July 25–August 23, 2014 Sponsored by Bloomberg

Monday Evening, August 4, 2014, at 6:30

Pre-concert Recital Emerson Eugene Drucker , Philip Setzer , Violin Lawrence Dutton , ,

HAYDN String Quartet in G major, Op. 33, No. 5 (1781) Vivace assai Largo e cantabile Scherzo: Allegro Finale: Allegretto DRUCKER, SETZER, DUTTON, WATKINS

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

Alice Tully Hall , Starr Theater Please make certain your cellular phone, Adrienne Arsht Stage pager, or watch alarm is switched off. Mostly Mozart Festival

Note on the the Op. 33 pieces. The earnestness we hear in much of Haydn ’s music from the Pre-concert Recital middle and late 1770s —not just in his by Paul Schiavo string quartets but, even more, in his sym - phonies and other works —has now given String Quartet in G major, Op. 33, No. 5 way to a seemingly genial, or at least less (1781) formal, demeanor that to some extent JOSEPH HAYDN masks their relatively complex and subtle Born March 31, 1732, in Rohrau, Austria compositional processes. Died May 31, 1809, in Vienna The opening movement of the Quartet in G Approximate length: 19 minutes major, Op. 33, No. 5 provides a striking example of Haydn ’s growing compositional Joseph Haydn was the first great composer sophistication. The piece begins with a of string quartets and, as time would show, brief introductory phrase of disarming sim - the most prolific. His earliest published plicity. This stated, the composer then work was a set of six quartets, issued as his goes on to the usual presentation and Op. 1 in 1764, and he wrote 22 additional development of a pair of more substantial quartets between 1764 and 1772. Haydn themes. But the introductory motif returns, then set aside string-quartet composition following much musical exploration and a for some nine years, his longest absence bar of pregnant silence, to begin a reprise from the genre. When he returned to it, he of the initial paragraph, and it later plays an produced a set of six quartets that he pro - important role in the coda passage that claimed were “written in a new and special closes the movement. way. ” These quartets were published in 1781 as Haydn ’s Op. 33. Their first known There follows a slow movement cast in a performance took place in Vienna before broad A-B-A form, and a Scherzo in place of Grand Duke Paul Petrovich, son of the expected minuet. This third movement Catherine the Great of Russia and eventu - prominently displays Haydn ’s famous ally her successor, Czar Paul II. For this, the musical wit through laughing chromatic set is sometimes referred to as the inflections, off-beat accents, and abrupt “Russian Quartets. ” pauses. The Finale takes the form of a theme with variations. Its subject uses the Haydn did not specify what was “new and rhythms of an old Italian dance, the sicil - special ” about his new quartets, but he iano, and the ensuing paraphrases deco - may well have had in mind their lightness, rate this melody with pleasing elegant figu - economy, and more focused elaboration of ration. thematic ideas. The former quality is prob - ably the most conspicuous characteristic of —Copyright © 2014 by Paul Schiavo July 25–August 23, 2014 Sponsored by Bloomberg

Monday Evening, August 4, 2014, at 7:30

Emerson String Quartet Eugene Drucker , Violin Philip Setzer , Violin Lawrence Dutton , Viola Paul Watkins , Cello Martin Fröst ,

HAYDN String Quartet in G minor, Op. 20, No. 3 (1772) Allegro con spirito Menuet Poco adagio Allegro di molto SETZER, DRUCKER, DUTTON, WATKINS

MOZART String Quartet in E-flat major, K.428 (1783) Allegro ma non troppo Andante con moto Menuetto Allegro vivace DRUCKER, SETZER, DUTTON, WATKINS

Intermission

MOZART Clarinet in A major, K.581 (1789) Allegro Larghetto Menuetto Allegro con variazioni FRÖST , DRUCKER, SETZER, DUTTON, WATKINS

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

Alice Tully Hall , Starr Theater Please make certain your cellular phone, Adrienne Arsht Stage pager, or watch alarm is switched off. Mostly Mozart Festival

