Igor Kamenz, Piano. July 25 August 23, Pre-concert Recital. Sponsored by Bloomberg. BEETHOVEN Sonata No. 7 in D major, Op. 10, No.

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1 July 25 August 23, 2014 Sponsored by Bloomberg Tuesday Evening, August 19, 2014, at 7:00 Pre-concert Recital Igor Kamenz, Piano BEETHOVEN Sonata No. 7 in D major, Op. 10, No. 3 ( ) Presto Largo e mesto Menuetto: Allegro Rondo: Allegro Sponsored by Movado 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.

2 Note on the Pre-concert Recital by Kathryn L. Libin Sonata No. 7 in D major, Op. 10, No. 3 ( ) LUDWIG VAN BEETHOVEN Born December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna Approximate length: 24 minutes The Romantic piano sonata symphonic in scope, technically virtuosic, and profound in expression was Beethoven s invention. It was Beethoven who transformed the sonata from a light genre for amateurs and students into a complex new medium for piano connoisseurs. Though the keyboard sonata was a well-established genre by the end of the 18th century, it was largely considered the province of amateurs and composed with their needs and abilities in mind. This holds true even for such masters as Haydn and Mozart, who devoted their energies in this area mainly to producing satisfying pieces for their students and friends to play. Beethoven vastly extended the limits of sonata style, creating a brilliant and complex new medium for the piano, expanding the technical demands on the instrument, experimenting with innovative structural designs, and infusing the sonata s traditional framework with the profoundest expression. His cycle of 32 sonatas, written throughout his career, represents a radical departure from those of Haydn and Mozart. In his sonatas, as in his quartets, some of Beethoven s most personal thoughts are explored. During his early years in Vienna, Beethoven relied heavily on local aristocratic patronage to advance his career, playing in noble salons, giving lessons, and dedicating new works to especially helpful patrons. In 1798 he dedicated his Op. 9 string trios to Count Johann Georg von Browne-Camus, a gentleman of Irish descent in the service of Catherine the Great of Russia; to the count s wife, Anna Margarete, he dedicated his set of three Op. 10 piano sonatas. The third sonata is the only one in the set with four movements, and also excels above the others in substance and expressive range. Perhaps the most remarkable movement is the emotionally charged second, which unfolds at a very slow tempo and in the key of D minor, which in Beethoven s time carried associations of deep tragedy and sorrow. It opens with dark chords in the piano s lower range over which a restless triplet figure pulses; out of that emerges a beautiful, melancholy melody in an upper line. Both motifs provide the threads that will shape an increasingly dense, intensely expressive argument. Much of the tension produced in the Largo is dispelled in the minuet and trio that follow, as they introduce a light texture and playful vivacity to the work. The Rondo brings the sonata to a sparkling close with exuberant octaves and sharply defined, offbeat rhythms. Copyright 2014 by Lincoln Center for the Performing Arts, Inc.

3 July 25 August 23, 2014 Sponsored by Bloomberg Tuesday Evening, August 19, 2014, at 8:00 Mostly Mozart Festival Orchestra David Zinman, Conductor Joshua Bell, Violin Lawrence Power, Viola M M BOYCE Symphony No. 1 in B-flat major (1760) Allegro Moderato e dolce Allegro MOZART Sinfonia concertante in E-flat major for violin and viola, K.364 ( ) Allegro maestoso Andante Presto Mr. Bell and Mr. Power will perform Mozart s cadenzas. Intermission BEETHOVEN Symphony No. 3 in E-flat major ( Eroica ) (1803) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto M M Mostly Mozart debut Sponsored by Movado This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off.

