tuesday and wednesday evenings, august 11 –12,...

Tuesday and Wednesday Evenings, August 11–12, 2015, at 6:30

Pre-concert Recital

Charlie Albright, Piano

BEETHOVEN Sonata No. 14 in C-sharp minor (“Moonlight”) (1801)Adagio sostenuto AllegrettoPresto agitato

CHOPIN Four Etudes, Op. 25 (1835–37)Etude No. 1 in A-flat majorEtude No. 7 in C-sharp minorEtude No. 11 in A minorEtude No. 12 in C minor

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These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Please make certain all your electronic devices are switched off.

Steinway PianoAvery Fisher Hall

Mostly Mozart Festival I Notes on the Program

By David Wright

Sonata No. 14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”) (1801)LUDWIG VAN BEETHOVENBorn December 16, 1770, in Bonn, GermanyDied March 26, 1827, in Vienna

Approximate length:13 minutes

Both of the piano sonatas that comprise Op. 27 startled listeners by begin-ning with a slow movement, keeping the character of the rest of the workhidden. By obliging listeners to experience the present moment rather thanfollowing a clearly indicated musical argument, Beethoven anticipated themost vital large-scale piano works of the Romantic era. In return, posteritybestowed the most Romantic of nicknames on Op. 27, No. 2: “Moonlight.”The poet Ludwig Rellstab first compared the opening movement in 1835 to“a boat visiting, by moonlight, a primitive landscape.” For sheer driving force,the concluding Presto agitato has no precedent and only a few successors.Remarkably, its seething rage is channeled into an orderly sonata form, completewith contrasting themes, development, and coda.

Four Etudes, Op. 25 (1835–37)FRÉDÉRIC CHOPINBorn March 1, 1810, in Zelazowa Wola, PolandDied October 17, 1849, in Paris


It was through his 12 Etudes, Op. 10, that the 20-year-old Chopin, then knownas a composer of pleasant dances and virtuoso vehicles, first revealed hisgenius. His Op. 25 developed the art and science of piano performance fur-ther still. The unprecedented harmonies of these pieces seem to grow outof the keyboard figurations themselves, as if in the act of stretching what hisfingers could do, Chopin were extending the language of music as well.

The nickname “Aeolian Harp” for Op. 25, No. 1 in A-flat major originated asSchumann’s description of the delicate arpeggios that seem to hover,shimmering, in mid-air; meanwhile, the fifth finger (the weakest of the five)must sing its melody in a full-bodied cantabile. Inspired by Chopin’s love ofopera, No. 7 in C-sharp minor is a dramatic duet, combining a melancholymelody in the right hand and a restless, impassioned one in the left. Theswashbuckling No. 11 in A minor is known as the “Winter Wind” for the wayChopin’s right hand turns a simple wrist-rotation figure into a keening, roaringstorm. Technically, No. 12 in C minor is an exercise in rapidly opening and closingthe hands in arpeggios; imaginatively, it depicts a scene of such elemental powerand rhythm that its traditional nickname, the “Ocean” Etude, is well earned.

—Copyright © 2015 by David Wright

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Tuesday and Wednesday Evenings, August 11–12, 2015, at 7:30

Mostly Mozart Festival OrchestraLouis Langrée, ConductorMatthias Goerne, Baritone

MOZART Symphony No. 25 in G minor, K.183 (1773)Allegro con brio AndanteMenuetto and TrioAllegro

BACH Ich habe genug, Cantata BWV 82 (1727)Aria: Ich habe genugRecitative: Ich habe genug. Mein Trost ist nur alleinAria: Schlummert ein, ihr matten AugenRecitative: Mein Gott! wenn kömmt das schöne: Nun!Aria: Ich freue mich auf meinen TodRANDALL ELLIS, Oboe

Intermission

SCHUBERT An Silvia (1826) (orch. Schmalcz)Alinde (1827) (orch. Schmalcz)Erlkönig (1815) (orch. Reger)

MOZART Symphony No. 40 in G minor, K.550 (1788)Molto allegroAndanteMenuetto: AllegrettoAllegro assai

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These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Please make certain all your electronic devices are switched off.

Avery Fisher Hall

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. SamuelsFoundation, 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 provided 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

UPCOMING MOSTLY MOZART FESTIVAL EVENTS:

Thursday Evening, August 13, at 7:30 in the David H. Koch TheaterSaturday Afternoon, August 15, at 3:00 in the David H. Koch TheaterWritten on Skin (U.S. stage premiere)George Benjamin, ComposerMartin Crimp, Text Mahler Chamber Orchestra M|M

Alan Gilbert, Conductor M|M

Christopher Purves, The Protector M|M

Barbara Hannigan, Agnès M|M

Tim Mead, Angel 1/Boy M|M

Victoria Simmonds, Angel 2/Marie M|M

Robert Murray, Angel 3/John M|M

Katie Mitchell, DirectorSung in English with English supertitlesPresented in collaboration with the New York PhilharmonicWritten on Skin is a production of the Aix-en-Provence Festival, in co-production with the NederlandseOpera, Amsterdam, Théâtre du Capitole, Toulouse, and The Royal Opera, London.Used by arrangement with European American Music Distributors Company, U.S. and Canadian agentfor Faber Music Ltd., London, publisher and copyright owner

Thursday Night, August 13, at 10:00 in the Stanley H. Kaplan PenthouseA Little Night MusicInternational Contemporary EnsemblePierre-Laurent Aimard, PianosALL–DAI FUJIKURA PROGRAMflicker; Calling; halcyon; Returning; Sakana; The Voice; Glacier; Breathless

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 theperformers 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.


