October 28–November 18, 2010

Lincoln Center presents

October 28–November 18, 2010

Lincoln Center presents

WhiteLightFestival.org 45

Steinway PianoChurch of St. Paul the Apostle

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

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

Monday Evening, November 15, 2010, at 7:30

CredoWorld-premiere program

featuring new works by Kjartan Sveinsson

Jónsi & AlexThe Hilliard EnsembleLatvian National Choir

Wordless Music OrchestraJeffrey Milarsky, Conductor

Please join the artists at at65, in the Alice Tully Hall lobby (Broadway at 65th Street),immediately following the performance for a White Light Lounge.

Support for the White Light Festival is provided byRita E. and Gustave M. Hauser, The Florence GouldFoundation, The Fan Fox and Leslie R. SamuelsFoundation, Inc., The Shubert Foundation,Logicworks, Ann and Gordon Getty Foundation,Great Performers Circle, Chairman’s Council, andFriends of Lincoln Center.

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

Corporate support is provided by BNY Mellon.

Endowment support for Symphonic Masters isprovided by the Leon Levy Foundation.

Endowment support is also provided by UBS.

Movado is an Official Sponsor of Lincoln Center, Inc.

Continental Airlines is the Official Airline of LincolnCenter, Inc.

MetLife is the National Sponsor of Lincoln Center, Inc.

Tonight’s program is being presented as a live audiowebcast on Q2, WQXR’s contemporary musicstream, and will continue to be available foron-demand listening as well, at www.wqxr.org/q2.

Upcoming White Light Festival Events:

Tuesday Evening, November 16, at 7:30,in Alice Tully HallPaul Jacobs, OrganThe Clarion ChoirSteven Fox, ConductorBACH: Clavier-Übung IIIWhite Light Lounge in at65Pre-concert discussion with Paul Jacobs and AraGuzelimian at 6:15, in Alice Tully Hall

Wednesday and Thursday Evenings,November 17 and 18, at 7:30, in Rose TheaterThe Manganiyar Seduction (U.S. premiere)Roysten Abel, Concept and Direction (U.S. debut)Daevo Khan, Conductorwith Manganiyar musiciansPost-concert discussion on Wednesday, November 17,with Roysten Abel and John SchaeferWhite Light Lounge in at65 on November 18

For tickets, call (212) 721-6500 or visitWhiteLightFestival.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn aboutprogram cancellations or request a White LightFestival brochure.

Visit WhiteLightFestival.org to view essays,interviews, and other information relating to thisseason’s programs.

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 leavebefore the end of the performance are asked to do so between pieces, not during theperformance. The taking of photographs and the use of recording equipment are not allowed inthe building.

CredoWorld-premiere program featuring new works by Kjartan Sveinsson

Jónsi & AlexThe Hilliard EnsembleLatvian National Choir

Wordless Music OrchestraJeffrey Milarsky, Conductor

BUSNOYS In hydraulis (c. 1467)THE HILLIARD ENSEMBLE

KJARTAN SVEINSSON Cage a Swallow Can’t You but You Can’tAnne Carson, Writer Swallow a Cage (2010) (world premiere)

Robert Currie, Randomizer (Lincoln Center commission)Sonnet ISonnet IISonnet IIISonnet IVSonnet VTHE HILLIARD ENSEMBLE

KJARTAN SVEINSSON Credo (2010) (world premiere)(Lincoln Center commission)LATVIAN NATIONAL CHOIR, WORDLESS MUSICORCHESTRA, MILARSKY

Intermission

JÓNSI & ALEX Selections from Riceboy Sleeps (2006/10)Transcription, orchestration, and (world premiere) (Lincoln Center commission)

choral arrangement by David Handler Sleeping GiantIndian SummerHappinessDaníell in the SeaAtlas SongBoy 1904JÓNSI & ALEX, LATVIAN NATIONALCHOIR, WORDLESS MUSIC ORCHESTRA,MILARSKY

Copresented by Lincoln Center for the Performing Arts and Wordless Music.

