Thursday Evening, March 10, 2011, at 7:00

Post-concert discussion in the hall with Louis Lortie and Alan Walker

Franz LisztAnnées de pèlerinage(“Years of Pilgrimage”)

Louis Lortie, Piano

Program continued

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

Steinway Piano

Alice Tully Hall, Starr Theater

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

Support is provided by Rita E. and Gustave M.Hauser, The Florence Gould Foundation, The FanFox and Leslie R. Samuels Foundation, Inc., TheShubert Foundation, Logicworks, Bank of China,U.S.A., Ann and Gordon Getty Foundation, GreatPerformers Circle, Chairman’s Council, and Friendsof Lincoln Center.

Public support is provided by the New York StateCouncil on the Arts.

Corporate support is provided by BNY Mellon.

Endowment support for Symphonic Masters isprovided by the Leon Levy Foundation.

Endowment support is also provided by UBS.

Movado is an Official Sponsor of Lincoln Center,Inc.

United Airlines is the Official Airline of LincolnCenter, Inc.

First Republic Bank is the Official Sponsor of theFashion Lincoln Center Online Experience.

MetLife is the National Sponsor of Lincoln Center,Inc.

Upcoming Tully Scope Events in Alice Tully Hall:

Friday Evening, March 11, 2011, at 7:30Saturday Evening, March 12, 2011, at 7:30Les Arts FlorissantsWilliam Christie, ConductorEmmanuelle de Negri, SopranoHanna Bayodi-Hirt, SopranoVirginie Thomas, SopranoEd Lyon, TenorAlain Buet, BassALL-RAMEAU PROGRAMAnacréonPygmalionPre-concert discussion with William Christie and AraGuzelimian on Saturday, March 12, at 6:15, in theStanley H. Kaplan Penthouse

Sunday Afternoon, March 13, 2011, at 5:00Simon Keenlyside, BaritoneEmanuel Ax, PianoALL-SCHUBERT PROGRAMSelected LiederPiano Sonata in A minor, D.845Pre-concert lecture by Christopher H. Gibbs at 3:45in the Stanley H. Kaplan Penthouse

Monday Evening, March 14, 2011, at 7:30The Route of the New World: From Spain toMexico (New York premiere)Jordi SavallTembembe Ensamble ContinuoMontserrat Figueras, SopranoLa Capella Reial de CatalunyaHespèrion XXIPost-concert discussion with Jordi Savall and AraGuzelimian

For tickets, call (212) 721-6500 or visitTullyScope.org. Call the Lincoln Center Info RequestLine at (212) 875-5766 to learn about programcancellations or request a Tully Scope brochure.

Visit TullyScope.org to view essays, interviews, andother information relating to this festival’s programs.

We would like to remind you that the sound of coughing and rustling paper might distract theperformers 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, not during theperformance. The taking of photographs and the use of recording equipment are not allowed inthe building.

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Franz Liszt: Années de pèlerinage

Première année: Suisse (publ. 1858)Chapelle de Guillaume TellAu lac de WallenstadtPastoraleAu bord d’une sourceOrageVallée d’ObermannEglogueLe mal du paysLes cloches de Genève: Nocturne

Troisième année (publ. 1883)Angélus! Prière aux anges gardiensAux cyprès de la Villa d’Este: Thrénodie IAux cyprès de la Villa d’Este: Thrénodie IILes jeux d’eaux à la Villa d’Este

Thirty-minute Intermission

Troisième année (continued)Sunt lacrymae rerum. En mode hongroisMarche funèbreSursum corda

Deuxième année: Italie (publ. 1858)SposalizioIl penserosoCanzonetta del Salvator RosaSonetto 47 del PetrarcaSonetto 104 del PetrarcaSonetto 123 del PetrarcaAprés une lecture du Dante: Fantasia quasi sonata

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A Tully Scope Mash-up

Welcome to Tully Scope, Lincoln Center’s newest festival, which features a kaleidescopeof musical presentations reflective of New York’s central musical role in the world. Fromour free opening event featuring the International Contemporary Ensemble and your cellphone to the sublime artistry of Emanuel Ax and Schubert, to music legend Jordi Savall’sexploration of the road from Spain to Mexico, to Les Percussions de Strasbourg’s focuson the percussive genius of Gérard Grisey and Iannis Xenakis, to the elegant Rameau ofWilliam Christie and Les Arts Florissants, to Heiner Goebbels’ haunting meditation on thewartime words of Gertrude Stein, Tully Scope offers outstanding performances of won-derful musical works in New York’s best new concert hall and festival destination.

