Mostly Mozart Festival 2009: Schola Cantorum de ... - Lincoln Center

Saturday Evening, August 15, 2009, at 7:30
Schola Cantorum de Venezuela
Alberto Grau, Founder and Conductor
María Guinand, Conductor and Artistic Director
Ana María Raga, Associate Conductor
Pablo Morales, Assistant Conductor
Water
MODESTA BOR Velero Mundo (1971)
ROJAS
GONZALO CASTELLANOS Al Mar Anochecido (1963)
JOSÉ ANTONIO CALCAÑO Evohé (1953)
Magic and Colors
R. MURRAY SCHAFER Magic Songs (1988)
Chant to Bring Back the Wolf
Chant to Make Fences Fall Down
Chant to Make Fireflies Glow
Chant for Clear Water
Chant for the Spirits of Hunted Animals
Chant to Keep Bees Warm in Winter
Chant to Make Bears Dance
Chant to Make the Stones Sing
Chant to Make the Magic Work
Sun
VICENTE EMILIO SOJO Laetitia (1938)
ALBERTO GRAU Salve al Celeste Sol Sonoro (2007) (U.S. premiere)
S. GONZÁLEZ, V. GONZÁLEZ, IBRAHIM, ROJAS
ERIC WHITACRE Cloudburst (1991)
FERRER, V. GONZÁLEZ, SOSA
Intermission
This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.
Alice Tully Hall, Starr Theater Please make certain your cellular phone,
pager, or watch alarm is switched off.

Mostly Mozart Festival
The Mostly Mozart Festival is made possible by
Rita E. and Gustave M. Hauser, the Hess
Foundation, Inc., The Fan Fox and Leslie R.
Samuels Foundation, Inc., The Shubert Foundation,
The Eleanor Naylor Dana Charitable Trust, Ann and
Gordon Getty Foundation, J.C.C. Fund of the
Japanese Chamber of Commerce and Industry of
New York, Inc., 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.
Endowment support provided by the American
Express Cultural Preservation Fund.
Movado is an Official Sponsor of Lincoln Center, Inc.
WNBC/WNJU are Official Broadcast Partners of
Lincoln Center, Inc.
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Center, Inc.
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Lincoln Center, Inc.
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“Summer at Lincoln Center” is sponsored by Diet
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Upcoming Mostly Mozart Festival Events:
A Little Night Music
Saturday Night, August 15, at 10:30,
in the Stanley H. Kaplan Penthouse
Simone Dinnerstein, Piano
BACH: Goldberg Variations
Sunday Afternoon, August 16, at 3:00,
in Alice Tully Hall
Orchestra of the Age of Enlightenment
Robin Ticciati, Conductor (U.S. debut)
Robert Levin, Fortepiano
ALL-MOZART PROGRAM
Les petits riens, K.a10 (complete ballet music)
Piano Concerto No. 22 in E-flat major, K.482
Symphony No. 40 in G minor, K.550
Pre-concert recital by Robert Levin, fortepiano,
at 2:00 in Alice Tully Hall
MOZART: Sonata in D major, K.576
Monday Evening, August 17, at 7:30,
in Alice Tully Hall
International Contemporary Ensemble
John Adams, Conductor
Michael Collins, Clarinet (Mostly Mozart debut)
ALL-ADAMS PROGRAM
Shaker Loops
Son of Chamber Symphony
Gnarly Buttons
Pre-concert discussion with John Adams,
Michael Collins, and Ara Guzelimian at 6:15
in the Stanley H. Kaplan Penthouse
For tickets, call CENTERCHARGE at (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.
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.

Mostly Mozart Festival
Rhythm and Dances
ELLIOTT CARTER Musicians Wrestle Everywhere (1945)
CÉSAR ALEJANDRO CARRILLO Oiga Compae, Prelude and Fugue (1994)
GUIDO LÓPEZ GAVILÁN Mambo “Que rico é” (1996)
CEDEÑO, S. GONZÁLEZ, MARTÍNEZ, PAGANO, ROJAS, DÍAZ
BEATRIZ BILBAO La Fiesta de San Juan (2003)
SOJO, ROJAS
SIMÓN DÍAZ (arr. ALBERTO GRAU) Todo este campo es mío (1982)
EDGAR ZAPATA (arr. FEDERICO RUIZ) El Menciona’o (1980)
OTILIO GALÍNDEZ (arr. ALBERTO GRAU) La Arestinga (1959)
BARRIOS, MÁRQUEZ, SEQUERA
ADALBERTO ALVAREZ (arr. ALBERTO GRAU) Dale como es (1993)

Mostly Mozart Festival
Six Degrees of Separation
Welcome to the 43rd season of the Mostly
Mozart Festival, where each summer we
celebrate the genius of Mozart as well as
his predecessors, contemporaries, and
successors. As the artistic and musical
horizons of our Festival expand, frequently
we are asked about various programs’ relationships
to Mozart. In some cases, the
connections are obvious: this summer we
mark the 200th anniversaries of Joseph
Haydn’s death and Felix Mendelssohn’s
birth. In a three-generational link, Haydn’s
influence on Mozart is echoed in Mozart’s
influence on Mendelssohn. The achievements
of these composers are highlighted
in several programs led by the esteemed
and dynamic Louis Langrée, the Renée and
Robert Belfer Music Director of the Mostly
Mozart Festival. Performances by the
Emerson String Quartet, Joshua Bell, and
Pierre-Laurent Aimard with the Chamber
Orchestra of Europe also feature Haydn
and Mendelssohn.
Moving forward to our own century, we
welcome Artist-in-Residence John Adams,
the American composer who was himself
influenced by Mozart. Adams’ newest
opera, A Flowering Tree, was inspired by
Mozart’s The Magic Flute and is the centerpiece
of our celebration of Adams’ music. A
Flowering Tree features the extraordinary
chorus Schola Cantorum de Venezuela,
whose presence at Mostly Mozart allows
us to explore the choral music of South
America in an a cappella program.
The Festival also includes the return of
choreographer Mark Morris, known for
both his musicality and theatrical vision. To
celebrate Lincoln Center’s 50th Anniversary,
we have commissioned two new
works for the Mark Morris Dance Group
and internationally acclaimed cellist Yo-Yo
Ma and pianist Emanuel Ax. The music of
Beethoven and Schumann, whose proximate
relationships to Mozart need no
explanation, form the centerpiece of the
Morris program, augmented by a work set
to the music of Charles Ives, who had an
important influence on John Adams and
who was himself influenced by Beethoven.
Well, you get the picture. Though our 2009
Festival spans many centuries, disciplines,
and continents, Mozart’s music remains at
the Festival’s center, touching every musical
note that is performed, no matter how
seemingly far-flung the connection. It is
Mozart who provides us with the essential
inspiration, meaning, and vision to make the
Mostly Mozart Festival such a special New
York tradition. And perhaps our Festival
touches on a larger musical truth: the music
we so deeply love—from Mozart to John
Adams—in every way transcends time and
place and moves effortlessly throughout the
centuries without decay. It is fully alive, fully
present, and always new every time it is
heard, creating six degrees of separation
among listeners throughout human history.
Jane Moss
Artistic Director, Mostly Mozart Festival

