08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 1

Monday Evening, August 3, 2015, at 6:30 m

a Pre-concert Recital r

g Emerson String Quartet

o Eugene Drucker , r Philip Setzer , Violin P

Lawrence Dutton ,

e Paul Watkins , h T HAYDN String Quartet in G major, Op. 76, No. 1 (c. 1797) Allegro con spirito Adagio sostenuto Menuetto: Presto Allegro ma non troppo SETZER, DRUCKER, DUTTON, WATKINS

Please make certain all your electronic devices are switched off.

This performance is made possible in part by the Josie Robertson Fund for .

Alice Tully Hall , Starr Theater Adrienne Arsht Stage 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 2

Mostly Mozart Festival I Notes on the Program

By Paul Schiavo

m String Quartet in G major, Op. 76, No. 1 (c. 1797)

a r Born March 31, 1732, in Rohrau, Austria

g Died May 31, 1809, in Vienna o

r Approximate length: 22 minutes P

Haydn composed string quartets—nearly six dozen individual compositions— over practically the whole of his long career. His earliest works of this kind may e have originated during his late adolescence (it is not certain when Haydn pro - h duced his first string quartets, but it may have been as early as 1750). His last t

ones came perhaps half a century later, during his ultimate maturity. Between 1797 and 1799 he completed eight string quartets and part of a ninth. The initial n fruits of this final quartet harvest were six pieces published as Haydn’s Op. 76. o

In this evening’s quartet in G major, Haydn establishes at once the essential qual - s ity of string quartet writing: an equitable discourse among the four instruments. e Following three prefatory chords, the principal theme of the opening movement t sounds in four phrases, one for each instrument in turn. From this flows the first o portion of the composition, a skillfully crafted sonata-form movement. N Haydn is justly admired for his musical wit, manifested in the form of abrupt pauses, surprising turns of line or harmony, and odd phrase lengths. Yet nei - ther this first movement nor the one that follows gives any instance of this quality. Indeed, the Adagio second movement conveys a sober spiritual atmos - phere not unlike that of Mozart’s Masonic opera The Magic Flute (we can eas - ily imagine Sarastro, the deep-voiced sage of that work, when Haydn’s melody line passes to the cello, as it does several times in this movement). But we find the composer up to his old tricks in the minuet, where momentary musi - cal lacunae and vigorous outbursts keep the proceedings unusually lively.

Further surprises await in the finale. It begins in G minor, not G major, and launches at once into a theme of exceptional rhythmic energy. Eventually, after much twisting, turning, and traversing wide harmonic terrain, the music emerges into the placid tonal landscape of G major. Haydn lightens the move - ment’s complexion even further in the closing measures, transforming the erstwhile dramatic theme into a merry country dance—surely the most sur - prising development in the entire composition.

—Copyright © 2015 by Paul Schiavo 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 3

Monday Evening, August 3, 2015, at 7:30 m a

r Emerson String Quartet

g Eugene Drucker , Violin

o Philip Setzer , Violin

r Lawrence Dutton , Viola

P Paul Watkins , Cello Jean-Yves Thibaudet , Piano e

h MOZART String Quartet in G major, K.387 (1782)

T Allegro vivace assai Menuetto: Allegro Andante cantabile Molto allegro SETZER, DRUCKER, DUTTON, WATKINS

BEETHOVEN String Quartet in F major, Op. 135 (1826) Allegretto Vivace Lento assai, cantante e tranquillo Grave, ma non troppo tratto—Allegro SETZER, DRUCKER, DUTTON, WATKINS

Intermission

FAURÉ Piano Quartet No. 1 in C minor, Op. 15 (1876–79) Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto THIBAUDET, DRUCKER, DUTTON, WATKINS

Please make certain all your electronic devices are switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Steinway Piano , Starr Theater Adrienne Arsht Stage 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 4

Mostly Mozart Festival

The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center

UPCOMING MOSTLY MOZART FESTIVAL EVENTS:

