July 25–August 23, 2014 Sponsored by Bloomberg

Friday and Saturday Evenings, August 8–9, 2014, at 7:00

Pre-concert Recital Philip Cobb , Joseph Turrin ,

PURCELL Trumpet in (1690 –95) Allegro Adagio Allegro

BELLSTEDT Napoli: Variations on a Neapolitan

JOSEPH TURRIN Caprice (1972)

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

Steinway Piano Please make certain your cellular phone, Avery Fisher Hall pager, or watch alarm is switched off. Mostly Mozart Festival

Notes on the Cin cinnati, where he began his long and influential career. A member of numerous Pre-concert Recital ensembles (including the Cincinnati Reed by Harlow Robinson Band and the Sousa Band), he composed pieces for band, orchestra, piano, violin, Trumpet Sonata in D major, Z.850 and cornet, and eventually became a pro - (1690– 95) fessor at Cincinnati’s Conservatory of HENRY PURCELL Music. By far his most popular composition Born September 1659, in London is Napoli, an entertaining and vivid set of Died November 21, 1695, in London virtuosic variations for cornet (or trumpet) and band or orchestra. The melody is based Approximate length: 5 minutes on a popular song (“Funiculi, finicula”) orig - inally composed in 1880 by the Italian Luigi Purcell was a pioneer in writing serious con - Denza (1846–1922). It is not known exactly cert music for the trumpet. Around 1689, he when Bellstedt wrote these Variations on a started producing an impressive series of Neapolitan Song, later edited by his compositions for the instrument and helped student Frank Simon. But Denza’s infec - to establish it as a regular fixture of the tious song, written to celebrate the con - orchestra. Purcell wrote for a “nat - struction of a funicular railway up the ural” trumpet (without valves) capable of pro - slopes of Mt. Vesuvius, was a smash hit ducing only a small number of tones. Around and inspired numerous knock-off versions. 1690, however, the so-called “flat” trumpet An eruption destroyed the funicular in came into use, equipped with a double- 1944, but Napoli remains. that allowed for the production of certain “exotick notes” and a softer, more nuanced Caprice (1972) sound. In 1699, four years after Purcell’s JOSEPH TURRIN death, one could read in The Gentleman’s Born January 4, 1947, in Clifton, New Jersey Journal : “The Trumpet [is] an Instrument for - merly practis’d in ye rough consorts of ye Approximate length: 6 minutes Field but now instructed in gentler Notes, it has learnt to accompany ye softest A prolific of film scores and con - and can join with the most charming Voices.” cert music, Joseph Turrin has enjoyed a long - Although the details of its composition are standing relationship with the New York unclear, the Sonata in D major for trumpet Philharmonic. He wrote his popular Caprice, and strings might have been the opening now a standard fixture at trumpet and cornet symphony of the 1693 New Year ode, Light of competitions, for cornetist Derek Smith. Its the World , whose score does not survive. robust, jazzy, American character led former New York Philharmonic music director Kurt Napoli: Variations on a Neapolitan Song Masur to remark: “I have always liked com - HERMAN BELLSTEDT posers who are reflecting upon the musical Born February 12, 1858, in Bremen, Germany sound of their country. Joseph Turrin does it Died June 8, 1926, in San Francisco in a very convincing way.” Also a conductor and pianist, Turrin will be heard this evening Approximate length: 6 minutes as the accompanist for his Caprice.

The son of a cornet player, Bellstedt came to —Copyright © 2014 by Lincoln Center for the the United States at age nine and settled in Performing Arts, Inc. July 25–August 23, 2014 Sponsored by Bloomberg

Friday and Saturday Evenings, August 8–9, 2014, at 8:00

Mostly Mozart Festival Orchestra Osmo Vänskä , Conductor Yuja Wang , Piano M|M Philip Cobb , Trumpet M|M

PROKOFIEV Symphony No. 1 in D major (“ Classical” ) (1916– 17) Allegro con brio Larghetto : Non troppo allegro Finale: Molto vivace

SHOSTAKOVICH No. 1 for piano, trumpet, and strings in C minor (1933) Allegretto Lento Moderato Allegro con brio Ms. Wang will perform Shostakovich’s cadenza.

