Friday and Saturday Evenings, August 2021, 2010, at 8:00 Pre-concert lecture by Elaine Sisman on August 20, at 6:45,

in the Stanley H. Kaplan Penthouse

Mostly Mozart Festival Orchestra

Louis Langre, Conductor Stephen Hough, Piano Carolyn Sampson, Soprano Sasha Cooke, Mezzo-soprano Steve Davislim, Tenor M|M Concert Chorale of New York James Bagwell, Director
ALL-MOZART PROGRAM Piano Concerto No. 21 in C major, K.467 (1785)
Allegro maestoso Andante Allegro vivace assai Mr. Hough will play original cadenzas.
M|M

Intermission Davidde penitente, K.469 (1785)

Chorus: Alzai le flebili voci al Signor Chorus: Cantiam le glorie e le lodi Aria: Lungi le cure ingrate Chorus: Sii pur sempre benigno, oh Dio Duet: Sorgi, o Signore, e spargi Aria: A te, fra tanti affanni Chorus: Se vuoi, puniscimi Aria: Tra loscure ombre funeste Trio: Tutte le mie speranze Chorus: Chi in Dio sol spera
M|M

Mostly Mozart debut

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

Avery Fisher Hall

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

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The Mostly Mozart Festival is made possible by Rita E. and Gustave M. Hauser, The Shubert Foundation, The Eleanor Naylor Dana Charitable Trust, Ann and Gordon Getty Foundation, New England Foundation for the Arts, 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 and the National Endowment for the Arts. Corporate support is provided by your Tri-State Cadillac Dealers. Movado is an Official Sponsor of Lincoln Center, Inc. Continental Airlines is the Official Airline of Lincoln Center, Inc. MetLife is the National Sponsor of Lincoln Center, Inc. Summer at Lincoln Center is sponsored by Diet Pepsi and The Wall Street Journal. Artist hospitality provided by Zabars and Zabars.com. The Mostly Mozart stage installation was designed by Fischer Dachs Associates.

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces, not during the performance. The taking of photographs and the use of recording equipment are not allowed in the building.

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Welcome to Mostly Mozart

It is hard for Louis Langre and me to imagine a more sublime and rewarding way to experience summer in New York than celebrating the genius and inspiration of Mozart. In our 44th year, we are pleased to offer you an outstanding array of music and dance in concerts by the Mostly Mozart Festival Orchestra, late-night recitals, and a return of the Deutsche Kammerphilharmonie Bremen and Mark Morris Dance Groupperformances wide-ranging in scope, yet reflecting the profound influence of our namesake composer. That influence extends to Chopin and Schumann, whose anniversary years we celebrate this season. Johann Sebastian Bach, whose music Mozart greatly admired, plays an important role this summer as well. Bachs polyphonic art takes center stage in a special series directed and performed by Mostly Mozarts first pianist Artist-in-Residence, the acclaimed musician Pierre-Laurent Aimard. From August 1316, he is joined by a varied group of ensembles and choirs to explore polyphonys ancient roots in Georgian choral music, as well as the work of contemporary polyphonists Ligeti, Lachenmann, and Boulez. The Festival Orchestra continues to be the dynamic centerpiece of the Festival, under the leadership of Rene and Robert Belfer Music Director Louis Langre. The Orchestra is joined by acclaimed soloists such as violinist Joshua Bell, pianist Emanuel Ax, and mezzosoprano Stephanie Blythe, as well as rising talents such as violinist James Ehnes, pianists David Fray and Peter Jablonski, and conductor Pablo Heras-Casado, all in their Mostly Mozart debuts. As we immerse ourselves in the spirit and music of Mozart, we feel extraordinary awe and gratitude for what he created and how he expands who we are in every note that is played. Jane Moss Artistic Director, Mostly Mozart Festival

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Program Summary
by Paul Schiavo Both of the compositions performed this evening date from the early part of 1785. They received their initial performances within three days of each other in March of that year. This time saw Mozart at the height of his professional success. Among other things, he had launched a series of subscription concerts, which were well attended by Viennas music-loving aristocracyincluding, on occasion, the Hapsburg emperor himself. Composed for a concert Mozart presented during the Lenten season of 1785, the Piano Concerto in C major, K.467, is one of the composers most appealing keyboard concertos. Its expansive opening movement is balanced by a remarkable Andante intimating romantic reverie and a finale that evinces Mozarts virtuosity at the piano. The seldom-heard cantata Davidde penitente is, in large part, a reworking of Mozarts unfinished Mass in C minor, K.427, portions of which appear here with new texts adapted from the psalms of David. Mozart also composed a pair of arias especially for the piece.
Copyright 2010 by Paul Schiavo