Welcome to Mostly MozartI am pleased to welcome you to the 49th Mostly Mozart Festival, our annualcelebration 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 contemporary voice whose celebrated opera Written on Skin makes its U.S. stage premiere.

This landmark event continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée andRobert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestradelights this year with the Classical repertoire that is its specialty, in addition toBeethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.

Guest appearances include maestro Cornelius Meister making his New Yorkdebut; Edward Gardner, who also leads the Academy of Ancient Music in aMendelssohn 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 newcomersSol Gabetta and Alina Ibragimova, who also perform intimate recitals in ourexpanded Little Night Music series. And don’t miss returning favorite EmersonString Quartet and the International Contemporary Ensemble, our artists-in-residence, as well as invigorating pre-concert recitals and lectures, a panel discussion, and a film on Haydn.

With so much to choose from, we invite you to make the most of this rich andsplendid festival. I look forward to seeing you often.

Jane MossEhrenkranz Artistic Director


By David Wright

Of Mozart’s 41 symphonies, only two are in a minor key, and both are in Gminor—the key to which Mozart confided his darkest, most turbulent emotions.The Symphony No. 25, while less often heard than No. 40, is an arrestingearly work, ablaze with Italianate fire à la Vivaldi. The 17-year-old composersummoned such Sturm und Drang in this symphony’s first movement thatthe director Miloš Forman chose it to accompany the snowstorm andattempted suicide scene that began his Oscar-winning 1984 film Amadeus.

Fourteen years later, Mozart’s exploration of G minor expanded in hisSymphony No. 40, the suave yet melancholy middle sibling of his greatsymphonic trilogy of 1788. By pushing chaos and dissonance to the limitfor a symphony composed in the 18th century, Mozart assured that thiswork would be a favorite in the Romantic era, when much of his othermusic was being ignored.

Between these two dark masterpieces, this program examines death anddissolution from a more hopeful angle in Bach’s Cantata BWV 82, “Ich habegenug.” Yet even here, the insightful composer has set his cheerfully pious,death-welcoming texts to music that aches with the sadness of leave-taking.

Afflicted with a mortal illness for much of his adult life, Schubert was well-acquainted with death and met his own end at just age 31. While many ofhis over 600 songs celebrate life—as in “An Silvia,” his Shakespearean odeto a pretty woman—others, like “Alinde,” seem to view daily life from aplace apart. The galloping melodrama of “Erlkönig” depicts the futility of tryingto escape death in vivid allegory.


Sna

psho

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By David Wright

Symphony No. 25 in G minor, K.183 (1773)WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in SalzburgDied December 5, 1791, in Vienna

Approximate length: 24 minutes

The custom of calling Mozart’s Symphony No. 25 the “LittleG minor” to distinguish it from Symphony No. 40 is regrettable,since this turbulent music could hardly have seemed “little” to itsfirst audience in Salzburg in 1773. In fact, confronted with Mozart’sfirst minor-key symphony and an intensity of expression withoutprecedent in the previous 24, musicologists have suggested someunknown personal crisis or the influence of Haydn’s Sturm undDrang style as explanations. One might ask, however, what red-blooded 17-year-old wouldn’t want to write something full of passionand angst?

The symphony’s throbbing, ominous opening may make Mozart fansrecall the fateful last scene of Don Giovanni. The movement forgesahead with a power that can sound either fatalistic or exuberantlyathletic, depending on the performance and the listener’s ownmood. Mozart saves true pathos for the Andante, with its warmE-flat major tonality contradicted by the deep sighs of its fallingphrases. In contrast, the composer remains cool in the statelyminuet, offering finely polished orchestral dialogue for the listener’sdelectation and a humorous village band in the trio. The finaleresembles the first movement in theme and treatment: the stringsmutter ominously in unison, introducing the single theme that willdominate the movement down to its strong, terse conclusion.

Ich habe genug, Cantata BWV 82 (1727)JOHANN SEBASTIAN BACHBorn March 21, 1685, in Eisenach, GermanyDied July 28, 1750, in Leipzig


Bach’s Cantata BWV 82, composed in 1727 for the feast of thePurification of the Virgin Mary, opens with a curious aria in which theradiant, confident piety of the text is matched with a plaintiveoboe melody, sighing phrases, descending bass, biting Neapolitanharmonies, and other trappings of loss and death. This, it appears,is Bach the dramatist at work, opening this small spiritual “opera”with the conflict between our beliefs and our visceral feelings aboutdeath. It is a striking musical gloss on the cantata’s biblical text,

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adapted by an unknown author from Luke 2:22–32, in which Simeon, seeingthe child Jesus in the temple, prays: “Lord, now lettest thou thy servant departin peace, according to thy word; for mine eyes have seen thy salvation...”

The spirit of Simeon is more audible in the first recitative, where the moodbrightens to one of hope and yearning, and in the broad aria “Schlummert ein,ihr matten Augen,” with its two da capo returns of the lovely main melody. Asgentle and tender as this music is, the steady pulse of the bass moves italong, evoking the stoutly set line “Welt, ich bleib nicht mehr hier” (World, Iwill tarry here no more). There is a moment of agitation before the farewell inthe second recitative, but the final aria resolves all; in fact, resolute is the wordfor this energetic, dancing conclusion, with its virtuoso leaps and trills and itsstunning final C-major chord.