4 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: Wednesday Evening, August 20, at 7:30 in the Clark Studio Theater Steven Schick, Percussion JOHN LUTHER ADAMS: The Mathematics of Resonant Bodies Thursday Evening, August 21, at 7:30 in Park Avenue Armory International Contemporary Ensemble David Fulmer, Conductor M M Ellie Dehn, Soprano M M DAI FUJIKURA: Minina (New York premiere) JOHN ZORN: Baudelaires (New York premiere) ALVIN LUCIER: Chambers MESSIAEN (arr. Cliff Colnot): Chants de terre et de ciel (New York premiere) Co-presented with Park Avenue Armory Thursday Night, August 21, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Patricia Kopatchinskaja, Violin M M ENESCU: Ménétrier, from Impressions d enfance BACH: Chaconne BARTÓK: Sonata Friday and Saturday Evenings, August 22 23, at 8:00 in Avery Fisher Hall Mostly Mozart Festival Orchestra Louis Langrée, Conductor Patricia Kopatchinskaja, Violin Susanna Phillips, Soprano Kelley O Connor, Mezzo-soprano Dimitri Pittas, Tenor M M Morris Robinson, Bass Concert Chorale of New York James Bagwell, Director BACH: Chorales from St. John Passion MARTIN: Polyptyque: Six Images of the Passion of Christ MOZART: Requiem Pre-concert lecture on Friday, August 22 at 6:45 by Andrew Shenton M M Mostly Mozart debut For tickets, call (212) or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) to learn about program cancellations or request a Mostly Mozart brochure. Visit MostlyMozart.org for full festival listings. Join the conversation: #LCMozart We would like to remind you that the sound of coughing and rustling paper might distract 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.

5 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

6 Signature Works by Peter A. Hoyt The musicologists who first investigated Johann Sebastian Bach ( ) 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.

7 Program Summary by Kathryn L. Libin The symphonic repertoire on this evening s program reflects the diverse settings for such music in the second half of the 18th century, along with its striking and unexpected development. It s hard to imagine that only 40-some years separated the two symphonies by Boyce and Beethoven. Yet these years also witnessed revolutions, war, and dynamic societal changes that made the world of Beethoven a very different place than that inhabited by Boyce. Boyce s symphony, tuneful and robust, originated in the theater and was published for the entertainment of middle-class London audiences and amateur musicians. For this the strings alone formed a perfectly adequate, flexible orchestra for what was essentially a chamber work. Mozart s Sinfonia concertante emerged in the more rarefied world of the concertizing virtuoso, with all its opportunities for sparkling display; it was Mozart s gift that he could endow such a vehicle with beauty and emotional depth, and present it in a provincial cathedral town for a circle of family and friends. The scoring of strings with pairs of oboes and horns is rather modest, but appropriate to the setting and purpose. Of the three works on this evening s program, Beethoven s Eroica Symphony is the most idiosyncratic, most unprecedented, and most abundantly scored. It came to fruition within a culture of aristocratic amateurs who welcomed the new and surprising, and provided the material support necessary for such projects. Copyright 2014 by Lincoln Center for the Performing Arts, Inc.

8 Notes on the Program by Kathryn L. Libin Symphony No. 1 in B-flat major, Op. 2 (1760) WILLIAM BOYCE Baptized September 11, 1711, in London Died February 7, 1779, in London Approximate length: 8 minutes As the youngest son of a London cabinetmaker, William Boyce would have seemed an unlikely candidate to become one of England s foremost composers, but his father noticed his talent for music as a boy and ensured that he received some lessons. Boyce thus began his career as a chorister in St. Paul s Cathedral, where he came to the attention of the cathedral organist and choirmaster, Maurice Greene. Boyce remained close to Greene as a student and assistant, eventually becoming an organist himself and beginning to compose music for cathedral services. In 1736 Boyce obtained his first court appointment, and as Composer to the Chapel Royal was given increasingly important opportunities. By the 1740s his choral works, especially the serenata Solomon, were even being compared to those of the great Handel. During this period Boyce also began to write music for London s flourishing theaters, providing overtures and incidental music for plays produced by David Garrick and others. The trio sonatas that he published in 1747 found a great many subscribers and became staples of amateur music-making throughout the city. In 1755 Boyce succeeded Maurice Greene as Master of the King s Musick, and thus became responsible for annual odes to celebrate New Year s and the king s birthday, along with anthems for the wedding and coronation of King George III and Queen Charlotte in September Boyce thus left a rich legacy of music that once played an important role in many aspects of English life (his song Hearts of Oak became ubiquitous in Britain s navy). Among the pieces still played today are his Eight Symphonies, a collection of overtures published in The first symphony of the set, in B-flat major, provides a fine example of the attributes that won admiration from 18th-century audiences. The vigorous opening Allegro features a tuneful violin line with sturdy accompaniment, and lively textural interplay during the transition to the second half, which begins with soft contrast and a hint of F minor. A tender, somewhat melancholy atmosphere pervades the Moderato e dolce movement in G minor, in which unison violins unfold the melody. The closing Allegro also pairs the violins, this time in close harmonies as well as unison, in a gay and lively 6/8 meter over a strongly rhythmic bass. As Boyce s contemporary, Charles Burney, observed, There is an original and sterling merit in his productions that gives to all his works a peculiar stamp and character of his own, for strength, clearness, and facility. Sinfonia concertante in E-flat major for violin and viola, K.364 ( ) WOLFGANG AMADEUS MOZART Born January 27, 1756, in Salzburg Died December 5, 1791, in Vienna Approximate length: 30 minutes Mozart s Sinfonia concertante in E-flat major, K.364, one of the most treasured of his orchestral chamber works, dates from what was a transitional period in the composer s life. In 1777 Mozart had embarked on a lengthy journey, accompanied by his mother, in search of some permanent post that would secure his future as a composer and remove him from an atmosphere that

