Sunday, April 9, 2017, at 5:00 pm

Virtuoso Recitals

Lars Vogt, PianoBACH Goldberg Variations, BWV 988 (1741)

AriaVariation 1Variation 2Variation 3, Canone all’UnisuonoVariation 4Variation 5Variation 6, Canone alla SecondaVariation 7, Al tempo di GigaVariation 8Variation 9, Canone alla TerzaVariation 10, FughettaVariation 11Variation 12, Canone alla QuartaVariation 13Variation 14Variation 15, Canone alla QuintaVariation 16, OuvertureVariation 17Variation 18, Canone alla SestaVariation 19Variation 20Variation 21, Canone alla SettimaVariation 22, Alla breveVariation 23Variation 24, Canone all’OttavaVariation 25, AdagioVariation 26Variation 27, Canone alla NonaVariation 28Variation 29Variation 30, QuodlibetAria da capo

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

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Steinway PianoAlice Tully HallStarr Theater, Adrienne Arsht Stage

Please make certain all your electronic devices are switched off.

Great Performers

Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation,Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center.

Public support is provided by the New York State Council on the Arts with the support ofGovernor Andrew M. Cuomo and the New York State Legislature.

Endowment support for Symphonic Masters is provided by the Leon Levy Fund.

Endowment support is also provided by UBS.

American Airlines is the Official Airline of Lincoln Center

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital of Lincoln Center

UPCOMING GREAT PERFORMERS EVENTS:

Thursday, April 13 at 7:30 pm in Alice Tully HallTakács QuartetALL-BEETHOVEN PROGRAMString Quartet in B-flat major, Op. 18, No. 6String Quartet in F major, Op. 135String Quartet in C major, Op. 59, No. 3 (“Razumovsky”)

Sunday, April 16, at 5:00 pm in Alice Tully HallAnne Schwanewilms, soprano (New York recital debut)Malcolm Martineau, pianoSTRAUSS: Selected songsWOLF: Songs from Mörike-Lieder

Wednesday, April 26, at 7:30 pm in Alice Tully HallOrchestra of the Age of EnlightenmentIsabelle Faust, director and violinHAYDN: Symphony No. 49 in F minor (“La passione”)MOZART: Violin Concerto No. 1C.P.E. BACH: Symphony in G majorMOZART: Violin Concerto No. 5 (“Turkish”)

Sunday, May 14 at 5:00 pm in Alice Tully HallCarolyn Sampson, sopranoJoseph Middleton, pianoFleursSongs by SCHUMANN, PURCELL, STRAUSS, BRITTEN, FAURÉ, DEBUSSY, and others

For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about program cancellations or to request a GreatPerformers brochure.

Visit LCGreatPerformers.org for more information relating to this season’s programs.

Join the conversation: #LCGreatPerfs

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 mustleave before the end of the performance are asked to do so between pieces. The takingof photographs and the use of recording equipment are not allowed in the building.

Great Performers

By Michael Marissen

In 1741 Bach published a remarkablyabsorbing set of pieces under the humdrumtitle “Aria with sundry variations for theharpsichord.” The collection has come to beknown as the “Goldberg Variations” througha 19th-century biographer’s association ofthe work’s earliest performances withJohann Gottlieb Goldberg, a harpsichordistemployed by an aristocratic supporter ofBach’s in Dresden.

Bach’s variations—based on the Aria’s seriesof harmonies, not its melody—unfold in tengroups of three: a genre-piece (for example,a gigue, fughetta, or French overture), anetude, and a canon. In place of a tenth canonat the final variation, Bach wrote a “quodli-bet,” a piece in which multiple pre-existingtunes are combined. This quodlibet’s twomain melodies are often reported to be jocu-lar folk songs, but the second was an instru-mental tune familiar to many composers,and the first was a popular hymn that Bachmay have found especially fitting in this con-text, “What God does is done well.”

—Copyright © 2017 by Lincoln Center for the Performing Arts, Inc.

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1741Bach’s Goldberg VariationsActor David Garrick makes his formal debut asShakespeare’s Richard III.