Ich habe genug

Aria

Ich habe genug,Ich habe den Heiland, das Hoffen

der FrommenAuf meine begierigen Arme

genommen;Ich habe genug!

Ich hab ihn erblickt,Mein Glaube hat Jesum ans Herze

gedrückt;Nun wünsch ich, noch heute mit

FreudenVon hinnen zu scheiden.

Recitative

Ich habe genug.Mein Trost ist nur allein,Daß Jesus mein und ich sein eigen

möchte sein.Im Glauben halt ich ihn,Da seh ich auch mit SimeonDie Freude jenes Lebens schon.Laßt uns mit diesem Manne ziehn!Ach! möchte mich von meines

Leibes KettenDer Herr erretten;Ach! wäre doch mein Abschied hier,

It is enough

It is enough.I have taken the Savior, the hope ofthe pious, into my eager arms;

it is enough!I have glimpsed him,

my faith has clasped Jesus to itsheart;

now I wish, this very day, todepart

from here in joy.

It is enough. My only comfort isthat Jesus is mine and that I shall be

his.I hold him in faith, and already see with Simeon the bliss of the life beyond. Let us go with him! Ah! if the Lord would free me

from the fetters of this life. Ah! if only my departure were at

hand,

Mostly Mozart Festival I Texts and Translations

Mit Freuden sagt ich, Welt, zu dir:Ich habe genug.

Aria

Schlummert ein, ihr matten Augen, Fallet sanft und selig zu!

Welt, ich bleibe nicht mehr hier,Hab ich doch kein Teil an dir,Das der Seele könnte taugen.Hier muß ich das Elend bauen,Aber dort, dort werd ich schauenSüßen Frieden, stille Ruh.

Recitative

Mein Gott! wenn kömmt dasschöne: Nun!

Da ich im Friede fahren werdeUnd in dem Sande kühler ErdeUnd dort bei dir im Schoße ruhn?Der Abschied ist gemacht,Welt, gute Nacht!

Aria

Ich freue mich auf meinen Tod, Ach! hätt er sich schon

eingefunden.Da entkomm ich aller Not,Die mich noch auf der Welt

gebunden.

I would joyfully say to the world:It is enough.

Slumber now, weary eyes,gently close in blessed peace!

World, I will tarry here no more, for thou impartest to me nothing of benefit to my soul. Here I find only misery, but there, there I shall behold

sweet peace, quiet rest.

My God! When will the beautiful “Now!” come,

when I shall depart in peaceand rest in the cool earth and there sleep in thy bosom? My leave is taken; world, good night!

With joy I await my death;ah! if only it were already come.

For then I shall escape all the woe that still afflicts me here on earth.


An Silvia, D.891 (1826)Alinde, D.904 (1827) Erlkönig, D.328 (1815)FRANZ SCHUBERTBorn January 31, 1797, in ViennaDied November 19, 1828, in Vienna

ALEXANDER SCHMALCZBorn July 4, 1969, in Weimar, Germany

MAX REGERBorn March 19, 1873 in Brand, near Bayreuth, GermanyDied May 11, 1916 in Leipzig


During his heartbreakingly short life, Schubert made indelible contributions tothe repertory of symphony orchestras, choruses, chamber groups, and pianists;however, these works—many of them lengthy, ambitious, and psychologicallyprobing—had to wait over a century to receive the recognition they deserved.At the time of Schubert’s death at age 31, even his warmest friends andadmirers believed that only his songs would survive him. Though they werewrong about his other works, they were right about the special character ofhis songs, although they could hardly have foreseen how the passage of timewould only add to the luster of these miniature masterpieces.

Schubert composed songs constantly, turning out over 600 of them in adecade and a half; they are, in many ways, the proving ground for his musicalideas, which appear still white-hot from the furnace of inspiration beforebeing incorporated in his larger works. For their melodic and harmonic wealth,intensity of expression, and deep insight into their poetic texts, Schubert’ssongs are the highest peak in the great tradition of the German lied.

This program’s selection of three songs suggests the immensity ofSchubert’s range of expression, from the elegant praise song “An Silvia”(translated from Shakespeare’s The Two Gentlemen of Verona) to the moonlitreverie of “Alinde” and finally the harrowing setting of Goethe’s dramatic ballad“Erlkönig.” The original piano parts have been orchestrated by AlexanderSchmalcz (the first two) and Max Reger (the last).


An SilviaTrans.: Eduard von Bauernfeld

Was ist Silvia, saget an,Daß sie die weite Flur preist?Schön und zart seh ich sie nahn,Auf Himmelsgunst und Spur weist,Daß ihr alles untertan.

Ist sie schön und gut dazu?Reiz labt wie milde Kindheit;Ihrem Aug eilt Amor zu,Dort heilt er seine Blindheit,Und verweilt in süßer Ruh.

Darum Silvia, tön, o Sang,Der holden Silvia Ehren;Jeden Reiz besiegt sie lang,Den Erde kann gewähren:Kränze ihr und Saitenklang!

AlindeText: Johann Friedrich Rochlitz

Die Sonne sinkt ins tiefe Meer,Da wollte sie kommen.Geruhig trabt der Schnitter einher,Mir ist’s beklommen.

Hast, Schnitter, mein Liebchennicht gesehn?

