Friday and Saturday Evenings, July 31 August 1, 2015, at 6:30

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1 The Program Friday and Saturday Evenings, July 31 August 1, 2015, at 6:30 Pre-concert Recital Orion Weiss, Piano BRAHMS Klavierstücke, Op. 118 (1893) Intermezzo in A minor Intermezzo in A major Ballade in G minor Intermezzo in F minor Romanze in F major Intermezzo in E-flat minor Please make certain all your electronic devices are switched off. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Avery Fisher Hall

2 Mostly Mozart Festival I Notes on the Program Notes on the Program By Paul Schiavo Klavierstücke, Op. 118 (1893) JOHANNES BRAHMS Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna Approximate length: 23 minutes In his last years, Brahms abandoned the kind of large-scale compositions that had established his reputation as one of the great musical creators of his time. Instead, he sought a deep intimacy through songs, chamber music, and especially several series of short piano pieces. The latter pieces are brief, most lasting between two and four minutes, their tone intimate and spontaneous; however, they are too substantial to truly rank as keyboard miniatures. Their musical world is indeed compressed, but it is nevertheless rich in melodic ideas, far-ranging harmonies, moods, and keyboard sonorities. The formal simplicity of these pieces like so many 19th-century piano solos, they generally follow an uncomplicated A-B-A plan serves to heighten their emotional immediacy and to throw into sharp relief the fine compositional craftsmanship they embody. Clara Schumann, to whom Brahms showed each work before he published it, did not exaggerate in calling the series an inexhaustible treasure. The six compositions collected as Brahms s Op. 118 appeared in 1893, though some of the music may have originated earlier. Of these half-dozen pieces, four bear the title Intermezzo. The first, in A minor, is especially concentrated since it lacks the usual contrasting central episode based on new thematic material. Brahms counters this first piece with one that seems its opposite in every way. Whereas the first piece feels taut, the second conveys a relaxed spaciousness; against the first s dark A-minor tonality, the second is set in the parallel major key; and the turbulent character of the initial piece is countered with music of serene tenderness in the second. The third piece in the set, which Brahms calls a Ballade, has about it the feel of a robust scherzo. Intimations of the main theme in the central episode provide a thoughtful unifying touch. Next comes a third Intermezzo, followed by a Romanze whose song-like outer sections frame a surprisingly light and florid central episode. In the final Intermezzo, Brahms strikes a particularly Romantic tone at the outset, where spare melodic phrases are colored with mysterious harmonies. The dark, introspective quality of this music makes the heroic declamations in the central episode all the more effective. Copyright 2015 by Paul Schiavo

3 The Program Friday and Saturday Evenings, July 31 August 1, 2015, at 7:30 Mostly Mozart Festival Orchestra Louis Langrée, Conductor Jeremy Denk, Piano BACH (trans. BRAHMS) Chaconne in D minor for piano left hand (1720/1877) MOZART Piano Concerto No. 20 in D minor, K.466 (1785) Allegro Romanze Rondo: Allegro assai Mr. Denk will perform Brahms s cadenza. Intermission BRAHMS Symphony No. 4 in E minor ( ) Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato Please make certain all your electronic devices are switched off. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Avery Fisher Hall

4 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center Summer at Lincoln Center is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Saturday Night, August 1, at 10:00 in the Stanley H. Kaplan Penthouse A Little Night Music Alexei Lubimov, Piano DEBUSSY: Selected Préludes; L isle joyeuse SATIE: Prelude to Act I of Le fils des étoiles; Petite ouverture à danser; Gymnopédie No. 1; Excerpts from Sports et divertissements; Gnossienne No. 5 Monday Evening, August 3, at 7:30 in Alice Tully Hall Emerson String Quartet Jean-Yves Thibaudet, Piano MOZART: String Quartet in G major, K.387 BEETHOVEN: String Quartet in F major, Op. 135 FAURÉ: Piano Quartet No. 1 Pre-concert recital by the Emerson String Quartet at 6:30 Tuesday and Wednesday Evenings, August 4 5, at 7:30 in Avery Fisher Hall Mostly Mozart Festival Orchestra Cornelius Meister, Conductor M M Sol Gabetta, Cello M M MOZART: Overture to Le nozze di Figaro HAYDN: Cello Concerto in C major BEETHOVEN: Symphony No. 4 Pre-concert recitals by the Anderson & Roe Piano Duo at 6:30 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 Mostly Mozart Festival Welcome to Mostly Mozart I am pleased to welcome you to the 49th Mostly Mozart Festival, our annual celebration of the innovative and inspiring spirit of our namesake composer. This summer, in addition to a stellar roster of guest conductors and soloists, we are joined by composer-in-residence George Benjamin, a leading contemporary voice whose celebrated opera Written on Skin makes its U.S. stage premiere. This landmark event continues our tradition of hearing Mozart afresh in the context of the great music of our time. Under the inspired baton of Renée and Robert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestra delights this year with the Classical repertoire that is its specialty, in addition to Beethoven s joyous Seventh Symphony and Haydn s triumphant Creation. Guest appearances include maestro Cornelius Meister making his New York debut; Edward Gardner, who also leads the Academy of Ancient Music in a Mendelssohn program on period instruments; and Andrew Manze with violinist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preeminent soloists include Emanuel Ax, Matthias Goerne, and festival newcomers Sol Gabetta and Alina Ibragimova, who also perform intimate recitals in our expanded Little Night Music series. And don t miss returning favorite Emerson String Quartet and the International Contemporary Ensemble, our artists-inresidence, as well as invigorating pre-concert recitals and lectures, a panel discussion, and a film on Haydn. With so much to choose from, we invite you to make the most of this rich and splendid festival. I look forward to seeing you often. Jane Moss Ehrenkranz Artistic Director