WhiteLightFestival.org

“Music,” wrote 19th-century poet Victor de Laprade, “induces in us a sense of the infi-nite and the contemplation of the invisible.” Individually and as members of the Icelandicmusic group Sigur Rós, multi-instrumentalist Kjartan Sveinsson (b. 1978) and singer-gui-tarist Jónsi Birgisson (b. 1975) embody that thought in every note. Their music is notovertly spiritual, but it is contemplative and private, a space apart from buzz and noise.Both soaring and intimate, it can make people uneasy, or moved, or exhilarated, all frommusic’s power to prompt the mind and soul to attempt to take the measure of the ineffa-ble, to use the elemental as a springboard into the profound.

Riceboy Sleeps, the 2009 album by Birgisson and his partner, Alex Somers, recalls ambi-ent music such as Brian Eno’s Apollo: Atmospheres and Soundtracks (1983) as well asEnglish composer Gavin Bryars, but it also employs accoutrements of Christian liturgicalmusic: sustained organ chords, a boys’ choir, and hymn-like progressions, not to mentionthe mystical effect of reverberation. The pieces are both epic and static, unfolding on theirown meditative terms, and yet so incandescent at any given moment that they remain riv-eting for their duration. For the world premiere live performance of this rarefied music,composer and arranger David Handler has translated the electronically manipulated soundsof Riceboy Sleeps for live instruments and voices.

As is the tradition with programs in the visionary Wordless Music series, very new and veryold commingle. Antoine Busnoys’ (c. 1430–92) motet In hydraulis (c. 1466) is not actuallya spiritual piece; rather, it is Busnoys’ tribute to fellow composer Johannes Ockeghem(and, some say, himself). But just as fans of electronic rave music responded to Hildegardof Bingen in the mid ’90s, the modern ear can read Busnoys’ impeccable symmetries andPythagorean proportions as a well-crafted minimalism that bespeaks spirituality, and itis easy to see the lineage from this work, a staple of the Hilliard Ensemble repertory, toSigur Rós.

Kjartan Sveinsson’s contributions to this evening’s program include Cage a Swallow Can’tYou but You Can’t Swallow a Cage, featuring a series of sonnets about the artist Roni Hornand her geographical muse, Iceland, written by MacArthur Award–winning poet Anne Car-son with randomizer Robert Currie and sung by the Hilliard Ensemble. The lyrics of Sveins-son’s other contribution, Credo, consist of various Latin words for things, good and bad,physical and spiritual, that he believes in, hence the title, which is Latin for “I believe.”Sveinsson has spoken of finding commonalities in all music and embracing a transcen-dent sense of simplicity in an increasingly complex musical (and real) world. It’s as if heanticipated the White Light series just as much as Monsieur de Laprade did.

—Copyright © 2010 by Michael Azerrad

Notes on the ProgrambyMichael Azerrad

WhiteLightFestival.org

Texts and TranslationsIn hydraulisText: Antoine Busnoys

In hydraulis quondam PithagoraAdmirante melos phtongitate

Malleorum secus is equora

Per ponderum inequalitatesAdinvenit muse quidditates.

Epitritum ast hemiolamEpogdoum; duplam nam perducunt

Tessaron penthe convenientiamNec non phtongum et pason adducuntMonocordi dum genus conducunt.

Hec Ockeghem cunctis qui precinisGalliarum in regis latiaPracticulum tue propaginis

Arma cernens quondam per atriaBurgundie ducis in patria

Per me, Busnoys, illustris comitisDe Charolois indignum musicumSaluteris tuis pro meritisTamquam summum Cephas tropidicum.Vale verum instar Orpheicum.

The Water-OrganTrans.: Selene Mills

Long ago Pythagoras, marveling at the tunesmade by water-organs and the differentnotes

made by hammers through the differencein their weights,

being identical in other respects,discovered their essential musical qualities.

An interval of a fifth has a frequencyhalf as large again as that of the root;a fourth joined to a fifth has a frequencytwice as large as that of the root,and produces the sound of an octave,as types of monochord demonstrate.

Ockeghem, you who out-sing everyonein the wide kingdom of the French;once, in my own country, I saw theinstruments of the

preservation of your skill, throughout thehalls of the Duke of Burgundy.

Through me, Busnoys, unworthy musicianof the illustrious Count of Charolais,may you be greeted for your own merits,as a veritable Cephas of troping.Hail, true image of Orpheus.

