tuesday and wednesday, july 31–august 1, 2018, at 6:30 pm m...

Tuesday and Wednesday, July 31–August 1, 2018, at 6:30 pm

Pre-concert Recital

Stephen Waarts, ViolinHenry Kramer, Piano

BRAHMS Violin Sonata No. 3 in D minor (1886–88) Allegro Adagio Un poco presto e con sentimento Presto agitato

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

Please make certain all your electronic devices are switched off.

Steinway PianoDavid Geffen Hall

The Program

Mostly Mozart Festival I Notes on the Pre-concert Recital

Notes on the Pre-concert Recital By David Wright

Violin Sonata No. 3 in D minor (1886–88)JOHANNES BRAHMSBorn May 7, 1833, in Hamburg, GermanyDied April 3, 1897, in Vienna

Approximate length: 21 minutes

As with Brahms’s three piano sonatas, the last of his three violin sonatasis the most grandly conceived, the most effective in a large hall, and hencethe most frequently performed today. Although Brahms began it in 1886,this unusually ambitious and powerful sonata took him until 1888 to finish.

For all the contrast among its four movements, the D-minor Sonata givesthe impression of a unified drama in four acts. Anticipation is the keynoteof the first movement; the work begins on A, the dominant note of the keyof D minor, and melodies keep returning to it, creating a suspenseful moodthat points toward the home key but never quite settles there. Stronglyaccenting a short offbeat note gives a passionate surge to the secondtheme, but suspense returns in the development, where the dominant Athrobs in the bass throughout. The long coda brings matters to a head withthe most impassioned statement of the main theme yet, followed by areturn to the veiled style of the development—but this time with the tonicnote D firmly established in the bass.

Two brief movements follow, each as simple and direct as the first move-ment was complex and ambiguous. The Adagio consists of a single longtheme which is heard twice, each time building to a splendid climax in vio-lin double-stops, followed by a brief coda. The scherzo-like third movementis also based on one theme, but this one is mutable; it flits by on lacy wingsof piano arpeggios, then comes thundering back in the two-fisted mannerof other Brahms scherzos, then warms up for a moment or two in a majorkey, and finally vanishes in a sudden gust of arpeggios.

Neither of these interludes has answered the questions that the first move-ment poses, but the answer arrives with full force in the finale, where theviolence that was only implied up to now is unleashed in a furious taran-tella. Even here, harmonic ambiguity persists; the first and third themescling again to the dominant A, and the striding, chordal second theme—sooften a “voice of reason” in Brahms finales—runs off its harmonic trackshere. Only by means of the white-hot coda, the most forceful music in theentire work, can Brahms bring this sonata to its crushing D-minor conclusion.

—Copyright © 2018 by David Wright

Tuesday and Wednesday, July 31–August 1, 2018, at 7:30 pm

Mostly Mozart Festival OrchestraLouis Langrée, ConductorJoshua Bell, Violin

JOHN ADAMS Tromba Lontana (1985) NEIL BALM, LEE SOPER, Trumpets

BRUCH Violin Concerto No. 1 in G minor (1868) Vorspiel: Allegro moderato Adagio Finale: Allegro energico Intermission

BRAHMS Symphony No. 2 in D major (1877) Allegro non troppo Adagio non troppo—L’istesso tempo, ma grazioso Allegretto grazioso (Quasi andantino)—Presto ma non assai Allegro con spirito

The Program

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

Please make certain all your electronic devices are switched off.

