Program Notes - Mostly Mozart

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July 25–August 23, 2014
Sponsored by Bloomberg
Friday and Saturday Evenings, August 1–2, 2014, at 7:00
Pre-concert Recital
Members of the
Mostly Mozart Festival Orchestra
Randall Ellis, Oboe
Nick Masterson, Oboe
Steven Hartman, Clarinet
Meryl Abt, Clarinet
Marc Goldberg, Bassoon
Tom Sefčovič, Bassoon
Lawrence DiBello, Horn
Richard Hagen, Horn
MOZART Serenade for Winds in E-flat major, K.375 (1781)
Allegro maestoso
Menuetto I—Trio
Adagio
Menuetto II—Trio
Allegro
This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.
Avery Fisher Hall
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pager, or watch alarm is switched off.
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Mostly Mozart Festival
Note on the
Pre-concert Recital
by David Wright
Serenade for Winds in E-flat major,
K.375 (1781)
WOLFGANG AMADEUS MOZART
Born January 27, 1756, in Salzburg
Died December 5, 1791, in Vienna
Approximate length: 25 minutes
The title “serenade” comes from the Italian
sera (evening), and it originally meant music
to be played in the street after sundown,
usually under the window of some honored
person. In a few of Mozart’s serenades—
and in later ones by composers like
Tchaikovsky, Dvorˇák, and Chadwick—this
meaning survives only as a metaphor,
describing the character of music composed for the concert hall, not the street.
But in Mozart’s Salzburg and Vienna, a serenade could still be the real thing.
For a young composer newly arrived in the
imperial capital, as Mozart was in October
1781, the matter of whom you serenaded
could be quite significant. With this Serenade
in E-flat, Mozart’s target was Joseph von
Strack, a gentleman of the imperial bedchamber whose favorable opinion might
advance his fortunes at court. Or so
Mozart said in a letter to his father,
Leopold, who was skeptical about his
son’s prospects in Vienna:
I wrote [K.375] for St. Theresa’s Day for
Frau von Hickel’s sister, or rather the sister-in-law of Herr von Hickel, court
painter, at whose house it was performed for the first time. The six gentlemen who executed it are poor beggars
who, however, play quite well together,
particularly the first clarinet and the two
horns. But the chief reason I composed it
was in order to let Herr von Strack, who
goes there every day, hear something of
my composition, so I wrote it rather carefully. It has won great applause too….
Two weeks later the same players serenaded Mozart with his own composition:
These musicians asked that the street
door might be opened and, placing themselves in the center of the courtyard, surprised me, just as I was about to undress,
in the most pleasant fashion imaginable
with the first chord in E-flat.
One might wonder why a serenade that
got around as much as this one did lacks
the introductory march that serenaders
usually played while moving from place to
place. Mozart answered that question
when he described the effect of musicians
assembling in silence, then surprising the
listener with that beautiful first chord in E-flat
major. This work that he composed “rather
carefully” is a piece of chamber music
intended to make an impression.
In July 1782 Mozart added two oboes to
the work, expanding it from the six-part
original to the eight-part version heard at
this concert. He pours all of his melodic
invention and skill at counterpoint into the
opening movement—too much, surely, for
the rather simple tastes of the emperor
and his court. The two minuets, clear and
lively, would have better suited the imperial palate. They frame a central Adagio that
is a rich, songful dialogue among all the
instruments, providing what the clarinetist
David Shifrin once called “the kind of
moments that we wind players live for,
when we feel as though we’re singers on
the stage of a Mozart opera.” Make that a
comic opera, as the brilliant finale brings
the Serenade to an exhilarating close.
—Copyright © 2014 by David Wright
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July 25–August 23, 2014
Sponsored by Bloomberg
Friday and Saturday Evenings, August 1–2, 2014, at 8:00
Mostly Mozart Festival Orchestra
Andrew Manze, Conductor
Steven Osborne, Piano M|M
BEETHOVEN Piano Concerto No. 5 in E-flat major (“Emperor”) (1809)
Allegro
Adagio un poco mosso
Rondo: Allegro
Mr. Osborne will perform Beethoven’s cadenza.
Intermission
HAYDN Symphony No. 104 in D major (“London”) (1795)
Adagio—Allegro
Andante
Menuet: Allegro
Finale: Spiritoso
M|M Mostly Mozart debut
This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.
Steinway Piano
Avery Fisher Hall
Please make certain your cellular phone,
pager, or watch alarm is switched off.
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Mostly Mozart Festival
The Mostly Mozart Festival is sponsored by
Bloomberg.
The Mostly Mozart Festival is made possible by
Rita E. and Gustave M. Hauser, The Fan Fox and
Leslie R. Samuels Foundation, Inc., Ann and
Gordon Getty Foundation, 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 is provided by Zabar’s and
Zabars.com.
MetLife is the National Sponsor of Lincoln Center.
Bloomberg is the Official Sponsor of Lincoln Center
Summer 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 of
Lincoln Center.
William Hill Estate Winery is the Official Wine of
Lincoln Center.
“Summer at Lincoln Center” is sponsored by Diet
Pepsi.
Time Out New York is Media Partner of Summer at
Lincoln Center.