9 he found stifling in his hometown of Salzburg. The two musical centers that seemed most promising in terms of employment were the electoral court at Mannheim and the sophisticated city of Paris with its royal and public institutions. Though Mozart spent prolonged periods in each place, absorbing a great deal of superb music and composing and performing himself, he failed to find a job. Moreover, when his mother took ill and died in Paris, it became clear that he would have no choice but to return to Salzburg, bearing this heavy loss along with his lack of professional success. Thus by late 1778 Mozart found himself in the employ of the Archbishop of Salzburg, with responsibilities as organist for the cathedral and chapel, and charged with the composition of music for services there. He did in fact produce some outstanding sacred music during this time, including the Coronation Mass, K.317, but clearly he had not yet found his professional niche, and turned to private projects that he found more satisfying. During his brief participation in the concert life of the great orchestra at Mannheim, and among the remarkable musicians of the Concert Spirituel in Paris, Mozart would have heard a good many symphonies concertantes, a genre combining two or more virtuosic soloists with orchestra that was extremely popular at the time. Clearly he found this style of music congenial, since he had already composed similar works for three pianos, for two violins, and even for flute and harp, and early in 1779 he wrote a concerto for two pianos. The idea of composing a sinfonia concertante for violin and viola soloists probably arose from the resources that were readily at hand; he and his father were both violinists, and Mozart himself apparently loved playing the viola. The orchestration, with its pairs of oboes and horns along with strings, also represented simple forces that would have been available among their circle of musician friends in Salzburg. The marvel is what Mozart achieved with rather modest materials. He used a scordatura tuning for the solo viola part, writing it in D and having it tune up to E-flat and perhaps a bit sharp to enhance its brightness in relation to its partner, the violin. The rich textural combinations, rhythmic incisiveness, beautifully calculated crescendos, and brilliant exchanges between the soloists produce an atmosphere of splendor in the opening Allegro maestoso. The C-minor Andante calls forth an exceptional lyricism that unites the soloists in a seamless flow of melody. The work concludes with an exuberant Presto movement, full of gay and witty surprises. Symphony No. 3 in E-flat major, Op. 55 ( Eroica ) (1803) LUDWIG VAN BEETHOVEN Born December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna Approximate length: 47 minutes The story of Beethoven s Third Symphony actually begins with a ballet: his Creatures of Prometheus, which met with an enthusiastic reception during performances at Vienna s Burgtheater in March The ballet depicts the heroism of the Titan, Prometheus, as he creates and civilizes mankind, and in the ballet s culminating movement Beethoven introduced a longbreathed, gracious theme that represented the pinnacle of Prometheus s noble achievement. This melody became popular when Beethoven turned it into a contredanse that was published shortly thereafter, and in 1802 he worked with the theme yet again, making it the subject for a large set of difficult piano variations.

