friday and saturday evenings, july 31–august 1, 2015, at 6...

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

These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

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Steinway PianoAvery Fisher Hall

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Mostly Mozart Festival I Notes on the Program

By Paul Schiavo

Klavierstücke, Op. 118 (1893)JOHANNES BRAHMSBorn May 7, 1833, in Hamburg, GermanyDied April 3, 1897, in Vienna

Approximate length: 23 minutes

In his last years, Brahms abandoned the kind of large-scale compositions thathad established his reputation as one of the great musical creators of histime. Instead, he sought a deep intimacy through songs, chamber music, andespecially several series of short piano pieces.

The latter pieces are brief, most lasting between two and four minutes, theirtone intimate and spontaneous; however, they are too substantial to trulyrank as keyboard miniatures. Their musical world is indeed compressed, butit is nevertheless rich in melodic ideas, far-ranging harmonies, moods, andkeyboard sonorities. The formal simplicity of these pieces—like so many19th-century piano solos, they generally follow an uncomplicated A-B-Aplan—serves to heighten their emotional immediacy and to throw into sharprelief the fine compositional craftsmanship they embody. Clara Schumann, towhom Brahms showed each work before he published it, did not exaggeratein 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-dozenpieces, four bear the title Intermezzo. The first, in A minor, is especially con-centrated since it lacks the usual contrasting central episode based on newthematic material. Brahms counters this first piece with one that seems itsopposite in every way. Whereas the first piece feels taut, the second con-veys a relaxed spaciousness; against the first’s dark A-minor tonality, the sec-ond is set in the parallel major key; and the turbulent character of the initialpiece 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 feelof a robust scherzo. Intimations of the main theme in the central episode pro-vide a thoughtful unifying touch. Next comes a third Intermezzo, followed bya Romanze whose song-like outer sections frame a surprisingly light andflorid central episode.

In the final Intermezzo, Brahms strikes a particularly Romantic tone at theoutset, where spare melodic phrases are colored with mysterious har-monies. The dark, introspective quality of this music makes the heroic decla-mations in the central episode all the more effective.

—Copyright © 2015 by Paul Schiavo

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Friday and Saturday Evenings, July 31–August 1, 2015, at 7:30

Mostly Mozart Festival OrchestraLouis Langrée, ConductorJeremy 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 RomanzeRondo: Allegro assaiMr. Denk will perform Brahms’s cadenza.

Intermission

BRAHMS Symphony No. 4 in E minor (1884–85)Allegro non troppoAndante moderatoAllegro giocosoAllegro energico e passionato

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These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Please make certain all your electronic devices are switched off.

Steinway PianoAvery Fisher Hall

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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. SamuelsFoundation, 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 PenthouseA Little Night Music Alexei Lubimov, PianoDEBUSSY: Selected Préludes; L’isle joyeuseSATIE: 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 HallEmerson String QuartetJean-Yves Thibaudet, PianoMOZART: String Quartet in G major, K.387BEETHOVEN: String Quartet in F major, Op. 135FAURÉ: Piano Quartet No. 1Pre-concert recital by the Emerson String Quartet at 6:30

Tuesday and Wednesday Evenings, August 4–5, at 7:30 in Avery Fisher HallMostly Mozart Festival OrchestraCornelius Meister, Conductor M|M

Sol Gabetta, Cello M|M

MOZART: Overture to Le nozze di FigaroHAYDN: Cello Concerto in C majorBEETHOVEN: Symphony No. 4Pre-concert recitals by the Anderson & Roe Piano Duo at 6:30

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: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract theperformers 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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Welcome to Mostly MozartI am pleased to welcome you to the 49th Mostly Mozart Festival, our annualcelebration 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 andRobert Belfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestradelights this year with the Classical repertoire that is its specialty, in addition toBeethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.

Guest appearances include maestro Cornelius Meister making his New Yorkdebut; Edward Gardner, who also leads the Academy of Ancient Music in aMendelssohn program on period instruments; and Andrew Manze with violin-ist Joshua Bell in an evening of Bach, Mozart, and Schumann. Other preemi-nent soloists include Emanuel Ax, Matthias Goerne, and festival newcomersSol Gabetta and Alina Ibragimova, who also perform intimate recitals in ourexpanded Little Night Music series. And don’t miss returning favorite EmersonString Quartet and the International Contemporary Ensemble, our artists-in-residence, 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 andsplendid festival. I look forward to seeing you often.