Mostly Mozart Festival
Program Summary
by Anastasia Tsioulcas
In the past few years, U.S.-based music lovers have hungrily eyed Venezuela’s incredible
program of youth musical education. Through profiles of El Sistema (simply, “The
System”) along with its most famous alumnus, conductor Gustavo Dudamel—who will
take up the podium as the Los Angeles Philharmonic’s music director beginning this
autumn—many North Americans have become fascinated with El Sistema and its flagship
orchestra, the Simón Bolívar Youth Orchestra.
What is less well known abroad, however, is that El Sistema, founded by José Abreu and
more formally known as the Fundación del Estado para el Sistema Nacional de las
Orquestas Juveniles y Infantiles de Venezuela (FESNOJIV), has an extraordinary choral
counterpart that forms another lynchpin of Venezuela’s vibrant and well-nurtured cultural
life: its choral tradition, whose inspiration and apex is this very choir, the Schola Cantorum
de Venezuela.
When composer and conductor Alberto Grau founded this group in 1967 (then called the
Schola Cantorum de Caracas), there were roughly 30 choirs total in the entire nation.
There were no organizations dedicated to promoting choral music, nor was there a single
academic program that trained aspiring choral conductors.
Thanks to the tireless work of Grau and his colleagues, including his wife, María Guinand,
who is now the artistic director and conductor of the Schola Cantorum, that landscape
has been utterly transformed over the past three decades. There are now more than
2,000 choirs in Venezuela, along with undergraduate and graduate programs at four different
universities, and an abundance of national choral festivals and organizations, many
of which utilize choral singing as a form of social development in the same way that the
orchestral Sistema works with impoverished communities. Today Schola Cantorum is the
crown jewel in this breathtaking cultural experiment.
New York audiences have come to cherish this group, whom they first met in landmark
performances of Osvaldo Golijov’s brilliant contemporary oratorio La Pasión según San
Marcos. Since then, they have become favorites at the Mostly Mozart Festival, where
they’ve returned to sing an incredible range of music, from Mozart’s Requiem to this
week’s performances of John Adams’ new opera, A Flowering Tree.
For this program, the choir presents a fascinating array of 20th-century music from across
the Americas, including many selections from their native land. Like everywhere else in
the Americas, Venezuela possesses a wealth of music that combines traditions from a
multitude of cultures. Spanish and other European influences, as well as the legacies of
indigenous and African styles, are all interwoven into a brilliant tapestry. In turn, the Schola
Cantorum locates all these contributions within a larger New World context, extending
the dialogue to include North American voices.
—Copyright © 2009 by Anastasia Tsioulcas

Mostly Mozart Festival
Notes on the Program
by Anastasia Tsioulcas
Velero Mundo (1971)
MODESTA BOR
Born June 15, 1926, in Juan griego
Died April 7, 1998, in Mérida
Approximate length: 3 minutes
One of the most intriguing aspects of this program is the sense it evokes of a crossgenerational
dialogue. As mentioned above, Alberto Grau, whose own compositional
work is represented this evening in one original piece and two arrangements, is, of
course, a giant in the Venezuelan choral tradition. However, several generations of musical
grandparents and their progeny are also represented here as well, thereby painting a
musical family portrait that includes such figures as Vicente Emilio Sojo, one of the giants
of 20th-century Latin American music, as well as younger composers who continue to
nurture the choral tradition.
Along with being tutored by Sojo, Venezuelan composer Modesta Bor was also a student of
Aram Khachaturian. Her resulting output is an unusual coupling of Venezuelan folk tradition
and the striking colors of Russian-style textural harmonies. In the song Velero Mundo
(“World-Sailing Ship”), she sets a poem by modern poet Francisco Lárez Granados in a manner
that strongly evokes the image of eddying swirls of water stirred up by ocean breezes.
Velero Mundo
Text: Francisco Lárez Granados
En el camino que la rosa apunta
De un torvo sembrador suena el arado
Y la vigilia entre la noche anuncia
La presencia febril del sobresalto.
Voy en mi sitio en el velero mundo
Vestido de silencio y de tu nombre
Con el instinto desatado a punto
De fiera pugna que la vida impone.
Cortada linfa latiguea mi carne
Mecida por salobres ebriedades.
La circundante lobreguez rúbrica
Ramalazos de luz mientras mi alma
De tu cariño en la divina llama
Acelera el temple de su fe marina.
World-Sailing Ship
In the path signaled by the wind rose
sounds of
the plow of a fierce seeder,
and the vigil announced through the night
the feverish presence of the sudden dream.
I am in my place in the World-Sailing Ship
dressed with silence and your name,
with the instinct broken loose
in the fierce fight that life imposes.
The cut waters whip my flesh
rocked by salty ebriety.
The surrounding obscurity flourishes
like flashes of light, and meanwhile my soul
for your love in the divine flame
steels the spirit of your marine faith.

