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July 25–August 23, 2014 Sponsored by Bloomberg

Tuesday and Wednesday Evenings, August 12–13, 2014, at 7:00

Pre-concert Recital Amphion Katie Hyun, Violin David Southorn, Violin Wei-Yang Andy Lin, Mihai Marica,

BARBER String Quartet (1936) Molto allegro e appassionato Molto adagio Molto allegro (come prima)

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

Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off. 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 2

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Note on the cellist of the Curtis String Quartet: “I have just finished the slow movement of my Pre-concert Recital quartet today—it is a knockout! Now for a by Christopher H. Gibbs Finale.” The last movement caused him a good deal of trouble and went through var- String Quartet (1936) ious revisions even after the work’s Ameri - can premiere at the in Born March 9, 1910, in West Chester, April 1937. (It had been performed the pre- Pennsylvania vious December at the American Academy Died January 23, 1981, in New York in Rome.)

Approximate length: 18 minutes Barber had met Toscanini a few years ear- lier in , and the conductor took an inter- Audiences do not often have the opportunity est in the young composer. Barber sent to hear Barber’s String Quartet, and yet the him the Adagio for Strings and his Essay work—or more precisely, the core of it—is for Orchestra, both of which Toscanini pre- one of the most famous pieces of the 20th sented in a nationally broadcast perfor- century: the Adagio for Strings, a staple of mance. Toscanini went on to perform the the orchestral repertoire, was composed Adagio for Strings on tour in South as the quartet’s elegiac middle movement. America and England, and recorded the premiered Barber’s own work in 1942, further enhancing its fame. arrangement of the piece for full string Barber later made yet another arrangement orchestra with the NBC Symphony Orchestra of the piece, a choral version to which he in 1938, which catapulted the 28-year-old fitted the words of the . composer to international renown. The first of the quartet’s three movements Slow movements, including the second calls upon traditional sonata form with a movement of Beethoven’s Seventh Sym - powerful first theme and more lyrical phony, seem particularly susceptible to second one. The beloved Adagio follows. such independent fame. Like the Adagietto It may not be surprising that Barber’s from Mahler’s Fifth Symphony, Barber’s final reincarnation for the movement was Adagio entered popular culture through its religious; a solemn, even chant-like char- use in films. These compositions have also acter is evident from the start with the first been called upon in times of mourning and of a series of slow phrases consisting of a crisis; the Adagio for Strings was heard on stepwise diatonic melody accompanied by the radio just after the announcement of chords from the other strings. The music Franklin D. Roosevelt’s death in 1945. builds to a powerful climax—louder, more chromatic, and in the highest register of Barber’s original String Quartet dates from the instruments. After a grand pause the 1936. When he began composing it that music settles down with the calm return of summer in Europe, he had another ethe- the opening theme. A very brief finale con- real work—Wagner’s Siegfried Idyll—on cludes the work, bringing back material his mind. He remarked in a letter how “dif- from the first movement. ficult” it was writing a quartet, but by mid- September he reported to , —Copyright © 2014 by Christopher H. Gibbs 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 3

July 25–August 23, 2014 Sponsored by Bloomberg

Tuesday and Wednesday Evenings, August 12–13, 2014, at 8:00

Mostly Mozart Festival Orchestra Gianandrea Noseda, Conductor Erika Grimaldi, Soprano (U.S. debut) Anna Maria Chiuri, Mezzo-soprano M|M Russell Thomas, Tenor Ildar Abdrazakov, Bass M|M Concert Chorale of New York James Bagwell, Director

ALL-BEETHOVEN PROGRAM

Overture to The Consecration of the House (1822)

Pause

Symphony No. 9 in D minor (1822–24) Allegro ma non troppo, un poco maestoso Scherzo: Molto vivace Adagio molto e cantabile— Presto—Allegro ma non troppo—Allegro assai (Choral Finale)

M|M Mostly Mozart debut

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

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The Mostly Mozart Festival is sponsored by Upcoming Mostly Mozart Festival Events: Bloomberg. Thursday Night, August 14, 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 Xavier de Maistre, Harp (New York debut) Gordon Getty Foundation, Charles E. Culpeper MOZART: Keyboard Sonata in C major Foundation, S.H. and Helen R. Scheuer Family LISZT: Le rossignol Foundation, and Friends of Mostly Mozart. FAURÉ: Impromptu And works by CAPLET, PESCETTI, Public support is provided by the New York State SMETANA, and TÁRREGA Council on the Arts. Friday and Saturday Evenings, August 15–16, 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. Magali Mosnier, Flute (U.S. debut) Xavier de Maistre, Harp Bloomberg is the Official Sponsor of Lincoln Center GLUCK: Dance of the Furies, from Orphée et Eurydice Summer Programs. MOZART: Flute and Harp Concerto, K.299 BERLIOZ: Symphonie fantastique Movado is an Official Sponsor of Lincoln Center. Pre-concert lecture at 6:45 on August 15 by Peter Bloom United Airlines is the Official Airline of Lincoln Center. Pre-concert recital at 7:00 on August 16 by Magali Mosnier, flute, and Xavier de Maistre, harp WABC-TV is the Official Broadcast Partner of Lincoln Center. Saturday Evening, August 16, from 4:00–5:30 in the Stanley H. Kaplan Penthouse William Hill Estate Winery is the Official Wine of Panel Discussion: Mozart and the Promise of Lincoln Center. Bruce Alan Brown, Moderator “Summer at Lincoln Center” is sponsored by Diet With Edmund J. Goehring, Christopher Lynch, and Pepsi. Steven Machtinger Presented in association with the Mozart Society Time Out New York is Media Partner of Summer at of America Lincoln Center. For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Ildar Abdrazakov appears by kind permission of the 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. 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 5

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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 delight us in , 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 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 6

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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 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, pro- moted composers 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 concertos and symphonies—including Haydn’s “London,” Mozart’s “Jupiter,” and Beethoven’s “Eroica”—to concise works like the overtures 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 Flute and Harp 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 fugue 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 Requiem and Passion music by Bach and Frank Martin—art that cele- brates the moment when the individual dissolves into the universal.