Jane MossEhrenkranz Artistic Director

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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 soundFollowed 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-givingsea;

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 [email protected].

Mostly Mozart Festival I Words and Music

Master of MusicBy Henry Van Dyke

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By Paul Schiavo

The three works on this evening’s program are connected in waysthat might not initially be obvious. All three are predominantly writ-ten in minor keys and partake of the sober resplendence suchtonalities offer great composers. In addition, their scoring—for solopiano, for piano and orchestra, and for orchestra alone—suggests acoherent progression.

The most meaningful connections, however, are evident in themusic of Brahms. Unusually for a composer of his time, Brahmswas keenly aware of the musical past, and that awareness pro-foundly influenced his own compositional endeavors. The music ofBach proved an especially fertile source of ideas, and Brahmsgreatly admired the Chaconne that concludes Bach’s Partita in Dminor for solo violin, BWV 1004. Brahms transcribed that piece forthe piano and subsequently used it as a template for the finalmovement of his Symphony No. 4 in E minor.

Between these pieces, we hear music by Mozart, another com-poser especially dear to Brahms. Like Beethoven and many othermusicians, Brahms held Mozart’s Piano Concerto in D minor, K.466,in high esteem. The performance of that work we hear this eveningincludes the cadenza solo Brahms wrote for its first movement.



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By Paul Schiavo

Chaconne in D minor for piano left hand (1720/1877)JOHANN SEBASTIAN BACHBorn March 21, 1685, in Eisenach, GermanyDied July 28, 1750, in Leipzig

JOHANNES BRAHMSBorn May 7, 1833, in Hamburg, GermanyDied April 3, 1897, in Vienna, Austria


Brahms was one of the great composers of the 19th century and an out-standing pianist in his youth, but his musical activities extended beyond bothcomposing and performing. In the words of his biographer Karl Geiringer,Brahms “displayed both fervent love for and scholarly interest in the musicof the past.”

This interest provided a strong practical knowledge of such venerable formsand procedures as the Classical variation set of Haydn, Mozart, and Beethovenand the older chaconne, or passacaglia, which figured importantly in the worksof the Baroque masters. In his own compositions, Brahms demonstrated thatthese formats could still serve as vehicles for original and contemporary musi-cal 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 olderworks to guide him. In particular, the famous Chaconne movement of Bach’sPartita in D minor for solo violin, BWV 1004, showed how much could bedone with the taut variation process that defines the chaconne form, whichentails a short theme or harmonic sequence that circles in a continuousseries of repetitions. As it progresses, countermelodies and other develop-ments play over and around it in counterpoint. The challenge to the composeris to invent diverse and interesting variations within the narrow frameworkimposed by the repetitive phrase structure. Bach met that challengesuperbly in his Chaconne.

In 1877 Brahms transcribed Bach’s Chaconne for the piano, scoring it for theleft 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 ofmusic...For a small instrument [Bach] creates a whole world of the deepestand most powerful expression.” His transcription preserves that musicalworld, and it likely planted a conceptual seed that grew to magnificence inhis Fourth Symphony.

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Piano Concerto No. 20 in D minor, K.466 (1785)WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in SalzburgDied December 5, 1791, in Vienna


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 solopiano and orchestra—Mozart composed some 15 piano concertos between1782 and 1786. This piece, however, pointedly contradicts the confident toneand cheerful demeanor of nearly all his other works in this form. It wasMozart’s first concerto in a minor key—he would write only one other—and itsdramatic, stormy character remains startling more than two centuries after itfirst appeared.

Mozart establishes the tone of theopening movement during the initialorchestral statement. Here, the princi-pal theme, whose syncopated rhythmcuts across the grain of the prevailingpulse, conveys great emotional turmoil.This is not so much countered as com-plemented by the more lyrical secondsubject announced by the woodwinds.While several ensuing passages briefly lighten the music’s emotional com-plexion, 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 perfor-mance features the cadenza written by Brahms, another fruit of that com-poser’s creative involvement with the music of his predecessors.

