1. art and entertainment
2. shows and events
3. classical concert

2014/15 GREAT PERFORMERS
The Program
Sponsored by BNY Mellon
Monday Evening, March 30, 2015, at 7:30
Virtuoso Recitals
Lisa Batiashvili, Violin
Paul Lewis, Piano
SCHUBERT Sonata in A major for violin and piano (1817)
Allegro moderato
Scherzo: Presto
Andantino
Allegro vivace
SCHUBERT Rondo in B minor for violin and piano
(“Rondo brillant”) (1826)
Intermission
BACH (arr. BUSONI) Nun komm, der Heiden Heiland, for piano
TELEMANN Fantaisie No. 4 in D major for violin (1735)
BEETHOVEN Sonata No. 10 in G major for violin and piano (1812)
Allegro moderato
Adagio espressivo—
Scherzo: Allegro
Poco allegretto
Presented in association with the New York Philharmonic
Lisa Batiashvili is the New York Philharmonic’s 2014/15 Mary and James G. Wallach
Artist-in-Residence.
Please make certain all your electronic devices are switched off.
BNY Mellon is a Proud Supporter of Great Performers.
This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.
Steinway Piano
Alice Tully Hall, Starr Theater
Adrienne Arsht Stage
Great Performers
BNY Mellon is a Proud Supporter of Great Performers.
Support is provided by Rita E. and Gustave M. Hauser, The Florence Gould Foundation,
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.
Endowment support for Symphonic Masters is provided by the Leon Levy Fund.
Endowment support is also provided by UBS.
MetLife is the National Sponsor of Lincoln Center.
Movado is a Supporter of Lincoln Center.
United Airlines is a Supporter of Lincoln Center.
WABC-TV is a Supporter of Lincoln Center.
William Hill Estate Winery is a Supporter of Lincoln Center.
Lisa Batiashvili and Paul Lewis will be available to sign CDs in the lobby after the performance.
UPCOMING VIRTUOSO RECITAL IN ALICE TULLY HALL:
Thursday Evening, May 7, 2015, at 7:30
Emanuel Ax, Piano
BIZET: Variations chromatiques
RAMEAU: Pièces de clavecin
DEBUSSY: Estampes; Hommage à Rameau, from Images, Series 1; L’isle joyeuse
CHOPIN: Four Scherzos
For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about program cancellations or to request a Great
Performers brochure.
Visit LCGreatPerformers.org for more information relating to this season’s programs and the
2015–16 Virtuoso Recitals series.
Join the conversation: #LCGreatPerfs
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. The taking
of photographs and the use of recording equipment are not allowed in the building.
Snapshot
Great Performers
By David Wright
Timeframe
At age 20, Schubert composed the Sonata in
A major for violin and piano, whose harmonic
adventures and bold writing for both instruments reflected his recent study of Mozart
and Beethoven’s music, and his own ambitious piano sonatas of that time. The much
later “Rondo brillant” is bolder still, with a
main movement that greatly expands the traditional rondo form.
ARTS
Bach’s chorale preludes for organ, which
weave a hymn tune through a contrapuntal
accompaniment, are among the greatest of
all keyboard compositions. The pianist and
composer Ferruccio Busoni transcribed a
number of them for piano, including an enduringly popular one based on the hymn “Nun
komm’ der Heiden Heiland” (Now Comes the
Gentiles’ Savior).
1735
Telemann’s Fantaisie No. 4
William Hogarth’s engraved
series A Rake’s Progress.
1812
Beethoven’s Sonata No. 10
in G major
Jacques-Louis David’s painting
Napoleon in His Study.
1817
Schubert’s Sonata in
A major
Publication of John Keats’s
first collection of poems.
1826
Schubert’s “Rondo brillant”
James Fenimore Cooper’s
The Last of the Mohicans.
