Missa Solemnis - Lincoln...

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This program is supported by the Leon Levy Fund for Symphonic Masters.

Symphonic Masters is made possible in part by endowment support from UBS.

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

Sunday, November 12, 2017, at 3:00 pm

Pre-concert lecture by Andrew Shenton at 1:45 pm in the Stanley H. KaplanPenthouse

Missa Solemnis

Swedish Chamber OrchestraThomas Dausgaard, ConductorMalin Christensson, SopranoKristina Hammarström, Mezzo-SopranoMichael Weinius, TenorJosef Wagner, BassSwedish Radio ChoirPeter Dijkstra, Choral Director

BEETHOVEN Mass in D major, Op. 123 (“Missa solemnis”) (1819–23) KyrieGloriaCredoSanctusAgnus Dei

This program is approximately 80 minutes long and will be performed without intermission.

This performance is also part of Great Performers.

WhiteLightFestival.org

Support for Great Performers is provided by Rita E.and Gustave M. Hauser, Audrey Love CharitableFoundation, Great Performers Circle, Chairman’sCouncil, and Friends of Lincoln Center.

Public support is provided by the New York StateCouncil on the Arts with the support of GovernorAndrew M. Cuomo and the New York StateLegislature.

Endowment support for Symphonic Masters is provided by the Leon Levy Fund.

Endowment support is also provided by UBS.

American Airlines is the Official Airline of LincolnCenter

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital ofLincoln Center

Artist Catering provided by Zabar’s and Zabars.com

UPCOMING WHITE LIGHT FESTIVAL EVENTS:

Tuesday, November 14 at 7:30 pm at Church of St.Mary the VirginSwedish Radio ChoirPeter Dijkstra, conductorMAIJA EINFELDE: Lux aeterna SVEN-DAVID SANDSTRÖM: En ny himmel och en ny jord

ANDERS HILLBORG: MouyayoumSCHNITTKE: Concerto for Choir

Wednesday, November 15 at 7:30 pm in the RoseTheaterThe Routes of Slavery Jordi Savall, directorJohn Douglas Thompson, narratorHespèrion XXILa Capella Reial de Catalunya The Fairfield FourJordi Savall and international artists representingEurope, Africa, and the Americas explore the extra-ordinary resilience of the human spirit.Pre-concert talk with Jordi Savall and AraGuzelimian at 6:15 pm in the Agnes Varis and KarlLeichtman Studio

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

Visit WhiteLightFestival.org for full festival list-ings.

Join the conversation: #WhiteLightFestival

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.


SnapshotBy Christopher H. Gibbs

In 1822 Beethoven stated that his Mass in D major (“Missa solemnis”) was the “greatestwork I have composed so far.” Even allowing for the fact that he was pitching the pieceto a publisher and that by this late point in his career he had not yet composed his NinthSymphony and late string quartets, his declaration deserves to be taken seriously.

The Missa solemnis is Beethoven’s largest and longest composition (not counting theopera Fidelio), yet at the same time is one of his most intimate and personal. He inscribedthe opening of the Kyrie movement with the words: “From the heart—may it again—goto the heart!” The work came at a crucial juncture in Beethoven’s life: As the aging anddeaf composer increasingly withdrew from society, he created a musical testimony thatis a supreme expression of personal belief.

—Copyright © 2017 by Christopher H. Gibbs

Notes on the ProgramBy Christopher H. Gibbs

Mass in D major, Op. 123 (“Missa solem-nis”) (1819–23)LUDWIG VAN BEETHOVENBorn December 16, 1770, in Bonn, GermanyDied March 26, 1827, in Vienna

Approximate length: 80 minutes

The initial impetus for Beethoven to com-pose the Missa solemnis was personal.Archduke Rudolph, son of EmperorLeopold II, was his student and foremostpatron. Early in 1819, Pope Pius VII madethe archduke a Cardinal and thenannounced that he would becomeArchbishop of Olmütz (now in the CzechRepublic). In a letter of congratulations,Beethoven promised to compose a Mass“so that my poor talents may contribute tothe glorification of that solemn day.” Butthe composer had set himself an impossi-ble deadline, especially as the scope of thework grew and other commitments,together with health problems, distractedhim. The Mass ultimately took some fouryears to complete and the first perfor-mance occurred in distant St. Petersburg.Beethoven himself only heard (to the verylimited extent he could hear anything at allat this late point in his life) three move-ments that were performed in May 1824,the occasion on which his Ninth Symphonypremiered.