Intermission

BEETHOVEN Symphony No. 8 in F major (1812) Allegro vivace e con brio Allegretto scherzando Tempo di Menuetto Allegro vivace

M|M Mostly Mozart debut

This evening’ s performance is dedicated to the memory of Paul Milstein, philanthropist and builder. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Steinway Piano Please make certain your cellular phone, Avery Fisher Hall pager, or watch alarm is switched off. Mostly Mozart Festival

The Mostly Mozart Festival is sponsored by Upcoming Mostly Mozart Festival Events: Bloomberg. Thursday–Saturday Evenings, August 7–9, The Mostly Mozart Festival is made possible by at 7:30 in the David H. Koch Theater Rita E. and Gustave M. Hauser, The Fan Fox and Acis and Galatea (New York premiere) Leslie R. Samuels Foundation, Inc., Ann and Mark Morris , Director and Choreographer Gordon Getty Foundation, Charles E. Culpeper Mark Morris Dance Group Foundation, S.H. and Helen R. Scheuer Family Philharmonia and Foundation, and Friends of Mostly Mozart. Nicholas McGegan , Conductor Yulia Van Doren , Soprano Public support is provided by the New York State Thomas Cooley , Tenor M|M Council on the Arts. Isaiah Bell , Tenor M|M Douglas Williams , Bass-baritone M|M Artist Catering is provided by Zabar’s and Adrianne Lobel , Scenic Design Zabars.com. Isaac Mizrahi , Costume Design Michael Chybowski , Lighting Design MetLife is the National Sponsor of Lincoln Center. HANDEL (arr. Mozart): Acis and Galatea Pre-performance discussion on August 8 at 6:15 Bloomberg is the Official Sponsor of Lincoln Center with Mark Morris and Jane Moss Summer Programs. Sunday Afternoon, August 10, at 1:00 Movado is an Official Sponsor of Lincoln Center. in the Walter Reade Theater Handel on Film United Airlines is the Official Airline of Lincoln Center. Short documentary and Messiah , Parts I and II

WABC-TV is the Official Broadcast Partner of Tuesday and Wednesday Evenings, August 12–13, Lincoln Center. at 8:00 in Avery Fisher Hall Mostly Mozart Festival Orchestra William Hill Estate Winery is the Official Wine of Gianandrea Noseda , Conductor Lincoln Center. Erika Grimaldi , Soprano (U.S. debut) Anna Maria Chiuri , Mezzo-soprano M|M “Summer at Lincoln Center” is sponsored by Diet Russell Thomas , Tenor Pepsi. Ildar Abdrazakov , Bass M|M Concert Chorale of New York Time Out New York is Media Partner of Summer at James Bagwell , Director Lincoln Center. ALL -- BEETHOVEN PROGRAM to The Consecration of the House Symphony No. 9 Pre-concert recitals at 7:00 by the Amphion String Quartet

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.

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We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Mostly Mozart Festival

Welcome to Mostly Mozart

I am 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

Signature Works by Peter A. Hoyt

The musicologists who first investigated (1685 –1750) discovered that some pieces, written in his handwriting and long attributed to him, were actually composed by other musicians. Bach had omitted their names during the copying process, and the scholars—disturbed by this hint of plagiarism—were relieved to learn that the early 18th century was often indifferent to niceties of attribution. Indeed, Bach himself frequently neglected to sign his own manuscripts.

In the decades following, however, authorial identity took on greater importance. The col - lapse of the French aristocracy led Europe to emphasize individual merit, endowing artists with new dignity. Music publishers, capitalizing upon an emerging middle class, promoted by name. Unprecedented ideas of individuality informed 19th-century Romanticism, which asserted that all great art embodies the self-expression of a great soul.

Contributing to this entanglement of artwork and artist were a number of innovative com - posers, each with a distinctive style that represented their identity as decisively as their name. The 2014 Mostly Mozart Festival celebrates some of these composers’ signature pieces, from emblematic and symphonies—including Haydn’s “London,” Mozart’s “Jupiter,” and Beethoven’s “Eroica”—to concise works like the to Haydn’s L’isola disabitata and Beethoven’s Consecration of the House .

