Thursday Evening, April 7, 2016, at 7:30

Emerson String QuartetEugene Drucker, ViolinPhilip Setzer, ViolinLawrence Dutton, ViolaPaul Watkins, Cello

HAYDN String Quartet in G major, Op. 76, No. 1 (1797)Allegro con spiritoAdagio sostenutoMinuetto: PrestoAllegro ma non troppoSETZER, DRUCKER, DUTTON, WATKINS

BEETHOVEN String Quartet in D major, Op. 18, No. 3 (1798–1800)AllegroAndante con motoAllegroPrestoSETZER, DRUCKER, DUTTON, WATKINS

Intermission

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

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Please make certain all your electronic devices are switched off.

Alice Tully Hall, Starr TheaterAdrienne Arsht Stage

Great Performers

BNY Mellon is Lead Supporter of 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.

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

Endowment support is also provided by UBS.

MetLife is the National Sponsor of Lincoln Center

UPCOMING GREAT PERFORMERS EVENTS IN ALICE TULLY HALL:

Saturday Evening, April 9, 2016 at 7:30Richard Goode, PianoALL-BACH PROGRAMPreludes and Fugues from the Well-Tempered Clavier, Book IIFrench Suite No. 515 SinfoniasPartita No. 2 Italian Concerto

Wednesday Evening, April 13, 2016 at 7:30Accademia BizantinaOttavio Dantone, Conductor (New York conducting debut)Christophe Coin, CelloSergio Azzolini, BassoonDelphine Galou, ContraltoALL-VIVALDI PROGRAMVirtuosic arias and concertos by VivaldiPre-concert lecture at 6:15 by Susan Orlando in the Stanley H. Kaplan Penthouse

Sunday Afternoon, April 17, 2016 at 5:00Emerson String QuartetHAYDN: Quartets Op. 76, Nos. 2 (“Fifths”) and 5BEETHOVEN: Quartets Op. 18, Nos. 1 and 5Pre-concert lecture by Scott Burnham at 3:45 in the Stanley H. Kaplan Penthouse

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 mightdistract 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 taking ofphotographs and the use of recording equipment are not allowed in the building.

Great Performers I The Program

HAYDN String Quartet in B-flat major, Op. 76, No. 4 (“Sunrise”) (1797)Allegro con spiritoAdagioMenuetto: AllegroFinale: Allegro, ma non troppoDRUCKER, SETZER, DUTTON, WATKINS

BEETHOVEN String Quartet in C minor, Op. 18, No. 4 (1798–1800)Allegro, ma non tantoScherzo: Andante scherzoso quasi allegrettoMenuetto: AllegrettoAllegroDRUCKER, SETZER, DUTTON, WATKINS

Great Performers

By Paul Schiavo

Among the great composers of Westernmusic, a handful stand out for their substantialcontributions to the string quartet literature.They include Mozart, Schubert, Shostakovich,Bartók, and—above all—Haydn and Beet -hoven. Haydn was the first great practitionerof what we know as the Austrian Classicalstyle, a musical idiom also embraced byMozart and the young Schubert. Beethovenlearned the principles and procedures of thatstyle directly from Haydn, with whom hebegan studying shortly after relocating toVienna, late in 1792.

The nature of Haydn’s tutelage is uncertainbeyond some counterpoint exercises that sur-vive in Beethoven’s hand. It may well be thatthe elder composer guided some of his stu-dent’s first compositional efforts in Vienna. Inany event, the music Beethoven wrote duringthe mid-1790s is indebted to that of Haydn.Haydn’s mature manner and Beethoven’searly development attained their closest prox-imity in string quartet composition. Between1797 and 1799, Haydn completed his lasteight string quartets and part of a ninth. Thefirst fruits of this final quartet harvest were sixpieces published as the composer’s Op. 76.At nearly the same time, in 1798, Beethovenbegan work on a set of six string quartets.Completed in 1800, they were printed the fol-lowing year and designated his Op. 18.

In three concerts at Alice Tully Hall this spring(April 7 and 17, May 12), the Emerson StringQuartet performs these two landmarks of thequartet literature. Presenting pieces fromHaydn’s Op. 76 and Beethoven’s Op. 18 inalternation, these concerts afford a rare lookat the Austrian Classical style of quartet musicin the work of both a mature master and ayoung genius.

—Copyright © 2016 by Paul Schiavo

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1797Haydn’s String Quartets,Op. 76Jane Austen completes thenovel First Impressions, laterretitled Pride and Prejudice.

