Program Notes for Lincoln Center Series Since 1982

Home , Charlie Albright, Mostly Mozart Festival

Tuesday and Wednesday Evenings, August 11 –12, 2015, at 6:30 m

a Pre-concert Recital r

BEETHOVEN Sonata No. 14 in C-sharp minor (“Moonlight”) (1801)

e Adagio sostenuto Allegretto h Presto agitato T CHOPIN Four Etudes, Op. 25 (1835 –37) Etude No. 1 in A-flat major Etude No. 7 in C-sharp minor Etude No. 11 in A minor Etude No. 12 in C minor

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These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Steinway Piano Avery Fisher Hall Mostly Mozart Festival I Notes on the Program

By David Wright

m Sonata No. 14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”) (1801)

a LUDWIG VAN BEETHOVEN r Born December 16, 1770, in Bonn, Germany

g Died March 26, 1827, in Vienna o

r Approximate length: 13 minutes P

Both of the piano sonatas that comprise Op. 27 startled listeners by begin - ning with a slow movement, keeping the character of the rest of the work e hidden. By obliging listeners to experience the present moment rather than h following a clearly indicated musical argument, Beethoven anticipated the t

most vital large -scale piano works of the Romantic era. In return, posterity bestowed the most Romantic of nicknames on Op. 27, No. 2: “Moonlight.” n The poet Ludwig Rellstab first compared the opening movement in 1835 to o “a boat visiting, by moonlight, a primitive landscape.” For sheer driving force,

the concluding Presto agitato has no precedent and only a few successors. s Remarkably, its seething rage is channeled into an orderly sonata form, complete e with contrasting themes, development, and coda. t

o Four Etudes, Op. 25 (1835 –37) FRÉDÉRIC CHOPIN N Born March 1, 1810, in Zelazowa Wola, Poland Died October 17, 1849, in Paris

Approximate length: 15 minutes

It was through his 12 Etudes, Op. 10, that the 20 -year -old Chopin, then known as a composer of pleasant dances and virtuoso vehicles, first revealed his genius. His Op. 25 developed the art and science of piano performance fur - ther still. The unprecedented harmonies of these pieces seem to grow out of the keyboard figurations themselves, as if in the act of stretching what his fingers could do, Chopin were extending the language of music as well.

The nickname “Aeolian Harp” for Op. 25, No. 1 in A-flat major originated as Schumann’s description of the delicate arpeggios that seem to hover, shimmering, in mid -air; meanwhile, the fifth finger (the weakest of the five) must sing its melody in a full -bodied cantabile . Inspired by Chopin’s love of opera, No. 7 in C-sharp minor is a dramatic duet, combining a melancholy melody in the right hand and a restless, impassioned one in the left. The swashbuckling No. 11 in A minor is known as the “Winter Wind” for the way Chopin’s right hand turns a simple wrist-rotation figure into a keening, roaring storm. Technically, No. 12 in C minor is an exercise in rapidly opening and closing the hands in arpeggios; imaginatively, it depicts a scene of such elementa l power and rhythm that its traditional nickname, the “Ocean” Etude, is well earned.

r Mostly Mozart Festival Orchestra Louis Langrée , Conductor g Matthias Goerne , Baritone o r P MOZART Symphony No. 25 in G minor, K.183 (1773)

e Allegro con brio

h Andante Menuetto and Trio T Allegro

BACH Ich habe genug, Cantata BWV 82 (1727) Aria: Ich habe genug Recitative: Ich habe genug. Mein Trost ist nur allein Aria: Schlummert ein, ihr matten Augen Recitative: Mein Gott! wenn kömmt das schöne: Nun! Aria: Ich freue mich auf meinen Tod RANDALL ELLIS, Oboe

Intermission

SCHUBERT An Silvia (1826) (orch. Schmalcz) Alinde (1827) (orch. Schmalcz) Erlkönig (1815) (orch. Reger)

MOZART Symphony No. 40 in G minor, K.550 (1788) Molto allegro Andante Menuetto: Allegretto Allegro assai

Please make certain all your electronic devices are switched off.