Tuesday and Wednesday Evenings, August 4–5, at 7:30 in Avery Fisher Hall Mostly Mozart Festival Orchestra Cornelius Meister , Conductor (New York debut) Sol Gabetta , Cello M|M MOZART: Overture to Le nozze di Figaro HAYDN: Cello Concerto in C major BEETHOVEN: Symphony No. 4 Pre-concert recitals by the Anderson & Roe Piano Duo at 6:30

Wednesday Night, August 5, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Sol Gabetta , Cello Ilya Yakushev , Piano M|M RACHMANINOFF: Sonata in G minor SERVAIS: Fantaisie sur deux Airs russes

Thursday Night, August 6, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Alina Ibragimova , Violin M|M Steven Osborne , Piano PROKOFIEV: Violin Sonatas Nos. 1 and 2

M|M Mostly Mozart debut

For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure.

Visit MostlyMozart.org for full festival listings.

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 5

Mostly Mozart Festival

Welcome to Mostly Mozart

I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual celebration of the innovative and inspiring spirit of our namesake composer. This summer, in addition to a stellar roster of guest conductors and soloists, we are joined by composer-in-residence George Benjamin, a leading contemporary voice whose celebrated opera Written on Skin makes its U.S. stage premiere.

This landmark event continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée and Robert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra delights this year with the Classical repertoire that is its specialty, in addition to Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.

Guest appearances include maestro Cornelius Meister making his New York debut; Edward Gardner, who also leads the Academy of Ancient Music in a Mendelssohn program on period instruments; and Andrew Manze with violin - ist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preemi - nent soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol Gabetta and Alina Ibragimova, who also perform intimate recitals in our expanded Little Night Music series. And don’t miss returning favorite Emerson String Quartet and the International Contemporary Ensemble, our artists-in- residence, as well as invigorating pre-concert recitals and lectures, a panel discussion, and a film on Haydn.

With so much to choose from, we invite you to make the most of this rich and splendid festival. I look forward to seeing you often.

Jane Moss Ehrenkranz Artistic Director 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 6

Mostly Mozart Festival I Words and Music Chamber Thicket By Sharon Olds

As we sat at the feet of the string quartet, in their living room, on a winter night, through the hardwood floor spurts and gulps and tips and shudders came up, and the candle-scent air was thick-alive with pearwood, ebony, spruce, poplar, and horse howled, and cat skreeled, and then, when the Grösse Fugue was around us, under us, over us, in us, I felt I was hearing the genes of my birth-family, pulled, keening and grieving and scathing, along each other, scraping and craving, I felt myself held in that woods of hating longing, and I knew and knew myself, and my parents, and their parents, there—and then, at a distance, I sensed, as if it were thirty years ago, a being, far off yet, oblique-approaching, straying toward, and then not toward, and then toward this place, like a wandering dreaming herdsman, my husband. And I almost wanted to warn him away, to call out to him to go back whence he came, into some calmer life, but his beauty was too moving to me, and I wanted too much to not be alone, in the covert, any more, and so I prayed him come to me, I bid him hasten, and good welcome.

—“Chamber Thicket” from The Unswept Room by Sharon Olds, copyright © 2002 by Sharon Olds. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved.

For poetry comments and suggestions, please write to [email protected]. 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 7

Mostly Mozart Festival

By Paul Schiavo t

o The three works on this evening’s program span almost exactly a

h century. Together, they illustrate something of the development of

s chamber music during that period. Mozart’s String Quartet in G major, K.387, represents the Classical-period flowering of the genre. The p music is expressive, finely crafted, and elegantly proportioned, and a its four-movement design uses a template that composers would

n continue to employ throughout the 19th century and beyond. Indeed, the two other pieces follow essentially the same format. S

Yet comparable formal schemes can house very different kinds of musical experiences. Beethoven’s Quartet in F major, Op. 135, expands the proportions of the Classical four-movement vessel and fills it with music that is deeply personal. This, the last of the composer’s 16 string quartets, is both broad in scale and intimate in tone. Some of its melodic ideas feign simplicity, but they yield complex music reaching, at times, toward a profound spirituality.