This season also explores the role of models in shaping artistic personalities. Gluck’s depic - tions of demonic Furies, for example, influenced Mozart’s music for Don Giovanni , and Gluck’s Dance of the Blessed Spirits permeates portions of Mozart’s and Concerto. Moreover, prominent stylistic elements can be parodied or dismantled, as in works by Prokofiev, Schnittke, and Shostakovich, whose Concerto for Piano and Trumpet recalls the brash music he once played for silent movies in Petrograd.

Berlioz’s Symphonie fantastique of 1830 stands as a landmark in the fusion of art and per - sona; the work is often regarded as autobiographical. Nevertheless, elements of the purely fictional prevail, as when the hero murders his beloved, is executed, and posthu - mously witnesses a witches’ sabbath. Berlioz treats his scenario with ironic detachment, perhaps best illustrated by the carnivalesque that ends the piece. Whereas Mozart and Beethoven had employed culminating fugal procedures to suggest a kind of luminous unification, Berlioz here casts off the shackles of seriousness.

The conflation of composition and composer continued until the 20th century, when attempts to use the former to psychoanalyze the latter demonstrated their incompatibility. Indeed, human creators tend to be overshadowed by the impact of their creations, perhaps explaining Bach’s negligence in labeling works—including his own—with the names of mere mortals. Music in performance, like a religious service or civic commemoration, can transform a group’s isolated members into a collective body. The Mostly Mozart Festival ends with Mozart’s and Passion music by Bach and Frank Martin—art that cele - brates the moment when the individual dissolves into the universal.

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

Program Summary by Harlow Robinson

Beethoven enjoyed a long and special relationship with Russia. One of his most impor - tant early patrons was the Russian ambassador to Vienna, Count Andrei Kirillovich Razumovsky, who commissioned the three Op. 59 String Quartets in 1806. The com - poser also dedicated his Fifth and Sixth Symphonies to Razumovsky. Before that, in 1803, Beethoven dedicated his three for violin and piano, Op. 30, to the Russian Tsar Alexander I, a young autocrat regarded by many as a symbol of the new, enlightened spirit of the dawning 19th century—and the antidote to Napoleon. Russian audiences, writers, and composers returned the affection. Beethoven’s Missa solemnis received its first complete performance in St. Petersburg in 1824. And Leo Tolstoy paid tribute to the seductive (dangerous, even) power of Beethoven’s music in his novella The Kreutzer Sonata , whose protagonist is led to experience “quite new feelings, new possibilities, of which I had till then been unaware” by a performance of the piece.

In Prokofiev’s autobiography, the composer recalls growing up in provincial Ukraine at the turn of the century, where he was exposed “from birth” to Beethoven’s piano music as played by his mother. Later, as a student at the conservatory in St. Petersburg, he acquired a reverence for the legacy of Beethoven both as an artist and as a symbol of rev - olutionary thinking during very revolutionary times. In his first symphony, completed in 1917, the year of the Bolshevik Revolution, Prokofiev both mocks and pays tribute to the Classical style developed by Mozart and Haydn, inherited and vastly expanded by Beethoven. In his own Eighth Symphony, completed in another revolutionary year, 1812, Beethoven, too, looks back upon the 18th century’s Classical style with a certain sense of humor, distance, and irony.

Fifteen years younger than Prokofiev, Shostakovich also studied at the St. Petersburg (later Petrograd, then Leningrad) Conservatory. His personal and creative attachment to Beethoven was even deeper. Shostakovich specialized in Beethoven’s works during his early piano studies, and later he wrote 13 of his 15 string quartets for Russia’s famed Beethoven Quartet ensemble. Beethoven, Shostakovich once said, was “one of my most favorite composers, one with whom I feel a special intimacy. There are none of his works that I wouldn’t want to hear again. For me, his work is eternally tied to the ideals of free - dom and with the struggle for human happiness.”

As a Soviet composer, Shostakovich was also well aware that Beethoven was regarded as one of the best models for socialist music. Lenin, the first leader of the new Soviet state, often spoke of his deep affection for Beethoven’s music. And in 1932, the Communist Party Central Committee scolded Soviet composers for “spending too much time on Marx and Engels, and not enough studying the works of Comrade Beethoven.” The fol - lowing year, Shostakovich completed his masterpiece of neoclassicism, the First Piano Concerto, featuring a citation from one of Beethoven’s piano pieces in its final cadenza.