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Program Summary by Christopher H. Gibbs

This year marks the bicentennial of the 1814–15 Congress of Vienna, which established the balance of powers in Europe after the Napoleonic Wars. Beethoven wrote several pieces connected with the Congress, and during this time he reached the height of his popular fame. After 1815, however, his productivity began to wane. Deafness caused him to retreat further from society, he was involved in a nasty custody battle for his nephew, and he found himself increasingly viewed as an eccentric figure.

Beethoven nonetheless retained his stature as one of the great masters in the history of music. When he contemplated giving the premiere of his Ninth Symphony in Berlin rather than Vienna, the leading members of the Viennese nobility and musical establishment joined forces and wrote a lengthy public letter to “joyfully acknowledge your worth and what you have grown to be to the present as well as the future.” They declared that his creations stood beside the “great and immortal works of Mozart and Haydn,” and also touched on his isolation: “Need we tell you with what regret your retirement from pub- lic life has filled us?” In the end, Beethoven decided to give the premiere of his final sym- phony in Vienna, at a famous concert held on May 7, 1824.

The evening began with the Overture to The Consecration of the House, a work that abundantly displays his longstanding admiration for Handel. Beethoven had written the piece two years earlier to mark the opening of the newly rebuilt Josephstadt Theater in Vienna. The concert also featured the first performance in Vienna of three movements from his Missa solemnis, which had premiered the previous month in St. Petersburg.

Then came the Ninth, a work that redefined the genre of the symphony and influenced numerous composers in its wake. Much of it was immediately shocking, even baffling for some listeners: the soft and mysterious opening, the unconventional order of the move- ments, its extraordinary length, and above all the use of vocal soloists and chorus for the last movement. Here Beethoven called upon a poem by Friedrich Schiller that he had long wanted to set to music: the “Ode to Joy.” The sentiments expressed in this text are con- sistent with Enlightenment ideals that attracted Beethoven throughout his career. The poem is also the reason that the work has so often been enlisted for political purposes— not always, it must be noted, in harmony with the verses’ lofty ideals.

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Notes on the Program House. In addition, Beethoven provided a new chorus and a new overture, which by Christopher H. Gibbs opens this evening’s program.

Overture to The Consecration of the It is clear, as Beethoven commented while House, Op. 124 (1822) composing the Overture, that the inspira- LUDWIG VAN BEETHOVEN tion came preeminently from the music of Born December 16, 1770, in Bonn, Handel. It opens with a majestic slow intro- Died March 26, 1827, in Vienna duction often associated with the so-called French Overture style Handel employed in Approximate length: 12 minutes most of his and oratorios. A mar- velous transition, redolent of Rossini, leads “The latest in Vienna is that Beethoven is to a fast double fugue. It is a most effective, to give a concert at which he is to produce underperformed late work that Beethoven his new symphony, three movements felt worthy to set beside his great Mass from the new Mass, and a new overture.” and final symphony at one of the most So wrote Schubert to a good friend in important events of his career. March 1824. Evidently he had inside infor- mation about the master’s first self-produced Symphony No. 9 in D minor, Op. 125 public concert in nearly a decade. The (1822–24) event took place on May 7, 1824, and LUDWIG VAN BEETHOVEN opened with “A Grand Overture,” fol- lowed by parts of the Missa solemnis, and Approximate length: 65 minutes then concluded with the premiere of the Ninth Symphony. Beethoven had written Beethoven’s final symphony, long cele- the Overture two years earlier, when it pre- brated for both its musical qualities and its miered as Die Weihe des Hauses (The political implications, is one of a handful of Consecration of the House), and the entire masterpieces that changed the course of Mass had first been performed the previ- music history. Its musical innovations and ous month in St. Petersburg. Because of ambition, together with its humanistic restrictions on presenting a sacred Mass at message and Enlightenment vision, have a secular concert, the censor—after much inspired musicians and audiences for negotiation—allowed select movements nearly two centuries, even if its utopian (Kyrie, Credo, and Agnus Dei) to be per- ideals remain unfulfilled. formed under the title “Three Grand Hymns.” As a child of the Enlightenment, Beethoven Beethoven had originally written the Overture grew up during the American and French for the October inauguration of the newly Revolutions. Throughout his life he fol- rebuilt Josephstadt Theater in Vienna. Most lowed political events closely and he expe- of the music performed on that occasion rienced war close at hand when Napoleon’s was an adaptation of The Ruins of Athens, troops invaded Vienna in 1805 and 1809. incidental music he had composed a His first large composition, written at the decade earlier for the opening of a new age of 19, was an impressive cantata com- theater in Pest. New words were commis- memorating the death of Emperor Joseph sioned and the title changed, as befit the II, who had done so much to liberalize the circumstances, to The Consecration of the Austrian Empire in the 1780s. Years later 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 9