In Fauré’s C-minor Piano Quartet, we find the same four-movement scheme serving as a vehicle for French Romanticism. The work testifies to its author’s stature as his nation’s most important com - poser of chamber music during the 19th century.

—Copyright © 2015 by Paul Schiavo 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 8

Mostly Mozart Festival I Notes on the Program

By Paul Schiavo

m String Quartet in G major, K.387 (1782)

a r Born January 27, 1756, in

g Died December 5, 1791, in Vienna o

r Approximate length: 30 minutes P

Early in 1785 Mozart completed a set of six string quartets and dedicated them to his recently acquired friend and only musical peer, Joseph Haydn. e With these works, Mozart achieved new degrees of skill and poetry in his h chamber music. Those qualities are evident in the Quartet in G major, K.387. t

In this, the first of his “Haydn” quartets, Mozart wrests dramatic develop - ments from his thematic material, enriches his music with intricate contra - n puntal textures, and maintains an equitable balance among the four instru - o ments, a hallmark of the best string quartet writing.

s Beyond these matters, much of the fascination and pleasure afforded by this e composition lies in Mozart’s extraordinary handling of musical con - t ventions. The first movement may present an almost textbook sonata-form o outline, with statement and reprise of several themes separated by an exploratory development passage, but the details that fill this quite typical N design reveal a high order of musical imagination. Who would guess from the straightforward presentation of the initial theme that Mozart would repeat it immediately in a form that includes echoic statements and other manner of contrapuntal elabora - Did you know? tion, or that this same subject would provide the premise for The quartets Mozart dedicated to such surprising turns of harmony Haydn prompted the latter’s famous as we encounter in the sus pense - assessment to Mozart’s father: “I ful development section? Similarly, tell you that your son is the greatest the ensuing minuet entails ten - composer known to me either in sions and a line rising in alternately person or by name. He has taste loud and soft notes, remarkable and, what is more, the most pro - details that raise the movement far found knowledge of composition.” above the status of a mere dance- music interlude.

Following a slow third movement of great lyric beauty, Mozart gives us a finale enlivened by fugal counterpoint. The composer had recently immersed himself in the music of Bach, and this movement is one fruit of his study of Bach’s fugues. Yet the counterpoint here is Mozartian rather than authenti - cally Baroque in spirit. Even the shape of the fugue subject bears this out: it is a melodic augmentation of the four-note “Jupiter” theme that Mozart would develop in brilliant fugal counterpoint in the finale of his last symphony. 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 9

Mostly Mozart Festival I Notes on the Program

String Quartet in F major, Op. 135 (1826) LUDWIG VAN BEETHOVEN Born December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna

Approximate length: 25 minutes

Beethoven completed his String Quartet in F major, Op. 135, in October 1826. This would be the composer’s last complete composition of any type. A new finale to his earlier Quartet in B-flat major, Op. 130, was his only subsequent work before his death, in March of the following year.

Much has been made of the inscription with which Beethoven prefaced this quartet’s finale: “The decision taken with difficulty.—Must it be?—It must be!” The composer related two rather prosaic incidents that can account for this motto. He reported that the words referenced the compulsion he felt to complete the work at a time when his inspiration was flagging. Alternatively, Beethoven recently had quarreled with a wealthy Viennese music lover who attempted to procure one of his works without rendering sufficient remuner - ation. When confronted, the gentleman reportedly asked in frustration, “Must it be?” In the end, though, he gave in to the composer’s demands. This amused Beethoven greatly, and he penned a brief canon to the words “Must it be? It must be.” The melody of this musical joke is heard at the outset of the quartet’s final Allegro .