These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Avery Fisher Hall 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 New York 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:

Thursday Evening, August 13, at 7 :30 in the David H. Koch Theater Saturday Afternoon, August 15, at 3 :00 in the David H. Koch Theater Written on Skin (U.S. stage premiere) George Benjamin , Composer Martin Crimp , Text Mahler Chamber Orchestra M|M Alan Gilbert , Conductor M|M Christopher Purves , The Protector M|M Barbara Hannigan , Agnès M|M Tim Mead , Angel 1/Boy M|M Victoria Simmonds , Angel 2/Marie M|M Robert Murray , Angel 3/John M|M Katie Mitchell , Director Sung in English with English supertitles Presented in collaboration with the New York Philharmonic Written on Skin is a production of the Aix-en-Provence Festival, in co-production with the Nederlandse Opera, Amsterdam, Théâtre du Capitole, Toulouse, and The Royal Opera, London. Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Faber Music Ltd., London, publisher and copyright owner

Thursday Night, August 13, at 10 :00 in the Stanley H. Kaplan Penthouse A Little Night Music International Contemporary Ensemble Pierre-Laurent Aimard , Pianos ALL –DAI FUJIKURA PROGRAM flicker; Calling; halcyon; Returning; Sakana; The Voice; Glacier; Breathless

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. 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 Mostly Mozart Festival

By David Wright t

o Of Mozart’s 41 symphonies, only two are in a minor key, and both are in G

h minor—the key to which Mozart confided his darkest, most turbulent emotions.

s The Symphony No. 25, while less often heard than No. 40, is an arresting early work, ablaze with Italianate fire à la Vivaldi. The 17-year-old composer p summoned such Sturm und Drang in this symphony’s first movement that a the director Miloš Forman chose it to accompany the snowstorm and

n attempted suicide scene that began his Oscar-winning 1984 film Amadeus. S Fourteen years later, Mozart’s exploration of G minor expanded in his Symphony No. 40, the suave yet melancholy middle sibling of his great symphonic trilogy of 1788. By pushing chaos and dissonance to the limit for a symphony composed in the 18th century, Mozart assured that this work would be a favorite in the Romantic era, when much of his other music was being ignored.

Between these two dark masterpieces, this program examines death and dissolution from a more hopeful angle in Bach’s Cantata BWV 82, “Ich habe genug.” Yet even here, the insightful composer has set his cheerfully pious, death-welcoming texts to music that aches with the sadness of leave-taking.

Afflicted with a mortal illness for much of his adult life, Schubert was well- acquainted with death and met his own end at just age 31. While many of his over 600 songs celebrate life—as in “An Silvia,” his Shakespearean ode to a pretty woman—others, like “Alinde,” seem to view daily life from a place apart. The galloping melodrama of “Erlkönig” depicts the futility of trying to escape death in vivid allegory.

By David Wright

m Symphony No. 25 in G minor, K.183 (1773)

a WOLFGANG AMADEUS MOZART r Born January 27, 1756, in Salzburg

g Died December 5, 1791, in Vienna o

r Approximate length: 24 minutes P

The custom of calling Mozart’s Symphony No. 25 the “Little G minor” to distinguish it from Symphony No. 40 is regrettable, e since this turbulent music could hardly have seemed “little” to its h first audience in Salzburg in 1773. In fact, confronted with Mozart’s t

first minor-key symphony and an intensity of expression without precedent in the previous 24, musicologists have suggested some n unknown personal crisis or the influence of Haydn’s Sturm und o Drang style as explanations. One might ask, however, what red-

blooded 17-year-old wouldn’t want to write something full of passion s and angst? e t The symphony’s throbbing, ominous opening may make Mozart fans o recall the fateful last scene of Don Giovanni . The movement forges ahead with a power that can sound either fatalistic or exuberantly N athletic, depending on the performance and the listener’s own mood. Mozart saves true pathos for the Andante , with its warm E-flat major tonality contradicted by the deep sighs of its falling phrases. In contrast, the composer remains cool in the stately minuet, offering finely polished orchestral dialogue for the listener’s delectation and a humorous village band in the trio. The finale resembles the first movement in theme and treatment: the strings mutter ominously in unison , introducing the single theme that will dominate the movement down to its strong, terse conclusion.

Ich habe genug, Cantata BWV 82 (1727) JOHANN SEBASTIAN BACH Born March 21, 1685, in Eisenach, Germany Died July 28, 1750, in Leipzig

Approximate length: 22 minutes

Bach’s Cantata BWV 82, composed in 1727 for the feast of the Purification of the Virgin Mary, opens with a curious aria in which the radiant, confident piety of the text is matched with a plaintive oboe melody, sighing phrases, descending bass, biting Neapolitan harmonies, and other trappings of loss and death. This, it appears, is Bach the dramatist at work, opening this small spiritual “opera” with the conflict between our beliefs and our visceral feelings about death. It is a striking musical gloss on the cantata’s biblical text, Mostly Mozart Festival I Notes on the Program

adapted by an unknown author from Luke 2:22 –32, in which Simeon, seeing the child Jesus in the temple, prays: “Lord, now lettest thou thy servant depart in peace, according to thy word; for mine eyes have seen thy salvation...”