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Notes on the Program

by Paul Schiavo Piano Concerto No. 21 in C major, K.467 (1785) WOLFGANG AMADEUS MOZART Born January 27, 1756, in Salzburg Died December 5, 1791, in Vienna
Approximate length: 28 minutes

Mozart completed his Piano Concerto in C major, K.467, on March 9, 1785. Having taken up residence in Vienna some four years earlier, the composer was now enjoying the period of his greatest success in the Austrian capital. In particular, his Akademien, or subscription concerts, which he presented during Lent, had become fashionable events for the citys music-loving aristocracy. Mozart always included at least one piano concerto on these programs, playing the solo part himself. An Akademie that he gave on March 10, just one day after he completed the Cmajor Concerto, provided the occasion for writing the present work. In considering the composition, however, it is tempting to look beyond such pragmatic concerns as Mozarts need to fill out a concert program, even though this leads us into the difficult area of psychological speculation. This C-major Concerto followed quickly on the heels of the composers Piano Concerto in D minor, K.466. The contrast between these two pieces could hardly be more extreme. The stormy Dminor Concerto is one of Mozarts most desperate outbursts, a cry of pathos and struggle, while its successor is relaxed and confident. These concertos thus form a complimentary setone dark and turbulent, the other bright and joyous. Mozart created several such pairs of emotionally contrasted works; other well-

known examples include the great string quintets in C major and G minor, K.515 and K.516 respectively, and his last two symphonies, the sternly tragic one in G minor, K.550, and the Jupiter, K.551. More than one commentator has suggested that the composer produced these Janus-headed pairs in order to maintain within himself some sort of spiritual equilibrium. (According to this idea, he would have written the present C-major Piano Concerto to counter the grim drama of the preceding Dminor Concerto.) While no one can prove the accuracy of this hypothesis, we cannot but wonder at such vivid expressions of darkness and light coming nearly at once from the same source. Although not significantly longer than most of Mozarts mature keyboard concertos, K.467 conveys a sense of grandeur and spacious designgrand and spacious by 18th-century standards, at least. This feeling comes in part from the works orchestration, since Mozart has added trumpets, flute, and timpani to his usual concerto orchestra. But it stems also from the expansive way in which the composer develops the works themes. We find this especially in the first movement, whose breadth is all the more remarkable for the apparent modesty of its principal melody. As in many of Mozarts concertos, the initial subject is a march, but one more gay than martial in character. (It would not be out of place in those supremely ironic operas, Le nozze di Figaro and Cos fan tutte.) Yet this disarmingly simple tune proves the abundant source for most of the movement. It appears first quietly, then with the force of the entire orchestra behind it. Later, Mozart develops it in chains of long melodic sequences,

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phrases that recur at different pitch levels, creating a wonderful sense of slow melodic descent coupled with repeating cycles of harmonic tension and release. The ensuing slow movement brings an altogether different mood. As C.M. Girdlestone noted in his classic study Mozart and His Piano Concertos, the world of the Andante is that of the dream andantes, a family which comprises some of Mozarts most beautiful slow movements. This is to say that it is among the most Romantic utterances from the composer whose music we often think of as the paragon of musical Classicism, its gentle keyboard musings over a steady murmur of accompanying triplet figures producing a rhythmic fluidity that foreshadows the style of Chopin. The musics initial impression is one of sublime placidity, but if we listen more deeply, we can also detect notes of deep yearning conveyed through the gentle clash of rhythms, wide melodic leaps and, especially, surprising chromatic inflections in the harmonies. The finale reveals still another side of Mozarts character, one as different from the earlier movements as each of those was from the other. Here the composer offers a brief movement in rondo form, the playful tone of its recurring principal theme complimented by a spirited display of keyboard virtuosity. Davidde penitente, K.469 (1785) WOLFGANG AMADEUS MOZART
Approximate length: 43 minutes

with more than a passing acquaintance with Mozarts output. This paradoxical situation is explained by the fact that most of Davidde penitente was originally composed for one of Mozarts finest liturgical compositions, the unfinished Mass in C minor, K.427. The somewhat complicated history of Davidde penitente begins in December 1781, when Mozart, newly settled in Vienna, offered his hand in marriage to Constanze Weber, the daughter of his first landlady in the Austrian capital. The outcome of his proposal was far from certain. Among other obstacles, the composers father strongly opposed the union, objecting to both Constanze and her family. But Mozart stood up for his fiance, defending her as kind, clever, and sensible. Sometime during the months that followed, he made the promise in my heart of hearts, as he later described in a letter to his father, that upon marrying Constanze he would compose a Mass, presumably to thank his Creator and beseech his blessing. Wolfgang and Constanze were wed on August 4, 1782. Although the composer made a promising start on the Mass he had vowed to write, the work lay unfinished a year after his wedding. Mozart took what he had composed of the Mass with him to Salzburg when he and his wife visited the composers father and sister there in the summer and early autumn of 1783. During their stay, he directed a performance of the composition, perhaps with music from one of his earlier Mass settings to fill in those portions of the liturgy he had not yet composed. There is no reason to think that Mozart did not plan eventually to complete the Mass in C minor. But perhaps due to distractions arising from the persistent challenge of earning a living, and perhaps for uncertain

