Members of the Mostly Mozart Festival Orchestramostlymozart.lincolncenter.org/archives/2014/assets/img/downloads/... · Leopold, who was skeptical ... HAYDN: Quartet in G minor, Op

Friday and Saturday Evenings, August 1–2, 2014, at 7:00

Pre-concert Recital

Members of theMostly Mozart Festival OrchestraRandall Ellis, OboeNick Masterson, OboeSteven Hartman, ClarinetMeryl Abt, ClarinetMarc Goldberg, BassoonTom Sefcovic, BassoonLawrence DiBello, HornRichard Hagen, Horn

MOZART Serenade for Winds in E-flat major, K.375 (1781)Allegro maestosoMenuetto I—TrioAdagioMenuetto II—TrioAllegro

Avery Fisher Hall Please make certain your cellular phone,pager, or watch alarm is switched off.

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

July 25–August 23, 2014

Sponsored by Bloomberg

08-01 Manze Osborne_Gp 3.qxt 7/21/14 10:12 AM Page 1

Mostly Mozart Festival

Note on the Pre-concert Recitalby David Wright

Serenade for Winds in E-flat major,K.375 (1781)WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in SalzburgDied December 5, 1791, in Vienna

Approximate length: 25 minutes

The title “serenade” comes from the Italiansera (evening), and it originally meant musicto be played in the street after sundown,usually under the window of some honoredperson. In a few of Mozart’s serenades—and in later ones by composers likeTchaikovsky, Dvorák, and Chadwick—thismeaning survives only as a metaphor,describing the character of music com-posed for the concert hall, not the street.But in Mozart’s Salzburg and Vienna, a ser-enade could still be the real thing.

For a young composer newly arrived in theimperial capital, as Mozart was in October1781, the matter of whom you serenadedcould be quite significant. With this Serenadein E-flat, Mozart’s target was Joseph vonStrack, a gentleman of the imperial bed-chamber whose favorable opinion mightadvance his fortunes at court. Or soMozart said in a letter to his father,Leopold, who was skeptical about hisson’s prospects in Vienna:

I wrote [K.375] for St. Theresa’s Day forFrau von Hickel’s sister, or rather the sis-ter-in-law of Herr von Hickel, courtpainter, at whose house it was per-formed for the first time. The six gentle-men who executed it are poor beggarswho, however, play quite well together,particularly the first clarinet and the twohorns. But the chief reason I composed it

was in order to let Herr von Strack, whogoes there every day, hear something ofmy composition, so I wrote it rather care-fully. It has won great applause too….

Two weeks later the same players sere-naded Mozart with his own composition:

These musicians asked that the streetdoor might be opened and, placing them-selves in the center of the courtyard, sur-prised me, just as I was about to undress,in the most pleasant fashion imaginablewith the first chord in E-flat.

One might wonder why a serenade thatgot around as much as this one did lacksthe introductory march that serenadersusually played while moving from place toplace. Mozart answered that questionwhen he described the effect of musiciansassembling in silence, then surprising thelistener with that beautiful first chord in E-flatmajor. This work that he composed “rathercarefully” is a piece of chamber musicintended to make an impression.

In July 1782 Mozart added two oboes tothe work, expanding it from the six-partoriginal to the eight-part version heard atthis concert. He pours all of his melodicinvention and skill at counterpoint into theopening movement—too much, surely, forthe rather simple tastes of the emperorand his court. The two minuets, clear andlively, would have better suited the imper-ial palate. They frame a central Adagio thatis a rich, songful dialogue among all theinstruments, providing what the clarinetistDavid Shifrin once called “the kind ofmoments that we wind players live for,when we feel as though we’re singers onthe stage of a Mozart opera.” Make that acomic opera, as the brilliant finale bringsthe Serenade to an exhilarating close.

—Copyright © 2014 by David Wright


Friday and Saturday Evenings, August 1–2, 2014, at 8:00

Mostly Mozart Festival OrchestraAndrew Manze, ConductorSteven Osborne, Piano M|M

BEETHOVEN Piano Concerto No. 5 in E-flat major (“Emperor”) (1809)AllegroAdagio un poco mossoRondo: AllegroMr. Osborne will perform Beethoven’s cadenza.

Intermission

HAYDN Symphony No. 104 in D major (“London”) (1795)Adagio—AllegroAndanteMenuet: AllegroFinale: Spiritoso

M|M Mostly Mozart debut

Steinway PianoAvery Fisher Hall

Please make certain your cellular phone,pager, or watch alarm is switched off.

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

July 25–August 23, 2014

Sponsored by Bloomberg



The Mostly Mozart Festival is sponsored byBloomberg.

The Mostly Mozart Festival is made possible byRita E. and Gustave M. Hauser, The Fan Fox andLeslie R. Samuels Foundation, Inc., Ann andGordon Getty Foundation, Charles E. CulpeperFoundation, S.H. and Helen R. Scheuer FamilyFoundation, and Friends of Mostly Mozart.

Public support is provided by the New York StateCouncil on the Arts.

Artist Catering is provided by Zabar’s andZabars.com.

MetLife is the National Sponsor of Lincoln Center.

Bloomberg is the Official Sponsor of Lincoln CenterSummer Programs.

Movado is an Official Sponsor of Lincoln Center.

United Airlines is the Official Airline of Lincoln Center.

WABC-TV is the Official Broadcast Partner ofLincoln Center.

William Hill Estate Winery is the Official Wine ofLincoln Center.

“Summer at Lincoln Center” is sponsored by DietPepsi.

Time Out New York is Media Partner of Summer atLincoln Center.