Tully Scope also celebrates New York’s own creative geniuses and performing artistry. Thefestival opens with a special focus on New York composer Morton Feldman, a colorful fig-ure at the center of the city’s artistic ferment of the ’50s and ’60s. The Brooklyn-basedcomposer and performer Tyondai Braxton joins with the city’s own Wordless Music Or-chestra to present his unique fusion of 20th-century musical influences. And New York’sresurgent, eclectic, and innovative newmusic scene is well represented in programs withthe International Contemporary Ensemble, Juilliard’s Axiom, and Brooklyn Rider.

Perhaps there is no better microcosm of and contributor to New York’s identity than ourmusical life. The world’s most talented artists from wildly diverse locales, traditions, andgenres all consider New York their second artistic “home.” These artists’ frequent visitsplay a vital role in our musical ecosystem as they in turn experience the special vitality ofNew York. In addition, our indigenous musical community has no equal in the world: fromUpper West Side classical virtuosos to Brooklyn-based, genre-bending, cutting-edge cre-ators, New York on most nights is an explosion of musical energy and vision. The TullyScope Festival offers a special wide-angle snapshot of this musical universe that makesNew York, well, New York.

And Tully Scope is about you, our community of audience members, the beloved tribe towhich we all belong, known as “New Yorkers.” The Tully Lounges and a glass of freesparkling wine allow you to extend your concert experience and join the artists and yourfellow concertgoers in a relaxed setting. We hope the $20 ticket price for any additionalevent you purchase and the festival’s diverse offerings will encourage you to experienceboth familiar favorites and not-to-be-missed new encounters.

Tully Scope is a musical celebration, an international bazaar, a shared community experi-ence, and a discovery of all that is wonderful about New York’s musical life and thereforeNew York City itself. It is about a very special new musical home at Lincoln Center, whichitself could only be located in this remarkable city—a city that informs all that we do andall that we can be.

Jane MossVice President, Programming

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Notes on the Programby Alan Walker

Années de pèlerinage (publ. 1858, 1883)FRANZ LISZTBorn October 22, 1811, in Doborján, HungaryDied July 31, 1886, in Bayreuth

Approximate length: Three hours and 15minutes, including intermission

Franz Liszt was once asked why he neverwrote his autobiography. “Because I amtoo busy living it,” he replied. A cursoryglance at his life shows that he spoke nomore than the simple truth.

Liszt spanned the Romantic era. As a childhe met Beethoven; as an elderly man hewas introduced to Debussy. Between times,this protean personality was intimately ac-quainted with many of the leading artistic fig-ures of the age. His circle was not confinedsimply to musicians like Wagner, Chopin,Berlioz, and Schumann, although he knewthem well. Among his friends and col-leagues were painters, poets, writers, andsculptors, such as Delacroix, Heine, Lamar-tine, George Sand, and Bartolini. He mixedjust as easily with politicians and could countseveral of the crowned heads of Europeamong his friends.

Liszt’s multifaceted career unfolded in atleast six different directions simultaneously.He was the world’s leading pianist who cre-ated the model for today’s solo recital; hewas a composer who introduced newforms into music, including the symphonicpoem and the single-movement, “cyclical”sonata; he was an orchestral conductor whodeveloped a new repertory of body-signalsat the podium, which still leave a visiblemark on conductors today; he was an in-spiring teacher and the creator of the mas-ter class, from whose ranks more than 400pupils emerged—some of whom became

eminent; he was a writer of books and arti-cles, mostly written in the service of his fel-low musicians; finally, and not least, he wasan organizer and director of ambitious inter-national music festivals that promoted es-pecially the works of his contemporariesBerlioz, Wagner, and Schumann. Suchboundless activity invested Liszt with im-mense authority—an authority that ex-tended well beyond the world of music.What a pity that he never kept a diary.

The years 1839–47 are sometimes calledLiszt’s “years of transcendental execution,”when he embarked on a virtuoso career un-matched in the history of performance. Hisrecitals have never been fully chronicled,but we know that he gave well over 1,000during these fleeting years. He was the firstto play entire programs from memory; thefirst to play the whole keyboard repertory(as it then existed) from Bach to Chopin;the first consistently to place the piano atright angles to the stage, so that its openlid reflected the sound across the audito-rium; the first to tour Europe from the Pyre-nees in the west to the Urals in the east.The very term “recital” was his. He firstused it in London, in 1840, for a concert inthe Hanover Square Rooms, and it hasbeen appropriated by soloists ever since.