SCIENCE
Bach’s friend Georg Philipp Telemann composed, among many other things, literally
hundreds of pieces for amateur players,
including the Fantaisie in D major for unaccompanied violin, whose three brief movements have the character of a mini-concerto
with an imaginary orchestra.
1735
In 1812 Beethoven completed his brilliant
Seventh and Eighth Symphonies, then fell
into a period of depression, from which he
emerged at the very end of that year with a
very different kind of piece: the Violin Sonata
in G major. The “kinder, gentler” Beethoven
of this sonata points forward with hints of the
visionary freedom of his works to come.
1826
Discovery of cobalt.
1812
Founding of the New England
Journal of Medicine.
1817
Discovery of lithium.
Founding of the Zoological
Society of London.
IN NEW YORK
1735
Libel trial of John Peter
Zenger.
1812
—Copyright © 2015 by David Wright
British warships in New York
harbor.
1817
Formation of the New York
Stock and Exchange Board.
1826
Opening of the Bowery
Theater.
Notes on the Program
Great Performers I Notes on the Program
By David Wright
Sonata in A major for violin and piano, D.574 (1817)
FRANZ SCHUBERT
Born January 31, 1797, in Vienna
Died November 19, 1828, in Vienna
Approximate length: 23 minutes
Mozart and Beethoven were on Schubert’s mind in 1816. His diary for that
year contains many references to them, and when the 19-year-old composer wrote a cantata (his first commissioned work) that June, the subject
he chose was Prometheus, Beethoven’s archetype of the artist who transforms himself through striving for new power and inspiration.
The “sonata for piano with violin accompaniment”—as such works were
then known—had been elevated by Mozart and Beethoven to a duo, or
sometimes duel, of equals. The Sonata in A major, composed in August
1817, benefited from the enterprising piano sonatas Schubert had composed just before it during a productive summer holiday. (The publisher
Diabelli, concerned that the weighty title “Sonata” might depress sales,
issued this work after Schubert’s death as a “Duo.”) Its themes are
Schubertian in their lyricism and sly sense of fun, and the composer
makes ingenious and economical use of them. And even though the
movements are concise, with none of the “heavenly length” that
Schumann admired in Schubert’s later works, they find room for many harmonic adventures.
Rondo in B minor for violin and piano, D.895 (“Rondo brillant”) (1826)
FRANZ SCHUBERT
Approximate length: 15 minutes
In 1826 Schubert was approached by the Czech violinist Josef Slavík to
write some audience-drawing new music for his Vienna concerts. The
result of their association was two valuable works for violin and piano: the
Rondo in B minor, D.895, composed in October 1826, and the Fantasy in
C major, D.934, composed in December 1827. The Fantasy was an avantgarde piece by contemporary standards, but the Rondo was an outstanding work in a popular genre, and the publishing firm Artaria & Co. was only
too happy to rush it into print—adding the adjective “brilliant” to the title—
soon after Slavik and the pianist Carl Maria von Bocklet gave the work’s
premiere in early 1827.
The Rondo opens with a broad, exploratory introduction, leading from an
assertive statement in a kind of archaic, Baroque dotted rhythm to a lyrical
Great Performers I Notes on the Program
interpretation of the same idea. The transition to the main rondo theme
comes on an unusual upbeat figure that leaps into a dissonant chord, i.e.,
from the tonic note B to an ambiguous C sharp—a distinctive gesture characteristic of Schubert’s most daring late works. That upward gesture is
woven through the complex theme-group that follows, in which Schubert
never misses an opportunity to give it a different melodic context, harmonic
color, or emotional weight. It also signals the return of the rondo theme after
each contrasting episode. The second episode, in G major, grows into the
equivalent of a sonata-style development section and recapitulation, stretching the old rondo form until it virtually becomes one of those innovative
pieces Schubert called “fantasies.”