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he composed his sole opera, Fidelio, which Composers were not the only ones deeply tells the story of a loving wife saving her engaged with the Ninth. For nearly two husband, an unjustly jailed political pris- centuries now, the work has been appro- oner. Through her heroic deeds he is res- priated for widely diverse purposes. As the cued and evil exposed. Resistance to ultimate “feel good” piece, it’s been used tyranny is the focus of Beethoven’s music to open the Olympic Games and bring to Goethe’s Egmont, and a common nations together in song, and yet during theme for other works by the composer. the Nazi era it was repeatedly performed to celebrate Hitler’s birthday. Its melody is For his final symphony Beethoven turned the official anthem of the European Union, to a lengthy poem by Friedrich Schiller that but was also the anthem of Ian Smith’s he had long wanted to set to music: the racist regime in Rhodesia during the 1970s. “Ode to Joy.” Schiller’s famous words state In Beijing protestors played recordings of that in a new age the old ways will no the Ninth at Tiananmen Square, and jubi- longer divide people and that “all men shall lant students in Germany did the same become brothers.” Ever since the pre- when the Berlin Wall fell in 1989. miere of the Ninth Symphony in Vienna in May 1824, performances have become The opening of the first movement arises almost sacramental occasions, as musi- out of a void. Against the murmurings of cians and audiences alike are exhorted to the low strings emerge falling fifths in the universal fraternity. violins that grow to a loud and imposing first theme; it has all been likened to the In addition, few pieces of music have creation of the world, and certainly no sym- exerted such an impact on later com- phony before sounded anything like it. posers. How, many wondered, should one Beethoven switched the expected order of write a symphony after the Ninth? Schubert, movements—another trait later composers Berlioz, Brahms, Wagner, Bruckner, Mahler— would imitate—by placing the Scherzo the list goes on—all directly engaged with second. A favorite with audiences from the this question in fascinating ways that fun- beginning (especially the prominent role damentally shaped 19th-century music. given to the timpani), it projects both Schubert, who apparently attended the humor and power. The lyrical slow move- 1824 premiere, briefly quoted the “joy” ment, Adagio molto e cantabile, explores theme in his own final symphony, written more personal, even spiritual realms. the following year. Almost every Bruckner symphony begins in the manner of the The finale opens with what Wagner called Ninth, with soft rumblings in the strings. the “terror fanfare,” a dissonant and fran- Mendelssohn, Mahler, and Shostakovich tic passage that leads to a “recitative” (so followed the model of a choral finale. marked in the score) for the and Wagner was the composer perhaps most basses. Fragments from the previous influenced by the Ninth, arguing that in it three movements pass in review—a few Beethoven pointed the way to a “universal measures of the opening theme of each— drama” uniting music and words that, in but are “rejected” by the strings. Following short, was realized in his own operas. this strange, extended recitative comes (Wagner was the ultimate self-promoter the aria: the famous “Ode to Joy” melody and the Ninth was the crucial work in his to which words later will be added. After agenda of forging a link between Beethoven some seven minutes the movement starts and his own “Music of the Future.”) over again—the “terror fanfare” returns, 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 10

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but this time leads to a vocal recitative reaches a climax with a new theme: “Be with the bass soloist singing “O friends, embraced, you millions…above the stars not these sounds! But let us raise our surely lives a loving Father,” which is voices together in joyous song!” (These later combined in counterpoint with the initial words are Beethoven’s own addition joy theme and eventually builds to a fren- to Schiller’s poem.) zied coda.

The chorus and four vocal soloists take up Christopher H. Gibbs is James H. Ottaway Jr. the “joy” theme, which undergoes a con- Professor of Music at Bard College. tinuing series of variations, including a brief section in the Turkish manner. The music —Copyright © 2014 by Christopher H. Gibbs

Final Chorus from Friedrich Schiller’s “Ode to Joy”

Bass: O Freunde, nicht diese Töne! O friends, not these sounds! Sodern lasst uns angenehmere But let us raise our voices Anstimmen und freudenvollere. together in joyful song.

Bass with Chorus: Freude, schöner Götterfunken, Joy, divine spark of the Gods, Tochter aus Elysium, daughter of Elysium, Wir betreten feuertrunken, we come drunk with fire, Himmlische, dein Heiligtum. Goddess, to your sanctuary. Deine Zauber binden wieder, Your magic brings together Was die Mode streng geteilt. all whom earthly laws divide. Alle Menschen werden Brüder, All mankind shall be brothers Wo dein sanfter Flügel weilt. where you spread your wings.

Soloists and Chorus: Wem der grosse Wurf gelungen, He who has had the fortune Eines Freundes Freund zu sein, to his friend a friend to be, Wer ein holdes Weib errungen, he that’s won a noble wife, Mische seinen Jubel ein! let him now rejoice with us! Ja, wer auch nur eine Seele Yes, and he who another Sein nennt auf dem Erdenrund! soul does love like his own! Und wer’s nie gekonnt, der stehle But he who does not shall steal Weinend sich aus diesem Bund. away weeping from our band.