The spirit of Simeon is more audible in the first recitative, where the mood brightens to one of hope and yearning, and in the broad aria “Schlummert ein, ihr matten Augen,” with its two da capo returns of the lovely main melody. As gentle and tender as this music is, the steady pulse of the bass moves it along, evoking the stoutly set line “Welt, ich bleib nicht mehr hier” (World, I will tarry here no more). There is a moment of agitation before the farewell in the second recitative, but the final aria resolves all; in fact, resolute is the word for this energetic, dancing conclusion, with its virtuoso leaps and trills and its stunning final C -major chord.

Ich habe genug It is enough

Aria

Ich habe genug, It is enough. Ich habe den Heiland, das Hoffen I have taken the Savior, the hope of der Frommen the pious, Auf meine begierigen Arme into my eager arms; genommen; Ich habe genug! it is enough! Ich hab ihn erblickt, I have glimpsed him, Mein Glaube hat Jesum ans Herze my faith has clasped Jesus to its gedrückt; heart; Nun wünsch ich, noch heute mit now I wish, this very day, to Freuden depart Von hinnen zu scheiden. from here in joy.

Recitative

Ich habe genug. It is enough. Mein Trost ist nur allein, My only comfort is Daß Jesus mein und ich sein eigen that Jesus is mine and that I shall be möchte sein. his. Im Glauben halt ich ihn, I hold him in faith, Da seh ich auch mit Simeon and already see with Simeon Die Freude jenes Lebens schon. the bliss of the life beyond. Laßt uns mit diesem Manne ziehn! Let us go with him! Ach! möchte mich von meines Ah! if the Lord would free me Leibes Ketten Der Herr erretten; from the fetters of this life. Ach! wäre doch mein Abschied hier, Ah! if only my departure were at hand, Mostly Mozart Festival I Texts and Translations

Mit Freuden sagt ich, Welt, zu dir: I would joyfully say to the world: Ich habe genug. It is enough.

Aria

Schlummert ein, ihr matten Augen, Slumber now, weary eyes, Fallet sanft und selig zu! gently close in blessed peace! Welt, ich bleibe nicht mehr hier, World, I will tarry here no more, Hab ich doch kein Teil an dir, for thou impartest to me nothing Das der Seele könnte taugen. of benefit to my soul. Hier muß ich das Elend bauen, Here I find only misery, Aber dort, dort werd ich schauen but there, there I shall behold Süßen Frieden, stille Ruh. sweet peace, quiet rest.

Recitative

Mein Gott! wenn kömmt das My God! When will the beautiful schöne: Nun! “Now!” come, Da ich im Friede fahren werde when I shall depart in peace Und in dem Sande kühler Erde and rest in the cool earth Und dort bei dir im Schoße ruhn? and there sleep in thy bosom? Der Abschied ist gemacht, My leave is taken; Welt, gute Nacht! world, good night!

Aria

Ich freue mich auf meinen Tod, With joy I await my death; Ach! hätt er sich schon ah! if only it were already come. eingefunden. Da entkomm ich aller Not, For then I shall escape all the woe Die mich noch auf der Welt that still afflicts me here on earth. gebunden. Mostly Mozart Festival I Notes on the Program

An Silvia, D.891 (1826) Alinde, D.904 (1827) Erlk önig, D.328 (1815) FRANZ SCHUBERT Born January 31, 1797, in Vienna Died November 19, 1828, in Vienna

ALEXANDER SCHMALCZ Born July 4, 1969, in Weimar, Germany

MAX REGER Born March 19, 1873 in Brand, near Bayreuth, Germany Died May 11, 1916 in Leipzig

Approximate length: 12 minutes

During his heartbreakingly short life, Schubert made indelible contributions to the repertory of symphony orchestras, choruses, chamber groups, and pianists; however, these works—many of them lengthy, ambitious, and psychologically probing—had to wait over a century to receive the recognition they deserved. At the time of Schubert’s death at age 31, even his warmest friends and admirers believed that only his songs would survive him. Though they were wrong about his other works, they were right about the special character of his songs, although they could hardly have foreseen how the passage of time would only add to the luster of these miniature masterpieces.

Schubert composed songs constantly, turning out over 600 of them in a decade and a half; they are, in many ways, the proving ground for his musical ideas, which appear still white -hot from the furnace of inspiration before being incorporated in his larger works. For their melodic and harmonic wealth, intensity of expression, and deep insight into their poetic texts, Schubert’s songs are the highest peak in the great tradition of the German lied .