Alinde, Alinde!“Zu Weib und Kindern muß ich gehn,Kann nicht nach andern Dirnen sehn;Sie warten mein unter der Linde.”

Der Mond betritt die Himmelsbahn,Noch will sie nicht kommen.Dort legt ein Fischer das Fahrzeug an,Mir ist’s beklommen.

Hast, Fischer, mein Liebchen nichtgesehn?

Alinde, Alinde!“Muß suchen wie mir die Reusen

stehn,

To SilviaOriginal Text: William Shakespeare

Who is Silvia? what is she,That all our swains commend her?Holy, fair and wise is she;The heaven such grace did lend her,That she might admirèd be.

Is she kind as she is fair?For beauty lives with kindness.Love doth to her eyes repair,To help him of his blindness,And, being help’d, inhabits there.

Then to Silvia let us sing,That Silvia is excelling;She excels each mortal thingUpon the dull earth dwelling:To her let us garlands bring.

AlindaTrans.: Richard Wigmore

The sun sinks into the deep ocean,she was due to come.Calmly the reaper walks by.My heart is heavy.

Reaper, have you not seen my love?

Alinda! Alinda!“I must go to my wife and children,I cannot look for other girls.They are waiting for me beneath the

linden tree.”

The moon entered its heavenly course,she still does not come.There a fisherman lands his boat.My heart is heavy.

Fisherman, have you not seen mylove?

Alinda! Alinda!“I must see how my oyster baskets

are,(Please turn the page quietly.)


Hab nimmer Zeit, nach Jungfern zugehn.

Schau, welch einen Fang ich finde.”

Die lichten Sterne ziehn herauf,Noch will sie nicht kommen.Dort eilt der Jäger in rüstigem Lauf,Mir ist’s beklommen.

Hast, Jäger, mein Liebchen nichtgesehn?

Alinde, Alinde!“Muß nach dem braunlichen

Rehbock gehn.Hab nimmer Lust nach Mädeln zu

sehn;Dort schleicht er im Abendwinde.”

In schwarzer Nacht steht hier der Hain,Noch will sie nicht kommen.Von allen Lebend’gen irr’ ich allein,Bang’ und beklommen.

Dir, Echo, darf ich mein Leid gestehn:Alinde, Alinde!“Alinde!” ließ Echo leise

herüberwehn;Da sah ich sie mir zur Seite stehn:“Du suchtest so treu, nun finde!”

ErlkönigText: Johann Wolfgang Goethe

Wer reitet so spät durch Nacht undWind?

Es ist der Vater mit seinem Kind;Er hat den Knaben wohl in dem Arm,Er faßt ihn sicher, er hält ihn warm.

“Mein Sohn, was birgst du so bangdein Gesicht?”—

“Siehst, Vater, du den Erlkönignicht?

Den Erlenkönig mit Kron undSchweif?”—

“Mein Sohn, es ist ein Nebelstreif.”—

I never have time to chase aftergirls;

look what a catch I have!”

The bright stars appear,she still does not come.The huntsman rides swiftly along.My heart is heavy.

Huntsman, have you not seen mylove?

Alinda! Alinda!“I must go after the brown roebuck,

I never care to look for girls;

there he goes in the eveningbreeze!”

The grove lies here in blackest night,she still does not come.I wander alone, away from all mankind,anxious and troubled.

To you, Echo, I confess my sorrow:Alinda! Alinda!“Alinda,” came the soft echo;

then I saw her at my side.“You searched so faithfully. Now you

find me.”

The ErlkingTrans.: Richard Wigmore

Who rides so late through the nightand wind?

It is the father with his child.He has the boy in his arms;he holds him safely, he keeps him

warm.

“My son, why do you hide yourface in fear?”

“Father, can you not see the Erlking?

The Erlking with his crown andtail?”

“My son, it is a streak of mist.”


“Du liebes Kind, komm, geh mit mir!Gar schöne Spiele spiel ich mit dir;Manch bunte Blumen sind an dem

Strand,Meine Mutter hat manch gülden

Gewand.”

“Mein Vater, mein Vater, und hörestdu nicht,

Was Erlenkönig mir leise verspricht?”—

“Sei ruhig, bleibe ruhig, mein Kind:In dürren Blättern säuselt der

Wind.”—

“Willst, feiner Knabe, du mit mir gehn?

Meine Töchter sollen dich wartenschön;

Meine Töchter führen dennächtlichen Reihn

Und wiegen und tanzen und singendich ein.”

“Mein Vater, mein Vater, und siehstdu nicht dort

Erlkönigs Töchter am düsternOrt?”—

“Mein Sohn, mein Sohn, ich seh esgenau:

Es scheinen die alten Weiden sograu.”—

“Ich liebe dich, mich reizt deineschöne Gestalt;

Und bist du nicht willig, so brauchich Gewalt.”

“Mein Vater, mein Vater, jetzt faßt ermich an!

Erlkönig hat mir ein Leids getan!”—

Dem Vater grausets, er reitetgeschwind,

Er hält in Armen das ächzende Kind,Erreicht den Hof mit Mühe und Not:In seinen Armen das Kind war tot.

“Sweet child, come with me.I’ll play wonderful games with you.Many a pretty flower grows on the

shore;my mother has many a golden

robe.”

“Father, father, do you not hear

what the Erlking softly promisesme?”

“Calm, be calm, my child:the wind is rustling in the withered

leaves.”