Upcoming Mostly Mozart Festival Events:
Saturday Night, August 2, at 10:00
in the Stanley H. Kaplan Penthouse
A Little Night Music
Antoine Tamestit, Viola
BACH: Cello Suites Nos. 1 and 3
HINDEMITH: Sonata for solo viola
Monday Evening, August 4, at 7:30
in Alice Tully Hall
Emerson String Quartet
Martin Fröst, Clarinet
HAYDN: Quartet in G minor, Op. 20, No. 3
MOZART: Quartet in E-flat major, K.428
MOZART: 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 Music
Martin Fröst, Clarinet
Antoine Tamestit, Viola
Shai Wosner, Piano
MOZART: Trio in E-flat major (“Kegelstatt”)
DEBUSSY: Première rhapsodie
POULENC: Clarinet Sonata
Tuesday and Wednesday Evenings, August 5–6,
at 8:00 in Avery Fisher Hall
Mostly Mozart Festival Orchestra
Louis Langrée, Conductor
Christian Tetzlaff, Violin
SCHNITTKE: Moz-Art à la Haydn
MOZART: Violin Concerto No. 1 in B-flat major
HAYDN: Overture to L’isola disabitata
MOZART: 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 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: #LC Mozart
We would like to remind you that the sound of coughing and rustling paper might distract the
performers and your fellow audience members.
In consideration of the performing artists and members of the audience, those who must leave
before the end of the performance are asked to do so between pieces. The taking of photographs
and the use of recording equipment are not allowed in the building.
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Mostly Mozart Festival
Welcome to Mostly Mozart
I am delighted to welcome you to the 2014 Mostly Mozart Festival, where we explore the
many facets of our namesake composer’s brilliance and invention. What better way to
usher in that spirit than with an outdoor world premiere work by American composer John
Luther Adams. Sila: The Breath of the World transforms Lincoln Center’s Hearst Plaza into
a sonic stage before we rejoin Mozart in Avery Fisher Hall with the acclaimed Mostly
Mozart Festival Orchestra.
This summer, our Festival Orchestra reaches beyond many Mozart masterpieces to the
signature works of some of his great successors: Beethoven’s Ninth Symphony, Berlioz’s
Symphonie fantastique, Martin’s Polyptyque. We join with favorite soloists—Joshua Bell,
Richard Goode, Christian Tetzlaff—and also introduce luminaries making their festival
debuts, 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. This
August, Mark Morris brings his unparalleled affinity for Handel to his newest creation,
Acis and Galatea. The Philharmonia Baroque Orchestra and the Emerson String Quartet
delight us in Alice Tully Hall, while the International Contemporary Ensemble celebrates
new music at Park Avenue Armory. And don’t forget to join us for music and wine in
casual, 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 Moss
Ehrenkranz Artistic Director
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Mostly Mozart Festival
Signature Works
by Peter A. Hoyt
The musicologists who first investigated Johann Sebastian Bach (1685–1750) discovered
that some pieces, written in his handwriting and long attributed to him, were actually
composed by other musicians. Bach had omitted their names during the copying
process, and the scholars—disturbed by this hint of plagiarism—were relieved to learn
that the early 18th century was often indifferent to niceties of attribution. Indeed, Bach
himself frequently neglected to sign his own manuscripts.
In the decades following, however, authorial identity took on greater importance. The collapse of the French aristocracy led Europe to emphasize individual merit, endowing artists
with new dignity. Music publishers, capitalizing upon an emerging middle class, promoted
composers by name. Unprecedented ideas of individuality informed 19th-century
Romanticism, 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 composers, each with a distinctive style that represented their identity as decisively as their
name. The 2014 Mostly Mozart Festival celebrates some of these composers’ signature
pieces, from emblematic concertos and symphonies—including Haydn’s “London,”
Mozart’s “Jupiter,” and Beethoven’s “Eroica”—to concise works like the overtures to
Haydn’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 depictions of demonic Furies, for example, influenced Mozart’s music for Don Giovanni, and
Gluck’s Dance of the Blessed Spirits permeates portions of Mozart’s Flute and Harp
Concerto. Moreover, prominent stylistic elements can be parodied or dismantled, as in
works by Prokofiev, Schnittke, and Shostakovich, whose Concerto for Piano and Trumpet
recalls 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 persona; the work is often regarded as autobiographical. Nevertheless, elements of the
purely fictional prevail, as when the hero murders his beloved, is executed, and posthumously witnesses a witches’ sabbath. Berlioz treats his scenario with ironic detachment,
perhaps best illustrated by the carnivalesque fugue that ends the piece. Whereas Mozart
and Beethoven had employed culminating fugal procedures to suggest a kind of luminous
unification, Berlioz here casts off the shackles of seriousness.
The conflation of composition and composer continued until the 20th century, when
attempts to use the former to psychoanalyze the latter demonstrated their incompatibility.
Indeed, human creators tend to be overshadowed by the impact of their creations, perhaps
explaining Bach’s negligence in labeling works—including his own—with the names of
mere mortals. Music in performance, like a religious service or civic commemoration, can
transform a group’s isolated members into a collective body. The Mostly Mozart Festival
ends with Mozart’s Requiem and Passion music by Bach and Frank Martin—art that celebrates the moment when the individual dissolves into the universal.
—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.
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Mostly Mozart Festival
Program Summary
by David Wright
The price of Beethoven’s great expansion of the canvas in the piano concerto was writing far fewer of them than Mozart did. The earlier master could pop out three concertos
for a single Lenten season; Beethoven sketched and revised and sweated over each one
as if it were a symphony. (Beethoven’s output was also reduced by his deafness, which
curtailed public performances for which one might write concertos.) In any case, his
Piano 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 basically
invented it, or at least was its first prominent exponent. His long and distinguished list of
works in this genre culminated in the 12 symphonies he composed for his adoring fans
in 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 equally
to the other 11, and sometimes is.
