CAL PERFORMANCES PRESENTS PROGRAM

Wednesday, November 2, 2011, 8pm Zellerbach Hall

Lang Lang, piano Frédéric Chopin (1810–1849) Twelve Études, Op. 25 (c.1837)

No. 1 in A-flat major: Allegro sostenuto No. 2 in F minor: Presto PROGRAM No. 3 in F major: Allegro No. 4 in A minor: Agitato No. 5 in E minor: Vivace Johann Sebastian Bach (1685–1750) Partita No. 1 in B-flat major, BWV 825 (c.1726) No. 6 in G-sharp minor: Allegro (“Study in Thirds”) Præludium No. 7 in C-sharp minor: Lento Allemande No. 8 in D-flat major: Vivace Courante No. 9 in G-flat major: Allegro assai (“Butterfly”) Sarabande No. 10 in B minor: Allegro con fuoco Menuets I and II No. 11 in A minor: Lento — Allegro con brio Gigue (“The Winter Wind”) No. 12 in C minor: Allegro molto con fuoco

Franz Schubert (1797–1828) Sonata in B-flat major, D. 960 (1828)

Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza This performance is made possible, in part, by Patron Sponsors Allegro, ma non troppo Diana Cohen and Bill Falik.

Cal Performances’ 2011–2012 season is sponsored by Wells Fargo.