Freude trinken alle Wesen All beings drink in joy An den Brüsten der Natur; from Nature’s breast; Alle Guten, alle Bösen all good and all evil Folgen ihrer Rosenspur. follow her rose-strewn path. Küsse gab sie uns und Reben, Kisses she gives us, and wine, 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 11

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Einen Freund, geprüft im Tod; friendship faithful unto death; Wollust ward dem Wurm gegeben, joy of life the worm receives, Und der Cherub steht vor Gott! and the Seraph stands by God!

Tenor and Chorus: Froh, wie seine Sonnen fliegen Joyful as the sun’s rays that Durch des Himmels prächt’gen Plan, course through heavenly expanse, Laufet, Brüder, eure Bahn, hurry, Brothers, on your ways, Freudig, wie ein Held zum Siegen. joyful as a hero in triumph.

Chorus: Freude, schöner Götterfunken, Joy, divine spark of the Gods, Tochter aus Elysium, daughter of Elysium, Wir betreten feuertrunken, we come drunk with fire, Himmlische, dein Heiligtum. Goddess, to your sanctuary. Deine Zauber binden wieder Your magic brings together Was die Mode streng geteilt. all whom earthly laws divide. Alle Menschen werden Brüder, All mankind shall be brothers Wo dein sanfter Flügel weilt. where you spread your wings.

Seid umschlungen, Millionen! Be embraced, you millions! Diesen Kuss der ganzen Welt! This kiss is for all the world! Brüder, über’m Sternenzelt Brothers, above the stars Muss ein lieber Vater wohnen. surely lives a loving Father.

Ihr stürtz nieder, Millionen? Do you kneel, O millions? Ahnest du den Schöpfer, Welt? Do you fear your Creator? Such’ ihn über’m Sternenzelt! Seek Him beyond the stars! Über Sternen muss er wohnen. There He must dwell.

Freude, schöner Götterfunken, Joy, divine spark of the Gods, Tochter aus Elysium, daughter of Elysium, Wir betreten feuertrunken, We come drunk with fire, Himmlische, dein Heiligtum. Goddess, to your sanctuary.

Seid umschlungen, Millionen! Be embraced, you millions! Diesen Kuss der ganzen Welt! This kiss is for all the world! Ihr stürtz nieder, Millionen? Do you kneel, O millions? Ahnest du den Schöpfer, Welt? Do you fear your Creator? Such’ ihn über’m Sternenzelt! Seek Him beyond the stars! Brüder, über’m Sternenzelt Brothers, above the stars Muss ein lieber Vater wohnen. surely lives a loving Father.

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Soloists and Chorus: Freude, Tochter aus Elysium, Joy, Daughter of Elysium, Deine Zauber binden wieder, your magic brings together Was die Mode streng geteilt. all whom earthly laws divide. Alle Menschen werden Brüder, All mankind shall be brothers Wo dein sanfter Flügel weilt. where you spread your wings.

Seid umschlungen, Millionen! Be embraced, you millions! Diesen Kuss der ganzen Welt! This kiss is for all the world! Brüder, über’m Sternenzelt Brothers, above the stars Muss ein lieber Vater wohnen. Surely lives a loving Father.

Freude, schöner Götterfunken, Joy, divine spark of the Gods, Tochter aus Elysium, daughter of Elysium, Freude, schöner Götterfunken! Joy, divine spark of the Gods! 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 13

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Mr. Noseda is chief guest conductor of the Meet the Artists Israel Philharmonic Orchestra, Victor De Sabata Guest Conductor of the Pittsburgh Symphony Orchestra, and laureate con- ductor of the BBC Philharmonic. Mr. Noseda’s discography includes more than 35 recordings featuring works by Prokofiev, Karłowicz, Dvorˇák, Smetana, Shostakovich, Gianandrea Liszt, Rachmaninoff, Mahler, and Bartók,

SUSSIE AHLBURG Noseda as well as the Musica Italiana project. Gianandrea Noseda, born in Milan, is among the most sought-after conductors of our time. Since becoming music director of the Teatro Regio Torino in 2007, he has joined the ranks of leading opera conduc- tors. His leadership has transformed the Teatro Regio into a global institution and an artistic ambassador for Italy. In 2014 he will Erika Grimaldi bring the Teatro Regio to its Edinburgh Festival debut and to North America for its Erika Grimaldi is one of today’s most tal- debut there. Its Petrassi album (Chandos) ented young sopranos. Born in Asti, Italy, was nominated for 2014 Best Recording of she graduated with distinction from the the Year by BBC Music Magazine. Conservatorio Giuseppe Verdi in Turin, where she studied voice and piano. Her Mr. Noseda’s recent highlights include first successes came at the 1998 Crescentino celebrated performances of Britten’s War International Competition in Vercelli (Italy), Requiem with the London Symphony and the International Giacomo Lauri-Volpi Orchestra and Chorus, a debut at La Scala Competition (Spain). with a new production of Verdi’s Luisa Miller, and a debut at the Vienna State In the 2012–13 season Ms. Grimaldi appeared Opera. Mr. Noseda’s work with the Metro - at the Teatro Regio Torino in three leading politan Opera has garnered considerable roles: Mimì in La bohème, Micaela in attention; recently he led a new production Carmen, and Elisetta in Il matrimonio seg- of Prince Igor and revivals of Macbeth and reto. She also appeared that season as Donna Andrea Chenier. Other guest conducting Anna in Don Giovanni and as Mimì at the appearances include the Los Angeles Phil - Opéra National de Montpellier. She was harmonic, Pittsburgh Symphony Orchestra, heard last season in Montpellier as the and the Paris, Philadelphia, and Cleveland Countess in Le nozze di Figaro and as orchestras. Mr. Noseda also led the London Fiordiligi in Così fan tutte in Turin. Engage - Symphony Orchestra’s opening concert of ments for the 2013–14 season included the 2013–14 season, and conducted the performances as Maria in Simon Boccanegra BBC Philharmonic for studio recordings, and as Liu in under the direction subscription concerts at Bridgewater Hall, of Gianandrea Noseda. Ms. Grimaldi also and annual appearances at in recently performed with Mr. Noseda at the London. In May 2015 he will make his Teatro Regio in her debut as Mathilde in debut with the Berliner Philharmoniker. Guillaume Tell, a role she also sang in a 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 14