Despite his crushing round of concerts,which often involved travel at night, Lisztcontinued to compose. When he firststarted to put the “Pilgrimage” pieces intohis portfolio they bore the somewhat mun-dane title of Album d’un voyageur (“A Trav-eler’s Album”), a clear enough indicationthat he wished to do no more than compilean anthology of musical memories, cap-tured while he was on the move. In thepreface to the Album he writes:

I have latterly traveled through many newcountries, have seen many places, andvisited many a spot hallowed by history

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and poetry…I have tried to give musicalutterance to some of my strongest sen-sations, some of my liveliest impressions.

It was only after he had given up his life ofvagabondage and settled in the small townof Weimar that Liszt had the leisure to goover everything again. As he gazed on hispast, so to speak, he came to realize thatthese musical “snapshots” representedmuch more than a simple travelogue. Theywere actually a pilgrimage along the path oflife. This was the revelatory moment thatinspired him to revise everything and pub-lish these pieces under a new name. The“Years of Pilgrimage” are the diary thatLiszt never wrote.

Every piece in the collection tells of timeand place. Whether Liszt is contemplating apainting by Raphael, reading a Petrarch son-net, listening to the fountains of the Villad’Este, or simply sitting by a mountainstream in Switzerland, he attempts to cap-ture the experience in music. We virtuallyknow where he is and what he is doing.Each one of these soundscapes is worth athousand words of autobiography. His lifewas ever reflected in his music.

The “Swiss” Volume

During the years 1835–37 Liszt lived inSwitzerland with his companion and (even-tually) the mother of his three children,Countess Marie d’Agoult. These pieces arefilled with the sights and sounds of theSwiss countryside, whose natural beauty en-chanted him. Earth and air, rain and stormare all represented here. Distant churchbells, cascading falls, mountain echoes, andeven the cries of Swiss yodelers are amongthe charming repertory of effects that Lisztincorporates into these musical cameos. Aulac deWallenstadt, Pastorale, Au bord d’unesource, and Orage (“Storm”), all fall intothe category of “nature pieces.” The verylast piece—Les cloches de Genève—is

connected to the birth of Liszt’s first daugh-ter, Blandine, in Geneva, on the evening ofDecember 24, 1835.

The “Italian” Volume

After the birth of Blandine, Liszt and Maried’Agoult traveled to Italy, which is wherethe second volume of the Années takes upthe story. Inspired by Italian painting, po-etry, and literature, each piece reminds usof Liszt’s fascination with the culture of acountry that he came to regard as a secondhome. He lived in Italy from 1837 to 1839,again from 1861 to 1869, and from 1869 forthree months out of every year until hisdeath in 1886. His two other children,Cosima and Daniel, were born there. Onceagain his titles reveal the objects of his ad-miration. Sposalizio (“The Wedding”) wasinspired by Raphael’s The Marriage of theVirgin, which depicts the nuptials of Josephand Mary and hangs in the Brera Gallery inMilan. The incentive for Il penseroso (“TheThinker”) came from the famous statue byMichelangelo, which contemplates thetomb of Lorenzo de’ Medici in the SanLorenzo Church in Florence. The otherpieces—the Petrarch Sonnets and the read-ing from Dante—have obvious derivations.The three Petrarch Sonnets were first com-posed as songs in 1838. Liszt later tran-scribed them for piano solo, in which formthey have entered the standard repertoire.

The crowning achievement of the “Italian”volume is the “Dante” Sonata—one ofLiszt’s most formidable keyboard composi-tions and a work of stunning originality. Itoften turns up as an independent piece inthe concert hall. Based on readings fromDante’s Divine Comedy, it attempts to en-compass in music that world of “strangetongues, horrible cries, words of pain, andtones of anger,” which Dante describes inhis Inferno. The descending series of tri-tones with which the work begins (the“Devil in music”) clearly refer to the words

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inscribed on the gates of hell: “Abandonhope, all ye who enter here.”

Volume Three

A profound change of mood overtakes thethird volume of the Années, which has notitle. These pieces are distinctly religious incharacter. In 1865 Liszt received the ton-sure and was now an Abbé in the RomanCatholic Church. As he approached the por-tals of old age, his “pilgrimage of life” be-came a “pilgrimage of the soul.” It is surelyno accident that this final volume beginswith Angélus! Prière aux anges gardiens(“Angelus! Prayer to the guardian angels”).This is a supplication to heaven after thejourney through hell experienced in the finalpiece of the previous volume—the “Dante”Sonata. It is a telling point. These pieces arelinked via a continuous, biographical chain.