Steinway PianoDavid Geffen Hall

Mostly Mozart Festival

American Express is the lead sponsor of the Mostly Mozart Festival

Endowment support is provided by Blavatnik Family Foundation Fund for Dance

The Mostly Mozart Festival is also made possible by The Andrew W. Mellon Foundation, The FordFoundation, and Rita E. and Gustave M. Hauser. Additional support is provided by The ShubertFoundation, LuEsther T. Mertz Charitable Trust, The Howard Gilman Foundation, The Fan Fox andLeslie R. Samuels Foundation, Inc., The Katzenberger Foundation, Inc., Mitsui & Co. (U.S.A.), Inc,Mitsubishi Corporation (Americas), Sumitomo Corporation of Americas, J.C.C. Fund, JapaneseChamber of Commerce and Industry of New York, Nippon Steel & Sumitomo Metal U.S.A., Inc, GreatPerformers Circle, Chairman’s Council, Friends of Mostly Mozart, and Friends of Lincoln Center

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital of Lincoln Center

“Summer at Lincoln Center” is supported by Bubly

Artist Catering provided by Zabar’s and Zabars.com

UPCOMING MOSTLY MOZART FESTIVAL EVENTS:

Thursday, August 2 at 7:30 pm in the Gerald W. Lynch TheaterInternational Contemporary EnsembleChristian Reif, conductor COURTNEY BRYAN: Songs of Laughing, Smiling, and Crying GEORGE LEWIS: Voyager JOHN ADAMS: Grand Pianola Music

Friday–Saturday, August 3–4 at 7:30 pm in David Geffen HallMostly Mozart Festival OrchestraChristian Zacharias, conductor and pianoRosa Feola, sopranoALL-MOZART PROGRAMPiano Concerto No. 25 in C majorCh’io mi scordi di te…Non temer, amato beneBella mia fiamma…Resta, o caraSymphony No. 38 in D major (“Prague”)

Friday, August 3 at 10:00 pm in the Stanley H. Kaplan PenthouseA Little Night MusicPražák QuartetDUŠEK: String Quartet in A major (U.S. premiere)MOZART (arr. Joseph Kueffner): Two arias from Don GiovanniMOZART: String Quartet in D major (“Hoffmeister”)

For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at(212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure.

Visit MostlyMozartFestival.org for full festival listings.

Join the conversation: @LincolnCenter

We would like to remind you that the sound of coughing and rustling paper might distract the performersand your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leave beforethe end of the performance are asked to do so between pieces. The taking of photographs and theuse of recording equipment are not allowed in the building.


Welcome I am delighted to welcome you to the 2018 Mostly Mozart Festival. This summermarks a significant expansion of the festival to embrace landmark internationalproductions in music, theater, and dance, as well as an enhanced commitment tothe music of our time. We also extend our performances beyond the LincolnCenter campus to Brooklyn and Central Park, where some 800 singers will gatherin August for the world premiere of John Luther Adams’s choral work In the Nameof the Earth.

In keeping with Mozart’s spirit of innovation and creativity, this year’s festivalopens with Available Light, a confluence of dance, architecture, and music createdby three major contemporary artistic forces: choreographer Lucinda Childs, archi-tect Frank Gehry, and composer John Adams. The Catalan theater company LaFura dels Baus arrives with a profoundly inventive staging of Haydn’s Creation,while another classic work, Shakespeare’s Macbeth, is transposed to feudal Japanin an exquisite production by the legendary director Yukio Ninagawa.

The festival also presents important premieres, including a world premiere workby Mark Morris Dance Group set to Schubert’s “Trout” Quintet; a celebration ofthe Bernstein centennial with a bold new staging of his MASS, featuring theMostly Mozart Festival Orchestra and over 200 performers; and the New York premiere of The Force of Things, an immersive “opera for objects” with music byexciting young composer Ashley Fure and architectural design by Adam Fure.

As always, Mozart’s music remains a core inspiration of the summer, with pro-grams by our extraordinary Mostly Mozart Festival Orchestra that include the tran-scendent Requiem, led by Renée and Robert Belfer Music Director Louis Langrée,the “Jupiter” and “Prague” Symphonies, and a string quintet performed by theEmerson String Quartet with guest violist Nokuthula Ngwenyama. Our FestivalOrchestra is joined by preeminent guest artists including conductors ThomasDausgaard, Richard Egarr, and Christian Zacharias; pianists Emanuel Ax andFrancesco Piemontesi; violinists Joshua Bell and Daniel Lozakovich; and sopranosJodie Devos and Rosa Feola. Rounding out the festival is our popular A Little NightMusic series, a film on Leonard Bernstein, and free events, as well as pre-concertrecitals and talks.