1741Explorer Vitus Bering, forwhom the Bering Strait isnamed, sets out to map theArctic coast of Siberia.

1741Nativist panic after a rash ofarsons leads to the executionand deportation of dozens ofblacks and Catholics.

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By Michael Marissen

Goldberg Variations, BWV 988 (1741)JOHANN SEBASTIAN BACHBorn March 21, 1685, in Eisenach, GermanyDied July 28, 1750, in Leipzig

Approximate length: 74 minutes

In the fall of 1741, Bach published a set of variations whose title reads, inhyper-literal translation, “Keyboard Praxis, consisting of an Aria with sundryvariations for the harpsichord with 2 manuals; produced by JohannSebastian Bach for those admirers [of music], to give the disposition of joy.”

The formulation zur Gemüts Ergötzung can easily be misread as express-ing an aim to delight or charm the reader’s mind or feelings, because inmodern German, Ergötzen primarily means “to amuse, or entertain.” Butin 18th-century usage, it meant primarily “to bring about palpable joy,” andthe word is used in this more edifying sense whenever it appears in Bach’schurch cantatas. The word Gemüt, too, carried particular meanings forBach’s contemporaries, often encompassing the full human disposition:heart, soul, and mind.

Bach’s collection came to be known as the “Goldberg Variations” throughthe early biographer Johann Nikolaus Forkel’s association of this musicwith Johann Gottlieb Goldberg, a musician in the employ of Count HermanCarl von Keyserlingk, Russian ambassador to the Dresden court.Keyserlingk reportedly suffered from insomnia and asked Bach to com-pose some special keyboard music that Goldberg could perform to calmhim during his restless nights.

Many find Forkel’s story doubtful, given that in 1741 Goldberg was barelya teenager and therefore must have been incapable of performing such dif-ficult music as Bach’s variations. It’s a little-known fact, however, thatGoldberg had been a child prodigy and that he acquired the nickname derNoten-Freßer (“the sheet-music gobbler”) on account of his formidableperforming technique and sight-reading abilities.

Many have also questioned Forkel’s story on the grounds that Bach’s vari-ations seem too riveting to have served as a remedy for Keyserlingk’sinsomnia. But maybe insomnia isn’t the truth, or the whole truth, of the sit-uation. Historians have only recently discovered that it was a commonpractice in pre-industrial societies for people to go to bed early and then getup in the middle of the night for several hours to read, or pray, or enjoy inti-macies, before settling down for what was called the “second sleep.”Perhaps Goldberg’s nocturnal music-making for Keyserlingk fell instead, oralso, into this category.

Great Performers I Notes on the Program

Whatever the biographical background for the Goldberg Variations, Bach’s pri-mary audience was “the admirers” of music that he mentions in his title page.

How does Bach’s set of variations work? Surprisingly, the “theme” serving asthe basis for the variations is not the melody from the opening Aria, but itsseries of underlying harmonies. The Aria starts out like a textbook example ofthe “French sarabande,” an exquisite aristocratic dance, already judged some-what old-fashioned by the 1740s. Toward its close, however, the movementmorphs into more up-to-date Italianate lyricism, allowing the music to flowsmoothly into Variation 1, a polonaise-like Two-Part Invention.

Bach’s 30 variations unfold in ten groups of three, where a genre-piece (suchas a gigue, fughetta, or French overture) is followed by an etude, and then bya canon. Despite some ebb and flow, these groupings generate a powerful tra-jectory of mounting technical and expressive intensity.

The compositional ingenuity of Bach’s variations in canon surpasses all under-standing. To compose, above a pre-existing chord sequence, an aestheticallymagnificent new melody that will harmonize against a staggered entry of anexact replica of itself at the same pitch level is difficult enough. But in Canon 2,the melody of the imitating voice is a note higher than the starting voice, inCanon 3 it’s two notes higher, in Canon 4 it’s three notes higher, and so on,through Canon 9.