“Won’t you come with me, my finelad?

My daughters shall wait upon you;

my daughters lead the nightly dance,

and will rock you, and dance, and sing you to sleep.”

“Father, father, can you not see

Erlking’s daughters there in thedarkness?”

“My son, my son, I can see clearly:

it is the old grey willowsgleaming.”

“I love you, your fair form allures me,

and if you don’t come willingly, I’ll use force.”

“Father, father, now he’s seizing me,

The Erlking has hurt me!”

The father shudders, he ridesswiftly,

he holds the moaning child in his arms;with one last effort he reaches home;the child lay dead in his arms.


Symphony No. 40 in G minor, K.550 (1788)WOLFGANG AMADEUS MOZART


Mozart composed his last three symphonies—the graceful No. 39, thepassionate No. 40, and the Olympian No. 41 (“Jupiter”)—in an astonishingly briefsix-week period during the summer of 1788. These pieces both encapsulate theClassical tradition and look forward. What is modern about them is not thenumber of players—after Mozart’s time the typical symphony orchestrawould double in size—but the sheer breadth of their conception. Each tells asingle story of epic length, and as a result the work’s center of gravity shiftstoward the finale. In the Symphony No. 40 in G minor, the pathos rarely letsup, and the last movement is the most frantic and dissonant of all.

The late pianist and musicologist Charles Rosen found “something shockinglyvoluptuous” in this work, beginning with the very first bars; instead of thecustomary forte entrance for full orchestra, there is the merest murmur ofviolas to usher in the sinuous violin theme. Agitation and pathos alternatethroughout the movement, rising to powerful climaxes in the developmentsection and the brief coda.

After so much tragic drama, it is not surprising that Mozart’s biographerAlfred Einstein found “divine tranquility” in the Andante; yet the throbbingdissonances of the first theme, accompanied by chromatic groans from thecellos, are anything but tranquil.

Mozart dons Brahmsian heavy boots for the Menuetto, bestriding widemelodic intervals and stomping the syncopations with grim determination. Inthe bucolic trio, he displays his special gift for woodwind writing.

“A raging torrent bursts its banks” is how Georges de Saint-Foix describedthe final Allegro assai. A torrent it surely is, but it stays within its sonata-formbanks, thereby gaining still more force. After a wild ride in the development,the recapitulation is colored and extended for still greater intensity as themusic rushes pitilessly to its conclusion.

David Wright, a music critic for Boston Classical Review, has provided programnotes for Lincoln Center series since 1982.


Mostly Mozart Festival I Meet the Artists

Meet the

Artists

Louis LangréeJE

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AY

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Louis Langrée, music director of the Mostly Mozart Festival since December2002, was named Renée and Robert Belfer Music Director in August 2006.Under his musical leadership, the Mostly Mozart Festival Orchestra hasreceived extensive critical acclaim, and their performances are an annualsummertime highlight for classical music lovers in New York City.

Mr. Langrée is also music director of the Cincinnati Symphony Orchestraand chief conductor of Camerata Salzburg. During the 2015–16 season,he will conduct the Cincinnati Symphony Orchestra at Lincoln Center aspart of the Great Performers series. At home in Ohio, the ensemble’s per-formances will include a Brahms festival and three world-premiere con-certos for orchestra. Mr. Langrée will also tour Germany with Cam erataSalzburg. His guest engagements include appearances with GewandhausOrchestra of Leipzig and performances of Così fan tutte at the Aix-en-Provence Festival.

Mr. Langrée frequently appears as guest conductor with the Berlin andVienna Philharmonics, Budapest Festival Orchestra, London PhilharmonicOrchestra, Paris Orchestra, and NHK Symphony Orchestra, as well as withthe Freiburg Baroque Orchestra and Orchestra of the Age ofEnlightenment. His opera engagements include appearances with theMetropolitan Opera, Lyric Opera of Chicago, La Scala, Opéra Bastille, RoyalOpera House–Covent Garden, and the Vienna State Opera. Mr. Langréewas appointed Chevalier des Arts et des Lettres in 2006 and Chevalier del’Ordre National de la Légion d’Honneur in 2014.

Mr. Langrée’s first recording with the Cincinnati Symphony Orchestra,released in September 2014, features commissioned works by Nico Muhlyand David Lang, as well as Copland’s Lincoln Portrait narrated by MayaAngelou. His DVD of Verdi’s La traviata from the Aix-en-Provence Festivalfeaturing Natalie Dessay and the London Symphony Orchestra wasawarded a Diapason d’Or. His discography also includes recordings on theAccord, Naïve, Universal, and Virgin Classics labels.


Matthias Goerne has collaborated with leading orchestras all over the worldand appeared on the world’s principal opera stages, including the Royal OperaHouse–Covent Garden, Madrid’s Teatro Real, Paris National Opera, ViennaState Opera, and the Metropolitan Opera. His carefully chosen roles range fromWolfram, Amfortas, Kurwenal, Wotan, and Orest to the title roles in Berg’sWozzeck, Bartók’s Bluebeard’s Castle, and Hindemith’s Mathis der Maler.

Mr. Goerne’s artistry has been documented on numerous recordings, many ofwhich have received prestigious awards, including four Grammy nominations,an International Classical Music Award, and recently the Diapason d’Or Arte.He has recorded a series of selected Schubert on 11 CDs for Harmonia Mundi.