INTERMISSION

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Johann Sebastian Bach (1685–1750) earliest date allowed by the enormous demands short canonic pieces and the “St. Anne” Prelude keyboard suite,” wrote Karl Geiringer, “which Partita No. 1 in B-flat major, BWV 825 of his official position for new sacred vocal mu- and Fugue; and Part IV (1742), the incompa- under his masterly hands assumed a unique sic, Bach began a series of keyboard suites that rable Goldberg Variations. grandeur and significance.” Composed around 1726. were apparently intended to compete with those The term “partita” was originally applied of Kuhnau. In addition to helping establish his to pieces in variations form in Italy during the With the condescending pronouncement, reputation in Leipzig, these pieces would also 16th century, and the word survived in that con- Franz Schubert (1797–1828) “Since the best man could not be obtained, me- provide useful teaching material for the pri- text into Bach’s time. The keyboard Partitas of Sonata in B-flat major, D. 960 diocre ones would have to be accepted,” City vate students he was beginning to draw from the Clavier-Übung, however, are not variations Councilor Platz announced the appointment among the University’s scholars, who were less but suites of dances, a form that in France oc- Composed in 1828. of Johann Sebastian Bach in 1723 as Cantor hampered by bureaucratic exigencies than their casionally bore the title of Partie, meaning ei- for Leipzig’s churches. Platz’s “best man” was superiors in recognizing Bach’s genius. (Several ther a movement in a larger work or a musical In the hall of the Gesellschaft der Musikfreunde Georg Philipp Telemann, then the most highly of his secular cantatas were written for commis- piece for entertainment. The French term was in Vienna on March 26, 1828, immediately after regarded composer in all Germany, and the lo- sions from the University students.) The Partita taken over into German practice in the late 17th completing his magnificent C major Symphony cal disappointment at not being able to pry him No. 1 in B-flat major (BWV 825) issued in that century as Parthie to indicate an instrumental (justifiably dubbed “The Great” by later genera- away from his post as Hamburg’s music director year was the first of his compositions to be pub- suite, and Bach’s “Partita” seems to have been tions), Franz Schubert gave the only public con- was only one of the many difficulties that Bach lished, with the exception of two cantatas issued a corruption of this usage. (He had earlier used cert entirely of his works held during his lifetime. faced during his first years on the job in Leipzig. during his short tenure in Mühlhausen many the title for three of his works for unaccompa- The event, prompted and sponsored by his circle Bach’s new duties centered on directing the mu- years before (1707–1708). Bach funded the ven- nied violin.) Bach referred to these pieces as of devoted friends, was a significant artistic and sic for the Sunday worship at the town’s four ture himself, and even engraved the plates (to galanteries or “entertainment pieces,” and loos- financial success, and he used the proceeds to churches, principally St. Thomas, where the ser- save money) with the help of his teenage son ened the usual German succession of dances celebrate the occasion at a local tavern, pay off vice usually stretched to four hours and required Carl Philip Emanuel, who was then learning (Allemande, Courante, Sarabande, Gigue) to some old debts, acquire a new piano, and buy copious amounts of music, a sizeable portion of that exacting craft. (Copies could be had direct- include such alternate movements as Rondeau, tickets for Nicolò Paganini’s sensational debut which the new Cantor was required to compose. ly from the composer, cash in advance.) Bach Capriccio, Burlesa, Aria and Gavotte. Each of in Vienna three days later. Despite the renewed Bach was responsible to the city’s ecclesiastical published an additional Partita every year or so the six Partitas opens with a movement of dif- enthusiasm for creative work that that concert Consistory in fulfilling these duties, which he until 1731, when he gathered together the six ferent character: Praeludium, Sinfonia, Fantasia, inspired in him, and encouraging signs that had to balance with his teaching at the church’s works and issued them collectively in a volume Ouverture, Præambulum and Toccata. The danc- his music was beginning to receive recognition school, run by the town council. He was also entitled Clavier-Übung (“Keyboard Practice”), a es that follow these preludial movements differ outside of Vienna, Schubert’s spirits were damp- charged with providing some of the music for term he borrowed from the name of Kuhnau’s from one work to the next, but satisfy the de- ened during the following months by the peril- Leipzig University’s chapel, administered by keyboard suites published in 1689 and 1692. The mand for stylistic variety and formal balance. ous state of his health. His constitution, never that institution’s board of governors. His deal- Partitas of what became Part I of the Clavier- Charles Sanford Terry wrote, “Bach’s keyboard robust, had been undermined by syphilis, and ings with none of these bodies were eased by his Übung were well received; Johann Nikolaus suites contain not far short of 200 movements. by the summer of 1828, he was suffering from volatile, sometimes even belligerent temper, and Forkel, in the first full biography of Bach (1802), They exhibit extraordinary fertility of invention, headaches, exhaustion and frequent digestive his relations with his superiors were almost con- reported that “the works made in their time a vivid imaginative power and complete technical distress. In May, he received invitations from stantly strained. The most serious of these ani- great noise in the musical world. Such excellent mastery of the forms they employ.” friends to summer in both Graz and Gmunden mosities erupted in a petition to the land’s high- compositions for harpsichord had not been seen The Partita No. 1 begins with a Præludium in order to refresh himself with the country air, est authority, Augustus “the Strong,” Elector of or heard before, so brilliant, agreeable, expres- of tender lyricism and placid temperament. The but he had to refuse his hosts because he lacked Saxony, asking him to adjudicate a dispute over sive and original are they. Anyone who could first two of the Partita’s dance movements are money to pay for the transportation. He settled his assignments and pay with the University au- play them well could make his fortune in the dynamically energetic, the Allemande vigorous instead for a three-day excursion in early June thorities, who were much concerned with Bach’s world thereby, and even in our times, a young and marching, the Courante agile and mercu- with the composer-conductor Franz Lachner to paucity of formal education. Bach lost. artist could gain acknowledgment by doing so.” rial. Elaborate ornamentation encrusts the nearby Baden, where he wrote a Fugue in E mi- Much of Bach’s early activity in Leipzig was Bach continued his series of Clavier-Übung with melody of the introspective Sarabande. If the nor for organ, four hands (D. 952, his only work carried out under the shadow of the memory of three further volumes of vastly different nature: Divinity had a music box, it would play the pair for organ), which he tried out with his com- his predecessor, Johann Kuhnau, a respected Part II (1735) contains the Italian Concerto, the of Menuets that follow. The Gigue is a musical panion on the instrument in the 12th-century musician and scholar who had published mas- ultimate keyboard realization of that quintessen- sleight-of-hand, with its staccato theme emerg- Cistercian abbey at neighboring Heiligenkreuz terly translations of Greek and Hebrew, prac- tial Baroque orchestral form, and an Ouverture ing from a curtain of ceaseless figuration. on June 4th. Between his return to the city a few ticed as a lawyer in the city, and won wide fame (Suite) in the French Manner; Part III (1739), for “The first part of theClavier-Übung repre- days later and August, he composed the Mass in for his keyboard music. In 1726, probably the organ, the Catechism Chorale Preludes, several sents the culmination of Bach’s treatment of the E-flat, made a setting in Hebrew of Psalm 92 for