6 Mostly Mozart Festival I Words and Music Master of Music By Henry Van Dyke Glory of architect, glory of painter, and sculptor, and bard, Living forever in temple and picture and statue and song, Look how the world with the lights that they lit is illumined and starred, Brief was the flame of their life, but the lamps of their art burn long! Where is the Master of Music, and how has he vanished away? Where is the work that he wrought with his wonderful art in the air? Gone, it is gone like the glow on the cloud at the close of the day! The Master has finished his work, and the glory of music is where? Once, at the wave of his wand, all the billows of musical sound Followed his will, as the sea was ruled by the prophet of old: Now that his hand is relaxed, and his rod has dropped to the ground, Silent and dark are the shores where the marvellous harmonies rolled! Nay, but not silent the hearts that were filled by that life-giving sea; Deeper and purer forever the tides of their being will roll, Grateful and joyful, O Master, because they have listened to thee, The glory of music endures in the depths of the human soul. For poetry comments and suggestions, please write to programming@lincolncenter.org.

7 Mostly Mozart Festival Snapshot By Paul Schiavo The three works on this evening s program are connected in ways that might not initially be obvious. All three are predominantly written in minor keys and partake of the sober resplendence such tonalities offer great composers. In addition, their scoring for solo piano, for piano and orchestra, and for orchestra alone suggests a coherent progression. The most meaningful connections, however, are evident in the music of Brahms. Unusually for a composer of his time, Brahms was keenly aware of the musical past, and that awareness profoundly influenced his own compositional endeavors. The music of Bach proved an especially fertile source of ideas, and Brahms greatly admired the Chaconne that concludes Bach s Partita in D minor for solo violin, BWV Brahms transcribed that piece for the piano and subsequently used it as a template for the final movement of his Symphony No. 4 in E minor. Between these pieces, we hear music by Mozart, another composer especially dear to Brahms. Like Beethoven and many other musicians, Brahms held Mozart s Piano Concerto in D minor, K.466, in high esteem. The performance of that work we hear this evening includes the cadenza solo Brahms wrote for its first movement. Copyright 2015 by Paul Schiavo

8 Mostly Mozart Festival I Notes on the Program Notes on the Program By Paul Schiavo Chaconne in D minor for piano left hand (1720/1877) JOHANN SEBASTIAN BACH Born March 21, 1685, in Eisenach, Germany Died July 28, 1750, in Leipzig JOHANNES BRAHMS Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna, Austria Approximate length: 14 minutes Brahms was one of the great composers of the 19th century and an outstanding pianist in his youth, but his musical activities extended beyond both composing and performing. In the words of his biographer Karl Geiringer, Brahms displayed both fervent love for and scholarly interest in the music of the past. This interest provided a strong practical knowledge of such venerable forms and procedures as the Classical variation set of Haydn, Mozart, and Beethoven and the older chaconne, or passacaglia, which figured importantly in the works of the Baroque masters. In his own compositions, Brahms demonstrated that these formats could still serve as vehicles for original and contemporary musical invention. The finale of his Fourth Symphony, which concludes our concert, provides a notable instance. Brahms could hardly have written that music without the example of older works to guide him. In particular, the famous Chaconne movement of Bach s Partita in D minor for solo violin, BWV 1004, showed how much could be done with the taut variation process that defines the chaconne form, which entails a short theme or harmonic sequence that circles in a continuous series of repetitions. As it progresses, countermelodies and other developments play over and around it in counterpoint. The challenge to the composer is to invent diverse and interesting variations within the narrow framework imposed by the repetitive phrase structure. Bach met that challenge superbly in his Chaconne. In 1877 Brahms transcribed Bach s Chaconne for the piano, scoring it for the left hand only. Writing to Clara Schumann, to whom he dedicated the work, he said: For me, the Chaconne is one of the most incredible pieces of music...for a small instrument [Bach] creates a whole world of the deepest and most powerful expression. His transcription preserves that musical world, and it likely planted a conceptual seed that grew to magnificence in his Fourth Symphony.

