magali mosnier, flute xavier de maistre,...

Saturday Evening, August 16, 2014, at 7:00

Pre-concert Recital

Magali Mosnier, FluteXavier de Maistre, Harp

GLUCK Dance of the Blessed Spirits, from Orphée et Eurydice (1774)

SMETANA (arr. TRNECEK) Moldau (1874)

FAURÉ Fantaisie (1898)

Avery Fisher Hall 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.

July 25–August 23, 2014

Sponsored by Bloomberg

Mostly Mozart Festival

Notes on the Pre-concert Recitalby Hugh Macdonald

Dance of the Blessed Spirits, fromOrphée et Eurydice (1774)CHRISTOPH WILLIBALD GLUCKBorn July 2, 1714, in Erasbach, GermanyDied November 15, 1787, in Vienna

Approximate length: 6 minutes

One of the most beautiful moments inGluck’s Orphée et Eurydice did not existwhen the opera had its 1762 premiere inVienna in its Italian version, Orfeo. Twelveyears later, Gluck revised the opera for Parisand adapted the title role, originally writtenfor a castrato, for a high tenor in the Frenchtaste. He also enlarged the score and addedsome dance movements, always desired byFrench audiences. At the beginning of thescene in the Elysian Fields in Act II, whenOrpheus has finally overcome the Furies andfound himself nearer to his belovedEurydice, Gluck added a divine flute melodysupported by murmuring strings (today rep-resented by the harp). It is a living embodi-ment of Gluck’s elegant simplicity of feelingand expression.

Moldau (1874)BEDRICH SMETANABorn March 2, 1824, in LitomyšlDied May 12, 1884, in Prague


Smetana’s cycle of six symphonic poems,Má Vlast, depicts the history and landscapeof his native Bohemia. The second work ofMá Vlast is Vltava, also known as Moldau—both names for the majestic river that flowsthrough Prague, past the great fortress ofVyšehrad, and eventually to its confluencewith the Elbe. The opening and closing

sections of Moldau depict the river’s originsas two springs in the mountains. It is the liq-uidity of water bubbling down the hillsideand along the valley that makes this piecesuch an ideal harp arrangement. Thearranger, Trnecek, has replaced some of thecentral episodes of the piece, but the greatstream is heard again at the end, and themotif of Vyšehrad brings the piece to asplendid close. Smetana composed thispiece within a few months of the calami-tous loss of his hearing, a sudden blow thathappily did not derail his capacity to com-pose; his original plan for four symphonicpoems expanded to six, and the full mas-terpiece was completed in 1879.

Fantaisie, Op. 79 (1898)GABRIEL FAURÉBorn May 12, 1845, in Pamiers, AriègeDied November 4, 1924, in Paris


In 1896 Fauré was appointed professor ofcomposition at the Paris Conservatoire,which he was eventually to lead as its direc-tor. The conservatory’s annual examsrequired students to play pieces speciallycomposed for the purpose, both for sight-reading and for prepared performances. Tothis custom we owe the existence of awhole repertoire of useful short pieces forevery instrument of the orchestra. Fauré’sFantaisie was composed for the 1898examinations and has remained one of themost popular pieces for flute. Its two sec-tions, one Andantino, the other Allegro,allow the player to shine both in expressivemelody and in speedy acrobatics. The pieceis full of charm, too. The modest pianoaccompaniment, with Fauré’s characteristi-cally colorful shifts of modality and key, isreadily adapted to the harp.

—Copyright © 2014 by Lincoln Center for thePerforming Arts, Inc.

Saturday Evening, August 16, 2014, at 8:00

Mostly Mozart Festival OrchestraLouis Langrée, ConductorMagali Mosnier, Flute (U.S. debut)Xavier de Maistre, Harp

GLUCK Dance of the Furies, from Orphée et Eurydice (1774)

MOZART Concerto in C major for flute and harp, K.299 (1778)AllegroAndantinoRondo: AllegroMs. Mosnier and Mr. de Maistre will perform Sylvain Blassel’s cadenzas.