6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES the City Synagogue of Vienna, created a num- harmonic color, piano sonority and the subtle mistress and mother of Cosima, later Richard nickname “Study in Thirds.” No. 7 (C-sharp ber of short pieces for piano, wrote all but one balancing of keys—what Hans Költzsch in his Wagner’s second wife. The English pianist and minor) begins with a deeply felt recitative and of the thirteen songs published after his death study of Schubert’s sonatas called “the nascent writer on music Robert Collet explained why the reaches great heights of emotional expression. in the collection Schwanengesang, did extensive present.” This characteristically Schubertian Études are among the most characteristic and The celebrated 19th-century virtuoso Hans von work on what proved to be his last three piano predilection is particularly evident in the de- perfect of Chopin’s creations: “Here, Chopin’s Bülow said that the Étude No. 8 (D-flat ma- sonatas (D. 958-960), and began his C major velopment sections of the opening movements, more obvious limitations, his lack of sense of the jor), a fearsome study in parallel sixths, “might String Quintet. which eschew the rigorous thematic working- monumental, either seem to be unimportant or honestly be called ‘the pianist’s indispensable.’ At the end of August, Schubert felt unwell, out of the Beethovenian model in favor of a to be positive virtues; in these works, he never As a remedy for stiff fingers before performing complaining of dizziness and loss of appetite, warm, even sometimes dreamy, lyricism whose attempts anything basically unsuited to his nat- in public, playing it through six times is recom- and his physician advised that he move for a principal aims are to examine fragments of the ural genius. They are in some ways the most uni- mended for even the most expert pianists.” The time to a new house outside the city recently movement’s melodies in different harmonic versal of his works; to an unusual degree, they charming sobriquet of the Étude No. 9 (G-flat acquired by the composer’s brother Ferdinand. lights and to extract the instrument’s most in- transcend barriers of time and nationality.... It major)—“Butterfly”—denotes the music’s aerial Though Ferdinand’s dwelling was damp and un- gratiating sonorities. The B-flat Sonata, gener- is difficult to think of any music of the decade grace but diminishes its subtlety of sonority comfortable and hardly conducive to his recov- ally regarded as Schubert’s greatest achievement around 1830 that has dated less.” and ingenuity of figuration. Herbert Weinstock ery, Franz felt better during the following days, in the genre, opens with a movement of breadth Clara Schumann wrote that the Étude No. 1 wrote, “The last three Études of Op. 25 are gi- and he was able to participate in an active social and majesty based on one his most ravishing of Op. 25 (A-flat major) embodied the playing ants, tone poems large in extension, massive life and attend the premiere of a comedy by his melodies. The Andante, music such as it is given of Chopin himself: “Imagine that an Aeolian in concept, and wholly masculine in poetic friend Eduard von Bauernfeld on September 5th. to only the greatest masters to compose, seems harp possessed all the musical scales and that the content. They would by themselves make it es- Schubert also continued to compose incessantly, almost freed from earthly bonds, rapt out of hand of the artist were to cause them all to inter- sential to recognize Chopin as great.” The furi- completing the three piano sonatas on the 26th, time. “It is,” concluded Alfred Einstein, “the cli- mingle in all sorts of fantastic embellishments, ous, triplet-driven music of the outer sections of and performing them at the house of Dr. Ignaz max and apotheosis of Schubert’s instrumental yet in such a way as to leave everywhere audible No. 10 (B minor) is thrown into bold relief by Menz the following day. The C major Quintet lyricism and his simplicity of form.” The playful a deep fundamental tone and a soft continuously the movement’s serene, lyrical central episode. was finished at that same time; it and the sonatas Scherzo that follows serves as the perfect foil to singing upper voice, and you will get the right Of the Étude No. 11 (A minor), known as “The were the last instrumental works that he com- the slow movement. The finale balances a cer- idea of Chopin’s playing.” An “aeolian harp,” Winter Wind,” Eric Harrison wrote, “This is pleted. On October 31st, Schubert fell seriously tain seriousness of expression with exuberance incidentally, is a lyre-like object whose delicate one of the greatest storm-pictures, natural or ill, his syphilitic condition perhaps exacerbated and rhythmic energy. strings are set in motion by the force of the wind emotional, ever conceived; the introduction by the typhus then epidemic in Vienna, and he to give forth faint, indiscriminate sounds, a sees its approach and utters a prayer for safety. died on November 19, 1828, at the age of 31. He sort of chordophonic analogue of wind chimes. It has lulls, but increases in violence to the had originally intended that the three sonatas be Frédéric Chopin (1810–1849) No. 2 (F minor) was composed during a visit end.” There is an almost Beethovenian urgency dedicated to Johann Hummel, a pianist, com- Twelve Études, Op. 25 in 1836 to Dresden, where Robert Schumann and grandeur in the Étude No. 12 (C minor). poser, student of Mozart and important sup- heard Chopin play it and described the piece as Weinstock advised that “it must not be played porter during his last years, but when Diabelli Composed around 1837. “charming, dreamy and soft as a child singing as one reasonably imagines the delicate, ailing published them in 1838 as Schubert’s Last in its sleep.” No. 3 (F major) was once known Chopin to have played it, but as Chopin meant Compositions: Three Grand Sonatas, Hummel Chopin’s first set of twelve Études was published as the “Cartwheel” because of its fast, repetitive it to be played. It was for years, and with reason, was already dead, so the pieces were instead in- as his Op. 10 in 1833 (with a dedication to Franz rhythms and strong accents. No. 4 (A minor) is known as the ‘Ocean’ Étude, and there is a vast scribed to another champion of Schubert’s mu- Liszt), though the individual pieces had been an exercise in agitated and persistent syncopa- tidal power in it. No neuroticism here, nothing sic, Robert Schumann. written two and three years earlier, around the tion. No. 5 (E minor) is delicate and nimble, covert or androgynous, but strength designed “All three of the last sonatas are works in time that the young composer left Warsaw for with many broad arches of melody that sweep and controlled in the creation of a sovereign and which meditation, charm, wistfulness, sadness Vienna and Paris. The étude originally grew up the keyboard and back down again. The moto conquering beauty.” and joy are housed in noble structures,” wrote from the need for study pieces focusing on one perpetuo stream of parallel intervals in the right George Marek. Though each follows the tradi- aspect of keyboard technique, but Chopin’s ex- hand of No. 6 (G-sharp minor) has earned it the © 2011 Dr. Richard E. Rodda tional four-movement Classical pattern of open- amples lifted the genre from that of a simple ing sonata-allegro, lyrical slow movement, scher- pedagogical vehicle to a richly expressive con- zo (minuet in the C minor Sonata) and lively cert form with a single, sustained mood. The finale, this is music less concerned with the ti- Études are the first works in which Chopin’s tanic, visionary, long-range formal structures of fully formed genius is evident. His second set of Beethoven (whom Schubert idolized) than with Études, Op. 25, appeared in 1837, with a dedi- the immediately perceived qualities of melody, cation to the Countess Marie d’Agoult, Liszt’s