Mozarts cantata Davidde penitente is infrequently performed, a situation that should be surprising in regard to a substantial work containing some of the composers best choral music. And yet, much of this music will be familiar to many listeners

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psychological reasons, he never did so. In the end, he left more than half of the Credo section in sketch only, and he wrote nothing at all of the Agnus Dei. Still, what the composer did finish far surpassed in quality all of his earlier liturgical music and would be equaled only by his superb Requiem Mass, written in the final weeks of his life and also unfinished. Mozart returned with Constanze to Vienna from Salzburg in November 1783 and resumed the hectic schedule of activities required by his career as a freelance musician in the Austrian capital: teaching, composing, and performing in concertsboth those which he initiated and others organized by colleagues, by members of the music-loving aristocracy or, occasionally, by beneficent organizations. Among the latter was the Tonknstler-Societt, the Society of Musical Artists, which, among other things, funded and distributed pensions for the widows and orphans of the citys many professional musicians. Mozart applied for membership in the Society shortly after settling in Vienna, and he contributed his talents to several of the concerts the organization presented to benefit its pension fund. In January 1785 the Society asked Mozart to write a new large-scale work to be performed at a benefit concert in March. The composer agreed and evidently promised a cantata based on psalm verses, set for vocal soloists, chorus, and orchestra. The early months of 1785 were, however, one of the busiest periods of Mozarts career. A colorful view of the situation is given by Leopold Mozart, the composers father, who traveled from Salzburg to visit his son and daughter-in-law in March. Writing to his daughter (Mozarts sister, Nannerl), Leopold observes that Wolfgang is often out in the evening performing in concerts, with the result that we never get to bed

before one oclock in the morning. He goes on to describe something of his sons routine: Concerts every day, always teaching, music, copying, etc...I am quite unable to describe all the bustle and disturbance; your brothers grand fortepiano has been taken to the theater or to some other house at least twelve times while I have been here. In view of all this, it is hardly surprising that Mozart found it impossible to compose, in a relatively short time, the cantata he had promised the Tonknstler-Societt. Still, he did not want to renege on his commitment. His solution was to outfit music from his C-minor Mass, which had not been heard since its single performance in Salzburg a year and a half earlier, with a new text. These were verses, in Italian, based on the psalms of David. According to one near-contemporary report (that of the composer and cleric Abb Maximillian Stadler, who befriended Constanze Mozart after her husbands death), they were written by the poet Lorenzo da Ponte, who would later pen the librettos for Mozarts operas Le nozze di Figaro, Don Giovanni, and Cos fan tutte. Davidde penitente was presented as part of a concert for the Tonknstler-Societt on March 13, just three days after the Akademie in which Mozart gave the premiere performance of his C-major Piano Concerto, K.467. This was the first opportunity Viennese listeners had to hear any of the music Mozart had written for the Cminor Mass. Indeed, it would be their only such opportunity during the composers lifetime and long afterwards. But Mozart gave his audience, and posterity, something more: a pair of newly composed arias, both written in the week before the Tonknstler-Societt concert. The addition of these two arias surely

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served to enlist and showcase the talents of two of Viennas leading singers, soprano Caterina Cavalieri and tenor Johann Adamberger. (Each had sung leading roles in Mozarts opera Die Entfhrung aus dem Serail when it was produced in Vienna, in 1782.) More significantly, it rebalanced the scoring of the new cantata, which otherwise would have been weighted heavily with choral music. Mozart also flattered his soloists with a new cadenza-like passage inserted into the final movement. These new arias, A te, fra tanti affanni for tenor and the dramatic Tra loscure ombre funeste for soprano, are as fine as we might expect from Mozart in his maturity. The other aria, Lungi le cure ingrate, the duet Sorgi, o Signore, e spargi, and the trio Tutte le mie speranze, all adapted from the Cminor Mass, are scarcely less admirable. Still, it is the great choruses that contain the most striking music in Davidde penitente. When Mozart composed his Mass in C minor (the portions of it he completed), he was deeply affected by his recent discovery of the music of Handel and J.S. Bach. That discovery occurred through the agency of Baron Gottfried van Swieten, a Viennese nobleman who had served as Austrias ambassador in Berlin. There he had become acquainted with, and a great admirer of, the music of J.S. Bach and Handel, which was still essentially unknown in Vienna. Returning to the