Mostly Mozart Festival
Al Mar Anochecido (1963)
GONZALO CASTELLANOS
Born June 3, 1926, in Canoabo, Carabobo
Approximate length: 4 minutes
A noted organist, conductor, and educator as well as composer, Gonzalo Castellanos was
also one of Sojo’s students, though his education was also formed by famed Romanian conductor
Sergiu Celibidache. He sets off Juan Ramón Jiménez’s supremely melancholic poem
“Al Mar Anochecido” (“To the Sea in Twilight”) in a captivating series of floating harmonies.
Al Mar Anochecido
Text: Juan Ramón Jiménez
¡Si su belleza en mí morir pudiera
Como en ti, mar, se borran los colores
Que el sol divino te dejó, en las flores
De luz de toda su gentil carrera!
Mas ¿qué es la muchedumbre, pasajera
Eterna, de este oleaje de dolores,
Para tal resplandor de resplandores,
Alba sola de toda primavera?
¡Mar, toma tú, esta tarde sola y larga,
Mi corazón, y da a su sufrimiento
Tu anochecer sereno y extendido!
¡Que una vez sienta él cual tú, en la amarga
Infinitud de su latir sangriento,
El color uniforme del olvido!
Evohé (1953)
JOSÉ ANTONIO CALCAÑO
Born March 23, 1900, in Caracas
Died September 11, 1980, in Caracas
Approximate length: 4 minutes
To the Sea in Twilight
If your beauty could die in me
like it dies in you, sea!
All the divine colors left by the sun
in the flowers of light of its gentle way
will erase!
Ah! what is it the multitude,
it is only eternal, fugitive of this swell of grief,
for this splendor of splendors,
lonely dawn of all springs?
Sea, take my heart in this lonely and long
sunset
and give its suffering
your serene and extended twilight!
That once it feels like you in the bitter
infinity of your bloody heartbeat
the uniform color of forgetfulness!
Like his contemporary and friend Sojo, José Antonio Calcaño was extremely active in
both musical and political life. A composer, pianist, and critic who wrote under the pseudonym
“Juan Sebastian” (an allusion to Bach), he was a career diplomat who worked in
Switzerland, Ireland, England, and the U.S. But, like Sojo, his first passion was for
Venezuelan music; along with his own brother, Emilio, and Sojo, Calcaño was one of the

Mostly Mozart Festival
founders of the Orfeón Lamas, a choir that gave its first public concert in 1930 and was
one of the pioneering groups in establishing and nurturing Venezuela’s musical heritage.
Evohé
Text: Enrique Planchart
Evohé, Mare nostrum.
Vuela la triangular vela latina
Y grávida de brisa y luz de aurora
La barca impele a sumergir
La prora que traza una estela argentina.
Evohé, Mare nostrum.
Al arrullo del mar se unen mil voces
indiscernibles
Todo es tan intenso que se diría
Que los dioses viven aún
Bajo el cielo inmenso.
Evohé, Mare nostrum.
Magic Songs (1988)
R. MURRAY SCHAFER
Born July 28, 1933, in Ontario
Approximate length: 16 minutes
Canadian composer, writer, and environmentalist R. Murray Schafer explores the connections
between sound, music, and nature in his Magic Songs; as he writes of this
piece, it recalls a time when the purpose of singing “was not merely to give pleasure, but
was intended to bring about a desired effect in the physical world.” In place of texts,
Schafer sets the music to phonemes.
Laetitia (1938)
VICENTE EMILIO SOJO
Born December 8, 1887, in Guatire
Died August 11, 1974, in Caracas
Approximate length: 4 minutes
Evohé
Evohé*, hail our sea!
Flying the triangular Latin sail
and filled with air and light of the dawn,
the boat impels its prow to plunge
leaving a silver wake.
Evohé, hail our sea!
To the cooing of the sea one thousand
confused voices add themselves
everything is so intense
that it seems as if the gods were still alive
under this immense sky.
Evohé, hail our sea!
*The ancient Greeks used this word to invoke Bacchus
In addition to being one of the great visionaries and promoters of Venezuelan music as a
composer and musicologist, Vicente Emilio Sojo was also a senator and one of the founders
of the AD (Acción Democrática), the center-left social democratic party, which soon became
one of the most important political forces in Venezuela. His contributions to his native land’s
musical life are remarkable; he founded the Venezuela Symphony Orchestra, and also was

Mostly Mozart Festival
a driving force in amassing and notating Venezuelan folk music from the 18th through the
20th centuries. His Laetitia is a setting of a poem by Nicaraguan writer Rubén Darío, a journalist,
poet, and novelist who initiated the modernist movement in Spanish-language literary
circles and who still stands as one of the giants of Latin American literature.
Laetitia
Text: Rubén Darío
¡Alegría!
El sol, el rey rubio cruza el azul con su
diadema de oro.
Y va en el aire el ritmo y efluvio;
canta el bosque sonoro.
La alondra sube al cielo y las almas
también. ¡Todo se alegra!
Brota la flor su terciopelo sobre la tierra
negra.
Los pájaros cantores sobre el fresco rosal
lanzan el trino
Y arrulla en los eclógicos verdores el
buche columbino.
¡Alegría!
Un soplo yerra que las almas levantan
con su ardor
Se enciende la vida de la tierra con la
llama invisible del amor
¡Alegría!
Salve al Celeste Sol Sonoro (2007)
ALBERTO GRAU
Born January 19, 1938, in Barcelona
Approximate length: 7 minutes
Laetitia
Joy!
The sun with its golden crown is crossing
the blue sky.
We can hear in the air the rhythms of the
river; the forest is singing.
A lark is flying high, so do the souls.
Everything is happy!
The flower blossoms like silk and velvet
upon the black ground.
The singing birds throw a trill upon the
fresh roses.
The doves sing in the
green trees.
Joy!
A blow blast brings the souls to life
in their burning.
The life of the earth sparkles with the
invisible fire of love
Joy!
Now better acquainted with Alberto Grau’s extraordinary legacy as an educator, we first
hear his own work in his song Salve al Celeste Sol Sonoro (“Hail to the Celestial and
Sonorous Son”). Like Sojo, Grau draws upon Rubén Darío for inspiration.
Salve al Celeste Sol Sonoro
Text: Rubén Darío
Claras horas de la mañana
En que mil clarines de oro
Cantan la divina diana
Salve al celeste sol sonoro
Devanemos de amor los hilos
Hail to the Celestial and Sonorous Sun
Shining morning hours
when a thousand golden trumpets
sing the divine reveille
hail to the celestial and sonorous sun.
Reel the threads of love
(Please turn the page quietly.)

