July 25–August 23, 2014 Sponsored by Bloomberg

Sunday, Tuesday, and Thursday, August 17, 19, and 21, 2014

Artists-in-Residence International Contemporary Ensemble

Page 19 All–Sofia Gubaidulina Program Sunday Afternoon, August 17, at 5:00

Page 23 All–Anna Thorvaldsdottir Program Tuesday Evening, August 19, at 7:30

Page 27 Dai Fujikura, John Zorn, Alvin Lucier, and Messiaen Thursday Evening, August 21, at 7:30

Co-presented with Park Avenue Armory

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

Park Avenue Armory Please make certain your cellular phone, pager, or watch alarm is switched off. Mostly Mozart Festival

The Mostly Mozart Festival is sponsored by Upcoming Mostly Mozart Festival Events: Bloomberg. Tuesday and Wednesday Evenings, August 19–20, The Mostly Mozart Festival is made possible by at 8:00 in Avery Fisher Hall Rita E. and Gustave M. Hauser, The Fan Fox and Mostly Mozart Festival Orchestra Leslie R. Samuels Foundation, Inc., Ann and David Zinman , Conductor Gordon Getty Foundation, Charles E. Culpeper Joshua Bell , Violin Foundation, S.H. and Helen R. Scheuer Family Lawrence Power , Viola M|M Foundation, and Friends of Mostly Mozart. BOYCE: Symphony No. 1 MOZART: Sinfonia concertante for violin and viola, Public support is provided by the New York State K.364 Council on the Arts. BEETHOVEN: Symphony No. 3 (“Eroica”) Pre-concert recitals at 7:00 by Igor Kamenz, piano Artist Catering is provided by Zabar’s and Zabars.com. Wednesday Evening, August 20, at 7:30 in the Clark Studio Theater MetLife is the National Sponsor of Lincoln Center. Steven Schick , Percussion JOHN LUTHER ADAMS: The Mathematics of Bloomberg is the Official Sponsor of Lincoln Center Resonant Bodies Summer Programs. Friday and Saturday Evenings, August 22–23, Movado is an Official Sponsor of Lincoln Center. at 8:00 in Avery Fisher Hall Mostly Mozart Festival Orchestra United Airlines is the Official Airline of Lincoln Center. Louis Langrée , Conductor Patricia Kopatchinskaja , Violin WABC-TV is the Official Broadcast Partner of Susanna Phillips , Soprano Lincoln Center. Kelley O’Connor , Mezzo-soprano Dimitri Pittas , Tenor M|M William Hill Estate Winery is the Official Wine of Morris Robinson , Bass Lincoln Center. Concert Chorale of New York James Bagwell , Director “Summer at Lincoln Center” is sponsored by Diet BACH: Chorales from St. John Passion Pepsi. MARTIN: Polyptyque: Six Images of the Passion of Christ Time Out New York is Media Partner of Summer at MOZART: Requiem Lincoln Center. Pre-concert lecture on Friday, August 22 at 6:45 by Andrew Shenton in the Stanley H. Kaplan Penthouse Anna Thorvaldsdottir’s In the Light of Air was com - missioned by ICE through the ICElab program. ICElab is made possible through lead support from The M|M Mostly Mozart debut Andrew W. Mellon Foundation, alongside generous funding from the Greenwall Foundation, the National For tickets, call (212) 721-6500 or visit Endowment for the Arts, Jerome Foundation, the MostlyMozart.org. Call the Lincoln Center Info New York State Council on the Arts, the Francis Request Line at (212) 875-5766 to learn about Goelet Lead Charitable Trusts, and public funds from program cancellations or request a Mostly Mozart the New York City Department of Cultural Affairs in brochure. partnership with the City Council. 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.

16 Mostly Mozart Festival

Welcome to Mostly Mozart

I am delighted to welcome you to the 2014 Mostly Mozart Festival, where we explore the many facets of our namesake composer’s brilliance and invention. What better way to usher in that spirit than with an outdoor world premiere work by American composer John Luther Adams. Sila: The Breath of the World transforms Lincoln Center’s Hearst Plaza into a sonic stage before we rejoin Mozart in Avery Fisher Hall with the acclaimed Mostly Mozart Festival Orchestra.

This summer, our Festival Orchestra reaches beyond many Mozart masterpieces to the signature works of some of his great successors: Beethoven’s Ninth Symphony, Berlioz’s Symphonie fantastique , Martin’s Polyptyque . We join with favorite soloists—Joshua Bell, Richard Goode, Christian Tetzlaff—and also introduce luminaries making their festival debuts, including pianists Yuja Wang and Steven Osborne, and bass Ildar Abdrazakov.

We are always pleased to welcome the Mark Morris Dance Group to Mostly Mozart. This August, Mark Morris brings his unparalleled affinity for Handel to his newest creation, Acis and Galatea . The Philharmonia Baroque Orchestra and the Emerson String Quartet delight us in Alice Tully Hall, while the International Contemporary Ensemble celebrates new music in a collaboration with Park Avenue Armory. And don’t forget to join us for music and wine in casual, intimate Little Night Music recitals at the Kaplan Penthouse.

We all embrace the joy that celebrating Mozart’s music brings to New York in the summer. I hope to see you often here at Lincoln Center.

Jane Moss Ehrenkranz Artistic Director

17 Mostly Mozart Festival

Note from the Artists-in-Residence

Five summers ago we had the unexpected and life-changing privilege of sharing a stroll through the Austrian countryside with Sofia Gubaidulina. Members of ICE were playing at the Lockenhaus Chamber Music Festival, where Gubaidulina was the featured composer. At one point during an outdoor dinner, she took a couple of us by the arm and, in her bro - ken but buoyantly musical English, said, “Young friends, let us walk together.” We ambled around the hillside as she talked eagerly, with an effervescent ebullience about everything from post-serial microtonal Russian music to the mysticism of improvisation to her desire to send her music into outer space during her lifetime. She recalled with vivid fondness the moment when Shostakovich told her, upon hearing her music for the first time, “My wish for you is that you should continue on your own incorrect path.”

If Gubaidulina blazed her own trail in the Soviet Union, through exile, oppression, and poverty, what possible excuse did we have in 21st-century New York not to blaze ours, to innovate uncompromisingly, and at all costs?

We were searching at the time for a new way to invigorate and support the collaborative aspects of creating and commissioning new work by our generation of composers, particu - larly women, non-white artists, and those working at the borderlines of different disciplines and performance practices. Shortly thereafter we stumbled upon our next “incorrect path” with the realization of an ICE dream: the ICElab program, a radical platform to commission a new body of repertory by emerging composers created in close collaboration with ensem - ble members. Since then, we have commissioned 24 ICElab composers to write more than 60 new works, which we have presented in upwards of 150 performances around the world, many of them here at our beloved Mostly Mozart Festival.

