become an international presence on three continents over the past decade. The 2018–19 season marks his first as the 26th Music Director of the New York Philharmonic. In the 2019–20 season he and the Philharmonic celebrate the ratification of the 19th Amendment with commissions by 19 women composers in Project 19, illuminate three hotbeds of music innovation — Berlin, Reykjavík, and New York — in the hotspots festival, and explore Mahler’s New York. He continues as Music Director of the Hong Kong Philharmonic, a post he has held since 2012. Guest engagements this season include the Leipzig Gewandhaus Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Munich Philharmonic, Orchestre de Paris, San Francisco Symphony, and Dallas Symphony Orchestra, where he is Conductor Laureate. He has appeared as guest conductor with many other leading orchestras around the globe, among them the Chicago Symphony Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, Vienna Philharmonic, Berlin Philharmonic, Orchestre national de France, and London Symphony Orchestra.

In his inaugural season as Music Director of the New York Philharmonic, Jaap van Zweden conducts repertoire ranging from five World Premieres to symphonic cornerstones. He presides over three season pillars — each presenting a World Premiere — that contextualize music through programs complemented by citywide collaborations. Music of Conscience explores composers’ responses to the social issues of their time, with music by Beethoven, Shostakovich, John Corigliano, and David Lang. New York Stories: Threads of Our City looks at musical expressions of the immigrant experience in New York, with music by Julia Wolfe. The Art of Andriessen spotlights the music of Dutch composer Louis Andriessen. Maestro van Zweden also welcomes New Yorkers to Phil the Hall, concerts for community and service professionals; the Annual Free Memorial Day Concert; and the Concerts in the Parks, Presented by Didi and Oscar Schafer.

Jaap van Zweden has made numerous acclaimed recordings, the most recent of which features live New York Philharmonic performances of Beethoven’s Symphonies Nos. 5 and 7, released on CD and for streaming and download in February 2018; this release launched the Philharmonic’s partnership with Decca Gold, Universal Music Group’s newly established U.S. classical music label. In 2018 he completed a four-year project with the Hong Kong Philharmonic, conducting the first-ever performances in Hong Kong of Wagner’s Ring Cycle, which have been recorded and released on Naxos Records. His highly praised performances of Lohengrin, Die Meistersinger von Nürnberg, and Parsifal — the last of which earned him the prestigious Edison Award for Best Opera Recording in 2012 — are available on CD and DVD.

Born in Amsterdam, Jaap van Zweden was appointed at age 19 as the youngest-ever concertmaster of Amsterdam’s Royal Concertgebouw Orchestra. He began his conducting career almost 20 years later, in 1996. He remains Honorary Chief Conductor of the Netherlands Radio Philharmonic, where he was Chief Conductor from 2005 to 2013, and served as Chief Conductor of the Royal Flanders Orchestra from 2008 to 2011. Jaap van Zweden was named Musical America’s 2012 Conductor of the Year in recognition of his critically acclaimed work as Music Director of the Dallas Symphony Orchestra and as guest conductor with the most prestigious U.S. orchestras.

In 1997 Jaap van Zweden and his wife, Aaltje, established the Papageno Foundation to support families of children with autism. The Foundation has grown into a multifaceted organization that focuses on the development of children and young adults with autism. The Foundation provides in-home music therapy through a national network of qualified music therapists in The Netherlands; opened the Papageno House in 2015 (with Her Majesty Queen Maxima in attendance) for young adults with autism to live, work, and participate in the community; created a research center at the Papageno House for early diagnosis and treatment of autism and for analyzing the effects of music therapy on autism; develops funding opportunities to support autism programs; and, most recently, launched the app TEAMPapageno, which allows children with autism to communicate with each other through music composition.