10 Ultimately this would find its way into his next symphony, as we shall see. In certain ways, despite his increasing success, 1802 was a difficult year for Beethoven, since it found him coming to grips for the first time with his deafness, and confessing it painfully to close friends. But by the following summer he was hard at work on a large symphony that, like Prometheus, was intended to explore the nature of heroism; specifically, Beethoven originally meant to dedicate the symphony to Napoleon Bonaparte, who was a hero to many who held democratic ideals. Beethoven was deeply disillusioned, however, when Napoleon declared himself Emperor in He tore up his title page and finally dedicated the work to one of his patrons, Prince Joseph Franz Maximilian Lobkowicz. Prince Lobkowicz s palace in central Vienna was already the heart of a vibrant musical culture; with his own orchestra and other house musicians, the prince provided a venue for countless performances of opera and chamber music, which took place in a spacious, beautifully decorated hall. All these resources were put at Beethoven s disposal when it came time to prepare his extraordinarily massive and difficult new symphony for performance. The first rehearsals and private performances of what would eventually become known as the Eroica Symphony took place in May and June 1804 at the Lobkowicz palace. Surviving account books record the hiring of extra musicians, including a third horn player, as well as a generous payment to the composer that likely secured the dedication of the work. The music of the symphony amazed its early listeners its astonishing length, extremes of range and dynamics, driving rhythms, unprecedented dissonances, complex fugato structures, and its creation of remarkably long spans of tension that then erupt into powerful climaxes all represented an entirely new musical endeavor. The second movement is a solemn funeral march in C minor, in the slow processional vein popularized during public manifestations in Paris after the French Revolution. A rhythmically vigorous Scherzo movement disrupts the atmosphere of pathos, and the hunting calls of the three horns add warmth and liveliness. In the last movement Beethoven finally returns to his Prometheus variations, and here they receive their fullest, most emphatic treatment as the culmination of the symphony. Hearing the stark opening with the bass line alone, the gradual additions of one voice at a time until the full nature of the lovely theme is revealed, and then the wreathing and elaborating of that theme with all the musical devices that the fertile mind of a composer can produce, one cannot help but sense that the real Prometheus, and authentic hero of the piece, was Beethoven himself. Musicologist Kathryn L. Libin teaches music history and theory at Vassar College. Copyright 2014 by Lincoln Center for the Performing Arts, Inc.

11 Words and Music Excerpts from Ode to Napoleon Buonaparte by Lord Byron 1. Tis done but yesterday a King! And arm d with Kings to strive And now thou art a nameless thing So abject yet alive! Is this the man of thousand thrones, Who strew d our Earth with hostile bones, And can he thus survive? Since he, miscall d the Morning Star, Nor man nor fiend hath fall n so far. 11. Thine evil deeds are writ in gore, Nor written thus in vain Thy triumphs tell of fame no more, Or deepen every stain If thou hadst died as honour dies, Some new Napoleon might arise, To shame the world again But who would soar the solar height, To set in such a starless night? 12. Weigh d in the balance, hero dust Is vile as vulgar clay; Thy scales, Mortality! are just To all that pass away; But yet methought the living great Some higher sparks should animate, To dazzle and dismay; Nor deem d Contempt could thus make mirth Of these, the Conquerors of the earth. For poetry comments and suggestions, please write to programming@lincolncenter.org.