Nun komm, der Heiden Heiland, BWV 659, arranged for piano
JOHANN SEBASTIAN BACH
Born March 21, 1685, in Eisenach, Germany
Died July 28, 1750, in Leipzig, Germany
FERRUCCIO BUSONI
Born April 1, 1866, in Empoli, Italy
Died July 27, 1924, in Berlin
Approximate length: 5 minutes
Busoni’s tireless issuing of Bach editions and arrangements constituted a sort
of “recording project” of the pre-recording era, a conversion of works composed for orchestra, chorus, organ, and so on into a form playable in people’s
living rooms. In 1909, Busoni published his piano arrangements of ten chorale
preludes for organ.
In Bach’s time, chorale-preludes were composed to precede the congregation’s singing of a Lutheran chorale, or hymn, and offered the organistcomposer an opportunity to incorporate the chorale melody into a composition
that created a musical gloss on the text about to be sung. Busoni here adds
no glosses of his own to Bach’s “text,” but simply renders its organ registration as faithfully as possible using the piano’s tonal resources. Since organists
play with feet as well as hands, and have dozens of ranks of pipes to choose
from, it took some ingenuity to squeeze this music onto a single keyboard.
In this piece, whose title translates as “Now Comes the Gentiles’ Savior,”
Busoni was helped by a lack of long notes, which can last indefinitely on an
organ but die away quickly on a piano. Instead, a steady tread of bass octaves
providers a calm background for a meditation in the inner voices. Even the
chorale, whose phrases enter now and then in bold relief, is floridly ornamented rather than appearing in long, unadorned notes.
Great Performers I Notes on the Program
Fantaisie No. 4 in D major for violin, TWV 40:17 (1735)
GEORG PHILIPP TELEMANN
Born March 14, 1681, in Magdeburg, Germany
Died June 25, 1767, in Hamburg, Germany
Approximate length: 5 minutes
Telemann—esteemed colleague of J.S. Bach, godfather and namesake of
Bach’s son Carl Philipp Emanuel—had a sharper eye for the music market than
his friend did. He taught himself copper engraving so as to eliminate the middleman and publish his works himself, while composing hundreds of pieces
tailored to the (sometimes considerable) abilities of the amateur musicians of
his day.
Telemann’s brief, charming Fantaisie No. 4 in D major is in three concise sections, fast–slow–fast, like a Vivaldi violin concerto. The first part is also concerto-like in its abundance of attractive tunes and the quasi-orchestral sound
of double and triple stops. The fervent slow section gives way to a merrily
dancing finale in gigue rhythm.
Sonata No. 10 in G major for violin and piano, Op. 96 (1812)
LUDWIG VAN BEETHOVEN
Born December 16, 1770, in Bonn, Germany
Died March 26, 1827, in Vienna
Approximate length: 27 minutes
Any year that saw the completion of two symphonies (Nos. 7 and 8 in
Beethoven’s case) can hardly be called unproductive. Later in 1812, however,
Beethoven’s creativity slackened. A period of depression and silence—
brought on by deafness, ill health, and family worries—lay ahead. But in the
Archduke Rudolf of Austria, nephew of the emperor, Beethoven had a pupil
and patron who could still spur him to exceptional efforts. Rudolf’s ability as a
pianist can be inferred from the splendid music Beethoven wrote for (and dedicated to) him, not only the Op. 96 Sonata for violin and piano, but the brilliant
“Archduke” Trio, Op. 97. Beethoven completed Op. 96 in time for Rudolf to
perform it with Pierre Rode, a noted Russian violinist then visiting Vienna, on
December 29, 1812. “I had, in writing it, to consider the playing of Rode,” the
composer wrote the Archduke. “In our finales we like rushing and resounding
passages, but this does not please R and—this hindered me somewhat…”
Can the gentle, tentative character of this sonata, the absence of the “rushing
and resounding” Beethoven of the middle period, be accounted for simply by
the hindrance of writing for a stodgy violinist? If so, we must then credit Rode
with giving Beethoven the idea for many of the greatest of his later compositions. More likely, we are hearing in this work the inevitable next step for a
Great Performers I Notes on the Program
composer who had perfected the art of “rushing and resounding”: a turning
inward to seek new visions of what music might be. Writing in G major—the
warm, lyrical key of the Piano Sonata Op. 14, No. 2, and the Fourth Piano
Concerto—Beethoven contradicts the architectural idea of sonata form with
the piece’s very first notes, a delicate trill-motive that is anything but imposing. Even this movement’s second theme, a march in dotted rhythm, is more
jaunty than resounding, and the exposition closes with a tune that leans
poignantly on the flatted sixth note of the scale. In this loosened, probing
sonata form, precursor of the late piano sonatas and quartets, development
of the themes continues beyond the nominal development section and
through the recapitulation, and the coda muses at length on the trill-motive.