The Mostly Mozart Festival is sponsored by Upcoming Mostly Mozart Festival Events: Bloomberg. Monday Night, August 4, at 10:00 The Mostly Mozart Festival is made possible by in the Stanley H. Kaplan Penthouse Rita E. and Gustave M. Hauser, The Fan Fox and A Little Night Music Leslie R. Samuels Foundation, Inc., Ann and Martin Frö st , Clarinet Gordon Getty Foundation, Charles E. Culpeper Antoine Tamestit , Viola Foundation, S.H. and Helen R. Scheuer Family Shai Wosner , Piano Foundation, and Friends of Mostly Mozart. MOZART: Trio in E-flat major ( “Kegelstatt ”) DEBUSSY: Première rhapsodie Public support is provided by the New York State POULENC: Council on the Arts. Tuesday and Wednesday Evenings, August 5–6, Artist Catering is provided by Zabar’s and at 8:00 in Avery Fisher Hall Zabars.com. Mostly Mozart Festival Orchestra Louis Langrée , Conductor MetLife is the National Sponsor of Lincoln Center. Christian Tetzlaff , Violin SCHNITTKE: Moz-Art à la Haydn Bloomberg is the Official Sponsor of Lincoln Center MOZART: Violin Concerto No. 1 in B-flat major Summer Programs. HAYDN: Overture to L’isola disabitata MOZART: Symphony No. 38 in D major ( “Prague ”) Movado is an Official Sponsor of Lincoln Center. Pre-concert recitals at 7:00 by Christian Tetzlaff, violin, and Caroline Goulding, violin United Airlines is the Official Airline of Lincoln Center. Thursday Evening, August 7, at 7:30 WABC-TV is the Official Broadcast Partner of in Alice Tully Hall Lincoln Center. The Deutsche Kammerphilharmonie Bremen Paavo Jä rvi , Conductor William Hill Estate Winery is the Official Wine of Lars Vogt , Piano Lincoln Center. ALL-BRAHMS PROGRAM Academic Festival Overture “Summer at Lincoln Center” is sponsored by Diet Piano Concerto No. 1 in D minor Pepsi. Symphony No. 2 in D major

Time Out New York is Media Partner of Summer at For tickets, call (212) 721-6500 or visit Lincoln Center. MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure.

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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 at 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 Mostly Mozart Festival

Program Summary by Paul Schiavo

The history of Western music includes several instances of strong friendship between major composers. and Robert Schumann enjoyed a cordial and mutu - ally admiring relationship, as did and Antonín Dvo rˇák. But none seems to have been as warm and consequential as the bond between and Joseph Haydn.

Their friendship began in 1781, when Mozart moved from Salzburg to Vienna, where Haydn spent winters. The two composers met regularly to play and share their latest compositions. Haydn was unstinting in his admiration for Mozart. “I only wish I could instill in every friend of music, ” he declared, “the depth of sympathy and profound appreciation of Mozart ’s inimitable art that I myself feel and enjoy. ” Mozart, for his part, respected Haydn above all his contemporaries and considered him a dear friend.

The two men shared a set of musical ideals, these being the traits that define what we now call the Viennese Classical style. In general that style was one of clarity and ele - gance, with formal structure and expressive content remarkably balanced. It employed a harmonic vocabulary that was well ordered yet rich enough to admit a wealth of nuances and occasional surprises. Mozart and Haydn achieved perhaps their closest musical con - tact through the string quartet. Haydn had produced several dozen of them by the time he met Mozart —works that had developed the string quartet from a fledgling musical form into a vehicle for rich invention. They made a deep impression on Mozart, who set about appropriating their essential traits in a set of six string quartets written over several years in the early 1780s.

The qualities Mozart so admired in Haydn ’s quartets are evident in the latter composer ’s Quartet in G minor, Op. 20, No. 3. It is an excellent example of Haydn ’s genius for achiev - ing original thought within conventional formal structures and a well-established musical vocabulary. The four-movement design of this work is a familiar one, and the composi - tional language is very much of the late 18th-century Classical school. Yet the distinctive and often surprising music Haydn achieves within these formats remains admirable more than two centuries later.