Austrian capital, van Swieten took it upon himself to remedy that situation. Beginning in 1782, he hosted musical gatherings at his home each Sunday afternoon, where music of the old masters was performed and studied. For Mozart, who attended those gatherings regularly, the effect was immediate and profound. Deeply impressed by Bachs fugal writing, he started to enrich the contrapuntal fabric of his own work. He humbled himself, at a time he had already composed successful operas and symphonies, to write exercises in strict imitative counterpoint. He transcribed Bachs fugues for string quartet and began to incorporate fugal passages into his own compositions. He studied Handels oratorios and eventually would make arrangements of several of them, including Messiah. The first great fruit of this labor appears in the C-minor Mass, above all in the opening Kyrie, and in the Qui tollis and Cum sancto spiritu sections of the Gloria. These correspond in Davidde penitente to the first chorus, Alzai le flebili voci al Signor; the grieving Se vuoi, puniscimi; and the fugue of the closing number, Di tai pericoli non ha timore. Here Mozart adopts the contrapuntal style of Bach and Handel and makes it his own, the result being music of unusual profundity.
Copyright 2010 by Paul Schiavo

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Davidde penitente, K.469 Text: Lorenzo da Ponte Coro Alzai le flebili voci al Signor Alzai le flebili voci al Dio Da mali oppresso. Alzai le flevili mie voci a Dio Da mali oppresso. Coro Cantiam le glorie e le lodi, Replichiamole in cento e cento modi Del Signore amabilissimo. Aria Lungi le cure ingrate, Respirate omai. S palpitato assai tempo da goder. Coro Sii pur sempre benigno, oh Dio, E le preghiere ti muovano a piet. Duetto Sorgi, o Signore, e spargi i tuoi nemici. Sorgi, o Signore, spargi E dissipa i tuoi nemici. Fuga ognun che todia, Fuga da te che todia, Sorgi e spargi i tuoi nemici. Aria A te, fra tanti affanni, Piet cercai, Signore, Che vedi il mio bel core, Che mi conosci almen. Udisti i voti miei, E gi godea questalma Per te lusata calma Delle tempeste in sen. Coro Se vuoi, puniscimi Ma pria, Signore, lascia che almeno, Che sfoghi, che si moderi Il tuo sdegno, il tuo furore.

Penitent David, K.469 Chorus I raised my weeping cries to the Lord I raised my weeping cries to God oppressed by evils. I raised my weeping cries to God oppressed by evils. Chorus Let us sing the glories and praises, let us repeat them a hundred hundred ways the praises of the most loving Lord. Aria Far away from sad afflictions, feel free again. If once you were afraid now is the time to rejoice. Chorus Be ever gracious, O God and let our prayers move you to mercy. Duet Arise, Lord, and scatter your enemies. Arise, Lord, scatter and disperse your enemies. Put to flight whomsoever may hate you, put to flight those who hate you, arise and scatter your enemies. Aria In you, amid such tribulation, I sought mercy, Lord, that you should see my good heart, that at least you should know me. You have heard my prayers, and already my soul has rejoiced since through you the storms in my bosom have been calmed. Chorus If you will, punish me, but first, Lord, let at least your scorn find relief, your anger be tempered.
(Please turn the page quietly.)

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Puniscimi, se vuoi, Lascia, che sfoghi il tuo furore. Vedi la mia pallida guancia inferma, Signore, deh, sanami, deh, porgimi soccorso, Aita, Signor, tu puoi, porgimi aita. Aria Tra loscure ombre funeste, Splende al giusto il ciel sereno, Serba ancor nelle tempeste La sua pace un fido cor. Alme belle, ah s, godete! Alme belle! ah s, godete, N alcun fia che turbi audace, Quella gioia e quella pace, Di cui solo Dio lautor. Terzetto Tutte le mie speranze Ho tutte riposte in te. Salvami, o Dio, dal nemico feroce Che minsegue e che mincalza, O Dio, salvami! Coro Chi in Dio sol spera: Di tai pericoli non ha timore.

Punish me, if you will, let your anger find relief. Behold my pale weak face, Lord, heal me, bring me succor, help, Lord, you are able, bring help. Aria Through the dark grievous shadows the serene heaven shines on the just, and during the storms brings peace to the faithful heart. Fair souls, ah yes, rejoice! Fair souls! Ah yes, rejoice that no one dares to disturb that joy and that peace of which God alone is the author. Trio All my hopes I have placed in you. Save me, O God, from the cruel enemy that pursues me and that presses upon me, O God, save me! Chorus Who hopes in God alone has no fear of such dangers.