More than one commentator has chosen to interpret the inscription other - wise, in terms of existential necessity: the composer’s need to accept his loneliness and now complete deafness, and to seek his happiness in art alone. Yet the passage bearing the motto does not conclusively support this more serious interpretation, for beneath its insistent rhythms and searing harmonies is a hint of irony, an intimation not of true drama but of melodrama. Moreover, the finale that follows is light, even jocular, in tone. This suggests the possi - bility of a more transcendental view of the motto and music: that Beethoven, having accepted life’s sorrows and no longer concerned with struggling against fate, could now sport with the very idea of it.

Beethoven reverts in this quartet to the Classical four-movement format after experimenting with more ambitious arrangements in his previous three efforts (as many as seven movements in the C-sharp minor Quartet, Op. 131). The initial sonata-form movement, whose various melodic ideas are fre - quently combined in counterpoint, is followed by a scherzo featuring abrupt rhythmic and harmonic dislocations. The third movement begins with an intro - spective and meditative theme, upon which Beethoven builds four deeply touching variations.

Suddenly, however, we come to a dark recitative that pits viola and cello against the two . It was to this music that Beethoven ascribed the 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 10

Mostly Mozart Festival I Notes on the Program

words “Muss es sein?” (Must it be?), and it is not difficult to hear the ques - tion in its rhythms. The music grows increasingly plaintive, but Beethoven dif - fuses the resulting tension by breaking off and launching into a cheerful Allegro . Its initial melody, based on the aforementioned canon, brings the answer “Es muss sein!” (It must be!). A second theme conveys a child-like innocence. The development of these ideas is interrupted by the return of the recitative music, but this cannot dispel the movement’s happy assertion for long: the quartet ends with a humorous pizzicato presentation of the second theme and a final insistence of “It must be!”

Piano Quartet No. 1 in C minor, Op. 15 (1876 –79) GABRIEL FAURÉ Born May 12, 1845, in Pamiers, Ariège, France Died November 4, 1924, in Paris

Approximate length: 30 minutes

Although Fauré lived well into the 20th century, his music belongs to an ear - lier time. His late work makes cautious use of dissonance, unusual scales, and other trappings of early 20th-century composition. But in general, his musical language remained that of 19th-century Romanticism. Nowhere is this more evident than in the Piano Quartet in C minor, Op. 15.

Fauré began writing this piece during the summer of 1876. At this time he promised a correspondent that he would finish the work before autumn, but three years passed before he completed an initial version, in 1879. In 1883 Fauré rewrote the finale. Although at first unable to attract a publisher, to say nothing of popular acceptance, Fauré’s First Piano Quartet has since gained recognition as one of the finest pieces of French chamber music from the 19th century.

The composition follows a traditional four-part pattern: fast outer movements framing a Scherzo and slow movement. Also traditional is the broad outline of the opening Allegro molto moderato , which juxtaposes several themes in a Classical design. Fauré crafted his thematic ideas for maximum contrast: the first subject surges powerfully, while the second dances with a pleasing lilt. Yet the characters of these themes metamorphose during the movement’s central development episode. In particular, the initial subject takes on a gen - tle, almost dream-like quality, its identity apparent only through its signature rhythm, which runs through much of the movement. There follows a fleeting Scherzo whose gossamer textures are established in the opening moments by a melody for the piano over pizzicato accompaniment. Later, in the move - ment’s central episode, the instruments reverse roles, the piano providing a background of delicate filigree for the strings’ melodic statements. 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 11

Mostly Mozart Festival I Notes on the Program

The Adagio that follows contains some of the most moving music Fauré ever composed. Laid out in a broad A-B-A format, this portion of the work seems to speak alternately of grief and consolation. It has been widely supposed that the composer wrote this music as an expression of heartbreak after his fiancée ended their engagement, in October 1877. Fauré, however, denied any connection between that event and the music.

The theme heard at the outset of the final movement combines the distinctive rhythm of the first movement’s principal subject with the rising scale from the lamenting melody of the Adagio . This and a succession of complementary ideas combine to create a finale of almost breathless energy.