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Soprano

Ying Fang

During the 2018–19 season, soprano Ying Fang makes her Salzburg Festival debut in Mozart’s Idomeneo and returns to The Metropolitan Opera for her role debut as Servilia in Mozart’s La clemenza di Tito. She also appears with the Los Angeles Philharmonic, New York Philharmonic, Boston Symphony Orchestra, The Cleveland Orchestra, Hong Kong Philharmonic, Houston Symphony, Orchestra of St. Luke’s, and Malaysian Philharmonic with conductors Jaap van Zweden, Susanna Mälkki, Andris Nelsons, and Franz Welser-Möst, among others. Previous engagements have included The Metropolitan Opera, Zurich Opera House, Washington National Opera, Vancouver Opera, Opéra de Lille, Opera Philadelphia, Wolf Trap Opera Company, and Aspen Opera Theater Center in varied operas, including Mozart’s The Magic Flute (Pamina), Donizetti’s L’elisir d’amore (Adina), Handel’s Alcina (Morgana), Mozart’s The Marriage of Figaro (Susanna), Verdi’s Falstaff (Nannetta), Mozart’s Don Giovanni (Zerlina), Handel’s The Triumph of Time and Truth (Bellezza) and Giulio Cesare (Cleopatra), Rossini’s Il viaggio a Reims (Contessa di Folleville), and Mozart’s Zaïde (title role). She has worked with distinguished conductors including William Christie, Andrew Davis, Gustavo Dudamel, Christoph Eschenbach, Alan Gilbert, Emmanuelle Haïm, Manfred Honeck, Bernard Labadie, Jesús López Cobos, Mark Minkowski, Carlo Rizzi, and Nathalie Stutzmann. Ms. Fang has worked with directors including Peter Sellars and Laurent Pelly. Her concert engagements have included The Philadelphia Orchestra, St. Luke’s Chamber Ensemble, Music of the Baroque, and the Pittsburgh, New World, and National symphony orchestras, and she has performed at Carnegie Hall, the Kennedy Center, and Alice Tully Hall, as well as at the Verbier, Aix-en-Provence, and Ravinia festivals. A native of Ningbo, China, Ms. Fang holds a master’s and artist diploma in Opera Study from The Juilliard School and a bachelor’s from the Shanghai Conservatory of Music. She is a former member of The Metropolitan Opera’s Lindemann Young Artist Development Program.

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Baritone

Matthias Goerne

Matthias Goerne is The Mary and James G. Wallach Artist-in-Residence at the New York Philharmonic for the 2018–19 season. In this role, he will appear with the Philharmonic and Music Director Jaap van Zweden in Schubert and Strauss songs, Brahms’s Ein deutsches Requiem, and John Adams’s The Wound-Dresser, and perform chamber music with Philharmonic musicians and pianist Daniil Trifonov. One of the world’s most versatile and internationally sought-after vocalists, he is a frequent guest at renowned festivals and concert halls and has collaborated with the world’s leading orchestras, conductors, and pianists. Born in Weimar, he studied with Hans-Joachim Beyer in Leipzig and, later, with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau.

Mr. Goerne has appeared on the world’s major opera stages, including The Metropolitan Opera, Madrid’s Teatro Real, Opéra national de Paris, Vienna Staatsoper, and Royal Opera House, Covent Garden. His Wagner roles have included Wolfram (Tannhäuser), Amfortas (Parsifal), Kurwenal (Tristan and Isolde), and Wotan (The Ring). Other notable roles include Orest (Richard Strauss’s Elektra) and Jochanaan (Strauss’s Salome) and the title roles in Bartók’s Bluebeard’s Castle and Berg’s Wozzeck.

His artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an ICMA Award, a Gramophone Award, the BBC Music Magazine Vocal Award 2017, and a Diapason d’or arte. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, he recorded The Goerne / Schubert Edition, a series of select Schubert songs with eminent pianists, released on 12 CDs for Harmonia Mundi. He has received rave reviews for his latest recordings of Brahms songs with Christoph Eschenbach, Schumann songs with Markus Hinterhäuser, Mahler songs with the BBC Symphony Orchestra, and Wagner arias with the Swedish Radio Symphony Orchestra.

In addition to his New York Philharmonic residency, Matthias Goerne’s 2018–19 season highlights include concerts with the Los Angeles Philharmonic and Pittsburgh and Houston Symphony Orchestras, and with orchestras in Europe and Japan. He appears as Kurwenal in Tristan and Isolde at Opéra national de Paris, and as Amfortas in Parsifal at the Vienna Staatsoper. Song recitals with Daniil Trifonov and Leif Ove Andsnes take him to Berlin’s Philharmonie, Philharmonie de Paris, London’s Wigmore Hall, Barcelona’s Palau de la Música, and other major European venues.

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Ein deutsches Requiem

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Symphony No. 4

PETER ILYICH TCHAIKOVSKY (1840–93)
Symphony No. 4 (1878)

It was against the unsettling backdrop of hoping to “cure” his homosexuality through a disastrous marriage and a subsequent suicide attempt that Tchaikovsky completed the present Symphony. Tchaikovsky maintained an intimate correspondence with his mysterious benefactress, Nadezhda von Meck, which often sheds light on the music he wrote, including this passionate revelation: “There is not a single bar in this Fourth Symphony which I have not truly felt, and which is not an echo of my most intimate spiritual life.” The first movement announces the Fate motif with powerful brass and wind fanfares. The melancholy second movement reflects “memories of happier times…. There is a sweet sadness in losing oneself in the past.” In the third movement, the strings are plucked throughout, while winds and brass play a rustic dance, and “in the distance a military parade goes by.” In the finale, marked “Fast with Fire,” the Fate motif comes crashing back, and the final mood is one of resignation: “Take happiness from the joys of others. Life is bearable after all.”

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