In the mid-1870s Liszt suffered the first in aseries of mental depressions that were tohaunt his old age. We know from his corre-spondence that he even contemplated sui-cide, an act of despair from which he finallyshrank because of his strong Catholic faith.For a time he could not compose, and hewas enveloped in a shroud of inexpressiblesadness. “My pen is paralyzed,” he wrote.In the late summer of 1877 he traveled tothe Villa d’Este, near Rome, where he re-sumed his longtime habit of staying as aguest of Cardinal Gustav Hohenlohe. Heused to sit sleepless through the warmsummer nights, contemplating the great cy-press trees and listening to the play of thehundreds of fountains for which the Villa isfamous. The experience brought him closerto nature and helped calm his troubledspirit. Three pieces tell of this particulartime and place: the two Cypress Thrén-odies, and Les jeux d’eaux à la Villad’Este—the undoubted masterpiece of theset. Liszt was spellbound by the play of cas-cading waters. Like many visitors beforeand since, he sat inside Ligori’s Fontana

dell’ Ovato, the so-called Queen of Foun-tains, and contemplated from inside themarble chamber the wall of water rushingover him. The result was a piece of musi-cal impressionism so advanced for its timethat it had no successor until Ravel com-posed his own Jeux d’eau 30 years later.But whereas Ravel, the master impres-sionist, was content to compose a piece of“water music,” Liszt turned his streamingfountains into mystical symbols, associat-ing them with the well-known verse fromthe Gospel according to St. John (4:14),which he quotes in Latin in the score (“Butwhosoever drinketh of the water that I shallgive him, shall never thirst”).

Sunt lacrymae rerum. Enmode hongrois is athrenody of a different kind. It is dedicatedto Hans von Bülow, who was in the throesof despair. Bülow had suffered a completemental collapse after the breakup of his mar-riage to Liszt’s daughter, Cosima (who hadmeanwhile married RichardWagner). WhenLiszt observed the sadness that emanatedfrom Bülow, which tinged nearly everythingthat the younger man did, he eulogized himin this piece. The first part of the title is aquotation from Virgil, and may be translatedas “the sense of tears in mortal things.”

TheMarche funèbrewas composed inmem-ory of the 35-year-oldMaximilian I of Mexico,whowas executed by firing squad on June 19,1867. He was the younger brother of theEmperor Franz Joseph of Austria, and his vi-olent death at the hands of Mexican repub-lican troops sent shock waves through theEuropean establishment. Liszt was no re-publican, and he was repelled by the fate ofthis young man, whom he admired.

It is fitting that Liszt’s long pilgrimageshould end with Sursum corda (“Lift upyour hearts!”), an exhortation taken fromthe opening dialogue of the Roman Catholicliturgy and uttered by the priest. Liszt knewhis Bible, so he probably knew that a more

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fitting translation comes from the originalGreek, and the response of the congrega-tion—“Let us lift up our hearts!” Liszt istelling all of us that he has finished his jour-ney, and he now gives thanks to God for

everything that he was able to experiencealong the way.

—Copyright © 2011 by Alan Walker

The vias of Italy turn to memory with each turnand clack of the train’s wheels, with every stitchof track we leave behind, the duomos return againto my imagination, already imagining Paris—a fantasy of lights and marble that may endwhen the train stops at Gare de l’Est and I stepinto the daylight. In this space between cities,between the dreamed and the dreaming, there isno map—no legend, no ancient street namesor arrows to follow, no red dot assuring me:you are here—and no place else. If I don’t knowwhere I am, then I am only these heartbeats,my breaths, the mountains rising and fallinglike a wave scrolling across the train’s window.I am alone with the moon on its path, staringlike a blank page, shear and white as the snowon the peaks echoing back its light. I am thissolitude, never more beautiful, the arc of spaceI travel through for a few hours, touchingnothing and keeping nothing, with nothingto deny the night, the dark pines pointingto the stars, this life, always moving and still.

Words and Music

Somewhere to Parisby Richard Blanco

The sole cause of a man's unhappinessis that he does not know how to stay quietly in his room.—Pascal, Pensées

——Copyright © 2005 by Richard Blanco. Excerpted from Directions to the Beachof the Dead, published by University of Arizona Press. By permission of StuartBernstein Representation for Artists, New York. All rights reserved.