We hear next one of the six quartets Mozart composed in emulation of Haydn ’s exam - ples and dedicated to his friend. This Quartet in E-flat major, K.428, shares many of the virtues of Haydn ’s quartet music yet bears signs of Mozart ’s individuality, particularly in the deep lyricism of its slow movement.

Lyrical eloquence is also a principal feature of Mozart ’s beautiful Clarinet Quintet. One of the glories of the chamber-music literature for clarinet, it dates from late in its com - poser ’s career and is distinguished by the depth of feeling and skilled yet unobtrusive use of counterpoint that mark so much of Mozart ’s mature work.

—Copyright © 2014 by Paul Schiavo Mostly Mozart Festival

Notes on the Program String Quartet in G minor, Op. 20, Paul Schiavo No. 3 (1772) by JOSEPH HAYDN Born March 31, 1732, in Rohrau, Austria Although Haydn made important contribu - Died May 31, 1809, in Vienna tions to the symphony, to opera, to sacred music, and to the piano sonata, his string Approximate length: 25 minutes quartets can rightly be considered the core of his output. Haydn ’s involvement with the In 1772 Haydn wrote a set of six string quar - string quartet spanned the whole of his long tets that appeared in print two years later as career; his first pieces may have originated his Op. 20. An early edition, published in during his late adolescence. (Haydn scholars Amsterdam by the music engraver Johann disagree as to when he produced his first Julius Hummel, had as its frontispiece an string quartets, their estimates ranging engraving of a sun motif, and for this the from 1750 to 1760.) The last one came per - haps half a century later, during his ulti - Op. 20 compositions became known as the “ ” mate maturity. It was largely in these Sun Quartets. works that Haydn developed the mastery of thematic development, harmonic move - Wi th this group of works Haydn achieved ment and contrast, contrapuntal discourse, what might be thought of as the high noon and compositional design. of his string-quartet output. Many of his earlier compositions in this genre conveyed At the same time, these works are central to a casual tone and emphasis on brilliant fig - the development of the string quartet as a uration, particularly for the first violin, that musical genre during the second half of the justified their designation as “divertimenti ” 18th century. For all practical purposes, rather than compositions embodying the Haydn single-handedly invented the string more thoughtful and restrained spirit of quartet as a species of composition. His are true chamber music. The “Sun Quartets, ” the earliest authentic works in the quartet however, proved the vehicles for serious repertory, and they form the wellspring from compositional invention, especially in their which that repertory has grown and devel - use of counterpoint as a means of thematic oped over the last two centuries. Mozart ex tension and development. Their altogether and Beethoven, the next great writers of more elevated style justifies H. C. Robbins string quartets, learned the principles and Landon, the pre-eminent Haydn scholar of techniques of quartet construction from our time, in asserting that, with regard to Haydn ’s examples, and every succeeding the string quartet, “the Viennese Classical composer who has essayed the medium style arrived at its full maturity… with may be said to have been influenced, [Haydn ’s] Op. 20. ” directly or otherwise, by his works. Mostly Mozart Festival