Upcoming Mostly Mozart Festival Events:

Saturday Night, August 2, at 10:00 in the Stanley H. Kaplan Penthouse

A Little Night MusicAntoine Tamestit, ViolaBACH: Cello Suites Nos. 1 and 3HINDEMITH: Sonata for solo viola

Monday Evening, August 4, at 7:30 in Alice Tully Hall

Emerson String QuartetMartin Fröst, ClarinetHAYDN: Quartet in G minor, Op. 20, No. 3MOZART: Quartet in E-flat major, K.428MOZART: Clarinet Quintet Pre-concert recital at 6:30 by the Emerson String Quartet

Monday Night, August 4, at 10:00 in the Stanley H. Kaplan Penthouse

A Little Night MusicMartin Fröst, ClarinetAntoine Tamestit, ViolaShai Wosner, PianoMOZART: Trio in E-flat major (“Kegelstatt”)DEBUSSY: Première rhapsodiePOULENC: Clarinet Sonata

Tuesday and Wednesday Evenings, August 5–6,at 8:00 in Avery Fisher Hall

Mostly Mozart Festival OrchestraLouis Langrée, ConductorChristian Tetzlaff, Violin SCHNITTKE: Moz-Art à la HaydnMOZART: Violin Concerto No. 1 in B-flat majorHAYDN: Overture to L’isola disabitataMOZART: Symphony No. 38 in D major (“Prague”)Pre-concert recitals at 7:00 by Christian Tetzlaff, violin, and Caroline Goulding, violin

M|M Mostly Mozart debut

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

Visit MostlyMozart.org for full festival listings.

Join the conversation: #LC Mozart

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In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.



Welcome to Mostly MozartI am delighted to welcome you to the 2014 Mostly Mozart Festival, where we explore themany facets of our namesake composer’s brilliance and invention. What better way tousher in that spirit than with an outdoor world premiere work by American composer JohnLuther Adams. Sila: The Breath of the World transforms Lincoln Center’s Hearst Plaza intoa sonic stage before we rejoin Mozart in Avery Fisher Hall with the acclaimed MostlyMozart Festival Orchestra.

This summer, our Festival Orchestra reaches beyond many Mozart masterpieces to thesignature works of some of his great successors: Beethoven’s Ninth Symphony, Berlioz’sSymphonie fantastique, Martin’s Polyptyque. We join with favorite soloists—Joshua Bell,Richard Goode, Christian Tetzlaff—and also introduce luminaries making their festivaldebuts, including pianists Yuja Wang and Steven Osborne, and bass Ildar Abdrazakov.

We are always pleased to welcome the Mark Morris Dance Group to Mostly Mozart. ThisAugust, Mark Morris brings his unparalleled affinity for Handel to his newest creation,Acis and Galatea. The Philharmonia Baroque Orchestra and the Emerson String Quartetdelight us in Alice Tully Hall, while the International Contemporary Ensemble celebratesnew music at Park Avenue Armory. And don’t forget to join us for music and wine incasual, intimate Little Night Music recitals at the Kaplan Penthouse.

We all embrace the joy that celebrating Mozart’s music brings to New York in the summer.I hope to see you often here at Lincoln Center.

Jane MossEhrenkranz Artistic Director



Signature Worksby Peter A. Hoyt

The musicologists who first investigated Johann Sebastian Bach (1685–1750) discoveredthat some pieces, written in his handwriting and long attributed to him, were actuallycomposed by other musicians. Bach had omitted their names during the copyingprocess, and the scholars—disturbed by this hint of plagiarism—were relieved to learnthat the early 18th century was often indifferent to niceties of attribution. Indeed, Bachhimself frequently neglected to sign his own manuscripts.

In the decades following, however, authorial identity took on greater importance. The col-lapse of the French aristocracy led Europe to emphasize individual merit, endowing artistswith new dignity. Music publishers, capitalizing upon an emerging middle class, promotedcomposers by name. Unprecedented ideas of individuality informed 19th-centuryRomanticism, which asserted that all great art embodies the self-expression of a great soul.

Contributing to this entanglement of artwork and artist were a number of innovative com-posers, each with a distinctive style that represented their identity as decisively as theirname. The 2014 Mostly Mozart Festival celebrates some of these composers’ signaturepieces, from emblematic concertos and symphonies—including Haydn’s “London,”Mozart’s “Jupiter,” and Beethoven’s “Eroica”—to concise works like the overtures toHaydn’s L’isola disabitata and Beethoven’s Consecration of the House.

This season also explores the role of models in shaping artistic personalities. Gluck’s depic-tions of demonic Furies, for example, influenced Mozart’s music for Don Giovanni, andGluck’s Dance of the Blessed Spirits permeates portions of Mozart’s Flute and HarpConcerto. Moreover, prominent stylistic elements can be parodied or dismantled, as inworks by Prokofiev, Schnittke, and Shostakovich, whose Concerto for Piano and Trumpetrecalls the brash music he once played for silent movies in Petrograd.

Berlioz’s Symphonie fantastique of 1830 stands as a landmark in the fusion of art and per-sona; the work is often regarded as autobiographical. Nevertheless, elements of thepurely fictional prevail, as when the hero murders his beloved, is executed, and posthu-mously witnesses a witches’ sabbath. Berlioz treats his scenario with ironic detachment,perhaps best illustrated by the carnivalesque fugue that ends the piece. Whereas Mozartand Beethoven had employed culminating fugal procedures to suggest a kind of luminousunification, Berlioz here casts off the shackles of seriousness.