12 PRISKA KETTERER Meet the Artists David Zinman David Zinman s career is distinguished by a wide-ranging repertoire, a commitment to contemporary music, and the introduction of historically informed performance practice. He has held positions as music director of the Rotterdam and Rochester Philharmonic Orchestras and Baltimore Symphony Orchestra, and as principal conductor of the Netherlands Chamber Orchestra. He has also served as music director of the Aspen Music Festival School and the American Academy of Conducting at Aspen. Mr. Zinman completed his 19-year tenure as music director of the Zurich Tonhalle Orchestra with his final performance at the BBC Proms in July. A regular guest with the world s leading orchestras, Mr. Zinman has recently worked with the Bavarian Radio Symphony Orchestra, London and Royal Stockholm Philharmonic Orchestras, Paris Orchestra, National Orchestra of France, and the Vienna Symphony Orchestra. He also regularly conducts the New York Philharmonic, and appears with the Boston Symphony Orchestra at Tanglewood. Forthcoming projects include performances with the Toronto Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Gewandhaus Orchestra of Leipzig, Czech Philharmonic Orchestra, NHK Symphony Orchestra, and Washington s National Symphony Orchestra. Mr. Zinman s extensive discography has earned him numerous prestigious awards. Recent releases include a 50-CD box set, ERIC KABIK David Zinman: Great Symphonies The Zurich Years, , which commemorates Mr. Zinman s recording legacy with the Zurich Tonhalle Orchestra. The collection includes the complete symphonic cycles of Beethoven, Brahms, Mahler, Schubert, and Schumann, as well as selected orchestral works by Mozart, Richard Strauss, and Wagner. Mr. Zinman was awarded the title of Chevalier de l Ordre des Arts et des Lettres in Other awards include the City of Zurich Art Prize, Thomas Theodore Award, and 2008 Midem Classical Artist of the Year award. Joshua Bell Joshua Bell s restless curiosity, passion, and multifaceted musical interests have earned him the rare title of classical music superstar. Recently named the music director of the Academy of St. Martin in the Fields, Mr. Bell is the first person to hold this post since Neville Marriner formed the orchestra in Their first recording under Mr. Bell s leadership of Beethoven s Fourth and Seventh Symphonies (Sony Classical) debuted at No. 1 on the Billboard Classical chart. Mr. Bell s recording of the Bach violin concertos with the orchestra will be released this September to coincide with the airing of the HBO documentary special Joshua Bell: A YoungArts MasterClass. Mr. Bell has recorded more than 40 CDs garnering Mercury, Grammy, Gramophone, and Echo Klassik awards. Recent releases include Musical Gifts from Joshua Bell and Friends, French Impressions with pianist Jeremy Denk, the eclectic At Home with Friends, the Defiance soundtrack, Vivaldi s Four Seasons, Tchaikovsky s Violin Concerto

13 JACK LIEBECK with the Berliner Philharmoniker, The Red Violin Concerto, Voice of the Violin, and Romance of the Violin, which Billboard named the 2004 Classical CD of the Year, and Mr. Bell the Classical Artist of the Year. His discography encompasses critically acclaimed performances of the major violin repertoire in addition to John Corigliano s Oscar-winning soundtrack, The Red Violin. Born in Bloomington, Indiana, Mr. Bell received his first violin at age four, and at 12 began studying with Josef Gingold at Indiana University. Two years later Mr. Bell came to national attention in his debut with Riccardo Muti and the Philadelphia Orchestra and, at 17, debuted at Carnegie Hall. Mr. Bell s career has now spanned over 30 years as a soloist, chamber musician, recording artist, and conductor, and he is an outspoken advocate for classical music and keeping music education in schools. Mr. Bell performs on the 1713 Huberman Stradivarius. Lawrence Power Lawrence Power is one of today s foremost violists and has been on the shortlist for the Royal Philharmonic Society Instrumentalist Award. Mr. Power is regularly invited to perform with some of the world s greatest orchestras, including the Chicago, Boston, and BBC Scottish symphony orchestras, Royal Concertgebouw Orchestra, Bavarian Radio Symphony Orchestra, Royal Stockholm and Bergen Philharmonic Orchestras, Stavanger Symphony Orchestra, Philharmonia Orchestra, and Royal Liverpool Philharmonic Orchestra. A keen champion of contemporary music, he gave the U.K. premiere of Olga Neuwirth s concerto Remnants of Song at the 2012 BBC Proms, and the world premieres of Luke Bedford s Wonderful Two-Headed Nightingale, James MacMillan s Viola Concerto, and Charlotte Bray s Invisible Cities. He has also performed Penderecki s Viola Concerto in a series of concerts with Camerata Salzburg conducted by the composer. Mr. Power was artist-in-residence with the Bergen Philharmonic Orchestra for the season. Highlights of the season include the Walton, Rosza, and Schnittke concertos with the Netherlands Radio Philharmonic Orchestra, BBC National Orchestra of Wales, and Tiroler Symphonie Orchester Innsbruck respectively. He returns to the Verbier and Salzburg Festivals, and debuts with the Moscow State Symphony Orchestra, Brussels Philharmonic, Barcelona Symphony Orchestra, Lucerne Symphony Orchestra, and the Adelaide Symphony Orchestra. Mr. Power s Gramophone-nominated recordings for Hyperion include the Bartók, Rosza, Walton, and Rubbra concertos, Shostakovich and Brahms sonatas, and York Bowen s complete works for viola and piano. Mr. Power s three-disc Hindemith survey has become a benchmark recording of this repertoire. Other releases include Strauss s Don Quixote, Mark-Anthony Turnage s On Opened Ground, Britten s Double Concerto, Vaughan Williams s Suite for Viola, and works by Arthur Benjamin. Lawrence Power is international professor of viola at the Zürcher Hochschule der Künste. He is also founder and artistic director of the West Wycombe Chamber Music Festival. Igor Kamenz Pianist and conductor Igor Kamenz was born in 1968 in the Russian Far East close to the Chinese border. In 1975 he debuted as conductor of the Novosibirsk Philharmonic Orchestra, followed by a series of concerts as a pianist, soloist, and conductor. Mr. Kamenz gave his first concert at the