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

Notes on the Program among the pure classical pearls—but my real friends will understand that the style Harlow Robinson by of my symphony is really Mozartian and classical, and then will appreciate it, and Symphony No. 1 in D major, Op. 25 the public will probably be glad that it is (“ Classical” ) (1916– 17) uncomplicated and merry, and of course SERGEY PROKOFIEV they will applaud. Born April 23, 1891, in Sontsovka, Ukraine Died March 5, 1953, in Moscow Prokofiev finished his work in autumn 1917 in the countryside outside Petrograd, Approximate length: 15 minutes where he found inspiration for the joyfully brisk finale strolling alone through the Prokofiev composed his most cheerful and fields. The movement proceeds without a sunny symphony during one of the darkest single minor triad, even though he was moments in Russian history. On the World concerned that “its gaiety might border on War I front, the tsar’s soldiers were dying the indecently irresponsible.” The third by the thousands. Back in Petrograd, peo - movement, Gavotte , a charmingly clumsy ple were starving and desperate. Then in dance with grotesquely comic grace notes February 1917, Tsar Nicholas II abdicated in the part and ungainly octave and a weak provisional government took leaps in the melody, was actually the move - power. On October 25, the Bolsheviks ment Prokofiev wrote first, and it seems to ousted that regime, seized the Winter have set the joking, tongue-in-cheek tone Palace, and established the world’s first for the whole composition. socialist state. A few months later, a bloody civil war began, sending most of the mem - It was Haydn’s technique that Prokofiev had bers of the artistic intelligentsia—including most in mind. The symphony is traditionally Prokofiev—into emigration. structured with four movements, and the orchestration is also Haydn-esque, written Spared from military service, Prokofiev for paired wind instruments without trom - was not to be found at the barricades. bones. Characteristic features of the pre- Instead, he sat and composed a work far Beethoven symphonic style abound: scales removed from the politics of the moment. and arpeggios, octave leaps, trills and grace This tribute to the spirit of Mozart and Haydn, notes, sudden shifts of volume from piano and to the spirit of that great builder of St. to tutti fortissimo , and repeats. But Prokofiev Petersburg, Catherine the Great, became gently exaggerates these elements and Prokofiev’s sassy answer to the 1917 revo - inserts purely modern harmonic twists, lutions. As he wrote in his diary: especially in the Gavotte with its clashing major triads. His use of the timpani also When our classically inclined musicians displays a bumptious irreverence. But the and professors (who in my opinion are exaggeration is never carried too far; this is really nothing more than false-classics) a tribute rather than a parody. hear this symphony, they will start shout - ing about yet another impudent act com - Th e piece premiered on April 21, 1918, in mitted by Prokofiev, and that he can’t Petrograd, and went almost unnoticed even leave Mozart in peace in his grave, amidst the post-revolutionary chaos. Twelve but had to disturb him with his dirty hands, days later, Prokofiev left for Moscow to sprinkling dirty Prokofievian dis so nances catch the trans-Siberian express. He Mostly Mozart Festival intended to return to Russia within a matter Initially, Shostakovich had considered writ - of months, but would stay away (in the ing a trumpet concerto for the distinguished United States and Europe) for nine years. Leningrad Philharmonic trumpeter Alexander Despite its cheery personality, the “Classical” Schmidt. But he found the technical chal - Symphony turned out to be a kind of musi - lenges daunting, and so added a piano to cal requiem for the imperial, refined city of create a double concerto. Eventually the Prokofiev’s youth. piano took precedence, with the trumpet soloist playing a prominent but secondary Concerto No. 1 for piano, trumpet, and role. The spare orchestration (piano, trum - strings in C minor, Op. 35 (1933) pet, and strings—lacking woodwinds as well DMITRY SHOSTAKOVICH as other percussion and brass) is unusual for Born September 25, 1906, in St. Petersburg Shostakovich, especially when compared to Died August 9, 1975, in Moscow his previous two symphonies, written for large orchestra with chorus, and especially Approximate length: 21 minutes the gigantic Fourth Symphony that came only three years later. When Shostakovich began composing what eventually became his First Piano Shostakovich’s models here are mod ernists: Concerto in March 1933, he was riding Stravinsky, Prokofiev, Poulenc, Ravel, Hinde- high. Not yet 30, he had already achieved mith, and Mahler. As Mahler often does, international acclaim for his First Symphony, Shostakovich quotes from various sources completed when he was 19. Two more with the intent of parody, including Haydn’s choral symphonies followed, and a catchy D-major Piano Sonata and a street song song he wrote for the score of the 1932 from Odessa. The cadenza of the last propagandistic film Counterplan became a movement, added upon the insistence of surprise pop hit. In December 1932 he fin - pianist Lev Oborin, is based on Beethoven’s ished an ambitious new , Lady prankish piano trifle Rondo alla ingharese Macbeth of the Mtsensk District , and the quasi un capriccio (Rondo in the Hungarian following March, just a few days before gypsy style, almost a caprice) in G major, beginning work on the Piano Concerto, Op. 129, composed in 1795–98, also known Shostakovich put the finishing touches on as “Rage Over a Lost Penny, Vented in the 24 Piano Preludes, Op. 34. a Caprice.”