This program begins with the third quartet with abrupt pauses, surprising turns of line of the Op. 20 set, a work in G minor. Its first and harmony, asymmetrical phrase lengths, movement exemplifies one of the most dis - and other characteristics make Haydn ’s tinctive features of Haydn ’s genius: his pen - music so unique and fascinating. chant for subtle surprise, thwarting expecta - tions, and using musical conventions in quite String Quartet in E-flat major, original ways. Haydn offers an instance of K.428 (1783) this practice in the opening measures. Here WOLFGANG AMADEUS MOZART the melody given out by the first violin Born January 27, 1756, in Salzburg avoids typical eight-measure phrase lengths Died December 5, 1791, in Vienna and unfolds, instead, in seven-bar state - ments. The elision of a measure at the end Approximate length: 25 minutes of each of the first two phrases is not a major departure from standard musical Mozart and Haydn met in Vienna in scansion, but it is enough to make the December 1781, and began what would theme more distinctive, and more interest - become an important friendship for both of ing, than it otherwise would be. One could them. Their acquaintance came at a propi - note also the surprising interjection of a tious moment. Mozart, newly arrived in the triple-stopped chord by the first violin during Austrian capital and encouraged by his a general pause early in the movement, the prospects there, was expanding the formal abrupt halts and sudden shifts of melodic and expressive range of his music in ways direction during the central episode, and that had been unimaginable in the provin - many other details as further instances of cial atmosphere of his native Salzburg. Haydn ’s idiosyncratic approach to his art. Haydn, though sequestered much of the Suffice it to say that here, as in so much of year at the rural estate of his patron, Prince the composer ’s output, the savvy listener Nikolaus Esterházy, nevertheless was also learns to expect the unexpected, and to making great strides at this time. The vehi - delight in encountering it. cle for his most innovative thinking then was the string quartet, and it was with no Haydn ’s penchant for avoiding routine false pretension that Haydn described six reveals itself even in the minuet. Once such works that he published in 1782 —his again, the initial melody foregoes conven - Op. 30 —as “written in an entirely new and tional phrase lengths, but here Haydn special style. ” reverses the procedure he followed in the preceding movement, adding a measure to Th ose compositions made a deep impres - produce five-measure statements where sion on Mozart —so much so that he soon four measures would normally be expected. was at work on a set of his own string quar - Some lovely contrapuntal echoes further tets. He finished the first three of these enliven the proceedings. pieces within a year of meeting Haydn. But the projected set of six quartets, which The serene slow movement that follows Mozart had promised to a publisher in April shifts the tonality from the prevailing minor 1783, was not ready until early 1785. mode to G major and grants the cello an Mozart ’s delay in finishing the works may unusually active melodic voice. The finale have been partly due to other obligations. returns not only to G minor but to the play He was enjoying his brief period of favor Mostly Mozart Festival with the Viennese public and was much in movements in his chamber-music output. demand as a composer and pianist. But it Here sustained lines and constantly chang - is clear also that he fretted over these ing hues from a rich harmonic palette pro - quartets to an unusual degree. His manu - duce a feeling of almost dream-like rapture. scripts indicate an uncommon number of After this sublime and rarified movement, erasures and false starts; moreover, the the good-natured humor of the ensuing letter of dedication with which he at last Menuetto seems all the more pronounced. presented the works to Haydn told that “they Even the minor-key episode of its Trio , or are the fruit of a long and difficult labor. ” central episode, somehow fails to dispel the music ’s affable character. Mozart maintains Haydn accepted the dedication of these that feeling in the finale, albeit at a more ani - quartets and heard them at a private perfor - mated tempo. Only two impassioned out - mance in February 1785. The music bursts briefly darken the complexion of this prompted his famous assessment of Mozart otherwise cheerful movement. to the latter ’s father: “Before God and as I am an honest man, I tell you that your son Clarinet Quintet in A major, K.581 (1789) is the greatest composer known to me WOLFGANG AMADEUS MOZART either in person or by name. He has taste and, what is more, the most profound knowl - Approximate length: 32 minutes edge of composition. ” Mozart ’s Quartet in E-flat major, K.428, certainly bears out that Mozart ’s use of the clarinet, and more par - assessment. It shows Mozart at his most ticularly, his distinctive conception of its inventive: wresting dramatic developments sound and character, is one of the most from his thematic material, coloring his music notable traits of his maturity. The composer with intricate harmonic movement, and had long been enamored of this instrument. always maintaining an equitable and engag - In 1778, while stopping at Mannheim on his ing interplay among the four instruments. way to Paris, he wrote to his father back in Salzburg: “Oh, if only we had . You The initial theme of the opening movement, can ’t guess the lordly effect of a symphony introduced by all four players in unison, cre - with… clarinets. ” As the frustrated tone of ates a momentary sense of uncertainty. this passage suggests, clarinets still were From its first three notes, we cannot get our not widely available, and it was some time bearings, harmonically speaking, and we before the composer could begin creating feel unsure of a tonal orientation until the such “lordly effects ” himself. Apart from end of the first phrase. The importance of the exceptional “Paris ” Symphony, K.297, the march-like second subject lies more in written for the well-equipped orchestra of the area of melodic motif, for its little turn the Concerts spirituels in the French capital, figure runs repeatedly through the move - clarinets first appeared in his orchestral writ - ment ’s dramatic central episode while ing in 1785 with the Masonic Funeral arpeggios in triplet rhythms arc daringly Music , K.477; the Piano Concerto in E-flat across the musical space. major, K.482; and the revised scoring of the “Haffner ” Symphony, K.385. Thereafter, Mozart follows this strong opening with one they formed a normal, if not inevitable, part of the most unusual and beautiful slow of his orchestra. In scores like the Piano Mostly Mozart Festival