Intermission

BERLIOZ Symphonie fantastique (1830)Rêveries—Passions: Largo—Allegro agitato e appassionato assaiUn Bal: Valse: Allegro non troppoScène aux champs: AdagioMarche au supplice: Allegretto non troppoSonge d’une nuit du Sabbat: Larghetto—Allegro

M|M Mostly Mozart debut

Avery Fisher Hall 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.

July 25–August 23, 2014

Sponsored by Bloomberg


The Mostly Mozart Festival is sponsored byBloomberg.

The Mostly Mozart Festival is made possible byRita E. and Gustave M. Hauser, The Fan Fox andLeslie R. Samuels Foundation, Inc., Ann andGordon Getty Foundation, Charles E. CulpeperFoundation, S.H. and Helen R. Scheuer FamilyFoundation, and Friends of Mostly Mozart.

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

Artist Catering is provided by Zabar’s andZabars.com.

MetLife is the National Sponsor of Lincoln Center.

Bloomberg is the Official Sponsor of Lincoln CenterSummer 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 ofLincoln Center.

William Hill Estate Winery is the Official Wine ofLincoln Center.

“Summer at Lincoln Center” is sponsored by DietPepsi.

Time Out New York is Media Partner of Summer atLincoln Center.

Upcoming Mostly Mozart Festival Events:

Saturday Afternoon, August 16, from 4:00–5:30in the Stanley H. Kaplan Penthouse

Panel Discussion: Mozart and the Promise of Opera

Bruce Alan Brown, ModeratorWith Edmund J. Goehring, Christopher Lynch, and Steven Machtinger

Presented in association with the Mozart Society of America

Sunday Afternoon, August 17, at 3:00in Alice Tully Hall

Philharmonia Baroque OrchestraNicholas McGegan, ConductorAmanda Forsythe, Soprano M|M

Amy Freston, Soprano M|M

Dominique Labelle, SopranoCéline Ricci, Soprano M|M

Robin Blaze, Countertenor M|M

Drew Minter, CountertenorJeffrey Fields, Baritone M|M

HANDEL: TeseoPre-concert lecture at 1:45 by Ellen Rosand

Sunday Afternoon, August 17, at 5:00in Park Avenue Armory

International Contemporary EnsembleALL–SOFIA GUBAIDULINA PROGRAMString TrioSotto VoceQuasi HoquetusMeditation on the Bach Chorale “Vor deinen Thron tret ich hiermit”

Co-presented with Park Avenue Armory

M|M Mostly Mozart debut

For tickets, call (212) 721-6500 or visitMostlyMozart.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozartbrochure.

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 leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.


Welcome to Mostly MozartI am delighted to welcome you to the 2014 Mostly Mozart Festival, where we explore themany facets of our namesake composer’s brilliance and invention. What better way tousher in that spirit than with an outdoor world premiere work by American composer JohnLuther Adams. Sila: The Breath of the World transforms Lincoln Center’s Hearst Plaza intoa sonic stage before we rejoin Mozart in Avery Fisher Hall with the acclaimed MostlyMozart Festival Orchestra.

This summer, our Festival Orchestra reaches beyond many Mozart masterpieces to thesignature works of some of his great successors: Beethoven’s Ninth Symphony, Berlioz’sSymphonie fantastique, Martin’s Polyptyque. We join with favorite soloists—Joshua Bell,Richard Goode, Christian Tetzlaff—and also introduce luminaries making their festivaldebuts, 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. ThisAugust, Mark Morris brings his unparalleled affinity for Handel to his newest creation,Acis and Galatea. The Philharmonia Baroque Orchestra and the Emerson String Quartetdelight us in Alice Tully Hall, while the International Contemporary Ensemble celebratesnew music at Park Avenue Armory. And don’t forget to join us for music and wine incasual, 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 MossEhrenkranz Artistic Director


Signature Worksby Peter A. Hoyt

The musicologists who first investigated Johann Sebastian Bach (1685–1750) discoveredthat some pieces, written in his handwriting and long attributed to him, were actuallycomposed by other musicians. Bach had omitted their names during the copyingprocess, and the scholars—disturbed by this hint of plagiarism—were relieved to learnthat the early 18th century was often indifferent to niceties of attribution. Indeed, Bachhimself frequently neglected to sign his own manuscripts.