With so many rich offerings, I hope that you will join us often and look forward toseeing you at the Mostly Mozart Festival.

Jane MossEhrenkranz Artistic Director

By David Wright

This evening’s program appears to forgo the festival’s namesake Enlightenmenthero in favor of the wide-open spaces of the Romantic imagination. And it’strue that the fresh salt air of San Francisco Bay and the Alpine breezes ofUpper Austria seem to blow through John Adams’s Tromba Lontana andBrahms’s Second Symphony, respectively. The great violinist JosephJoachim declared Bruch’s Violin Concerto No. 1 “the most enchanting”piece in its genre.

But what was Mozart if not enchanting? And what was his imagination ifnot wide-ranging? All three of tonight’s composers are on record as ferventadmirers of the master from Salzburg, and they emulate him here in signif-icant ways. The feeling for tone color and economy of means with whichAdams evokes two faraway trumpets in a dreamy fanfare would do Mozartproud. The poise and folk-music charm of Mozart’s five violin concertosecho throughout the repertoire, nowhere more so than in Bruch’s elegantyet impassioned opus. The economy and vigor of a Mozart symphonysurely provided the model for Brahms’s ingratiating yet tightly constructedcomposition, an entire four-movement piece generated (like Beethoven’sFifth) from its first four notes.


Mostly Mozart Festival I Snapshot

Snapshot

Mostly Mozart Festival I Notes on the Program

By David Wright

Tromba Lontana (1985)JOHN ADAMSBorn February 15, 1947, in Worcester, Massachusetts


In 1985, the composer Tobias Picker organized a fanfare commission-ing project for the Houston Symphony, and John Adams respondedwith Tromba Lontana (“Distant Trumpet”), an admittedly “subversive”piece that, far from raising the roof like most fanfares, never getslouder than mezzo piano. Instead, Adams calls up the profoundlyevocative sound of two faraway trumpets, distant not just from the lis-tener but from each other. Behind them, the orchestra tintinnabulatesgently with a steady pulse, and, the composer writes, “a long, almostdisembodied melody for strings…passes by almost unnoticed like noc-turnal clouds.”

Violin Concerto No. 1 in G minor, Op. 26 (1868)MAX BRUCHBorn January 6, 1838, in Cologne, GermanyDied October 2, 1920, in Berlin


In 1906 the violinist Joseph Joachim, friend and colleague to manyimportant composers of concert music in Germany during the mid- tolate 19th century, summed up the great violin concertos of Beethoven,Brahms, Mendelssohn, and Bruch, declaring Bruch’s “the richest andmost enchanting of the four.” A century later, Bruch’s distinctivelygifted writing of melodious music for the voice and the violin has notlost its ability to enchant.

Bruch was 19 when he began sketching the work that would becomethe first and most popular of his three violin concertos. The premieretook place nine years later in April 1866, and the great Joachim himselfperformed a revised version in January 1868.

The so-called Vorspiel (Prelude) that begins the concerto is actuallyquite a substantial movement, with an assertive theme in double-stops that develops alongside a tender second theme in a fantasticatmosphere. The tempo marking of the central Adagio means literally“at ease,” and the relaxed, expansive character of this movement—the longest of the three—makes it not just a tuneful interlude but theexpressive heart of the concerto.

Notes on the Program

No doubt the Hungarian-born Joachim appreciated the fire and syncopation ofthe finale’s main theme, with its characteristic mordent or “flip” figure thatemerges cleverly from the orchestra at the outset. The passionate secondtheme, Elgar-like in its melodic span and sturdy nobility, is the perfect foil for allthe fiddling in double- and multiple-stops.