The ensuing Romanze promises serenity and repose, but the calm of its initialmoments suddenly shatters as Mozart bursts once more into an impassionedrage. 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, themood brightens as more hopeful ideas appear, most notably a carefree tunefrom the woodwinds. A return of the initial subject and a second contrastingepisode leads to the soloist’s cadenza, followed by a third appearance of theagitated Rondo theme. After a few measures, however, the piano pulls upshort with a series of abrupt chords, leaving the outcome of the movementhanging in the balance. The woodwinds then reappear and restate the carefreemelody they introduced earlier. This melody is quickly taken up and expandedby the piano and then the orchestra in a coda of proliferating joy.


Did you know?

Mozart wrote only two piano con-certos in a minor key. The stormycharacter of the D-minor Concertoremains startling more than twocenturies after he composed it.

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The D-minor Concerto was favored to the neglect of virtually all Mozart’s otherworks in this form during the 19th century, when it was heard as a forerunnerof Beethoven’s stormy minor-key compositions and of Romantic subjectivityin general. To view the music in this way, however, is merely to be wise withhindsight, and this concerto is no doubt best heard as an authentic and deeplypersonal statement by a composer whose nature embraced both darknessand light, pathos and gladness.

Symphony No. 4 in E minor, Op. 98 (1884–85)JOHANNES BRAHMS


Brahms composed his Fourth Symphony during the summers of 1884 and1885, which he spent at the small town of Mürzzuschlag in the Austrian moun-tains. This would be the composer’s final essay as a symphonist and his penul-timate work for orchestra. Although a dozen years remained to Brahms, onlythe Double Concerto, Op. 102, followed the Fourth Symphony in the line ofhis orchestral compositions.

Brahms evidently feared that this symphony, which in some respects is moregrand and sternly noble than genial and beguiling, would be misunderstood. “Iwonder if it will ever have an audience,” he wrote from Mürzzuschlag to Hansvon Bülow, the conductor entrusted with preparing the first performance. “Irather fear it has been influenced by this climate, where the cherries neverripen.” The work, however, was well received at its first performance inOctober 1885, and it remains a cornerstone of the symphonic repertory.

The Fourth is the only one of Brahms’s symphonies to launch directly into aprincipal theme without so much as a note of introduction. This subject in theopening of the first movement is remarkable for its economy, its modest two-note figures merging and expanding to form a long, expressive melody.Leonard Bernstein described the contrasting second theme as a kind ofstrange tango, and if this does not do justice to its character, it does serve toidentify it.

Much has been made of the modal contour of the melody that forms thebasis of the second movement, and Brahms uses its tonal ambiguity to fash-ion 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 composerever produced.

Brahms saved his trump card for the finale. As noted earlier, this movementis constructed as a chaconne, a set of ongoing variations over a repeatingeight-note motif presented at the outset by the winds. Brahms adheres strictly

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to the variation procedure, responding to its formal constraints with music oftremendous power and expressiveness. The whole movement is carefullyshaped, subsiding from an imperious initial section to a tranquil central groupof variations before building inexorably to a final climax. This overarchingdesign, as well as the music’s austere grandeur and, of course, the chaconneprocedure governing the entire movement, evince the influence of Bach’sD-minor Chaconne. Still, the originality with which Brahms expanded onBach’s example is impressive, and in its inspired discourse and formal perfec-tion, Brahms’s last utterance as a symphonist must be counted among hisgreatest achievements.

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



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Louis Langrée, music director of the Mostly Mozart Festival since December2002, was named Renée and Robert Belfer Music Director in August 2006.Under his musical leadership, the Mostly Mozart Festival Orchestra hasreceived extensive critical acclaim, and their performances are an annualsummertime highlight for classical music lovers in New York City.

Mr. Langrée is also music director of the Cincinnati Symphony Orchestra andchief conductor of Camerata Salzburg. During the 2015–16 season, he willconduct the Cincinnati Symphony Orchestra at Lincoln Center as part of theGreat Performers series. At home in Ohio, the ensemble’s performances willinclude a Brahms festival and three world-premiere concertos for orchestra.Mr. Langrée will also tour Germany with Cam erata Salzburg. His guestengagements include appearances with Gewandhaus Orchestra of Leipzigand performances of Così fan tutte at the Aix-en-Provence Festival.