One expects a tenth canon at Variation 30. But here Bach composed an extra-ordinary “quodlibet,” music where pre-existing melodies or their fragmentsappear in simultaneous combinations. No one has succeeded in identifying allthe melodies in Bach’s quodlibet. The first two tunes are continually said to bejocular folk songs with the words “I’ve been away from you so long” and“Cabbage and beets have driven me away.” Few seem to realize, however,that these identifications rest on nothing more than a single anonymous 19th-century marginal annotation, claiming as its source word-of-mouth informationfrom one of Bach’s students.

The second melody was, in fact, familiar to many composers as an instrumen-tal tune called the Bergamasca. The exact same variant of this melodyappears, for example, in movement 21 from Dietrich Buxtehude’s Aria: LaCapricciosa, a set of 32 keyboard variations that Bach may well have known.

Despite massive data housed in German folk-song archives, the first melodyhas never been found together with the jesting text indicated in the uncorrobo-rated annotation mentioned above. The melody straightforwardly corresponds,however, to the popular hymn tune Was Gott tut, das ist wohlgetan (“WhatGod does is done well”). One has to wonder if this identification isn’t in truthwhat Bach and his intended audience took for granted. Signing off with WasGott tut would certainly chime well with Bach’s frequent practice of inscribingSoli Deo gloria (“To God alone the glory”) at the end of his musical scores.

Great Performers I Notes on the Program

Michael Marissen, a writer and lecturer based in New York City, is DanielUnderhill Professor Emeritus of Music at Swarthmore College. His booksinclude Tainted Glory in Handel’s Messiah (Yale University Press) and Bach &God (Oxford University Press).

—Copyright © 2017 by Lincoln Center for the Performing Arts, Inc.

Great Performers I Meet the Artist

One of the leading musicians of his generation, Lars Vogt’s versatility asan artist ranges from the core Classical repertoire of Mozart, Beethoven,Schumann, and Brahms to the Romantic music of Grieg, Tchaikovsky, andRachmaninoff. He works with orchestras both as conductor and directingfrom the keyboard, and in 2015 he was appointed music director of theRoyal Northern Sinfonia at the Sage Gateshead in Newcastle, England.

During his 25-year career, Mr. Vogt has performed with leading orchestrasincluding the Royal Concertgebouw and Paris Orchestras, Berlin andVienna Philharmonics, London Philharmonic and London SymphonyOrchestras, and Staatskappelle Dresden. He has collaborated withacclaimed conductors including Simon Rattle, Mariss Jansons, ClaudioAbbado, and Andris Nelsons. His special relationship with the BerlinPhilharmonic has continued since his appointment as the ensemble’s firstpianist-in-residence in 2003–04.

Recent North American performances include appearances with the NewYork and Los Angeles Philharmonics, Cleveland and MinnesotaOrchestras, and the Chicago, Boston, Toronto, Cincinnati, National, andAtlanta symphony orchestras. He has also appeared at Lincoln Center’sMostly Mozart Festival (2015) and toured as a trio with Christian and TanjaTetzlaff. Highlights of Mr. Vogt’s 2016–17 season include performanceswith the NHK Symphony Orchestra, Deutsches Symphonie-OrchesterBerlin, National Academy of St. Cecilia Orchestra, Royal Scottish NationalOrchestra, as well as a European recital tour with Ian Bostridge. In NorthAmerica he returns to the Philadelphia Orchestra and performs duorecitals with Christian Tetzlaff.

Mr. Vogt is also a chamber musician and prolific recording artist. He nowworks closely with the Ondine label, most recently on a disc of Schubertworks released in October 2016. His recording of Bach’s GoldbergVariations has received widespread acclaim. Other recent releases onOndine include Brahms, Mozart and Schumann sonatas with Christian

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Tetzlaff, and their Grammy-nominated Brahms piano trios with Tanja Tetzlaff.Previously Mr. Vogt recorded over ten CDs for EMI.

A passionate advocate of making music an essential life force in the community,Mr. Vogt founded an educational program, Rhapsody in School, in 2005 to con-nect children in German and Austrian schools with world-class musicians. In 2013he was appointed professor of piano at the Hanover Conservatory of Music.