In that spirit, for our second program, on August 19, we offer an evening of recent ICElab commissions by the spectacularly gifted young Icelandic composer Anna Thorvaldsdottir. Her immersive new work In the Light of Air —which features an array of metallic elements called klakabönd (“a bind of ice”) in Icelandic—transforms the performance space into a porous chamber of light, sound, and sparkling stillness. Anna is one of the brightest stars of our generation, and we are proud to present a portrait of her work on the heels of our Gubaidulina retrospective.

For our final program, we journey through themes of love, birth, eroticism, mysticism, and memory with a program of works crafted for the ensemble by our dear collaborators Dai Fujikura, John Zorn, and Cliff Colnot. As a counterpart to these premieres, we will also orna - ment Park Avenue Armory’s Board of Officers Room with a new rendition of Alvin Lucier’s 1968 classic Chambers , a work that reveals the rich natural resonances of objects by enclos - ing within them recordings of past events. In our version, we present homemade objects— some made by ICE members, others by ICE fans, still others by children we taught in rural Greenland and in Fukushima, Japan—for audience members to hold, experience briefly, and pass on. We invite you to embrace your own “incorrect path” within and around these tiny memory boxes.

Claire Chase ICE Founder, Flutist, and Artistic Director July 25–August 23, 2014 Sponsored by Bloomberg

Sunday Afternoon, August 17, 2014, at 5:00

Artists-in-Residence International Contemporary Ensemble

All–Sofia Gubaidulina Program

String Trio (1988) I II III

Sotto Voce (2010/13)

Quasi Hoquetus (1984 –85)

Meditation on the Bach Chorale “Vor deinen Thron tret ich hiermit” (1993)

This program is approximately 70 minutes long and will be performed without intermission.

Co-presented with Park Avenue Armory

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

Steinway Piano Please make certain your cellular phone, Park Avenue Armory pager, or watch alarm is switched off. 19 Mostly Mozart Festival

Program Summary by Ellen McSweeney

One of the most prolific and prominent Russian composers living today, Sofia Gubaidulina is known for the deep spiritual dimensions of her music. She is a devout Christian and cites her two massive choral works— St. John Passion (2000) and St. John Easter (2001)—as her most significant compositions. Gubaidulina has said that “true art for me is always reli - gious. It always involves collaborating with God.”

Born in the Russian region of Tatarstan to a Russian Orthodox mother and an atheist father of Islamic descent, Gubaidulina was raised in an environment where ethnic identity and spirituality were essential elements. As an emerging composer, she co–founded an ensemble made up of traditional folk instruments from the Russian Tatar and other regions. Though she now resides in Germany, she has continued to cultivate a strong connection to Russian culture, setting a number of texts by contemporary Russian poets to music and writing extensively for the bayan, the Russian chromatic-button accordion.

Gubaidulina’s music also reflects a deep awareness of historical context. She cites J.S. Bach as an important influence, as well as Dmitry Shostakovich and Anton Webern. “Although my music bears no apparent traces of it,” she writes, “these two composers taught me the most important lesson of all: to be myself.”The influence of Shostakovich, whose string quartets are among the most important in the repertoire, can certainly be heard in this evening’s emotive String Trio. And Gubaidulina’s keen interest in musical history is evident in Quasi Hoquetus , which riffs on a vocal imitation technique from the medieval period, as well as Vor deinen Thron tret ich hiermit , a fantasy on a Bach choral prelude for organ.

Because Gubaidulina came of age during such a tumultuous political period, it is natural to consider what impact political pressures might have had on her music. But she has often said that because her music was roundly rejected by the Soviet government, she had a great deal of artistic freedom. Impoverished and unrecognized, Gubaidulina wrote what she wanted to. The result is a bold, spiritual body of work that reveals the solitary artist in communion with her God and herself.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.

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Notes on the Program dense, swarming trills and insect-like col legno s that surround it are pure Gubaidulina. Ellen McSweeney by Despite its hyperactivity, the music has a luminous, multidimensional quality that sug - String Trio (1988) gests not only the realm of the spiritual, but SOFIA GUBAIDULINA even the supernatural. Born October 24, 1931, in Chistopol, Russia Currently resides in Appen, Germany Sotto Voce (2010/13) SOFIA GUBAIDULINA Approximate length: 20 minutes. This piece is scored for violin, viola, and cello. Appro ximate length: 22 minutes. This piece is Gubaidulina’s String Trio, written in 1988, is scored for viola, bass, and two guitars. dedicated to the memory of Russian literary giant Boris Pasternak. With its angst-filled Written in 2010 and revised in 2013, Sotto expressiveness and vivid characters, the Trio Voce is an excellent example of the unusual has much in common with the beloved 20th- instrument combinations for which Gubai- century chamber music of Schnittke and dulina has become well-known. It is also an Shostakovich. But Gubaidulina’s palette, with introduction to her provocative use of titles: its innovative textures and extreme sounds, the ferocious double-cadenza opening is any - also represents a bold departure from the thing but sotto voce . Like any good juxta- music of her Russian predecessors. po sition, the pairing of the bowed and plucked string instruments naturally attunes As is common in string-trio writing, the the listener to the differences in the way instrumentalists are essentially treated like these instruments begin and sustain soun d. soloists, with significantly different virtuosic demands than they might face in a quartet. The two guitars create a highly unusual, the - In Gubaidulina’s spacious, highly theatrical atrical “underbelly” for the virtuosic strings. second movement, the pizzicato interac - While at times the sound of the guitars is dif - tions between violinist and cellist seem ficult to discern, perhaps it is their subtle spontaneous —almost improvised—while presence to which Gubaidulina refers in her the violist unfolds its church-like melody like title. Whether audible or not, the guitars are a singer steadily intoning from the pages of performing the invisible, the inaudible— a hymnal. This movement is a kind of colli - adding another ghostly dimension to the sion between earthly stumblings and sacred composer’s exploration of the sacred. intention. Here more than anywhere else in the Trio, we hear the restraint and asceticism Quasi Hoquetus (1984 –85) of Webern. This is sparse, contemplative SOFIA GUBAIDULINA music with abundant silences, allowing us to rest and reflect between the dense, frenetic Approximate length: 14 minutes. This piece is outer movements. scored for viola, bassoon, and piano.