Symphony No. 2 in D major, Op. 73 (1877)JOHANNES BRAHMSBorn May 7, 1833, in Hamburg, GermanyDied April 3, 1897, in Vienna


Brahms worked on his Symphony No. 2 with extraordinary speed by his stan-dards, sketching the piece in Vienna during the spring of 1877, then orchestrat-ing and polishing it during his summer vacation in the Alpine village ofPörtschach. Brahms provides the crux of the symphony right at the top: a four-note motive in the cellos and double basses, which begins with a three-note,down-up figure and reappears immediately in a variant for the horns. The ges-ture can also be found at the head of the graceful violin theme that follows, asa flute obbligato to the cellos’ waltz theme, and in the brisk closing theme of theexposition. In fact, it pops up everywhere in the movement.

As Mozart knew well, good cheer is keenest when tears are not far away. Themeditative Adagio of Brahms’s happy symphony is a tender reminder of life’sother side. And the serenade-like Allegretto grazioso is by no means out of thewoods emotionally; light-footed and charming as it is, unexpected shifts fromG major to G minor give it a bittersweet taste.

The principal theme of the finale, in smooth quarter notes, seems to flow down“as mighty waters.” The little turn with which it begins is yet another variant ofthe four-note motive, which eventually develops a spinning momentum that willdrive this ebullient movement on to the finish. The second theme, with itslonger note values and stomping syncopation, provides welcome contrast to allthis headlong motion, as does a tranquillo episode (subtly derived from the maintheme) in the development.

David Wright, a music critic for New York Classical Review, has provided programnotes for the Mostly Mozart Festival since 1982.


Mostly Mozart Festival I Notes on the Program

Louis Langrée was appointed music director of the Mostly MozartFestival in 2002 and was named Renée and Robert Belfer Music Directorin August 2006. He is also music director of the Cincinnati SymphonyOrchestra, a position he has held since 2013. Recent highlights with theCSO include a concert as part of the 50th anniversary season of LincolnCenter’s Great Performers series and tours to Asia and Europe, includingappearances at the Hong Kong Arts Festival, Edinburgh InternationalFestival, BBC Proms, and La Seine Musicale in Paris.

Other recent and future highlights include appearances with thePhiladelphia Orchestra, Toronto Symphony Orchestra, Vienna Symphony,Czech Philharmonic, Gewandhaus Orchestra of Leipzig, and OrchestreNational de France. Mr. Langrée also conducts regularly at theMetropolitan Opera, Vienna State Opera, and Opéra Comique. He hasappeared as guest conductor with the Berlin and Vienna Philharmonics,Budapest Festival Orchestra, London Philharmonic Orchestra, NHKSymphony Orchestra, Freiburg Baroque Orchestra, Orchestre desChamps-Élysées, and the Orchestra of the Age of Enlightenment. Hisopera engagements include appearances with La Scala, Opéra Bastille,Royal Opera House, Covent Garden, Lyric Opera of Chicago, Bavarianand Dresden State Operas, and Netherlands Opera.

Mr. Langrée’s recordings with the Cincinnati Symphony Orchestra haveearned two Grammy nominations and feature commissioned works bySebastian Currier, Thierry Escaich, David Lang, Nico Muhly, and ZhouTian, as well as Copland’s Lincoln Portrait narrated by Maya Angelou.His DVD of Verdi’s La traviata from the Aix-en-Provence Festival, withthe London Symphony Orchestra, was awarded a Diapason d’Or. Mr.Langrée was appointed Chevalier des Arts et des Lettres and Chevalierde l’Ordre National de la Légion d’Honneur.

Meet the Artists

Louis Langrée

Mostly Mozart Festival I Meet the Artists

MATT DINE

With a career spanning more than 30years as a soloist, chamber musician,recording artist, and conductor, JoshuaBell is one of the most celebrated violin-ists of his era. An exclusive Sony Classicalartist, Mr. Bell has recorded more than40 albums garnering Grammy, Mercury,Gramophone, and Echo Klassik awards,and is a recipient of the Avery FisherPrize. In 2011 he was named the musicdirector of the Academy of St. Martin inthe Fields (ASMF), the only person tohold this post since Neville Marriner

formed the orchestra in 1958.