So what do these masters have to say in their last words on the subject? Beethoven’s
final concerto came to him in mid-career, during a particularly extroverted and enterprising phase sometimes called his “heroic” period, epitomized in the explosive opening bars
of the “Emperor” Concerto, and in the constant sport Beethoven has with two themes
in the movement that follows. As with some other works of this period, the slow movement, normally a major focal point for this composer, shrinks to a brief, tender interlude
between two big, energetic movements. The galloping theme of the finale proves an
improbable shape-shifter as Beethoven puts it through a series of imaginative transformations, 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 not
themes per se, since with him a single theme can be all that is needed to spin out an
entire movement. This nearly happens here in the first movement, with its dire introduction that gives way to tightly constructed, almost headlong music. If Beethoven shrank
his concerto’s slow movement, Haydn produces an Andante that is reminiscent of
Beethoven at his most searching. The nostalgic theme is shattered by a fortissimo outburst mid-movement, and tentatively finds its way home. A whimsical minuet changes
the mood entirely with its assorted musical curiosities and a tender, veiled trio. A naivesounding dance tune over a bagpipe-style drone note is all the material Haydn needs for
a catchy finale that builds up quite a head of contrapuntal steam before relaxing into the
leisurely coda’s further explorations.
—Copyright © 2014 by David Wright
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Mostly Mozart Festival
Notes on the Program
by David Wright
Piano Concerto No. 5 in E-flat major,
Op. 73 (“Emperor”) (1809)
LUDWIG VAN BEETHOVEN
Born December 16, 1770, in Bonn, Germany
Died March 26, 1827, in Vienna
Approximate length: 38 minutes
At Beethoven’s “Akademie” of December
22, 1808—a marathon concert of his
works that included the premieres of the
Fifth and Sixth Symphonies, the Fourth
Piano Concerto, and the Choral Fantasy—
the composer blitzed the fun-loving
Viennese with so much earnest new
music that, by the end of the long evening,
even his admirers were begging for mercy.
The Fantasy, hastily composed as a big finish for the concert, came to grief; the halfdeaf composer, seated at the piano, could
not prevent his under-rehearsed orchestra
and chorus from going their separate ways
for much of the performance. When the
fiasco was over, Beethoven strode defiantly off the stage, and almost immediately
went to work on another piano concerto.
The sketches for the E-flat major Concerto
are littered with warlike phrases: “Auf zur
schlacht Jubelsang! Angriff! Sieg!” (Song
of exultation in battle! Attack! Victory!)
One imagines an early version of Schumann’s
Davidsbund, riding out for a mock-epic
confrontation with the musical Philistines,
more than a few of whom had been present at Beethoven’s “Akademie.” The
Viennese of early 1809, however, were
gripped by a far more real kind of war
fever. It appeared that Napoleon might at
last be vulnerable, and Austrian patriotism was burning high. Beethoven had
always taken childlike delight in military
music, with its marching and galloping
rhythms, and now such sounds were
ubiquitous in Vienna.
Neither Beethoven nor most of his fellow
citizens had ever looked directly into the
face of war. In May 1809 all that changed
suddenly. Following the defeat of the
Austrian army at Eckmühl, the imperial
family fled Vienna and a French bombardment began. Beethoven hid from the
bombs in his brother’s cellar, holding cushions over his head. The next day 120,000
French soldiers were in the city, bringing
with them the horrors of occupation: a
police state, food shortages, a ravaged
economy, and—worst of all for Beethoven—
the constant sound of explosions as soldiers demolished the city’s fortifications,
which ran close by his house.
By the end of the year, order had been
restored. Beethoven’s favorite pupil, the
Archduke 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 the
real, personal emotions of war: confusion,
grief, and joy at seeing loved ones again.
Beethoven hadn’t, however, forgotten the
purely musical splendors of his “military”
concerto, and he contentedly completed it
too, dedicating it to the Archduke. For the
first time he did not introduce his own concerto to the public; apparently deferring to
his advancing deafness, he allowed the
premiere to be given in Leipzig in 1811.
This performance, a reporter wrote, put
the audience into such “a state of enthusiasm that it could hardly content itself with
the ordinary expressions of recognition
and enjoyment.” Alas, the Vienna premiere, in February 1812 with Beethoven’s
pupil Carl Czerny at the piano, took place at
a concert of uniformly frivolous vocal numbers and marches, with an audience to
match; the concerto’s noble virtues were
overlooked, and the performance flopped.
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Since then, that mistake has not been
repeated often.
In English-speaking countries, the concerto
has acquired the nickname “Emperor”—an
excessive tribute, perhaps, to Austria’s
Hapsburg monarchs, who were anything
but battlefield leaders. But if the title refers
to Beethoven’s often-stated claim to a
place among the “natural aristocracy” of
creative artists, this piece certainly demonstrates his imperial mastery. A more heroic
beginning for it would be hard to imagine:
the pianist springs forth fully armed to do
battle with big chords in the orchestra.
Then it’s down to business: an orchestral
exposition with snapping march rhythms,
broad melodies, and E-flat major tonality
darkly colored with minor that all recall the
vast canvas on which the “Eroica” Symphony was painted. The soloist introduces
a number of variations and mood shifts,
after which the actual development section,
with its smooth interplay of motifs and
modulations, sounds downright tidy and
Classical. The recapitulation contains more
surprises—the second theme enters in Csharp minor—but heads for the traditional
chord announcing the soloist’s cadenza. As
written out by Beethoven, this section
begins as the usual solo display, but
evolves into a long coda, as the horns
enter to reclaim their theme and the
energy wells up slowly to a fortissimo finish.