Cage a Swallow Can’t You but You Can’t Swallow a Cage (2010)Text: Anne Carson

Sonnet I

Distance is your shy complete dreamall that astonishing breathing

all that blue is no burden at allcan you break open

a newbox of some-

where you have never travelled gladly beyondany any-whereshuts and opens, look!

that same old stranger is

all thatall thatall thatall thatall that“self-ablaze”too

Sonnet II

After the snow, after the husbandscan the swallow have wishes

can she know the wayher soul restlessas a night in broad day

what a strange feeling to fly so highto fly very highinto that bigsilence

alonevanishingnorth(indigo)

after the husbands, after the snow

WhiteLightFestival.org

Sonnet III

Beautiful as a triremeyour every little feather

with its 170 oarsyour overall arrangement

with its 170 oarsmenhow do feathers work

all striking the water in time to the boatswain's flutethey

work like artists, reasonably and luminouslyas blue as they

are black asthey are blue there

is a threat, they sweatso do you

Sonnet IV

Under you the towns slide sleepingvast animals

watch all the silenceyour cruel season

bids youdown the dirty wind

if storms don't kill youradio towers might

there is no proof of love exceptto fightto fightto

fight

until

lips

spill

Sonnet V

O ladie strangewho bend the manifold

blue-stinging sheer through wintry air

you plummet here and there and far and flashdowncold

through thefish-horizontal ocean

How do you learn what you have to knowas if

out of the depths of you another appeared

alive on the wave and saidJust go

WhiteLightFestival.orgWhiteLightFestival.org

Jónsi BirgissonJon þor Birgisson is best known as thesinger in Sigur Rós, a band he founded inReykjavik, Iceland, some 16 years ago. Hehas made five studio albums with SigurRós, as well as the highly praised tour filmHeima and numerous side projects, includ-ing collaboration with Alex Somers on Rice-boy Sleeps. This year he released his firstsolo album, Go, and has spent most of2010 on the road playing concerts in NorthAmerica, Europe, Asia, and Australia. Healso found time to write the closing creditsong for the feature film How to Train YourDragon.

Alex SomersAlex Somers was born in Baltimore andstudied music and composition at BerkleeCollege of Music in Boston. He moved toIceland five years ago and began collaborat-ing with Jónsi Birgisson on various musicalprojects. In 2009 Jónsi & Alex released theirinstrumental collaboration Riceboy Sleeps,and later the same year Mr. Somers copro-duced Birgisson’s debut solo album, Go.

KjartanSveinsson

Kjartan Sveinsson is the keyboard playerand guitarist in the band Sigur Rós. He hasarranged the strings and orchestration on

all of the Icelandic band’s albums, as wellas penning the lion’s share of the 70-minuteorchestral work Odin’s Raven Magic, whichtook the text from the ancient Icelandicsaga of the same name and set it in apoca-lyptic musical surroundings. In 2003 he andthe rest of Sigur Rós collaborated withMerce Cunningham, providing music forthe octogenarian choreographer’s pieceSplit Sides alongside Radiohead. He hascomposed music for the Oscar-nominatedIcelandic short The Last Farm and morerecently scored Neil Jordan’s film Ondine.

The Hilliard EnsembleThe Hilliard Ensemble, founded in 1974 andnamed after the British miniaturist painterNicholas Hilliard, is one of the world’s finestvocal chamber ensembles. It is unrivalledfor its formidable reputation in the fields ofboth old and newmusic. Its distinctive styleand highly developed musicianship engagethe listener as much in medieval and Ren-aissance repertoire as in works speciallywritten for the group by living composers.

The group’s standing as an early music en-semble dates from the 1980s with its se-ries of successful recordings for EMI (manyof which have now been re-released on Vir-gin), but from the start it has paid equal at-tention to new music. The 1988 recordingof Arvo Pärt’s Passio began a fruitful rela-tionship with both Pärt and the Munich-based record company ECM, whichcontinues through this present project.Since that time, these composers, amongmany others, have written for the HilliardEnsemble: Veljo Tormis, Erkki-Sven Tüür,Gavin Bryars, Heinz Holliger, John Casken,James MacMillan, and Elena Firsova.