In the Missa solemnis, Beethovenattempted to reconcile conventionalChristian views and Enlightenment rational-ism with more personal spiritual impulses.Even though he initially conceived it forArchduke Rudolph’s installation ceremony,he merged features associated with thetraditional church Mass and music for theconcert hall. The length of the work alonevirtually precludes its liturgical use. Asmusic historian Carl Dahlhaus remarked,“With the composition of a concert Mass,

the concert hall was transformed into achurch, and the Mass into a concert piece.”Perhaps Beethoven recognized some ofthe greatness of the Missa solemnis in hishard-won ability to combine so much ofmusic history, so much of the sacred andthe secular, all the while expressing hisspiritual beliefs: “My primary goal in com-posing this grand Mass was to awaken andpermanently instill religious feelings in boththe singers and listeners.”

The composer’s own religious feelings arenot easy to characterize. Although he wasexposed to a considerable amount ofCatholic sacred music during his youth inhis native Bonn and often participated asan organist in services, there is no indica-tion that he later supported any organizedreligion. He sought rather to create hisown combination of sacred systems, spiri-tuality, and morality—what biographerMaynard Solomon has called his “quest forfaith.” We find frequent entreaties,prayers, and expressions of thanks to Godscattered in his sketches, manuscripts, let-ters, and diaries. We even know some ofthe relevant materials he read, whichincluded books on Eastern religiousthought. Classical antiquity also attractedhim; he noted that “Socrates and Jesushave been my models.” Beethoven did notcompose a large quantity of religiousmusic—principally some songs, an orato-rio, and an earlier Mass. And yet many ofhis compositions strike listeners as “spiri-tual,” such as the exquisite slow move-ment of his late String Quartet in A minor,Op. 132, which he labelled “Song ofThanksgiving to the Deity on Recoveryfrom Illness.”

The Missa solemnis unfolds in the fivemovements of the Mass Ordinary, those inwhich the words are the same at everyservice. The opening Kyrie has the short-est text and is the only part in Greek ratherthan Latin. Beethoven’s music for this sim-ple threefold plea for mercy is restrainedand reverent, presented by the full orches-


tra, four vocal soloists, and chorus.Beethoven sought ways to unify the entireMass through various musical ideas firstpresented in the Kyrie that reappear later.

The next two movements (Gloria andCredo) have many more words and there-fore call for greater proportions and morerapid declamation. Each one, subdividedinto smaller sections, lasts more than 15minutes. The Gloria, a long hymn of praise,is particularly joyous. After a lyrical middlesection (“Gratias agimus tibi”), the fervormounts to the end. Beethoven includes anexpected fugue (“in gloria Dei Patris.Amen”), and then surprisingly returns tothe opening word, “Gloria.” The Credo—the Nicene Creed from the fourth cen-tury—offers a recital of belief. Beethoven’smighty opening testifies to an emphaticconviction. He uses an imposing four-notemotif, first intoned by the basses at theopening, which returns at critical juncturesand serves to support the larger architec-tural scaffolding. This allows for a variety ofmoods that reflect the meaning of thewords, which can be quite graphic. A soloflute suggests the sounds of a dove, repre-senting the Holy Ghost, in the “Et incarna-tus est.” The “Et resurrexit” is one of themost brilliant and exciting passages, withrising scales in chorus and orchestra repre-senting the risen Savior. The movement

ends with a monumental double fugue “Etvitam venturi.”