In the decades following, however, authorial identity took on greater importance. The col-lapse of the French aristocracy led Europe to emphasize individual merit, endowing artistswith new dignity. Music publishers, capitalizing upon an emerging middle class, promotedcomposers by name. Unprecedented ideas of individuality informed 19th-centuryRomanticism, 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 com-posers, each with a distinctive style that represented their identity as decisively as theirname. The 2014 Mostly Mozart Festival celebrates some of these composers’ signaturepieces, from emblematic concertos and symphonies—including Haydn’s “London,”Mozart’s “Jupiter,” and Beethoven’s “Eroica”—to concise works like the overtures toHaydn’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 depic-tions of demonic Furies, for example, influenced Mozart’s music for Don Giovanni, andGluck’s Dance of the Blessed Spirits permeates portions of Mozart’s Flute and HarpConcerto. Moreover, prominent stylistic elements can be parodied or dismantled, as inworks by Prokofiev, Schnittke, and Shostakovich, whose Concerto for Piano and Trumpetrecalls 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 per-sona; the work is often regarded as autobiographical. Nevertheless, elements of thepurely fictional prevail, as when the hero murders his beloved, is executed, and posthu-mously witnesses a witches’ sabbath. Berlioz treats his scenario with ironic detachment,perhaps best illustrated by the carnivalesque fugue that ends the piece. Whereas Mozartand Beethoven had employed culminating fugal procedures to suggest a kind of luminousunification, Berlioz here casts off the shackles of seriousness.

The conflation of composition and composer continued until the 20th century, whenattempts to use the former to psychoanalyze the latter demonstrated their incompatibility.Indeed, human creators tend to be overshadowed by the impact of their creations, perhapsexplaining Bach’s negligence in labeling works—including his own—with the names ofmere mortals. Music in performance, like a religious service or civic commemoration, cantransform a group’s isolated members into a collective body. The Mostly Mozart Festivalends with Mozart’s Requiem and Passion music by Bach and Frank Martin—art that cele-brates the moment when the individual dissolves into the universal.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.


Program Summaryby Hugh Macdonald

Gluck, whose 300th anniversary we celebrate this year, was held in great honor duringhis lifetime and rightly credited as a major influence in the reform of 18th-century opera.The artificialities of Baroque opera gave way to a new simplicity in which real feelingcould be expressed. Mozart knew that his own Idomeneo of 1781 owed much to Gluck’sexample. Unlike Mozart, Berlioz never knew Gluck personally, but he became an uncon-ditional admirer of Gluck’s operas, which were still in the repertoire of the Paris Operawhen he went to the city as a medical student in 1821.

What Berlioz admired most in Gluck was his solemnity (which was also, in Berlioz’s view,the most admirable feature of Mozart’s operas, especially Die Zauberflöte) and his hon-esty of emotional expression. A lifetime of reverence inspired Berlioz to revive Gluck’sOrphée et Eurydice in Paris in 1859. Berlioz’s earlier works, however, were expressionsof youthful passion and macabre obsessions closer to the world of the medical studentthan that of traditional opera. His Symphonie fantastique of 1830 took the Beethoveniansymphony as its starting point, and broke open an entirely new world of sound and imag-ination, leaving Gluck and Mozart far behind.

To this day, Symphonie fantastique has remained a classic document of the Romanticimagination and a great virtuoso piece for orchestra. The second movement, Un Bal (ABall), introduced harps into the symphony orchestra for the first time, and the finale callsfor bells and the squeakily high-pitched E-flat clarinet. The ophicleide, then the normal bassbrass instrument in France and usually replaced in modern performances by the tuba, wasrelished by Berlioz for its coarse tone—perfect for demonic contexts such as this. Berlioz’switches are a lot wilder than Gluck’s Furies, but the inheritance is clear and direct.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.


Notes on the Programby Hugh Macdonald

Dance of the Furies, from Orphée et Eurydice (1774)

CHRISTOPH WILLIBALD GLUCKBorn July 2, 1714, in Erasbach, GermanyDied November 15, 1787, in Vienna


In the second act of Gluck’s opera, first per-formed in Vienna in 1762, Orpheus pre-sents himself outside the grotto that leadsto the underworld, where he hopes to findhis beloved Eurydice. Thick smoke issuesfrom the grotto, and a solemn entry of thebrass represents the obstacle he faces. Heplucks his lyre (a harp) and is immediatelyanswered by the chorus of Furies demand-ing to know who can have the insolence toattempt to enter. This is followed by aballo, the well-known Dance of the Furies,full of rushing scales intended to frightenOrpheus away. But even music and danc-ing as angry as this cannot break his deter-mination to win the Furies to his cause.