9 Mostly Mozart Festival I Notes on the Program Piano Concerto No. 20 in D minor, K.466 (1785) WOLFGANG AMADEUS MOZART Born January 27, 1756, in Salzburg Died December 5, 1791, in Vienna Approximate length: 30 minutes Completed on February 10, 1785, Mozart s Piano Concerto in D minor, K.466, dates from a period during which the composer was writing prolifically for solo piano and orchestra Mozart composed some 15 piano concertos between 1782 and This piece, however, pointedly contradicts the confident tone and cheerful demeanor of nearly all his other works in this form. It was Mozart s first concerto in a minor key he would write only one other and its dramatic, stormy character remains startling more than two centuries after it first appeared. Mozart establishes the tone of the opening movement during the initial orchestral statement. Here, the principal theme, whose syncopated rhythm cuts across the grain of the prevailing pulse, conveys great emotional turmoil. This is not so much countered as complemented by the more lyrical second subject announced by the woodwinds. Did you know? Mozart wrote only two piano concertos in a minor key. The stormy character of the D-minor Concerto remains startling more than two centuries after he composed it. While several ensuing passages briefly lighten the music s emotional complexion, the tragic spirit of the movement is never in doubt. Later in the piece, Mozart pauses to allow a cadenza, a rhapsodic solo. This evening s performance features the cadenza written by Brahms, another fruit of that composer s creative involvement with the music of his predecessors. The ensuing Romanze promises serenity and repose, but the calm of its initial moments suddenly shatters as Mozart bursts once more into an impassioned rage. This storm, scarcely less intense than that heard earlier, at last subsides, and Mozart returns to the tranquil reverie that opened the movement. Mozart reverses the mood again in the finale. Its recurring principal theme, presented by the piano, strongly suggests a feeling of agitation. Later, the mood brightens as more hopeful ideas appear, most notably a carefree tune from the woodwinds. A return of the initial subject and a second contrasting episode leads to the soloist s cadenza, followed by a third appearance of the agitated Rondo theme. After a few measures, however, the piano pulls up short with a series of abrupt chords, leaving the outcome of the movement hanging in the balance. The woodwinds then reappear and restate the carefree melody they introduced earlier. This melody is quickly taken up and expanded by the piano and then the orchestra in a coda of proliferating joy.

10 Mostly Mozart Festival I Notes on the Program The D-minor Concerto was favored to the neglect of virtually all Mozart s other works in this form during the 19th century, when it was heard as a forerunner of Beethoven s stormy minor-key compositions and of Romantic subjectivity in general. To view the music in this way, however, is merely to be wise with hindsight, and this concerto is no doubt best heard as an authentic and deeply personal statement by a composer whose nature embraced both darkness and light, pathos and gladness. Symphony No. 4 in E minor, Op. 98 ( ) JOHANNES BRAHMS Approximate length: 39 minutes Brahms composed his Fourth Symphony during the summers of 1884 and 1885, which he spent at the small town of Mürzzuschlag in the Austrian mountains. This would be the composer s final essay as a symphonist and his penultimate work for orchestra. Although a dozen years remained to Brahms, only the Double Concerto, Op. 102, followed the Fourth Symphony in the line of his orchestral compositions. Brahms evidently feared that this symphony, which in some respects is more grand and sternly noble than genial and beguiling, would be misunderstood. I wonder if it will ever have an audience, he wrote from Mürzzuschlag to Hans von Bülow, the conductor entrusted with preparing the first performance. I rather fear it has been influenced by this climate, where the cherries never ripen. The work, however, was well received at its first performance in October 1885, and it remains a cornerstone of the symphonic repertory. The Fourth is the only one of Brahms s symphonies to launch directly into a principal theme without so much as a note of introduction. This subject in the opening of the first movement is remarkable for its economy, its modest twonote figures merging and expanding to form a long, expressive melody. Leonard Bernstein described the contrasting second theme as a kind of strange tango, and if this does not do justice to its character, it does serve to identify it. Much has been made of the modal contour of the melody that forms the basis of the second movement, and Brahms uses its tonal ambiguity to fashion uncommonly beautiful harmonies and melodic variations. By contrast, the scherzo which Brahms described as fairly noisy, with three timpani, triangle and piccolo is perhaps the most boisterous music the composer ever produced. Brahms saved his trump card for the finale. As noted earlier, this movement is constructed as a chaconne, a set of ongoing variations over a repeating eight-note motif presented at the outset by the winds. Brahms adheres strictly