The ensemble also frequently works withorchestras. In 1999, the group premieredMiroirs des temps by Unsuk Chin with theLondon Philharmonic Orchestra and KentNagano. In the same year, MacMillan’sQuickening, commissioned jointly by theBBC and the Philadelphia Orchestra, was

Meet the Artists

premiered at the BBC Proms. With LorinMaazel and the New York Philharmonic, theensemble performed the world premiere ofStephen Hartke’s Third Symphony, and theyrecently collaborated with the MunichChamber Orchestra on a newwork by Tüür.In 2007 they joined forces with the Dres-den Philharmonic Orchestra to premiereNunc dimittis by the Russian composerAlexander Raskatov, also recording this forECM.

August 2008 saw the ensemble at the Ed-inburgh International Festival in a premiereof a music theater project written by HeinerGoebbels in a production by the ThéâtreVidy-Lausanne: I went to the house but didnot enter. This has subsequently been pre-sented throughout Europe and the U.S.

The Hilliard Ensemble may be heard onECM New Series, Coro, Virgin, Hyperion,Saga, and Meridian CDs and downloads.Learn more about the Hilliard Ensemble atwww.hilliardensemble.demon.co.uk.

Latvian National ChoirThe Latvian National Choir is one of Eu-rope’s major choruses. Founded in 1942 inRiga, the choir is Latvia’s largest and playsa central role in the musical life of this Balticcountry of 2.6 million inhabitants. Its reper-toire is centered on the masterpieces of18th- through 20th-century European clas-sical music. The choir keeps updating itsrepertoire with such interesting projects asfilm music and world premieres by com-posers such as Arvo Pärt, Lera Auerbach,and others. The choir is the first choice ofmany promoters at home and abroad forthe performance of classical and contem-porary music.

In recent years, the choir has cooperatedwith the leading symphony orchestras ofSingapore, Israel, Germany, France, Esto-nia, Moscow, and St. Petersburg; smallerensembles such as the Absolute Ensembleand the Mahler Chamber Orchestra; andoutstanding conductors such as MarissJansons, Andris Nelsons, Neeme Järvi,Mstislav Rostropovich, Kristjan Järvi, Paavo

Järvi, Valery Gergiev, Zubin Mehta, JeffreyTate, Vladimir Fedoseyev, Tõnu Kaljuste,and others. In March of 2011 the choir per-forms Mahler’s Symphony No. 8 withJansons and the Royal Concertgebouw Or-chestra. The Latvian National Choir has col-laborated with musicians such as vocalistElina Garanca, Angela Brown, and Alexan-der Antonenko; cellists Ivan Monighetti andPatrick Demenga; and many more.

The choir participated in the soundtrack forthe film Perfume, directed by Tom Tykwer,in 2006, which was also released as a CDby EMI Classics under the title Perfume(Original Soundtrack). Other participants ofthe recording were the Berliner Philhar-moniker and conductor Simon Rattle.

The Latvian National Choir is to celebrate its70th anniversary in 2012. The choir is athree-time winner of the Great MusicAward of Latvia (1998, 2000, and 2002). In2003 the choir was presented with theAward of the Cabinet of Ministers of theRepublic of Latvia. In 2007 it was given theAward of the Ministry of Culture of the Re-public of Latvia. At home, the choir isknown as the State Choir “Latvija.”

Wordless Music OrchestraTheWordless Music Orchestra is the houseband of New York City’sWordlessMusic se-ries, which was founded by non-musicianRonen Givony in 2006 and has since pre-sented dozens of concerts in churches, mu-seums, nightclubs, and out of doors, pairingartists from the sound worlds of so-calledclassical, electronic, and rock music.

Comprising some of New York’s most om-nivorous young musicians and members ofgroups such as AlarmWill Sound, Signal, SoPercussion, ACME, and Bang on a Can, theorchestra presented its first concerts overtwo sold-out nights in January 2008 underconductor Brad Lubman with the U.S. pre-miere of composer and Radiohead guitaristJonny Greenwood’s Popcorn Superhet Re-ceiver. In 2009, four months after its worldpremiere by Esa-Pekka Salonen and the LosAngeles Philharmonic, Arvo Pärt’s Sym-

phony No. 4 (“Los Angeles”) was given itsNew York/East Coast premiere by theWord-less Music Orchestra under conductor Jef-frey Milarsky in two sold-out concerts atwhich the orchestra also performed along-side the Japanese instrumental noise-rockband MONO. Also in 2009, the orchestrarecorded with former Battles multi-instrumentalist Tyondai Braxton for CentralMarket, the composer’s solo debut onWarp Records.