In 1774 Gluck revised the opera, originallywritten to an Italian libretto, for perfor-mance in French in Paris. The French hadnever accepted the castrato voice (forwhich the role of Orfeo was written) andpreferred the high tenor voice known asthe “haute-contre.” When Berlioz prepareda version of Orphée et Eurydice in 1859, hedrew on both the Italian and French ver-sions in casting the role of Orphée for thefamous mezzo-soprano Pauline Viardot.

Concerto in C major for flute and harp, K.299 (1778)

WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in SalzburgDied December 5, 1791, in Vienna


Mozart’s journey to Paris in 1778, accompa-nied by his mother, was interrupted atMannheim, Germany, where he heard thefine resident orchestra and fell in love withAloysia Weber, a soprano and cousin ofcomposer Carl Maria von Weber. During thejourney, Mozart also wrote two flute con-certos for a patron, even though, as he toldhis father, he disliked the instrument. Reluc -tantly he pressed on to Paris, where hefailed to find the prestigious permanentpost he sought, but he did secure a numberof commissions, including a ballet for thegreat ballet-master Jean-Georges Noverre,a symphony for the Concert Spirituel, and aconcerto for flute and harp for the Comtede Guînes and his daughter. The count, aformer French ambassador in London, was,in Mozart’s words, an “incomparable”flutist, for whom Mozart readily overcamehis aversion to the flute. In addition, thedaughter’s harp playing was, again in thecomposer’s own words, “magnifique.”

Mozart’s mother told her husband that theirson was writing two concertos for a duke[sic]—one for the flute, one for the harp—and it is indeed possible that that was theoriginal commission. Perhaps she misun-derstood the terms, or perhaps Mozart (orthe count) suggested a combined concertoinstead, using the pair of instruments thatthe 19th century would elevate as a sym-bol of classical purity, reincarnating theaulos and kithara of ancient Greece.

Mozart certainly had no thoughts of thatallegorical kind; he merely wrote a concertoof impeccable manners for two playerswhose abilities he knew. The harp of the


day was the single-action harp allowingsome freedom of modulation, though lessthan the double-action harp in general usetoday. It was rapidly becoming a highlyfashionable instrument in France, and play-ing it was a valuable social accomplish-ment. Marie Antoinette, who went to Parisin 1770 to marry the Dauphin and was her-self a harpist, led the fashion. Even so,there can have been few players in Pariswith the finger dexterity for Mozart’s glit-tering scales and arpeggios (comparable topassages in the piano concertos), or thepedal dexterity for swift changes whenplaying chromatic scales.

Brilliance, sentiment, and courtly gallantryare all found in this concerto, a fair reflec-tion of the qualities Mozart felt, with somescorn, to be the predominant features ofParisian society. The count had good rea-son to be grateful to Mozart for servicesrendered. Four months later, though, thefee had still not been paid.

Symphonie fantastique, Op. 14 (1830)HECTOR BERLIOZBorn December 11, 1803, in La Côte-Saint-André, France

Died March 8, 1869, in Paris


When a New York newspaper in 1868described Symphonie fantastique as “anightmare set to music,” it was meant tobe an insult. Yet this was exactly whatBerlioz intended: not that the critic shouldhave a miserable evening, but that heshould grasp, even dimly, the agonies ofthe composer’s own experience. Of Ber -lioz’s real suffering there can be no doubt.One has only to read the letters of 1829,when Berlioz was 25 years old, to glimpsethe torment of a composer whose mindwas bursting with musical ideas andwhose heart was bleeding.