The brief slow movement is the sweetest
of dreams, barely able to raise itself above
pianissimo throughout. The gentle theme is
played three times—by muted strings, the
piano, and winds with piano-and-strings
accompaniment—interrupted only by floating piano passages. At the end the pianist
lazily contemplates the theme of the finale,
then launches into it for real. Because of
the syncopation in its first phrase, this galloping theme seems to stumble over its
own feet getting started, but soon it is
dominating the entire sonata-rondo movement; the second theme is heard only in
the exposition and again, note-for-note, in
the recapitulation. In the development the
piano takes the main theme on a humorous ramble through the distant keys of C
major, A-flat major, and E major, then settles into a trill while the strings recall this
movement’s tentative beginnings, ushering in the recapitulation. The coda allows a
touch of fantasy to creep in, as it dwindles
gradually to piano and timpani played
pianissimo, tapping out the galloping rhythm.
But the concerto ends, as it should, in a
sudden burst of physical high spirits.
Symphony No. 104 in D major
(“London”) (1795)
JOSEPH HAYDN
Born March 31, 1732, in Rohrau, Austria
Died May 31, 1809, in Vienna
Approximate length: 30 minutes
“Sinfonia in D” reads the autograph title
page of Haydn’s Symphony No. 104, and
following that is this phrase in English:
“The 12th which I have composed in
England.” To Haydn, a devout Catholic, the
number 12 no doubt had special significance.
To any 18th-century musician, furthermore,
six or 12 was the number of works needed to
make 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 the
spring of 1795, his biographer H.C.
Robbins Landon believes that Haydn knew
this symphony would be his last.
The previous year word had reached
Haydn of the death of his employer, Prince
Paul Anton Esterházy, whose indifference
to music had freed Haydn to visit England.
The composer, who had grown old in the
service of this noble family on its isolated
estate near Vienna, had arrived in England
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Mostly Mozart Festival
in 1791 to a tumultuous welcome from a
public ravenous for symphonies. Now, four
years and 12 symphonies later, Prince Paul
Anton’s son, the younger Prince Nikolaus,
was begging him to return to Vienna and
revive the Esterházy court orchestra.
Ignoring even the entreaties of the king
and queen of England, Haydn decided it
was time to go home. Despite his age and
professed weariness, many great masses,
oratorios, string quartets, and other works
lay ahead of him. But, as Mozart had
learned during the previous decade, the
Viennese in that era did not crave symphonies. For Haydn, a historic enterprise
that had lasted for 40 years was at an end.
No wonder Landon hears, in the dramatic
pauses and luxuriant elaborations of the
Symphony No. 104, a reluctance to lay
down the pen. He also discerns, however,
a thematic unity unprecedented in Haydn’s
symphonies. In their later works both
Haydn and Mozart turned away from the
18th-century ideal of diversity in a multimovement work, and looked for ways to
relate movements through tiny melodic
motifs or even through a characteristic
interval between notes. The interval that
separates D from the A above it, for example, is a fifth, while that from D to A below
is a fourth. The interval between each of
the notes in a scale is a second. It is these
intervals that Haydn proclaims in the opening bars of this symphony’s D-minor introduction, and Landon has identified dozens
of themes and accompaniments throughout the work that feature them: scale and
trill figures full of seconds, and horn calls,
dances, and folk songs based on fourths
and fifths.
All this would be just a musicological
crossword puzzle, were it not for the effect
it has on the music and how we perceive
it. Landon uses the German word quintig
(fifth-y) to describe the symphony’s overall
sound. It’s one of the things that makes
this music sound like all one piece, not just
a collection of four. If you’re wondering
what that sound is, just listen to the final
chords of the first movement: they contain
only the notes D and A, the “open fifth,”
without the F-sharp that would turn them
into the familiar D-major triad. They constitute a broad hint from the 63-year-old composer that he is up to something in his
104th and last symphony that he has never
tried on this level before. In its freshness
and endless curiosity, this work has shown
itself worthy to stand for the dynamic
process that produced all 104 symphonies,
especially the last 12, and to become
known simply as the “London” Symphony.
“Fate knocks on the door” as surely in this
symphony’s introduction as in the beginning of Beethoven’s Fifth. After these inexorable, menacing measures, the release of
tension at the arrival of the tuneful Allegro
is palpable. The exposition is nearly
monothematic, giving the first theme in
both the tonic and dominant keys. A latearriving second theme (and even this contains an inverted phrase from the main
theme) again brings relief from tension,
until the development section turns a
six-note tapping motif into a polyphonic
chorus of divine hammers. Cut off at its
peak, the terrific momentum of the development seeps into the recapitulation,
where it sparks so much more new development that this section becomes not a
return of old themes but a long and exciting coda.
Haydn carries his characteristic “sudden
tutti” to a new level of art in the Andante.
The movement begins with bassoons and
strings only, in a theme that is delicate and
graceful in a uniquely Viennese way—
steeped, it seems, in the nostalgia of
Vienna a century later. The middle section
begins gently enough in G minor, and we
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Mostly Mozart Festival
are unprepared for the shock of the full
orchestra, with trumpets and drums, bursting in fortissimo in D minor. This is not a
joke of Haydn’s “Surprise” Symphony sort,
but a sharp and terrible stab of emotion. It
reverberates through the rest of the movement, turning the return of the first theme
into a progress of pauses, digressions, and
openings-up that surely provided a model
for the great slow movements of Beethoven.