With marriage to his longtime sweetheart For all of its irreverence, the Piano Concerto Nina Varzar on May 13, 1932, Shostakovich’s observes many of the rules of the genre. personal life had also become more tran - The opening movement, firmly in C minor, quil and (for the most part) happier. His star uses traditional sonata-form structure, con - was ascending, despite what his sister trasting a reflective first theme (announced Maria called his “difficult and demanding” at the outset by the virtually unaccompa - character. This may account for the topical, nied piano soloist) with a dance-like second light, humorous, satirical, and eclectic per - one. A slow waltz (sometimes called a waltz- sonality of the Piano Concerto, at moments Boston) dominates the second movement, reminiscent of a silent movie chase scene in ABA form; the return of the lovely main or a circus sideshow, and much simpler in theme in the muted trumpet is a stroke of its neoclassical musical language than the simple genius. After a tiny third movement dissonant, atonal score for his 1930 opera (opening with an extended piano solo pas - The Nose . sage) that serves as little more than an Mostly Mozart Festival interlude, the rambunctious fourth move - composing, the Eighth Symphony’s genial ment somersaults home first to C minor, personality perhaps reflects his situation at then to an affirmative conclusion in C the time. During the summer of 1812 (just major, propelled by the trumpet’s comically as Napoleon’s armies were invading Russia), insistent martial summons. Beethoven spent some ten weeks in and around the charming and restful spa town Shostakovich played the piano solo part at of Teplice in Bohemia, and it was there that the premiere in Leningrad on October 15, most of the composition took place. This 1933, with trumpeter Alexander Schmidt, was the second consecutive summer that and Fritz Stiedry the Leningrad he had come to Teplice for the warm spring Philharmonic. waters, which reputedly had a healing effect on various ailments, including his worsening deafness. While there, he Symphony No. 8 in F major, Op. 93 (1812) wrote his famous love letter (apparently Born December 16, 1770, in Bonn, Germany never delivered) to a woman long known Died March 26, 1827, in Vienna anonymously as his “Immortal Beloved,” later identified as Antonie Brentano, a mar - Approximate length: 26 minutes ried woman ten years Beethoven’s junior.

Wedged as it is between the solemn Seventh Beethoven left Teplice in late September and the triumphant Ninth, Beethoven’s and completed the Eighth Symphony in jovial and light-hearted Eighth Symphony Linz, where he was visiting his brother. The has always seemed like something of an first performance did not take place until oddity for a composer most often associ - considerably later, however, at a private ated with profundity and heroic gestures. hearing at the palace of Beethoven’s patron The Eighth is not only the most cheerful, the Archduke Rudolph in 1813. On but also the shortest of his symphonies— February 27, 1814, the Eighth received its the Ninth is nearly three times as long— public premiere at an all-Beethoven benefit and the only one without a dedication. It is that also included the Seventh Symphony also alone among the nine symphonies in and Wellington’s Victory . lacking a slow movement, having instead a Harlow Robinson is an author, lecturer, and playful second movement, Allegretto Matthews Distinguished University Professor scherzando , followed by a third-movement of History at Northeastern University. His that in the words of Barry Cooper, books include Sergei Prokofiev: A Biography “seems to mock 18th-century convention.” and Russians in Hollywood, Hollywood’s Russians. While in Beethoven’s case it is dangerous to assume a connection between bio - —Copyright © 2014 by Lincoln Center for the graphical details and the music he was Performing Arts, Inc. Words and Music Petrograd, 1919 by Anna Akhmatova