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Y hagamos porque es bello el bien
Y después durmamos tranquilos
Por siempre jamás. ¡Amén!
Cloudburst (1991)
ERIC WHITACRE
Born January 2, 1970, in Nevada
Approximate length: 8 minutes
Now only age 39, American composer Eric Whitacre has already become an enormous
favorite among choruses and other musicians worldwide. (An early instrumental work
called Ghost Train has been recorded more than 40 times.) Although he had no formal
training before age 18, he fell in love with choral music while singing in a college group;
he went on to study with John Corigliano at The Juilliard School. Cloudburst has become
another extraordinarily popular composition.
Cloudburst
Text: Octavio Paz, El Cántaro Roto
adapted by Eric Whitacre
La lluvia…
Ojos de agua de sombra,
Ojos de agua de pozo,
Ojos de agua de sueño.
Soles azules, verdes remolinos,
Picos de luz que abren astros
Como granadas.
Dime tierra quemada, ¿no hay agua?
Hay solo sangre, solo hay polvo,
Solo pisadas de pies desnudos sobre la
espina
Hay que dormir con los ojos abiertos
Hay que soñar con las manos
Soñemos sueños activos de rio buscando
su cauce,
Sueños de sol soñando sus mundos
Hay que soñar en voz alta
Hay que cantar hasta que el canto
Eche raíces, troncos, ramas, astros,
Hay que desenterrar la palabra perdida.
Recordar lo que dicen la sangre y la marea
La tierra y el cuerpo
Volver al punto de partida.
Intermission
let’s make it good, for it is beautiful
and after let’s sleep quietly
for ever and ever. Amen!
Cloudburst
The Broken Water Jar
The rain…
Eyes of shadow-water,
eyes of well-water,
eyes of dream-water.
Blue suns, green whirlwinds,
birdbeaks of light pecking open
the stars like grenades.
But tell me, burnt Earth, is there no water?
Only blood, only dust,
only naked footsteps on the thorns?
We must sleep with open eyes,
we must dream with our hands,
we must dream the dreams of a river
seeking its course,
dreams of the sun dreaming its worlds,
we must dream aloud,
we must sing till the song puts forth roots,
trunk, branches, birds, stars,
we must find the lost word.
Remember what the blood and the tides,
the earth and the body say,
and return to the point of departure.

Mostly Mozart Festival
Musicians Wrestle Everywhere (1945)
ELLIOTT CARTER
Born December 11, 1908, in New York
Approximate length: 4 minutes
From navigating the intersections of nature and spirit, we move in the second half of the
program to the spirit of rhythm. American centenarian composer Elliott Carter takes the
title of Emily Dickinson’s “Musicians Wrestle Everywhere” as something of literal inspiration:
if you are already familiar with Carter’s deeply layered output, this 1945 piece for
a cappella choir might still be a surprise; it’s one of the last choral works Carter penned
before putting the whole genre aside for the next 60 or so years. The witty tangle of
voices he creates suits Dickinson’s opening line perfectly.
Musicians Wrestle Everywhere
Text: Emily Dickinson
Musicians wrestle everywhere:
All day, among the crowded air,
I hear the silver strife;
And—waking long before the dawn—
Such transport breaks upon the town
I think it that ‘New Life’!
It is not Bird, it has no nest;
Nor ‘Band’, in brass and scarlet dress,
Nor Tambourine, nor Man;
It is not Hymn from pulpit read,
The ‘Morning Stars’ the Treble led
On Time’s first Afternoon!
Some say it is ‘the Spheres’ at play!
Some say that bright Majority
Of vanished Dame and Men!
Some think it service in the place
Where we, with late, celestial face,
Please God, shall Ascertain!
Oiga Compae, Prelude and Fugue (1994)
CÉSAR ALEJANDRO CARRILLO
Born in 1957, in Caracas
Approximate length: 5 minutes
Composer César Alejandro Carrillo represents the current generation of Venezuelan choral
music. He is currently the director of the Orfeón Universitario (the university chorus of the

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Universidad Central de Venezuela), a position once held by Antonio Estévez. Though
totally secular in content, his Oiga Compae (“Hey, Compadre”) begins with a liturgicalsounding
prelude before shifting into a sprightly and explosively articulated fugue.
Oiga Compae, Prelude and Fugue
Llora, llora, guitarrita, acompaña mi dolor,
Se robaron mi burrita, mi cobija,
Mi machete y mi mujer.
Oiga, compae, que mire como son las
cosas,
Caramba se robaron mi burrita,
Mi cobija, mi machete y mi mujer.
Esta si que es una lava,
Caramba, que no la puedo entender,
Compae, que se roben mi burrita,
Mi cobija, mi machete y mi mujer.
¡Caray!
*The words “caramba” and “caray” are both explosive, emotional words. “Caramba’”is an interjection
commonly used in everyday speech; “caray”, however, is much stronger and would not normally be used
in social situations. Throughout the fugue these words are presented as strong accented notes or pitches,
thus creating an intensity that culminates in the final emotional cry on the last chord.
Mambo “Que rico é” (1996)
GUIDO LÓPEZ GAVILÁN
Born January 3, 1944, in Cuba
Approximate length: 6 minutes
Hey, Compadre, Prelude and Fugue
Cry, cry, little guitar, accompany my sorrow.
They stole my little donkey, my blanket,
my machete, and my wife.
Hey, compadre! Look at how things are
going;
Caramba*! They stole my little donkey,
my blanket,
my machete and my wife.
This is like lava,
Caramba! That I cannot understand,
that they stole my little donkey,
my blanket, my machete, and my wife.
Caray!*
In Mambo “Que rico é” (“Mambo ‘How Nice It Is’”), Cuban composer Guido López Gavilán
gives an experimental take on the mambo that is sure to surprise; after all, Que Rico e
Mambo is the Pérez Prado mambo that became an international smash. But this archetypal
dance form’s quintessential element is the piece’s backbone: just listen to the
rhythms outlined by the basses. Even more striking are the virtuosic onomatopoeias the
composer demands, creating a vocal tour de force that evokes the spirit of the dance floor.
Mambo “Que rico é”
Mambo, que rico é
Baila mambo, bailalo.
Pero que rico mi mambo
Báilame este mambo
Pero que rico é
Que rico y chévere mi mambo.
Mambo “How Nice It Is”
Mambo, how nice it is
dance this mambo, dance.
How sweet is my mambo
dance this mambo for me.
How nice it is,
how nice and chévere is my mambo.