In 2018, Mr. Bell tours with ASMF to the U.K., Germany, U.S., and Asia. Withpianist Sam Haywood, he performs ten recitals in Europe and America, and thispast February, he reunited with pianist Jeremy Denk for a recital broadcast livefrom Carnegie Hall. Further season highlights include dates with the PhiladelphiaOrchestra, Danish National Symphony Orchestra, and an all-Beethovenplay/direct program with the Orchestre National de Lyon.

Mr. Bell’s most recent Sony Classical release in June 2018, Scottish Fantasy, fea-tures Bruch’s Scottish Fantasy and the G-minor Concerto recorded with theASMF. Other notable recent releases on Sony include For the Love of Brahmswith cellist Steven Isserlis and pianist Jeremy Denk, and a 14-CD set, JoshuaBell—The Classical Collection. He has also engaged in two tech projects: WithEmbertone, the leading virtual instrument sampling company, the “Joshua BellVirtual Violin” was created for producers, artists, engineers, and composers. Healso collaborated with Sony on the “Joshua Bell VR Experience,” performingBrahms’s Hungarian Dance No. 1 in 360-degree VR.

Convinced of the value of music as a diplomatic and educational tool, Mr. Bellparticipated in President Obama’s Committee on the Arts and Humanities’s firstcultural mission to Cuba. He is also involved in Turnaround Arts, administered bythe John F. Kennedy Center for the Performing Arts, which provides arts educa-tion to low-performing elementary and middle schools. Mr. Bell has devoted him-self to several charitable causes, most notably Education Through Music, whichputs instruments in the hands of thousands of children in America’s inner cities.Mr. Bell performs on the 1713 Huberman Stradivarius violin.


Joshua BellLISA-MARIE MAZZUCCO


Stephen Waarts

Violinist Stephen Waarts garnered international attention with his prize-winningsuccess at the 2015 Queen Elisabeth Competition, including securing the majorityvote of the television audience. In 2017 he was awarded the prestigious AveryFisher Career Grant. Following his debut at the Festspiele Mecklenburg-Vorpommern, Mr. Waarts was awarded the 2017 soloist prize, which will be pre-sented in September 2018. He returned last year to the Krzyzowa-Music Festival,where he was previously awarded the Mozart Gesellschaft Dortmund scholarship.

With a voracious appetite for repertoire, Mr. Waarts has already performed morethan 30 standard, as well as rarely performed, violin concertos, and is a passion-ate chamber musician. Highlights include his debuts with the Frankfurt RadioSymphony under Christoph Eschenbach, Kansas City Symphony under DavidZinman, Orchestre National de Belgique, and the Tampere Philharmonic Orchestra,as well as invitations from Adrian Brendel to the Plush Festival, and by StevenIsserlis to IMS Prussia Cove. Mr. Waarts will be performing in recital and chambermusic in New York, Paris, Berlin, and the Netherlands. He has recently recordedhis debut recital album, to be released in November 2018.

In 2013 Mr. Waarts won the Young Concert Artists International Auditions at age17, and he was also a prize winner at the 2014 Menuhin and the 2013 MontrealInternational Competitions. He graduated with a bachelor of music degree fromthe Curtis Institute of Music, where he studied with Aaron Rosand, and is cur-rently at the Kronberg Academy in Germany studying with Mihaela Martin. Hepreviously worked with Itzhak Perlman at the Perlman Music Program and Li Linat the San Francisco Conservatory.

Henry Kramer

The winner of the 2015 William Petschek Recital Debut Award from The JuilliardSchool and second-prize winner of the 2016 Queen Elisabeth Competition, pianistHenry Kramer’s performances have been critically acclaimed as thrilling and tech-nically effortless. A Maine native, Mr. Kramer has also earned top prizes in the 2015Honens Piano Competition, the 2011 Montreal International Music Competition,and the Sixth China Shanghai International Piano Competition. He was a prize win-ner in the 8th National Chopin Piano Competition in Miami, and received the 2014Harvard Musical Association Arthur Foote Award. He is a winner of Astral Artists’s2014 National Auditions.