In March 2011 the orchestra will embarkwith Tyondai Braxton on its first-ever mini-tour—to Alice Tully Hall in New York, the Li-brary of Congress in Washington, D.C., andWalker Art Center in Minneapolis—to per-form new works and world premierearrangements from Braxton’s Central Mar-ket in addition to music by John Adams,Louis Andriessen, and composer/conductorCaleb Burhans. Two months later, the or-chestra will team up with the Signal Ensem-ble and conductor Brad Lubman to performthe U.S. premiere of Jonny Greenwood’snewest work for orchestra, Doghouse, on aprogramwith the New York City premiere ofPhilip Glass/David Bowie/Brian Eno’s Sym-phony No. 4 (“Heroes”) and György Ligeti’sChamber Concerto. For more information,please visit wordlessmusic.org.

Jeffrey MilarskyAmerican conductor JeffreyMilarsky is highlyacclaimed worldwide for his impeccablemusicianship, exhilarating presence, andinnovative programming. His wide-rangingrepertoire, which spans from Bach to Xe-nakis, has brought him to lead such accom-plished groups as the American ComposersOrchestra, MET Chamber Ensemble, theLos Angeles Philharmonic, Milwaukee Sym-phony, Chamber Music Society of LincolnCenter, New York New Music Ensemble,Speculum Musicae, and the New York Phil-harmonic chamber music series. In the

United States and abroad, he has premieredand recorded works by groundbreakingcontemporary composers, including MiltonBabbitt, Elliott Carter, Gérard Grisey, andWolfgang Rihm.

Mr. Milarsky is professor of music at Co-lumbia University, where he is the music di-rector and conductor of the ColumbiaUniversity Orchestra and theManhattan Sin-fonietta, which focuses on 20th- and 21st-century scores. He is on the faculty of theManhattan School of Music as artistic direc-tor and conductor of the Percussion Ensem-ble, as well as the music director of AXIOM,The Juilliard School’s contemporary musicensemble. In September of 2008 he wasnamed to the conducting faculty of The Juil-liard School.

Mr. Milarsky made his debut at the NewYork City Opera during the 2008–09 season.This season he will conduct in Los Angeles,Norway, Italy, and Paris. He appears regularlyat Carnegie Hall with the American Com-posers Orchestra and is a regular guest con-ductor of the BIT20 Ensemble, havingperformed with them around the globe, in-cluding Paris, Estonia, Latvia, Norway, andItaly. A much-in-demand timpanist and per-cussionist, Mr. Milarsky has performed andrecorded with the New York Philharmonic,the Philadelphia Orchestra, and the Pitts-burgh Symphony, among others.

Mr. Milarsky received his bachelor and mas-ter of music degrees from The JuilliardSchool. Upon graduation, he was awardedthe Peter Mennin Prize for outstanding lead-ership and achievement in the arts.

Lincoln Center’s White LightFestivalThe White Light Festival is a new multi-dis-ciplinary fall festival at Lincoln Center, fo-cusing on music’s unique emotionalcapacity to move us beyond ourselves andilluminate our larger interior universe. Inthis, its debut season, the festival exploresthe overtly spiritual manifestations ofmusic’s transcendent power as revealed in

different cultural traditions. The inauguralfestival presents 16 U.S. and New York pre-mieres and debuts by artists and compa-nies from 15 countries.

Lincoln Center for thePerforming Arts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presenterof artistic programming, national leader inarts and education and community relations,and manager of the Lincoln Center campus.As a presenter of more than 400 events an-nually, LCPA’s series include AmericanSongbook, Great Performers, Lincoln Center

Festival, Lincoln Center Out of Doors, Mid-summer Night Swing, and the MostlyMozart Festival. The Emmy Award–winningLive From Lincoln Center extends LincolnCenter’s reach to millions of Americans na-tionwide. As a leader in arts and educationand community relations, LCPA takes awide range of activities beyond its hallsthrough the Lincoln Center Institute, as wellas offering arts-related symposia, familyprogramming, and accessibility. And asmanager of the Lincoln Center campus,LCPA provides support and services for theLincoln Center complex and its 11 otherresident organizations.