Lincoln Center’s Great Performers

Initiated in 1965, Lincoln Center’s Great Performers series offers classical andcontemporary music performances from the world’s outstanding symphonyorchestras, vocalists, chamber ensembles, and recitalists. One of the mostsignificant music presentation series in the world, Great Performers runs fromOctober through June with offerings in Lincoln Center’s David Geffen Hall,Alice Tully Hall, Walter Reade Theater, and other performance spaces aroundNew York City. From symphonic masterworks, lieder recitals, and Sundaymorning coffee concerts to films and groundbreaking productions speciallycommissioned by Lincoln Center, Great Performers offers a rich spectrum ofprogramming throughout the season.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: pre-senter of artistic programming, national leader in arts and education and com-munity relations, and manager of the Lincoln Center campus. A presenter ofmore than 3,000 free and ticketed events, performances, tours, and educa-tional activities annually, LCPA offers 15 programs, series, and festivals includ-ing American Songbook, Great Performers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival,and the White Light Festival, as well as the Emmy Award–winning Live FromLincoln Center, which airs nationally on PBS. As manager of the LincolnCenter campus, LCPA provides support and services for the Lincoln Centercomplex and the 11 resident organizations. In addition, LCPA led a $1.2 billioncampus renovation, completed in October 2012.

Great Performers I Meet the Artist

Great Performers

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, Programming Regina Grande Rivera, Associate ProducerNana Asase, Assistant to the Artistic DirectorLuna Shyr, Senior EditorOlivia Fortunato, Programming AssistantMary E. Reilly, Program Content Coordinator

Mr. Vogt’s representation:CM Artistswww.cmartists.com

Several studies have examined how exposure to the arts in middle

school strongly impact a student’s social skills and development as well as likelihood to graduate from high school. In 2013, Lincoln Center Education launched a pilot program in partnership with the New York City Department of Education aimed at this specific issue. Called Arts in the Middle, it focuses on arts education as a potential catalyst for improved student engagement and success in and out of school, as well as parent engagement, teaching practices, and school and community culture.

Through Arts in the Middle, Lincoln Center Education is working with more than a dozen underserved New York City middle schools that have little to no arts programs. LCE is supporting schools with efforts to hire a part-time or full-time arts teacher, in addition to deploying its own roster of skilled teaching artists to help in the classroom and provide professional development for teachers and family engagement. Early results of these efforts to support educators and students are showing positive results. Metis Associates, hired by LCE to evaluate short- and long-

term effectiveness of the program, has documented increased parent engagement, which can have an impact on student success. Some schools have also noted that students are becoming vibrant and vocal participants when the arts are integrated into classrooms. If results continue in this direction, Lincoln Center Education hopes to develop an adaptable model of the program that can be disseminated nationally to bring arts education to underserved communities.

“As our partnership with the New York City Department of Education continues to grow, so, too, does our commitment to supporting whole communities by providing thoughtful programs for students and families around New York City’s five boroughs,” said Russell Granet. “Arts in the Middle is just one of many ways Lincoln Center Education is leveraging high-quality arts programs to improve the lives of all New Yorkers.”

Learn more about Lincoln Center Education and its work at home and abroad: LincolnCenterEducation.org

Students from South Bronx Academy for Applied Media

4 decades of thinking like an artist

Arts in the Middle

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Accessibility at Lincoln CenterReflecting a quote by Lincoln

Center’s first president John D. Rockefeller III that “the arts are not for the privileged few, but for the many,” Lincoln Center has had as a central mission from its start making the arts available to the widest possible audiences. In 1985, that led to the establishment of the Department of Programs and Services for People with Disabilities to ensure full participation in the thousands of events presented annually across the Lincoln Center campus. It was the first such program at any major performing arts center in the U.S. and has long-served as a model for other arts institutions around the country.

Celebrating its 30th anniversary with a new name, Accessibility at Lincoln Center, the program continues to provide exceptional guest care to all visitors, as well as training in accessibility to colleagues at Lincoln Center’s resident organizations, including the Film Society of Lincoln Center, the New York Philharmonic, and Jazz at Lincoln Center.