Paul Schiavo serves as program annotator for the St. Louis and Seattle Symphonies, and writes frequently for concerts at Lincoln Center.

—Copyright © 2015 by Paul Schiavo 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 12

Mostly Mozart Festival I Meet the Artists s t s i t r A

O C e C U Z Z A h M

E t I R A

M - t A S I L e

e Emerson String Quartet

M The Emerson String Quartet stands apart with an unparalleled list of achieve - ments over three decades: more than 30 acclaimed recordings, nine Grammys, three Gramophone Awards, the Avery Fisher Prize, Musical America’s Ensemble of the Year, and collaborations with the greatest artists of our time.

The arrival of Paul Watkins in 2013 has had a profound effect on the Emerson String Quartet. Mr. Watkins, a distinguished soloist, award-winning conduc - tor, and devoted chamber musician, joined the ensemble in its 37th season, and his dedication and enthusiasm have infused the Quartet with a warm, rich tone and a palpable joy in the collaborative process.

The Quartet’s 2014–15 season began with engagements in Colombia, Ecuador, Peru, and Brazil. Following a tour of Japan, the ensemble performed last summer at the Ravinia, Tanglewood, Chamber Music Northwest, Aspen, Domaine Forget, Toronto, Austin, Norfolk, Cape Cod, and Mostly Mozart fes - tivals. In a season of more than 80 performances, Emerson highlights included numerous concerts on both U.S. coasts and throughout North America, as well as performances in Austria, Ireland, Switzerland, France, Germany, and the UK. The Quartet also performed the two final concerts of the season at The Chamber Music Society of Lincoln Center in Alice Tully Hall in May.

Formed in 1976 and based in , the Emerson was one of the first quartets formed with two violinists alternating in the first chair position. In 2002 the Quartet began to stand for most of its concerts, with the cellist seated on a riser. The Emerson continues its series at the Smithsonian Institution in Washington, D.C., for its 35th season and is the quartet-in-residence at Stony Brook University. In January 2015 the Quartet received the Richard J. Bogomolny National Service Award, Chamber Music America’s highest honor, in recognition of its significant and lasting contribution to the chamber music field. 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 13

Mostly Mozart Festival I Meet the Artists

Jean-Yves Thibaudet

Considered one of the best pianists in the world, Jean-Yves Thibaudet’s talent at combining poetic musical sensibilities with dazzling technical prowess, as well as his ability to coax surprising colors and textures from even old favorites, has won critical acclaim. He has performed A

R around the world for more than 30 A K S

S years and recorded more than 50 A K

A

C albums, with a depth and natural C E D charisma that have made him one of the most sought-after soloists by today’s foremost orchestras, conductors, and festivals. In 2010 the Hollywood Bowl honored Mr. Thibaudet for his musical achievements by inducting him into its Hall of Fame.

Mr. Thibaudet’s recordings have been nominated for two Grammy Awards and have won many prizes, including the Schallplattenpreis, Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo Awards, and the Edison Award. In 2010 Mr. Thibaudet released his latest CD, Gershwin , fea - turing big-band jazz orchestrations of Rhapsody in Blue , Variations on “I Got Rhythm,” and the Concerto in F with the Baltimore Symphony Orchestra and its music director, Marin Alsop.

Mr. Thibaudet was a soloist on the Oscar and Golden Globe Award –winning soundtrack to Atonement and the Oscar-nominated Pride and Prejudice. In 2012 he recorded the soundtrack to the film Extremely Loud & Incredibly Close , composed by Alexandre Desplat. Previously a Chevalier de l’Ordre des Arts et des Lettres, Mr. Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012.

