Alan T. Gilbert ’89, the chief conductor of the Royal Stockholm Philharmonic Orchestra, will be the new music director of New York Philharmonic beginning in September 2009, the organization announced Tuesday.

“We are thrilled at the choice,” Philharmonic Chairman Paul B. Guenther said in statement. “He is a highly respected member of the Philharmonic family, and a great New Yorker. We all look forward to a very bright future.”

Gilbert’s contract will require him to conduct for 12 weeks each year for five years. He will also lead the orchestra on international tours and preside over its artistic progress.

To date, Gilbert has conducted 31 concerts for the New York Philharmonic.

“Being appointed Music Director of the New York Philharmonic is much more than a dream come true—it is the realization of something I did not even dare to dream,” he said in the statement. “This is the orchestra I feel closest to in the world, these are the musicians for whom I have the highest regard in the world. To be given this vote of confidence is more than thrilling.”

Both Gilbert’s mother, Yako Takebe, and his retired father, Michael Gilbert, are Philharmonic musicians and violinists. The Philharmonic director of operation is Gilbert’s first cousin, Miki Takebe.

Gilbert was introduced on Wednesday to the public during a news conference at Avery Fisher Hall, the Philharmonic’s home at Lincoln Center for the Performing Arts.

He will become the 25th music director and second-youngest appointment in Philharmonic history. Gilbert will succeed Lorin Maazel, who will serve the last two seasons on his contract.

But when Gilbert assumes his new position, it won’t be the first time he prepares a program or leads an orchestra.

As a junior at Harvard, Gilbert was musical director for the Lowell House Opera. Established in 1938 by the Lowell House Music Society, it’s the oldest continually running opera in New England.

In March of 1988, Gilbert told The Crimson that production executives chose to perform “The Merry Wives of Windsor” because of the integral role of the chorus to the play.

“We like to have undergraduates be the singers so it’s important for the play to have a chorus,” he said.

Gilbert was also the music director and Conductor of the Bach Society Orchestra (BachSoc) during his senior year. Each season, an undergraduate leads BachSoc, selecting the repertoire, organizing practices, and conducting performances.

Gilbert told The Crimson in April of 1989 that he began his tenure as music director of BachSoc during a time of financial turmoil. The organization began the year $2,000 in debt, but ended it with a $2,000 profit.

Gilbert also studied at Juilliard and the Curtis Institute of Music. Gilbert will briefly return to the Curtis Institute of Music in 2008, where he will lead the Curtis Symphony Orchestra on consecutive days in February at the Kimmel Center and Carnegie Hall.

Gilbert was also the assistant conductor of the Cleveland Orchestra. In May, he stepped down as music director of the Santa Fe Opera, and, next season, he’ll end his tenure with the Royal Stockholm Philharmonic Orchestra, a post he has occupied since 1999.

—Staff writer Giselle Barcia can be reached at gbarcia@fas.harvard.edu.