The object of his passion was an Irishactress, Harriet Smithson, whom Berliozhad seen on the stage two years before inthe roles of Juliet and Ophelia. Since thenhe had seen her only at a distance, while ofhis very existence she was still quiteunaware. How was this unreal passion tobe expressed? His first thought, naturallyenough, was a dramatic Shakespeareanwork, perhaps a Romeo and Juliet, forwhich he composed, it seems, a fewmove ments. He then set several ofThomas Moore’s Irish Melodies to music,which at least evoked the land of her birth.Once he had encountered Beethoven sym-phonies, especially the “Eroica” (whichimpressed him just as strongly asShakespeare), Berlioz would have liked tobe writing a Beethovenian symphony—except that the customary triumphant end-ing had no counterpart in his own world.

The dilemma was resolved early in 1830when he was informed, evidently by a newaspirant to the role of lover, that Harrietwas free and easy with her favors, and inno way worthy of the exalted passion thatconsumed him day and night. Now, hesuddenly realized, he could represent thisdramatic episode in his life as a symphony,with a demonic, orgiastic finale in whichboth he and she are condemned to Hell.

The symphony was speedily written downin little more than three months and per-formed for the first time later that year. Itbecame a main item in Berlioz’s many con-certs in the 1830s, for each of which heissued a printed program explaining thesymphony’s narrative. Although Symphoniefantastique is explicitly about an “artist”and his “beloved,” it is partly about Romeoand Juliet, and even more obviously abouthimself and Harriet, as everyone probablyknew. Even after Berlioz had, by a strangeirony, met and married Harriet Smithsonthree years later, the symphony’s dramatic


program remained. There can be few paral-lels to this extraordinary tale of love bloom-ing in real life after it had been violentlyrepudiated and exorcized in a work of art.All five movements contain a single recur-rent theme: the idée fixe (obsession), whichrepresents the artist’s love, and is trans-formed according to the context in whichthe artist finds his beloved. After a slowintroduction (Rêveries, or “Dreams”), whichdepicts “the sickness of the soul, the flux ofpassion, the unaccountable joys and sor-rows he experienced before he saw hisbeloved,” the idée fixe is heard as the maintheme of the Allegro (Passions), the violinsand flute lightly accompanied by sputteringlower strings. The surge of emotion is aptlydescribed in the volcanic first movement,although the movement ends in an unex-pected picture of religious consolation.

In the second movement, Un Bal (A Ball),the artist glimpses his beloved in a crowdof whirling dancers. In the third movement,Scène aux champs (Scene in the Country),two shepherds call to each other on theirpipes, and the music depicts the stillnessof a summer evening in the country, theartist’s passionate melancholy, the windcaressing the trees, and the agitationcaused by the beloved’s appearance. At theend the lone shepherd’s pipe is answeredonly by the rumble of distant thunder.

In his despair the artist has poisoned hisbeloved and is condemned to death. Thefourth movement is the Marche au sup-plice (March to the Scaffold), as he is led tothe guillotine before the raucous jeers ofthe crowd. In his last moments he sees thebeloved’s image (the idée fixe in the clar-inet’s most piercing range) before the bladefalls. Finally, in Songe d’une nuit du Sabbat(Dream of a Witches’ Sabbath), the artistfinds himself a spectator at a sinister gath-ering of specters and weird, mocking mon-sters of every kind. The idée fixe appears,

horribly distorted, bells toll, the plain-chantDies irae (Day of Wrath) is coarsely intonedby ophicleides (or tubas) and bassoons, andthe witches’ round-dance gathers momen-tum. Eventually the dance and the Dies iraejoin together and the symphony ends in ariot of brilliant orchestral sound.

It is curious to reflect that much of thematerial was drawn from earlier composi-tions; the melody of Scene in the Country,for example, was recently discovered tohave been the main theme of a movementin Berlioz’s early Messe solennelle, and theMarch to the Scaffold was rescued from anunperformed opera, Les francs-juges. It isprobable that the ballroom music was origi-nally meant for Roméo et Juliette. If so, itsnew function in the symphony is strikinglyapt since Romeo’s first glimpse of Juliet atthe Capulets’ ball is exactly how Berliozimagined the artist seeing his unhappy,doomed “beloved,” and not unlike his ownexperience on first seeing Harriet performon stage. When Berlioz finally composed asymphony on Romeo and Juliet nearly tenyears later, his ballroom music was alreadytaken, so he had to write a new, and evenmore spectacular, ball.