The initial celebratory words of theSanctus derive from ancient Jewish rites(Isaiah 6:3) and are followed by the sereneBenedictus (Matthew 21:9). These partsinvite contrasting musical treatment. Thetempo increases for the sections withinthe Sanctus, from adagio, to allegropesante, to presto. In many Masses, this isthe point in the service when theConsecration and Elevation of the Hostoccurs, often accompanied by organimprovisation. Beethoven adapts this tradi-tion by inserting an instrumental“Praeludium” with an ethereal violin solo.The final Agnus Dei alternates betweenthemes of peace and war. Beethovenheaded the movement with the inscrip-tion: “Prayer for inner and outer peace”and his music shows the struggle toachieve this state. The drumrolls and mili-tary fanfares that evoke battle initially con-fused and upset some critics, who foundthe section inappropriately operatic,although eventually peace triumphs.

Christopher H. Gibbs is James H. OttawayJr. Professor of Music at Bard College.

—Copyright © 2017 by Christopher H. Gibbs

—Translated from the Latin by Richard Frederick Littledale

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

O Fire of God, the Comforter, O life of all that live,Holy art thou to quicken us, and holy, strength to give:To heal the broken-hearted ones, their sorest wounds to bind,O Spirit of all holiness, O Lover of mankind!O sweetest taste within the breast, O grace upon us poured, That saintly hearts may give again their perfume to the Lord.O purest fountain! we can see, clear mirrored in thy streams,That God brings home the wanderers, that God the lost redeems.O breastplate strong to guard our life, O bond of unity,O dwelling-place of righteousness, save all who trust in thee: Defend those who in dungeon dark are prisoned by the foe,And, for thy will is aye to save, let thou the captives go.O surest way, that through the height and through the lowest deepAnd through the earth dost pass, and all in firmest union keep;From thee the clouds and ether move, from thee the moisture flows,From thee the waters draw their rills, and earth with verdure glows,And thou dost ever teach the wise, and freely on them pourThe inspiration of thy gifts, the gladness of thy lore.All praise to thee, O joy of life, O hope and strength, we raise,Who givest us the prize of light, who art thyself all praise.

Illumination

O Ignis Spiritus Paracliti (“O Fire of God, the Comforter”)By Hildegard of Bingen


Meet the Artists

Thomas Dausgaard is chief conductor ofthe Swedish Chamber Orchestra and theBBC Scottish Symphony Orchestra. He isalso honorary conductor of Orchestra dellaToscana (ORT) and the Danish NationalSymphony Orchestra. In 2019 Mr.Dausgaard begins his appointment asmusic director of the Seattle Symphony.He is renowned for his creativity and inno-vation in programming, the excitement ofhis live performances, and his extensivecatalogue of critically acclaimed recordings.Mr. Dausgaard performs with the world’sleading orchestras, appearing in recent sea-sons with the Munich Philharmonic, MDRLeipzig Radio Symphony Orchestra, Kon -zert hausorchester Berlin, Vienna Sym -phony, London and BBC SymphonyOrchestras, L’Orchestre philharmonique deRadio France, as well as the Philharmoniaand Royal Philharmonic Orchestras.

Mr. Dausgaard began his North Americancareer assisting Seiji Ozawa, and has sinceappeared with the Cleveland Orchestra;Los Angeles Philharmonic; the Boston,National, and Baltimore symphony orches-tras; Houston Symphony; Los AngelesChamber Orchestra; as well as the Torontoand Montreal Symphony Orchestras. Heregularly visits Asia and Australia, appear-ing in recent seasons with the New JapanPhilharmonic, Hong Kong PhilharmonicOrchestra, and the Sydney and MelbourneSymphony Orchestras. Festival appear-ances have included the BBC Proms;Edinburgh International, Salzburg, MostlyMozart, and George Enescu festivals; andTanglewood.

As a recording artist, he enjoys long-stand-ing relationships with the BIS and Da Capolabels, having recorded well over 70 CDs,including complete symphonic cycles byBeethoven, Schubert, Schumann, andRued Langgaard. His most recent releaseis a critically acclaimed recording ofMahler’s Symphony No. 10 (completed byDeryck Cooke, version III) with the SeattleSymphony. He is currently completing aBrahms cycle for BIS Records, and, withthe Swedish Chamber Orchestra, a projectthat combines Bach’s BrandenburgConcertos with six newly commissionedcompanion works. Mr. Dausgaard hasbeen awarded the Cross of Chivalry by theQueen of Denmark, and was elected to theRoyal Academy of Music in Sweden.