Mr. Kramer has appeared with the Belgian National Orchestra, Bilkent SymphonyOrchestra (Ankara), Orchestre Métropolitain (Montreal), Brussels Philharmonic,and the Calgary and Shanghai Philharmonic Orchestras. He has collaborated withconductors Marin Alsop, Stéphane Denève, Yan Pascal Tortelier, and Hans Graf,and has made appearances at the Verbier, Ravinia, and Music@Menlo festivals,among others. In 2012, he made his European debut in solo recital in Amsterdam


at the Concertgebouw and appeared in Havana, Cuba, as a cultural ambassador.Mr. Kramer holds degrees from The Juilliard School and Yale School of Music. InAugust 2018, he will begin his role as the L. Rexford Whiddon DistinguishedChair in Piano at the Schwob School of Music in Columbus, Georgia.


Since its founding in 1966, Lincoln Center’s Mostly Mozart Festival has evolvedfrom an indoor festival devoted to music by its namesake composer to a broad-reaching, multidisciplinary international festival encompassing productions indance, opera, and theater, a popular late-night recital series, and music fromMozart’s predecessors and contemporaries to the music of our own time.Spanning numerous venues and settings, the Mostly Mozart Festival isacclaimed worldwide as an essential summer cultural destination. It includesperformances by the Mostly Mozart Festival Orchestra with preeminentsoloists, as well as concerts by outstanding chamber and period instrumentensembles. Contemporary music has become a vital part of the festival, embod-ied in its annual artist residency that has included George Benjamin, KaijaSaariaho, Pierre-Laurent Aimard, John Adams, and the current InternationalContemporary Ensemble. Among the many artists and ensembles who havehad long associations with the festival are Joshua Bell, Emanuel Ax, MartinFröst, Isabelle Faust, Richard Goode, Alicia de Larrocha, Stephen Hough,Andrew Manze, the Emerson String Quartet, Freiburg Baroque Orchestra,Orchestra of the Age of Enlightenment, and Mark Morris Dance Group.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the MostlyMozart Festival, and the only U.S. chamber orchestra dedicated to the music ofthe Classical period. Louis Langrée has been the orchestra’s music directorsince 2002, and each summer the ensemble’s home in David Geffen Hall istransformed into an appropriately intimate venue for its performances. Over theyears, the orchestra has toured to such notable festivals and venues as Ravinia,Great Woods, Tanglewood, Bunkamura in Tokyo, and the Kennedy Center.Conductors who made their New York debuts leading the Mostly MozartFestival Orchestra include Yannick Nézet-Séguin, Edward Gardner, JérémieRhorer, Lionel Bringuier, Charles Dutoit, Leonard Slatkin, David Zinman, and Edode Waart. Mezzo-soprano Cecilia Bartoli, flutist James Galway, soprano EllyAmeling, and pianist Mitsuko Uchida all made their U.S. debuts with the MostlyMozart 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 leader in arts and education and communityrelations, and manager of the Lincoln Center campus. A presenter of more than3,000 free and ticketed events, performances, tours, and educational activitiesannually, LCPA offers 15 programs, series, and festivals including AmericanSongbook, Great Performers, Lincoln Center Out of Doors, Midsummer NightSwing, the Mostly Mozart Festival, and the White Light Festival, as well as theEmmy Award–winning Live From Lincoln Center, which airs nationally on PBS. Asmanager of the Lincoln Center campus, LCPA provides support and services forthe Lincoln Center complex and the 11 resident organizations. In addition, LCPAled a $1.2 billion campus renovation, completed in October 2012.