The symphony remains the most potentexample in music of the Romantic spirit infull flood, melding music, literature, poetry,imagination, and personal experience intoa sensational drama—a drama of thesenses and of uninhibited emotion, burst-ing with life.

Hugh Macdonald is Emeritus Professor ofMusic at Washington University, St. Louis.He is the editor of the New Berlioz Editionand author of Music in 1853 (2012). His lat-est book, Bizet, will be published byOxford University Press in September.

—Copyright © 2014 by Lincoln Center for thePerforming Arts, Inc.

My love is as a fever, longing stillFor that which longer nurseth the disease,Feeding on that which doth preserve the ill,Th’ uncertain sickly appetite to please.My reason, the physician to my love,Angry that his prescriptions are not kept,Hath left me, and I desperate now approveDesire is death, which physic did except.Past cure I am, now reason is past care,And frantic-mad with evermore unrest;My thoughts and my discourse as madmen’s are,At random from the truth vainly expressed:

For I have sworn thee fair, and thought thee bright,Who art as black as hell, as dark as night.

Words and Music

Sonnet CXLVIIby William Shakespeare

For poetry comments and suggestions, please write to [email protected].


The French musician Louis Langrée hasbeen music director of the Mostly MozartFestival in New York since December 2002.He was named Renée and Robert BelferMusic Director in August 2006. He is alsomusic director of the Cincinnati SymphonyOrchestra and chief conductor of theCamerata Salzburg.

In Cincinnati, pianist Lang Lang will join theSymphony Orchestra for its opening galafor the 2014–15 season, during which Mr.Langrée will also conduct three world pre-mieres, by André Previn, Caroline Shaw,and Daníel Bjarnason. With the CamerataSalzburg, Mr. Langrée will tour to SouthAmerica as well as conduct several perfor-mances in Europe. He will make his debutwith the Bamberg Symphony and continuehis relationships with the Paris Orchestra,Vienna State Opera (Eugene Onegin), andthe Metro politan Opera (Carmen).

Mr. Langrée has conducted the Berlin,Vienna, and London philharmonics, ParisOrchestra, Budapest Festival Orchestra,NHK Symphony Orchestra, and Orchestrede la Suisse Romande, as well as chamberorchestras including the Academy of St.Martin in the Fields in London andDeutsche Kammerphilharmonie Bremen.He also regularly conducts period-instru-ment orchestras such as the FreiburgBaroque Orchestra and Orchestra of theAge of Enlightenment. He has a long-termrelationship with the Metropolitan Operaand has also conducted at La Scala in

Milan, Royal Opera House–Covent Gardenin London, Bavarian State Opera in Munich,Semperoper Dresden, Opéra Bastille andThéâtre des Champs-Élysées in Paris,Netherlands Opera in Amsterdam, andLyric Opera of Chicago.

Festival appearances have included theVienna Festival, Salzburg’s Mozart Week,BBC Proms, Glyndebourne Festival, andAix-en-Provence Festival. He has held posi-tions as music director of the PicardieOrchestra, Lyon National Opera, LiègeRoyal Philharmonic Orchestra, and Glynde -bourne Touring Opera.

Mr Langrée’s discography includes record-ings for Virgin Classics, Universal, andNaïve. In 2014 he was appointed Chevalierin the French Legion of Honor. Previously,in 2006, he was appointed Chevalier desArts et des Lettres by the French Ministryof Culture.

One of the most exciting artists to recentlyemerge from France, Magali Mosnier regu-larly appears in major music centers such asthe Ludwigsburg Festival, Salzburg’sMozarteum, Salzburg Festspiele, Hamburg’sLaeiszhalle, La Folle Journée, RheingauFestival, Salle Pleyel, Théâtre des ChampsElysées, and Amsterdam’s Concertgebouw.Ms. Mosnier has performed as a soloistwith numerous European orchestras, includ-ing the Academy of St. Martin in the Fields,Bavarian Radio Symphony Orchestra, Mu -nich Radio Orchestra, Stuttgart Philhar -monic Orchestra, Stuttgart ChamberOrchestra, MDR Leipzig Radio SymphonyOrchestra, Kammerakademie Potsdam,

Magali Mosnier

Louis Langrée

Meet the Artists

JENNIFER TAYLO

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Orchestre Philharmonique de Radio France,English Chamber Orchestra, CollegiumMusicum Basel, Orchestra Ensemble ofParis, Mahler Chamber Orchestra, and thePrague Philharmonia.