New ideas about form helped to shape Beethoven’s late works; here he links
the brief Adagio espressivo and Scherzo without a break, creating a novel
sort of compound movement, and a hybrid of three-movement and fourmovement form for the entire sonata.
The theme of the finale is a charmer, and may actually have been borrowed
from a Singspiel, the popular musical entertainment of the time. It was like
the older Beethoven to touch the earth and the stars in a single work, and to
go as far as he could with the simplest of musical materials, as he did with
Diabelli’s little waltz in the awe-inspiring Diabelli Variations, Op. 120. Variation
form—open-ended, full of possibilities—preoccupied him in his later years,
and this finale, though not marked as such in the score, is in fact a theme
and variations.
David Wright, a music critic for Boston Classical Review, has provided
program notes for Lincoln Center’s Great Performers series since 1982.
—Copyright © 2015 by David Wright
SAMMY HART_DG
Meet the Artists
Great Performers I Meet the Artists
Lisa Batiashvili
Lisa Batiashvili is the 2014–15 Mary and James G. Wallach Artist-inResidence of the New York Philharmonic. Praised by audiences and fellow
musicians for her virtuosity and sensitivity, the Georgian violinist also
works frequently with the Berliner Philharmoniker, Dresden and Berlin
State Operas, Bavarian Radio Symphony Orchestra, Royal Concertgebouw
Orchestra, Chamber Orchestra of Europe, and other major orchestras
worldwide. This season she is also artist-in-residence with the NDR
Symphony Orchestra.
Ms. Batiashvili’s 2014–15 highlights include performances with Filarmonica
della Scala and Berlin State Opera (both under Daniel Barenboim), and
Orchestra dell’Accademia Nazionale di Santa Cecilia (Antonio Pappano).
She also undertakes a European tour with the Philadelphia Orchestra
(Yannick Nézet-Séguin) and appears at the Rotterdam Philharmonic’s
Gergiev Festival. In December, Ms. Batiashvili and her husband, François
Leleux, gave the world premiere of Thierry Escaich’s Concerto for violin and
oboe with the NDR Symphony Orchestra, and in April they will perform the
U.S. premiere with the New York Philharmonic, both times under Alan
Gilbert. They al so appeared together at the Salzburg Festival and in the televised Prinsengracht Concert in Amsterdam.
Ms. Batiashvili records exclusively for Deutsche Grammophon, and her
most recent release is an album dedicated to works by J.S. and C.P.E.
Bach, featuring Leleux, Emmanuel Pahud, and the Bavarian Radio
Chamber Orchestra, among others. Earlier recordings include Brahms’s
Violin Concerto with the Dresden State Opera and Christian Thielemann
and Shostakovich’s Violin Concerto with the Bavarian Radio Symphony
Orchestra and Esa-Pekka Salonen.
A student of Ana Chumachenco and Mark Lubotsky, Ms. Batiashvili gained
international recognition at age 16 as the youngest ever competitor in the
Great Performers I Meet the Artists
International Jean Sibelius Violin Competition. She has been awarded two ECHO
Klassik Awards, the MIDEM Classical Award, the Choc de l’année, and the
Schleswig-Holstein Musik Festival’s Leonard Bernstein Award, among others.