Mostly Mozart Festival
La Fiesta de San Juan (2003)
BEATRIZ BILBAO
Born December 8, 1951, in Caracas
Approximate length: 11 minutes
Beatriz Bilbao is another Venezuelan composer who was nurtured by Alberto Grau in her
native country; she continued her studies at Indiana University, the New England
Conservatory, and Romania’s Cluj-Napoca Conservatory. Her piece La Fiesta de San Juan
(“Saint John’s Feast”) is a riveting blend of Western classical textures and Afro-
Venezuelan traditions from the town of Curiepe, which in 1721 became Venezuela’s only
legally established town of free blacks. June 24, Saint John’s feast day, has become associated
with the struggle for liberation, and in Curiepe has become a two-day festival of
Afro-Venezuelan music, dancing, and ritual.
La Fiesta de San Juan
Que como se tiempla, que como se afina,
Que es el pata e’ gallo que es el culo e puya
Prima cruzao Sangueo cumaco
Que no se pone viejo
Malembe, malembe, malembe, no ma’
San Juan se fue San Juan se va
Barlovento e tierra del cacao
Ya no se acaba’o yo no se porqué
Y el dia que yo me muera ya a mi no me
guarden luto
Aquí mismo traigo yo toiticos nuestros males
Pa’ que así sea mi San Juan el que
siempre me acompañe
Bebe agua de Juan del río del Jordán
Y te bautiza San Juan
¡Ay! Mi San Juan me voy a lavá
Si caigo en el río mándame a sacar
¡Ay! Mi San Juan ya me lavé
Todos mis males en el río dejé
Si San Juan supiera que hoy es su día
Del cielo bajara con gran alegría
¡Ay! San Juan la tierra queda desconsolada
Saint John’s Feast
How do you temper it? How do you tune it?
This is the cock’s feet, this is narrow bottom
This is the high one, the crossed one,
sangueo, cumaco*!
It does not get old…
Malembe**, malembe, malembe only
St. John has gone, St. John is leaving.
Barlovento is land of cocoa,
it has not been finished, and I do not
know why.
The day when I will die, I do not want to
be mourned
here I bring all my sufferings
so that St. John will always accompany me.
Drink St. John’s water from the Jordan river
St. John will baptize you.
Oh! My St. John, I am going to wash myself
if I fall in the river help me to come out.
Oh! St John, I have already washed myself
all my sins I have left in the river.
If St. John knew that today we celebrate him
he would come down from heaven with
great joy.
Oh! St. John, the earth is distressed.
(Please turn the page quietly.)

Mostly Mozart Festival
¡Ay! Jesú’ misericordia, San Juan se nos va
Recibimos todos con gran fervor
Al santo del pueblo bendito
Canta con el día rocío en flor
Cántale ésta copla San Juancito amor
Aquí hemos venido a llamarlo
En la mañanita a despertarlo
Las aguas murmuran su nombre acá
La costa amanece con tambor batá
La Liberación
Juan me llamo Juan de todos
Habitante de la tierra sombra vestida
Polvo caminante al igual que todos Juan
cordero
San Juan Congo
Au jo li cocodrí vi nigro cocodri zambi
zambi zambi
Mo pas cour cocodrí zambí zambí ¡yo yo!
Mo pas cour cocodrí zambí zambí ¡yo yo!
Columbo
San Juan Guaricongo cabeza pelá
Quítate la gorra pa’ vete bailá
¡Oh! Mi San Juan me voy a lavá
Si caigo en el río mándame a sacar
¡Ay! Mi San Juan ya me lavé
toitos mis males en el río dejé
Fervoroso
San Juan Guaricongo se puso contento
Cuando mudaron el rancho pa’ Barlovento
Si San Juan supiera que hoy es su día
Del cielo bajara con gran alegría
Mi San Juan…
Oh! Merciful Jesus, St. John leaves us.
We all receive with fervor
the Saint of the people, blessed lord
sing with the day, morning dew
sing this verse to little St. John with love
here we came to call him
in the morning to wake him up.
The waters whisper his name here,
the day breaks at the coast with bata drums.
The Liberation
John is my name, John for everybody,
inhabitant of the earth,
dressed shadow, walking dust like
everybody, John the Shepherd.
San Juan Congo
The beautiful coconut is a big coconut
I run behind the coconut
Me! Me! Columbo!
St. John Guaricongo is bald
take off your hat, so that I can see you
dance.
Oh! My St. John, I am going to wash
myself
if I fall in the river help me to come out.
Oh! St John, I have already washed myself
all my sins I have left in the river.
Fervent One
St. John Guaricongo was very happy
when they moved his hut to Barlovento.
If St. John knew that today we celebrate him
he would come down from heaven with
great joy.
My St. John…
* This refers to different types of drums.
** A popular expression to start the procession.

Mostly Mozart Festival
Todo este campo es mío (1982)
SIMÓN DÍAZ
Born August 8, 1928, in Venezuela
arr. ALBERTO GRAU
Approximate length: 5 minutes
With original words and music by popular Venezuelan poet Simón Díaz, Todo este campo
es mío (“This Field Is All Mine”) was first written as a tonada, a song meant for solo
voice. This particular example, however, was reworked by Alberto Grau in a choral
arrangement that weaves in such dance forms as the cha-cha and the bolero, giving this
sweet text extra dimensions. Similarly, Dale como es (“Do It Well”), a popular song,
which closes tonight’s program, takes on new colors in a Grau arrangement. Adalberto
Álvarez originally penned this song in 1940s Cuba, combining two classic Cuban popular
music styles (the son and guaguanco) in a hybrid form called songo.
Todo este campo es mío
Text: Simón Díaz
Todo este campo es mío, mío
Esta divina soledad, arrullo de pájaros
Perfume de pétalos, y un
caballito blanco, lejos
Todo este campo es mío, mío
El arco iris baja, la tarde de música
La lluvia de cántaros, y una garcita pluma
rosa
Mariposa, tu que libas la miel de aquella
flor maravillosa
Caminito, la trepadora flor, mi corazón
enreda
Campesina, en la laguna azul, se ve el
adiós, de las espigas
Campesina, mariposa, pluma rosa,
todo este campo es mío, mío.
El Menciona’o (1980)
EDGAR ZAPATA
Born in 1952 in Punta de Mata
arr. FEDERICO RUIZ
Born February 8, 1948, in Caracas
Approximate length: 4 minutes
This Field Is All Mine
This field is all mine,
all this divine solitude, the cooing of the birds,
perfume of flower leaves, and the little
white horse far away.
This field is all mine.
The rainbow, the music and the sunset,
the pouring rain and a white
heron.
Butterflies sucking the honey of that
beautiful flower,
little path, and my heart is tangled by the
scandent flower.
Countrywoman, in the blue lake the
spikes wave farewell
countrywoman, butterfly, rose feathers,
all this field is mine.
The joropo is often referred to as Venezuela’s national dance. The joropo is, at its heart,
musica llanera—music of the Venezuela’s plains region, heavily influenced by Spanish