Ms. Mosnier has performed with numer-ous renowned artists, including RenaudCapuçon, Gautier Capuçon, Michel Dal -berto, Xavier de Maistre, Antoine Tamestit,Isabelle Moretti, Eric Le Sage, Jean-ClaudePennetier, Nora Gubisch, MoraguèsQuintet, Quatuor Ebène, and the Mo -digliani Quartet. Her love of contemporarymusic has led her to collaborate with someof her country’s leading composers, suchas Pierre Boulez, Eric Tanguy, ThierryPécou, Jacques Lenot, and MatthiasPintscher. She has also worked with manyacclaimed conductors, including DanielHarding, Jakob Hrusa, Myung-WhunChung, Andrey Boreyko, and Ivor Bolton.

In September 2004 Ms. Mosnier wasawarded First Prize and Audience Prize atthe ARD International Music Competitionin Munich. She had already been a prizewinner at the Jean-Pierre Rampal andLeonardo de Lorenzo flute competitions in2001. In 2003 she was appointed sectionprincipal at the Orchestre Philharmoniquede Radio France. Ms. Mosnier’s firstalbum, Fantaisie, was released in May2006 (Sony). She released a J.S. Bachalbum with the Stuttgart ChamberOrchestra and Michael Hofstetter in 2009.In 2013 she recorded Mozart’s Concertofor flute and harp, K.299, with Xavier deMaistre and the Mozarteum Orchestra ofSalzburg conducted by Ivor Bolton.

Xavier de Maistre is redefining the soloharp repertoire with new commissionsfrom composers such as KrzysztofPenderecki and Kaija Saariaho, and withperformances of challenging arrangementsof orchestral works such as Smetana’s MáVlast. He has performed with numerousrenowned conductors, including Bertrandde Billy, Daniele Gatti, Kristjan Järvi,Philippe Jordan, Riccardo Muti, AndrésOrozco-Estrada, André Previn, SimonRattle, Heinrich Schiff, and Gilbert Varga.

Orchestral highlights of the 2013–14 sea-son included an extensive tour with theAcademy of St. Martin in the Fields; perfor-mances with NHK Symphony Orchestra,Vienna Symphony Orchestra, and ParisOrchestra; tour concerts with the BaselChamber Orchestra; debuts with theHelsinki Philharmonic Orchestra, RoyalLiverpool Philharmonic Orchestra, andMalmö Symphony Orchestra; solo recitalsin Shanghai, Macau, and Montreal; and duoperformances with Diana Damrau atBayerische Staatsoper, London’s WigmoreHall, and the Schubertiade, Grafenegg, andIstanbul festivals.

In 2008 Mr. de Maistre signed an exclusivecontract with Sony Music. His latestreleases include a DVD with Diana Damrauand a recording of Mozart’s Piano ConcertoNos. 16 and 19 arranged for harp with theMozarteum Orchestra of Salzburg underIvor Bolton. In 1998 he was awarded firstprize at the prestigious International HarpCompetition in Bloomington, Indiana. Hethen became the first French musician tojoin the ranks of the Vienna Philharmonic.

Xavier de MaistreMARCO BORGGREVE


Since 2001 Mr. de Maistre has taught atthe Hamburg Academy of Music. He alsogives regular master classes at TheJuilliard School, Tokyo’s Toho University,and London’s Trinity College of Music. Mr.de Maistre plays a Lyon and Healy harp.