And we ’ve forgotten till doomsdays, In the wild capital —our prison — The towns, steppes, dawns and lakes Of our great land, as if in treason. In a bloody circle, day and night, We ’re pined by the abusive leisure… And none to help us in our plight, Because we ’ve stayed at Home, treasured, Because, with love fully obsessed, Instead of liberty, that honors, We have preserved for ourselves Its palaces, its flames and waters.

They ’re closer —the other times. And deathly wind cools hearts, our own, But Peter ’s-city, to all us, Will be the sanctified tombstone.

—Translated from the Russian by Yevgeny Bonver

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

Meet the Artists ] G N I J O A I X

G N A W / A P C

U Yuja Wang N M A K

O

P Yuja Wang has performed with many of the A

A Osmo Vänskä K world’s prestigious orchestras, including Music director of the Minnesota Orchestra the Boston, Chicago, National, and Simón since 2003, Osmo Vänskä is also interna - Bolívar symphony orchestras; the Israel, tionally in demand as a guest conductor. He China, and London philharmonic orch estras; has received extraordinary acclaim for his the Los Angeles and New York Philharmonics ; work with many of the world’s leading the Philadelphia, Royal Concertgebouw, orchestras, including the Boston and Chicago National Academy of St. Cecilia, Paris, and Symphony Orchestras, Philadelphia Orch- Cleveland orchestras; and the San Francisco estra, New York Philharmonic, London Sy mphony, Staatskapelle Berlin, Spanish Philharmonic Orchestra, Berliner Philhar- National Orchestra, NHK Symphony Orch- moniker, Gewandhaus Orchestra of Leipzig, estra, and Filarmonica della Scala. Czech Philharmonic Orchestra, and Yomiuri Conductors with whom she has collabo - Nippon Symphony Orchestra. He has also rated include Claudio Abbado, Daniel developed regular relationships with Lincoln Barenboim, Gustavo Dudamel, Charles Center’s Mostly Mozart Festival and the Dutoit, Daniele Gatti, Valery Gergiev, Lorin BBC Proms. In the 2013–14 season Mr. Maazel, Zubin Mehta, Kurt Masur, and Vänskä performed with the San Francisco Michael Tilson Thomas. Ms. Wang regularly Symphony, Cleveland Orchestra, Washing- gives recitals throughout Asia, Europe, ton’s National Symphony Orchestra, New and North America, and performs at sum - World Symphony, Vienna Symphony, Bam- mer festivals, including an berg Symphony Orchestra, Orchestre annual appearance at the Verbier Festival. National de Lyon, Lahti Symphony Orch- estra, Israel Philharmonic Orchestra, and In the 2013–14 season, the London Sym- Singapore Symphony. phony Orchestra invited Ms. Wang to be its featured artist in the LSO Artist Portrait Recording for BIS, Mr. Vänskä garnered series, which included performing three acclaim with his landmark Sibelius cycle concertos, a recital, and chamber music in with the Lahti Symphony Orchestra. In London, followed by a tour of China with 2014 his recording with the Minnesota conductor Daniel Harding. Ms. Wang also Orchestra of Sibelius’s Symphonies Nos. 1 recently made her debut with the and 4 won a Grammy Award, following the Hungarian National Philharmonic con - nomination of the Second and Fifth ducted by Zoltán Kocsis, and toured Symphonies the year before. Another Europe with violinist Leonidas Kavakos. Minnesota Orchestra record featuring She also returned to perform with the Los Beethoven’s piano concertos with Yevgeny Angeles Philharmonic, Boston Symphony Sudbin was released in 2013. Orchestra, and Cleveland Orchestra. Mostly Mozart Festival