11 Mostly Mozart Festival I Notes on the Program to the variation procedure, responding to its formal constraints with music of tremendous power and expressiveness. The whole movement is carefully shaped, subsiding from an imperious initial section to a tranquil central group of variations before building inexorably to a final climax. This overarching design, as well as the music s austere grandeur and, of course, the chaconne procedure governing the entire movement, evince the influence of Bach s D-minor Chaconne. Still, the originality with which Brahms expanded on Bach s example is impressive, and in its inspired discourse and formal perfection, Brahms s last utterance as a symphonist must be counted among his greatest achievements. Paul Schiavo serves as program annotator for the St. Louis and Seattle Symphonies, and writes frequently for concerts at Lincoln Center. Copyright 2015 by Paul Schiavo

12 Mostly Mozart Festival I Meet the Artists Meet the Artists Louis Langrée Louis Langrée, music director of the Mostly Mozart Festival since December 2002, was named Renée and Robert Belfer Music Director in August Under his musical leadership, the Mostly Mozart Festival Orchestra has received extensive critical acclaim, and their performances are an annual summertime highlight for classical music lovers in New York City. JENNIFER TAYLOR Mr. Langrée is also music director of the Cincinnati Symphony Orchestra and chief conductor of Camerata Salzburg. During the season, he will conduct the Cincinnati Symphony Orchestra at Lincoln Center as part of the Great Performers series. At home in Ohio, the ensemble s performances will include a Brahms festival and three world-premiere concertos for orchestra. Mr. Langrée will also tour Germany with Cam erata Salzburg. His guest engagements include appearances with Gewandhaus Orchestra of Leipzig and performances of Così fan tutte at the Aix-en-Provence Festival. Mr. Langrée frequently appears as guest conductor with the Berlin and Vienna Philharmonics, Budapest Festival Orchestra, London Philharmonic Orchestra, Paris Orchestra, and NHK Symphony Orchestra, as well as with the Freiburg Baroque Orchestra and Orchestra of the Age of Enlightenment. His opera engagements include appearances with the Metropolitan Opera, Lyric Opera of Chicago, La Scala, Opéra Bastille, Royal Opera House Covent Garden, and the Vienna State Opera. Mr. Langrée was appointed Chevalier des Arts et des Lettres in 2006 and Chevalier de l Ordre National de la Légion d Honneur in Mr. Langrée s first recording with the Cincinnati Symphony Orchestra, released in September 2014, features commissioned works by Nico Muhly and David Lang, as well as Copland s Lincoln Portrait narrated by Maya Angelou. His DVD of Verdi s La traviata from the Aix-en-Provence Festival featuring Natalie Dessay and the London Symphony Orchestra was awarded a Diapason d Or. His discography also includes recordings on the Accord, Naïve, Universal, and Virgin Classics labels.