The third movement springs to life immedi - Throughout her career, Gubaidulina has ately, with a relentless and anxious motor shown a particular affinity for the viola and rhythm in the viola part that could have been bassoon, two orchestral instruments that are written by Shostakovich himself. But the often considered soloistic underdogs. They

21 Mostly Mozart Festival play a key part in the medievally inspired The program’s closing Meditation is nothing Quasi Hoquetus , a work of great color and short of a tour de force. The influence of humor that demonstrates Gubaidulina’s Bac h’s religious devotion, and his music’s masterful ability to juxtapose music from unparalleled balance between intellect and vastly different time periods and places. emotion, are exhibited here in the explosive Gubaidulina has long had a fascination with drama and pathos of this meditation on his early music; she has set to music texts by “death bed” chorale prelude. Written for noted composer and writer Hildegard of organ, “ Vor deinen Thron tret ich hiermet ” Bingen. The very old and the very new coex - is based on a hymn tune by Martin Luther. ist easily in this work : amid its wild sound A revision of the piece was reportedly dic - world of extended instrument techniques, a tated by Bach as he lay dying. Its text is two- part chorale—complete with vibrato and translated as follows: more traditional viola and bas soon voices — materializes out of nowhere. Before your throne I now appear, O God, and humbly bid you, Quasi Hoquetus (meaning “in the manner of turn not our gracious face, a hocket,” or “almost hocket”) refers to a away from me, poor sinner. composing technique, popular in medieval music, in which two or more voices perform As the harpsichord intones music from a single melody, most simply by alternating Bach’s original prelude, the string players pitches back and forth. This creates an almost comical “hiccupping” sound between haunt the sonic landscape with glittering the two singers, one of the most colorful tremolos and arresting harmonics. Toward vocal effects found in early music. the end of the piece, steady downbeats from the low strings and skittering ricochet Hocket is everywhere in this work, but its from the violins sustain a tragic, almost cin - presence can be easily missed if one isn’t ematic tension until it erupts, leaving us studying the score. In the work’s opening, with a sound world markedly different from the rapid alternation of the pianist’s left and the one in which we began. For a time, it’s right hands places him in a kind of hocket clear that we’ve descended into a chaotic with himself. About midway through, the abyss, as the low strings wail their har monic viola and bassoon trade short, jocular pairs of glissandos. But then the harpsichord’s wild notes like a pair of medieval tenors, and the cadenza turns out to be an accompaniment bumpy, bouncy vocal effect of traditional to a glorious, unison articulation of the Bach hocket is evident. Even when hocket is not chorale melody. As the piece comes to its present, the title Quasi Hoquetus rather inge - apocalyptic close, the supplication of God is niously draws our attention to whether the not a quiet prayer but a terrified scream instruments might, in some way, be com - from the void that pushes the harpsichord pleting each other’s musical sentences. to its physical limits.

Meditation on the Bach Chorale “Vor Ellen McSweeney is a Chicago-based violinist, deinen Thron tret ich hiermit ” (1993) writer, and songwriter. Her writing can be SOFIA GUBAIDULINA found regularly on NewMusicBox.org and on her blog, ellenmcsweeney.net. Approximate length: 10 minutes. This piece is scored for harpsichord, two violins, viola, cello, —Copyright © 2014 by Lincoln Center for the and bass. Performing Arts, Inc.

22 July 25–August 23, 2014 Sponsored by Bloomberg

Tuesday Evening, August 19, 2014, at 7:30

Artists-in-Residence International Contemporary Ensemble

All–Anna Thorvaldsdottir Program

Shades of Silence (2012) (New York premiere)

Int o—Second Self (2012)

In the Light of Air (2013 –14) (New York premiere) Luminance Serenity Existence Remembrance

This program is approximately one hour long and will be performed without intermission.

Please join the artists for a reception following the performance.

Co-presented with Park Avenue Armory

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

Steinway Piano Please make certain your cellular phone, Park Avenue Armory pager, or watch alarm is switched off.

23 Mostly Mozart Festival

Program Summary by Ellen McSweeney

An na Thorvaldsdottir describes her music as a “flowing world of sounds with an enigmatic lyrical atmosphere.” Born in Iceland, she has spent significant time in the U.S., earning advanced degrees in composition from the University of California at San Diego.

Now 37, Thorvaldsdottir began her collaboration with ICE as a participant in the 2013 ICElab program, which selects six young composers annually to place in long-term col - laborations with the ensemble. Her work In the Light of Air , written for the ICE players, resulted from this period. “We had a workshop in early 2013 where I was able to get to know each of them as performers,” says the composer. “I wanted to find their passions and emphasize these to some extent in their individual parts.”

While this evening’s program consists entirely of chamber music, it is Thorvaldsdottir’s unique use of the symphony orchestra that first drew international attention. She uses the large forces of the orchestra to achieve very subtle effects. Listeners can choose to “zoom out,” enjoying the grand sweep of the ensemble’s sound, or “zoom in,” observing the tiny details of a single string part. This same way of listening applies to the three chamber compositions on the program.

Thorvaldsdottir’s approach to melody is based more upon noise than pitch; she has said that she hears musical gestures as melody. The rasps and rattles of the percussion instru - ments in Into—Second Self can be heard not as isolated events, but as a pitchless melody strung together across the three parts. The same holds with the sighs, rustles, and hollow tremolos as they are passed among the string instruments in Shades of Silence .

The balance between profound stillness and percolating energy is one of the most engag - ing tensions in this composer’s music. Her forms breathe, change, and unfold organically. Critics, perhaps influenced by the programmatic music (and shared landscapes) of Nordic predecessors like Sibelius and Grieg, cannot help but hear howling wind and crackling ice in Thorvaldsdottir’s work. Into—Second Self , with its austere atmosphere and somber brass chorales, is a perfect example. But Thorvaldsdottir is careful to distinguish herself from these nature-inspired predecessors, and between programmatic and conceptual inspiration. “I don’t seek to portray the actual sounds heard in nature,” she says, “but rather to let nature inspire me as a grand design.”

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.

24 Mostly Mozart Festival

Notes on the Program Int o—Second Self (2012) ANNA THORVALDSDOTTIR by Ellen McSweeney Approximate length: 8 minutes. This piece is Shades of Silence (2012) scored for four horns, three trombones, and ANNA THORVALDSDOTTIR percussion. Born July 11, 1977, in Akranes, Iceland Currently resides in Reykjavík Into—Second Self was originally written as a commission for the Harpa Concert Hall and Approximate length: 8 minutes. This piece is Conference Center in Reykjavík, to celebrate scored for violin, viola, cello, and harpsichord. its new, specially designed glass facade. The piece was conceived as a site-specific Originally written for the Nordic Affect sound installation, and was performed on ensemble and premiered by them in January various levels of the concert hall during its 2013, Shades of Silence has a brief, mysteri - inau guration in 2011. Thorvaldsdottir then ous epigraph: a stream of subtleties in an reframed the work as a concert piece, which ocean of silence . premiered in May 2013. Th is evening’s per - formance places instruments in various This composition exemplifies the fascinating parts of the room, surrounding the audience tension between pitch and noise in Thor - and echoing the work’s original incarnation valdsdottir’s music. She draws magical effects as a sound installation. from the string instruments, creating an ecosystem of sound utterances that truly The sonic environment of the work is dark, lives and breathes. Her palette of surface cold, and austere, but unmistakably alive. noises—hollow rustlings, distant rattles, The use of a brass choir evokes the great metal, wood, and hair—makes a compelling orchestral works of Thorvaldsdottir’s Scan - argument for the exquisite beauty of noise. dinavian predecessors. Into—Second Self The music has an adept physicality, explor - finds a rich territory between the grand ing the many levels of depth on which the scale of the orchestra and the intimacy of bow can engage the string. In these spooky chamber music: the brass and percussion and lush string colors reside echoes of instruments allow for a soaring, all-envelop ing György Ligeti and George Crumb. sound, swarming dissonances in the horns, and subtle, hushed interactions. The piece Arou nd the halfway point in the piece, a also foreshadows Thorvaldsdottir’s interest flute-and-guitar-like composite emerges from in the sounds of human breath, which will th e guttural soundscape. This fragmented, be explored to great sonic and visual effect energized approach to melody is one of the in tonight’s final work, In the Light of Air . most distinct characteristics of Thorvalds - Here it is the percussion instruments, with dottir’s music. Shades of Silence closes their rasping surface sounds, that uncannily with a gorgeous, suspended chorale-like evoke the sounds of breath. section that coexists naturally with the non- melodic sounds around it. In Thorvaldsdottir’s multi- layered music we can, if we listen carefully, hear both the forest and the trees.