8 CAL PERFORMANCES CAL PERFORMANCES 9 ABOUT THE ARTIST ABOUT THE ARTIST

e r a l d e d underserved and remote communities, and do- his numerous commitments, Lang Lang holds commencement of the World Cup Games. In H as the “hot- nating his musical talents to raise awareness of the title of the first Ambassador of the YouTube celebratory concerts for the closing of 2008 Euro test artist on the other charitable causes. Lang Lang’s charitable Symphony Orchestra. His role in this ground- Cup finals, Lang Lang played with the Vienna classical music efforts led to the recent launch of the Lang Lang breaking project, created by YouTube and Philharmonic under the baton of Zubin Mehta planet” by The International Music Foundation with the mis- Google, reflects his devotion to building new in front of Schönbrunn Palace. New York Times, sion of inspiring the next generation of classi- audiences and bringing classical music to young Continuing his work with world-famous 29-year-old Lang cal music lovers and performers by cultivating people worldwide. conductors, Lang Lang has performed under Lang has played tomorrow’s top pianists, championing music In the 2010–2011 season, Lang Lang per- the baton of Sir Simon Rattle with the Berlin sold-out recit- education at the forefront of technology, and formed at the opening night of Christoph Philharmonic at the Waldbühne, Daniel als and concerts building a young audience through live music Eschenbach’s inaugural season with the Barenboim with the Staatskapelle Berlin at the in every major experiences. Through the strategic work of his National Symphony Orchestra as well as the Philharmonie, and Seiji Ozawa for the New city in the world new foundation, which is committed to children opening of Carnegie Hall season with Vienna Year’s Eve gala opening of the National Center and is the first and music education, Lang Lang works with ex- Philharmonic. The Salle Pleyel in Paris present- for the Performing Arts in Beijing.

