Wednesday, April 26, 2017, at 7:30 pm

Chamber Orchestras

Orchestra of the Age of EnlightenmentIsabelle Faust, ViolinMatthew Truscott, Director

HAYDN Symphony No. 49 in F minor (“La passione”) (1768)AdagioAllegro di moltoMenuet e TrioPresto

MOZART Violin Concerto No. 1 in B-flat major, K.207 (1773)Allegro moderatoAdagioPresto

Intermission

C.P.E. BACH Symphony in G major, Wq 182, No. 1 (1773)Allegro di moltoPoco adagio Presto

MOZART Violin Concerto No. 5 in A major, K.219 (“Turkish”) (1775)Allegro apertoAdagioRondo—Tempo di minuetto

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

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Alice Tully HallStarr Theater, Adrienne Arsht Stage

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Great Performers

Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation,Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center.

Public support is provided by the New York State Council on the Arts with the support ofGovernor Andrew M. Cuomo and the New York State Legislature.

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

Endowment support is also provided by UBS.

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UPCOMING GREAT PERFORMERS EVENT:

Sunday, May 14 at 5:00 pm in Alice Tully HallCarolyn Sampson, sopranoJoseph Middleton, pianoFleursSongs by SCHUMANN, PURCELL, STRAUSS, BRITTEN, FAURÉ, DEBUSSY, and others

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In consideration of the performing artists and members of the audience, those who mustleave before the end of the performance are asked to do so between pieces. The takingof photographs and the use of recording equipment are not allowed in the building.

Great Performers

By David Wright

When Haydn told a biographer that “the greatBach” was one of the formative influences ofhis symphonic style, he was referring not toJohann Sebastian Bach but to his son, CarlPhilipp Emanuel Bach. The Haydn and C.P.E.Bach symphonies on this evening’s programrepresent each composer’s very individualresponse to the proto-Romantic artistic move-ment of the time, known in literary circles asSturm und Drang (“Storm and Stress”) and inmusic as the empfindungsamer Stil (“expres-sive style”). Both concepts urged rejection ofhighly intellectualized or rhetorical art in favorof direct emotional expression.

Haydn’s Symphony No. 49 (“La passione”),with its vast, grief-stricken opening Adagio,does indeed belong with the devout com-poser’s great musical representations of thePassion of Christ. In C.P.E. Bach’s Symphonyin G major we hear the composer turningaway from the orderly Baroque structures ofhis father and his godfather, Georg PhilippTelemann, as well as the polished and grace-ful galanteries of his brother Johann ChristianBach, toward a style that sounds strange toour ears even today. Though not exactlyRomantic, it is moody and volatile and givento sharp turns in harmony and to sudden con-trasts of dynamics and texture.

All five of Mozart’s violin concertos date from1775, during his uncomfortable service askapellmeister (i.e. first violinist and orchestraleader) to the Prince-Archbishop of his nativetown, Salzburg. Whatever his outward discon-tents may have been, the five concertos rep-resent a remarkable “course of study” for the19-year-old composer, beginning with the ele-gant but simple Concerto No. 1, K.207, andculminating in the richly dramatic, nuancedConcerto No. 5, K.219, with its noisy “Turkish”interruptions in the finale.

—Copyright © 2017 by David Wright

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1768Haydn’s Symphony No. 49 Voltaire publishes story LaPrincesse de Babylone.

1773C.P.E. Bach’s Symphony inG major Jean-Louis David paints Lamort de Sénèque.

1775Mozart’s Violin Concerto No. 5Beaumarchais’s Le Barbier deSéville debuts at La Comédie-Française.

1768Stellar’s sea cow is hunted toextinction.

1773Charles Messier discovers theWhirlpool Galaxy.

1775Link is drawn between expo-sure to soot and a high inci-dence of cancer amongEngland’s chimney sweeps.

1768Merchants create New YorkChamber of Commerce.

1773Tory refugees are housed bythe English on Bedloe’sIsland, where the Statue ofLiberty now stands.

1775Governor William Tryon fleescity.