Mostly Mozart Festival

Lincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experiment in 1966. Called Midsummer Serenades: A Mozart Festival, its first two seasons were devoted exclusively to the music of Mozart. Now a New York institution, Mostly Mozart continues to broaden its focus to include works by Mozart’s predecessors, contempo - raries, and related successors. In addition to concerts by the Mostly Mozart Festival Orchestra, Mostly Mozart now includes concerts by the world’s outstanding period-instrument ensembles, chamber orchestras and ensem - bles, and acclaimed soloists, as well as opera productions, dance, film, late- night performances, and visual art installations. Contemporary music has 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 14

Mostly Mozart Festival

become an essential part of the festival, embodied in annual artists-in-residence , including , John Adams, Kaija Saariaho, Pierre-Laurent Aimard, and the International Contemporary Ensemble. Among the many artists and ensembles who have had long associations with the festival are Joshua Bell, Christian Tetzlaff, Itzhak Perlman, Emanuel Ax, Garrick Ohlsson, Stephen Hough, Osmo Vänskä, the Emerson String Quartet, Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, and the Mark Morris Dance Group.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educa - tional activities annually, LCPA offers 15 programs, series, and festivals, including American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012.

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Claudia Norman, Producer, Public Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Claire Raphaelson, House Seat Coordinator Stepan Atamian, Theatrical Productions Intern ; Annie Guo, Production Intern ; Grace Hertz, House Program Intern

Program Annotators: Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 15

Mostly Mozart Festival

Lectures, Discussions, and Pre-concert Recitals

All events are FREE to ticketholders of the accompanying performance.

Friday and Saturday Evenings, Tuesday and Thursday Evenings, July 31 and August 1, at 6:30 August 11 and 13 Orion Weiss, piano Written on Skin post-performance artist Brahms: Klavierstücke, Op. 118 discussions Avery Fisher Hall David H. Koch Theater

Monday Evening, August 3, at 6:30 Friday and Saturday Evenings, Emerson String Quartet August 14–15, at 6:30 Haydn: Quartet in G major, Op. 76, No. 1 Jon Manasse, clarinet, Alice Tully Hall Ilya Finkelshteyn, cello, and Jon Nakamatsu, piano Tuesday Evening, August 4, at 6:30 Brahms: Clarinet Trio Anderson & Roe Piano Duo Avery Fisher Hall Ligeti/Anderson & Roe: Hungarian Rock Brahms: Haydn Variations Saturday Afternoon, August 15, from 4:00 Avery Fisher Hall to 5:30 Panel Discussion: Listening to Mozart Wednesday Evening, August 5, at 6:30 Bruce Alan Brown, moderator Anderson & Roe Piano Duo Presented in association with the Mozart Brahms: Haydn Variations Society of America Anderson & Roe, after Mozart: Ragtime Stanley H. Kaplan Penthouse alla turca Seating available on a first-come, first-served Avery Fisher Hall basis.

Friday and Saturday Evenings, Tuesday and Wednesday Evenings, August 7–8, at 6:30 August 18–19, at 6:30 Calidore String Quartet Tyler Duncan, baritone, and Haydn: Quartet in C major (“The Bird”) Erika Switzer, piano Avery Fisher Hall Schumann: Liederkreis, Op. 24 Avery Fisher Hall Tuesday and Wednesday Evenings, August 11–12, at 6:30 Friday Evening, August 21, from 6:15 to 7:00 , piano Pre-concert lecture on Haydn’s Creation Beethoven: “Moonlight” Sonata by Elaine Sisman Chopin: Four Etudes, Op. 25 Stanley H. Kaplan Penthouse Avery Fisher Hall

ALICE TULLY HALL, AVERY FISHER HALL Broadway at 65th Street DAVID H. KOCH THEATER Columbus Avenue at 63th Street DAVID RUBENSTEIN ATRIUM Broadway between 62nd and 63rd Streets STANLEY H. KAPLAN PENTHOUSE 165 West 65th Street, 10th Floor 08-03 Emerson_Gp 3.qxt 7/23/15 10:47 AM Page 16