Concerto in A major, K.488, and the when extroverted brilliance and delight in Symphony No. 39 in E-flat major, K.543, instru mental virtuosity gives way to a more where clarinets replace oboes rather than intimate, tender, and poetic kind of expres - merely bolster them, the result was an sion. Stadler ’s playing was perfectly suited unusually soft, iridescent orchestral timbre. to compositions of quiet eloquence. The Clarinet Quintet in A major, K.581, realizes Mozart did not limit his use of the clarinet this ideal of Mozart ’s maturity with particular to orchestral duties, however. Already he success. He wrote this work, which he had used it in several wind serenades and referred to as “Stadler ’s Quintet, ” in the Quintet for piano and winds, K.452, all September 1789, and probably played viola composed during his first years of resi - in the first public performance, which dence in Vienna (between 1781 and 1784). Stadler gave at a benefit concert in Vienna But after 1785, he began to explore the on December 22, 1789. instrument ’s potential for more soloistic expression in works ranging from the Trio Although written for an accomplished soloist, for clarinet, viola and piano, K.498, to the the Quintet is generally lacking in bravura prominent obbligato accompaniments in passagework. (Indeed, Alfred Einstein, the the opera La clemenza di Tito , and culmi - eminent Mozart scholar, identified two frag - nating in his , K.622, mentary sketches for clarinet and strings as which the composer finished only weeks false starts that the composer abandoned before his death. precisely because they would have entailed too virtuosic a clarinet part.) Instead, Mozart Mozart ’s indulgence of the clarinet was exploits the dark, mellow timbre of the clar - greatly encouraged by his friendship with inet and the ease with which this blends , an outstanding performer on with that of the string quartet. Despite the the instrument. Stadler ’s friendship may not special position of the woodwind instru - have been of the most sterling quality. He ment, the music is conceived for a well- served as an intermediary in a risky scheme integrated ensemble in which each mem ber whereby Mozart put up his entire estate as makes important contributions. collateral for a loan, and he managed to bor - row money from the composer at a time Mozart marks the Quintet ’s opening move - when Mozart was himself in dire financial ment Allegro , but the tone here is leisurely straits. His musicianship, however, was and contemplative, more a conversation impressive. While able to negotiate chal - among old friends than the sort of energetic lenging passagework, his greatest virtue as display we often find in his initial move - a player evidently was his warm tone and ments. The principal theme is introduced by expressive phrasing. the strings, the clarinet providing only an afterthought. Although two other subjects Mozart did not resist the dulcet, cantabile follow, it is this initial melody that chiefly quality of Stadler ’s playing, nor would he occupies Mozart ’s attention. He devotes have been inclined to do so. As many com - the central development episode to contra - mentators have observed, a pronounced puntal treatment of it, and he recalls it briefly change of tone can be heard in many of at the end of the exposition and again in the the works of the composer ’s final years, movement ’s closing moments. Mostly Mozart Festival