This program’s selection of three songs suggests the immensity of Schubert’s range of expression, from the elegant praise song “An Silvia” (translated from Shakespeare’s The Two Gentlemen of Verona ) to the moonlit reverie of “Alinde” and finally the harrowing setting of Goethe’s dramatic ballad “Erlkönig.” The original piano parts have been orchestrated by Alexander Schmalcz (the first two) and Max Reger (the last). Mostly Mozart Festival I Texts and Translations

An Silvia To Silvia Trans .: Eduard von Bauernfeld Original Text : William Shakespeare

Was ist Silvia, saget an, Who is Silvia? what is she, Daß sie die weite Flur preist? That all our swains commend her? Schön und zart seh ich sie nahn, Holy, fair and wise is she; Auf Himmelsgunst und Spur weist, The heaven such grace did lend her, Daß ihr alles untertan. That she might admir èd be.

Ist sie schön und gut dazu? Is she kind as she is fair? Reiz labt wie milde Kindheit; For beauty lives with kindness. Ihrem Aug eilt Amor zu, Love doth to her eyes repair, Dort heilt er seine Blindheit, To help him of his blindness, Und verweilt in süßer Ruh. And, being help’d, inhabits there.

Darum Silvia, tön, o Sang, Then to Silvia let us sing, Der holden Silvia Ehren; That Silvia is excelling; Jeden Reiz besiegt sie lang, She excels each mortal thing Den Erde kann gewähren: Upon the dull earth dwelling: Kränze ihr und Saitenklang! To her let us garlands bring.

Alinde Alinda Text : Johann Friedrich Rochlitz Trans .: Richard Wigmore

Die Sonne sinkt ins tiefe Meer, The sun sinks into the deep ocean, Da wollte sie kommen. she was due to come. Geruhig trabt der Schnitter einher, Calmly the reaper walks by. Mir ist’s beklommen. My heart is heavy.

Hast, Schnitter, mein Liebchen Reaper, have you not seen my love? nicht gesehn? Alinde, Alinde! Alinda! Alinda! “Zu Weib und Kindern muß ich gehn, “I must go to my wife and children, Kann nicht nach andern Dirnen sehn; I cannot look for other girls. Sie warten mein unter der Linde.” They are waiting for me beneath the linden tree.”

Der Mond betritt die Himmelsbahn, The moon entered its heavenly course, Noch will sie nicht kommen. she still does not come. Dort legt ein Fischer das Fahrzeug an, There a fisherman lands his boat. Mir ist’s beklommen. My heart is heavy.

Hast, Fischer, mein Liebchen nicht Fisherman, have you not seen my gesehn? love? Alinde, Alinde! Alinda! Alinda! “Muß suchen wie mir die Reusen “I must see how my oyster baskets stehn, are, (Please turn the page quietly.) Mostly Mozart Festival I Texts and Translations

Hab nimmer Zeit, nach Jungfern zu I never have time to chase after gehn. girls; Schau, welch einen Fang ich finde.” look what a catch I have!”

Die lichten Sterne ziehn herauf, The bright stars appear, Noch will sie nicht kommen. she still does not come. Dort eilt der Jäger in rüstigem Lauf, The huntsman rides swiftly along. Mir ist’s beklommen. My heart is heavy.

Hast, Jäger, mein Liebchen nicht Huntsman, have you not seen my gesehn? love? Alinde, Alinde! Alinda! Alinda! “Muß nach dem br a¨unlichen “I must go after the brown roebuck, Rehbock gehn. Hab nimmer Lust nach Mädeln zu I never care to look for girls; sehn; Dort schleicht er im Abendwinde.” there he goes in the evening breeze!”

In schwarzer Nacht steht hier der Hain, The grove lies here in blackest night, Noch will sie nicht kommen. she still does not come. Von allen Lebend’gen irr’ ich allein, I wander alone, away from all mankind, Bang’ und beklommen. anxious and troubled.

Dir, Echo, darf ich mein Leid gestehn: To you, Echo, I confess my sorrow: Alinde, Alinde! Alinda! Alinda! “Alinde!” ließ Echo leise “Alinda ,” came the soft echo; herüberwehn; Da sah ich sie mir zur Seite stehn: then I saw her at my side. “Du suchtest so treu, nun finde!” “You searched so faithfully. Now you find me.”

Erlk önig The Erlking Text : Johann Wolfgang Goethe Trans .: Richard Wigmore

Wer reitet so spät durch Nacht und Who rides so late through the night Wind? and wind? Es ist der Vater mit seinem Kind; It is the father with his child. Er hat den Knaben wohl in dem Arm, He has the boy in his arms; Er faßt ihn sicher, er hält ihn warm. he holds him safely, he keeps him warm.