Meet the Artists

conducting La bohme. He will conduct in Vienna again at the end of the year in performances at the Konzerthaus of Beethovens Ninth Symphony with the Vienna Symphony Orchestra. Next season Mr. Langre will make his debut with the Budapest Festival and Cincinnati Symphony Orchestras, as well as conduct the Camerata Salzburg at the Mozartwoche and London Philharmonic Orchestra at the Royal Festival Hall. He will also conduct Pellas et Mlisande in Paris and return to the Aix-en-Provence Festival with La traviata. Mr. Langre has worked with many other orchestras in Europe, North America, and

B. Ealovega

Louis Langre
The French musician Louis Langre has been music director of the Mostly Mozart Festival in New York since December 2002. He was named Rene and Robert Belfer Music Director in August 2006. This year, following his debut at La Scala (Don Giovanni) and return to the Metropolitan Opera and Aix-en-Provence Festival, he will make his debut at the Vienna State Opera

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further afield, including the Detroit and Pittsburgh Symphony Orchestras, Houston Symphony, Orchestre de Paris, Orchestre de la Suisse Romande, Netherlands Radio Philharmonic, Tokyo Philharmonic Orchestra, and the Deutsche Kammerphilharmonie Bremen. He also regularly conducts such period-instrument orchestras as the Orchestra of the Age of Enlightenment, Concerto Kln, Orchestre des Champslyses, and Le Concert dAstre. Festival appearances have included Spoleto, les Chorgies dOrange, Wiener Festwochen, and the BBC Proms. He has held positions as music director of the Orchestre de Picardie, Opra National de Lyon, and Orchestre Philharmonique de Lige. Mr. Langre was music director of Glyndebourne Touring Opera for five years and has worked regularly at Glyndebourne Festival Opera. He has also conducted at the Lyric Opera of Chicago, Dresden Staatsoper, Grand Thtre in Geneva, Opra Bastille and Thtre des Champs-lyses in Paris, Netherlands Opera in Amsterdam, and Royal Opera House, Covent Garden. For his performance in Fidelio at Glyndebourne Opera in 2001, he was the joint recipient, with Simon Rattle, of the Royal Philharmonic Societys award for Best Musical Achievement for Opera. Mr. Langre has an extensive discography, including recordings for Virgin Classics, Universal, and Nave. Many of these have won awards, including Victoire de la Musique, Diapason dOr, and Gramophone. In 2006 he was appointed Chevalier des Arts et des Lettres by the French Ministry of Culture.

Grant Hiroshima

Stephen Hough

Stephen Hough is widely regarded as one of the most important and distinctive pianists of his generation. In 2001 he was awarded a MacArthur Fellowship, joining prominent scientists, writers, and others who have made unique contributions to contemporary life. He received the 2008 Northwestern University School of Musics Jean Gimbel Lane Prize in Piano Performance and was recently named winner of the 2010 Royal Philharmonic Society Instrumentalist Award. Mr. Hough has appeared with most of the major American and European orchestras and plays recitals regularly in the important halls and concert series around the world. Recent engagements include recitals in London, Paris, Madrid, Hong Kong, and Sydney, and on the main stage of Carnegie Hall; performances with the New York, London, Los Angeles, and Czech philharmonics; the Chicago, Pittsburgh, Boston, Saint Louis, Toronto, and Atlanta symphony orchestras; the Cleveland, Philadelphia, Minnesota, and Russian National orchestras; and the San Francisco Symphony; and a worldwide televised performance with the Berlin Philharmonic and Simon Rattle. During the summer of 2010 he returns to the Hollywood Bowl and the Blossom, Aspen, and Grand Teton festivals. Highlights of Mr. Houghs 201011 season include performances of all four of Tchaikovskys piano concertos over six concerts with the Chicago Symphony Orchestra; re-engagements with the Philadelphia Orchestra, BBC Philharmonic, Houston, Colorado, and Oregon sym-

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phonies, and Saint Louis, Montreal, Seattle, and Vancouver symphony orchestras; a European tour with the Budapest Festival Orchestra, including Londons Royal Festival Hall; and a recital for the Van Cliburn Foundation in Fort Worth. Mr. Hough is an exclusive Hyperion recording artist, and his catalogue of over 50 CDs has garnered many international prizes. He is also an avid writer and composer. Mr. Hough is currently a visiting professor at the Royal Academy of Music in London and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester.