The extended coda is deeply poignant.
The sturdy, whimsical minuet provides the
necessary antidote. Whoever put a tremendous timpani-roll crescendo in the
middle of a minuet before? Or had so
much fun marshalling the whole orchestra
for a routine little trill at the final cadence?
The droll syncopated sforzandi on the third
beats of the bar are transformed into
slurred upbeats in the trio; this section’s
delicate scoring, remote key of B-flat
major, and antique character give it the air
of a pastoral scene viewed from a nostalgic distance.
Haydn begins the symphony’s finale with a
tune that his English contemporaries
thought was a London vendor’s song
(either “Hot Cross Buns” or “Live Cod”)
and that later researchers claim is a
Croatian melody sung in the vicinity of the
Esterházy palace at Eisenstadt. Landon,
unable to settle this argument, points out
the abundance of fifths, fourths, and seconds in the tune. What needs no pointing
out is the robust, infectious high spirits of
this music, only briefly relieved by a legato
theme; even the closing theme recalls
both the main theme and the hammermotif of the first movement. In an uncanny
moment of the development section,
Haydn slips into a trance of long notes and
remote keys, from which the recapitulation
softly emerges, almost by accident.
“Haydn seems to linger sentimentally over
this movement,” writes Landon, and
indeed the modulating episodes, “toy
music” for flute and oboes, and other novelties pile high before Haydn brings it all to
a vigorous close, writing in his score Fine
Laus Deo—“Praise God, The End.”
David Wright, a music critic for Boston
Classical Review, has provided program
notes for Lincoln Center since 1982.
—Copyright © 2014 by David Wright
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Words and Music
Music
by William Ernest Henley
Down the quiet eve,
Thro’ my window with the sunset
Pipes to me a distant organ
Foolish ditties;
And, as when you change
Pictures in a magic lantern,
Books, beds, bottles, floor, and ceiling
Fade and vanish,
And I’m well once more…
August flares adust and torrid,
But my heart is full of April
Sap and sweetness.
In the quiet eve
I am loitering, longing, dreaming…
Dreaming, and a distant organ
Pipes me ditties.
I can see the shop,
I can smell the sprinkled pavement,
Where she serves—her chestnut chignon
Thrills 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 moment
Thro’ the music breathes the blessed
Airs of London.
For poetry comments and suggestions, please write
to programming@LincolnCenter.org.
08-01 Manze Osborne_Gp 3.qxt 7/21/14 10:12 AM Page 13
Mostly Mozart Festival
appearances, Mr. Manze returns this summer to the WDR Symphony Orchestra
Cologne, NHK Symphony Orchestra, and
Danish National Symphony Orchestra. These
Mostly Mozart performances mark his third
consecutive appearance at the festival.
As a violinist, Mr. Manze has released a
wide variety of CDs, many of them awardwinning. He is a fellow of the Royal
Academy of Music and a visiting professor
at the Oslo Academy, and has contributed
to new published editions of sonatas and
concertos by Mozart and Bach. He also
teaches, edits, and writes about music, and
regularly appears in radio and television
broadcasts. In 2011 Mr. Manze received the
prestigious Rolf Schock Prize in Stockholm.
Andrew Manze
Andrew Manze has rapidly emerged as one
of the most stimulating and inspirational
conductors of his generation. His presence
on the podium is distinguished by his
extensive and scholarly knowledge of the
repertoire, his rare skill as a communicator,
and his boundless energy.
As a guest conductor, Mr. Manze has regular
relationships with leading international orchestras including the Deutsches SymphonieOrchester Berlin; Munich, Royal Stockholm,
and Oslo philharmonics; Finnish Radio
Symphony Orchestra; Gothenburg and City
of Birmingham Symphony Orchestras; Hallé
Orchestra; Royal Liverpool Philharmonic;
and the Mahler, Scottish, and Swedish
chamber orchestras.
For the 2014–15 season Mr. Manze will be
the principal conductor of the NDR Radio
Philharmonic Orchestra in Hanover. He has
been principal conductor and artistic director of the Helsingborg Symphony Orchestra
in Sweden since 2006, a position that
comes to an end this year. He has made a
number of recordings with the ensemble,
including Beethoven’s “Eroica” (Harmonia
Mundi) and, most recently, a cycle of the
Brahms symphonies (CPO).
Recent and upcoming orchestral debuts
include the New York and Los Angeles
Philharmonics, London Philharmonic Orchestra, Gewandhaus Orchestra of Leipzig, and
the Frankfurt Radio and São Paulo Symphony
Orchestras. Alongside his regular guest
BEN EALOVEGA
FELIX BROEDE
Meet the Artists
Steven Osborne
Steven Osborne’s standing as one of the
great pianists of his generation was affirmed
in 2013 with two major awards: the Royal
Philharmonic Society Instrumentalist of the
Year and his second Gramophone Award
for his recording of Mussorgsky’s Pictures
at an Exhibition and solo works by
Prokofiev. Previous awards include a 2009
Gramophone Award for his recording of
Britten’s works for piano and orchestra,
and first prize at the Naumburg International
Competition in New York. Concerto performances take Mr. Osborne to orchestras all
over the world, including recent visits to
the Deutsches Symphonie-Orchester Berlin,
Salzburg Mozarteum, Oslo Philharmonic
Orchestra, Oregon Symphony, and the
Finnish Radio, Yomiuri Nippon, Danish
National, London, Dallas, and Sydney symphony orchestras. He is currently performing
08-01 Manze Osborne_Gp 3.qxt 7/21/14 10:12 AM Page 14
Mostly Mozart Festival
the complete cycle of Beethoven’s piano
concertos with the BBC Scottish Symphony
Orchestra under Andrew Manze. He has
performed in venues such as the Konzerthaus
in Vienna, Concertgebouw in Amsterdam,
Berlin Philharmonie, Palais des Beaux-Arts
in Brussels, Suntory Hall in Tokyo, and the
Kennedy Center and Carnegie Hall.