“Mein Sohn, was birgst du so bang “My son, why do you hide your dein Gesicht?”— face in fear?” “Siehst, Vater, du den Erlkönig “Father, can you not see the nicht? Erlking? Den Erlenkönig mit Kron und The Erlking with his crown and Schweif?”— tail?” “Mein Sohn, es ist ein Nebelstreif.”— “My son, it is a streak of mist.” Mostly Mozart Festival I Texts and Translations

“Du liebes Kind, komm, geh mit mir! “Sweet child, come with me. Gar schöne Spiele spiel ich mit dir; I’ll play wonderful games with you. Manch bunte Blumen sind an dem Many a pretty flower grows on the Strand, shore; Meine Mutter hat manch gülden my mother has many a golden Gewand.” robe.”

“Mein Vater, mein Vater, und hörest “Father, father, do you not hear du nicht, Was Erlenkönig mir leise what the Erlking softly promises verspricht?”— me?” “Sei ruhig, bleibe ruhig, mein Kind: “Calm, be calm, my child: In dürren Blättern säuselt der the wind is rustling in the withered Wind.”— leaves.”

“Willst, feiner Knabe, du mit mir gehn? “Won’t you come with me, my fine lad? Meine Töchter sollen dich warten My daughters shall wait upon you; schön; Meine Töchter führen den my daughters lead the nightly dance, nächtlichen Reihn Und wiegen und tanzen und singen and will rock you, and dance, and dich ein .” sing you to sleep.”

“Mein Vater, mein Vater, und siehst “Father, father, can you not see du nicht dort Erlkönigs Töchter am düstern Erlking’s daughters there in the Ort?”— darkness?” “Mein Sohn, mein Sohn, ich seh es “My son, my son, I can see clearly: genau: Es scheinen die alten Weiden so it is the old grey willows grau.”— gleaming.”

“Ich liebe dich, mich reizt deine “I love you, your fair form allures me, schöne Gestalt; Und bist du nicht willig, so brauch and if you don’t come willingly, ich Gewalt.” I’ll use force.” “Mein Vater, mein Vater, jetzt faßt er “Father, father, now he’s seizing me, mich an! Erlkönig hat mir ein Leids getan!”— The Erlking has hurt me!”

Dem Vater grausets, er reitet The father shudders, he rides geschwind, swiftly, Er hält in Armen das ächzende Kind, he holds the moaning child in his arms; Erreicht den Hof mit Mühe und Not: with one last effort he reaches home; In seinen Armen das Kind war tot. the child lay dead in his arms. Mostly Mozart Festival I Notes on the Program

Symphony No. 40 in G minor, K.550 (1788) WOLFGANG AMADEUS MOZART

Approximate length: 35 minutes

Mozart composed his last three symphonies—the graceful No. 39, the passionate No. 40, and the Olympian No. 41 (“Jupiter”)—in an astonishingly brief six-week period during the summer of 1788. These pieces both encapsulate the Classical tradition and look forward. What is modern about them is not the number of players—after Mozart’s time the typical symphony orchestra would double in size—but the sheer breadth of their conception. Each tells a single story of epic length, and as a result the work’s center of gravity shifts toward the finale. In the Symphony No. 40 in G minor, the pathos rarely lets up, and the last movement is the most frantic and dissonant of all.

The late pianist and musicologist Charles Rosen found “something shockingly voluptuous” in this work, beginning with the very first bars; instead of the customary forte entrance for full orchestra, there is the merest murmur of violas to usher in the sinuous violin theme. Agitation and pathos alternate throughout the movement, rising to powerful climaxes in the development section and the brief coda.

After so much tragic drama, it is not surprising that Mozart’s biographer Alfred Einstein found “divine tranquility” in the Andante ; yet the throbbing dissonances of the first theme, accompanied by chromatic groans from the cellos, are anything but tranquil.

Mozart dons Brahmsian heavy boots for the Menuetto , bestriding wide melodic intervals and stomping the syncopations with grim determination. In the bucolic trio, he displays his special gift for woodwind writing.

“A raging torrent bursts its banks” is how Georges de Saint -Foix described the final Allegro assai . A torrent it surely is, but it stays within its sonata -form banks, thereby gaining still more force. After a wild ride in the development, the recapitulation is colored and extended for still greater intensity as the music rushes pitilessly to its conclusion.