Latvian National ChoirMaris Sirmais, Artistic Director and Chief ConductorMaris Oslejs, General Manager

The Hilliard EnsembleDavid James, CountertenorRogers Covey-Crump, TenorSteven Harrold, TenorGordon Jones, Baritone

SopranoGrinhofa VitaNastevica IndraRomancane IneseBurkovska MarlenaFreimane IlzeLineja LailaTarvida DitaLisovska IngaPilante MaraPerkone Eva

AltoGiluca IngaSevele IvetaKamarute InitaKažena ZaneBerzin,a AnitaVasil,jeva LigaPavila DainaTaranda Evita

TenorKrastin,š AivarsEšenvalds E

–riks

Lielauss DidzisTomsons ValdisOzolin,š KalvisDižgalvis JanisLapin,š HaraldsAugustinovics Agnis

BassMatvejs Ug’ isFiskovics EduardsRebhuns IvarsMen,g’elis Ug’ isTomenass OlafsOrlovskis ArtursPuke AgrisGrasis Zigmars

WhiteLightFestival.orgWhiteLightFestival.org

Lincoln Center Programming DepartmentJane Moss, Vice President, ProgrammingHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingKate Monaghan, Associate Director, ProgrammingCharles Cermele, Producer, Contemporary ProgrammingJill Sternheimer, Associate Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingYukiko Shishikura, Production CoordinatorSheya Meierdierks-Lehman, House Program CoordinatorKimberly DeFilippi, Assistant to the Vice PresidentJulia Lin, Programming AssociateRegina Grande, Interim Programming Associate

Jónsi & Alex’s and Kjartan Sveinsson’s representation:Big Dipper Productions Ltd.41 Finsbury Park RoadLondon N4 2JY

The Hilliard Ensemble and Latvian National Choir’s representation:Kerby Lovallo, DirectorNew World Classics27 Snipsic Lake RoadEllington, Connecticut 06029-3521

The Wordless Music Orchestra’s representation:Ronen Givony

For Credo:John Finen, Stage ManagerMatt Frey, Lighting DesignSarah Frankel, Assistant Lighting DesignJody Elff, Sound DesignRichie Clarke, Assistant Sound DesignRandall Etheredge, Technical SupervisorJohn Daines, Assistant Technical SupervisorMartin Perrin, Staging SupervisorSarah Thiboutot,Master ElectricianGregory Wolfe, House Manager

For the White Light Festival:Matt Frey, Festival Lighting Design

ViolinErik CarlsonElissa CassiniErvin DedeArtur KaganovskiyChristiana LiberisMarissa LicataYuiko KamakariRieko KawabataYuki NumataGillian RiversMary Jo StilpMarc Szammer

ViolaDavid FalloFlavio GaeteEszter KaganovskiyTawnya Popoff

CelloAdrian DaurovAmanda GookinJustin KantorLauren Weaver

BassSean McClowryMark Vanderpoel

Flute/PiccoloJon Engle

TrumpetJosh Frank

PercussionChris ThompsonYuri Yamashita

HarpKristi Shade

OrganVaughn Mauren

Founder/ProducerRonen Givony

Wordless Music Orchestra

presents

The Man with the Golden Flute:Sir James Tells his Story

Back then I often wondered what the futurewould hold, and then one day something veryodd happened. I was at home with my motherwhen we heard a loud knock on the door. Mumopened it and there was an old gypsy woman.She handed my mother a sprig of heather andwanted to talk. The gypsy woman looked at meand asked to see my hand. She studied my palmand said, ‘You know, one day you’re going to bea great musician.’ —Sir James Galway

Rising from a poverty-stricken background withfew resources, Sir James Galway became aninternationally celebrated flutist who traveled the

world many times over and made countless friends. He celebrates his seventieth birthdayyear with The Man with the Golden Flute, a new memoir that looks back on a dazzlingcareer spanning five decades and many genres of music. The acclaimed Celtic minstrelbegins with the challenges he faced coming from a musical but working-class family inBelfast, and takes readers on an adventurous journey through his first professionalposition, his first recording session, and his prophetic dispute with legendary conductorHerbert von Karajan at the Berlin Philharmonic. He describes the crucial turning points heencountered along the way to the top of his profession, and recounts hilarious tales ofperformances with collaborators from Henry Mancini to the Emperor of Japan. He evenoffers a few tips on dealing with fellow musicians, orchestra managers, and fans. It’s amust-read for all followers of the man and his music.The Man with the Golden Flute may be purchased by calling CenterCharge at

