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Program Notes 08-16 ICE_GP2 copy 8/5/15 12:41 PM Page 1 Sunday Afternoon, August 16, 2015, at 5:00 International Contemporary Ensemble George Benjamin, Conductor M|M Pierre-Laurent Aimard, Piano Hila Plitmann, Soprano M|M Susan Bickley, Mezzo-soprano M|M The The Program MESSIAEN Oiseaux exotiques (1955–56) LIGETI Piano Concerto (1985–88) Vivace molto ritmico e preciso— Lento e deserto Vivace cantabile Allegro risoluto, molto ritmico— Presto luminoso: fluido, costante, sempre molto ritmico Intermission Into the Little Hill (2006) Music by George Benjamin Text by Martin Crimp A lyric tale in two parts for soprano, contralto, and ensemble of 15 players M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Alice Tully Hall, Starr Theater Adrienne Arsht Stage 08-16 ICE_GP2 copy 8/5/15 12:41 PM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provide d by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Faber Music Ltd., London, publisher and copyright owner. UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Monday Night, August 17, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Pierre-Laurent Aimard, Piano D’ANGLEBERT: Prélude non mesuré MOZART: Modulating Prelude BACH: Prelude No. 16 in G minor CHOPIN: Prelude in E minor DEBUSSY: Les soirs illuminés par l’ardeur du charbon SCRIABIN: Prelude SCHUMANN: Etude No. 4 BRAHMS: Variation 6, from Variations and Fugue on a Theme by G.F. Handel BACH: Canon (Augmentationem in Contrario Motu) WEBERN: Sehr Schnell PIERRE BOULEZ: Notation 6 (Rapide) LIGETI: À bout de souffle GEORGE BENJAMIN: Shadowlines Friday and Saturday Evenings, August 21–22, at 7:30 in Avery Fisher Hall Mostly Mozart Festival Orchestra Louis Langrée, Conductor Sarah Tynan, Soprano M|M; Andrew Staples, Tenor M|M; Brindley Sherratt, Bass M|M Concert Chorale of New York; James Bagwell, director HAYDN: The Creation Pre-concert lecture by Elaine Sisman on Friday, August 21 at 6:15 in the Stanley H. Kaplan Penthouse 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 pho- tographs and the use of recording equipment are not allowed in the building. 08-16 ICE_GP2 copy 8/5/15 12:41 PM Page 3 Mostly Mozart Festival Welcome to Mostly Mozart I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual celebration of the innovative and inspiring spirit of our namesake composer. This summer, in addition to a stellar roster of guest conductors and soloists, we are joined by composer-in-residence George Benjamin, a leading contem- porary voice whose celebrated opera Written on Skin receives its U.S. stage premiere. This landmark event is the first in a series of staged opera works to be presented in a new partnership with the New York Philharmonic. Written on Skin continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée and Robert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra delights this year with the Cl assical repertoire that is its specialty, in addition to Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation. Guest appearances include maestro Cornelius Meister making his New York debut; Edward Gardner, who also leads the Academy of Ancient Music in a Mendelssohn program on period instruments; and Andrew Manze with violin- ist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preemi- nent soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol Gabetta and Alina Ibragimova, who also perform intimate recitals in our expanded Little Night Music series. And don’t miss returning favorite Emerson String Quartet and artists-in-residence the International Contemporary Ensemble, as well as invigorating pre-concert recitals and lectures, a panel dis- cussion, and a film on Haydn. With so much to choose from, we invite you to make the most of this rich and splendid season. I look forward to seeing you often. Jane Moss Ehrenkranz Artistic Director 08-16 ICE_GP2 copy 8/5/15 12:41 PM Page 4 Mostly Mozart Festival By Paul Schiavo This performance celebrates George Benjamin, this summer’s composer- in-residence, and two of his musical influences, both of them among the most original composers active during the second half of the 20th century. Olivier Messiaen, a teacher of Benjamin’s, forged a highly individual musi- cal language out of unusual scales of his own invention, rhythms derived from an ancient Hindu treatise, bird calls, and a strongly felt affinity between sound and color. While many of his works incorporate birdsong, none makes so much of them as Oiseaux exotiques. Snapshot Like Messiaen, the Hungarian composer György Ligeti created a highly idiosyncratic musical style. His work of the 1960s, which brought him con- siderable attention, concerned itself largely with aural texture and color. But in the 1970s, Ligeti began to explore what he referred to as “the for- bidden fruit of modern music.” This was melody, which Ligeti began to use in new ways. His unique approach to melodic line, as well as to rhythm, texture, and musical discourse generally, informs his Piano Concerto, arguably the most important work of its kind written during the last half-century. Benjamin has conducted Ligeti’s music on numerous occasions, but what- ever he has learned from him and Messiaen has been subsumed into his own style. Benjamin’s inventiveness animates his chamber opera Into the Little Hill, a modern retelling of the story of the Pied Piper of Hamelin. —Copyright © 2015 by Paul Schiavo 08-16 ICE_GP2 copy 8/5/15 12:41 PM Page 5 Mostly Mozart Festival I Notes on the Program By Paul Schiavo Oiseaux exotiques (1955–56) OLIVIER MESSIAEN Born December 10, 1908, in Avignon, France Died April 28, 1992, in Paris Approximate length: 16 minutes Messiaen drew inspiration from a number of unusual sources—among the most important was birdsong. Most of his compositions contain avian vocal- izations transcribed for instrume nts with a fascinating combination of care and imagination. Usually these brilliantly scored sounds are one of a number of musical elements, but on several occasions, Messiaen took the auda- cious step of constructing substantial compositions entirely from birdsong. Of these, the most fully developed is Oiseaux exotiques, composed in the winter of 1955–56. As its title indicates, the birds whose songs are repre- sented dwell far from Messiaen’s native France; most are indigenous to North America, and others hail from the Canary Islands, South America, India, China, and Malaysia. Messiaen scored Oiseaux exotiques for wind instruments, percussion, and piano, the latter in a featured role. The rhapsodic bird melodies that are the Notes on Notes the Program substance of the piece appear in alternating orchestral passages and piano solos. The former sometimes sounds like a polyphony of different birds singing at once. In a long ensemble passage at the center of the piece, Messiaen adds a percussion background composed of ancient Greek and Hindu rhythms. Against these rhythms there sounds a whole chorus of birds in highly complex counterpoint. One might conclude that Messiaen’s com- positional virtuosity led him to revel in complications of his own imagining. But in the end, the composer shows himself loyal to nature, even when its sounds are simple. His final bird, the Indian white-crested laughing thrush, concludes the piece with the cry of a single sonority repeated in an unvary- ing rhythm, its regularity startling in the context of all the rhythmic intricacy that has gone before. Piano Concerto (1985–88) GYÖRGY LIGETI Born M ay 28, 1923, in Târna˘veni, Romania Died June 12, 2006, in Vienna Approximate length: 24 minutes Ligeti began composing his Piano Concerto in 1985 and completed it three years later. Cast in five movements, this work reveals a confluence of unusual influences, including African rhythmic polyphony and the player-piano studies 08-16 ICE_GP2 copy 8/5/15 12:41 PM Page 6 Mostly Mozart Festival I Notes on the Program of Conlon Nancarrow, with their exploration of complex poly-tempos. Yet the music unmistakably bears its author’s artistic signature, evident in the highly imaginative use of the orchestra and in musical invention that conveys at times an antic and at other times a melancholy character.
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