Born in Sweden, Malin Christensson(soprano) studied at the Royal College ofMusic. Operatic highlights includeSusanna (Le nozze di Figaro) in LosAngeles, Lisbon, at the Festival d’Aix-en-Provence, and in Santiago; Barbarina at theSalzburg Festival; Zerlina (Don Giovanni ) atthe Houston Grand Opera and at theHelsinki Festival; Sophie (Werther) inBaden-Baden; Marzelline (Fidelio) at theLudwig van Beethoven Easter Festival inWarsaw; Drusilla (L’incoronazione diPoppea) at the Drottningholms Slotts -teater; Miss Wordsworth (Albert Herring)at the Glyndebourne Festival; FlowerMaiden (Parsifal ) at Royal Opera House,Covent Garden; and Papagena (DieZauberflöte) in Montpellier, at the Théâtredu Châtelet, and at the Vienna Festival.

Recent concert highlights have includedBach’s St. Matthew Passion with the Phila -delphia Orchestra and Yannick Nézet-Séguin;

ThomasDausgaard

MalinChristensson

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the Weihnachtsoratorium with the Gewand -haus Orchestra of Leipzig and TrevorPinnock; Bach’s Mass in B minor with theBoston Symphony Orchestra and AndrisNelsons; Beethoven’s Symphony No. 9with the Swedish Radio SymphonyOrchestra and Herbert Blomstedt; Haydn’sDie Schöpfung with the Oslo Philharmonicand Harry Bicket; Orff’s Carmina Buranawith the London Symphony Orchestra andDaniel Harding; Mozart’s Mass in C minorwith the City of Birmingham SymphonyOrchestra and Andris Nelsons; Nielsen’sSpringtime on Funen at the BBC Promswith the BBC Symphony Orchestra andAndrew Litton; Adele in Die Fledermauswith the Philharmonia Orchestra and JohnWilson; and Mahler’s Symphony No. 4 withthe Nürnberger Symphoniker andAlexander Shelley.

Upcoming and recent projects includeMahler’s Symphony No. 2 and Freia in DasRheingold with the Boston SymphonyOrchestra, Missa solemnis on tour with theSwedish Chamber Orchestra in Sweden,Denmark, and the U.S., Handel’s Messiahwith Nathalie Stutzmann and the Gothen -burg Symphony Orchestra, Handel’s Sileteventi with the Budapest Festival Orchestra,and Waldvogel in Wagner’s Siegfried withHallé Orchestra.

Kristina Hammarström (mezzo-soprano)frequently appears at opera houses suchas the Berlin and Vienna State Operas,Teatro alla Scala, Opéra national de Paris,Théâtre des Champs-Élysées, Théâtre duCapitole (Toulouse), Opéra national du Rhin(Strasbourg), Théâtre Royale de LaMonnaie (Brussels), Vlaamse Opera

(Antwerp), Deutsche Oper am Rhein(Düsseldorf), Opéra de Lausanne, GrandThéâtre de Genève, Ópera de Bilbao, RoyalSwedish Opera, Festival d’Aix-en-Provence, and Innsbrucker Festwochender Alten Musik. Her opera roles includeCharlotte in Werther, Octavian in DerRosenkavalier, Rosina in Il barbiere diSiviglia, Marguerite in Berlioz’s La damna-tion de Faust, Arsace in Semiramide,Penelope in Il ritorno d’Ulisse in patria, andnumerous roles in operas by Mozart,Handel, and Vivaldi. Upcoming highlightsinclude appearances at the Paris Opera andBerlin State Opera.

Ms. Hammarström regularly works withconductors such as Herbert Blomstedt,William Christie, Jesús López Cobos, AlanCurtis, Alessandro De Marchi, MarcMinkowski, Ádám Fischer, Alan Gilbert,Emmanuelle Haïm, Philippe Herreweghe,Christopher Hogwood, René Jacobs, FabioLuisi, Paul McCreesh, John Nelson, YannickNézet-Séguin, George Petrou, Josep Pons,Christophe Rousset, and Jean-ChristopheSpinosi. Sought after in concert halls andfestivals throughout Europe and Asia, herrepertoire includes Berlioz’s Les nuitsd’été; Mahler’s Kindertotenlieder, Liedereines fahrenden Gesellen, Des KnabenWunder horn, and Das Lied von der Erde;Brahms’s Alto Rhapsody; Elgar’s SeaPictures; Beethoven’s Symphony No. 9 andMissa solemnis; Bernstein’s SymphonyNo. 1; as well as a large number of massesand oratorios.