During the 2013–14 season, Mr. Osborne
performed a five-concert residency at
Wigmore Hall, featuring repertoire from
Beethoven, Ravel, Rachmaninoff, Prokofiev,
and Tippett. He performed Messaien’s
Turangalîla-Symphonie with the London
Symphony Orchestra conducted by Jonathan
Nott, and with the Spanish National Orchestra
conducted by Josep Pons. He also performed Britten’s Piano Concerto with the
Gothenberg, Singapore, and Adelaide symphonies and the Tokyo Metropolitan
Symphony Orchestra. He ended the season with performances with the Strasbourg
Philharmonic Orchestra, City of Birmingham
Symphony Orchestra, and Fort Worth
Symphony Orchestra, a recital tour of Italy,
and his third visit to the Aspen Music Festival.
Mr. Osborne’s extensive discography for
Hyperion includes the Turangalîla-Symphonie,
the complete solo music of Ravel,
Rachmaninoff’s preludes, Debussy’s preludes, Beethoven’s bagatelles, Tippett’s
sonatas and Piano Concerto, and Messiaen’s
Vingt regards sur l’enfant-Jésus.
Orchestra, San Diego Symphony, Florida
Orchestra, and American Symphony Orchestra, among others. Mr. Ellis has freelanced
with the Ensemble Wien-Berlin, Orchestra
of St. Luke’s, New York Philomusica, and
the orchestras of the Martha Graham and
Paul Taylor Dance Companies and the
American Ballet Theatre. He has also
appeared on NBC’s Today Show, CBS’s
Sunday Morning, and Live From Lincoln
Center. 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 at
Jazz at Lincoln Center and on Broadway for
the musical Wicked.
Nick Masterson
Oboist Nick Masterson performs regularly
with numerous orchestras and chamber
ensembles across the country, including
the Philadelphia Orchestra, New Jersey
Symphony Orchestra, Houston Symphony,
and the St. Paul and Orpheus Chamber
Orchestras. He has also been a member of
the International Contemporary Ensemble
(ICE) since 2006. With ICE, Mr. Masterson
recorded John Adam’s Son of Chamber
Symphony for Nonesuch. In 2012 he
appeared as a soloist with the Seattle
Symphony, performing Mozart’s Sinfonia concertante and the world premiere of Dai
Fujikura’s Mina for flute, oboe, clarinet, bassoon, percussion, and orchestra. He is a graduate of the Oberlin Conservatory and received
his master’s degree from Rice University.
Randall Ellis
Randall Ellis is principal oboist of the
Mostly Mozart Festival Orchestra and the
Little Orchestra Society, a member of the
Windscape Woodwind Quintet, and solo
English horn in the New York Pops Orchestra.
Previously, Mr. Ellis was principal oboist of
the New York Chamber Symphony and
received two Grammy nominations with
that ensemble. He has performed with the
New York Philharmonic, Seattle Symphony
Steven Hartman
Steven Hartman joined the Mostly Mozart
Festival Orchestra in 2009 after performing
as a substitute for several years. He is also
the principal clarinetist of the New York
City Ballet Orchestra, Opera Orchestra of
New York, Brooklyn Philharmonic, and
New York Scandia Symphony, with which
he recorded two concertos and a concertante
(with hornist Peter Reit and Mostly Mozart
08-01 Manze Osborne_Gp 3.qxt 7/21/14 10:12 AM Page 15
Mostly Mozart Festival
Festival Orchestra principal bassoonist
Marc Goldberg) on the Centaur label. Mr.
Hartman studied at The Juilliard School
with Augustin Duquès and privately with
Kalmen Opperman.
Meryl Abt
Clarinetist Meryl Abt maintains an active
freelance career in the New York City area.
She is a member of the Orchestra of St.
Luke’s and regularly works with the New
York City Ballet. As a guest principal clarinetist, she has appeared with the Stamford
Symphony, Long Island Philharmonic, and
Queens Symphony Orchestra. She also
performs with American Ballet Theatre,
American Symphony Orchestra, and the
Mostly Mozart Festival Orchestra. Equally
comfortable on Broadway, Ms. Abt was an
orchestra member in musicals such as
Mary Poppins, Candide, Phantom of the
Opera, Ragtime, The Sound of Music, and
The King and I. She can be heard on
recordings by Joshua Bell, Paul Simon, and
James McCartney, among others. She has
also played on several Orchestra of St.
Luke’s recordings, including Peter and the
Wolf and Britten’s Young Person’s Guide to
the Orchestra.
appeared as soloist with the Brandenburg
Ensemble, Mostly Mozart Festival Orchestra,
and American Symphony Orchestra. He
holds B.M. and M.M. degrees from The
Juilliard School, where he was a student of
Harold Goltzer. Mr. Goldberg is on the faculty of The Juilliard School Pre-College
Division, Mannes College, Hartt School,
Columbia University, NYU, and the Bard
College Conservatory of Music.