For poetry comments and suggestions, please writeto programming@LincolnCenter.org

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French-Canadian pianist Louis Lortie hasbeen praised for the fresh perspective andindividuality he brings to a deliberatelybroad spectrum of the keyboard canon. Hestudied in Montréal with Yvonne Hubert (apupil of French pianist Alfred Cortot), in Vi-enna with the Beethoven specialist DieterWeber, and subsequently with Schnabeldisciple Leon Fleisher, among others.

Mr. Lortie has performed the completeworks of Ravel in London and Montréal forthe BBC and CBC, and is known for his in-terpretation of Chopin. Also celebrated forhis interpretation of Beethoven, Mr. Lortiehas performed the complete Beethovensonatas in London’s Wigmore Hall,Toronto’s Ford Center, the Berlin Philhar-monie, and the Sala Grande del Conserva-torio Giuseppe Verdi in Milan. Conductingfrom the piano, he has performed all fiveBeethoven concertos and all of the Mozartconcertos with the Montréal Symphony.He opened the Bonn Beethoven Festivalplaying Beethoven’s Concerto No. 4with KurtMasur, and has since established a particularlyfruitful partnership with Mr. Masur. They per-formed together with the New York Philhar-monic, Cleveland Orchestra, LondonPhilharmonic Orchestra at Royal Festival Halland in Paris, at Vienna’sMusikverein, andwiththe Orchestre National de France, ChicagoSymphony Orchestra, Leipzig GewandhausOrchestra, Dresden Staatskapelle, and theSanta Cecilia Orchestra in Rome.

Last season Mr. Lortie toured with RiccardoChailly and the Leipzig Gewandhaus Orches-tra in Leipzig, Los Angeles, San Francisco,

Boston, and Newark, and performed atCarnegie Hall. Current engagements in-clude the Chicago Symphony Orchestra,Philadelphia Orchestra, National SymphonyOrchestra, Bournemouth Symphony Or-chestra, Orchestra Sinfonica Nazionale dellaRai, National Symphony Orchestra of Tai-wan, and Toronto Symphony Orchestra,and he will perform as pianist and conduc-tor with the Sydney Symphony, VancouverSymphony Orchestra, and Orchestre sym-phonique de Québec. He performs recitalsat the Vienna Konzerthaus, Amsterdam’sConcertgebouw, the Hong Kong CulturalCenter, the Bayreuth Festival, and in SanFrancisco.

This year Mr. Lortie celebrates the 200thanniversary of Liszt’s birth by performingthe complete Années de pèlerinage at theLiszt Weimar Festival and at London’sQueen Elizabeth Hall; in Portland, La Jolla,Los Angeles, Toronto, Ottawa, and Wash-ington D.C.; at the Savannah Festival; andopening the 2011–12 Cliburn Concerts se-ries, in addition to this evening’s perform-ance. His Chandos recording of thecomplete Années was released this month.

Mr. Lortie has performed under the baton ofRiccardo Chailly, Lorin Maazel, Kurt Masur,Seiji Ozawa, Charles Dutoit, Kurt Sanderling,Neeme Järvi, Andrew Davis, WolfgangSawallisch, Mark Elder, and Osmo Vänskä,among others. He has also been involved inmany chamber music projects, with suchmusicians as Frank Peter Zimmermann,Leonidas Kavakos, Renaud and Gautier Ca-puçon, Jan Vogler, Augustin Dumay, theTakács Quartet, and Gidon Kremer. His reg-ular piano-duo partner is fellow CanadianHélène Mercier, with whom he has madesuccessful recordings on the Chandos label.

Mr. Lortie has made more than 30 record-ings for Chandos, ranging from Mozart toStravinsky. His Chandos set of the complete

Meet the Artist

Louis LortieELIA

S

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Beethoven sonatas was editor’s choice inthe January 2011 issue of Gramophone. Hislatest Chopin recording was released inMay 2010 to high praise, and his Chopindisc of nocturnes and ballades will bereleased in this year. His recording ofBeethoven’s Eroica Variations won the Edi-son Award, and his disc of Schumann’sBunte Blätter and other works by Schu-mann and Brahms was named one of thebest CDs of the year by BBC Music maga-zine. He has also recorded Ravel’s completeworks for piano. His recording of the com-plete Chopin Études, Opp. 10 and 25, hasbeen cited by BBC Music magazine’s spe-cial Piano Issue as one of 50 Recordings bySuperlative Pianists. One of his most recentCD releases is the final recording in histhree-CD series of Liszt’s complete worksfor piano and orchestra with the ResidentieOrchestra of The Hague. It was immediatelynamed editor’s choice by Gramophonemag-azine. In addition to these Liszt recordings,other recent releases include To the DistantBeloved, with works by Beethoven, Schu-mann, and Liszt, and Franck’s SymphonicVariations with the BBC Symphony.