25 Mostly Mozart Festival

In the Light of Air (2013 –14) suggest flickering campfires, or sunsets ANNA THORVALDSDOTTIR glimpsed through trees. Thorvaldsdottir chose to use the musicians’ breath as a Approximate length: 42 minutes. This piece is guiding element of the lighting; in a sense, scored for viola, cello, piano, harp, percus sion, this places the audience in direct contact electronics, and light installation. with the performers’ bodily experience of the music. We might even feel that we are In the Light of Air , created during Thorvalds - inside their instruments, experiencing the dottir’s year-long collaboration with ICE in delicate and ever-evolving sound world from 2013, had its world premiere in Reykjavík the inside out. and will have its New York premiere this evening. Its four movements— Luminance , With its thoughtfully conceived, all-envelop - Serenity , Existence , and Remembrance— are ing sonic and visual production, In the Light seamlessly connected by brief transitions. of Air is what we might, in a historical dis - “The music material is constructed with cussion of classical music, call a total work focus on subtle nuances and poetic textures of art. Or, placing the piece in a more con - that form lyrical gestures throughout the temporary context, we might note that work,” Thorvaldsdottir says. “Melodies are Thorvaldsdottir’s legendary pop country - generated just as much by sounds, ges tures, woman, Björk, also carefully crafts the and nuances as by pitched lyrical material.” costume, set, and video pieces that accom - pany her artful popular music when it tours. Th roughout the work, listeners will hear Makers of contemporary art music are sections in which the instrumentalists are increasingly thinking about creating a com - featured soloists. “The performers alternate plete experience. This grand work by between traveling through fields of collec - Thorvaldsdottir strikes an utterly modern bal - tive instrumental alliances and moving into ance between the lush spectacle of a soloistic approaches,” the composer writes . “show” and the intimacy and experimenta - tion of 21st-century chamber music. In the Light of Air ’s visual world, designed by Thorvaldsdottir in collaboration with ICE Ellen McSweeney is a Chicago-based violinist, musicians and technical designers, is one of writer, and songwriter. Her writing can be austere, luminous beauty. Bare light bulbs found regularly on NewMusicBox.org and on dangle from the ceiling among Icelandic her blog, ellenmcsweeney.net. ornaments called klakabönd (“a bind of ice”), created by artist Svana Jósepsdóttir. —Copyright © 2014 by Lincoln Center for the The pulsations of the lighting design Performing Arts, Inc.

26 July 25–August 23, 2014 Sponsored by Bloomberg

Thursday Evening, August 21, 2014, at 7:30

Artists-in-Residence International Contemporary Ensemble David Fulmer , Conductor M|M Ellie Dehn , Soprano M|M

DAI FUJIKURA Minina (2013) (New York premiere)

JOHN ZORN Baudelaires (2013) (New York premiere) Paris Spleen Flowers of Evil Artificial Paradises

ALVIN LUCIER Chambers (1968) PHYLLIS CHEN, Soloist

MESSIAEN (arr. Cliff Colnot) Chants de terre et de ciel (1938/2008) (New York premiere) Bail avec Mi Antienne du silence Danse du bébé-pilule Arc-en-ciel d’innocence Minuit pile et face Résurrection

This program is approximately one hour long and will be performed without intermission.

M|M Mostly Mozart debut

Co-presented with Park Avenue Armory

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

Steinway Piano Please make certain your cellular phone, Park Avenue Armory pager, or watch alarm is switched off.

27 Mostly Mozart Festival

Program Summary by Ellen McSweeney

This evening’s program is a collection of works in which musical color and timbre are king. From John Zorn’s hyper-energized Baudelaires to Dai Fujikura’s Minina , this is whimsical, lively music that dazzles with its ever-changing palette. It was the spectacular range of col - ors in Olivier Messiaen’s Chants de terre et ciel that inspired Cliff Colnot to create an ensemble arrangement of the piece. And for the influential sound pioneer Alvin Lucier, color and timbre are territory for constant exploration and innovation. The open-ended score for Lucier’s Chambers— written for what he calls “sound-producing resonant objects”—encourages the performers to search for sound coloring in objects as ordinary as bowls or shoes.

The program also tracks the transformation of musical works as they travel from one per - formance context to another. While Fujikura originally wrote his dazzling concerto Mina for ICE and the Seattle Symphony, he reconfigured it as Minina for the more portable quintet we hear tonight. Messiaen’s songs for voice and piano have been transformed by Colnot, who heard their potential as an ensemble work. And Lucier’s whimsical and poetic per - formance instructions for Chambers guarantees that every rendition of the piece will be unique. ICE designed its realization of Chambers specifically for this performance at Mostly Mozart. They began following Lucier’s instructions months ago, gathering “cham - bers” (instruments) from artists and schoolchildren alike and making field recordings from New York City to Greenland. Whether in the hands of the composer, arranger, performer, or audience, musical works of art can continue to grow and evolve long after their scores have been finished.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.

For an audio-visual guide to the instruments used in Chambers —from teapots to handmade objects from Greenland—visit instagr.am/iceensemble or scan