Accessibility oversees the production of large-print and Braille programs for hundreds of performances taking place each year at various Lincoln

Center venues. Another major component of Accessibility is its longstanding “Passport to the Arts.” The program annually distributes to children with disabilities thousands of free tickets to a variety of Lincoln Center performances, including New York City Ballet and the New York Philharmonic—a welcoming introduction to the arts. A parent who participated in a recent “Passport” event commented “It allowed my family and I to enjoy and learn along with everyone else. The accessibility… made it easier for our family to “relax”

and truly enjoy the experience.”

Accessibility is expanding the ways it serves adults with disabilities. It introduced and oversees American Sign Language-led official tours of Lincoln Center, and offers live audio description for select Lincoln Center Festival performances. Accessibility

looks forward to growing its inclusive programs in the years to come.

To learn more about Accessibility at Lincoln Center, please contact access@lincolncenter.org or call 212.875.5375.

American Table Café and Bar byMarcus Samuelsson in Alice Tully Hall

is a great dining option available to LincolnCenter patrons, along with LincolnRistorante on Hearst Plaza, indie food &wine in the Elinor Bunin Munroe FilmCenter, ‘wichcraft in the DavidRubenstein Atrium, The Grand Tier in theMetropolitan Opera house, and LincolnCenter Kitchen and the cafe in DavidGeffen Hall.

Marcus Samuelsson, the youngest chefever to be awarded a three-star reviewby The New York Times and the winnerof the James Beard Award for both“Rising Star Chef” (1999) and “BestChef: New York City” (2003), craftedthe menu along with long-time associateNils Noren, MSG’s Vice President ofRestaurant Operations. American TableCafe and Bar by Marcus Samuelssonserves food that celebrates the diversityof American cuisine, drawing on influ-ences and regions from across thecountry. Dishes on the menu, which isoffered for both lunch and dinner,include Smoked Caesar Salad, ShrimpRoll, and Chocolate Cardamom PannaCotta. The bar features a cocktail menudesigned by consulting master mixolo-gist, Eben Klemm, as well as a selectionof reasonably-priced wines.

Marcus Samuelsson’s memoir, Yes,Chef, chronicles his remarkable journeyfrom being orphaned at age three in hisnative Ethiopia to his adoption by a fami-ly in Göteborg, Sweden, where he firstlearned to cook by helping his grand-mother prepare roast chicken. He wenton to train in top kitchens in Europebefore arriving in New York, first takingthe reins at Aquavit. He has won thetelevision competition Top ChefMasters on Bravo as well as top honorson Chopped All Stars: Judges Remix.

His current New York restaurant, thewildly successful Red Rooster, is locat-ed in his home base of Harlem.

American Table Cafe and Bar seats 73inside, plus more space outside on theAlice Tully Hall Plaza. Diller Scofidio +Renfro, the designers of the criticallyacclaimed Alice Tully Hall, transformedthe glass-walled space with lounge-likefurniture in warm, rich colors, a longcommunal couch, tree-trunk tables, andlighting that can be dimmed to adjustthe mood. The design—an eclectic reinterpretation of Americana—draws its inspiration from the cafe’s culinaryfocus. Call 212.671.4200 for hours ofoperation.

The Table is Set

Marcus Samuelsson

LINCOLN CENTER, THE WORLD’SLEADING PERFORMING ARTSCENTER, is a premiere New York destination for visitors from aroundthe globe. Did you know that tours ofits iconic campus have made the TopTen Tour list of NYC&CO, the officialguide to New York City, for twoyear’s running? All tour options offeran inside look at what happens onand off its stages, led by guides withan encyclopedic knowledge ofLincoln Center, great anecdotes, and

a passion for the arts. The daily one-hour Spotlight Tour covers the Center’s history alongwith current activities, and visits at least three of its famous theaters. Visitors can now alsoexplore broadcast operations inside the Tisch WNET-TV satellite studio on Broadway, andsee Lincoln Center’s newest venue, the Elinor Bunin Munroe Film Center, home to thelargest Plasma screen in the nation on public display.