An exclusive recording artist for Deutsche Britain, where he won the prestigious Harry Grammophon, Ms. Wang’s catalogue Mortimer Award on four occasions. includes three sonata recordings and a con - As a stu dent he studied with Paul Beniston, certo recording with Claudio Abbado and the principal trumpet of the London Philhar- Mahler Chamber Orchestra. Most recently, monic Orchestra, and world-renowned Ms. Wang collaborated with Gustavo trum pet soloist . Mr. Cobb is Dudamel and the Simón Bolívar Symphony actively involved with the recently formed Orchestra in a live recording of Prokofiev’s Superbrass, Eminence Brass, and Barbican Concerto No. 2 and Rachmaninoff’s Concerto Brass ensembles. He has also been fea - No. 3. Ms. Wang studied at the Central tured in many film soundtracks, including Conservatory of Music in Beijing with Ling Harry Potter , Twilight , The Twilight Saga: Yuan and Zhou Guangren, the Mount Royal New Moon , The Pirates! , Shrek , A Better Life , Conservatory in Calgary, and the Curtis Rise of the Guardians , and The Monuments Institute of Music in Philadelphia with Gary Men . In addition, he performed in the open - Graffman. In 2010 she received the presti - ing and closing ceremonies of the 2012 gious Avery Fisher Career Grant. London Olympic and Paralympic Games.

Joseph Turrin Pianist, conductor, and composer Joseph

N Turrin’s music has been commissioned and O S N I performed by the some of the world’s lead - K L I W ing orchestras, chamber ensembles, and A S S E soloists. His work encompasses a variety of N

A Philip Cobb V forms, including film, theater, opera, orches - Philip Cobb was appointed to the post of tral, chamber, jazz, electronic, and dance. joint-principal trumpet with the London Several of his film and recording projects Symphony Orchestra in July 2009, when he have been nominated for Emmy and was 21. Prior to graduating from the Grammy Awards. His works have been Guildhall School of Music and Drama in recorded on RCA, EMI, Teldec, Naxos, London, Mr. Cobb was already working with Summit, Klavier, Cala, Albany, Crystal, and orchestras such as the London Philharmonic MRS Classics. Mr. Turrin has received com - Orchestra, BBC Symphony Orchestra, and missions from the New York Philharmonic, London Chamber Orchestra. He has also Chamber Music Society of Lincoln Center, played as the guest principal trumpet with Carnegie Hall, and Live From Lincoln Center . the Royal Concertgebouw Orchestra. His compositions have been championed by Kurt Masur, Zubin Mehta, Erich Leins- In 2008 Mr. Cobb received the Candide dorf, Wynton Marsalis, Beverly Sills, New Award at the London Symphony Orchestra’s York Philharmonic Principal Brass, Canadian Brass Academy. In 2006 he was named Brass, and Anne- Sophie Mutter. His works Most Promising Performer at the Maurice have been performed by the Gewandhaus André International Trumpet Competition, Orchestra of Leipzig, Royal Philharmonic and the year after he released his debut solo Orchestra, United States Marine Band, CD, Life Abundant , accompanied by the Cory United States A ir Force Band, Baltimore and Band and organist Ben Horden. He released New Jersey Symphony Orchestras, Orpheus his second solo CD, from the Heart , and English Chamber Orchestras, and in 2012. Mr. Cobb played principal cor net in Academy of St. Martin in the Fields, and at the National Youth Brass Band of Great the Tanglewood Music Festival. Mostly Mozart Festival