Ms. Batiashvili lives in Munich and plays a Joseph Guarneri “del Gesu” violin
from 1739, generously loaned by a private collector in Germany.
JOSEP MOLINA
Paul Lewis
Paul Lewis is internationally regarded
as one of the leading musicians of his
generation. His numerous awards
include the Royal Philharmonic
Society’s Instrumentalist of the Year,
two Edison and three Gramophone
Awards, the Diapason d’Or de l’Année,
the Accademia Musicale Chigiana
International Prize, and the German
Record Critics’ and South Bank Show
Classical Music Awards. In 2009 he
was awarded an honorary doctorate
by the University of Southampton.
Mr. Lewis performs regularly as soloist with the world’s great orchestras,
including the Boston, Chicago, London, Bavarian Radio, and NHK symphony
orchestras, New York and Los Angeles Philharmonics, the Royal
Concertgebouw and Zurich Tonhalle Orchestras, Gewandhaus Orchestra of
Leipzig, and Mahler Chamber Orchestra. He has collaborated with such conductors as Colin Davis, Bernard Haitink, Pablo Heras-Casado, Paavo Järvi, and
Andris Nelsons, among others. Mr. Lewis is also a frequent guest at festivals
around the world, including Mostly Mozart, Tanglewood, and Schubertiade,
and those in Salzburg, Edinburgh, and Rheingau, Germany. In 2010 he became
the first pianist to perform a complete Beethoven piano concerto cycle in one
season at the BBC Proms.
Mr. Lewis’s award-winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas and concertos, and the Diabelli Variations,
Liszt’s B-minor Sonata and other late works, and all of Schubert’s major piano
works from the last six years of his life. Future recording plans include the
Brahms D-minor Piano Concerto with the Swedish Radio Symphony Orchestra
and Daniel Harding, and solo works by Musorgsky and Schumann.
Mr. Lewis studied with Joan Havill at the Guildhall School of Music and
Drama in London before studying privately with Alfred Brendel. Along with
his wife, the Norwegian cellist Bjørg Lewis, he is artistic director of
Great Performers I Meet the Artists
Midsummer’s Music Festival, an annual chamber music festival held in
Buckinghamshire, England.
Lincoln Center’s Great Performers
Initiated in 1965, Lincoln Center’s Great Performers series offers classical and
contemporary music performances from the world’s outstanding symphony
orchestras, vocalists, chamber ensembles, and recitalists. One of the most
significant music presentation series in the world, Great Performers runs from
October through June with offerings in Lincoln Center’s Avery Fisher Hall,
Alice Tully Hall, Walter Reade Theater, and other performance spaces around
New York City. From symphonic masterworks, lieder recitals, and Sunday
morning coffee concerts to films and groundbreaking productions specially
commissioned by Lincoln Center, Great Performers offers a rich spectrum of
programming throughout the season.
Lincoln Center for the Performing Arts, Inc.
Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of
more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 programs, series, and festivals including American Songbook, Great Performers, Lincoln Center Festival, Lincoln
Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival,
and the White Light Festival, as well as the Emmy Award–winning Live From
Lincoln Center, which airs nationally on PBS. As manager of the Lincoln
Center campus, LCPA provides support and services for the Lincoln Center
complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion
campus renovation, completed in October 2012.
Great Performers
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Acting Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Claudia Norman, Producer, Public Programming
Mauricio Lomelin, Associate Producer, Contemporary Programming
Julia Lin, Associate Producer
Nicole Cotton, Production Coordinator
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Programming Publications Editor
Olivia Fortunato, House Seat Coordinator
Ms. Batiashvili’s representation:
Harrison Parrott
www.harrisonparrott.com
Mr. Lewis’s representation:
Ingpen & Williams
www.ingpen.co.uk
presents
String Theory
Jazz Guitarist John Pizzarelli pens a musical memoir.