David Wright, a music critic for Boston Classical Review , has provided program notes for Lincoln Center series since 1982.

e R O L h Y A T

t R E

F I N t N E J e Louis Langrée e Louis Langrée, music director of the Mostly Mozart Festival since December

M 2002, was named Renée and Robert Belfer Music Director in August 2006. Under his musical leadership, the Mostly Mozart Festival Orchestra has received extensive critical acclaim, and their performances are an annual summertime highlight for classical music lovers in New York City.

Mr. Langrée is also music director of the Cincinnati Symphony Orchestra and chief conductor of Camerata Salzburg. During the 2015–16 season, he will conduct the Cincinnati Symphony Orchestra at Lincoln Center as part of the Great Performers series. At home in Ohio, the ensemble’s per - formances will include a Brahms festival and three world-premiere con - certos for orchestra. Mr. Langrée will also tour Germany with Cam erata Salzburg. His guest engagements include appearances with Gewandhaus Orchestra of Leipzig and performances of Così fan tutte at the Aix-en- Provence Festival.

Mr. Langrée frequently appears as guest conductor with the Berlin and Vienna Philharmonics, Budapest Festival Orchestra, London Philharmonic Orchestra, Paris Orchestra, and NHK Symphony Orchestra, as well as with the Freiburg Baroque Orchestra and Orchestra of the Age of Enlightenment. His opera engagements include appearances with the Metropolitan Opera, Lyric Opera of Chicago, La Scala, Opéra Bastille, Royal Opera House–Covent Garden, and the Vienna State Opera. Mr. Langrée was appointed Chevalier des Arts et des Lettres in 2006 and Chevalier de l’Ordre National de la Légion d’Honneur in 2014.

Mr. Langrée’s first recording with the Cincinnati Symphony Orchestra, released in September 2014, features commissioned works by Nico Muhly and David Lang, as well as Copland’s Lincoln Portrait narrated by Maya Angelou. His DVD of Verdi’s La traviata from the Aix-en-Provence Festival featuring Natalie Dessay and the London Symphony Orchestra was awarded a Diapason d’Or. His discography also includes recordings on the Accord, Naïve, Universal, and Virgin Classics labels. Mostly Mozart Festival I Meet the Artists E V E R G G R O B

O C R A M

Matthias Goerne

Matthias Goerne has collaborated with leading orchestras all over the world and appeared on the world’s principal opera stages, including the Royal Opera House–Covent Garden, Madrid’s Teatro Real, Paris National Opera, Vienna State Opera, and the Metropolitan Opera. His carefully chosen roles range from Wolfram, Amfortas, Kurwenal, Wotan, and Orest to the title roles in Berg’s Wozzeck , Bartók’s Bluebeard’s Castle , and Hindemith’s Mathis der Maler .

Mr. Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an International Classical Music Award, and recently the Diapason d’Or Arte. He has recorded a series of selected Schubert on 11 CDs for Harmonia Mundi.

From 2001 to 2005, Mr. Goerne taught as an honorary professor of song inter - pretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001 he was appointed an honorary member of the Royal Academy of Music in London. A native of Weimar, he studied with Hans-Joachim Beyer in Leipzig, and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau.

Highlights of the 2014–15 season have included a tour with the Vienna Philharmonic; concerts with the Chicago, Boston, Dallas, and London symphony orchestras, Czech Philharmonic Orchestra, Paris Orchestra, and the National Academy of St. Cecilia Orchestra; and song recitals with Piotr Anderszewski, Leif Ove Andsnes, and Christoph Eschenbach in London, Vienna, Berlin, and at Teatro alla Scala. In January 2015 Mr. Goerne made his debut as Wotan in a concert version of Wagner’s Das Rheingold with the Hong Kong Philharmonic Orchestra. In addition to Mostly Mozart, he has been invited to prestigious summer festivals in Lucerne, Salzburg, Verbier, Edinburgh, Tanglewood, and Japan. Mostly Mozart Festival I Meet the Artists

Randall Ellis

Randall Ellis attended the North Carolina School of the Arts and the State University of New York at Stony Brook, where he studied with Ronald Roseman. He is principal oboist of the Mostly Mozart Festival Orchestra and the Little Orchestra Society; he is also the solo English horn in the New York Pops. He is the oboist in Windscape Woodwind Quintet, which serves as artists-in-residence at the Manhattan School of Music. He was principal oboist of the New York Chamber Symphony and with them received two Grammy nominations, including one for his recording of Hanson’s Pastorale. He has performed with the New York Philharmonic, Seattle Symphony, San Diego Symphony, Florida Orchestra, and the American Symphony Orchestra.