28 Mostly Mozart Festival

Notes on the Program unex pectedly celestial music. At times in flow ing unison, and other times in fascinat ing Ellen McSweeney by canon, the wind parts create a multi-dimen - sional sound world against the inspired Minina (2013) backdrop of the hammered dulcimer. DAI FUJIKURA Born April 27, 1977, in Osaka, Japan Currently resides in London Baudelaires (2013) JOHN ZORN Born September 2, 1953, in New York City Approximate length: 8 minutes. This piece is Currently resides in New York City scored for flutes, oboe, clarinets, bassoon, and hammered dulcimer. Approximate length: 12 minutes. This piece is Minina , for wind quartet and percussion, is scored for violin, cello, flutes, clarinets, bas - the chamber version of Dai Fujikura’s con - soon, guitar, and harpsichord. certo, Mina , which was co-commissioned by the Seattle Symphony Orchestra, Bam - The prolific American composer John Zorn berg Symphony, and Nagoya Philharmonic recently marked his 60th birthday. To cele - Orchestra. As Fujikura noted ahead of the brate, ICE gave a retrospective that focused work’s premiere in 2012, Mina was inspired exclusively on his most recent work—a wise by the birth of his first child: choice, given that assembling a complete Zorn retrospective would require an enor - I was amazed how one’s life on earth mous number of concerts. The composer has starts so suddenly. And so the piece collaborated with a dizzying number of begins as if it starts in the middle: the musicians in a diverse array of genres: clas - soloists play together at first, as if they sical, improvised, jazz, rock, and klezmer, to were one instrument. I wanted to show name just a few. His music is often both styl - how rapidly the mood of the music ish and irreverent; Baudelaires , premiered by shifts from one mood to another, just ICE last October in Chicago, is no exception. as if you were looking at the baby’s face, which can display four expres - Charles Baudelaire, the French poet after sions in one seco nd. whom the piece is named, is the perfect lit - erary figure for Zorn to tackle. Baudelaire The solo wind instruments are unabashedly was an advocate of the contemporary music the stars of Mina , and in hearing the piece and art of his time and is credited with coin - without its original orchestral surroundings, ing the term “modernity.” As an artist him self, we can perhaps appreciate Fujikura’s wind Baudelaire was a stylistic and formal inno - writing—and the virtuosity of the soloists— vator, inventing a style of prose poetry that even more fully. The music buzzes with was highly influential on his contemporaries. energy and new life, rapidly shifting and His poetic voice was a notable departure bab bling excitedly. One can easily imagine from the Romantics who had preceded him: that the principal woodwinds (and the his work was more urban, refined, and morally percussionist) of the orchestra have taken complex. He was also deeply interested in flight from their chairs and begun to chant the concept of the dandy—the emerging

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18th-century image of a self-made, dapper, conceptual and technological innovation: for intellectual showman with a political edge. example, his use of brain waves in live per - Baudelaires shares with its namesake an formance (an idea explored by ICElab interest in rhetoric: not only what the music composer Daniel Dehaan in a 2013 work for (or poem) is saying, but how it is saying it. cellist Katinka Kleijn) and the generation of visual imagery by sound (an important con - Showmanship is a major feature of Baude - cept in the audiovisual work of Anna Thor- laires . The piece begins with a tutti flurry of valdsdottir, who was celebrated in an earlier activity before starting to highlight energetic concert at this Mostly Mozart ICE series). solos from the flute, violin, bas soon, and harpsichord. Each instrumentalist’s effort to Lucier not only uses everyday objects seiz e the spotlight frequently collapses into as instruments, but often considers the delightful chaos, with gestures tumbling on performance space itself to be an instru - top of one another. As the piece progresses, ment. An illustrative example is his 1967 however, moments of unity and organization work Shelter , written for “vibration pickups, take place more frequently. In Baudelaires , am pli fication system, and enclosed space.” we find the musicians in a kind of hyper- Chambers also elevates the importance modern concerto grosso: trading busy, of sonic space, or more specifically, space- expressive, virtuosic solos as the guitar and within-a-space. Tailoring the piece to Park harpsichord lay down a gnarly continuo. Avenue Armory’s Board of Officers Room, ICE musicians broke down Lucier’s perfor - Zorn’s music here has a distinct and elabo - mance instructions into four basic steps: rate way of speaking, like someone winking as they use a deliberately fancy vocabulary. 1. Collect or make a “chamber,” or resonant Seamlessly marrying the divergent worlds object. (Lucier includes a delightful list of of Baroque virtuosity and 21st-century coun - possible chambers—instruments, that is— terpoint, Baudelaires is a shining example of in his score, including bulbs, funnels, cacti, the pluralism that has made Zorn one of our and empty missiles.) ICE has been “perform - most important living composers. ing” this aspect of the score since the late spring, collecting everything from the whirly- Chambers (1968) tubes loved by New York schoolchildren to ALVIN LUCIER custom music-boxes made by Phyllis Chen. Born May 14, 1931, in Nashua, New Hampshire 2. Find a way to make the chamber sound. Currently resides in New York Lucier’s suggestions include blowing, bow - ing, bouncing, and squeezing. Approximate length: 10 minutes 3. Take the chamber away. Performers may American composer Alvin Lucier came to get quite far apart during this phase of the prominence in the 1960s, and his pioneer ing realization, but we could also understand this work continues to influence and permeate instruction as part of the sound-collecting contemporary music being written today. process that ICE musicians have been Many of the young composers championed engaging in throughout the summer. The by ICE are carrying forth Lucier’s legacy of ensemble took some of the “chambers”

30 Mostly Mozart Festival very far away indeed—to their recent resi - songs, the innocence of his newborn child; dency at the Far North music festival in and in the final two songs, man’s potential Greenland, where they captured field for both sinfulness and resurrection. recordings for this evening’s performance. Messiaen is one of the most distinct and 4. Bring it back. The place ICE has brought colorful voices of 20th-century music, with their chambers back to is, of course, Park a particularly rich harmonic language that Avenue Armory, where the listener can easily evokes the mystical. Noted conductor delight in the specificity of something never and arranger Cliff Colnot first heard these heard before, and will never be heard in songs while walking down the halls of quite the same way again. Chicago’s Merit School of Music, where a pianist and vocalist were rehearsing them in Chants de terre et de ciel (1938/2008) a practice room. He stopped to listen and OLIVIER MESSIAEN realized almost immediately that the songs, Born December 10, 1908, in Avignon, France with their diverse colors and timbres, would Died April 28, 1992, in Paris be a natural fit for an ensemble arrange - ment using winds, strings, and percussion. CLIFF COLNOT Born in Youngstown, Ohio In the opening of the first song, “Bail avec Currently resides in Chicago, Illinois Mi,” what was once a passage of warm piano chords in the first song’s opening Approximate length: 24 minutes. This piece is becomes a lush chorale of winds and strings, scored for voice, violin, viola, cello, piccolo, shading the luxurious vocal line. In “Antienne flutes, clarinets, piano, and percussion. du silence,” viola pizzicati allow a lively bass line to emerge with new clarity. In the final Messiaen wrote his Chants de terre et de song, “Résurrection,” the ensem ble punctu - ciel (Songs of Earth and Sky ) in 1938, ates the singer’s religious declarations with a inspired by his love for his wife, the violinist persistent, clanging chord. Throughout the and composer Claire Delbos, and their new - cycle, the silver transparency of the flute born son Pascal. The songs, and their title, transforms the piano’s high register, and reflect an important tension in Messiaen’s percussion instruments punctuate the music’s work between a reverence for the sacred most gripping dramatic moments. Colnot’s and appreciation for the earth-bound, arrangement of Chants de terre et de ciel is human realm. The texts for the songs are by a celebration and elaboration of the original the composer himself; Messiaen wrote the score, bringing the songs to new life in this texts for all but two of his own vocal works. expanded instrumentation. His strong interest in theology and literature made it a natural choice for him to both Ellen McSweeney is a Chicago-based violinist, compose and set his own poetry. Here, we writer, and songwriter. Her writing can be find the composer grappling with the found regularly on NewMusicBox.org and on messy, human, transcendent realm of love her blog, ellenmcsweeney.net. and family. In the first two songs, Messiaen reflects upon the sacred and celestial bond —Copyright © 2014 by Lincoln Center for the he shares with his wife; in the second two Performing Arts, Inc.