Ms. Hammarström has recorded the titlerole in Giulio Cesare, Giulia in Handel’sAlessandro Severo, Idamante in Idomeneo,Farnace in Mitridate, re di Ponto, Cecilio inLucio Silla, Bach’s Christmas Oratorio,Mozart’s Requiem, and Handel’s Messiah.DVD releases include Bradamante inAlcina, Bradamante in Vivaldi’s Orlandofurioso, and Daniel in Belshazzar.

KristinaHammarströmM

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Michael Weinius (tenor), born inStockholm, has rapidly established himselfas one of Europe’s most sought-aftertenors. Following his transition from bari-tone to tenor in 2004, Mr. Weiniusachieved success in roles such as Laca inJanácek’s Jenůfa at the NorrlandsOperanin Sweden, Loge in Das Rheingold withGothenburg Symphony Orchestra underKent Nagano, and Sergei in Lady Macbethof the Mtsensk District at the WermlandOpera in Karlstad, Sweden. Other notableengagements include Riccardo in Un balloin maschera at Malmö Opera; Turiddu inCavalleria rusticana at Royal SwedishOpera; the title role in Parsifal both inMannheim and at Wermland Opera; DickJohnson in La fanciulla del West andHerodes in Salome at the Malmö Opera;Siegmund in Die Walküre at Royal SwedishOpera; and Don José in Carmen at OperaHedeland in Denmark.

Mr. Weinius’s recent and future highlightsinclude Parsifal for Deutsche Oper amRhein in Düsseldorf, Finnish NationalOpera, Bayerische Staatsoper in Munich,and Royal Swedish Opera; Siegmund forNationale Reisopera, NationaltheaterMannheim, and Opera North; HansSchwalb in Mathis der Maler conducted byChristoph Eschenbach at Opéra Bastille inParis; Don José in Stockholm; Lohengrin inStockholm and at Deutsche Oper Berlin; aswell as highlights from Lohengrin in Baden-Baden with Christian Thielemann; Tristan,Herodes, and Mao in Nixon in China atRoyal Swedish Opera in Stockholm; andthis year, his first Siegfried at DeutscheOper am Rhein in Düsseldorf.

Mr. Weinius was the recipient of the pres-tigious 2004 Gösta Winbergh Award, the

2006 Birgit Nilsson Prize for singers, and in2008 was the winner of Seattle Opera’sInternational Wagner Competition. In 2013Mr. Weinius received the honorable title ofcourt singer from King Carl XVI Gustaf.

Austrian bass/baritone Josef Wagner(bass) studied at the University of Musicand Performing Arts in Vienna with KurtEquiluz and Robert Holl. He currently stud-ies with Wicus Slabbert. Following hisstage debut as Don Alfonso in Così fantutte and as Dulcamara in L’elisir d’amore,Mr. Wagner became a member of theensemble Vienna Volksoper in 2002, wherehe sang the roles of Figaro (Le nozze diFigaro), Papageno (Die Zauberflöte), andrecently, the title role in Achim Freyer’s pro-duction of Don Giovanni.

In 2006 he gave his debut at the SalzburgFestival as Don Cassandro (La finta sem-plice). Since then, he has performed suchroles as Herkules in Anton Schweitzer’sAlceste with Concerto Köln under thebaton of Michael Hofstetter; Lord Sidney (Ilviaggio a Reims) at Israeli Opera; NickShadow (The Rake’s Progress) at AngersNantes Opéra; Frank (Die Fledermaus) atGrand Théâtre de Genève; and Escamillo(Carmen) with the Bavarian RadioSymphony Orchestra and in Tel Aviv. Mr.Wagner is also a regular guest at OperaVlaanderen, where he has sung DonAlfonso, Ercole/Giove (Cavalli’s Giasone),Assur (Semiramide), Fra Melitone (La forzadel destino), and the title role in DonGiovanni. Other highlights includeJochanaan at Royal Swedish Opera withsoprano Nina Stemme, Papageno at theFestival d’Aix-en-Provence, as well asGolaud (Pelléas et Mélisande) at DeutscheOper Berlin. Most recently, Mr. Wagner