When renowned guitarist/singer John Pizzarelli
performed in Lincoln Center’s American Songbook
series in 2007, The New York Times enthused that
the joy he transmits “seems to come as naturally
as breathing.”
Now Pizzarelli has penned World on a String:
A Musical Memoir, a fascinating account of a life
populated by great musicians and filled with
behind-the-scenes revelations as he progresses
from early efforts at fledgling “pass the hat” performances to concerts and recording sessions
with the likes of Frank Sinatra and Paul
McCartney. Along the way, we meet Doc
Severinsen, Rosemary Clooney, Benny Goodman,
Skitch Henderson, James Taylor and a host of
other musical celebrities eager to share their
experience and knowledge, foremost among
them, his first teacher, his father the legendary
jazz guitarist Bucky Pizzarelli. Written with
Joseph Cosgriff (a longtime friend), World on a
String is the latest release on the joint John Wiley & Sons/Lincoln Center for the
Performing Arts imprint. Previous titles have included Rob Kapilow’s What Makes It
Great?, Art at Lincoln Center: The Public Art and List Prints and Poster Collections, and
celebrated operatic bass Hao Jiang Tian’s memoir Along the Roaring River: My Journey
from Mao to the Met.
Advance praise for World on a String has come from many in the music and
entertainment fields.
Regis Philbin commented, “John Pizzarelli is one of the most entertaining performers you’ll ever see on a stage. He’s perfection: a musician, a singer, a comedian. And
now with World on a String, it turns out that John’s a perfect author too.” Stephen
Holden, music critic of The New York Times said, “John Pizzarelli has the gift of gab in
more ways than one. A great storyteller, he can spin the tiniest anecdote about the
musician’s life into a sidesplitting absurdist yarn.”
This exuberant, engaging memoir is written for lovers of jazz, lovers of the American
Songbook, and anyone who responds to a warm, well-written biography by an artist at
the top of his game. Read the book and you may agree with radio host Jonathan
Schwartz, “I’d rather spend time with this guy Pizzarelli than with almost anyone else.”
World on a String: A Musical Memoir by John Pizzarelli & Joseph Cosgriff
(Wiley, November 2012, Hardcover: 304 pages, ISBN-13: 978-1118062975, $26.95;
e-book: ISBN-10: 1118062973) is available for purchase at www.wiley.com.
It is also available at Amazon.com, BN.com, Books-A-Million, Indie Bound and Apple iBooks.
Learn More, Take the Tour
B R I A N S TA N T O N
LINCOLN CENTER, THE WORLD’S
LEADING PERFORMING ARTS
CENTER, is a premiere New York
destination for visitors from around
the globe. Did you know that tours of
its iconic campus have made the Top
Ten Tour list of NYC&CO, the official
guide to New York City, for two
year’s running? All tour options offer
an inside look at what happens on
and off its stages, led by guides with
an encyclopedic knowledge of
Visitors get a concert preview at rehearsal
Lincoln Center, great anecdotes, and
a passion for the arts. The daily one-hour Spotlight Tour covers the Center’s history along
with current activities, and visits at least three of its famous theaters. Visitors can now also
explore broadcast operations inside the Tisch WNET-TV satellite studio on Broadway, and
see Lincoln Center’s newest venue, the Elinor Bunin Munroe Film Center, home to the
largest Plasma screen in the nation on public display.
Want more? A number of specialty tours are available:
RADIO CITY MUSIC HALL & LINCOLN CENTER COMBO TOUR Experience two of
New York City’s “must-see” attractions with one ticket. This package combines the Music
Hall’s Stage Door tour of its Art Deco interior—which might include meeting a world-famous
Radio City Rockette—with Lincoln Center’s Spotlight Tour, where a sneak peak at a rehearsal
happens whenever possible.