From 2001 to 2005, Mr. Goerne taught as an honorary professor of song inter-pretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001he was appointed an honorary member of the Royal Academy of Music inLondon. A native of Weimar, he studied with Hans-Joachim Beyer in Leipzig,and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau.

Highlights of the 2014–15 season have included a tour with the ViennaPhilharmonic; concerts with the Chicago, Boston, Dallas, and London symphonyorchestras, Czech Philharmonic Orchestra, Paris Orchestra, and the NationalAcademy of St. Cecilia Orchestra; and song recitals with Piotr Anderszewski,Leif Ove Andsnes, and Christoph Eschenbach in London, Vienna, Berlin, andat Teatro alla Scala. In January 2015 Mr. Goerne made his debut as Wotan ina concert version of Wagner’s Das Rheingold with the Hong KongPhilharmonic Orchestra. In addition to Mostly Mozart, he has been invited toprestigious summer festivals in Lucerne, Salzburg, Verbier, Edinburgh,Tanglewood, and Japan.

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Matthias Goerne

Charlie Albright


Randall Ellis attended the North Carolina School of the Arts and the StateUniversity of New York at Stony Brook, where he studied with RonaldRoseman. He is principal oboist of the Mostly Mozart Festival Orchestra andthe Little Orchestra Society; he is also the solo English horn in the New YorkPops. He is the oboist in Windscape Woodwind Quintet, which serves asartists-in-residence at the Manhattan School of Music. He was principal oboistof the New York Chamber Symphony and with them received two Grammynominations, including one for his recording of Hanson’s Pastorale. He hasperformed with the New York Philharmonic, Seattle Symphony, San DiegoSymphony, Florida Orchestra, and the American Symphony Orchestra.

As a guest artist, Mr. Ellis has appeared with the Orpheus Chamber Orchestraand has concertized and recorded with The Chamber Music Society of LincolnCenter. He has been a soloist with the New England Bach Festival, thePhilharmonia Virtuosi of New York, and Chamber Music at the 92nd Street Y.Mr. Ellis has freelanced with the Ensemble Wien-Berlin, Orchestra of St.Luke’s, the New York Philomusica Chamber Ensemble, and the orchestras ofthe Martha Graham, Paul Taylor, and American Ballet Theatre dance compa-nies. He has also appeared on radio and television, including the Today Show,CBS Sunday Morning, and Live From Lincoln Center. Mr. Ellis has recorded forEMI/Angel, Columbia, Sony, RCA, Vox, Nonesuch, Pro Arte, Delos, andDeutsche Grammophon. He teaches oboe and chamber music at SkidmoreCollege in Saratoga Springs, New York.

Randall Ellis

Critically acclaimed for his virtuosic technique and unique sense of musicality,Charlie Albright has quickly become one of his generation’s leading pianists.He was the recipient of the prestigious 2014 Avery Fisher Career Grant and2010 Gilmore Young Artist Award, as well as the 2014 Ruhr Piano Festivalscholarship. His debut commercial recording, Vivace, has sold thousands ofcopies worldwide.

Mr. Albright’s 2015–16 season includes his debut at the Portland PianoInternational Recital Series, as well as solo concerts in Detroit, Houston, andSan Antonio. He will also appear with the Alabama Symphony Orchestra andthe California and Des Moines Symphonies. Mr. Albright has appeared withsuch orchestras as the BBC Concert Orchestra; the Edmonton and LansingSymphony Orchestras; the Seattle, San Francisco, Phoenix, Fort Smith, andVictoria symphonies; the Kymi Sinfonietta; and the Boston PopsOrchestra. He has performed at the John F. Kennedy Center for thePerforming Arts, the Salle Cortot, the Adrienne Arsht Center for thePerforming Arts of Miami-Dade County, and Alice Tully Hall.

Mr. Albright’s numerous awards include first prize at the 2006 Eastman YoungArtists International Piano Competition and third prize at the 2007 Hilton Head


International Piano Competition. He was the first classical pianist acceptedto the Harvard College/New England Conservatory five-year BA/MM jointprogram. Mr. Albright graduated with the prestigious artist diploma fromThe Juilliard School in 2014, working with Yoheved Kaplinsky. He is aSteinway Artist.