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mGreat Performers I Notes on the Program

By David Wright

Symphony No. 49 in F minor (“La passione”) (1768)JOSEPH HAYDNBorn March 31, 1732, in Rohrau, AustriaDied May 31, 1809, in Vienna

Approximate length: 24 minutes

The profound grief that seems to saturate every note of Haydn’sSymphony No. 49 justifies the work’s traditional nickname; this is as much“Passion music” as Haydn’s great liturgical piece The Seven Last Words.Unlike the latter, it was not composed to be played in church, but was thelast of Haydn’s symphonies to follow the old-fashioned “church sonata”movement sequence, slow-fast-slow-fast.

This symphony’s opening Adagio is a vast movement, nearly as long as theother three combined. Its phrases are short and sighing, constricted incompass, hesitant. Contrasts of tempo or timbre are rare. That Haydncould use such limited means to construct a slow movement that lasts tenminutes—and seems not a second too long—is little short of miraculous.

The Allegro di molto is as energetic and inflected as the Adagio is listlessand pale. There is rest, but little cheer, in the minuet and trio, which remainsomber and stately throughout. The Presto is among the most concise andconcentrated of Haydn’s one-theme finales—a driving storm, with buffet-ing wind in the low strings and winds, and lightning flashes in the violins.

Violin Concerto No. 1 in B-flat major, K.207 (1773)WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in SalzburgDied December 5, 1791, in Vienna

Approximate length: 20 minutes

At 19, Mozart was no beginner when he sat down to write the ViolinConcerto No. 1 in B-flat major. That is plain enough from the elegantly var-ied scoring of the opening bars, but then the soloist’s entrance puts themusic on a new and entirely Mozartean plane of imagination: themes,episodes, and solo figurations come tumbling out, one after another, natu-rally and yet unpredictably. The most distinctive feature of the Adagio mod-erato is the variety of accompaniment figures that intertwine with thesoloist’s warm cantabile; this pastoral backdrop seems to shift from thebanks of a rippling brook to the village square and even to a terrace wherelords and ladies dance a polonaise.

Great Performers I Notes on the Program

A descending, three-note broken triad figure is woven throughout the busyfinale, snapping smartly downward in sixteenth notes in the very first bar andstomping throughout the movement in emphatic quarter notes. At itsentrance, the solo violin wittily turns this figure into triplet arpeggios, whichwill be prominent in the development section.

Symphony in G major, Wq 182, No. 1 (1773)CARL PHILIPP EMANUEL BACHBorn March 8, 1714, in Weimar, Germany Died December 14, 1788, in Hamburg

Approximate length: 11 minutes

It was the enthusiasm of a Viennese nobleman, Baron Gottfried van Swieten,for north German music that led him to not only study the works of the late J.S. Bach and Handel, but to commission from C.P.E. Bach, in the words of thepoet G.F. Klopstock, “six great orchestral symphonies in which, according tothe Baron’s wish, he was to let himself go entirely without taking into accountthe difficulties of execution which necessarily must arise as a result. …Seldomhas a musical composition of higher, bolder and more witty character flowedfrom the soul of genius.”

In the first symphony from this set, Allegro di molto is an unusually fast mark-ing for a symphonic first movement, and as the themes leap and spurt thisway and that, choppy one moment and languid the next, the movement’ssonata form goes by in a blur; this piece that asserts the key of G major soforcefully closes suddenly on a sighing cadence in (of all things) B major. Thatclosing is the doorway to a Poco adagio in E major, whose dainty tread, inter-rupted by loud snarling trills, no doubt inspired similarly stark contrasts inHaydn’s later slow movements. The cadence this time is in D major, settingthe stage for the Presto finale in G major, which begins softly and politely, butnot for long. Only the form (two sections, each repeated) of this movement istraditional; everything else, from the blazing counterpoint to the startling dis-sonances, sounds new to this day.