14 Kremlin as conductor of the Bolshoi Orchestra in Mr. Kamenz, a student of Vitaly Margulis and Sergiu Celibidache, has been awarded 18 first prizes in international piano competitions. He presents an extensive repertoire ranging from Couperin to Cage. Career highlights include performances at the Schleswig-Holstein Music Festival, Herkulessaal and Gasteig in Munich, Konzerthaus Berlin, Kennedy Center, Salle Gaveau in Paris, Alte Oper in Frankfurt, Symphony Hall in Birmingham, Mozarteum Salzburg, and the Moscow Conservatory. Highlights of summer 2014 and the following season include these performances at the Mostly Mozart Festival, a performance at the Rheingau Music Festival, and a debut with MDR Leipzig Radio Symphony Orchestra. He also opens the concert season of the Portland Piano International and plays duo recitals with renowned soloists such as Arabella Steinbacher and Chad Hoopes. Mostly Mozart Festival Lincoln Center s Mostly Mozart Festival America s first indoor summer music festival was launched as an experiment in 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 periodinstrument 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. Mezzosoprano 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,

15 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 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 Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October JENNIFER TAYLOR 2014 Mostly Mozart Festival Orchestra Louis Langrée, Renée and Robert Belfer Music Director Violin I Ruggero Allifranchini, Concertmaster Robert Chausow Lilit Gampel Amy Kauffman Sophia Kessinger Katherine Livolsi-Landau Lisa Matricardi Ronald Oakland Michael Roth Violin II Laura Frautschi, Principal Martin Agee Katsuko Esaki Michael Gillette Suzanne Gilman Kristina Musser Deborah Wong Mineko Yajima Viola Shmuel Katz, Principal Meena Bhasin Danielle Farina Chihiro Fukuda Jack Rosenberg Jessica Troy Cello Ilya Finkelshteyn, Principal Ted Ackerman Ann Kim Alvin McCall Bass Zachary Cohen, Principal Lou Kosma Judith Sugarman Flute Yoobin Son, Principal Tanya Dusevic Witek Oboe Randall Ellis, Principal Nick Masterson Clarinet Steven Hartman, Principal Shari Hoffman Bassoon Marc Goldberg, Principal Tom Sefčovič Horn Lawrence DiBello, Principal Richard Hagen Patrick Pridemore Stewart Rose Trumpet Neil Balm, Principal Lee Soper Timpani Jonathan Haas, Principal Harpsichord Kent Tritle, Principal Librarian Michael McCoy Personnel Managers Neil Balm Jonathan Haas Gemini Music Productions, Ltd. Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra

16 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