The conflation of composition and composer continued until the 20th century, whenattempts to use the former to psychoanalyze the latter demonstrated their incompatibility.Indeed, human creators tend to be overshadowed by the impact of their creations, perhapsexplaining Bach’s negligence in labeling works—including his own—with the names ofmere mortals. Music in performance, like a religious service or civic commemoration, cantransform a group’s isolated members into a collective body. The Mostly Mozart Festivalends with Mozart’s Requiem and Passion music by Bach and Frank Martin—art that cele-brates the moment when the individual dissolves into the universal.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.



Program Summaryby David Wright

The price of Beethoven’s great expansion of the canvas in the piano concerto was writ-ing far fewer of them than Mozart did. The earlier master could pop out three concertosfor a single Lenten season; Beethoven sketched and revised and sweated over each oneas if it were a symphony. (Beethoven’s output was also reduced by his deafness, whichcurtailed public performances for which one might write concertos.) In any case, hisPiano Concerto No. 5 (“Emperor”) proved to be his last word on the subject.

Haydn, for his part, not only expanded the four-movement symphony, he basicallyinvented it, or at least was its first prominent exponent. His long and distinguished list ofworks in this genre culminated in the 12 symphonies he composed for his adoring fansin England, who were as mad for symphonies as the Viennese were indifferent to them.Haydn’s eventual return to Vienna brought his output of symphonies to a close at No. 104,sometimes called the “London” Symphony, although the name could be applied equallyto the other 11, and sometimes is.

So what do these masters have to say in their last words on the subject? Beethoven’sfinal concerto came to him in mid-career, during a particularly extroverted and enterpris-ing phase sometimes called his “heroic” period, epitomized in the explosive opening barsof the “Emperor” Concerto, and in the constant sport Beethoven has with two themesin the movement that follows. As with some other works of this period, the slow move-ment, normally a major focal point for this composer, shrinks to a brief, tender interludebetween two big, energetic movements. The galloping theme of the finale proves animprobable shape-shifter as Beethoven puts it through a series of imaginative transfor-mations, taking his sweet time, as if forgetting he’s composing a fast finale.

In his last symphony Haydn, too, seems to luxuriate in detail and new ideas—but notthemes per se, since with him a single theme can be all that is needed to spin out anentire movement. This nearly happens here in the first movement, with its dire introduc-tion that gives way to tightly constructed, almost headlong music. If Beethoven shrankhis concerto’s slow movement, Haydn produces an Andante that is reminiscent ofBeethoven at his most searching. The nostalgic theme is shattered by a fortissimo out-burst mid-movement, and tentatively finds its way home. A whimsical minuet changesthe mood entirely with its assorted musical curiosities and a tender, veiled trio. A naive-sounding dance tune over a bagpipe-style drone note is all the material Haydn needs fora catchy finale that builds up quite a head of contrapuntal steam before relaxing into theleisurely coda’s further explorations.




Notes on the Programby David Wright

Piano Concerto No. 5 in E-flat major, Op. 73 (“Emperor”) (1809)LUDWIG VAN BEETHOVENBorn December 16, 1770, in Bonn, GermanyDied March 26, 1827, in Vienna


At Beethoven’s “Akademie” of December22, 1808—a marathon concert of hisworks that included the premieres of theFifth and Sixth Symphonies, the FourthPiano Concerto, and the Choral Fantasy—the composer blitzed the fun-lovingViennese with so much earnest newmusic that, by the end of the long evening,even his admirers were begging for mercy.The Fantasy, hastily composed as a big fin-ish for the concert, came to grief; the half-deaf composer, seated at the piano, couldnot prevent his under-rehearsed orchestraand chorus from going their separate waysfor much of the performance. When thefiasco was over, Beethoven strode defi-antly off the stage, and almost immediatelywent to work on another piano concerto.

The sketches for the E-flat major Concertoare littered with warlike phrases: “Auf zurschlacht Jubelsang! Angriff! Sieg!” (Songof exultation in battle! Attack! Victory!)One imagines an early version of Schumann’sDavidsbund, riding out for a mock-epicconfrontation with the musical Philistines,more than a few of whom had been pre-sent at Beethoven’s “Akademie.” TheViennese of early 1809, however, weregripped by a far more real kind of warfever. It appeared that Napoleon might atlast be vulnerable, and Austrian patrio-tism was burning high. Beethoven hadalways taken childlike delight in militarymusic, with its marching and galloping

rhythms, and now such sounds wereubiquitous in Vienna.

Neither Beethoven nor most of his fellowcitizens had ever looked directly into theface of war. In May 1809 all that changedsuddenly. Following the defeat of theAustrian army at Eckmühl, the imperialfamily fled Vienna and a French bombard-ment began. Beethoven hid from thebombs in his brother’s cellar, holding cush-ions over his head. The next day 120,000French soldiers were in the city, bringingwith them the horrors of occupation: apolice state, food shortages, a ravagedeconomy, and—worst of all for Beethoven—the constant sound of explosions as sol-diers demolished the city’s fortifications,which ran close by his house.

By the end of the year, order had beenrestored. Beethoven’s favorite pupil, theArchduke Rudolph, returned to the city,and the composer greeted him with music(the Piano Sonata in E-flat major, Op. 81a,“Les Adieux”) that explicitly depicted thereal, personal emotions of war: confusion,grief, and joy at seeing loved ones again.Beethoven hadn’t, however, forgotten thepurely musical splendors of his “military”concerto, and he contentedly completed ittoo, dedicating it to the Archduke. For thefirst time he did not introduce his own con-certo to the public; apparently deferring tohis advancing deafness, he allowed thepremiere to be given in Leipzig in 1811.This performance, a reporter wrote, putthe audience into such “a state of enthusi-asm that it could hardly content itself withthe ordinary expressions of recognitionand enjoyment.” Alas, the Vienna pre-miere, in February 1812 with Beethoven’spupil Carl Czerny at the piano, took place ata concert of uniformly frivolous vocal num-bers and marches, with an audience tomatch; the concerto’s noble virtues wereoverlooked, and the performance flopped.