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surprise debut at the Bavarian State Opera Born in Alto Adige, Italy, Ms. Chiuri gradu- in July 2014. She will open the 2014–15 ated from the Boito Conservatory in Parma season at the Teatro Regio as Desdemona and perfected her technique with Franco in , and will also appear there as the Corelli. She was the winner of several com- Countess in Le nozze di Figaro. In 2015 she petitions including the Mario del Monaco will make her U.S. opera debut at the Wash - Vocal Competition, Basiola, and the Inter - ington National Opera as Micaela in Carmen, national Francesco Paolo Tosti Singing and she will appear as Mimì in La bohème Com petition. She also ranked in the Inter- at the Teatro Petruzzelli in Bari. She joined national Tchaikovsky Competition. Future Jonas Kaufmann in a scene from Il trovatore engagements include Rossini’s Guillaume on the tenor’s recent all-Verdi CD for Sony. Tell conducted by Gianandrea Noseda at the Edinburgh International Festival, Weinberger’s Švanda dudák at the Teatro Massimo in , Suor Angelica/Goyescas and Hänsel und Gretel at the Teatro Regio Torino, and Il trovatore with Teatro Social di Rovigo and Opera Giocosa di Savona.

Anna Maria Chiuri

Anna Maria Chiuri is internationally acclaimed as a true dramatic mezzo-soprano. Her color- ful voice and charismatic presence have given life to the Verdi roles of Amneris, Azucena, Fenena, Preziosilla, Mrs. Quickly, Ulrica, and

DARIO ACOSTA Russell Thomas Eboli; the Wagner roles of Ortrud and Fricka; and the Strauss roles of Clytemnestra and A native of Miami, tenor Russell Thomas is Herodias. She has also performed as Adalgisa quickly establishing himself as one of the in Norma, Santuzza in Cavalleria rusticana, and most exciting vocal and dramatic talents of Donna Elvira in Don Giovanni. Ms. Chiuri has the international opera and concert scene. performed at opera houses throughout Italy, Mr. Thomas’s recent highlights include con- including the Teatro alla Scala in Milan, cert performances of John Adams’s The Accademia Nazionale di Santa Cecilia in Gospel According to the Other Mary at the Rome, Teatro Massimo in Palermo, Teatro Ravinia Festival and Verdi’s I masnadieri Regio Torino, Teatro di San Carlo in , with the Washington Concert Opera. He Teatro Carlo Felice in Genoa, Teatro La Fenice also debuted at Deutsche Oper Berlin in in Venice, Teatro Verdi in Trieste, and Teatro the title role of Verdi’s Don Carlo, Andres in Regio Parma. Internationally, Ms. Chiuri has Wozzeck with the Metropolitan Opera, the performed at the Wexford Opera Festival, title role in Les contes d’Hoffmann with the Grand Théâtre de Genève, Oper Leipzig, and Seattle Opera, and the Prince in Rusalka Opernhaus Zürich, and in cities such as New with the North Carolina Opera. In concert, York, Tel Aviv, and Tokyo. She has also collab- Mr. Thomas sang Beethoven’s Symphony orated with many of today’s foremost con- No. 9 with the and ductors and directors, including Angelo Alan Gilbert, Handel’s Messiah with the Campori, Riccardo Chailly, , National Symphony Orchestra, and Verdi’s Riccardo Muti, Gianandrea Noseda, Georg Messa da Requiem with the New Jersey Solti, , Lorenzo Mariani, and Symphony Orchestra. Future projects include Manfred Schweigkofler. a debut at the English National Opera and 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 15