Michael Weinius

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made his debut as Eugene Onegin inHelsinki. This season marks his debuts asthe Holländer (Der fliegende Holländer)and as the Ruler in Korngold’s Das Wunderder Heliane (The Miracle of Heliane) atDeutsche Oper Berlin, as well as his returnto Volksoper Wien with The Tales ofHoffmann, to Nancy as Peter Besenbinder(Hänsel und Gretel ), and to the Festivald’Aix-en-Provence as Musiklehrer (Ariadneauf Naxos).

Swedish Chamber OrchestraThe Swedish Chamber Orchestra wasfounded in 1995 as the only full-time cham-ber orchestra in Sweden, and was joinedtwo years later by its current chief conduc-tor, Thomas Dausgaard. For the past 19years, Dausgaard has led the ensemble increating a unique and dynamic sound witha wide range of repertoire and styles.

Comprising 39 regular members, theSwedish Chamber Orchestra made its U.K.and U.S. debuts with Dausgaard in 2004,performing at London’s BBC Proms andLincoln Center’s Mostly Mozart Festival.Since then, the orchestra has toured regu-larly throughout Europe, and also made itsdebut in Japan. Tour highlights include per-formances in New York, Washington,Cleveland, and across the West coast ofthe U.S.; at the BBC Proms and at theSalzburg Festival with Nina Stemme(2010); as well as tours to Germany, includ-ing the orchestra’s debut at the BerlinerPhilharmonie (2011) and a tour withAndrew Manze and clarinetist SabineMeyer (2012).

The Swedish Chamber Orchestra contin-ues to expand its repertoire and opendoors to new challenges; together withDausgaard, the ensemble has recordedBeethoven’s complete orchestral worksfor Simax Classics, all of Schumann’s sym-phonies as well Dvořák’s Symphonies Nos. 6 and 9 for BIS Records, Schubert’sSymphonies Nos. 8 and 9 as part of its

Opening Doors series, as well asBruckner’s Symphony No. 2.

The orchestra also regularly performswith conductor/composer HK Gruber andearly music specialist Andrew Manze,both of whom spend several weeks eachyear at the group’s home base in Örebro,Sweden. Prominent visiting artistsinclude Pierre-Laurent Aimard, Leif OveAndsnes, Michael Collins, Brett Dean,and James Ehnes.

Swedish Radio ChoirThe Swedish Radio Choir gave its first con-cert in 1925. When Eric Ericson assumedleadership in 1952, he expanded thechoir’s repertoire and international reputa-tion, attracting such composers as PaulHindemith, Frank Martin, Igor Stravinsky,and Aaron Copland, who went toStockholm to hear their works performed.

With its wide range of expression—fromthe most delicate to the most powerful—the choir has worked with leading orches-tral conductors such as Claudio Abbado,Riccardo Muti, Valery Gergiev, and theSwedish Radio Symphony Orchestra’sown chief conductor Daniel Harding.

Highly acclaimed for its recordings, theSwedish Radio Choir has made a formida-ble mark in contemporary ensemble per-formance, having received praise byGramophone in 2011 as well as at theCannes Classical Awards. The choir’s2017–18 season includes collaborationsand new commissions by composers suchas Lera Auerbach, Martin Smolka, andJacob Mühlrad; guest performances andlong-anticipated return visits to Japan andthe U.S.; as well as a concert with theBerlin Philharmonic in Berlin.

Peter Dijkstra Peter Dijkstra has been chief conductor ofthe Swedish Radio Choir since 2007. He isalso chief conductor of the Netherlands

Chamber Choir. He is highly sought-after asa guest conductor by orchestras and choirsthroughout the world, and has conductedthe BBC Singers, RIAS Chamber Choir inBerlin, Norwegian Soloists’ Choir, DanishNational Radio Choir, the Copen hagenPhilharmonic Orchestra, Bavarian RadioSymphony Orchestra, and the JapanPhilharmonic Orchestra, among others.