Tom Sefčovič
Tom Sefčovič, a native of Rochester,
Michigan, studied bassoon at the University
of Michigan with Hugh Cooper, and at the
Manhattan School of Music with Steve
Maxym. Mr. Sefčovič is a member of the
Orchestra of St. Luke’s and is currently
performing in A Gentleman’s Guide to Love
and Murder on Broadway. He has also performed and toured with numerous groups
such as the Orchestra of the Eighteenth
Century, New York Philharmonic, Orpheus
Chamber Orchestra, and the Metropolitan
Opera Orchestra. Mr. Sefčovič can be
heard on many recording labels including
Deutsche Grammophon, Philips, Nonesuch,
Telarc, and Harmonia Mundi. He has recorded
for many movie soundtracks, commercials,
and television series.
Marc Goldberg
Marc Goldberg is principal bassoonist of
the Mostly Mozart Festival Orchestra,
New York City Opera Orchestra, American
Ballet Theatre Orchestra, and Riverside
Symphony, as well as a member of the
New York Woodwind Quintet and the
American Symphony Orchestra. Previously
associate principal bassoonist of the New
York Philharmonic, he has appeared across
four continents with the Metropolitan Opera
Orchestra, Boston Symphony Orchestra,
Orchestra of St. Luke’s, and Orpheus
Chamber Orchestra. He has also performed with The Chamber Music Society
of Lincoln Center, Music@Menlo, and the
Boston Chamber Music Society, and has
Lawrence DiBello
Lawrence DiBello performs extensively in
the New York City area. In addition to his
position as principal horn of the Mostly
Mozart Festival Orchestra, he is currently
principal horn of the Stamford Symphony.
He is also a member of the American
Symphony Orchestra, New York Pops, and
New York Symphonic Brass. During the
2010–11 season he served as acting principal
horn of the New York City Opera Orchestra.
He has also been invited to play principal
horn with the St. Paul Chamber Orchestra
on numerous occasions. In addition, he
regularly appears with the Orpheus Chamber
Orchestra, Metropolitan Opera Orchestra,
08-01 Manze Osborne_Gp 3.qxt 7/21/14 10:12 AM Page 16
Mostly Mozart Festival
New York City Ballet Orchestra, and New
Jersey Symphony Orchestra.
Richard Hagen
Hornist Richard Hagen is a member of the
New York City Ballet Orchestra and the
Mostly Mozart Festival Orchestra. Mr. Hagen
also has performed with the New York City
Opera Orchestra, New York Pops, Little
Orchestra Society, Brooklyn Philharmonic,
New Jersey Symphony Orchestra, Metropolitan Opera Orchestra, and the New York
Philharmonic. Broadway show credits
include Into the Woods and Jerome Robbins’
Broadway. Mr. Hagen is also a guest performer at The Phantom of the Opera, Wicked,
and The Lion King.
Mostly Mozart Festival
Lincoln Center’s Mostly Mozart Festival—
America’s first indoor summer music
festival—was launched as an experiment
in 1966. Called Midsummer Serenades: A
Mozart Festival, its first two seasons were
devoted exclusively to the music of
Mozart. Now a New York institution,
Mostly Mozart continues to broaden its
focus to include works by Mozart’s predecessors, contemporaries, and related successors. In addition to concerts by the
Mostly Mozart Festival Orchestra, Mostly
Mozart now includes concerts by the
world’s outstanding period-instrument
ensembles, chamber orchestras and
ensembles, and acclaimed soloists, as well
as opera productions, dance, film, latenight performances, and visual art installations. Contemporary music has become an
essential part of the festival, embodied in
annual artists-in-residence including Osvaldo
Golijov, John Adams, Kaija Saariaho,
Pierre-Laurent Aimard, and the International Contemporary Ensemble. Among
the many artists and ensembles who have
had long associations with the festival are
Joshua Bell, Christian Tetzlaff, Itzhak
Perlman, Emanuel Ax, Garrick Ohlsson,
Stephen Hough, Osmo Vänskä, the Emerson
String Quartet, Freiburg Baroque Orchestra,
Orchestra of the Age of Enlightenment,
and the Mark Morris Dance Group.
Mostly Mozart Festival Orchestra
The Mostly Mozart Festival Orchestra is
the resident orchestra of the Mostly
Mozart Festival, and is the only orchestra
in the U.S. dedicated to the music of the
Classical period. Since 2002 Louis Langrée
has been the Orchestra’s music director,
and since 2005 the Orchestra’s Avery
Fisher Hall home has been transformed
each summer into an appropriately intimate venue for its performances. Over the
years, the Orchestra has toured to such
notable festivals and venues as Ravinia,
Great Woods, Tanglewood, Bunkamura in
Tokyo, and the Kennedy Center. Conductors
who made their New York debuts leading
the Mostly Mozart Festival Orchestra
include Jérémie Rhorer, Edward Gardner,
Lionel Bringuier, Yannick Nézet-Séguin,
Charles Dutoit, Leonard Slatkin, David
Zinman, and Edo de Waart. Mezzo-soprano
Cecilia Bartoli, flutist James Galway,
soprano Elly Ameling, and pianist Mitsuko
Uchida all made 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 and community relations, and manager of the Lincoln Center
campus. A presenter of more than 3,000
free and ticketed events, performances,
tours, and educational 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 Mozart Festival, and the
White Light Festival, as well as the Emmy
08-01 Manze Osborne_Gp 3.qxt 7/21/14 10:12 AM Page 17
Mostly Mozart Festival
Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in
October 2012.