Since then, that mistake has not beenrepeated often.

In English-speaking countries, the concertohas acquired the nickname “Emperor”—anexcessive tribute, perhaps, to Austria’sHapsburg monarchs, who were anythingbut battlefield leaders. But if the title refersto Beethoven’s often-stated claim to aplace among the “natural aristocracy” ofcreative artists, this piece certainly demon-strates his imperial mastery. A more heroicbeginning for it would be hard to imagine:the pianist springs forth fully armed to dobattle with big chords in the orchestra.Then it’s down to business: an orchestralexposition with snapping march rhythms,broad melodies, and E-flat major tonalitydarkly colored with minor that all recall thevast canvas on which the “Eroica” Sym -phony was painted. The soloist introducesa number of variations and mood shifts,after which the actual development section,with its smooth interplay of motifs andmodulations, sounds downright tidy andClassical. The recapitulation contains moresurprises—the second theme enters in C-sharp minor—but heads for the traditionalchord announcing the soloist’s cadenza. Aswritten out by Beethoven, this sectionbegins as the usual solo display, butevolves into a long coda, as the hornsenter to reclaim their theme and theenergy wells up slowly to a fortissimo finish.

The brief slow movement is the sweetestof dreams, barely able to raise itself abovepianissimo throughout. The gentle theme isplayed three times—by muted strings, thepiano, and winds with piano-and-stringsaccompaniment—interrupted only by float-ing piano passages. At the end the pianistlazily contemplates the theme of the finale,then launches into it for real. Because ofthe syncopation in its first phrase, this gal-loping theme seems to stumble over itsown feet getting started, but soon it is

dominating the entire sonata-rondo move-ment; the second theme is heard only inthe exposition and again, note-for-note, inthe recapitulation. In the development thepiano takes the main theme on a humor-ous ramble through the distant keys of Cmajor, A-flat major, and E major, then set-tles into a trill while the strings recall thismovement’s tentative beginnings, usher-ing in the recapitulation. The coda allows atouch of fantasy to creep in, as it dwindlesgradually to piano and timpani playedpianissimo, tapping out the galloping rhythm.But the concerto ends, as it should, in asudden burst of physical high spirits.

Symphony No. 104 in D major(“London”) (1795)JOSEPH HAYDNBorn March 31, 1732, in Rohrau, AustriaDied May 31, 1809, in Vienna


“Sinfonia in D” reads the autograph titlepage of Haydn’s Symphony No. 104, andfollowing that is this phrase in English:“The 12th which I have composed inEngland.” To Haydn, a devout Catholic, thenumber 12 no doubt had special significance.To any 18th-century musician, furthermore,six or 12 was the number of works needed tomake up an “opus” suitable for publication.So the 12th of his “London Symphonies”would have been a milestone for Haydn.But on the day he completed it in thespring of 1795, his biographer H.C.Robbins Landon believes that Haydn knewthis symphony would be his last.

The previous year word had reachedHaydn of the death of his employer, PrincePaul Anton Esterházy, whose indifferenceto music had freed Haydn to visit England.The composer, who had grown old in theservice of this noble family on its isolatedestate near Vienna, had arrived in England



in 1791 to a tumultuous welcome from apublic ravenous for symphonies. Now, fouryears and 12 symphonies later, Prince PaulAnton’s son, the younger Prince Nikolaus,was begging him to return to Vienna andrevive the Esterházy court orchestra.Ignoring even the entreaties of the kingand queen of England, Haydn decided itwas time to go home. Despite his age andprofessed weariness, many great masses,oratorios, string quartets, and other workslay ahead of him. But, as Mozart hadlearned during the previous decade, theViennese in that era did not crave sym-phonies. For Haydn, a historic enterprisethat had lasted for 40 years was at an end.

No wonder Landon hears, in the dramaticpauses and luxuriant elaborations of theSymphony No. 104, a reluctance to laydown the pen. He also discerns, however,a thematic unity unprecedented in Haydn’ssymphonies. In their later works bothHaydn and Mozart turned away from the18th-century ideal of diversity in a multi-movement work, and looked for ways torelate movements through tiny melodicmotifs or even through a characteristicinterval between notes. The interval thatseparates D from the A above it, for exam-ple, is a fifth, while that from D to A belowis a fourth. The interval between each ofthe notes in a scale is a second. It is theseintervals that Haydn proclaims in the open-ing bars of this symphony’s D-minor intro-duction, and Landon has identified dozensof themes and accompaniments through-out the work that feature them: scale andtrill figures full of seconds, and horn calls,dances, and folk songs based on fourthsand fifths.

All this would be just a musicologicalcrossword puzzle, were it not for the effectit has on the music and how we perceiveit. Landon uses the German word quintig(fifth-y) to describe the symphony’s overall

sound. It’s one of the things that makesthis music sound like all one piece, not justa collection of four. If you’re wonderingwhat that sound is, just listen to the finalchords of the first movement: they containonly the notes D and A, the “open fifth,”without the F-sharp that would turn theminto the familiar D-major triad. They consti-tute a broad hint from the 63-year-old com-poser that he is up to something in his104th and last symphony that he has nevertried on this level before. In its freshnessand endless curiosity, this work has shownitself worthy to stand for the dynamicprocess that produced all 104 symphonies,especially the last 12, and to becomeknown simply as the “London” Symphony.