1800Beethoven’s StringQuartets, Op. 18Friedrich Schiller’s historicaldrama Mary Stuartpremieres in Germany.

1797Joseph Proust proposes thelaw of definite proportions.

1800William Herschel discoversinfrared rays.

1797The dollar, dime, and centare adopted by New York forpublic use.

1800New York’s first exclusivelyblack church, AfricanMethodist Episcopal ZionChurch, opens.

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By Paul Schiavo

String Quartet in G major, Op. 76, No. 1 (1797)JOSEPH HAYDNBorn March 31, 1732, in Rohrau, AustriaDied May 31, 1809, in Vienna

Approximate length: 22 minutes

In the first of his Op. 76 compositions, a quartet in G major, Haydnestablishes at once the essential quality of string quartet writing: thediscourse of the four instruments. Following three prefatory chords,the principal theme of the opening movement sounds in four phrases,one for each instrument in turn. From this flows the first portion ofthe work, a skillfully crafted sonata-form structure.

Haydn is rightly admired for his musical wit, manifested in the formof abrupt pauses, surprising turns of line or harmony, and odd phraselengths. Yet neither this first movement nor the one that follows givesany evidence of this quality. Indeed, the Adagio second movementconveys a sober spiritual atmosphere not unlike that in parts ofMozart’s Masonic opera Die Zauberflöte. (We can easily imagineSarastro, the deep-voiced sage of that work, when Haydn’s melodyline passes to the cello, as it does several times in this movement.)But we find the composer up to his familiar tricks in the ensuing min-uet, where momentary musical lacunae and vigorous outbursts keepthe proceedings unusually lively.

Further surprises await in the finale. This begins not in G major, as wemight expect, but in the darker tonality of G minor, and Haydn under-scores this unexpected harmonic event by launching at once into atheme of exceptional rhythmic energy. At length, after much twisting,turning, and traversing wide harmonic terrain, the music emerges intothe placid tonal landscape of G major. Haydn lightens the movement’scomplexion even further in the closing measures, transforming theerstwhile dramatic theme into a merry country dance—surely themost surprising development in the entire composition.

String Quartet in D major, Op. 18, No. 3 (1798–1800)LUDWIG VAN BEETHOVENBorn December 16, 1770, in Bonn, GermanyDied March 26, 1827, in Vienna

Approximate length: 23 minutes

Beethoven was already 30 and the author of some ten piano sonatas,two concertos, and numerous other compositions when he at last

Great Performers I Notes on the Program

completed his first string quartets, Op. 18. Even though his sketchbooks indicate that much of the work was done in 1798 and 1799, it is striking that the composer waited so long before successfully essaying this importantgenre. His patience paid off. The Op. 18 quartets proved worthy successorsto those of Haydn.

The Quartet in D major, though printed as the third work in the Op. 18 set, wasthe first that Beethoven completed. Despite its being Beethoven’s earliesteffort in a particularly demanding genre, the music seems completely assuredin its ideas and skillfully crafted. And for all that it fulfills the requirements ofdesign and instrumental dialogue established by Haydn as hallmarks of quartetcomposition, it also announces a new voice in quartet writing—one willing totreat the venerable format in unexpected ways.

We hear this innovative spirit in the imaginative treatment of thematic ideasthroughout its opening movement, and even more so in the original touchesof harmony. Beethoven’s initial subject establishes the tonic key of D major,this despite the first violin’s penchant for wandering through pitches that tendto push against the confines of that tonality. In due course he prepares theappearance of a new subject, but at the last moment, the music veers in anunexpected direction and the march-like second theme, enlivened by off-beataccents, sounds in an almost incongruous harmonic region. The effect is dis-concerting and subtly colors the entire movement.

There follows a serene and deeply felt slow movement, impressive in both itsformal breadth and rich emotional complexion. Yet most of this music springsfrom very simple thematic material: Its principal subject, for example, consistsof a series of four-note melodic arches rising in sequence, then a little scalefigure. But Beethoven’s harmonization endows this elementary melody withgreat expressiveness, and the scale fragment gives rise to a wealth of linearfiguration over the course of the movement.

Commentators disagree on whether the third movement is a minuet or itsmore modern successor, the scherzo. Beethoven called it neither—he simplymarked it Allegro—and in truth, the music’s character lies somewherebetween those two types. The finale provides an example of Beethoven’srobust humor. Its prevailing giocoso character does not preclude serious com-positional craft, however, and we find the movement’s brisk main theme thesubject of a variety of ingenious contrapuntal treatments.