She has also appeared with the Bayerische Rundfunk, WDR Symphonieorchester Kln, and Orchestra e Coro dellAccademia Nazionale di Santa Cecilia. Next season she makes her debut with the Leipzig Gewandhaus Orchestra and Riccardo Chailly in performances and a Decca recording of Bachs Christmas Oratorio. Ms. Sampson has toured the U.S. with the Kings Consort as a featured soloist and has performed with the San Francisco Symphony, Detroit Symphony Orchestra, Saint Paul Chamber Orchestra, Washington Bach Consort, and Chicagos Music of the Baroque. Ms. Sampson is a guest at the BBC Proms and has also appeared on the BBC Proms Chamber Music series and given recitals for BBC Radio 3. She regularly appears at the Wigmore Hall and the Saintes Festival. She made her recital debut at the Concertgebouw in 2007 and gave a recital at the 2008 Aldeburgh Festival. She took part in the BBCs Purcell celebrations at Westminster Abbey in November 2009. Her most recent recording of Purcell songs for BIS was selected as Editors Choice in the December 2007 issue of Gramophone Magazine. In 2011 Ms. Sampson will make her debuts with the Melbourne Symphony Orchestra, Rotterdam Philharmonic Orchestra, and New York Philharmonic.

Annelies van der Vegt

Carolyn Sampson

Carolyn Sampsons many roles for the English National Opera have included the title role in Semele and Pamina (Die Zauberflte) as well as roles in Lincoronazione di Poppea and The Fairy Queen. Her numerous concert engagements in the U.K. have included Messiah with the Orchestra of the Age of Enlightenment, Bachs St. Matthew Passion at the BBC Proms with the English Concert and Trevor Pinnock, Brittens Les Illuminations with the Manchester Camerata and Nicholas Kraemer, and St. Matthew Passion with the Hall Orchestra and Mark Elder. In Europe her many appearances have included performances of Bachs St. Matthew Passion with the Royal Concertgebouw Orchestra and Philippe Herreweghe, as well as with the Freiburg Baroque Orchestra and Gustav Leonhardt.

Nick Granito

Sasha Cooke

The 201011 season brings several notable debuts for American mezzo-soprano Sasha Cooke. She performs with Deutsches Symphonie-Orchester Berlin in Mahlers

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Rckert Lieder; Baltimore Symphony Orchestra under Marin Alsop in songs of Alma Mahler; Saint Paul Chamber Orchestra under Edo de Waart in Das Lied von der Erde; the Los Angeles Chamber Orchestra under Jeffrey Kahane in sacred music of Bach; Houston Symphony under Mark Wigglesworth in Prokofievs Alexander Nevsky, and the Edmonton Symphony Orchestra under William Eddins in Durufls Requiem. She performs Mahlers Resurrection Symphony both with Michael Tilson Thomas and the San Francisco Symphony and with Gerard Schwarz and the Seattle Symphony; returns to Carnegie Halls Zankel Hall with James MacMillans Raising Sparks; reprises Alexander Nevsky and Brahms Alto Rhapsody with the Kansas City Symphony; essays the title role in a concert version of Carmen with the Brazos Valley Symphony Orchestra; and gives recitals at the Kennedy Center, Merkin Concert Hall, and the University of Minnesota. A dedicated recitalist, Ms. Cooke has appeared at Carnegies Weill and Zankel Halls, Alice Tully Hall, and the Mondavi Center, among others. She has sung with leading conductors and orchestras including Bernard Haitink and the Chicago Symphony Orchestra, Manfred Honeck and the Pittsburgh Symphony Orchestra, Jaap van Zweden and the Dallas Symphony Orchestra, and Edo de Waart with both the Milwaukee Symphony Orchestra and the Hong Kong Philharmonic Orchestra. A former member of the Metropolitan Operas Lindemann Young Artist Development Program, she was acclaimed for her portrayal of Kitty Oppenheimer in the Mets premiere of Doctor Atomic, which was also broadcast live in high definition to cinemas across the country. A graduate of Rice University and The Juilliard School, Ms. Cooke won First Prize in the Young Concert Artists International

Auditions in 2007. These performances mark her Mostly Mozart debut.

Steve Davislim
The Australian tenor Steve Davislim trained as a horn player before studying voice at the Victorian College of the Arts with Joan Hammond. He subsequently joined the International Opera Studio in Zurich. Mr. Davislim began his career as an ensemble member of the Zurich Opera. Opera appearances include Almaviva in Berlin; Almaviva, Lensky, and Tom Rakewell (The Rakes Progress) in Hamburg; Fenton (Falstaff) at the Royal Opera in London; Don Ottavio in Sydney and Naples; Webers Oberon at the Chtelet in Paris; Pong (Turandot) at the Salzburg Festival; and both Lensky and David (Die Meistersinger von Nrnberg) for Opera Australia. Mr. Davislim made his debut with Chicago Lyric Opera as Jacquino (Fidelio) under Ern Dohnnyi and played Tom Rakewell in Dresden and Grge (Zemlinskys Der Traumgrge) in Berlin. He performed Die Entfhrung aus dem Serail at the Metropolitan Opera and in Chicago, Max (Webers Der Freischtz) in Baden-Baden, and the title role in Mozarts Idomeneo at the opening of La Scala in Milan under Daniel Harding. In concert, Mr. Davislim has performed with the major orchestras in Europe, the United States, and Australia under conductors such as Colin Davis, Rafael Frhbeck de Burgos, Adam Fischer, John Eliot Gardiner, Valery Gergiev, Alan Gilbert, Nikolaus Harnoncourt, Bernard Haitink,