Mostly Mozart Festival

Wolfgang Amadeus Mozart Chronology 1756 January 27: Joannes Chrysostomus Wolfgangus Theophilus Mozart born in Salzburg, Austria, the youngest child of Johann Georg and his wife, Anna Maria. 1761 First composition, Andante in C major for keyboard; first known public appearance at Salzburg University in a music theater piece. 1762 Leopold Mozart journeys to Munich and Vienna with Wolfgang and his older sister, Nannerl, to exploit their prodigious talents on the harpsichord. 1764 Meets J.C. Bach, youngest son of J.S. Bach. Mozart writes his first symphony. 1767 Performance of Apollo et Hyacinthus, Mozart’s first theatrical work, in Salzburg. Travels to Vienna. Wolfgang and Nannerl fall ill with smallpox. 1769 Return to Salzburg. Mozart named honorary Konzertmeister of the Hofkapelle in Salzburg. 1772 Premiere of opera seria Lucio Silla on December 26 in Milan; completion of motet Exsultate, jubilate a few weeks later. 1778 Arrival in Paris after a lengthy journey through Augsburg and Mannheim, where he meets soprano . Performance of the “Paris” Symphony. Illness and death of Mozart’s mother. Aloysia rejects Mozart’s marriage proposal. 1779 Composition of “Coronation” in C major. 1781 First major adult opera commission results in Idomeneo, premiered in Munich. Travels to Vienna, where he is discharged from the service of the archbishop of Salzburg. 1782 Composition and premiere of the opera Die Entführung aus dem Serail in Vienna. Marriage to Constanze Weber, sister of Aloysia. 1783 First child born in June and dies in August. Premiere of unfinished Mass in C minor, K.427. 1784 Mozart accepted into the Freemason lodge Zur Wohlthätigkeit. Six piano concertos writ- ten in Vienna. Frequent public and private concerts in Vienna show him at the peak of his for- tunes. Birth of second child, Karl Thomas, who survives. Probable first meeting with Haydn; the beginning of a devoted friendship between the two masters. 1785 Cycle of six string quartets, which Mozart dedicates to Haydn, is published by Artaria. Composes Piano Concerto No. 20 in D minor and No. 21 in C major. 1786 Premiere of Le nozze di Figaro in Vienna’s Burgtheater is successful despite the opera’s potential to be politically and socially inflammatory. Writes Symphony in D major (“Prague”) and Piano Concerto No. 25 in C major. Mozart’s third child is born in October and dies in November. 1787 Mozart directs a performance of Figaro in Prague to great success. Performance of “Prague” Symphony and premiere of Don Giovanni in Prague also meet with positive reception. Leopold Mozart, age 68, dies in Salzburg. Returns to Vienna in November and birth of fourth child, Theresia, in December. The 16-year-old Beethoven briefly visits Vienna and most likely meets Mozart. 1788 Viennese premiere of Don Giovanni meets with moderate success. Death of Theresia. Last three symphonies written: No. 39 in E-flat major, No. 40 in G minor, and No. 41 in C major (“Jupiter”). 1789 Financial instability. Starts work on Così fan tutte. Mozart’s fifth child, Anna Maria, dies one hour after birth. Mozart conducts his reorchestration of Handel’s Messiah. 1790 Premiere of Così fan tutte in Vienna. Musical productivity hindered by ongoing financial stress. Before leaving for London, Haydn dines with Mozart for the last time. 1791 Mozart completes his 27th and last piano concerto. Interruption of work on Die Zauberflöte to write the commissioned work La clemenza di Tito, celebrating the coronation of Leopold II as king of Bohemia. Birth of sixth child, Franz Xaver, who survives. Premiere of Die Zauberflöte in Vienna with Mozart conducting from the keyboard. Clarinet Concerto written for Anton Stadler. Receives commission for a mass and begins work on the Requiem, K.626, but falls ill in November. Mozart dies in Vienna on December 5 and is buried quietly and unceremoniously in a mass grave.