212.721.6500 or by visiting www.LincolnCenter.org.Galway’s memoir is the seventh release in a multi-year partnership between

Lincoln Center for the Performing Arts, Inc. and John Wiley & Sons, Inc. Other books inthe series include In the Wings: Behind the Scenes at New York City Ballet, Along theRoaring River: My Wild Ride From Mao to the Met; and Art at Lincoln Center.

Art at Lincoln Centerpresents

MILLIONS OF ARTS LOVERS visit LincolnCenter’s 16.3 acre campus each year. Ontheir way to the thousands of opera, dance,music, and theater performances and eventsannually at the world’s leading performingarts center, they also view an extraordinarypublic collection of modern and contempo-rary art on its outdoor plazas, within itslobbies, along its hallways, and on display inits galleries.

Art at Lincoln Center by author CharlesA. Riley II, the fifth installment in theLCPA/Wiley series of books, takes readerson a comprehensive tour of Lincoln Center’sacclaimed visual arts collections. A special50th Anniversary publication celebratingLincoln Center’s 1959 groundbreaking, thebook serves as both a fascinating look at the1960s art world of Lincoln Center’s beginnings and a survey of the important works thatcan be found on campus.

Art at Lincoln Center is a beautifully produced full-color volume with 250 photographs,offering a complete review of the 20th century masterpieces in the two world-renownedcollections housed at Lincoln Center: public art—which includes Marc Chagall’s soaringpaintings in the Metropolitan Opera as well as sculpture by Henry Moore and AugusteRodin—and the entire List Poster and Print Collection, with its more than 200 works com-missioned from artists ranging from Andy Warhol and Roy Lichtenstein to Chuck Close andJim Dine.

The volume also offers anecdotal features on the artists in the collections and a historyof the architects, collectors, and benefactors who made the visual arts such a vibrant partof Lincoln Center. The book is an essential addition to every art-lover’s collection. Moreinformation can be found on the Lincoln Center Books page at LincolnCenter.org.

The agreement between Lincoln Center for the Performing Arts, Inc. and Wiley is amulti-year partnership to publish a co-branded book series drawing on Lincoln Center’sartistic community as a resource. Other books in the series are Lincoln Center A PromiseRealized 1979-2006, In the Wings: Behind the Scenes at New York City Ballet, Along theRoaring River: My Wild Ride From Mao to the Met; and All You Have to do is Listen. All ofthese books may purchased by visiting wiley.com or a Barnes & Noble bookstore.

To order your copy of Art at Lincoln Center, please call CenterCharge at 212.721.6500.

Some of the great new gift items available are limited editionLincoln Center umbrellas, hats and T-shirts, opera glassesand glass mugs, as well as handsome leather-boundnotebooks and planners for keeping track of yourperformance calendar. Special jewelry items salutingLincoln Center’s 50th Anniversary include designs by PageSargisson that feature original 1920’s mother of pearl “50”casino chips on gold chains.

LINCOLN CENTERSHOPPINGPerforming arts patrons and aficionados alike can now shop forLincoln Center’s vibrant new line of merchandise.

Visitors to Lincoln Center can find all of these items, inaddition to recordings of featured performers, at thegift kiosks on the second floor of Avery Fisher Hall, inthe inner lobby of Alice Tully Hall during Lincoln CenterPresents performances, and in Damrosch Park duringMidsummer Night Swing and Lincoln Center Out ofDoors.

presents

Merchandise is always available at LincolnCenter.org,where the online gift store never closes.

Lincoln Center now also offers a variety of engaging newbooks from its own publishing imprint. Titles include Art atLincoln Center, a comprehensive tour of Lincoln Center’srenowned visual arts collections; All You Have to Do Is Listenby acclaimed music commentator Rob Kapilow; In the Wings:Behind the Scenes at the New York City Ballet by KyleFroman, a New York City Ballet dancer; and Along the RoaringRiver: My Journey fromMao to the Met, the auto-biography of MetropolitanOpera singer Hao JiangTian.