Violin Concerto No. 5 in A major, K.219 (“Turkish”) (1775)WOLFGANG AMADEUS MOZART

Approximate length: 30 minutes

At the beginning of his Fifth Violin Concerto, Mozart creates that mood of eagerexpectation that we know well from his opera overtures. The unique tempomarking, Allegro aperto—literally “merry and open”—is probably asking for a “spacious” treatment of the traditional Allegro tempo, but it also caries thatsame operatic connotation of “open to anything.” Mozart’s handling of his

Great Performers I Notes on the Program

many themes—particularly a tiny phrase ending, an upward-flipping arpeggio—is kaleidoscopic, yet it “flows like oil,” to use one of his favorite expressions.

The orchestral exposition of the Adagio, a noble melody that builds on itself inlong, sustained phrases, signals that a movement of exceptional scope is instore. Musicologist Neal Zaslaw aptly describes this concerto’s finale (andthose of the previous two concertos) as “a rondo organized around an inter-ruption.” That interruption, which in this case dominates the movement anditself contains several episodes, is the reason this piece is often calledMozart’s “Turkish” Concerto. In music, alla turca meant a barbaric concoctionof whirling and leaping tunes and jangling percussion—effects Mozart imitatedon the piano in his famous A-major Sonata, K.331.

David Wright, a music critic for New York Classical Review, has provided pro-gram notes for Lincoln Center since 1982.

—Copyright © 2017 by David Wright

Great Performers I Meet the Artists

Violinist Isabelle Faust’s insightful interpretations are based on her thor-ough knowledge of the historical context of the works she performs aswell as her attention to current scholarship. At an early age, she won theprestigious Leopold Mozart and Paganini competitions and was sooninvited to appear with the world’s leading orchestras, including the BerlinPhilharmonic, Boston Symphony Orchestra, NHK Symphony Orchestra,Freiburg Baroque Orchestra, and the Chamber Orchestra of Europe. Lastyear marked her first as artistic partner of the Mahler Chamber Orchestra.

Ms. Faust performs repertoire ranging from the works of Bach to con-temporary composers such as Ligeti, Helmut Lachenmann, and JörgWidmann. In addition to the great symphonic violin concertos, she per-forms works such as György Kurtág’s Kafka Fragments with the sopranoAnna Prohaska and Schubert’s octet on historical instruments. In comingseasons, Ms. Faust will premiere several new works for violin andorchestra, including concertos by Ondrej Adámek, Marco Stroppa, OscarStrasnoy, and Beat Furrer.

Ms. Faust has regularly performed or recorded with renowned conduc-tors including John Eliot Gardiner, Philippe Herreweghe, Daniel Harding,Bernard Haitink, and Andris Nelsons. She developed a particularly closerelationship with the late Claudio Abbado; their recording of theBeethoven and Berg Violin Concertos with his Orchestra Mozart receivedDiapason d’or, Echo Klassik, Gramophone, and Record Academy awards.She has recorded many discs for Harmonia Mundi with her recital partner,Alexander Melnikov, including their latest album of the Brahms sonatasfor violin and piano, as well as Schumann’s piano trios. Ms. Faust’srecordings include Mozart’s violin concertos with Il Giardino Armonicoand Giovanni Antonini, as well as Bach’s harpsichord sonatas withKristian Bezuidenhout.

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Matthew Truscott is a versatile violin-ist involved in both period-instrumentand modern performance, appearingwith some of the finest musicians inboth fields. One of the leaders of theOrchestra of the Age of Enlighten -ment since 2007, he was recentlyappointed concertmaster of theMahler Chamber Orchestra.

As a guest leader, his projectsinclude work with the English Con -cert, Le Concert d’Astrée, the King’s

Consort, Arcangelo, Budapest Festival Orchestra, English National Opera,Dutch National Opera, and the Netherlands Chamber Orchestra. He is alsoleader of St. James’ Baroque, Classical Opera, and the Magdalena Consort.

His recent recordings as a chamber musician include a set of Purcell TrioSonatas with Retrospect Trio; Bach chamber music with Trevor Pinnock,Emmanuel Pahud, and Jonathan Manson; and a Haydn piano trio with RichardLester and Simon Crawford-Phillips. Mr. Truscott teaches baroque violin at theRoyal Academy of Music in London.