With the second movement, the character Mozart casts the finale as a theme with vari - of the music becomes even more intimate. ations, its subject melody being a sprightly The writing for clarinet takes on a truly tune with the character of a folk song. Here vocal lyricism, and chains of slow-moving the composer finally allows the clarinet a harmonies against rising scale figures for degree of virtuoso display in the form of the first violin provide moments of poignant runs, leaps, and other athletic figuration. beauty. There follows a Menuetto punctu - ated by two Trio passages. The first of Paul Schiavo serves as program annotator those intervening episodes brings a lament for the St. Louis and Seattle Symphonies, for the strings alone, while the second fea - and writes frequently for concerts at tures a winsome dialogue between the Lincoln Center. clarinet and quartet. —Copyright © 2014 by Paul Schiavo

h Words and Music Delphiniums in a Window Box by Dean Young

Every sunrise, even strangers ’ eyes. Not necessarily swans, even crows, even the evening fusillade of bats. That place where the creek goes underground, how many weeks before I see you again? Stacks of books, every page, characters ’ rages and poets ’ strange contraptions of syntax and song, every song even when there isn ’t one. Every thistle, splinter, butterfly over the drainage ditches. Every stray. Did you see the meteor shower? Did it feel like something swallowed? Every question, conversation even with almost nothing, cricket, cloud, because of you I ’m talking to crickets, clouds, confiding in a cat. Everyone says, Come to your senses, and I do, of you. Every touch electric, every taste you, every smell, even burning sugar, every cry and laugh. Toothpicked samples at the farmers ’ market, every melon, plum, I come undone, undone.

—Dean Young, “Delphiniums in a Window Box,” from Fall Higher . Copyright © 2011 by Dean Young. Reprinted with the permission of Copper Canyon Press, www.coppercanyonpress.org.

For poetry comments and suggestions, please write to programming@ LincolnCenter.org. Mostly Mozart Festival

Germany and the United Kingdom. The Emer - Meet the Artists son String Quartet continues its series at the Smithsonian Institution in Washington, D.C., for its 35th season, and, in May, is presented by colleagues and for the two final season concerts at The Cham - O

C ber Music Society of Lincoln Center in Alice C U Z

Z Tully Hall. Guest artists Colin Carr and Paul A M

A Neubauer also join the group. As an exclu - S I L Emerson String Quartet sive artist for Sony Classical, the Emerson recently released Journeys , its second CD The Emerson String Quartet has an unparal - on that label. Future recordings are planned leled list of achievements over three decades: with Mr. Watkins. more than 30 acclaimed recordings, nine Grammys (including two for Best Classical Formed in 1976 and based in , Album), three Gramophone Awards, the the Emerson String Quartet took its name Avery Fisher Prize, Musical America’s from the American poet and philosopher Ralph “Ensemble of the Year,” and collaborations Waldo Emerson. The ensemble is quartet-in- with many of the greatest artists of our time. residence at .

The arrival of Paul Watkins in 2013 has had a profound effect on the Emerson Quartet. Mr. Watkins, a distinguished soloist, award- winning conductor, and devoted chamber R E

musician, joined the ensemble in its 37th K C Ä B

season, and his dedication and enthusiasm S T A

have infused the quartet with a warm, rich M Martin Fröst tone and a palpable joy in the collaborative Martin Fröst is a keen recitalist, chamber process. The Emerson’s summer season musician, and soloist. This season he is began with engagements in Colombia, artist-in-residence at the Gothenburg Sym - Ecuador, Peru, and a pair of concerts in Rio phony, Amsterdam’s Concertgebouw and de Janeiro. Following a tour of Japan, the London’s Wigmore Hall, where he collabo - quartet performed at the Ravinia, Tangle - rates with artists such as Miah Persson, wood, Chamber Music Northwest, Aspen, Maxim Rysanov, Roland Pöntinen, Apollon Domaine Forget, Toronto, Austin, Norfolk, Musagète Quartet, and Academy of St. Cape Cod and Mostly Mozart festivals. In a Martin in the Fields. Further ahead, he season of over 80 quartet performances, will be artist-in-residence for the Royal mingled with the Emerson members’ indi - Stockholm Philharmonic and Netherlands vidual artistic commitments, the ensemble’s philharmonic orchestras. highlights feature numerous concerts on both coasts and throughout North America. Highlights of Mr. Fröst’s 2014–15 season include debuts with the Tonhalle Orchester In October, Mr. Watkins performs with the Zürich under Herbert Blomstedt, Orchestre Emerson for the first time in Carnegie Hall. de la Suisse Romande under Neeme Järvi, The program includes the Schumann Piano and Houston Symphony under Andrés Quintet with acclaimed pianist Yefim Bronf - Orozco-Estrada. Mr. Fröst also returns to the man. Multiple tours of Europe comprise Rotterdam Philharmonic Orchestra under dates in Austria, Ireland, Switzerland, France, Thomas Søndergård, and the Cincin nati Mostly Mozart Festival