“Fate knocks on the door” as surely in thissymphony’s introduction as in the begin-ning of Beethoven’s Fifth. After these inex-orable, menacing measures, the release oftension at the arrival of the tuneful Allegrois palpable. The exposition is nearlymonothematic, giving the first theme inboth the tonic and dominant keys. A late-arriving second theme (and even this con-tains an inverted phrase from the maintheme) again brings relief from tension,until the development section turns asix-note tapping motif into a polyphonicchorus of divine hammers. Cut off at itspeak, the terrific momentum of the devel-opment seeps into the recapitulation,where it sparks so much more new devel-opment that this section becomes not areturn of old themes but a long and excit-ing coda.

Haydn carries his characteristic “suddentutti” to a new level of art in the Andante.The movement begins with bassoons andstrings only, in a theme that is delicate andgraceful in a uniquely Viennese way—steeped, it seems, in the nostalgia ofVienna a century later. The middle sectionbegins gently enough in G minor, and we



are unprepared for the shock of the fullorchestra, with trumpets and drums, burst-ing in fortissimo in D minor. This is not ajoke of Haydn’s “Surprise” Symphony sort,but a sharp and terrible stab of emotion. Itreverberates through the rest of the move-ment, turning the return of the first themeinto a progress of pauses, digressions, andopenings-up that surely provided a modelfor the great slow movements of Beethoven.The extended coda is deeply poignant.

The sturdy, whimsical minuet provides thenecessary antidote. Whoever put a tre -mendous timpani-roll crescendo in themiddle of a minuet before? Or had somuch fun marshalling the whole orchestrafor a routine little trill at the final cadence?The droll syncopated sforzandi on the thirdbeats of the bar are transformed intoslurred upbeats in the trio; this section’sdelicate scoring, remote key of B-flatmajor, and antique character give it the airof a pastoral scene viewed from a nostal-gic distance.

Haydn begins the symphony’s finale with atune that his English contemporariesthought was a London vendor’s song

(either “Hot Cross Buns” or “Live Cod”)and that later researchers claim is aCroatian melody sung in the vicinity of theEsterházy palace at Eisenstadt. Landon,unable to settle this argument, points outthe abundance of fifths, fourths, and sec-onds in the tune. What needs no pointingout is the robust, infectious high spirits ofthis music, only briefly relieved by a legatotheme; even the closing theme recallsboth the main theme and the hammer-motif of the first movement. In an uncannymoment of the development section,Haydn slips into a trance of long notes andremote keys, from which the recapitulationsoftly emerges, almost by accident.“Haydn seems to linger sentimentally overthis movement,” writes Landon, andindeed the modulating episodes, “toymusic” for flute and oboes, and other nov-elties pile high before Haydn brings it all toa vigorous close, writing in his score FineLaus Deo—“Praise God, The End.”

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



Down the quiet eve,Thro’ my window with the sunsetPipes to me a distant organFoolish ditties;

And, as when you changePictures in a magic lantern,Books, beds, bottles, floor, and ceilingFade and vanish,

And I’m well once more…August flares adust and torrid,But my heart is full of AprilSap and sweetness.

In the quiet eveI am loitering, longing, dreaming…Dreaming, and a distant organPipes me ditties.

I can see the shop,I can smell the sprinkled pavement,Where she serves—her chestnut chignonThrills my senses!

O, the sight and scent,Wistful eve and perfumed pavement!In the distance pipes an organ…The sensation

Comes to me anew,And my spirit for a momentThro’ the music breathes the blessedAirs of London.

Words and Music

Musicby William Ernest Henley

For poetry comments and suggestions, please write to [email protected].



Andrew Manze has rapidly emerged as oneof the most stimulating and inspirationalconductors of his generation. His presenceon the podium is distinguished by hisextensive and scholarly knowledge of therepertoire, his rare skill as a communicator,and his boundless energy.

As a guest conductor, Mr. Manze has regularrelationships with leading international orches-tras including the Deutsches Symphonie-Orchester Berlin; Munich, Royal Stockholm,and Oslo philharmonics; Finnish RadioSymphony Orchestra; Gothenburg and Cityof Birmingham Symphony Orchestras; HalléOrchestra; Royal Liverpool Philharmonic;and the Mahler, Scottish, and Swedishchamber orchestras.

For the 2014–15 season Mr. Manze will bethe principal conductor of the NDR RadioPhilharmonic Orchestra in Hanover. He hasbeen principal conductor and artistic direc-tor of the Helsingborg Symphony Orchestrain Sweden since 2006, a position thatcomes to an end this year. He has made anumber of recordings with the ensemble,including Beethoven’s “Eroica” (HarmoniaMundi) and, most recently, a cycle of theBrahms symphonies (CPO).

Recent and upcoming orchestral debutsinclude the New York and Los AngelesPhilharmonics, London Philharmonic Orches -tra, Gewandhaus Orchestra of Leipzig, andthe Frankfurt Radio and São Paulo SymphonyOrchestras. Alongside his regular guest

appearances, Mr. Manze returns this sum-mer to the WDR Symphony OrchestraCologne, NHK Symphony Orchestra, andDanish National Symphony Orchestra. TheseMostly Mozart performances mark his thirdconsecutive appearance at the festival.

As a violinist, Mr. Manze has released awide variety of CDs, many of them award-winning. He is a fellow of the RoyalAcademy of Music and a visiting professorat the Oslo Academy, and has contributedto new published editions of sonatas andconcertos by Mozart and Bach. He alsoteaches, edits, and writes about music, andregularly appears in radio and televisionbroadcasts. In 2011 Mr. Manze received theprestigious Rolf Schock Prize in Stockholm.