Orchestra of the Age of Enlightenment

Three decades ago, a group of inquisitive London musicians took a long, hardlook at that curious institution we call the orchestra and decided to start againfrom scratch. They began by throwing out the rulebook. Put a single conductorin charge? No way. Specialize in repertoire of a particular era? Too restrictive.Perfect a work and then move on? Too lazy. The Orchestra of the Age ofEnlightenment was born.

As this distinctive ensemble playing on period-specific instruments began toget a foothold, it made a promise to itself. It vowed to keep questioning andinventing as long as it lived. Residencies at London’s Southbank Centre andthe Glyndebourne Festival didn’t numb its experimentalist bent. A majorrecord deal didn’t iron out its quirks. Instead, the OAE examined musical noteswith ever more freedom and resolve.

That creative thirst remains unquenched. Informal nighttime performances areredefining concert formats. Searching approaches to varied repertoire see theOAE working frequently with symphony and opera orchestras. New generationsof exploratory musicians are encouraged into its ranks. Great performancesnow become recordings on the orchestra’s own CD label. It thrives interna-tionally: New York and Amsterdam court it; Oxford and Bristol cherish it.

Great Performers I Meet the Artists

Matthew Truscott

Great Performers I Meet the Artists

Now in its 31st year, the OAE is part of our musical landscape. It has evengraced the outstanding conducting talents of Mark Elder, Simon Rattle, VladimirJurowski, and Adam Fischer with a joint title. But don’t ever think the ensemblehas lost sight of its founding vow. Not all orchestras are the same. And there’snothing quite like this one.

Lincoln Center’s Great Performers

Initiated in 1965, Lincoln Center’s Great Performers series offers classical andcontemporary music performances from the world’s outstanding symphonyorchestras, vocalists, chamber ensembles, and recitalists. One of the most sig-nificant music presentation series in the world, Great Performers runs fromOctober through June with offerings in Lincoln Center’s David Geffen Hall, AliceTully Hall, Walter Reade Theater, and other performance spaces around NewYork City. From symphonic masterworks, lieder recitals, and Sunday morningcoffee concerts to films and groundbreaking productions specially commis-sioned by Lincoln Center, Great Performers offers a rich spectrum of program-ming throughout the season.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: pre-senter of artistic programming, national leader in arts and education and com-munity relations, and manager of the Lincoln Center campus. A presenter ofmore than 3,000 free and ticketed events, performances, tours, and educationalactivities annually, LCPA offers 15 programs, series, and festivals includingAmerican Songbook, Great Performers, Lincoln Center Festival, Lincoln CenterOut of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and theWhite Light Festival, as well as the Emmy Award–winning Live From LincolnCenter, which airs nationally on PBS. As manager of the Lincoln Center cam-pus, LCPA provides support and services for the Lincoln Center complex andthe 11 resident organizations. In addition, LCPA led a $1.2 billion campus reno-vation, completed in October 2012.

Great Performers

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, ProgrammingRegina Grande Rivera, Associate ProducerNana Asase, Assistant to the Artistic DirectorLuna Shyr, Senior EditorOlivia Fortunato, Programming AssistantMary E. Reilly, Program Content Coordinator

Ms. Faust’s representation:Arts Management Groupwww.artsmg.com

Great Performers I Meet the Artists

Orchestra of the Age of Enlightenment

ViolinMatthew Truscott, LeaderIona DaviesDeborah DiamondClaire HoldenJoanna LawrenceRoy MowattAndrew RobertsStephen RouseColin ScobieJames TollHenry Tong

ViolaMax Mandel Nicholas Logie Martin Kelly Katie Heller

CelloLuise Buchberger Andrew Skidmore Helen Verney

BassCecelia Bruggemeyer Carina Cosgrave

OboeDaniel Bates Michael O’Donnell

BassoonSally Jackson

HornPhillip Eastop Martin Lawrence