Want more? A number of specialty tours are available:

� RADIO CITY MUSIC HALL & LINCOLN CENTER COMBO TOUR Experience two ofNew York City’s “must-see” attractions with one ticket. This package combines the MusicHall’s Stage Door tour of its Art Deco interior—which might include meeting a world-famousRadio City Rockette—with Lincoln Center’s Spotlight Tour, where a sneak peak at a rehearsalhappens whenever possible.

� ART & ARCHITECTURE TOUR Lincoln Center’s 16-acre campus has one of New YorkCity’s greatest modern art collections, with paintings and sculpture by such internationallyacclaimed artists as Marc Chagall, Henry Moore, and Jasper Johns. The tour not only examines these fine art masterworks, it also explores the buildings and public spaces ofvisionary architects like Philip Johnson, as well as the innovative concepts of architectsDiller Scofidio+ Renfro with FXFOWLE, Beyer Blinder Belle, and Tod Williams Bille Tsien,designers of the campus’ $1.2 billion renovation.

� EVEN MORE TOUR OPTIONS Lincoln Center offers ForeignLanguage Tours in five languages: French, German, Italian,Japanese, and Spanish, in addition to American SignLanguage tours. Visitors with a special interest in jazz can takethe Jazz at Lincoln Center Tour of the organization’s gorgeousvenues at the Times Warner Center, the only facilities createdspecifically for the performance of jazz music. And Group Toursof more than 15 people get a discount.

For more information, click on LincolnCenter.org/Tours.To book atour, call (212) 875.5350, email tour_desk@lincolncenter.org, orvisit the Tour and Information Desk in the David RubensteinAtrium at Lincoln Center, located on Broadway between 62nd and63rd Streets. –Joy Chutz

Learn More, Take the Tour

Visitors get a concert preview at rehearsal

Inside the David H. Koch Theater

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WHO SAYS THE NIGHTLIFE FOR YOUNG PROFESSIONALS IS DOWNTOWN?Young Patrons of Lincoln Center (YPLC) is a dynamic network of urban professionals intheir 20s to early 40s making a splash way above 14th Street. With an annual contribu-tion of $250, YPLC members enjoy year-round opportunities to experience the finest performing arts up-close-and-personal.

The core of YPLC’s programming is the popular 101 Series, which brings memberstogether for bi-monthly cocktail parties with live performances where they meet like-minded arts enthusiasts and interact with the artists. Recent 101 events have includedBallet 101: The Nutcracker with dancers from the New York City Ballet; Mixology 101 atLincoln Ristorante; and Lincoln Center 101 with Harvard Business School professor AllenGrossman.

Beyond events produced especially for YPLC, members also receive email updatesand invitations to Lincoln Center’s broader programming, including reserved seating atAmerican Songbook, Great Performers, and Lincoln Center Festival. In July 2011, eightyyoung professionals went to see As You Like It performed by the Royal ShakespeareCompany at the Park Avenue Armory, and were joined by the cast at an exclusive cham-

pagne after-party at the Nespresso Boutique on MadisonAvenue.

To support this flourish of activity, YPLC hosts anannual black tie gala. The event attracts more than 600young philanthropists who raise a glass to celebrate andsupport the spectacular redevelopment of LincolnCenter’s campus with hors d’oeuvres, open bar, anddancing into the night.

And it doesn’t stop there. By flashing their purplemembership card, YPLC members receive discounts atrestaurants and retailers in the Lincoln Center neighbor-hood. For those who are volunteer-oriented, YPLC offersan opportunity to participate on committees focused onoutreach, education, and fundraising. Funds raisedthrough YPLC events, along with annual membershipcontributions, support projects that bring new audiences

to Lincoln Center. With four hundred members and counting, YPLC is committed to cel-ebrating and supporting the world’s leading performing arts center, and has a lot of fun inthe process.

For more information on YPLC membership and events, visit www.lincolncenter.org/yplc, email yplc@lincolncenter.org or call 212.875.5236.

YPLC is sponsored by Nespresso.

Young Patrons of Lincoln Center

Members Walter Hack andKatherine Carey smile for the camera at a YPLC mixer

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