In 2006 Mr. Turrin received a National Endow- the U.S. dedicated to the music of the ment of the Arts grant, and his cham ber Classical period. Since 2002 Louis Langrée opera The Scarecrow received honors from has been the Orchestra’s music director, the American Academy of Arts and Letters and since 2005 the Orchestra’s Avery and the National Opera Association. He is Fisher Hall home has been transformed on the faculty of the Hartt School and each summer into an appropriately intimate Montclair State University. venue for its performances. Over the years, the Orchestra has toured to such Mostly Mozart Festival notable festivals and venues as Ravinia, Lincoln Center’s Mostly Mozart Festival— Great Woods, Tanglewood, Bunkamura in America’s first indoor summer music Tokyo, and the Kennedy Center. Conductors festival—was launched as an experiment in who made their New York debuts leading 1966. Called Midsummer Serenades: A the Mostly Mozart Festival Orchestra Mozart Festival, its first two seasons were include Jérémie Rhorer, Edward Gardner, devoted exclusively to the music of Lionel Bringuier, Yannick Nézet- Séguin, Mozart. Now a New York institution, Charles Dutoit, Leonard Slatkin, David Mostly Mozart continues to broaden its Zinman, and Edo de Waart. Mezzo-soprano focus to include works by Mozart’s prede - Cecilia Bartoli, flutist James Galway, cessors, contemporaries, and related suc - soprano Elly Ameling, and pianist Mitsuko cessors. In addition to concerts by the Uchida all made their U.S. debuts with the Mostly Mozart Festival Orchestra, Mostly Mostly Mozart Festival Orchestra. Mozart now includes concerts by the world’s outstanding period-instrument Lincoln Center ensembles, chamber orchestras and for the Performing Arts, Inc. ensembles, and acclaimed soloists, as well Lincoln Center for the Performing Arts as opera productions, dance, film, late- (LCPA) serves three primary roles: presen - night performances, and visual art installa - ter of artistic programming, national leader tions. Contemporary music has become an in arts and education and community rela - essential part of the festival, embodied in tions, and manager of the Lincoln Center annual artists-in-residence including campus. A presenter of more than 3,000 Osvaldo Golijov, John Adams, Kaija Saariaho, free and ticketed events, performances, Pierre-Laurent Aimard, and the International tours, and educational activities annually, Contemporary Ensemble. Among the many LCPA offers 15 programs, series, and festi - artists and ensembles who have had long vals, including American Songbook, Great associations with the festival are Joshua Performers, Lincoln Center Festival, Bell, Christian Tetzlaff, Itzhak Perlman, Lincoln Center Out of Doors, Midsummer Emanuel Ax, Garrick Ohlsson, Stephen Night Swing, the Mostly Mozart Festival, Hough, Osmo Vänskä, the Emerson String and the White Light Festival, as well as the Quartet, Freiburg Baroque Orchestra, Emmy Award–winning Live From Lincoln Orchestra of the Age of Enlightenment, and Center , which airs nationally on PBS. As the Mark Morris Dance Group. manager of the Lincoln Center campus, LCPA provides support and services for the Mostly Mozart Festival Orchestra Lincoln Center complex and the 11 resi - The Mostly Mozart Festival Orchestra is dent organizations. In addition, LCPA led a the resident orchestra of the Mostly $1.2 billion campus renovation, completed Mozart Festival, and is the only orchestra in in October 2012. Mostly Mozart Festival R O L Y A T

R E F I N N E J

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

Violin I Flute Trumpet Ruggero Allifranchini, Shmuel Katz, Principal Tanya Dusevic Witek, Neil Balm, Principal Concertmaster Meena Bhasin Principal Lee Soper Martin Agee David Creswell Kathleen Nester Robert Chausow Chihiro Fukuda Timpani Suzanne Gilman Jack Rosenberg David Punto, Principal Amy Kauffman Jessica Troy Randall Ellis, Principal Sophia Kessinger Nick Masterson Librarian Ronald Oakland Michael McCoy Michael Roth Ilya Finkelshteyn, Clarinet Deborah Wong Principal Jon Manasse, Principal Personnel Managers Ted Ackerman Steven Hartman Neil Balm Violin II Ann Kim Jonathan Haas Laura Frautschi, Principal Alvin McCall Bassoon Gemini Music Katsuko Esaki Marc Goldberg, Principal Productions, Ltd. Michael Gillette Bass Tom Sef cˇovi cˇ Nelly Kim Zachary Cohen, Principal Katherine Livolsi-Landau Laurence Glazener Horn Lisa Matricardi Judith Sugarman Lawrence DiBello, Kristina Musser Principal Mineko Yajima Richard Hagen

Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra Mostly Mozart Festival

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