Mostly Mozart Festival
colonial style—but today this music has evolved into several different regional forms. Even
by the 1920s, the joropo, which traditionally features intricate playing on the harp and cuatro
(a small, four-stringed guitar) and maraca accompaniment, became a way of referring
not just to the dance, but also to a particular and complex rhythm that combines both 3/4
and 6/8 time. Here, the traditional joropo song El Menciona’o (“The Named One”), by
Edgar Zapata, is given a virtuoso choral twist in this Federico Ruiz arrangement, in which
the individual voice sections evoke the sprightly, light-hearted spirit of the dance.
El Menciona’o
Voy a cantar un versito
Que aprendí por “lo de cacho”
Mi “pai” cuando era muchacho,
Lo decía cantandito
Que si no se era nací’o
Entre conuco y maolojo
No podrá cantar joropo
Aunque grande haya aprendí’o
Por la bodega de “Cacho”
Muy cerquita del tingla’o
Y que sale el Menciona’o
Con maracas de capacho
Quien no lo quiera creer
Que se haga un chivo asusta’o
Y se tire este estribillo
Con el joropo trama’o
Yo me voy pa’ “lo de Cacho”
Me voy a cantar joropo
Con maracas de capacho
Voy a forma’ un alboroto
Una negra campomera
Pidió a Cacho un palo’e ron
Porque había una chiguanera
Que joropeaba mejor
Y salí desde Cariaco
Con el rumbo pa’ Chiguana
Y pasé por Tropezón
Y no me quedaron ganas
Estos versos son sencillos
Pero bien endemonia’os
Que sabroso el estribillo
Pa’ bailarlo zapatea’o.
The Named One
I am going to sing you a little verse
which I learned in Cacho’s home,
because when my father was young
he always told me by singing
that if you had not been born
among the “conuco”* and the “malojo”*
you could not sing “joropo”*
even if you had learned it later in life.
Close to the little shop of Cacho,
near the shed,
appears the “Named one”*
with maracas made of “capacho”.*
If you do not believe it
you may look like a frightened goat
and start singing this joropo
with its difficult rhythms.
I am going to Cacho’s house
to sing joropo
with my maracas made of capacho
I will start the party.
A brown woman
asked Cacho for a glass of rum
because there was another women
who sang the joropo better.
And I left Cariaco
with Chiguana as my destination
And I passed by Tropezón
and I don’t want to be there again.
These are simple verses,
but they are raging
how nice is this rhythm
for a raged dance.

Mostly Mozart Festival
*Conuco is a little farm where peasants plant corn and have a few hens.
Malojo is the bad herbs that grow in the conuco.
Joropo is the Venezuelan national dance.
Named one refers here to the devil.
Capacho is a tree, very common in the plains, that has beautiful red flowers and precious wood from which
the best maracas are made.
La Arestinga (1959)
OTILIO GALÍNDEZ
Born December 13, 1935, in Venezuela
Died June 13, 2009, in Maracay
arr. ALBERTO GRAU
Approximate length: 4 minutes
La Arestinga was written by the Venezuelan musician and songwriter Otilio Galíndez, who
passed away just this June at age 64. He was popular not just in his native land, but with
many of Latin America’s most notable contemporary artists, including Mercedes Sosa and
Silvio Rodríguez.
In Alberto Grau’s dynamic arrangement, the chorus’ colorful palette only enhances the
music’s vivacious underlying rhythm: the Afro-Venezuelan gaita style, which is made up of
triplet patterns. The Arestinga of this playful song’s title refers to a lagoon area located on
Venezuela’s Margarita Island, a very popular vacation spot located just above the nation’s
mainland in the Caribbean.
—Copyright © 2009 by Anastasia Tsioulcas
La Arestinga
Text: Otilio Galíndez
Perdone amigo
Que yo no he pescado nada
Con la mar embravecida
Con la mar que está picada
No me vengas con tus cuentos
Ni esperes que yo te crea
Tú estabas hablando con una sirena
Que allá en “La Arestinga”
Su cuerpo asoléa
Pescador Embustero
Que sales en Navidad
Y te vas pa’ “La Arestinga”
La Arestinga
Forgive me my friend
because I have not fished anything yet,
because the sea is enraged,
because the sea is rough.
Do not tell me so many stories
and expect that I believe you
because I know that you were not fishing,
but instead you were singing with a mermaid
who sunbathes in “La Arestinga.”
Liar fisherman
that goes out in Christmas time
and goes to “La Arestinga,”
(Please turn the page quietly.)

Mostly Mozart Festival
A tomarte una botella
Con una sirena linda
Con una sirena bella
Perdone amigo
Se me rompió la atarraya
Para hacer un buen sancocho
Pescaremos en la playa
No me vengas con tus cuentos...
Dale como es (1993)
ADALBERTO ALVAREZ
Born in 1948, in Havana
arr. ALBERTO GRAU
Approximate length: 4 minutes
Dale como es
Dale como es
Dale pa’ que aprendas
Dale como es
Pon tu cuerpo listo y en movimiento
Que la fiesta pronto va a empezar
Pon tu cuerpo en movimiento
Que voy a empezar a tocar
Sin ninguna complicación
El ritmo que estoy sintiendo
Dale ya
Esto es algo bien sencillo
Sin ninguna complicación
Pero con tremendo sabor
Apréndete el estribillo
Dale como es…
to drink a bottle and have fun
with a nice mermaid,
with a beautiful mermaid.
Forgive me my friend,
but my fishing net has broken
and to get fish for the soup
we will fish on the shore.
Do not tell me so many stories…
Do It Well
Do it well,
so that you learn,
and do it well.
Start moving your body
as the party is going to start.
Start moving your body
as I begin to play
without complications
the rhythm that I am feeling.
Do it.
This is something very simple
without any complications
but has much flavor and
you need to learn the burden:
Do it well...