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Chants de terre et de ciel Songs of Earth and Sky Text: Olivier Messiaen Trans.: Joseph Bain and Donald Winkler

Bail avec Mi (pour ma femme) Pledge with Mi (for my wife) Ton œil de terre, Your eye of earth, Mon œil de terre, my eye of earth, Nos mains de terre, our hands of earth, Pour tisser l’atmosphère, to weave the atmosphere, La montagne de l’atmosphère. the mountain of atmosphere. Étoile de silence, Silent star À mon cœur de terre, to my heart of earth, A mes lèvres de terre, my lips of earth, Petite boule de soleil, small ball of sun, Complémentaire à ma terre, a foil for my earth. Le bail, This pledge, Doux compagnon de mon épaule amère. sweet companion to my bitter shoulder.

Antienne du silence (pour Le Jour des Antiphon of Silence (for the Day of Anges Gardiens) Guardian Angels) Ange silencieux, Silent angel, Écris du silence dans mes mains silent writings in my hands, Alléluia. alleluia. Que j’aspire le silence du ciel, How I aspire to the silence of heaven, Alléluia. alleluia

Danse du b ébé-pilule (pour mon petit Dance of B ébé Pilule (for my little Pascal) Pascal) Pilule, viens, dansons. Pilule, come, let’s dance. Malonlanlaine, ma. Malonlanlaine, ma. Ficelles du soleil. Strands of sunshine. Malonlanlaine, ma. Malonlanlaine, ma. C’est l’alphabet du rire It’s the alphabet of laughter Aux doigts de ta maman. at your mother’s fingertips. Son oui perpétuel Her perpetual yes Était un lac tranquille. was a tranquil lake. Malonlanlaine, ma, ma. Malonlanlaine, ma, ma. Douceur des escaliers, Gentleness of staircases, Surprise au coin des portes. surprise at the turnings of doors. Tous les oiseaux légers All the light birds S’envolaient de tes mains. take flight from your hands. Oiseaux légers, cailloux, Light birds, pebbles, Refrains, crème, légère. refrains, light cream. En poissons bleus, Into blue fish, En lunes bleues, into blue moons, Les auréoles de la terre et de l’eau, halos of earth and water, Un seul poumon dans un seul roseau. a single lung in a single reed.

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Lo, io, malonlaine, ma. Lo, malonlaine, ma. L’œil désarmé, The disarmed eye, Un ange sur la tête, ton petit nez levé an angel on the head, your little nose raised Vers le bleu qui s’avale, towards the blue which swallows itself, Ourlant de cris dorés hemming the glass horizons Les horizons de verre, with gilded cries, you offered Tu tendais ton cœur si pur. your heart so pure. Chanter, chanter, chanter, ah! chanter To sing, to sing, ah! to sing, Glaneuses d’étoiles, tresses de la vie, gleaner of stars, braids of life, Pouviez-vous chanter could you sing Plus délicieusement? more delightfully? Le vent sur tes oreilles, The wind on your ears, Malonlanlaine, ma, Malonlanlaine, ma, Joue à saute-mouton, plays leap-frog, Malonlanlaine, ma, Malonlanlaine, ma, Et la présence verte and your mother’s Et l’œil de ta maman. watchful eye and presence. En effeuillant une heure Shedding one hour Autour de mon sourire. around my smile. Malonlanlaine, ma. Malonlanlaine, ma. Lo, ha, ha, ha, ha, ha, io, io! Lo! ha, ha, ha, ha, ha, io, io!

Arc-en-ciel d ’innocence (pour mon Rainbow of Innocence (for my little petit Pascal) Pascal) Pilule, tu t’étires comme une Pilule, you stretch like Majuscule de vieux missel. an old missal’s first letter. Tu es fatigué; regarde ta main. You’re tired; look at your hand. Jouet incassable, les ressorts Unbreakable toy, the springs Fonctionnent toujours; still work; Mais on ne peut pas le lancer par-dessus but you can’t toss it bord overboard Comme la jolie poupée en coton. like the pretty cotton doll. Rêve aux plis de l’heure; tresse, tresse Dream at the folds of time; braid Des vocalises autour du silence: melismas around silence: Le soleil t’écrira sur l’êpaule du the sun will write to you on the shoulder matin of the morning Pour lancer des oiseaux to fling birds into Dans la bouche sans dents. your toothless mouth. Sourire, sourire, ce que tu chantes, Smile, smile, that which you sing, Chanter, chanter, t’a appris à sourire. Singing, singing, has taught you to smile. Ce que tu ne vois pas, sauras-tu en Will you be able to dream what you do rêver? not see? Viens, que je te catapulte dans le jour Come, let me launch you into the day Comme la libellule aviateur! like an aviator dragonfly! Te voilà plus haut que moi; quel plaisir de Now you are higher than me; Dominer tous ses géants! what fun to reign over all these giants! (Please turn the page quietly) 33 Mostly Mozart Festival

Attache à tes poignets fins To your delicate wrists fasten Les arcs-en-ciel d’innocence rainbows of innocence Qui sont tombés de tes yeux, which have fallen from your eyes, Fais-les frémir dans les encoignures du make them tremble in the corners of temps time. Très loin, très près; recommençons cent Now far, now near; let’s start the game Fois le jeu! over a hundred times! Où est-il? si haut qu’on ne le voit plus? Where is he? so high, that he can’t be seen? Saute, mon bilboquet Pilule! Jump, my bilboquet Pilule! Tu t’agites comme un battant de You jiggle like the clapper of Cloche pascale. an Easter bell. Bonjour, mon petit garçon. Good morning, little boy.

Minuit pile et face (pour la Mort) Midnight Heads and Tails (for Death) Ville, œil puant, minuits obliques, City, stinking eye, slanted midnights, Clous rouillés enfoncés aux angles de rusted nails sunk at the angles of the l’oubli. forgotten. Agneau, Seigneur! Lamb, Lord! Ils dansent, mes péchés dansent! They dance, my sins dance! Carnaval décevant des pavés de la mort! deceiving carnival on the cobbles of death. Grands corps tout pourri des rues, Large rotted body of the streets, Sous la dure lanterne. under a stark lantern. Carrefour de la peur! Crossroad of fear! Couverture de Blanket of Démence et d’orgueil! dementia and pride! Rire, aiguise-toi, rire, avale-toi Laugh, hone yourself, laugh, swallow yourself Ces flarnbeaux sont des montagnes de nuit . these torches are mountains of night. Nœuds bien serrés de l’angoisse. Knots of anguish well tightened, Bête inouïe qui mange. inconceivable beast that eats, Qui bave dans ma poitrine. drooling within my breast. On my brow, Tête, tête quelle sueur! on my brow, what sweat! Et je resterais seul à la mort qui And I would be left alone while death m’enroule? circles me round? Père des lumières, Christ, Vigne d’amour Father of light, Christ, Vine of Love, Esprit Consolateur, Spirit Comforter, Consolateur aux sept dons! Comforter of the seven gifts! Cloches, mes os vibrent, Bell, my bones shake, Chiffre soudain, a sudden numbering, Décombres de l’erreur ruins of error and of Et des cercles à gauche, sinister circles, Neuf, dix, onze, douze. nine, ten, eleven, twelve. Oh! m’endormir petit! Oh! To fall asleep so small! Sous l’air trop large, dans un lit bleu, Under too wide a sky, in a blue bed, La main sous l’oreille, hand under ear, Avec une toute petite chemise. in a tiny little shirt.