Chinese pianist GlaserPhilip ceptional partners to inspire young people to ed the “Lang Lang Festival,” which included a In December 2007, Lang Lang was guest so- to be engaged by believe that music can make life better. In May joint concert between Lang Lang and Roberto loist at the Nobel Prize concert in Stockholm, an the Vienna Philharmonic, Berlin Philharmonic 2009, Lang Lang and his three chosen young Alagna; the Southbank Center in London pre- event attended by Nobel Laureates and members and all of the top American orchestras. scholars from the foundation—aged between sented Lang Lang Inspires, which included the of the Royal Family. He returned as soloist for Testimony to his success, Lang Lang recent- 6 and 10 years old—performed together on The “Massed Piano Project,” on which he played the 2009 Nobel Peace Prize award ceremony and ly appeared in the 2009 Time 100—Time maga- Oprah Winfrey Show on “Oprah’s Search for with 100 young pianists on 51 pianos. In ad- concert for President Barack Obama. zine’s annual list of the “100 Most Influential the World’s Smartest and Most Talented Kids.” dition, he performed on the New Year’s Eve Lang Lang has become the face of numerous People in the World.” In 2008, over four bil- Lang Lang is deeply committed to creating and concert with the New York Philharmonic at the global campaigns. Steinway has recognized Lang lion people viewed Lang Lang’s performance in participating in programs that bring sustained Lincoln Center, also held residencies in Milan, Lang’s popularity with children by creating five Beijing’s opening ceremony for the Games of the interest for music into the lives of children. As he Madrid and Sydney. versions of the “Lang Lang™ Steinway” designed XXIX Olympiad, where he was seen as a symbol noted after the Foundation launch event, “I have In the 2011–2012 season, he is the Creative for early music education. This is the first time of the youth and the future of China. This status taken on a second career!” Director of the Ascent Series at the Cincinnati in its 150-year history that Steinway has ever has inspired over 40 million Chinese children In 2011, the Lang Lang Music World was Symphony Orchestra and hold a residency. At used an artist’s name to produce pianos. Lang to learn to play classical—a phenomenon coined launched, which is a multifunctioning arts the beginning of the season, he performed at the Lang is also a global brand ambassador for Sony by The Today Show as “the Lang Lang effect.” complex located in Shenzhen and Chongqing, San Francisco Symphony’s 100th Anniversary Electronics, with whom he anticipates achieving Recognizing Lang Lang’s powerful cultural in- China, where children can go to receive piano Gala concert and the Last Night Proms at the innovative and creative possibilities for the fu- fluence, in 2008 the Recording Academy named education, participate in master classes and Royal Albert Hall in London. In addition, he ture. Lang Lang recently signed on to represent him their Cultural Ambassador to China. Most competitions, attend concerts and purchase will be on tour with the Concertgebouw, Vienna Aegon’s worldwide financial services, and he is recently, Lang Lang has been chosen as an offi- Lang Lang-brand educational products. With Philharmonic and the New York Philharmonic. proud to continue his relationship with Audi cial worldwide ambassador to the 2010 Shanghai the mission of sharing Lang Lang’s global view, His biography, Journey of a Thousand Miles, Automobiles as their Global Brand Ambassador. Expo, and played at the opening ceremony. experiences and knowledge in piano education, published by Random House in eleven languag- Lang Lang began playing piano at age 3, and Continuing his presence on the world stage, the Lang Lang Music World nurtures and pro- es, was released to critical acclaim. As part of by age 5, he had won the Shenyang Competition Lang Lang was featured at the 2008 Grammy vides exclusive opportunities for young talent his commitment to the education of children, he and had given his first public recital. Entering Awards, pairing up with jazz great Herbie through its unique platform. released a version of his autobiography specifi- Beijing’s Central Music Conservatory at Hancock for an astounding performance that Lang Lang continues to give master classes cally for younger readers, entitled Playing with age 9, he won first prize at the Tchaikovsky was broadcast live to 45 million viewers world- regularly throughout the world at the invita- Flying Keys. International Young Musicians Competition wide. The two pianists continued their col- tion of the most prestigious music institu- Tens of thousands of people have enjoyed and played the complete 24 Chopin Études laboration with an inaugural world tour in tions, including the Curtis Institute of Music, Lang Lang’s performances in open-air concerts at the Beijing Concert Hall at age 13. Lang summer 2009. Juilliard School, Manhattan School of Music in parks and venues around the globe, includ- Lang’s break into stardom came at age 17, when For nearly a decade, Lang Lang has been giv- and Hanover Conservatory, as well as all the top ing Central Park in New York City, Hollywood he was called upon for a dramatic last-minute ing back to children around the world through conservatories in China where he holds honor- Bowl in Los Angeles, Ravinia Festival in substitution at the “Gala of the Century,” play- volunteer activities as diverse as mentoring rising ary professorships. He has held music residen- Chicago, Theaterplatz in Dresden and Derby ing a Tchaikovsky concerto with the Chicago young talented pianists, convening 100 piano cies, which include master classes for exception- Park in Hamburg. Lang Lang participated Symphony. Following this gigantic debut, he students in concert, performing for sick children al students, in Chicago, Toronto, San Francisco, in the opening concert at Munich’s Olympic performed successful concerts around the world. in hospitals, delivering classical music recitals in London, Rome and Stockholm. In addition to Stadium with Mariss Jansons, marking the