Mostly Mozart Festival
Meet the Artists
Alberto Grau
Distinguished composer, conductor, and
teacher, Alberto Grau has earned a place of
honor among the best contemporary Venezuelan
musicians. Mr. Grau is best known
for his work as a choral conductor, but as a
composer he has become one of the
leading figures in Latin America and many of
his works have won national and international
prizes. His works have been published
by Earthsongs and N.J. Kjos (U.S.), À
Coeur Joie (France), Oxford University
Press (U.K.), and GGM editors (Venezuela),
and he receives many commissions from
choirs all over the world. He is the
composer-in-residence of the choirs of the
Schola Cantorum de Venezuela Foundation.
In 1967 he founded the Schola Cantorum
de Caracas and won First Prize in the 1974
Guido D’Arezzo International Competition
in Italy. Since then he has attended many
important international congresses and
festivals with his choirs and also has been
invited as a guest conductor, adjudicator,
and professor of choral music in Europe,
the U.S., Latin America, and Asia.
More than 30 recordings provide evidence
of his fine musicianship and extensive knowledge
of international and Latin American
choral repertoire. Mr. Grau is the honorary
and founder director of Schola Cantorum
de Venezuela and the Orfeón Universitario
Simón Bolívar, and member of the Directive
Board of the Fundación del Estado para
las Orquestas Infantiles y Juveniles de
Venezuela. He also founded the School of
Choral Conducting in Venezuela. At present
he conducts the Chamber Choir Ave Fénix
in Caracas and is the artistic director of the
Schola Juvenil de Venezuela.
María Guinand
María Guinand is a choral conductor, university
professor, and leader of many choral
projects both nationally and internationally.
Frequently invited as conductor and teacher
to different events and concerts in the U.S,
Europe, Asia, and Latin America, she has
specialized in Latin American choral music
of the 20th and 21st centuries. She
obtained the Kulturpreis (1998) of the
InterNationes Foundation, the Robert Edler
Preis für Chormusik (2000), and recently the
Helmuth-Rilling-Preis (2009).
Ms. Guinand graduated from Bristol University
and studied choral conducting with
Alberto Grau. She furthered her conducting
and musical education with Helmuth Rilling,
Luigi Agustoni, and Johannes Göschl.
Currently she conducts two choirs in
Venezuela, the Schola Cantorum de Venezuela
and the Cantoría Alberto Grau, with whom
she has toured extensively and won many
awards. Always interested in new choral
music, she has conducted or participated in
major projects, including premiering, performing,
and recording (on Deutsche
Grammophon and Nonesuch) Osvaldo Golijov’s
La Pasión según San Marcos and John
Adams’ A Flowering Tree.

Mostly Mozart Festival
For over 30 years, Ms. Guinand has been
associate conductor and advisor of choral
symphonic performances and activities of
El Sistema. She teaches in the master’s
program for choral conductors at the Universidad
Simón Bolívar, where she worked as
professor and conductor for 28 years.
As a choral promoter, she is the artistic
director of the Schola Cantorum of
Venezuela Foundation, and she contributes
to the permanent development of centers
of choral music for children and youth of
low economic resources in Venezuela and
other Andean countries. As conductor of
the Polar Foundation Choir she has actively
contributed to the development of choral
music in private enterprises. She served for
12 years as Latin American Vice President
of the IFCM. She is editor of the Música de
Latinoamérica by Earthsongs Editions.
Ana María Raga
Pianist and choral conductor Ana María
Raga studied composition and choral conducting
with Alberto Grau and other distinguished
international maestros. She has
received national and international awards
as a pianist and choir conductor. Ms. Raga
currently works as associate director and
accompanying pianist of the Schola Cantorum
de Venezuela, professor of choral
conducting at the Instituto Universitario de
Estudios Musicales, director of the choral
project of Colegio Humboldt Caracas, and
conductor of Voces Prisma and Aequalis
Aurea choirs. She has founded several
children’s choral ensembles, amonst them
Mater Salvatoris and Aequalis choirs,
which have toured extensively and have
received a number of awards. Ms. Raga is
invited to run workshops at festivals in
Venezuela and abroad and has recently
conducted the World Youth Choir.
Pablo Morales
Pablo Morales studied with professors
Rodolfo Saglimbeni, María Guinand, and
Alfredo Rugeles, with whom he received a
master’s degree in orchestral conducting at
Simón Bolívar University. He has conducted
many orchestras and choral ensembles in
Venezuela and abroad. He has participated
with the Schola Cantorum de Venezuela in
tours in America, Europe, and Australia.
He is the conductor of the Carapita branch
of the National System of Orchestras and
the Chamber Orchestra of the Simón
Bolívar University.
Victor González
Victor González (assistant conductor and
singing coach) studied choral conducting
and singing under the tutelage of professors
Alberto Grau, María Guinand, and
Margot Parés-Reyna, among others. He
received an Honorable Mention at the
Ninth International Singing Competition of
Trujillo, Peru. Mr. González has participated
in a number of concerts, courses, workshops,
and concert tours in Venezuela and abroad.
In addition to his work with the Schola
Cantorum de Venezuela he is the associate
director of the Orfeón Universitario Simón
Bolívar and conductor of the Pequeños
Cantores de la Schola from the Construir
Cantando Project (El Pedregal branch).

Mostly Mozart Festival
Schola Cantorum de Venezuela
The Schola Cantorum de Caracas was
founded in 1967 and directed by Alberto
Grau. Its broad repertoire includes works
from the Spanish, Italian, French, and English
Renaissance; German and Italian
Baroque; contemporary Venezuelan composers;
a vast collection of Venezuelan and
Latin American traditional music; and a
number of symphonic choral pieces. In
2005 it became the Schola Cantorum of
Venezuela, a distinguished choir of the
Schola Cantorum Foundation, in order to
expand into new styles and repertoires.
International tours have taken the Schola to
venues in the U.S., Europe, Mexico,
Canada, and South America, among others.
The ensemble was chosen for the premiere
of Osvaldo Golijov’s La Pasión según San
Marcos, and the Hänsler recording of this
concert was nominated for a 2002 Grammy
and Latin Grammy Award in the category of
Best Choral Performance. In 2006, under
the direction of Peter Sellars, the Schola
premiered John Adams’ opera A Flowering
Tree at the New Crowned Hope festival in
Vienna. A recording of this piece was
released in 2008 by Nonesuch Records.
With different a cappella and symphonic
choral programs, the Schola Cantorum de
Venezuela has appeared internationally at
music festivals and concert halls, including
José Félix Ribas and Ríos Reyna Hall of the
Teatro Teresa Carreño in Caracas, Concertgebow
and Royal Theatre Carré in
Amsterdam, Royal Festival Hall in London,
Nezahualcóyotl Hall of the UNAM in
Mexico, Brooklyn Academy of Music’s
Howard Gilman Opera House, Sydney
Opera House, Barbican Centre, and
Beethovenhalle, and at the Tanglewood,
Ravinia, Canary Islands, and Eclectic Orange
festivals.
A specialized ensemble, with unique
arrangements and repertoire, the Schola
has recorded 25 albums. Ana María Raga
and María Guinand are the titular directors.
Mostly Mozart Festival
Now in its 43rd year, the Mostly Mozart
Festival was launched as an experiment in
1966 as “Midsummer Serenades: A Mozart
Festival.” This country’s 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,
New York State Theater, Gerald W. Lynch
Theater at John Jay College, and most
recently The Allen Room and Rose Theater),
and now includes significant Baroque and
early music presentations featuring some of
the world’s 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 Tokyo’s Bunkamura
Arts Center from 1991–99. Conductors