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Résurrection (pour le Jour de P âques) Resurrection (for Easter Day) Alléluia, alléluia, Alleluia, alleluia. Il est le premier, le Seigneur Jésus. He is the first, the Lord Jesus. Des morts, il est le premier né. Of the dead He is the first born. Sept étoiles d’amour au transpercé, Seven stars of love for the pierced, Revêtez votre habit de clarté. don your cloak of clarity. “Je suis ressuscité, je suis “I am risen from the dead, I am risen from ressuscité. the dead. Je chante: pour toi, mon Père, pour toi, I sing: for Thee, my Father, for Thee, Mon Dieu, Alléluia my God, alleluia. De mort à vie je passe .” I pass from death to life.” Un ange. Sur la pierre il s’est posé. An angel. On the stone he perched. Parfum, porte, perle, Fragrance, gate, pearl, Azymes de la Vérité. unleavened Truth.

Alléluia, alléluia, Alleluia, alleluia. Nous l’avons touché, nous l’avons vu. We have touched Him, we have seen Him. De nos mains nous l’avons touché. With our hands we have touched Him. Un seul fleuve de vie dans son côté, One sole river of life in His side, Revêtez votre habit de clarté. don your cloak of clarity. “Je suis ressuscité, je suis “I am risen from the dead, I am risen from ressuscité. the dead. Je monte: vers toi, mon Père, I climb: towards Thee, my Father, towards vers toi, Thee, Mon Dieu, Alléluia. my God, alleluia. De terre à ciel je passe .” From earth to heaven I pass.” Du pain. Il le rompt et leurs yeux sont Bread. He breaks it and their eyes are dessillés. opened. Parfum, porte, perle, Fragrance, gate, pearl, Lavez-vous dans la Vérité. wash yourselves in Truth.

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Meet the Artists With leading support from the Andrew W. International Contemporary Mellon Foundation, ICE launched ICElab in early 2011. This program places teams of Ensemble ICE musicians in close collaboration with six The International Contemporary Ensemble emerging composers each year to develop (ICE) is dedicated to reshaping the way works that push the boundaries of musical music is created and experienced. With a exploration. ICElab projects will be featured modular makeup of 33 leading instrumental - in more than 100 performances from 2011–14 ists performing in forces ranging from solos and will be documented online through to large ensembles, ICE functions as per - ICE’s blog and DigitICE, an online venue. former, presenter, and educator, advancing ICE’s commitment to building a diverse, the music of our time by developing innova - engaged audience for the music of our time tive new works and new strategies for has inspired the Listening Room, an educa - audience engagement. ICE redefines con - tional initiative for public schools without cert music as it brings together new work in- house arts curricula. Using team-based and new listeners in the 21st century. composition and graphic notation, ICE musi - cians lead students in the creation of new Since its founding in 2001, ICE has pre - musical works, nurturing collaborative cre - miered more than 500 compositions––the ative skills and building an appreciation for majority of these new works by emerging musical experimentation. composers––in venues ranging from alterna - tive spaces to concert halls around the world. The ensemble received the American Music Center’s Trailblazer Award in 2010 for H C I its contributions to the field, and received the V E G R

Chamber Music America/ASCAP Award for O E G

A

Adventurous Programming in 2005 and J N O 2010. ICE was ensemble-in-residence at the S David Fulmer Museum of Contemporary Art Chicago A leader in his generation of composer- through 2013. The ICE musicians also serve as performers, David Fulmer has garnered artists-in-residence at the Mostly Mozart Fes - numerous international accolades for his tival, curating and performing chamber music bold compositional aesthetic combined with programs that juxtapose new and old music. his thrilling performances. The success of his Violin Concerto at Lincoln Center in 2010 ICE has released acclaimed albums on the earned international attention and resulted Nonesuch, Kairos, Bridge, Naxos, Tzadik, in immediate engagements to perform the New Focus, and New Amsterdam labels, work with major orchestras and at festivals with several forthcoming releases on Mode in the United Kingdom, Europe, North Reco rds. Recent and upcoming highlights Amer ica, and Australia. Mr. Fulmer made his include performances at Lincoln Center European debut performing and recording Festival, Musica Nova Helsinki, Wien Mod - his concerto with the BBC Scottish Sym - ern, Acht Brücken: Music for Cologne, and phony Orchestra under the direction of Cité de la musique in Paris, plus tours of Matthias Pintscher in 2011. A surge of new Japan, Brazil, and France. ICE has worked commissions have led to recent and upcom - with conductors Ludovic Morlot, Matthias ing performances by the Berliner Philhar- Pintscher, John Adams, and Susanna Mälkki. moniker, Ensemble Intercontemporain, New

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York Philharmonic, Deutsche Kammerphil - as Antonia in Les contes d’Hoffmann , Helena har monie Bremen, and ProMusica Chamber in Britten’s A Midsummer Night’s Dream , Orchestra of Columbus. This season Mr. Musetta at Rome’s Teatro dell’Opera, and Fulmer leads the Adelaide Sym phony Orch- her return to the Metropolitan Opera as estra, International Contemporary Ensemble, Donna Elvira and Musetta. Ms. Dehn made Elision Ensemble, Sydney Modern Music her Metropolitan Opera in the Parks debut as Ensemble, and numerous ensembles and Marguerite in Faust in 2007, and a success - orchestras throughout the United States ful house debut the following year as Mrs. and Europe. He was recently the recipient Naidoo in Philip Glass’s Satyagraha . She of the Charles Ives Fel lowship from the has also performed with the Los Angeles, American Academy of Arts and Letters and Minnesota, and Bilbao opera companies. the Carlos Surinach Commissioning Award from BMI. He holds a doctorate from The Highlights of Ms. Dehn’s orchestral engage - Juilliard School, and joined the faculty of ments include performances at Carnegie Columbia University in 2009. Hall with the Opera Orchestra of New York in Mozart’s Mass in C minor, Bach’s Magni - ficat , Vivaldi’s Gloria , and Haydn’s Harmonie- messe . At Avery Fisher Hall, she joined