10 CAL PERFORMANCES CAL PERFORMANCES 11 ABOUT THE ARTIST

Lang Lang has made numerous TV appear- Lang received an honorary doctorate of music ances, including The Today Show, The Tonight from H.R.H. The Prince of Wales at the Royal Show with Jay Leno, Good Morning America, College of Music. CBS Early Show and 60 Minutes, among many Lang Lang is the featured soloist on the others. He has been featured on every major TV Golden Globe-winning score The Painted Veil network and in news and lifestyle magazines composed by Alexandre Desplat and can be worldwide, including such diverse publications heard on the soundtrack of The Banquet com- as The New Yorker, Esquire, Vogue, The Times, posed by Tan Dun. All of his albums have en- Financial Times, GQ, Cosmopolitan, Die Welt, tered the top classical charts as well as many pop Reader’s Digest and People. charts around the globe. His recording of the Lang Lang has performed for numerous first and fourth Beethoven piano concertos with international dignitaries, including the for- the Orchestre de Paris and Maestro Christoph mer Secretary-General of the United Nations Eschenbach debuted at No. 1 on the Billboard Kofi Annan, Secretary-General Ban Ki-moon, classical chart. Lang Lang also appeared on Presidents Barack Obama, George H.W. Bush, Billboard’s new artist chart at the highest posi- George W. Bush and William J. Clinton, Her tion ever for a classical artist. In 2007, he was Majesty Queen Elizabeth II, President Hu nominated for a Grammy Award, becoming Jin-Tao of China, President Horst Köhler of the first Chinese artist to be nominated for Germany, H.R.H. Prince Charles, Russian Best Instrumental Soloist. He was also hon- Prime Minister Vladimir Putin, French ored by the Recording Academy with the 2007 President Nicolas Sarkozy and Polish President Presidential Merit Award; past recipients have Lech Kaczynski. Most recently, he performed included Zubin Mehta and Luciano Pavarotti. for President Obama and President Hu at the Lang Lang recently recorded the movie White House State Dinner. soundtrack of the Japanese blockbuster film In 2004, Lang Lang was appointed Nodame Cantabile, the 24 Chopin Études for International Goodwill Ambassador to the “Project Chopin” (the largest project in honor United Nations Children’s Fund (UNICEF). of Chopin’s bicentenary) and Nuit de Mai with Lang Lang has contributed and worked to raise Plácido Domingo, and performed the opening funds and awareness for earthquake relief efforts sequence for Gran Turismo, the most successful in China and Haiti. These efforts included auc- videogame of our time. tioning the red Steinway piano played during his In February 2010, Lang Lang joined Sony 2008 New York Central Park concert, donating Music Entertainment as an exclusive recording the net proceeds to the American Red Cross artist; his first album with Sony features a live China Earthquake fund, and organizing a ben- recording of his 2010 recital at Vienna’s legend- efit concert at Carnegie Hall, donating the net ary Musikverein. For more information, visit proceeds to UNICEF’s Earthquake Relief Fund www.langlang.com. in Haiti. As Chairman of the Montblanc de la Culture Arts Patronage Award Project, Lang Lang celebrates another aspect of arts com- mitment. He also currently serves on the Weill Music Institute Advisory Committee as part of Carnegie Hall’s educational program and is the youngest member of Carnegie Hall’s Artistic Advisory Board. He has been added as one of the 250 Young Global Leaders picked by the World Economic Forum and received the 2010 Crystal Award in Davos. In May 2011, Lang

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