Born in Montréal, Mr. Lortie made his debutwith the Montréal Symphony at age 13 and,three years later, with the Toronto Sym-phony Orchestra, which engaged him for anhistoric tour of the People’s Republic ofChina and Japan. In 1984 he won first prizein the Busoni Competition and was aprizewinner at the Leeds Competition. In1992 he was named Officer of the Order ofCanada, and received both the Order ofQuébec and an honorary doctorate fromLaval University. As his schedule permits,he teaches at Italy’s renowned piano insti-tute at Imola. Mr. Lortie has lived in Berlinsince 1997 and also has homes in Canadaand Italy.

Alan WalkerAlan Walker is professor emeritus of musicat McMaster University, Canada. Before set-tling in North America he was on the staff ofthe music division of the British Broadcast-ing Corporation in London. He has broadcastfor the BBC, for the CBC, and for CJRT-FM(Toronto), and gives regular public lectureson the music of the Romantic era, a periodin which he specializes. His 13 publishedbooks include A Study in Musical Analysis,An Anatomy of Musical Criticism, and sym-posia on Chopin, Schumann, and Liszt.

Mr. Walker wrote a three-volume, prizewin-ning biography of Franz Liszt, published byAlfred A. Knopf and Faber & Faber, a projectwhich took him 25 years to complete, andfor which the president of Hungarybestowed on him the medal Pro CulturaHungarica. The biography also received theRoyal Philharmonic Society Prize, presentedby HRH The Duke of Kent in London. Threeother books followed; the first is called TheDeath of Franz Liszt (Cornell UniversityPress), which describes the last ten days ofthe composer’s life in Bayreuth. Based oneyewitness accounts and the unpublisheddiary of a pupil, it tells a harrowing story ofLiszt’s final illness, medical malpractice, fam-ily neglect, and a callous disregard of Liszt’sfinal wishes. The second, Reflections onLiszt (Cornell University Press), is a sequel tothe three-volume biography and coversLiszt’s myriad connections with Beethoven,Schubert, and Schumann; his work as ateacher and editor of the music of others;and his published writings. Mr. Walker’smost recent book, Hans von Bülow: A Lifeand Times, was published by Oxford Univer-sity Press in 2009.

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Lincoln Center’s Tully ScopeFestivalTully Scope features a virtuosic kaleido-scope of music spanning centuries, genres,and cultures, all taking place in New York’sbest new concert hall and festival destina-tion. Finding its inspiration in New York’sunique musical landscape, the festival’scharacteristically eclectic programming iscombined with inexpensive tickets, TullyLounges, and the special ambience of AliceTully Hall and its public spaces.

Lincoln Center for thePerforming Arts, Inc.

Lincoln Center for the Performing Arts (LCPA)serves three primary roles: presenter of artis-tic programming, national leader in arts and

education and community relations, andman-ager of the Lincoln Center campus. As a pre-senter of more than 400 events annually,LCPA’s series include American Songbook,Great Performers, Lincoln Center Festival,Lincoln Center Out of Doors, MidsummerNight Swing, and theMostlyMozart Festival.The Emmy Award–winning Live From Lin-coln Center extends Lincoln Center’s reachto millions of Americans nationwide. As aleader in arts and education and communityrelations, LCPA takes a wide range of activi-ties beyond its halls through the Lincoln Cen-ter Institute, as well as offering arts-relatedsymposia, family programming, and acces-sibility. And as manager of the Lincoln Cen-ter campus, LCPA provides support andservices for the Lincoln Center complex andits 11 other resident organizations.

Lincoln Center Programming DepartmentJane Moss, Vice President, ProgrammingHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingKate Monaghan, Associate Director, ProgrammingCharles Cermele, Producer, Contemporary ProgrammingJill Sternheimer, Associate Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingYukiko Shishikura, Production CoordinatorAnn Crews Melton, House Program CoordinatorRegina Grande, Assistant to the Vice PresidentJulia Lin, Programming Associate

For the Tully Scope FestivalMatt Frey, Festival Lighting Design

Mr. Lortie’s representation:Seldy Cramer Artists3436 Springhill RoadLafayette, California 94549