Mr. Dijkstra was awarded the Kersjes vande Groenekan Prize for young orchestralconductors in 2002 and the Eric EricsonAward in 2003, where, at the organization’scompetition finals, he first conducted theSwedish Radio Choir.

Mr. Dijkstra was born in Roden, Holland in1978. In his youth, he sang with the boys’choir Roder Jongenskoor, founded by hisfather Bouwe Dijkstra, and also performedin larger opera productions in Amsterdam,including Mozart’s Die Zauberflöte at DutchNational Opera. He studied choral andorchestral conducting and voice at theRoyal Conservatory of the Hague, theHochschule für musik und Tanz Köln, and atthe Royal College of Music in Stockholmwith Jorma Panula. In 1999 he formed hisown all-male vocal group, The Gents.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism candivide the colors and make them appear;this prism could be the spirit of the listener.—Arvo Pärt. Now in its eighth year, theWhite Light Festival is Lincoln Center’sannual exploration of music and art’s powerto reveal the many dimensions of our inte-rior lives. International in scope, the multi-disciplinary festival offers a broad spectrumof the world’s leading instrumentalists,vocalists, ensembles, choreographers,dance companies, and directors, comple-mented by conversations with artists and

scholars and post-performance White LightLounges.

Lincoln Center’s Great PerformersInitiated in 1965, Lincoln Center’s GreatPerformers series offers classical andcontem porary music performances fromthe world’s outstanding symphony orches-tras, vocalists, chamber ensembles, andrecitalists. One of the most significantmusic presentation series in the world,Great Per formers runs from Octoberthrough June with offerings in LincolnCenter’s David Geffen Hall, Alice Tully Hall,Walter Reade Theater, and other perfor-mance spaces around New York City. Fromsymphonic masterworks, lieder recitals,and Sunday morning coffee concerts tofilms and groundbreaking productions spe-cially commissioned by Lincoln Center,Great Performers offers a rich spectrum ofprogramming throughout the season.

Lincoln Center for the PerformingArts, 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 festi-vals including American Songbook, GreatPerformers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer NightSwing, the Mostly Mozart Festival, and theWhite Light Festival, as well as the EmmyAward–winning Live From Lincoln Center,which airs nationally on PBS. As manager ofthe Lincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations.In addition, LCPA led a $1.2 billion campusrenovation, completed in October 2012.


Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerWalker Beard, Production CoordinatorNana Asase, Assistant to the Artistic DirectorOlivia Fortunato, Programming AssistantDorian Mueller, House Program CoordinatorJanet Rucker, Company Manager

For the White Light FestivalMegan Young, Supertitles


Thomas Dausgaard, Chief Conductor

Swedish Chamber Orchestra

Violin ISara Trobäck HesselinkUrban SvenssonRoger OlssonOlof EricssonHans ElvkullJohan AnderssonLena LudeenLena Sjölund

Violin IIPer DrouggeAnna JanssonCecilia BukovinszkyRobert BruusChristina OlofsdotterHallberg

Tino Fjeldli

ViolaGöran FröstGunnar JedvikMikael LudeenKate PellyPaul Morgan

CelloMats LevinHanna ThorellRajmund FollmannKristin Malmborg

BassSebastien DubePeter NitscheJosee Deschenes

FluteAlissa RossiusUrban Hallberg

OboeKarin EgardtLisa Almberg

ClarinetIngrid Meidell NoodtAlberto Alvarez-Garcia

BassoonMikael LindströmAndreas LyetegAdam Nyquist

HornTerese LarssonGöran HulphersAlexander HambletonBjörn Olsson

TrumpetAnders HemströmMargit Csökmei

TromboneNiklas AlmgrenJonas LarssonAnders Wiborg

TimpaniLars Fhager

OrganKarl-Magnus Jansson

Peter Dijkstra, Chief Conductor

Swedish Radio Choir

SopranoMarie AlexisJessica BäcklundLisa CarliothMaria DemérusMaria EdvardssonJennie Eriksson NordinSofia NiklassonJenny Ohlson AkreAngela RotondoMarika ScheeleElin Skorup