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Lyric Opera of Chicago, as well as returns to Giovanni; Méphistophélès in Gounod’s Faust the Metropolitan Opera, Canadian Opera and Berlioz’s La damnation de Faust; Oroveso Company, and Cincinnati Opera. in Bellini’s Norma; Selim in Rossini’s Il turco in Italia; and Assur in Rossini’s Semiramide. Mr. In the 2012–13 season, Mr. Thomas per- Abdrazakov is noted for Verdi roles, including formed in Donizetti’s Belisario with Opera Walter in Luisa Miller and the title character Rara in London and made his role debut as in Oberto, as well as Attila and Banquo. Tito in Mozart’s La clemenza di Tito at the Metropolitan Opera. He returned to the Los His discography includes a Grammy Award– Angeles Philharmonic to reprise his role as winning recording of Verdi’s Messa da Lazarus in a new production of The Gospel Requiem with Riccardo Muti and the Chicago According to the Other Mary directed by Symphony Orchestra, as well as discs of Peter Sellars, which was also seen in London, Cherubini’s masses, Shostakovich’s Suite Lucerne, Paris, and New York. Further con- on Verses of Michelangelo, Rachmaninoff’s certs included the tenor’s return to the New The Miserly Knight, and unpublished arias York Philharmonic in Mahler’s Das Lied von by Rossini with Riccardo Chailly. He is also der Erde, Mozart’s Requiem at , featured on video recordings of Oberto, and Verdi’s Messa da Requiem in Barcelona. Norma, Lucia di Lammermoor, and Attila. In Mr. Thomas ended the season with his 2014 Delos released his debut solo record- debut at the Royal Opera House–Covent ing, Power Players: Russian Arias for Bass. Garden as Gabriele Adorno in Verdi’s Simon Boccanegra, and with concert performances Born in 1976 in the city of Ufa, then the of Wagner’s Der fliegende Holländer at the capital of the Soviet republic of Bashkiria, Concertgebouw, Amsterdam. Mr. Abdrazakov traces his lineage back to Genghis Khan. His first place award at the 2000 Maria Callas International Television Competition thrust him into the interna- tional spotlight and led to his debut at La Scala the following year. Since 2007 Mr. Abdrazakov has been an ambassador for the Zegna & Music project, a philanthropic initiative founded in 1997 by Ermenegildo

JULIA BORODINA Ildar Abdrazakov Zegna to promote music and its values. Since making his La Scala debut in 2001 at Mr. Abdrazakov’s concert attire is gener- age 25, Ildar Abdrazakov has become a ously provided by the designer. mainstay at leading houses worldwide, including the Metropolitan Opera, Vienna Concert Chorale of New York State Opera, and Bavarian State Opera. Also The Concert Chorale of New York is a an active concert artist, he has performed at group of professional singers who perform London’s BBC Proms and at Carnegie Hall, with various conductors and presenters. In as well as with leading international 2013 the Chorale performed Rossini’s orchestras, including the Chicago Symphony Stabat mater under Gianandrea Noseda for Orchestra and Vienna Philharmonic. Lincoln Center’s Mostly Mozart Festival. They have also appeared at the Caramoor Among Mr. Abdrazakov’s signature roles are Festival in productions of operas and ora- the title role in Le nozze di Figaro; both the torios. Other credits include the Brooklyn title character and Leporello in Mozart’s Don Academy of Music’s productions of Philip 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 16

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Glass’s CIVIL warS; John Adams’s Nixon in Symphony Orchestra, and led them in con- China; and productions of Dido and Aeneas, certs at Carnegie Hall during the 2013–14 L’Allegro, il Penseroso ed il Moderato, Jesu, season. In 2011 and 2013 he prepared the meine Freude, and Vivaldi’s Gloria with the Collegiate Chorale for three concerts at the Mark Morris Dance Group. The Chorale has Verbier Festival; the ensemble will return also worked with Gerard Schwarz at the 92nd there in 2014 for four concerts. In 2012 the Street Y and Opéra Français conducted by group traveled to Israel and the Salzburg Yves Abel. The Chorale recently appeared Festival for four programs with the Israel Phil - with the American Symphony Orchestra harmonic, marking the first time an American under Leon Botstein. It performed in chorus had appeared at the festival since Stravinsky’s Les noces at Lincoln Center, the 1989. In 2011 Mr. Bagwell made his debut New York premiere of Paul McCartney’s Ecce with the Cincinnati Symphony Orchestra and Cor Meum, and a performance of John May Festival Chorus, and he will return in Adams’s The Death of Klinghoffer conducted December 2014 to lead them in a perfor- by the composer. The Chorale participated mance of Handel’s Messiah. in the Performing Arts Center at Purchase College–SUNY’s performances of Gilbert and Mr. Bagwell has worked with noted con- Sullivan works, and a concert series of Haydn, ductors such as Valery Gergiev, Charles Bach, and Beethoven. It also performed in the Dutoit, Zubin Mehta, Riccardo Muti, Lorin highly acclaimed concert version of Rodgers Maazel, Esa-Pekka Salonen, Michael Tilson and Hammerstein’s Carousel, conducted by Thomas, Louis Langrée, Leon Botstein, Leonard Slatkin, and in a performance with Iván Fischer, Vladimir Ashkenazy, and Judy Collins at Carnegie Hall. The men of the Robert Shaw. He conducted some 25 pro- Chorale sang with the Chicago Symphony ductions as music director of Light Opera Orchestra in a performance of Tristan und Oklahoma, and led critically acclaimed the- Isolde, and they performed in The Tristan atrical works at Bard SummerScape. He Project with the Los Angeles Philharmonic at recently conducted a recorded performance Avery Fisher Hall. The Chorale participated in of Kurt Weill’s Knickerbocker Holiday at Live From Lincoln Center’s A Salute to the Alice Tully Hall. Mr. Bagwell frequently American Musical, which was nominated for appears as a guest conductor for orchestras, an Emmy, and it has recorded with CBS and including the Jerusalem Symphony Orches - Nonesuch Records. The artistic administra- tra, Tulsa Symphony, and the Indianapolis tor of the Concert Chorale of New York is Chamber Orchestra. He has taught since Jacqueline Pierce. 2000 at Bard College, where he is director of the music program and co-director of James Bagwell the master’s program in conducting. James Bagwell maintains an active inter- national schedule as a conductor of choral, Amphion String Quartet operatic, and orchestral music. He has pre- The Amphion String Quartet won the 2011 pared the Concert Chorale of New York for Concert Artists Guild Victor Elmaleh Com - numerous performances with the American petition and joined the roster of The Chamber Symphony Orchestra, the Los Angeles Phil - Music Society of Lincoln Center’s CMS Two harmonic, and the Mostly Mozart Festival program in 2013. The ensemble made its (broadcast nationally in 2006 on Live From Alice Tully Hall debut in March 2014. The Lincoln Center). In 2009 he was appointed group’s 2014–15 season begins with these music director of the Collegiate Chorale and Mostly Mozart performances and a return to principal guest conductor of the American Korea for the Busan Chamber Music Festival. 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 17