Steven Osborne’s standing as one of thegreat pianists of his generation was affirmedin 2013 with two major awards: the RoyalPhilharmonic Society Instrumentalist of theYear and his second Gramophone Awardfor his recording of Mussorgsky’s Picturesat an Exhibition and solo works byProkofiev. Previous awards include a 2009Gramophone Award for his recording ofBritten’s works for piano and orchestra,and first prize at the Naumburg InternationalCompetition in New York. Concerto perfor-mances take Mr. Osborne to orchestras allover the world, including recent visits tothe Deutsches Symphonie-Orchester Berlin,Salzburg Mozarteum, Oslo PhilharmonicOrchestra, Oregon Symphony, and theFinnish Radio, Yomiuri Nippon, DanishNational, London, Dallas, and Sydney sym-phony orchestras. He is currently performing

Andrew Manze

Meet the Artists

FELIX BROEDE

Steven OsborneBEN EALOVEGA



the complete cycle of Beethoven’s pianoconcertos with the BBC Scottish SymphonyOrchestra under Andrew Manze. He hasperformed in venues such as the Konzerthausin Vienna, Concertgebouw in Amsterdam,Berlin Philharmonie, Palais des Beaux-Artsin Brussels, Suntory Hall in Tokyo, and theKennedy Center and Carnegie Hall.

During the 2013–14 season, Mr. Osborneperformed a five-concert residency atWigmore Hall, featuring repertoire fromBeethoven, Ravel, Rachmaninoff, Prokofiev,and Tippett. He performed Messaien’sTurangalîla-Symphonie with the LondonSymphony Orchestra conducted by JonathanNott, and with the Spanish National Orchestraconducted by Josep Pons. He also per-formed Britten’s Piano Concerto with theGothenberg, Singapore, and Adelaide sym-phonies and the Tokyo MetropolitanSymphony Orches tra. He ended the sea-son with performances with the StrasbourgPhilharmonic Orchestra, City of BirminghamSymphony Orchestra, and Fort WorthSymphony Orchestra, a recital tour of Italy,and his third visit to the Aspen Music Festival.

Mr. Osborne’s extensive discography forHyperion includes the Turangalîla-Symphonie,the complete solo music of Ravel,Rachmaninoff’s preludes, Debussy’s pre-ludes, Beethoven’s bagatelles, Tippett’ssonatas and Piano Concerto, and Messiaen’sVingt regards sur l’enfant-Jésus.

Randall EllisRandall Ellis is principal oboist of theMostly Mozart Festival Orchestra and theLittle Orchestra Society, a member of theWindscape Woodwind Quintet, and soloEnglish horn in the New York Pops Orchestra.Previously, Mr. Ellis was principal oboist ofthe New York Chamber Symphony andreceived two Grammy nominations withthat ensemble. He has performed with theNew York Philharmonic, Seattle Symphony

Orchestra, San Diego Symphony, FloridaOrchestra, and American Symphony Orches -tra, among others. Mr. Ellis has freelancedwith the Ensemble Wien-Berlin, Orchestraof St. Luke’s, New York Philomusica, andthe orchestras of the Martha Graham andPaul Taylor Dance Companies and theAmerican Ballet Theatre. He has alsoappeared on NBC’s Today Show, CBS’sSunday Morning, and Live From LincolnCenter. Mr. Ellis has recorded for EMI/Angel,Columbia, Sony, RCA, Vox, Nonesuch, CRI,Pro Arte, Delos, and Deutsche Grammophon.He has performed with Wynton Marsalis atJazz at Lincoln Center and on Broadway forthe musical Wicked.

Nick MastersonOboist Nick Masterson performs regularlywith numerous orchestras and chamberensembles across the country, includingthe Philadelphia Orchestra, New JerseySymphony Orchestra, Houston Symphony,and the St. Paul and Orpheus ChamberOrchestras. He has also been a member ofthe International Contemporary Ensemble(ICE) since 2006. With ICE, Mr. Mastersonrecorded John Adam’s Son of ChamberSymphony for Nonesuch. In 2012 heappeared as a soloist with the SeattleSymphony, performing Mozart’s Sinfonia con-certante and the world premiere of DaiFujikura’s Mina for flute, oboe, clarinet, bas-soon, percussion, and orchestra. He is a grad-uate of the Oberlin Conservatory and receivedhis master’s degree from Rice University.

Steven HartmanSteven Hartman joined the Mostly MozartFestival Orchestra in 2009 after performingas a substitute for several years. He is alsothe principal clarinetist of the New YorkCity Ballet Orchestra, Opera Orchestra ofNew York, Brooklyn Philharmonic, andNew York Scandia Symphony, with whichhe recorded two concertos and a concertante(with hornist Peter Reit and Mostly Mozart



Festival Orchestra principal bassoonistMarc Goldberg) on the Centaur label. Mr.Hartman studied at The Juilliard Schoolwith Augustin Duquès and privately withKalmen Opperman.

Meryl AbtClarinetist Meryl Abt maintains an activefreelance career in the New York City area.She is a member of the Orchestra of St.Luke’s and regularly works with the NewYork City Ballet. As a guest principal clar-inetist, she has appeared with the StamfordSymphony, Long Island Philharmonic, andQueens Symphony Orchestra. She alsoperforms with American Ballet Theatre,American Symphony Orchestra, and theMostly Mozart Festival Orchestra. Equallycomfortable on Broadway, Ms. Abt was anorchestra member in musicals such asMary Poppins, Candide, Phantom of theOpera, Ragtime, The Sound of Music, andThe King and I. She can be heard onrecordings by Joshua Bell, Paul Simon, andJames McCartney, among others. She hasalso played on several Orchestra of St.Luke’s recordings, including Peter and theWolf and Britten’s Young Person’s Guide tothe Orchestra.