JENNIFER TAYLOR
Award–winning Live From Lincoln Center,
which airs nationally on PBS. As manager
of the Lincoln Center campus, LCPA provides support and services for the Lincoln
Mostly Mozart Festival Orchestra
Louis Langrée, Renée and Robert Belfer Music Director
Violin I
Ruggero Allifranchini,
Concertmaster
Martin Agee
Robert Chausow
Katsuko Esaki
Amy Kauffman
Katherine Livolsi-Landau
Ronald Oakland
Michael Roth
Deborah Wong
Violin II
Laura Frautschi, Principal
Lilit Gampel
Michael Gillette
Suzanne Gilman
Sophia Kessinger
Lisa Matricardi
Kristina Musser
Mineko Yajima
Viola
Shmuel Katz, Principal
Meena Bhasin
Danielle Farina
Chihiro Fukuda
Jack Rosenberg
Cello
Alvin McCall, Principal
Ted Ackerman
Annabelle Hoffman
Ann Kim
Bass
Zachary Cohen, Principal
Lou Kosma
Judith Sugarman
Flute
Tanya Dusevic Witek,
Principal
Stephanie Mortimore
Horn
Lawrence DiBello,
Principal
Richard Hagen
Oboe
Randall Ellis, Principal
Nick Masterson
Trumpet
Neil Balm, Principal
Lee Soper
Clarinet
Steven Hartman, Principal
Meryl Abt
Timpani
David Punto, Principal
Bassoon
Marc Goldberg, Principal
Tom Sefčovič
Librarian
Michael McCoy
Personnel Managers
Neil Balm
Jonathan Haas
Gemini Music
Productions, Ltd.
08-01 Manze Osborne_Gp 3.qxt 7/21/14 1:07 PM Page 18
Mostly Mozart Festival
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Lisa Takemoto, Production Manager
Bill Bragin, Director, Public Programming
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Jill Sternheimer, Producer, Public Programming
Mauricio Lomelin, Associate Producer, Contemporary Programming
Julia Lin, Associate Producer
Nicole Cotton, Production Coordinator
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Interim Programming Publications Editor
Mariel O’Connell, House Seat Coordinator
Honor 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 10:12 AM Page 19
Mostly Mozart Festival
Lectures, Discussions, and Pre-concert Recitals
All events are FREE to ticketholders of the accompanying performance.
Saturday Afternoon, July 26, at 4:00
Discussion of Sila: The Breath of the
World with John Luther Adams and
John Schaefer
Bruno Walter Auditorium
Friday and Saturday Evenings,
August 1–2, at 7:00
Members of the Mostly Mozart Festival
Orchestra
Mozart: Serenade for Winds in E-flat
major, K.375
Avery Fisher Hall
Monday Evening, August 4, at 6:30
Emerson String Quartet
Haydn: String Quartet in G major
Alice Tully Hall
Tuesday and Wednesday Evenings,
August 5–6, at 7:00
Christian Tetzlaff, violin, and
Caroline Goulding, violin
Works by Leclair and Bartók
Avery Fisher Hall
Friday Evening, August 8, at 6:15
Pre-performance discussion of Acis and
Galatea 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, piano
Works by Purcell, Bellstedt, and
Joseph Turrin
Avery Fisher Hall
Tuesday and Wednesday Evenings,
August 12–13, at 7:00
Amphion String Quartet
Barber: String Quartet
Avery Fisher Hall
Friday Evening, August 15, at 6:45
Lecture on Berlioz’s Symphonie
fantastique by Peter Bloom
Stanley H. Kaplan Penthouse
Saturday Afternoon, August 16, at 4:00
Panel Discussion: Mozart and the
Promise of Opera
Bruce Alan Brown, moderator
Presented in association with the Mozart
Society of America
Stanley H. Kaplan Penthouse
Saturday Evening, August 16, at 7:00
Magali Mosnier, flute, and
Xavier de Maistre, harp
Works by Gluck, Smetana, and Fauré
Avery Fisher Hall
Sunday Afternoon, August 17, at 1:45
Lecture on Handel’s Teseo by Ellen Rosand
Stanley H. Kaplan Penthouse
Tuesday Evening, August 19, at 7:00
Igor Kamenz, piano
Beethoven: Sonata No. 7 in D major
Avery Fisher Hall
Wednesday Evening, August 20, at 7:00
Igor Kamenz, piano
Liszt: Dante Sonata
Wagner (trans. Liszt): Isoldes Liebestod
Avery Fisher Hall
Friday Evening, August 22, at 6:45
Lecture on Mozart, Bach, and Martin by
Andrew Shenton
Stanley H. Kaplan Penthouse
ALICE TULLY HALL, AVERY FISHER HALL
Broadway at 65th Street
BRUNO WALTER AUDITORIUM
Dorothy and Lewis B. Cullman Center
New York Public Library for the Performing Arts
111 Amsterdam Ave., between 64th and 65th
Streets
DAVID RUBENSTEIN ATRIUM
Broadway between 62nd and 63rd Streets
STANLEY H. KAPLAN PENTHOUSE
165 West 65th Street, 10th Floor
08-01 Manze Osborne_Gp 3.qxt 7/21/14 10:12 AM Page 20
Are you an LC Kid?
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.
LincolnCenter.org/LCKids
or call Kristel Kempin at 212.875.5443
Learn more at
Photo: Martin Schott