String Quartet in B-flat major, Op. 76, No. 4 (“Sunrise”) (1797)JOSEPH HAYDN

Approximate length: 23 minutes

Haydn’s large compositional output includes several musical evocations ofsunrise. The most famous occurs in his oratorio Die Schöpfung (The Creation).

Great Performers I Notes on the Program

Another comes at the beginning of his Symphony No. 6, subtitled Le matin(Morning). Some commentators have heard the opening moments of hisQuartet in B-flat major, Op. 76, No. 4, as another musical metaphor for dawn; asa result the moniker “Sunrise” has become attached to this composition. Thepiece begins with a sustained chord, a soft glow of B-flat major. Against this, thefirst violin traces a line that rises from the instrument’s lower register to a brightpart of its range. Haydn then repeats this gesture over a second chord.

If this seems a less vivid musical image of daybreak than we find in the afore-mentioned oratorio and symphony, it nevertheless serves to start the principaltheme of this movement. The melody now passes to the viola and back to thefirst violin, and the music doubles its pace in a vigorous passage that leads towhere we should normally find a contrasting second subject. Here, however,Haydn surprises us, offering instead a variant of the initial “sunrise” theme.This time, the cello takes the melody, and instead of rising, the line descendstwo octaves in what is essentially a mirror inversion of the movement’s open-ing phrase. The composer subsequently offers one other idea, a slendertheme marked by repeated notes in quick rhythms. This figures importantly inthe central development episode, which precedes a varied reprise of themovement’s first section.

There follows a deeply moving Adagio whose thematic material is permeatedwith a three-tone figure: an initial note, a dip to its lower neighbor, and a returnto the first note. This figure, in faster rhythms, also recurs throughout the thirdmovement’s minuet.

The finale brings further evidence of Haydn’s musical wit. Its main themebegins in straightforward fashion, but the composer quickly introduces littleruns into the melody. Highlighted by dynamic accents, these sound like noth-ing so much as an inebriate’s hiccups. Another humorous event occurs at theend of the movement, where Haydn sounds his principal subject one lasttime, but in accelerated tempo. Merely speeding up the theme renews itscomic character, an effect that was not lost on the composer’s student,Beethoven, as we shall see.

String Quartet in C minor, Op. 18, No. 4 (1798–1800)LUDWIG VAN BEETHOVEN

Approximate length: 23 minutes

The fourth quartet in Beethoven’s Op. 18 set is in the key of C minor. LikeMozart, Beethoven associated this tonality with intense emotional expression,particularly that of pathos and struggle. Merely to mention his most famousworks in this key—the “Pathétique” piano sonata and the Fifth Symphony—isto give an idea of his conception of its spirit. This turbulent C-minor spiritinforms the opening measures of Op. 18, No. 4. The initial theme conveys passionate urgency, and there even seems to be a threat of violence in the

Great Performers I Notes on the Program

chords that punctuate it. Beethoven soon sets forth other, more genial, ideas,but even the placid second subject assumes a dark aspect during the move-ment’s central development section. Following the expected recapitulation ofthe thematic material, a brief coda re-establishes C minor and its attendantsense of distress.

But with the conclusion of this initial movement, Beethoven is done withstormy drama. In place of a slow movement, he offers one of “scherzoso”character, and in moderate tempo. Much of its music presents fugal treatmentof a jolly little subject, and the conjunction of light-hearted theme and complexcounterpoint accounts for a good deal of the movement’s humor. But themusic’s generally merry character does not prevent the composer from ven-turing into unexpected harmonic regions, and he directs these excursions withadmirable skill.

Off-beat accents, which had enlivened the second movement, play an evenmore essential role in the ensuing minuet. In its central section, or trio, thefirst violin lends the music a tremulous shimmer. Beethoven casts the finaleas a fast-paced rondo with a recurring main theme in the “Hungarian” styleHaydn occasionally employed in his quartets. The episodes that soundbetween the several appearances of this subject include music in a comicallyrustic vein. Moreover, the concluding statement of the rondo theme races ina madcap prestissimo, an event that ups the ante on the same procedureHaydn used at this point in his “Sunrise” quartet.

Paul Schiavo serves as program annotator for the St. Louis and SeattleSymphonies, and writes frequently for concerts at Lincoln Center.

—Copyright © 2016 by Paul Schiavo

Great Performers I Meet the Artists

The Emerson String Quartet has accumulated an unparalleled list ofachievements over three decades: more than 30 acclaimed recordings, nineGrammys (including two for Best Classical Album), three GramophoneAwards, the Avery Fisher Prize, Musical America’s Ensemble of the Year,and collaborations with many of the greatest artists of our time.