Mostly Mozart FestivalLincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experiment in1966. Called Midsummer Serenades: AMozart Festival, its first two seasons weredevoted exclusively to the music of Mozart.Now a New York institution, Mostly Mozartcontinues to broaden its focus to includeworks by Mozart’s predecessors, contem-poraries, and related successors. In additionto concerts by the Mostly Mozart FestivalOrchestra, Mostly Mozart now includes con-certs by the world’s outstanding period-instrument ensembles, chamber orchestrasand ensembles, and acclaimed soloists, aswell as opera productions, dance, film, late-night performances, and visual art installa-tions. Contemporary music has become anessential part of the festival, embodied inannual artists-in-residence including OsvaldoGolijov, John Adams, Kaija Saariaho, Pierre-Laurent Aimard, and the InternationalContemporary Ensemble. Among the manyartists and ensembles who have had longassociations with the festival are JoshuaBell, Christian Tetzlaff, Itzhak Perlman,Emanuel Ax, Garrick Ohlsson, StephenHough, Osmo Vänskä, the Emerson StringQuartet, Freiburg Baroque Orchestra,Orchestra of the Age of Enlightenment, andthe Mark Morris Dance Group.

Mostly Mozart Festival OrchestraThe Mostly Mozart Festival Orchestra isthe resident orchestra of the MostlyMozart Festival, and is the only orchestrain the U.S. dedicated to the music of the

Classical period. Since 2002 Louis Langréehas been the Orchestra’s music director,and since 2005 the Orchestra’s AveryFisher Hall home has been transformedeach summer into an appropriately inti-mate venue for its performances. Over theyears, the Orchestra has toured to suchnotable festivals and venues as Ravinia,Great Woods, Tanglewood, Bunkamura inTokyo, and the Kennedy Center.Conductors who made their New Yorkdebuts leading the Mostly Mozart FestivalOrchestra include Jérémie Rhorer, EdwardGardner, Lionel Bringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin,David Zinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist JamesGalway, soprano Elly Ameling, and pianistMitsuko Uchida all made their U.S. debutswith the Mostly Mozart Festival Orchestra.

Lincoln Center for the Performing Arts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and fes-tivals, including American Songbook, GreatPerformers, Lincoln Center Festival,Lincoln Center Out of Doors, MidsummerNight Swing, the Mostly Mozart Festival,and the White Light Festival, as well as theEmmy Award–winning Live From LincolnCenter, which airs nationally on PBS. Asmanager of the Lincoln Center campus,LCPA provides support and services forthe Lincoln Center complex and the 11 res-ident organizations. In addition, LCPA led a$1.2 billion campus renovation, completedin October 2012.


Louis Langrée, Renée and Robert Belfer Music Director

Mostly Mozart Festival Orchestra

Violin IRuggero Allifranchini,Concertmaster

Martin AgeeRobert ChausowLilit GampelAmy KauffmanSophia KessingerPauline KimLisa MatricardiRonald OaklandMichael Roth

Violin IILaura Frautschi, PrincipalKatsuko EsakiMichael GilletteSuzanne GilmanKatherine Livolsi-LandauKristina MusserDeborah WongMineko Yajima

ViolaShmuel Katz, PrincipalCatherine BeesonMeena BhasinDanielle FarinaChihiro FukudaJack RosenbergJessica Troy

CelloIlya Finkelshteyn,Principal

Ted AckermanAmy ButlerAnn KimAlvin McCall

BassZachary Cohen, PrincipalJacqui DanilowLou KosmaJudith Sugarman

FluteTanya Dusevic Witek,Principal

Elizabeth Mann

OboeRandall Ellis, PrincipalNick Masterson, EnglishHorn

ClarinetJon Manasse, PrincipalSteven Hartman

BassoonMarc Goldberg, PrincipalCynde IversonHarry SearingTom Sefcovic

HornLawrence DiBello,Principal

Nancy BillmannIan DonaldRichard HagenStewart Rose

TrumpetNeil Balm, PrincipalRichard ClymerBrad SirokyLee Soper

TromboneRichard Clark, PrincipalDemian AustinDon Hayward

TubaStephen Johns, PrincipalMorris Kainuma

TimpaniDavid Punto, PrincipalJason Haaheim

PercussionKory Grossman,Principal

Matthew BeaumontCharles Descarfino

HarpStacey Shames,Principal

Margery FittsGrace ParadiseLynette Wardle

LibrarianMichael McCoy

Personnel ManagersNeil BalmJonathan HaasGemini MusicProductions, Ltd.

JENNIFER TAYLO

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


Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingJill Sternheimer, Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Interim Programming Publications EditorMariel O’Connell, House Seat CoordinatorHonor 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

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