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The quartet has several return engagements embodied in annual artists-in-residence in New York in 2014–15, including two including , John Adams, Chamber Music Society performances at Kaija Saariaho, Pierre-Laurent Aimard, and Alice Tully Hall, Schneider Concerts at the the International Contemporary Ensemble. New School, Brooklyn’s Bargemusic, and Among the many artists and ensembles who the Tilles Center Chamber Music Series on have had long associations with the festi- Long Island. Collaborative performances val are Joshua Bell, Christian Tetzlaff, Itzhak include a recital with clarinetist David Shifrin Perlman, Emanuel Ax, Garrick Ohlsson, at Rockford’s Coronado Theatre and a special Stephen Hough, Osmo Vänskä, the Emerson program with the renowned dance company String Quartet, Freiburg Baroque Orchestra, BodyVox in Portland. In fall 2014 the Orchestra of the Age of Enlightenment, and Amphion String Quartet’s first CD will be the Mark Morris Dance Group. released by Nimbus. Mostly Mozart Festival Orchestra Violinists Katie Hyun and David Southorn, vio- The Mostly Mozart Festival Orchestra is list Wei-Yang Andy Lin, and cellist Mihai the resident orchestra of the Mostly Marica first joined together for a perfor- Mozart Festival, and is the only orchestra in mance at the Yale School of Music’s Sprague the U.S. dedicated to the music of the Hall in 2009. The ecstatic audience response Classical period. Since 2002 Louis Langrée directly inspired the quartet’s creation. has been the Orchestra’s music director, and Recent honors include the 2012 Salon de since 2005 the Orchestra’s Avery Fisher Hall Virtuosi Career Grant, first prize at the Hugo home has been transformed each summer Kauder String Quartet Competition, and first into an appropriately intimate venue for its prize in the piano and strings category as well performances. Over the years, the Orchestra as the Audience Choice Award at the 2010 has toured to such notable festivals and Plowman Chamber Music Competition. venues as Ravinia, Great Woods, Tangle - wood, Bunkamura in Tokyo, and the Kennedy Mostly Mozart Festival Center. Conductors who made their New Lincoln Center’s Mostly Mozart Festival— York debuts leading the Mostly Mozart America’s first indoor Festival Orchestra include Jérémie Rhorer, festival—was launched as an experiment Edward Gardner, Lionel Bringuier, Yannick in 1966. Called Midsummer Serenades: A Nézet-Séguin, Charles Dutoit, Leonard Mozart Festival, its first two seasons were Slatkin, David Zinman, and Edo de Waart. devoted exclusively to the music of Mozart. Mezzo-soprano Cecilia Bartoli, flutist James Now a New York institution, Mostly Mozart Galway, soprano Elly Ameling, and pianist continues to broaden its focus to include Mitsuko Uchida all made their U.S. debuts works by Mozart’s predecessors, contempo- with the Mostly Mozart Festival Orchestra. raries, and related successors. In addition to concerts by the Mostly Mozart Festival Lincoln Center Orchestra, Mostly Mozart now includes for the Performing Arts, Inc. concerts by the world’s outstanding Lincoln Center for the Performing Arts period-instrument ensembles, chamber (LCPA) serves three primary roles: presenter orchestras and ensembles, and acclaimed of artistic programming, national leader in soloists, as well as opera productions, dance, arts and education and community rela- film, late-night performances, and visual tions, and manager of the Lincoln Center art installations. Contemporary music has campus. A presenter of more than 3,000 become an essential part of the festival, free and ticketed events, performances, 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 18

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tours, and educational activities annually, Award–winning Live From Lincoln Center, LCPA offers 15 programs, series, and fes- which airs nationally on PBS. As manager of tivals, including American Songbook, Great the Lincoln Center campus, LCPA provides Performers, Lincoln Center Festival, Lincoln support and services for the Lincoln Center Center Out of Doors, Midsummer Night complex and the 11 resident organizations. Swing, the Mostly Mozart Festival, and the In addition, LCPA led a $1.2 billion campus White Light Festival, as well as the Emmy renovation, completed in October 2012. JENNIFER TAYLOR 2014