In a season of over 85 quartet performances, mingled with the quartetmembers’ individual artistic commitments, the Emerson plays extensivelythroughout North America. Season highlights include collaborations withsoprano Barbara Hannigan for Berg’s Lyric Suite at the Berlin Festival, withviolist Roberto Diaz for Mendelssohn’s Viola Quintet at Philadelphia’sKimmel Center, and with the Calidore String Quartet for the MendelssohnOctet at Princeton University. The Emerson also performed two concertsat London’s Wigmore Hall and will appear at the second Piatigorsky In ter -national Cello Festival in Los Angeles’s Walt Disney Concert Hall in May.

Multiple tours of Europe comprise dates in Denmark, Czech Republic, Italy,Spain, Germany, Poland, Turkey, Austria, Hungary, and the U.K.; the Quartetalso visits Moscow, Hong Kong, Shanghai, and Seoul. The Emerson con -tinues its series at the Smithsonian Institution in Washington, D.C., for its 36th season.

Other season highlights include the release of a disc with soprano RenéeFleming on the Decca/Universal label, featuring Viennese music written inthe 1920s and ’30s: Berg’s Lyric Suite (including an alternate version of thelast movement for soprano and quartet), Wellesz’s Sonnets by ElizabethBarrett Browning, and Zeisl’s Komm, süsser Tod (Come, sweet Death).

Formed in 1976 and based in New York City, the Emerson was one of thefirst quartets formed with two violinists alternating in the first chair posi-tion. The ensemble, which takes its name from the American poet andphilosopher Ralph Waldo Emerson, is quartet-in-residence at Stony Brook

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Great Performers I Meet the Artists

University. In January 2015 the Quartet received the Richard J. BogomolnyNational Service Award, Chamber Music America’s highest honor, in recogni-tion of its significant and lasting contribution to the chamber music field.

Lincoln Center’s Great Performers

Celebrating its 50th anniversary, Lincoln Center’s Great Performers offers clas-sical and contemporary music performances from the world’s outstandingsymphony orchestras, vocalists, chamber ensembles, and recitalists. Since itsinitiation in 1965, the series has expanded to include significant emergingartists and premieres of groundbreaking productions, with offerings fromOctober through June in Lincoln Center’s David Geffen Hall, Alice Tully Hall,and other performance spaces around New York City. Along with liederrecitals, Sunday morning coffee concerts, and films, Great Performers offersa rich spectrum of programming 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

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerAndrew Elsesser, Temporary Associate Director, ProgrammingCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingRegina Grande, Associate ProducerAmber Shavers, Associate Producer, Public ProgrammingNana Asase, Assistant to the Artistic DirectorLuna Shyr, Senior EditorJenniffer DeSimone, Production CoordinatorOlivia Fortunato, House Seat Coordinator

Emerson String Quartet’s representation:IMG Artistswww.imgartists.com

In the summer of 2014, more than 90

middle school arts students arrived on

Lincoln Center’s campus as part of a newly

created initiative called Middle School Arts

Audition Boot Camp. This free two-week

program, created in partnership with the

New York City Department of Education,

was designed to level the playing field

for students as they audition for some

of the city’s most competitive arts-based

high schools. As part of the intensive,

ten-session, two-week program, students

from schools with limited resources

received coaching in dance, theater, music,

and the visual arts from professionals

and teaching artists within Lincoln Center’s

resident organizations, and Department

of Education teachers. After receiving this

preparation, which included masterclasses

and mock auditions, an astounding 90%

of the students received an offer to the

high school of their choice, and 64%

were offered placement in arts-based

high schools. Audition Boot Camp was

so successful that it was repeated in the

summer of 2015 with an even larger group

of students. Within the next few weeks,

the 149 students from the 2015 class will

find out about their high school placements.

In the meantime, the program will continue

again this summer with a third class of up

to 160 eighth graders.

Preparing for the high school audition

is important, but what happens next?

Lincoln Center is expanding its

commitment to the graduates of the

Middle School Arts Audition Boot Camp

program through a new initiative called

Mentor-Linc. In this program, Boot Camp

alumni will have access to their peer

network all year long and can opt to be

paired with a mentor, who will continue

to offer advice and support through

four years of high school. By providing

continued access to a mentor, Lincoln

Center Education will help guide these

eighth graders toward success beyond

the audition, opening doors to a future

of opportunities.

Learn more about Lincoln Center Education: LincolnCenterEducation.org

NYC Department of Education teacher Dan Burwasser training music students for auditions

4 decades of thinking like an artist

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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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