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Thomas Henglebrock, Ren Jacobs, Armin Jordan, Simone Young, Lorin Maazel, Charles Mackerras, Marc Minkowski, Roger Norrington, Antonio Pappano, Riccardo Chailly, Franz Welser-Mst, and Philippe Herreweghe. Mr. Davislims current and future projects include Beethovens Symphony No. 9 with Gardiner on tour, Max at the Lucerne Festival (under Hengelbrock), Idomeneo at La Scala and with Hengelbrock on tour (Berlin, London, Hamburg, Munich), Larbore di Diana in Barcelona, Szymanowskis Symphony No. 3 with Pierre Boulez in Vienna, and Julietta with both the Berlin Philharmonic Orchestra and Thoms Netopil and in Geneva with Jir i Be lohlvek.

and a concert series featuring the works of Haydn, Bach, and Beethoven. It also participated in the highly acclaimed concert version of Rodgers and Hammersteins Carousel, conducted by Leonard Slatkin, and it was involved in a performance with Judy Collins at Carnegie Hall. The men of the Chorale sang with the Chicago Symphony Orchestra in a performance of Tristan und Isolde, and they also performed in The Tristan Project with the Los Angeles Philharmonic at Avery Fisher Hall. The Chorale participated in Live From Lincoln Centers A Salute to the American Musical, which was nominated for an Emmy, and it has recorded with CBS and Nonesuch Records. The artistic administrator of the Concert Chorale of New York is Jacqueline Pierce.

Concert Chorale of New York

The Concert Chorale of New York is a group of professional singers who perform with various conductors and presenters. They have appeared at the Caramoor Festival in productions of operas and oratorios. Other credits include the Brooklyn Academy of Musics productions of Philip Glass Civil Wars, John Adams Nixon in China, and productions of Dido and Aeneas, LAllegro, il Penseroso ed il Moderato, Jesu, Meine Freude, and Vivaldis Gloria with the Mark Morris Dance Group. The Chorale has also worked with Gerard Schwarz at the 92nd Street Y and the LOpra Franais conducted by Yves Abel. The Chorale recently appeared with the America Symphony Orchestra under Leon Botstein. It was heard in Stravinskys Les noces at Lincoln Center, the New York premier of Paul McCartneys Ecce Cor Meum, and a performance of The Death of Klinghoffer conducted by the composer, John Adams. It was a participant in a project at the Performing Arts Center at Purchase in performances of Gilbert and Sullivan works

Dave Gribbens

James Bagwell
James Bagwell maintains an active schedule as a conductor of choral, operatic, and orchestral music throughout the U.S. In 2009 he was appointed music director of the Collegiate Chorale, and he was recently named principal guest conductor of the American Symphony Orchestra in New York. Since 2003 he has been director of choruses for the Bard Music Festival, conducting and preparing choral works at the Fisher Center for the Performing Arts. He has also prepared the Concert Chorale of New York for performances with the American Symphony Orchestra, the Los Angeles Philharmonic, and at the Mostly Mozart Festival (broadcast nationally in 2006 on Live From Lincoln Center). He was the music director of the Dessoff Choirs, who under his leadership made numerous

Mostly Mozart Festival

appearances at Carnegie Hall in addition to their regular season. Mr. Bagwell has trained choruses for major American and international orchestras, including the San Francisco Symphony, Los Angeles Philharmonic, Cincinnati Pops Orchestra, and the NHK, St. Petersburg Symphony, American, Cincinnati, and Indianapolis symphony orchestras. He has collaborated with Lorin Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langre, James Conlon, and Robert Shaw, among others. Mr. Bagwell is music director of the May Festival Youth Choir in Cincinnati, recently featured on the radio program From the Top. He has conducted 25 productions as music director of Light Opera Oklahoma, including Candide, Sweeney Todd, and The Merry Widow. He has led numerous theatrical works at Bard SummerScape, which have received praise from The New York Times, The New Yorker, and Opera News. He frequently appears as guest conductor for orchestras around the country and abroad, including the Jerusalem Symphony Orchestra, the Tulsa Symphony Orchestra, and the Indianapolis Chamber Orchestra. Mr. Bagwell currently teaches at Bard College, where he is director of the music program.