Marc GoldbergMarc Goldberg is principal bassoonist ofthe Mostly Mozart Festival Orchestra,New York City Opera Orchestra, AmericanBallet Theatre Orchestra, and RiversideSymphony, as well as a member of theNew York Woodwind Quintet and theAmerican Symphony Orchestra. Previouslyassociate principal bassoonist of the NewYork Philharmonic, he has appeared acrossfour continents with the Metropolitan OperaOrchestra, Boston Symphony Orchestra,Orchestra of St. Luke’s, and OrpheusChamber Orches tra. He has also per-formed with The Chamber Music Societyof Lincoln Center, Music@Menlo, and theBoston Chamber Music Society, and has

appeared as soloist with the BrandenburgEnsemble, Mostly Mozart Festival Orchestra,and American Symphony Orchestra. Heholds B.M. and M.M. degrees from TheJuilliard School, where he was a student ofHarold Goltzer. Mr. Goldberg is on the fac-ulty of The Juilliard School Pre-CollegeDivision, Mannes College, Hartt School,Columbia University, NYU, and the BardCollege Conservatory of Music.

Tom Sefcovic�Tom Sefcovic, a native of Rochester,Michigan, studied bassoon at the Universityof Michigan with Hugh Cooper, and at theManhattan School of Music with SteveMaxym. Mr. Sefcovic� is a member of theOrchestra of St. Luke’s and is currentlyperforming in A Gentleman’s Guide to Loveand Murder on Broadway. He has also per-formed and toured with numerous groupssuch as the Orchestra of the EighteenthCentury, New York Philharmonic, OrpheusChamber Orchestra, and the MetropolitanOpera Orchestra. Mr. Sefcovic� can beheard on many recording labels includingDeutsche Grammophon, Philips, Nonesuch,Telarc, and Harmonia Mundi. He has recordedfor many movie soundtracks, commercials,and television series.

Lawrence DiBelloLawrence DiBello performs extensively inthe New York City area. In addition to hisposition as principal horn of the MostlyMozart Festival Orchestra, he is currentlyprincipal horn of the Stamford Symphony.He is also a member of the AmericanSymphony Orchestra, New York Pops, andNew York Symphonic Brass. During the2010–11 season he served as acting principalhorn of the New York City Opera Orchestra.He has also been invited to play principalhorn with the St. Paul Chamber Orchestraon numerous occasions. In addition, heregularly appears with the Orpheus ChamberOrchestra, Metropolitan Opera Orchestra,



New York City Ballet Orchestra, and NewJersey Symphony Orchestra.

Richard HagenHornist Richard Hagen is a member of theNew York City Ballet Orchestra and theMostly Mozart Festival Orchestra. Mr. Hagenalso has performed with the New York CityOpera Orchestra, New York Pops, LittleOrchestra Society, Brooklyn Philharmonic,New Jersey Symphony Orchestra, Metro -politan Opera Orchestra, and the New YorkPhilharmonic. Broadway show creditsinclude Into the Woods and Jerome Robbins’Broadway. Mr. Hagen is also a guest per-former at The Phantom of the Opera, Wicked,and The Lion King.

Mostly Mozart FestivalLincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experimentin 1966. Called Midsummer Serenades: AMozart Festival, its first two seasons weredevoted exclusively to the music ofMozart. Now a New York institution,Mostly Mozart continues to broaden itsfocus to include works by Mozart’s prede-cessors, contemporaries, and related suc-cessors. In addition to concerts by theMostly Mozart Festival Orchestra, MostlyMozart now includes concerts by theworld’s outstanding period-instrumentensembles, chamber orchestras andensembles, and acclaimed soloists, as wellas opera productions, dance, film, late-night performances, and visual art installa-tions. Contemporary music has become anessential part of the festival, embodied inannual artists-in-residence including OsvaldoGolijov, John Adams, Kaija Saariaho,Pierre-Laurent Aimard, and the Inter -national Contemporary Ensemble. Amongthe many artists and ensembles who havehad long associations with the festival areJoshua Bell, Christian Tetzlaff, ItzhakPerlman, Emanuel Ax, Garrick Ohlsson,

Stephen Hough, Osmo Vänskä, the EmersonString Quartet, Freiburg Baroque Orchestra,Orchestra of the Age of Enlightenment,and the Mark Morris Dance Group.

Mostly Mozart Festival OrchestraThe Mostly Mozart Festival Orchestra isthe resident orchestra of the MostlyMozart Festival, and is the only orchestrain the U.S. dedicated to the music of theClassical period. Since 2002 Louis Langréehas been the Orchestra’s music director,and since 2005 the Orchestra’s AveryFisher Hall home has been transformedeach summer into an appropriately inti-mate venue for its performances. Over theyears, the Orchestra has toured to suchnotable festivals and venues as Ravinia,Great Woods, Tanglewood, Bunkamura inTokyo, and the Kennedy Center. Conductorswho made their New York debuts leadingthe Mostly Mozart Festival Orchestrainclude Jérémie Rhorer, Edward Gardner,Lionel Bringuier, Yannick Nézet-Séguin,Charles Dutoit, Leonard Slatkin, DavidZinman, and Edo de Waart. Mezzo-sopranoCecilia Bartoli, flutist James Galway,soprano Elly Ameling, and pianist MitsukoUchida all made their U.S. debuts with theMostly Mozart Festival Orchestra.