13 Mostly Mozart Festival I Meet the Artists MICHAEL WILSON Jeremy Denk One of America s most thoughtprovoking, multifaceted, and compelling artists, pianist Jeremy Denk is the winner of a 2013 MacArthur Fellowship, the 2014 Avery Fisher Prize, and Musical America s 2014 Instrumentalist of the Year award. He has appeared as a soloist with the Los Angeles Philharmonic, the Phila - delphia Orchestra, the San Francisco Symphony, and the symphony orchestras of Boston, Chicago, and London. Mr. Denk regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the U.S. During the season, he launched his four-season tenure as an artistic partner of the Saint Paul Chamber Orchestra, made debuts with the Cleveland Orchestra and the New York Philharmonic, appeared as a soloist with the Los Angeles Philharmonic and San Francisco Symphony, and performed Bach concertos on tour with the Academy of St. Martin in the Fields. In 2014 Mr. Denk served as music director of the Ojai Music Festival, for which, in addition to performing and curating, he wrote the libretto for a comic opera. The opera was presented by Carnegie Hall in the season. Mr. Denk s debut recording for Nonesuch Records juxtaposed Ligeti s Études against Beethoven s final sonata and was included on many Best of 2012 lists. His second recording for the label, J.S. Bach: Goldberg Variations, was released in 2013 and reached the top of Billboard s classical albums chart. Mr. Denk is also known for his original and insightful writing on music. His blog, Think Denk, was selected for inclusion in the Library of Congress web archives, and he has written pieces for the New Yorker, New York Times, and New York Review of Books. One of his New Yorker contributions, Every Good Boy Does Fine, forms the basis of a memoir for future publication by Random House. Orion Weiss One of the most sought-after soloists in his generation, the pianist Orion Weiss has performed with major U.S. orchestras, including the Chicago and Boston Symphony Orchestras, as well as the Los Angeles and New York Philharmonics. His deeply felt and exceptionally crafted performances go far beyond his technical mastery and have won him worldwide acclaim. The season will see Mr. Weiss performing with the Iceland Symphony Orchestra, among others, and in collaborative projects with the

14 Mostly Mozart Festival I Meet the Artists Pacifica Quartet and with Cho-Liang Lin and the New Orford String Quartet in a performance of Chausson s Concerto for piano, violin, and string quartet. The season featured his third performance with the Chicago Symphony Orchestra, as well as a North American tour with the Salzburg Marionette Theatre in an enhanced piano recital of Debussy s La boîte à joujoux. He has also appeared with the Baltimore Symphony Orchestra and New World Symphony, and at the Ravinia and Hong Kong Chamber Music Festivals. In 2012 Mr. Weiss released a recital album of Dvořák, Prokofiev, and Bartók and also spearheaded a recording project of the complete Gershwin works for piano and orchestra with his longtime collaborators the Buffalo Philharmonic Orchestra and JoAnn Falletta. Named the Classical Recording Foundation s Young Artist of the Year in 2010, Mr. Weiss made his debut with the Boston Symphony Orchestra at Tanglewood the following year as a last-minute replacement for Leon Fleisher. He graduated from The Juilliard School, where he studied with Emanuel Ax. 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 period-instrument ensembles, chamber orchestras and ensembles, and acclaimed soloists, as well as opera productions, dance, film, late-night performances, and visual art installations. Contemporary music has become an essential part of the festival, 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 the only U.S. chamber orchestra dedicated to the music of the Classical period. Louis Langrée has been the Orchestra s music director since 2002, and each summer the ensemble s Avery Fisher Hall home is transformed into an appropriately intimate venue for its performances. Over the

15 Mostly Mozart Festival 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 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 Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Claudia Norman, Producer, Public Programming Mauricio Lomelin, Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Claire Raphaelson, House Seat Coordinator Stepan Atamian, Theatrical Productions Intern; Annie Guo, Production Intern; Grace Hertz, House Program Intern Program Annotators: Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright

16 Mostly Mozart Festival I Meet the Artists JENNIFER TAYLOR 2014 Mostly Mozart Festival Orchestra Louis Langrée, Renée and Robert Belfer Music Director Violin I Ruggero Allifranchini, Concertmaster Martin Agee Eva Burmeister Robert Chausow Lilit Gampel Amy Kauffman Sophia Kessinger Lisa Matricardi Kristina Musser Ronald Oakland Violin II Laura Frautschi, Principal Katsuko Esaki Michael Gillette Katherine Livolsi-Landau Michael Roth Dorothy Strahl Deborah Wong Mineko Yajima Viola Shmuel Katz, Principal Meena Bhasin Danielle Farina Chihiro Fukuda Jack Rosenberg Debra Shufelt-Dine Jessica Troy Cello Ilya Finkelshteyn, Principal Ted Ackerman Na-Young Baek Amy Butler-Visscher Annabelle Hoffman Alvin McCall Bass Zachary Cohen, Principal Laurence Glazener Lou Kosma Judith Sugarman Flute Jasmine Choi, Principal Tanya Dusevic Witek, Piccolo Oboe Randall Ellis, Principal Nick Masterson Clarinet Jon Manasse, Principal Liam Burke Bassoon Daniel Shelly, Principal Mark Romatz Tom Sefčovič Horn Lawrence DiBello, Principal Michelle Baker Richard Hagen Peter Reit Stewart Rose Trumpet Neil Balm, Principal Lee Soper Trombone Richard Clark, Principal Demian Austin Don Hayward, Bass Trombone Percussion Kory Grossman, Principal Timpani David Punto, 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