ART & ARCHITECTURE TOUR Lincoln Center’s 16-acre campus has one of New York
City’s greatest modern art collections, with paintings and sculpture by such internationally
acclaimed artists as Marc Chagall, Henry Moore, and Jasper Johns. The tour not only
examines these fine art masterworks, it also explores the buildings and public spaces of
visionary architects like Philip Johnson, as well as the innovative concepts of architects
Diller Scofidio+ Renfro with FXFOWLE, Beyer Blinder Belle, and Tod Williams Bille Tsien,
designers of the campus’ $1.2 billion renovation.
Inside the David H. Koch
For more information, click on LincolnCenter.org/Tours.To book a
tour, call (212) 875.5350, email [email protected], or
visit the Tour and Information Desk in the David Rubenstein
Atrium at Lincoln Center, located on Broadway between 62nd and
63rd Streets. –Joy Chutz
Theater
B R I A N S TA N T O N
EVEN MORE TOUR OPTIONS Lincoln Center offers Foreign
Language Tours in five languages: French, German, Italian,
Japanese, and Spanish, in addition to American Sign
Language tours. Visitors with a special interest in jazz can take
the Jazz at Lincoln Center Tour of the organization’s gorgeous
venues at the Times Warner Center, the only facilities created
specifically for the performance of jazz music. And Group Tours
of more than 15 people get a discount.
Young Patrons
of Lincoln Center
WHO SAYS THE NIGHTLIFE FOR YOUNG PROFESSIONALS IS DOWNTOWN?
Young Patrons of Lincoln Center (YPLC) is a dynamic network of urban professionals in
their 20s to early 40s making a splash way above 14th Street. With an annual contribution of $250, YPLC members enjoy year-round opportunities to experience the finest
performing arts up-close-and-personal.
The core of YPLC’s programming is the popular 101 Series, which brings members
together for bi-monthly cocktail parties with live performances where they meet likeminded arts enthusiasts and interact with the artists. Recent 101 events have included
Ballet 101: The Nutcracker with dancers from the New York City Ballet; Mixology 101 at
Lincoln Ristorante; and Lincoln Center 101 with Harvard Business School professor Allen
Grossman.
Beyond events produced especially for YPLC, members also receive email updates
and invitations to Lincoln Center’s broader programming, including reserved seating at
American Songbook, Great Performers, and Lincoln Center Festival. In July 2011, eighty
young professionals went to see As You Like It performed by the Royal Shakespeare
Company at the Park Avenue Armory, and were joined by the cast at an exclusive champagne after-party at the Nespresso Boutique on Madison
Members Walter Hack and
Avenue.
Katherine Carey smile for
To support this flourish of activity, YPLC hosts an
the camera at a YPLC mixer
annual black tie gala. The event attracts more than 600
young philanthropists who raise a glass to celebrate and
support the spectacular redevelopment of Lincoln
Center’s campus with hors d’oeuvres, open bar, and
dancing into the night.
And it doesn’t stop there. By flashing their purple
membership card, YPLC members receive discounts at
restaurants and retailers in the Lincoln Center neighborhood. For those who are volunteer-oriented, YPLC offers
an opportunity to participate on committees focused on
outreach, education, and fundraising. Funds raised
through YPLC events, along with annual membership
contributions, support projects that bring new audiences
to Lincoln Center. With four hundred members and counting, YPLC is committed to celebrating and supporting the world’s leading performing arts center, and has a lot of fun in
the process.
For more information on YPLC membership and events, visit www.lincolncenter.org/yplc,
email [email protected] or call 212.875.5236.
YPLC is sponsored by Nespresso.
presents
DONNA BRENNAN
Arts Access
LINCOLN CENTER’S Department of Programs and Services for People with Disabilities
(PSPD) was created in 1985 to ensure that everyone can enjoy the thousands of events
offered each year at the world’s leading performing arts center. Under the stewardship of
director Bobbi Wailes, PSPD (the first program of its kind within an arts organization) has
grown to include increased campus--wide wheelchair accessibility, the production of free
large-type and Braille concert programs, Braille maps, and the publication of the Lincoln
Center Accessibility Guide. In addition, PSPD conducts regular Awareness/Sensitivity
Training seminars for all Lincoln Center employees and offers American Sign Language
interpreters for campus tours. And, Lincoln Center’s performance halls are equipped with
state-of-the-art listening devices.