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

JENNIFER

TAYLOR

2014

Violin IRuggero Allifranchini,Concertmaster

Eva BurmeisterRobert ChausowAmy KauffmanSophia KessingerKayla MoffettMaureen Nelson Ronald OaklandMichael RothDeborah Wong

Violin IILaura Frautschi,Principal

Martin AgeeMichael GilletteSuzanne GilmanKatherine Livolsi-LandauLisa MatricardiKristina MusserMineko Yajima

ViolaShmuel Katz, PrincipalChihiro AllenDanielle FarinaCelia HattonDana KelleyJessica TroyElzbieta Weyman

CelloIlya Finkelshteyn,Principal

Ted AckermanAmy Butler-VisscherJulia KangAnn KimAlvin McCall

BassAndrew Trombley,Principal

Brad AikmanLou KosmaJeffrey Turner

FluteJasmine Choi, PrincipalMaron Khoury

PiccoloChristina HughesTanya Witek

OboeMax Blair, PrincipalNick Masterson

ClarinetJon Manasse, PrincipalChristopher Pell

BassoonMarc Goldberg,Principal

Tom Sefčovič

HornLawrence DiBello,Principal

David Byrd-MarrowRichard HagenPatrick PridemoreWilliam De Vos

TrumpetNeil Balm, PrincipalLee Soper

TromboneRichard Clark, PrincipalBrian SanteroKyle Mendiguchia

TubaMorris Kainuma,Principal

TimpaniDavid Punto, Principal

PercussionKory Grossman,Principal

Mattthew BeaumontJavier Diaz

PianoMargaret Kampmeier,Principal

HarpKirsten Agresta,Principal

LibrarianMichael McCoy

Personnel ManagersNeil BalmJonathan HaasGemini MusicProductions

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingJordana Leigh, Director, David Rubenstein AtriumLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerViviana Benitez, Associate Producer, David Rubenstein AtriumWalker Beard, Production CoordinatorMeera Dugal, Programming Manager, David Rubenstein AtriumNana Asase, Assistant to the Artistic DirectorOlivia Fortunato, Programming Assistant

For the Mostly Mozart FestivalAnne Tanaka, Producer, In the Name of the EarthAmrita Vijayaraghavan, Producer, A Little Night MusicAlexandra Kotis, Seasonal Associate Producer, Public ProgrammingMark Appling, House Program CoordinatorJessica Braham, House Seat CoordinatorRebecca Easton, Company Manager, Contemporary Programming


Welcome to Lincoln Center

T he world’s leading performing arts center hosts some five

million visitors annually. Located on 16.3 acres, the recently transformed Lincoln Center campus is home to 11 resident organizations: The Chamber Music Society of Lincoln Center, The Film Society of Lincoln Center, Jazz at Lincoln Center, The Juilliard School, Lincoln Center for the Performing Arts, Lincoln Center Theater, The Metropolitan Opera, New York City Ballet, New York Philharmonic, The New York Public Library for the Performing Arts, and The School of American Ballet. There is something going on 365 days a year at the 30 indoor and outdoor venues spread across Lincoln Center.

See. Hear. Explore. Learn. Share. Experience the best of the performing arts at Lincoln Center.

For information and tickets visit LincolnCenter.org, or contact each organization.

The Chamber Music Society of Lincoln Centerchambermusicsociety.org 212.875.5775

The Film Society of Lincoln Centerfilmlinc.com 212.875.5610

Jazz at Lincoln Centerjazz.org 212.258.9800

The Juilliard Schooljuilliard.edu 212.799.5000

Lincoln Center for the Performing ArtsAboutLincolnCenter.org 212.875.5000

Lincoln Center Theaterlct.org 212.362.7600

The Metropolitan OperaMetOpera.org 212.362.6000

New York City Balletnycballet.com 212.870.5500

New York Philharmonicnyphil.org 212.875.5709

The New York Public Library for the Performing Artsnypl.org/locations/lpa 212.870.1630

The School of American Balletsab.org 212.769.6600

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tuesday and wednesday, july 31–august 1, 2018, at 6:30 pm m...

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