I forces with Eve Queler at the Opera Orches - L I V H

S tra of New York as Inez in Meyerbeer’s A N A J

L’Africaine , and she debuted the role of Avis A I R O

T in Dame Ethel Smyth’s The Wreckers with C I V Ellie Dehn the American Symphony Orchestra. Ms. American soprano Ellie Dehn has earned Dehn’s discography includes Ravel: Intimate praise for her stage presence and rich, sen - Masterpieces , released on the Oberlin Music sual voice. In the 2013–14 season she label and distributed by Naxos America, and performed Fiordiligi in Così fan tutte at the a live recording of Saint-Saëns’s Henry VIII Teatro Lirico di Cagliari, Musetta in La at Bard SummerScape. bohème with Lyric Opera of Kansas City, and Donna Elvira in Don Giovanni at Teatro Massimo in Palermo, as well as covered About the Board of Officers Room the role of Rosalinde in a new production of Th e Board of Officers Room is one of the Die Fledermaus at the Metropolitan Opera most important historic rooms in America (directed by Jeremy Sams). Ms. Dehn also and one of the few remaining interiors by made her debut in the title role of Weber’s Herter Brothers. After decades of progres - Euryanthe at Bard SummerScape. Upcoming sive damage and neglect, the room was engagements include a return to San Fran - completely revitalized in 2013 by the archi - cisco Opera as Musetta in a new production tecture team at Herzog & de Meuron and of La bohème , Donna Anna in Don Giovanni executive architects Platt Byard Dovell with the San Diego Opera, and debuts with White Architects, who transformed the the Royal Opera House– Covent Garden, Palm space into a state-of-the-art salon for inti - Beach Opera, and Central City Opera. mate performances and other contemporary artistic programing. Ms. Dehn’s recent performances include the trio of Mozart/Da Ponte heroines (the The Board of Officers Room is the third Countess, Donna Anna, Fiordiligi) with San period room (out of 18) at Park Avenue Francisco Opera, her Teatro alla Scala debut Armory to be completed. The revitalization

37 Mostly Mozart Festival included the addition of contemporary light ing barrel vaulted roof, is one of the largest to the 1897 chandeliers, new interpretations unobstructed spaces in New York City. The of the stencil patterns on areas of loss, the Armory’s magnificent reception rooms addition of metallic finishes on new materi - were designed by leaders of the American als, and custom-designed furniture. The aesthetic movement, among them Louis room’s restoration was guided by the under- Comfort Tiffany, Stanford White, Candace standing that the Armory’s rich history and the Wheeler, and Herter Brothers. The building patina of time are essential to its character. is currently undergoing a $200 million reno - vation designed by Pritzker Prize–winning Park Avenue Armory architects Herzog & de Meuron. Part palace, part industrial shed, Park Avenue Armory has transformed itself from the for - Mostly Mozart Festival mer home of the Seventh Regiment into a Lincoln Center’s Mostly Mozart Festival— groundbreaking cultural institution that fills a America’s first indoor summer music critical void in the cultural ecology of New festival—was launched as an experiment in York by enabling artists to create and audi - 1966. Called Midsummer Serenades: A ences to experience unconventional work Mozart Festival, its first two seasons were that cannot be mounted in traditional perfor - devoted exclusively to the music of Mozart. mance halls and museums. Since 2007 the Now a New York institution, Mostly Mozart Armory has organized a series of immersive continues to broaden its focus to include performances and installations that have works by Mozart’s predecessors, contem - drawn critical acclaim and popular attention. poraries, and related successors. In addition to concerts by the Mostly Mozart Festival In 2010 the Armory instituted its artist-in- Orchestra, Mostly Mozart now includes residence program that provides artists concerts by the world’s outstanding period- with dedicated space in the building’s his - instrument ensembles, chamber orchestras toric period rooms within which they can and ensembles, and acclaimed soloists, as research, create, and develop new works well as opera productions, dance, film, late- across an array of disciplines. Park Avenue night performances, and visual art instal- Armory’s arts education programming en- lations. Contemporary music has become gages students and families with the Armory’s an essential part of the festival, embodied artistic programming, as well as the build - in annual artists-in-residence including ing’s history and architecture. The Armory Osvaldo Golijov, John Adams, Kaija Saari - debuted its annual recital series in 2013, aho, Pierre-Laurent Aimard, and the Inter- staged in the exquisite Board of Officers national Con- temporary Ensemble. Among Room to allow audiences a rare and intimate the many artists and ensembles who have opportunity to hear chamber music the way had long associations with the festival are it was originally meant to be experienced. Joshua Bell, Christian Tetzlaff, Itzhak Perl - man, Emanuel Ax, Garrick Ohlsson, Stephen Built between 1877 and 1881, Park Avenue Hough, Osmo Vänskä, the Emerson String Armory has been hailed for its 19th-century Quartet, Freiburg Baroque Orchestra, Orch- interiors. The 55,000-square-foot Wade estra of the Age of Enlightenment, and the Thompson Drill Hall, with an 80-foot-high Mark Morris Dance Group.

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

N E M R A

International Contemporary Ensemble

Violin Flute Trombone Percussion David Bowlin Claire Chase § Timothy Albright † Ian Antonio † Jennifer Curtis *§ Michael Boschen † Nathan Davis †§ Oboe Michael Lormand † Russell Greenberg † Viola Nick Masterson § Ross Karre †§ Kyle Armbrust Piano Maiya Papach § Clarinet Phyllis Chen *§ Hammered dulcimer Joshua Rubin § Jacob Greenberg § Nathan Davis § Cello Cory Smythe † Katinka Kleijn *§ Bassoon Nicholas Houfek, Lighting Akiva Cahn-Lipman † Rebekah Heller *§ Harpsichord Levy Lorenzo, Sound Michael Nicolas Jacob Greenberg * Design † Horn Cory Smythe †§ Bass David Byrd-Marrow † * August 17 Randall Zigler * Rachel Drehmann † Harp † August 19 Eric Reed † Nuiko Wadden † § August 21 Guitar Alana Vegter † Nadav Lev * No symbol indicates all Dan Lippel *§ three performances

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International Contemporary Ensemble Administration Claire Chase, Artistic Director and CEO Joshua Rubin, Program Director Jonathan Harris, Business Manager Ross Karre, Production Director Jacob Greenberg, Education Director Rebekah Heller, Development Associate Ryan Muncy, Grants Manager Forrest Wu, Assistant to the Artistic Director/CEO Maciej Lewandowski, Program Assistant

For Park Avenue Armory Rebecca Robertson, President and Executive Producer Michael Lonergan, Producing Director Jerad Schomer, Technical Director David Shocket, Assistant Technical Director Utsuki Otsuka, Production Coordinator

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Lisa Takemoto, Production Manager Bill Bragin, Director, Public Programming Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Jill Sternheimer, Producer, Public Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Interim Programming Publications Editor Mariel O’Connell, House Seat Coordinator Honor Bailey, House Program Intern ; Brenton O’Hara, Theatrical Productions Intern ; Jacob Richman, Production Intern

Program Annotators: Don Anderson, Christopher H. Gibbs, Ellen T. Harris, Kathryn L. Libin, Hugh Macdonald, Ellen McSweeney, Harlow Robinson, Paul Schiavo, David Wright