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

Violin I Viola Oboe Trumpet Ruggero Allifranchini, Shmuel Katz, Principal Randall Ellis, Principal Neil Balm, Principal Concertmaster Meena Bhasin Kristin Kall Lee Soper Martin Agee Danielle Farina Nick Masterson Robert Chausow Chihiro Fukuda Trombone Amy Kauffman Jack Rosenberg Clarinet Richard Clark, Principal Sophia Kessinger Jessica Troy Jon Manasse, Principal Demian Austin Katherine Livolsi-Landau Steven Hartman Don Hayward Lisa Matricardi Cello Ronald Oakland Ilya Finkelshteyn, Principal Bassoon Timpani Deborah Wong Ted Ackerman Marc Goldberg, Principal David Punto, Principal Ann Kim Tom Sefcˇovicˇ Violin II Alvin McCall Mark Romatz, Percussion Laura Frautschi, Principal Contrabassoon Kory Grossman, Principal Katsuko Esaki Bass Matthew Beaumont Lilit Gampel Zachary Cohen, Principal Horn Charles Descarfino Michael Gillette Lou Kosma Lawrence DiBello, Suzanne Gilman Judith Sugarman Principal Librarian Kristina Musser Michelle Baker Michael McCoy Michael Roth Flute David Byrd-Morrow Mineko Yajima Tanya Dusevic Witek, Patrick Pridemore Personnel Managers Principal Stewart Rose Neil Balm Elizabeth Mann Jonathan Haas Stephanie Mortimore, Gemini Music Piccolo Productions, Ltd. 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 19

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Concert Chorale of New York James Bagwell, Director

Soprano Alto Tenor Bass Melissa Bauman Esther David James Bassi Daniel Alexander Gail Blache-Gill Emily Eyre Jonathan Blalock Frank Barr Melissa Casey-Jose BJ Fredricks Max Blum Dennis Blackwell Eileen Clark Yonah Gershator Martin Doner Clyde Crewey Margery Daley Wendy Gilles Brian Giebler Mischa Frusztajer Toni Dolce Erin Kemp Jermaine Jackson Roderick Gomez Patti Dunham Margaret Lias Adam MacDonald Joseph Neal Phenisher Harris Nedra Neal Drew Martin Mark Rehnstrom Margarita Martinez Rosa Pascarella John Tiranno Christopher Roselli Adrienne Pardee Tami Petty James Archie Worley Sean Sullivan Erika Grace Powell Jacqueline Pierce Daniel Shigo Elisa Singer Rhesa Williams Scott Wheatley Kathy Theil Lewis White Sarah Viola Elena Williamson

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 08-12 Noseda_Gp 3.qxt 7/30/14 2:09 PM Page 20

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Lectures, Discussions, and Pre-concert Recitals

All events are FREE to ticketholders of the accompanying performance.

Saturday Afternoon, July 26, at 4:00 Saturday Afternoon, August 16, at 4:00 Discussion of Sila: The Breath of the Panel Discussion: Mozart and the World with John Luther Adams and Promise of Opera John Schaefer Bruce Alan Brown, moderator Bruno Walter Auditorium Presented in association with the Mozart Society of America Friday and Saturday Evenings, Stanley H. Kaplan Penthouse August 1–2, at 7:00 Members of the Mostly Mozart Festival Saturday Evening, August 16, at 7:00 Orchestra Magali Mosnier, flute, and Mozart: Serenade for Winds in E-flat Xavier de Maistre, harp major, K.375 Works by Gluck, Smetana, and Fauré Avery Fisher Hall Avery Fisher Hall

Monday Evening, August 4, at 6:30 Sunday Afternoon, August 17, at 1:45 Emerson String Quartet Lecture on Handel’s Teseo by Ellen Rosand Haydn: String Quartet in G major Stanley H. Kaplan Penthouse Alice Tully Hall Tuesday Evening, August 19, at 7:00 Tuesday and Wednesday Evenings, Igor Kamenz, piano August 5–6, at 7:00 Beethoven: Sonata No. 7 in D major Christian Tetzlaff, violin, and Avery Fisher Hall Caroline Goulding, violin Works by Leclair and Bartók Wednesday Evening, August 20, at 7:00 Avery Fisher Hall Igor Kamenz, piano Liszt: Dante Sonata Friday Evening, August 8, at 6:15 Wagner (trans. Liszt): Isoldes Liebestod Pre-performance discussion of Acis and Avery Fisher Hall Galatea with Mark Morris and Jane Moss David Rubenstein Atrium Friday Evening, August 22, at 6:45 Lecture on Mozart, Bach, and Martin by Friday and Saturday Evenings, Andrew Shenton August 8–9, at 7:00 Stanley H. Kaplan Penthouse Philip Cobb, trumpet, and Joseph Turrin, piano Works by Purcell, Bellstedt, and Joseph Turrin Avery Fisher Hall ALICE TULLY HALL, AVERY FISHER HALL Broadway at 65th Street Tuesday and Wednesday Evenings, August 12–13, at 7:00 BRUNO WALTER AUDITORIUM Amphion String Quartet Dorothy and Lewis B. Cullman Center New York Public Library for the Performing Arts Barber: String Quartet 111 Amsterdam Ave., between 64th and 65th Avery Fisher Hall Streets Friday Evening, August 15, at 6:45 DAVID RUBENSTEIN ATRIUM Lecture on Berlioz’s Symphonie Broadway between 62nd and 63rd Streets fantastique by Peter Bloom STANLEY H. KAPLAN PENTHOUSE Stanley H. Kaplan Penthouse 165 West 65th Street, 10th Floor