Lincoln Center’s Mostly Mozart Festival—America’s first indoor summermusic festival—was launched as an experiment in 1966. Called MidsummerSerenades: A Mozart Festival, its first two seasons were devoted exclu-sively to the music of Mozart. Now a New York institution, Mostly Mozartcontinues to broaden its focus to include works by Mozart’s predecessors,contemporaries, and related successors. In addition to concerts by theMostly Mozart Festival Orchestra, Mostly Mozart now includes concerts bythe world’s outstanding period-instrument ensembles, chamber orchestrasand ensembles, and acclaimed soloists, as well as opera productions,dance, film, late-night performances, and visual art installations.Contemporary music has become an essential part of the festival, embodiedin annual artists-in-residence, including Osvaldo Golijov, John Adams, KaijaSaariaho, Pierre-Laurent Aimard, and the International ContemporaryEnsemble. Among the many artists and ensembles who have had longassociations with the festival are Joshua Bell, Christian Tetzlaff, ItzhakPerlman, Emanuel Ax, Garrick Ohlsson, Stephen Hough, Osmo Vänskä, theEmerson String Quartet, Freiburg Baroque Orchestra, Orchestra of the Ageof Enlightenment, and the Mark Morris Dance Group.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of theMostly Mozart Festival, and the only U.S. chamber orchestra dedicated tothe music of the Classical period. Louis Langrée has been the Orchestra’smusic director since 2002, and each summer the ensemble’s Avery FisherHall home is transformed into an appropriately intimate venue for its perfor-mances. Over the years, the Orchestra has toured to such notable festivalsand venues as Ravinia, Great Woods, Tanglewood, Bunkamura in Tokyo, andthe Kennedy Center. Conductors who made their New York debuts leadingthe Mostly Mozart Festival Orchestra include Jérémie Rhorer, EdwardGardner, Lionel Bringuier, Yannick Nézet-Séguin, Charles Dutoit, LeonardSlatkin, David Zinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli,flutist James Galway, soprano Elly Ameling, and pianist Mitsuko Uchida allmade their U.S. debuts with the Mostly Mozart Festival Orchestra.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles:presenter of artistic programming, national leader in arts and education andcommunity relations, and manager of the Lincoln Center campus. A presenterof more than 3,000 free and ticketed events, performances, tours, and educa-tional activities annually, LCPA offers 15 programs, series, and festivals,including American Songbook, Great Performers, Lincoln Center Festival,Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly MozartFestival, and the White Light Festival, as well as the Emmy Award–winningLive From Lincoln Center, which airs nationally on PBS. As manager of theLincoln Center campus, LCPA provides support and services for the LincolnCenter complex and the 11 resident organizations. In addition, LCPA led a $1.2billion campus renovation, completed in October 2012.


Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Acting Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingClaudia Norman, Producer, Public ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Programming Publications EditorClaire Raphaelson, House Seat CoordinatorStepan Atamian, Theatrical Productions Intern; Annie Guo, Production Intern;Grace Hertz, House Program Intern

Program Annotators: Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright


Mostly Mozart Festival OrchestraLouis Langrée, Renée and Robert Belfer Music Director

Violin IRuggero Allifranchini,Concertmaster

Martin AgeeRobert ChausowLilit GampelMichael GilletteSophia KessingerRonald OaklandMichael RothDeborah Wong

Violin IILaura Frautschi,Principal

Eva BurmeisterKatsuko EsakiAmy KauffmanKatherine Livolsi-

LandauLisa MatricardiDorothy StrahlMineko Yajima

ViolaShmuel Katz, PrincipalMeena Bhasin Danielle FarinaChihiro FukudaJack RosenbergJessica Troy

CelloIlya Finkelshteyn,Principal

Ted AckermanAnn KimAlvin McCall

BassZachary Cohen,Principal

Lou KosmaJudith Sugarman

FluteJasmine Choi,Principal

Tanya Dusevic Witek

OboeRandall Ellis, Principal Matthew Dine,Principal*

Nick Masterson

ClarinetSteve Hartman,Principal

Liam Burke

BassoonDaniel Shelly, PrincipalTom Sefcovic�

HornLawrence DiBello,Principal

Ian DonaldRichard HagenSteve Sherts

TrumpetNeil Balm, PrincipalLee Soper

TimpaniDavid Punto, Principal

OrganKent Tritle, Principal

Librarian Michael McCoy

Personnel ManagersNeil BalmJonathan HaasGemini Music

Productions Ltd.

*Mozart SymphonyNo. 40

Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra


Friday and Saturday Evenings, July 31 and August 1, at 6:30Orion Weiss, pianoBrahms: Klavierstücke, Op. 118Avery Fisher Hall

Monday Evening, August 3, at 6:30Emerson String QuartetHaydn: Quartet in G major, Op. 76, No. 1Alice Tully Hall

Tuesday Evening, August 4, at 6:30Anderson & Roe Piano DuoLigeti/Anderson & Roe: Hungarian Rock Brahms: Haydn VariationsAvery Fisher Hall

Wednesday Evening, August 5, at 6:30Anderson & Roe Piano DuoBrahms: Haydn VariationsAnderson & Roe, after Mozart: Ragtimealla turcaAvery Fisher Hall

Friday and Saturday Evenings, August 7–8, at 6:30Calidore String QuartetHaydn: Quartet in C major (“The Bird”)Avery Fisher Hall

Tuesday and Wednesday Evenings,August 11–12, at 6:30Charlie Albright, pianoBeethoven: “Moonlight” SonataChopin: Four Etudes, Op. 25 Avery Fisher Hall

Tuesday and Thursday Evenings, August 11 and 13Written on Skin post-performance artistdiscussions David H. Koch Theater

Friday and Saturday Evenings, August 14–15, at 6:30Jon Manasse, clarinet, Ilya Finkelshteyn, cello, and Jon Nakamatsu, pianoBrahms: Clarinet TrioAvery Fisher Hall

Saturday Afternoon, August 15, from 4:00to 5:30Panel Discussion: Listening to MozartBruce Alan Brown, moderatorPresented in association with the MozartSociety of AmericaStanley H. Kaplan PenthouseSeating available on a first-come, first-servedbasis.

Tuesday and Wednesday Evenings,August 18–19, at 6:30Tyler Duncan, baritone, and Erika Switzer, pianoSchumann: Liederkreis, Op. 24Avery Fisher Hall

Friday Evening, August 21, from 6:15 to 7:00 Pre-concert lecture on Haydn’s Creationby Elaine SismanStanley H. Kaplan Penthouse

Lectures, Discussions, and Pre-concert Recitals All events are FREE to ticketholders of the accompanying performance.