recently The Allen Room and Rose Theater), and now includes significant Baroque and early music presentations featuring some of the worlds outstanding period-instrument ensembles. Multidisciplinary presentations related to the Classical and Baroque periods are also an important focus of the festival.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly Mozart Festival. In addition to the New York season, the Orchestra has toured to notable festivals and venues such as Ravinia, Great Woods, Tanglewood, the Tilles Center, and the Kennedy Center. The Orchestra also toured to Japan, where it was in residence at Tokyos Bunkamura Arts Center from 199199. Conductors who made their New York debuts with the Mostly Mozart Festival Orchestra include Yannick Nzet-Sguin, Charles Dutoit, Leonard Slatkin, David Zinman, and Edo de Waart. Soloists such as Itzhak Perlman, Pinchas Zukerman, Alicia de Larrocha, Richard Stoltzman, Emanuel Ax, and Andr Watts have had long associations with the Festival. Mezzo-soprano Cecilia Bartoli, flutist James Galway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their New York debuts at the Mostly Mozart Festival.

Mostly Mozart Festival

Now in its 44th year, the Mostly Mozart Festival was launched as an experiment in 1966 as Midsummer Serenades: A Mozart Festival. This countrys first indoor music festival devoted its first two seasons exclusively to the music of Mozart. Now a New York institution, the Festival has broadened its focus to include works by Bach, Handel, Schubert, Haydn, and Beethoven. In recent seasons, the Mostly Mozart Festival has expanded into several venues (Avery Fisher Hall, Alice Tully Hall, Walter Reade Theater, David H. Koch Theater, Gerald W. Lynch Theater at John Jay College, and most

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of superb artistic programming, national leader in arts and education, and manager of the Lincoln Center campus. As a presenter of more than 400 events annually, LCPAs programs include American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and Live From Lincoln Center. In addition, LCPA is leading a series of major capital projects on behalf of the resident organizations across the campus.

Mostly Mozart Festival

Mostly Mozart Festival Orchestra

Louis Langre, Rene and Robert Belfer Music Director
Violin I Krista Bennion Feeney, Concertmaster Martin Agee Eva Burmeister Robert Chausow Amy Kauffman Sophia Kessinger Ronald Oakland Michael Roth Deborah Wong Violin II Mineko Yajima, Principal Katsuko Esaki Laura Frautschi Lilit Gampel Michael Gillette Suzanne Gilman Katherine Livolsi-Landau Dorothy Strahl Viola Shmuel Katz, Principal Danielle Farina Chihiro Fukuda Jack Rosenberg Jessica Troy Cello Ilya Finkelshteyn, Principal Ted Ackerman Ann Kim Alvin McCall Bass Timothy Cobb, Principal Lou Kosma Judith Sugarman Flute Yoobin Son, Principal Oboe Randall Ellis, Principal Bethany Slater Clarinet Steve Hartman, Principal Bassoon Frank Morelli, Principal Mark Timmerman Horn Lawrence DiBello, Principal Richard Hagen Trumpet Neil Balm, Principal Lee Soper Trombone Demian Austin, Principal Hugh Eddy Donald Hayward, Bass Trombone Timpani David Punto, Principal Librarian Paul Beck, Principal Justin Vibbard Personnel Managers Neil Balm Jonathan Haas Gemini Music Productions, Ltd.

Concert Chorale of New York

James Bagwell, Director
Soprano Jennifer Bates Melissa Bauman Gail Blache-Gill Toni Dolce Michele Eaton Katherine Harris Leslie Hochman Linda Jones Melissa Casey Jose Margarita Martinez Stefanie Moore Erika Powell Amaranta Viera Alto Maria Bedo Antonella Delli Carpini Bo Chang Emily Eyre Kirsten Kane Helen Karloski Erin Kemp Misa Iwama Maren Montalbano Nedra Neal Jacqueline Pierce Rhesa Williams Jan Wilson Tenor John Bernard Matthew Deming Brian Dougherty David Guzman Matthew Kreger Joseph Palarca Frank Ream Bass Adam Alexander Alan Arak Frank Barr Dennis Blackwell Christopher DeVage Mischa Frusztajer Roderick Gomez Masami Morimoto Joseph Neal Aaron Theno Daniel Spratlan Peter Van Derick

Lincoln Center Programming Department Jane Moss, Vice President, Programming Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Lisa Takemoto, Production Manager Bill Bragin, Director, Public Programming Kate Monaghan, Associate Director, Programming Charles Cermele, Producer, Contemporary Programming Jill Sternheimer, Associate Producer, Public Programming Yukiko Shishikura, Production Coordinator Sheya Meierdierks-Lehman, House Program Coordinator Kimberly DeFilippi, Assistant to the Vice President Regina Grande, Interim Programming Assistant Elizabeth Dobrska, Ticketing Intern; Colette Garrigues, House Program Intern; Jonathan Jager, Production Intern; Edward Taylor, Production Intern Program Annotators: Joan Acocella, John A. Graham, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, Ruth Smith, David Wright