Mr. Langrée frequently appears as guest conductor with the Berlin andVienna Philharmonics, Budapest Festival Orchestra, London PhilharmonicOrchestra, Paris Orchestra, and NHK Symphony Orchestra, as well as withthe 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–CoventGarden, and the Vienna State Opera. Mr. Langrée was appointed Chevalierdes Arts et des Lettres in 2006 and Chevalier de l’Ordre National de la Légiond’Honneur in 2014.

Mr. Langrée’s first recording with the Cincinnati Symphony Orchestra,released in September 2014, features commissioned works by Nico Muhlyand David Lang, as well as Copland’s Lincoln Portrait narrated by MayaAngelou. His DVD of Verdi’s La traviata from the Aix-en-Provence Festivalfeaturing Natalie Dessay and the London Symphony Orchestra was awardeda Diapason d’Or. His discography also includes recordings on the Accord,Naïve, Universal, and Virgin Classics labels.

Mostly Mozart Festival I Meet the Artists

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Louis Langrée

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One of America’s most thought-provoking, multifaceted, and com-pelling artists, pianist Jeremy Denk isthe winner of a 2013 MacArthurFellowship, the 2014 Avery FisherPrize, and Musical America’s 2014Instrumentalist of the Year award. Hehas appeared as a soloist with theLos Angeles Philharmonic, the Phila -delphia Orchestra, the San FranciscoSymphony, and the symphony orches-tras of Boston, Chicago, and London.Mr. Denk regularly gives recitals in

New York, Washington, Boston, Philadelphia, and throughout the U.S. Duringthe 2014–15 season, he launched his four-season tenure as an artistic partnerof the Saint Paul Chamber Orchestra, made debuts with the ClevelandOrchestra and the New York Philharmonic, appeared as a soloist with the LosAngeles Philharmonic and San Francisco Symphony, and performed Bach con-certos on tour with the Academy of St. Martin in the Fields. In 2014 Mr. Denkserved as music director of the Ojai Music Festival, for which, in addition toperforming and curating, he wrote the libretto for a comic opera. The operawas presented by Carnegie Hall in the 2014–15 season.

Mr. Denk’s debut recording for Nonesuch Records juxtaposed Ligeti’s Étudesagainst Beethoven’s final sonata and was included on many “Best of 2012”lists. His second recording for the label, J.S. Bach: Goldberg Variations, wasreleased 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 webarchives, and he has written pieces for the New Yorker, New York Times, andNew York Review of Books. One of his New Yorker contributions, “EveryGood Boy Does Fine,” forms the basis of a memoir for future publication byRandom House.

Orion Weiss

One of the most sought-after soloists in his generation, the pianist OrionWeiss has performed with major U.S. orchestras, including the Chicago andBoston Symphony Orchestras, as well as the Los Angeles and New YorkPhilharmonics. His deeply felt and exceptionally crafted performances go farbeyond his technical mastery and have won him worldwide acclaim.

The 2015–16 season will see Mr. Weiss performing with the IcelandSymphony Orchestra, among others, and in collaborative projects with the

Jeremy Denk

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Pacifica Quartet and with Cho-Liang Lin and the New Orford String Quartet ina performance of Chausson’s Concerto for piano, violin, and string quartet. The2014–15 season featured his third performance with the Chicago SymphonyOrchestra, as well as a North American tour with the Salzburg MarionetteTheatre in an enhanced piano recital of Debussy’s La boîte à joujoux. He hasalso appeared with the Baltimore Symphony Orchestra and New WorldSymphony, and at the Ravinia and Hong Kong Chamber Music Festivals. In2012 Mr. Weiss released a recital album of Dvorák, Prokofiev, and Bartók andalso spearheaded a recording project of the complete Gershwin works forpiano and orchestra with his longtime collaborators the Buffalo PhilharmonicOrchestra 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 atTanglewood the following year as a last-minute replacement for Leon Fleisher.He graduated from The Juilliard School, where he studied with Emanuel Ax.