As a guest artist, Mr. Ellis has appeared with the Orpheus Chamber Orchestra and has concertized and recorded with The Chamber Music Society of Lincoln Center. He has been a soloist with the New England Bach Festival, the Philharmonia Virtuosi of New York, and Chamber Music at the 92nd Street Y. Mr. Ellis has freelanced with the Ensemble Wien-Berlin, Orchestra of St. Luke’s, the New York Philomusica Chamber Ensemble, and the orchestras of the Martha Graham, Paul Taylor, and American Ballet Theatre dance compa - nies. He has also appeared on radio and television, including the Today Show, CBS Sunday Morning, and L ive From Lincoln Center. Mr. Ellis has recorded for EMI/Angel, Columbia, Sony, RCA, Vox, Nonesuch, Pro Arte, Delos, and Deutsche Grammophon. He teaches oboe and chamber music at Skidmore College in Saratoga Springs, New York.

Charlie Albright

Critically acclaimed for his virtuosic technique and unique sense of musicality, Charlie Albright has quickly become one of his generation’s leading pianists. He was the recipient of the prestigious 2014 Avery Fisher Career Grant and 2010 Gilmore Young Artist Award, as well as the 2014 Ruhr Piano Festival scholarship. His debut commercial recording, Vivace , has sold thousands of copies worldwide.

Mr. Albright’s 2015–16 season includes his debut at the Portland Piano International Recital Series, as well as solo concerts in Detroit, Houston, and San Antonio. He will also appear with the Alabama Symphony Orchestra and the California and Des Moines Symphonies. Mr. Albright has appeared with such orchestras as the BBC Concert Orchestra; the Edmonton and Lansing Symphony Orchestras; the Seattle, San Francisco, Phoenix, Fort Smith, and Victoria symphonies; the Kymi Sinfonietta; and the Boston Pops Orchestra. He has performed at the John F. Kennedy Center for the Performing Arts, the Salle Cortot, the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, and Alice Tully Hall.

Mr. Albright’s numerous awards include first prize at the 2006 Eastman Young Artists International Piano Competition and third prize at the 2007 Hilton Head Mostly Mozart Festival I Meet the Artists

International Piano Competition. He was the first classical pianist accepted to the Harvard College/New England Conservatory five-year BA/MM joint program. Mr. Albright graduated with the prestigious artist diploma from The Juilliard School in 2014, working with Yoheved Kaplinsky. He is a Steinway Artist.

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 exclu - sively to the music of Mozart. Now a New York institution, Mostly Mozart continues to broaden its focus to include works by Mozart’s predecessors, contemporaries, 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 ensembles, and acclaimed soloists, as well as opera productions, dance, film, late-night performances, and visual art installations. Contemporary music has become an essential part of the festival, embodied in annual artists-in-residence, including Osvaldo Golijov, 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.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly Mozart Festival, and the only U.S. chamber orchestra dedicated to the music of the Classical period. Louis Langrée has been the Orchestra’s music director since 2002, and each summer the ensemble’s Avery Fisher Hall home is transformed into an appropriately intimate venue for its perfor - mances. Over the years, the Orchestra has toured to such notable festivals and venues as Ravinia, Great Woods, Tanglewood, Bunkamura in Tokyo, and the Kennedy Center. Conductors who made their New York debuts leading the Mostly Mozart Festival Orchestra include Jérémie Rhorer, Edward Gardner, Lionel Bringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin, David Zinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist James Galway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S. debuts with the Mostly Mozart Festival Orchestra. Mostly Mozart Festival

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 Mostly Mozart Festival I Meet the Artists

Mostly Mozart Festival Orchestra Louis Langrée, Renée and Robert Belfer Music Director

Violin I Viola Oboe Timpani Ruggero Allifranchini, Shmuel Katz, Principal Randall Ellis, Principal David Punto, Principal Concertmaster Meena Bhasin Matthew Dine, Martin Agee Danielle Farina Principal* Organ Robert Chausow Chihiro Fukuda Nick Masterson Kent Tritle, Principal Lilit Gampel Jack Rosenberg Michael Gillette Jessica Troy Clarinet Librarian Sophia Kessinger Steve Hartman, Michael McCoy Ronald Oakland Cello Principal Michael Roth Ilya Finkelshteyn, Liam Burke Personnel Managers Deborah Wong Principal Neil Balm Ted Ackerman Bassoon Jonathan Haas Violin II Ann Kim Daniel Shelly, Principal Gemini Music Laura Frautschi, Alvin McCall Tom Sef cˇ ovicˇ Productions Ltd. Principal Eva Burmeister Bass Horn Katsuko Esaki Zachary Cohen, Lawrence DiBello, *Mozart Symphony Amy Kauffman Principal Principal No. 40 Katherine Livolsi- Lou Kosma Ian Donald Landau Judith Sugarman Richard Hagen Lisa Matricardi Steve Sherts Dorothy Strahl Flute Mineko Yajima Jasmine Choi, Trumpet Principal Neil Balm, Principal Tanya Dusevic Witek Lee Soper

Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra 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 Charlie Albright, 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 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 Leopold Mozart 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 Aloysia Weber. Performance of the “Paris” Symphony. Illness and death of Mozart’s mother. Aloysia rejects Mozart’s marriage proposal. 1779 Composition of “Coronation” Mass 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 written 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 requiem 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. Accessibility at Lincoln Center

eflecting a quote by Lincoln Center venues. Another major R Center’s first president John D. component of Accessibility is its Rockefeller III that “the arts are not for longstanding “Passport to the Arts.” the privileged few, but for the many,” The program annually distributes to Lincoln Center has had as a central children with disabilities thousands mission from its start making the of free tickets to a variety of Lincoln arts available to the widest possible Center performances, including audiences. In 1985, that led to the New York City Ballet and the New establishment of the Department of York Philharmonic—a welcoming Programs and Services for People with introduction to the arts. A parent who Disabilities to ensure full participation participated in a recent “Passport” in the thousands of events presented event commented “It allowed my annually across the Lincoln Center family and I to enjoy and learn along campus. It was the first such program with everyone else. The accessibility… at any major performing arts center made it easier for our family to “relax” in the U.S. and has long- and truly enjoy the served as a model for experience.” other arts institutions Accessibility is around the country. expanding the Celebrating its 30th ways it serves anniversary with a new adults with name, Accessibility disabilities. It at Lincoln Center, introduced and the program oversees American continues to provide Sign Language- exceptional guest led official tours care to all visitors, of Lincoln Center, as well as training and offers live in accessibility to audio description colleagues at Lincoln for select Lincoln Center’s resident Center Festival organizations, including performances. the Film Society of Accessibility Lincoln Center, the looks forward to growing its inclusive New York Philharmonic, and Jazz programs in the years to come. at Lincoln Center. Accessibility oversees the production To learn more about Accessibility of large-print and Braille programs at Lincoln Center, please contact for hundreds of performances taking [email protected] or call place each year at various Lincoln 212.875.5375. The Table is Set

merican Table Café and Bar by AMarcus Samuelsson in Alice Tully Hall is a great dining option available to Lincoln Center patrons, along with Lincoln Ristorante on Hearst Plaza, indie food & wine in the Elinor Bunin Munroe Film Center, ‘wichcraft in the David Rubenstein Atrium, The Grand Tier in the Metropolitan Opera house, the new Lincoln Center Kitchen in Avery Fisher Hall, and the Espresso Bar, also in Avery Fisher.

Marcus Samuelsson, the youngest chef ever to be awarded a three-star review by The New York Times and the winner Marcus Samuelsson of the James Beard Award for both as well as top honors on Chopped All “Rising Star Chef” (1999) and “Best Stars: Judges Remix. His current New Chef: New York City” (2003), crafted York restaurant, the wildly successful the menu along with long-time associate Red Rooster, is located in his home Nils Noren, MSG’s Vice President of base of Harlem. Restaurant Operations. American Table Cafe and Bar by Marcus Samuelsson American Table Cafe and Bar seats 73 serves food that celebrates the diversity inside, plus more space outside on the of American cuisine, drawing on influ- Alice Tully Hall Plaza. Diller Scofidio + ences and regions from across the Renfro, the designers of the critically country. Dishes on the menu, which is acclaimed Alice Tully Hall, have trans- offered for both lunch and dinner, formed the glass-walled space with include Smoked Caesar Salad, Shrimp lounge-like furniture in warm, rich colors, Roll, and Chocolate Cardamom Panna a long communal couch, tree-trunk Cotta. The bar features a cocktail menu tables, and lighting that can be dimmed designed by consulting master mixolo- to adjust the mood. The design—an gist, Eben Klemm, as well as a selection eclectic reinterpretation of Americana— of reasonably-priced wines. draws its inspiration from the cafe’s culinary focus. Call 212.671.4200 for Marcus Samuelsson’s recently pub- hours of operation. lished memoir, Yes, Chef, chronicles his remarkable journey from being orphaned at age three in his native Ethiopia to his adoption by a family in Göteborg, Sweden, where he first learned to cook by helping his grandmother prepare roast chicken. He went on to train in top kitchens in Europe before arriving in New York, first taking the reins at Aquavit. He has won the television competition Top Chef Masters on Bravo