Program Notes
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08-19 Joshua Bell_Gp 3.qxt 8/12/14 10:16 AM Page 1 July 25–August 23, 2014 Sponsored by Bloomberg Tuesday Evening, August 19, 2014, at 7:00 Pre-concert Recital Igor Kamenz, Piano BEETHOVEN Sonata No. 7 in D major, Op. 10, No. 3 (1797–98) Presto Largo e mesto Menuetto: Allegro Rondo: Allegro Sponsored by Movado 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. 08-19 Joshua Bell_Gp 3.qxt 8/12/14 10:16 AM Page 2 Mostly Mozart Festival Note on the those of Haydn and Mozart. In his sonatas, as in his quartets, some of Beethoven’s most Pre-concert Recital personal thoughts are explored. by Kathryn L. Libin During his early years in Vienna, Beethoven Sonata No. 7 in D major, Op. 10, No. 3 relied heavily on local aristocratic patronage (1797–98) to advance his career, playing in noble LUDWIG VAN BEETHOVEN salons, giving lessons, and dedicating new Born December 16, 1770, in Bonn, Germany works to especially helpful patrons. In 1798 Died March 26, 1827, in Vienna he dedicated his Op. 9 string trios to Count Johann Georg von Browne-Camus, a gen - Approximate length: 24 minutes tleman of Irish descent in the service of Catherine the Great of Russia; to the The Romantic piano sonata—symphonic in count’s wife, Anna Margarete, he dedicated scope, technically virtuosic, and profound his set of three Op. 10 piano sonatas. The in expression—was Beethoven’s invention. third sonata is the only one in the set with It was Beethoven who transformed the four movements, and also excels above the sonata from a light genre for amateurs and others in substance and expressive range. students into a complex new medium for Perhaps the most remarkable movement is piano connoisseurs. Though the keyboard the emotionally charged second, which sonata was a well-established genre by the unfolds at a very slow tempo and in the key end of the 18th century, it was largely con - of D minor, which in Beethoven’s time car - sidered the province of amateurs and com - ried associations of deep tragedy and sor - posed with their needs and abilities in row. It opens with dark chords in the piano’s mind. This holds true even for such masters lower range over which a restless triplet as Haydn and Mozart, who devoted their figure pulses; out of that emerges a beau - energies in this area mainly to producing tiful, melancholy melody in an upper line. satisfying pieces for their students and Both motifs provide the threads that will friends to play. shape an increasingly dense, intensely expressive argument. Much of the tension Beethoven vastly extended the limits of produced in the Largo is dispelled in the sonata style, creating a brilliant and complex minuet and trio that follow, as they intro - new medium for the piano, expanding the duce a light texture and playful vivacity to technical demands on the instrument, exper - the work. The Rondo brings the sonata to a imenting with innovative structural designs, sparkling close with exuberant octaves and infusing the sonata’s traditional frame - and sharply defined, offbeat rhythms. work with the profoundest expression. His cycle of 32 sonatas, written throughout his —Copyright © 2014 by Lincoln Center for the career, represents a radical departure from Performing Arts, Inc. 08-19 Joshua Bell_Gp 3.qxt 8/12/14 10:16 AM Page 3 July 25–August 23, 2014 Sponsored by Bloomberg Tuesday Evening, August 19, 2014, at 8:00 Mostly Mozart Festival Orchestra David Zinman, Conductor Joshua Bell, Violin Lawrence Power, Viola M|M BOYCE Symphony No. 1 in B-flat major (1760) Allegro Moderato e dolce Allegro MOZART Sinfonia concertante in E-flat major for violin and viola, K.364 (1779–80) Allegro maestoso Andante Presto Mr. Bell and Mr. Power will perform Mozart’s cadenzas. Intermission BEETHOVEN Symphony No. 3 in E-flat major (“Eroica”) (1803) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto M|M Mostly Mozart debut Sponsored by Movado This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off. 08-19 Joshua Bell_Gp 3.qxt 8/12/14 10:16 AM Page 4 Mostly Mozart Festival The Mostly Mozart Festival is sponsored by Upcoming Mostly Mozart Festival Events: Bloomberg. Wednesday Evening, August 20, at 7:30 The Mostly Mozart Festival is made possible by in the Clark Studio Theater Rita E. and Gustave M. Hauser, The Fan Fox and Steven Schick , Percussion Leslie R. Samuels Foundation, Inc., Ann and JOHN LUTHER ADAMS: The Mathematics of Gordon Getty Foundation, Charles E. Culpeper Resonant Bodies Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Thursday Evening, August 21, at 7:30 in Park Avenue Armory Public support is provided by the New York State International Contemporary Ensemble Council on the Arts. David Fulmer , Conductor M|M Ellie Dehn , Soprano M|M Artist Catering is provided by Zabar’s and DAI FUJIKURA: Minina (New York premiere) Zabars.com. JOHN ZORN: Baudelaires (New York premiere) ALVIN LUCIER: Chambers MetLife is the National Sponsor of Lincoln Center. MESSIAEN (arr. Cliff Colnot): Chants de terre et de ciel (New York premiere) Bloomberg is the Official Sponsor of Lincoln Center Co-presented with Park Avenue Armory Summer Programs. Thursday Night, August 21, at 10:00 Movado is an Official Sponsor of Lincoln Center. in the Stanley H. Kaplan Penthouse A Little Night Music United Airlines is the Official Airline of Lincoln Center. Patricia Kopatchinskaja , Violin M|M ENESCU: Ménétrier, from Impressions d’enfance WABC-TV is the Official Broadcast Partner of BACH: Chaconne Lincoln Center. BARTÓK: Sonata William Hill Estate Winery is the Official Wine of Friday and Saturday Evenings, August 22–23, Lincoln Center. at 8:00 in Avery Fisher Hall Mostly Mozart Festival Orchestra “Summer at Lincoln Center” is sponsored by Diet Louis Langrée , Conductor Pepsi. Patricia Kopatchinskaja , Violin Susanna Phillips , Soprano Time Out New York is Media Partner of Summer at Kelley O’Connor , Mezzo-soprano Lincoln Center. Dimitri Pittas , Tenor M|M Morris Robinson , Bass Concert Chorale of New York James Bagwell , Director BACH: Chorales from St. John Passion MARTIN: Polyptyque: Six Images of the Passion of Christ MOZART: Requiem Pre-concert lecture on Friday, August 22 at 6:45 by Andrew Shenton M|M Mostly Mozart debut For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure. Visit MostlyMozart.org for full festival listings. Join the conversation: #LCMozart We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 08-19 Joshua Bell_Gp 3.qxt 8/12/14 10:16 AM Page 5 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 08-19 Joshua Bell_Gp 3.qxt 8/12/14 10:16 AM Page 6 Mostly Mozart Festival Signature Works by Peter A. Hoyt The musicologists who first investigated Johann Sebastian Bach (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 fre - quently 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.