ALICE TULLY HALL, AVERY FISHER HALLBroadway at 65th Street

DAVID H. KOCH THEATERColumbus Avenue at 63th Street

DAVID RUBENSTEIN ATRIUM Broadway between 62nd and 63rd Streets

STANLEY H. KAPLAN PENTHOUSE165 West 65th Street, 10th Floor


1756 January 27: Joannes Chrysostomus Wolfgangus Theophilus Mozart born in Salzburg,Austria, the youngest child of Johann Georg Leopold Mozart and his wife, Anna Maria.

1761 First composition, Andante in C major for keyboard; first known public appearance atSalzburg University in a music theater piece.

1762 Leopold Mozart journeys to Munich and Vienna with Wolfgang and his older sister,Nannerl, to exploit their prodigious talents on the harpsichord.

1764 Meets J.C. Bach, youngest son of J.S. Bach. Mozart writes his first symphony.

1767 Performance of Apollo et Hyacinthus, Mozart’s first theatrical work, in Salzburg. Travels toVienna. Wolfgang and Nannerl fall ill with smallpox.

1769 Return to Salzburg. Mozart named honorary Konzertmeister of the Hofkapelle in Salzburg.

1772 Premiere of opera seria Lucio Silla on December 26 in Milan; completion of motet Exsultate,jubilate a few weeks later.

1778 Arrival in Paris after a lengthy journey through Augsburg and Mannheim, where he meetssoprano Aloysia Weber. Performance of the “Paris” Symphony. Illness and death of Mozart’smother. Aloysia rejects Mozart’s marriage proposal.

1779 Composition of “Coronation” Mass in C major.

1781 First major adult opera commission results in Idomeneo, premiered in Munich. Travels toVienna, where he is discharged from the service of the archbishop of Salzburg.

1782 Composition and premiere of the opera Die Entführung aus dem Serail in Vienna. Marriage to Constanze Weber, sister of Aloysia.

1783 First child born in June and dies in August. Premiere of unfinished Mass in C minor, K.427.

1784 Mozart accepted into the Freemason lodge Zur Wohlthätigkeit. Six piano concertos writ-ten in Vienna. Frequent public and private concerts in Vienna show him at the peak of his for-tunes. Birth of second child, Karl Thomas, who survives. Probable first meeting with Haydn; thebeginning of a devoted friendship between the two masters.

1785 Cycle of six string quartets, which Mozart dedicates to Haydn, is published by Artaria.Composes Piano Concerto No. 20 in D minor and No. 21 in C major.

1786 Premiere of Le nozze di Figaro in Vienna’s Burgtheater is successful despite the opera’spotential to be politically and socially inflammatory. Writes Symphony in D major (“Prague”) andPiano Concerto No. 25 in C major. Mozart’s third child is born in October and dies in November.

1787 Mozart directs a performance of Figaro in Prague to great success. Performance of “Prague”Symphony and premiere of Don Giovanni in Prague also meet with positive reception. LeopoldMozart, age 68, dies in Salzburg. Returns to Vienna in November and birth of fourth child, Theresia,in December. The 16-year-old Beethoven briefly visits Vienna and most likely meets Mozart.

1788 Viennese premiere of Don Giovanni meets with moderate success. Death of Theresia. Last threesymphonies written: No. 39 in E-flat major, No. 40 in G minor, and No. 41 in C major (“Jupiter”).

1789 Financial instability. Starts work on Così fan tutte. Mozart’s fifth child, Anna Maria, diesone hour after birth. Mozart conducts his reorchestration of Handel’s Messiah.

1790 Premiere of Così fan tutte in Vienna. Musical productivity hindered by ongoing financialstress. Before leaving for London, Haydn dines with Mozart for the last time.

1791 Mozart completes his 27th and last piano concerto. Interruption of work on Die Zauberflöte towrite the commissioned work La clemenza di Tito, celebrating the coronation of Leopold II as kingof Bohemia. Birth of sixth child, Franz Xaver, who survives. Premiere of Die Zauberflöte in Viennawith Mozart conducting from the keyboard. Clarinet Concerto written for Anton Stadler. Receivescommission for a requiem mass and begins work on the Requiem, K.626, but falls ill in November.Mozart dies in Vienna on December 5 and is buried quietly and unceremoniously in a mass grave.

Wolfgang Amadeus Mozart Chronology

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 [email protected] 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, the newLincoln Center Kitchen in Avery FisherHall, and the Espresso Bar, also in AveryFisher.

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 recently pub-lished memoir, Yes, Chef, chronicles hisremarkable journey from being orphanedat age three in his native Ethiopia to hisadoption by a family in Göteborg,Sweden, where he first learned to cookby helping his grandmother prepareroast chicken. He went on to train intop kitchens in Europe before arriving inNew York, first taking the reins atAquavit. He has won the televisioncompetition Top Chef Masters on Bravo

as well as top honors on Chopped AllStars: Judges Remix. His current NewYork restaurant, the wildly successfulRed Rooster, is located in his homebase 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, have trans-formed the glass-walled space withlounge-like furniture in warm, rich colors,a long communal couch, tree-trunktables, and lighting that can be dimmedto adjust the mood. The design—aneclectic reinterpretation of Americana—draws its inspiration from the cafe’s culinary focus. Call 212.671.4200 forhours of operation.

The Table is Set

Marcus Samuelsson

tuesday and wednesday evenings, august 11 –12,...

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