Lincoln Center for the Performing Arts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and fes-tivals, including American Songbook, GreatPerformers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer NightSwing, the Mostly Mozart Festival, and theWhite Light Festival, as well as the Emmy



Award–winning Live From Lincoln Center,which airs nationally on PBS. As managerof the Lincoln Center campus, LCPA pro-vides support and services for the Lincoln

Center complex and the 11 resident orga-nizations. In addition, LCPA led a $1.2 bil-lion campus renovation, completed inOctober 2012.

Louis Langrée, Renée and Robert Belfer Music Director

Mostly Mozart Festival Orchestra

Violin IRuggero Allifranchini,Concertmaster

Martin AgeeRobert Chausow Katsuko EsakiAmy KauffmanKatherine Livolsi-LandauRonald OaklandMichael RothDeborah Wong

Violin IILaura Frautschi, PrincipalLilit GampelMichael GilletteSuzanne GilmanSophia KessingerLisa MatricardiKristina MusserMineko Yajima

ViolaShmuel Katz, PrincipalMeena BhasinDanielle FarinaChihiro FukudaJack Rosenberg

CelloAlvin McCall, PrincipalTed AckermanAnnabelle HoffmanAnn Kim

BassZachary Cohen, PrincipalLou KosmaJudith Sugarman

FluteTanya Dusevic Witek,Principal

Stephanie Mortimore

OboeRandall Ellis, PrincipalNick Masterson

ClarinetSteven Hartman, PrincipalMeryl Abt

BassoonMarc Goldberg, PrincipalTom Sefcovic�

HornLawrence DiBello,Principal

Richard Hagen

TrumpetNeil Balm, PrincipalLee Soper

TimpaniDavid Punto, Principal

LibrarianMichael McCoy

Personnel ManagersNeil BalmJonathan HaasGemini MusicProductions, Ltd.

JENNIFER TAYLOR



Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingJill Sternheimer, Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Interim Programming Publications EditorMariel O’Connell, House Seat CoordinatorHonor Bailey, House Program Intern; Brenton O’Hara, Theatrical Productions Intern; Jacob Richman, Production Intern

Program Annotators:Don Anderson, Christopher H. Gibbs, Ellen T. Harris, Kathryn L. Libin, Hugh Macdonald, Ellen McSweeney, Harlow Robinson, Paul Schiavo, David Wright

08-01 Manze Osborne_Gp 3.qxt 7/21/14 1:07 PM Page 18


Saturday Afternoon, July 26, at 4:00Discussion of Sila: The Breath of theWorld with John Luther Adams andJohn Schaefer

Bruno Walter Auditorium

Friday and Saturday Evenings, August 1–2, at 7:00

Members of the Mostly Mozart FestivalOrchestra

Mozart: Serenade for Winds in E-flatmajor, K.375

Avery Fisher Hall

Monday Evening, August 4, at 6:30Emerson String QuartetHaydn: String Quartet in G majorAlice Tully Hall

Tuesday and Wednesday Evenings,August 5–6, at 7:00

Christian Tetzlaff, violin, and Caroline Goulding, violin

Works by Leclair and BartókAvery Fisher Hall

Friday Evening, August 8, at 6:15Pre-performance discussion of Acis andGalatea with Mark Morris and Jane Moss

David Rubenstein Atrium

Friday and Saturday Evenings, August 8–9, at 7:00

Philip Cobb, trumpet, and Joseph Turrin, pianoWorks by Purcell, Bellstedt, and Joseph Turrin

Avery Fisher Hall

Tuesday and Wednesday Evenings,August 12–13, at 7:00

Amphion String QuartetBarber: String QuartetAvery Fisher Hall

Friday Evening, August 15, at 6:45Lecture on Berlioz’s Symphonie fantastique by Peter Bloom

Stanley H. Kaplan Penthouse

Saturday Afternoon, August 16, at 4:00Panel Discussion: Mozart and the

Promise of OperaBruce Alan Brown, moderatorPresented in association with the MozartSociety of America

Stanley H. Kaplan Penthouse

Saturday Evening, August 16, at 7:00Magali Mosnier, flute, and

Xavier de Maistre, harpWorks by Gluck, Smetana, and FauréAvery Fisher Hall

Sunday Afternoon, August 17, at 1:45Lecture on Handel’s Teseo by Ellen RosandStanley H. Kaplan Penthouse

Tuesday Evening, August 19, at 7:00 Igor Kamenz, pianoBeethoven: Sonata No. 7 in D majorAvery Fisher Hall

Wednesday Evening, August 20, at 7:00 Igor Kamenz, pianoLiszt: Dante SonataWagner (trans. Liszt): Isoldes LiebestodAvery Fisher Hall

Friday Evening, August 22, at 6:45Lecture on Mozart, Bach, and Martin by

Andrew ShentonStanley 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

BRUNO WALTER AUDITORIUMDorothy and Lewis B. Cullman CenterNew York Public Library for the Performing Arts111 Amsterdam Ave., between 64th and 65thStreets

DAVID RUBENSTEIN ATRIUM Broadway between 62nd and 63rd Streets

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


Are you an LC Kid?

Learn more at LincolnCenter.org/LCKids or call Kristel Kempin at 212.875.5443

LC Kids makes Lincoln Center and the performing arts accessible to children between the ages of 2 and 12 through interactive performances, behind-the-scenes tours, educational activities and so much more.

Become an LC Kids family today.

Photo: Martin Schott


Documents

Members of the Mostly Mozart Festival Orchestramostlymozart.lincolncenter.org/archives/2014/assets/img/downloads/... · Leopold, who was skeptical ... HAYDN: Quartet in G minor, Op