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July 28 Program Notes Tuesday Evening, July 28, 2015, at 8:00 m a Opening-Night Program r g Mostly Mozart Festival Orchestra Louis Langrée, Conductor o r Emanuel Ax, Piano M|M P Erin Morley, Soprano e AL L-MOZART PROGRAM h T Overture to Der Schauspieldirektor (“The Impresario”) (1786) Piano Concerto No. 14 in E-flat major, K.449 (1784) Allegro vivace Andantino Allegro ma non troppo Mr. Ax will perform Mozart’s cadenza. Intermission Vorrei spiegarvi, oh Dio! (1783) No, che non sei capace (1783) Symphony No. 34 in C major, K.338 (1780) Allegro vivace Andante di molto (più tosto Allegretto) Menuetto (fragment) Finale: Allegro vivace M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano 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: Wednesday Night, July 29, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Emanuel Ax , Piano Anna Polonsky , Piano M|M Orion Weiss , Piano BRAHMS: Waltzes, Op. 39 BRAHMS: Variations on a Theme by R. Schumann SCHUMANN: Bilder aus Osten Friday and Saturday Evenings, July 31–August 1, at 7:30 in Avery Fisher Hall Mostly Mozart Festival Orchestra Louis Langrée , Conductor Jeremy Denk , Piano BACH (trans. BRAHMS): Chaconne for piano left hand MOZART: Piano Concerto No. 20 in D minor BRAHMS: Symphony No. 4 Pre-concert recitals by Orion Weiss, piano, at 6:30 Saturday Afternoon, August 1, at 1:00 in the Walter Reade Theater Film: In Search of Haydn (New York premiere) Introduced by director Phil Grabsky Co-presented with the Film Society of Lincoln Center’s Sound + Vision series. 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 pho - tographs and the use of recording equipment are not allowed in the building. 07-31 Denk_Gp 3.qxt 7/22/15 10:13 AM Page 5 Mostly Mozart Festival Welcome to Mostly Mozart I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual celebration of the innovative and inspiring spirit of our namesake composer. This summer, in addition to a stellar roster of guest conductors and soloists, we are joined by composer-in-residence George Benjamin, a leading contemporary voice whose celebrated opera Written on Skin makes its U.S. stage premiere. This landmark event continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée and Robert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra delights this year with the Classical repertoire that is its specialty, in addition to Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation. Guest appearances include maestro Cornelius Meister making his New York debut; Edward Gardner, who also leads the Academy of Ancient Music in a Mendelssohn program on period instruments; and Andrew Manze with violin - ist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preemi - nent soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol Gabetta and Alina Ibragimova, who also perform intimate recitals in our expanded Little Night Music series. And don’t miss returning favorite Emerson String Quartet and the International Contemporary Ensemble, our artists-in- residence, as well as invigorating pre-concert recitals and lectures, a panel discussion, and a film on Haydn. With so much to choose from, we invite you to make the most of this rich and splendid festival. I look forward to seeing you often. Jane Moss Ehrenkranz Artistic Director Mostly Mozart Festival I Words and Music Orpheus By William Jay Smith Orpheus with music charms the birds And animals, the fish, the falling waves, The stars that might be starfish overhead, And dragons in their oriental caves. By men who suffer he is always heard, And speaks of life, and death which darkness brings, Of roads that wind like sorrow through the trees, Of forest, and of hills like sleeping kings. Let us prepare; the god of music comes. He will have laurel, and a fountain playing, Moon-men ready at the kettledrums, Fire-tipped lances, moon-white horses neighing, Earth awakening from her tragic sleep, The cool, ecstatic earth. O hear, O hear. —© by William Jay Smith. Reprinted by kind permission of William Jay Smith. For poetry comments and suggestions, please write to [email protected]. Mostly Mozart Festival By Paul Schiavo t o Early in 1781, Mozart left his native Salzburg and settled in Vienna, h where he would remain for the rest of his life. His first half-decade s in the Austrian capital proved to be the period of his greatest suc - cess, and the first three works we hear this evening embody the p qualities that make Mozart’s compositions from this time so a appealing. n Mozart wrote several operas during his first years in Vienna. All are S comedies, and the Overture to Der Schauspieldirektor (“The Impresario”) gives us Mozart in his humorous vein. In addition to his own theatrical works, Mozart occasionally wrote arias to be added to operas by other composers. We hear two splendid exam - ples this evening, both fashioned for Mozart’s sister-in-law. His operatic efforts notwithstanding, Mozart’s major achievement during his first five years in Vienna is the series of piano concertos he composed. The Concerto in E-flat major, K.449, typifies his mature writing for piano and orchestra. Our final offering, the Symphony No. 34 in C major, K.338, dates from just before Mozart’s move to Vienna, though its music is on the same high level as the works he produced there. —Copyright © 2015 by Paul Schiavo Mostly Mozart Festival I Notes on the Program By Paul Schiavo m Overture to Der Schauspieldirektor (“The Impresario”), K.486 (1786) a WOLFGANG AMADEUS MOZART r Born January 27, 1756, in Salzburg g Died December 5, 1791, in Vienna o r Approximate length: 5 minutes P Mozart’s short opera Der Schauspieldirektor (“The Impresario”) is a one-act farce about opera itself—or, more precisely, the vanities of singers and the e manipulative ways of the theater director of its title. Composed in 1786, it is h a slender work, consisting only of a pair of arias, a trio, a finale, and a good t deal of spoken dialogue. It is also dramatically slight, but its overture provides a worthy concert piece. n o The principal theme of this prelude, announced in the opening measures, conveys an impish, mischievous humor. Soon, Mozart introduces other s melodies and proceeds to juxtapose them against the first subject in rapid e succession. The lively interplay of these ideas prompted Otto Jahn, the great t 19th-century Mozart biographer, to venture that “the whole overture resem - o bles a comedy, with the different characters and intrigues crossing each other until, at last, all ends well.” One could hardly put it better. N Piano Concerto No. 14 in E-flat major, K.449 (1784) WOLFGANG AMADEUS MOZART Approximate length: 21 minutes After taking up residence in Vienna in 1781, Mozart achieved considerable success composing and performing concertos for piano and orchestra. He wrote some 15 works of this kind between 1782 and 1786, endowing them with some of his most satisfying instrumental music. Mozart wrote the Piano Concerto in E-flat major, K.449, in 1784. He initially created it for Barbara von Ployer, the daughter of a family whom he had known in their common native city of Salzburg and who became his student in the Austrian capital. That she was a talented and capable pupil is evident from the solo part, which is entirely characteristic of Mozart’s concerto style. The only concession her teacher made on her behalf is in the work’s orches - tral forces. Mozart could count on a fairly substantial ensemble for his own public performances, and he did not hesitate to include flutes, clarinets, trumpets, and timpani in his concerto scoring. Ployer, however, would have had more modest resources at her disposal. We find, therefore, only pairs of oboes and horns joining the usual string ensemble. Mozart performed the work himself in Vienna, providing further evidence that it is very much on a par with his other piano concertos. Mostly Mozart Festival I Notes on the Program The 3/4 meter of the first movement is a rarity among Mozart’s concerto open - ings, which usually unfold in a spacious 4/4 time.
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