Symphony Orchestra under Louis Langrée. to concerts by the Mostly Mozart Festival Next year marks the 10th season of Vinter - Orchestra, Mostly Mozart now includes fest in Mora, Sweden, where Mr. Fröst is concerts by the world’s outstanding period- artistic director. He is also artistic director of instrument ensembles, chamber orchestras the International Chamber Music Festival in and ensembles, and acclaimed soloists, as Stavanger, Norway. well as opera productions, dance, film, late- night performances, and visual art installations. This season Mr. Fröst will also be touring Contemporary music has become an essen - with the Gewandhaus Orchestra of Leipzig tial part of the festival, embodied in annual under Riccardo Chailly, Camerata Salzburg artists-in-residence including Osvaldo Golijov, under Langrée, and the Academy of St. John Adams, Kaija Saariaho, Pierre-Laurent Martin in the Fields. Mr. Fröst also under - Aimard, and the International Contemporary takes tours to the U.S. with the Australian Ensemble. Among the many artists and Chamber Orchestra, and to Spain with the ensembles who have had long associations Swedish Chamber Orchestra under Thomas with the festival are Joshua Bell, Christian Dausgaard. He also works as a conductor, Tetzlaff, Itzhak Perlman, Emanuel Ax, Gar - and appears this season with the Nor - rick Ohlsson, Stephen Hough, Osmo Vänskä, rköping Symphony Orchestra and Saint Paul the Emerson String Quartet, Freiburg Baroque Chamber Orchestra. Orchestra, Orchestra of the Age of Enlight - enment, and the Mark Morris Dance Group. Mr. Fröst’s 2013–14 season included debuts with the Royal Concertgebouw Mostly Mozart Festival Orchestra Orchestra and National Orchestra of France, The Mostly Mozart Festival Orchestra is the plus a return to the 2014 Mostly Mozart resident orchestra of the Mostly Mozart Festival. His extensive discography includes Festival, and is the only orchestra in the an all-Mozart CD and a recording of Brahms’s U.S. dedicated to the music of the Classical Clarinet Quintet (BIS). In 2014 Mr. Fröst period. Since 2002 Louis Langrée has been was awarded the Léonie Sonning Music the Orchestra’s music director, and since Prize, one of the world’s highest musical 2005 the Orchestra’s Avery Fisher Hall honors. Mr. Fröst is the first clarinetist to be home has been transformed each summer chosen for the award. into an appropriately intimate venue for its performances. Over the years, the Orches - Mostly Mozart Festival tra has toured to such notable festivals and Lincoln Center’s Mostly Mozart Festival— venues as Ravinia, Great Woods, Tangle - America’s first indoor summer music wood, Bunkamura in Tokyo, and the Kennedy festival—was launched as an experiment in Center. Conductors who made their New 1966. Called Midsummer Serenades: A York debuts leading the Mostly Mozart Fes - Mozart Festival, its first two seasons were tival Orchestra include Jérémie Rhorer, devoted exclusively to the music of Mozart. Ed ward Gardner, Lionel Bringuier, Yannick Now a New York institution, Mostly Mozart Nézet-Séguin, Charles Dutoit, Leonard continues to broaden its focus to include Slatkin, David Zinman, and Edo de Waart. works by Mozart’s predecessors, contem - Mezzo-soprano Cecilia Bartoli, flutist James poraries, and related successors. In addition Galway, soprano Elly Ameling, and pianist Mostly Mozart Festival

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

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

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Photo: Martin Schott