Two PSPD programs of note are Passport to the World of Performing Arts and the
Community Outreach program. The Passport program provides an opportunity for children
with disabilities ages 6 to 12, along with the parents and siblings, to experience performances at Lincoln Center. As part of this program, the children can also attend Lincoln Center’s
Meet the Artist presentations. This school-day series, for disabled and non disabled students
alike, offer a glimpse into the life of the professional artist. Conversely, the Community
Outreach Program takes the arts and artists of Lincoln Center directly to those who are
unable to come here, enriching the lives of the physically challenged long-term residents of
hospitals and nursing homes in New York City. Of Lincoln Center’s redevelopment, Wailes
says, “One of Lincoln Center’s goals—from its public spaces to its concert halls—continues to be one of inclusion. We’re working to make the spaces on campus work for
the able-bodied as well as for those with disabilities.”
To request a free copy of the Lincoln Center Accessibility Guide, or for any other
information about Lincoln Center’s PSPD Department, call 212-875-5375 or visit
LincolnCenter.org.
presents
The Table is Set
AMERICAN TABLE CAFE AND BAR by Marcus
Samuelsson, which opened in late September in Alice
Tully Hall, is the latest dining option available to Lincoln
Center patrons, joining Lincoln Ristorante on Hearst Plaza,
indie food & wine in the Elinor Bunin Munroe Film Center,
’wichcraft in the David Rubenstein Atrium, The Grand Tier
in the Metropolitan Opera house, Arpeggio in Avery Fisher
Hall and the Espresso Bar, also in Avery Fisher. The
restaurant is operated by Marcus Samuelsson Group
(MSG) and Restaurant Associates (RA).
Marcus Samuelsson, the youngest chef ever to be Marcus Samuelsson
awarded a three-star review by The New York Times and the winner of the James Beard
Award for both “Rising Star Chef” (1999) and “Best Chef: New York City” (2003), crafted the menu along with long-time associate Nils Noren, MSG’s Vice President of
Restaurant Operations. American Table Cafe and Bar by Marcus Samuelsson serves food
that celebrates the diversity of American cuisine, drawing on influences and regions from
across the country. Dishes on the menu, which is offered for both lunch and dinner,
include Smoked Caesar Salad, BBQ Pork Sliders, Cauliflower Soup, Scallop Sausage
Curry, Turkey Meatball Sandwich, and Tacos Duro Wat. The bar features a cocktail menu
designed by consulting master mixologist, Eben Klemm, as well as a selection of reasonably-priced wines.
Marcus Samuelsson’s recently published memoir, Yes, Chef, chronicles his remarkable journey from being orphaned at age three in his native Ethiopia to his adoption by a
family in Göteborg, Sweden, where he first learned to cook by helping his grandmother
prepare roast chicken. He went on to train in top kitchens in Europe before arriving in
New York, first taking the reins at Aquavit. He has won the television competition Top
Chef Masters on Bravo as well as top honors on Chopped All Stars: Judges Remix. His
current New York restaurant, the wildly successful Red Rooster, is located in his home
base of Harlem.
American Table Cafe and Bar seats 73 inside, plus more space outside on the Alice
Tully Hall Plaza. Diller Scofidio + Renfro, the designers of the critically acclaimed Alice
Tully Hall, have transformed the glass-walled space with lounge-like furniture in warm,
rich colors, a long communal couch, tree-trunk tables, and lighting that can be dimmed
to adjust the mood. The design—an
eclectic
reinterpretation
of
Americana—draws its inspiration from
the cafe’s culinary focus. The restaurant is open seven days a week from
10:30 a.m. to 11 p.m. It doesn’t take
reservations, but the number for information is 212.671.4200.