AltoHelena BjarnleMaria ErlanssonAnna GracaAnnika HudakChristiane HöjlundInger Kindlund StarkElin LannemyrMaria LundellTove NilssonJanna VettergrenAnna Zander Sand

TenorPer-Gunnar AlpadieMats CarlssonNiklas EngquistThomas KöllFredrik MattssonPhilip ShermanGunnar SundbergLove TronnerMagnus Wennerberg

BassStaffan AlvetegErik ArnelöfMagnus BillströmMathias BrorsonRickard CollinBengt EklundLars JohanssonBrissman

Stefan NymarkJohan PejlerDavid Wijkman

KRISTIAN POHL

Several studies have examined how exposure to the arts in middle

school strongly impact a student’s social skills and development as well as likelihood to graduate from high school. In 2013, Lincoln Center Education launched a pilot program in partnership with the New York City Department of Education aimed at this specific issue. Called Arts in the Middle, it focuses on arts education as a potential catalyst for improved student engagement and success in and out of school, as well as parent engagement, teaching practices, and school and community culture.

Through Arts in the Middle, Lincoln Center Education is working with more than a dozen underserved New York City middle schools that have little to no arts programs. LCE is supporting schools with efforts to hire a part-time or full-time arts teacher, in addition to deploying its own roster of skilled teaching artists to help in the classroom and provide professional development for teachers and family engagement. Early results of these efforts to support educators and students are showing positive results. Metis Associates, hired by LCE to evaluate short- and long-

term effectiveness of the program, has documented increased parent engagement, which can have an impact on student success. Some schools have also noted that students are becoming vibrant and vocal participants when the arts are integrated into classrooms. If results continue in this direction, Lincoln Center Education hopes to develop an adaptable model of the program that can be disseminated nationally to bring arts education to underserved communities.

“As our partnership with the New York City Department of Education continues to grow, so, too, does our commitment to supporting whole communities by providing thoughtful programs for students and families around New York City’s five boroughs,” said Russell Granet. “Arts in the Middle is just one of many ways Lincoln Center Education is leveraging high-quality arts programs to improve the lives of all New Yorkers.”

Learn more about Lincoln Center Education and its work at home and abroad: LincolnCenterEducation.org

Students from South Bronx Academy for Applied Media

4 decades of thinking like an artist

Arts in the Middle

Jean

Tay

lor

Accessibility at Lincoln CenterReflecting a quote by Lincoln

Center’s first president John D. Rockefeller III that “the arts are not for the privileged few, but for the many,” Lincoln Center has had as a central mission from its start making the arts available to the widest possible audiences. In 1985, that led to the establishment of the Department of Programs and Services for People with Disabilities to ensure full participation in the thousands of events presented annually across the Lincoln Center campus. It was the first such program at any major performing arts center in the U.S. and has long-served as a model for other arts institutions around the country.

Celebrating its 30th anniversary with a new name, Accessibility at Lincoln Center, the program continues to provide exceptional guest care to all visitors, as well as training in accessibility to colleagues at Lincoln Center’s resident organizations, including the Film Society of Lincoln Center, the New York Philharmonic, and Jazz at Lincoln Center.

Accessibility oversees the production of large-print and Braille programs for hundreds of performances taking place each year at various Lincoln

Center venues. Another major component of Accessibility is its longstanding “Passport to the Arts.” The program annually distributes to children with disabilities thousands of free tickets to a variety of Lincoln Center performances, including New York City Ballet and the New York Philharmonic—a welcoming introduction to the arts. A parent who participated in a recent “Passport” event commented “It allowed my family and I to enjoy and learn along with everyone else. The accessibility… made it easier for our family to “relax”

and truly enjoy the experience.”

Accessibility is expanding the ways it serves adults with disabilities. It introduced and oversees American Sign Language-led official tours of Lincoln Center, and offers live audio description for select Lincoln Center Festival performances. Accessibility

looks forward to growing its inclusive programs in the years to come.

To learn more about Accessibility at Lincoln Center, please contact [email protected] or call 212.875.5375.

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