Lincoln Center’s Mostly Mozart Festival—America’s first indoor summermusic festival—was launched as an experiment in 1966. Called MidsummerSerenades: A Mozart Festival, its first two seasons were devoted exclusivelyto the music of Mozart. Now a New York institution, Mostly Mozart continuesto broaden its focus to include works by Mozart’s predecessors, contempo-raries, and related successors. In addition to concerts by the Mostly MozartFestival Orchestra, Mostly Mozart now includes concerts by the world’soutstanding period-instrument ensembles, chamber orchestras and ensembles,and acclaimed soloists, as well as opera productions, dance, film, late-nightperformances, and visual art installations. Contemporary music has become anessential part of the festival, embodied in annual artists-in-residence, includingOsvaldo Golijov, John Adams, Kaija Saariaho, Pierre-Laurent Aimard, and theInternational Contemporary Ensemble. Among the many artists and ensem-bles who have had long associations with the festival are Joshua Bell,Christian Tetzlaff, Itzhak Perlman, Emanuel Ax, Garrick Ohlsson, StephenHough, Osmo Vänskä, the Emerson String Quartet, Freiburg BaroqueOrchestra, Orchestra of the Age of Enlightenment, and the Mark MorrisDance Group.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the MostlyMozart Festival, and the only U.S. chamber orchestra dedicated to the music ofthe Classical period. Louis Langrée has been the Orchestra’s music directorsince 2002, and each summer the ensemble’s Avery Fisher Hall home is trans-formed into an appropriately intimate venue for its performances. Over the


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years, the Orchestra has toured to such notable festivals and venues asRavinia, Great Woods, Tanglewood, Bunkamura in Tokyo, and the KennedyCenter. Conductors who made their New York debuts leading the MostlyMozart Festival Orchestra include Jérémie Rhorer, Edward Gardner, LionelBringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin, DavidZinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist JamesGalway, 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 andcommunity relations, and manager of the Lincoln Center campus. A presenterof more than 3,000 free and ticketed events, performances, tours, and educa-tional 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 MozartFestival, and the White Light Festival, as well as the Emmy Award–winningLive From Lincoln Center, which airs nationally on PBS. As manager of theLincoln Center campus, LCPA provides support and services for the LincolnCenter complex and the 11 resident organizations. In addition, LCPA led a $1.2billion campus renovation, completed in October 2012.

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Acting Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingClaudia Norman, Producer, Public ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Programming Publications EditorClaire Raphaelson, House Seat CoordinatorStepan 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


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Mostly Mozart Festival OrchestraLouis Langrée, Renée and Robert Belfer Music Director

Violin IRuggero Allifranchini,Concertmaster

Martin AgeeEva BurmeisterRobert ChausowLilit GampelAmy KauffmanSophia KessingerLisa MatricardiKristina MusserRonald Oakland

Violin IILaura Frautschi,Principal

Katsuko EsakiMichael GilletteKatherine Livolsi-LandauMichael RothDorothy StrahlDeborah WongMineko Yajima

ViolaShmuel Katz, PrincipalMeena Bhasin Danielle FarinaChihiro FukudaJack RosenbergDebra Shufelt-DineJessica Troy

CelloIlya Finkelshteyn,Principal

Ted AckermanNa-Young BaekAmy Butler-VisscherAnnabelle HoffmanAlvin McCall

BassZachary Cohen,Principal

Laurence GlazenerLou KosmaJudith Sugarman

FluteJasmine Choi, PrincipalTanya Dusevic Witek,Piccolo

OboeRandall Ellis, PrincipalNick Masterson

ClarinetJon Manasse, PrincipalLiam Burke

BassoonDaniel Shelly, PrincipalMark RomatzTom Sefcovic

HornLawrence DiBello,Principal

Michelle BakerRichard HagenPeter ReitStewart Rose

TrumpetNeil Balm, PrincipalLee Soper

Trombone Richard Clark, PrincipalDemian AustinDon Hayward, Bass Trombone

PercussionKory Grossman,Principal

TimpaniDavid Punto, Principal

Librarian Michael McCoy

Personnel ManagersNeil BalmJonathan HaasGemini Music

Productions, Ltd.

Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra

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friday and saturday evenings, july 31–august 1, 2015, at 6...

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