Mostly Mozart Festival
who made their New York debuts with the
Mostly Mozart Festival Orchestra include
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 André Watts have had
long associations with the Festival. Mezzosoprano
Cecilia Bartoli, flutist James
Galway, soprano Elly Ameling, and pianist
Mitsuko Uchida all made their New York
debuts at the Mostly Mozart Festival.
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,
LCPA’s 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
Schola Cantorum de Venezuela
Alberto Grau, Founder and Director
María Guinand, Artistic Director and Conductor
Ana María Raga, Associate Conductor and Piano
Pablo Morales and Victor González, Assistant Conductors
Zaira Castro, Vocal Coach
Reynaldo Márquez, Assistant
Luimar Arismendi and Javier Silva, Percussion
Andrés Ferrer, Coordinator
Soprano
Diana Cifuentes
Mariana Díaz*
Ruth Rojas*
Samia Ibrahim*
Rima Ibrahim
Sonia Carolina González*
Rosalba Álvarez
Flor Yánez
Ana María Raga
Veronica Sosa*
Yolanda Gómez
Iris Pagano*
Jessica Colmenares
Isabel Hernández
Alto
Wilma Cedeño*
Alexandra Rendòn
Flor Martínez*
Victoria Nieto
Luimar Arismendi
Zenaida Vásquez
Virginia Largo
María Celeste Arnal
Adriana Méndez
Fabiola Alvarado
Magda Albarracín
María Alejandra
Montero
Yulene Velásquez
Tenor
Juan Alberto de Sousa*
José Eduardo Castillo
Rafael Rivas
Reynaldo Justo
Reynaldo Márquez*
Said Barrios*
John Martínez
Jesús Hidalgo*
Daniel González*
Miguel Castro
Pedro Sequera*
Baritone
Paul Sojo*
Andrés Ferrer*
Víctor González*
Héctor Ibarra
José Gilberto Manrique
Ernesto Rodríguez
Jesús Ochoa
Javier Silva*
Bass
Alejandro Figueroa
Mario Lo Russo
Roberto Medina
Pablo Morales*
Edwin Tenias
* soloists
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
Melanie Armer, Associate Producer, Contemporary Programming
Jill Sternheimer, Associate Producer, Public Programming
Andrea Murray, Production Coordinator
Sheya Meierdierks-Lehman, House Program Coordinator
Kimberly DeFilippi, Assistant to the Vice President
Yukiko Shishikura, Programming Associate
Miriam Fogel, House Program Intern; Martha Hartman, Production Intern; Mary Horn, Ticketing Intern;
Mauricio Lomelin, Production Intern
Program Annotators:
Mark Evan Bonds, Sarah Cahill, Kenneth LaFave, Thomas May, Bruno Monsaingeon, Paul Schiavo,
Anastasia Tsioulcas, David Wright

Mostly Mozart
Festival
Pre-concert Recitals and Lectures
All pre-concert events are FREE to ticket-holders of that evening’s performance.
Wednesday, July 29, at 6:45
Pre-concert lecture about Haydn and Mozart
by Elaine Sisman
Stanley H. Kaplan Penthouse
Friday and Saturday, July 31–August 1, at 7:00
Claire-Marie Le Guay, piano
Mozart: Sonata in C minor, K.457
Avery Fisher Hall
Saturday, August 1, at 2:00
Unquiet Traveller film introduction by director
Bruno Monsaingeon. Post-film discussion
with pianist Piotr Anderszewski
Walter Reade Theater
Tuesday and Wednesday, August 4–5, at 7:00
Trio con Brio Copenhagen
Mendelssohn: Piano Trio No. 1 in D minor, Op. 49
Avery Fisher Hall
Friday and Saturday, August 7–8, at 7:00
Manasse/Nakamatsu Duo
Brahms: Sonata for Clarinet and Piano in
F minor, Op. 120, No. 1
Avery Fisher Hall
Tuesday, August 11, at 7:00
Arnaud Sussmann, violin
Michael Brown, piano
Dvorˇák: Sonatina in G major, Op. 100
Avery Fisher Hall
Wednesday, August 12, at 6:45
Pre-concert lecture about Haydn, Mozart, and
Mendelssohn by Glenn Stanley
Stanley H. Kaplan Penthouse
Friday, August 14, at 6:15
Pre-performance discussion about A Flowering
Tree with John Adams, Peter Sellars, and
Ara Guzelimian
Irene Diamond Education Center
Friday and Saturday, August 14–15, at 7:00
Yevgeny Sudbin, piano
Scarlatti: Piano Sonata in F minor, K.466
Scarlatti: Piano Sonata in G major, K.455
Medtner: Fairy Tale in B-flat minor, Op. 20,
No. 1 (“Campanella”)
Rachmaninoff (arr.Sudbin): Spring Waters
Avery Fisher Hall
Saturday, August 15, at 2:00
Opera Jawa film introduction by Peter Sellars
Walter Reade Theater
Sunday, August 16, at 2:00
Robert Levin, fortepiano
Mozart: Sonata in D major, K.576
Alice Tully Hall
Sunday, August 16
A Flowering Tree post-performance discussion
with María Guinand, Peter Sellars, and
Ara Guzelimian
Rose Theater
Monday, August 17, at 6:15
Pre-concert discussion with John Adams,
Michael Collins, and Ara Guzelimian
Stanley H. Kaplan Penthouse
Tuesday, August 18, at 7:00
Alexander Gavrylyuk, piano
Chopin: Polonaise in A major, Op. 40, No. 1
Chopin: Nocturne in D-flat major, Op. 27, No. 2
Liszt: Mephisto Waltz No. 1
Avery Fisher Hall
Wednesday, August 19, at 7:00
Alexander Gavrylyuk, piano
Rachmaninoff: Five Preludes from Op. 23
Bizet/Horowitz: Carmen Variations
Avery Fisher Hall
Thursday, August 20, at 6:15
Mark Morris Dance Group pre-performance
discussion with Mark Morris and
Joan Acocella
Irene Diamond Education Center
Thursday, August 20, at 6:30
Emerson String Quartet
Mendelssohn: Fugue in E-flat major, Op. 81, No. 4
Haydn: String Quartet in C major, Op. 74, No. 1
Alice Tully Hall
Friday, August 21, at 6:45
Pre-concert lecture about Haydn’s Creation by
Peter A. Hoyt
Stanley H. Kaplan Penthouse