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Alice Tully Hall, Starr TheaterAdrienne Arsht Stage

Please make certain all your electronic devices are switched off.

Thursday, February 27, 2020 at 7:30 pm

Chamber Orchestras

Concerto KölnMayumi Hirasaki, Jésus Merino Ruiz, Shunske Sato, Evgeny Sviridov, Violin Soloists

HANDEL Concerto Grosso in F major (1739) Andante larghetto Allegro Largo Allegro, ma non troppo

BACH Concerto for two violins in D minor Vivace Largo ma non tanto Allegro MAYUMI HIRASAKI, EVGENY SVIRIDOV

VIVALDI Concerto for Strings in A major (c. 1742) Allegro molto Andante molto Allegro

LOCATELLI Concerto for 4 solo violins and strings in F major Allegro—Largo—Allegro SHUNSKE SATO, EVGENY SVIRIDOV, MAYUMI HIRASAKI, JÉSUS MERINO RUIZ

Intermission

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

Great Performers

Lead Support for Great Performers provided by PGIM, the global investment management business of Prudential Financial, Inc.

Additional Support for Great Performers is provided by Rita E. and Gustave M. Hauser, The Shubert Foundation, The Katzenberger Foundation, Inc., Audrey Love Charitable Foundation, Great Performers Circle, Lincoln Center Patrons and Lincoln Center Members

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

Endowment support is also provided by UBS

Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature

NewYork-Presbyterian is the Official Hospital of Lincoln Center

UPCOMING GREAT PERFORMERS EVENTS:

Sunday, March 15 at 3:00 pm in David Geffen HallRotterdam Philharmonic OrchestraLahav Shani, conductor (New York debut)Emanuel Ax, pianoALL-BRAHMS PROGRAMPiano Concerto No. 1Symphony No. 4

Tuesday, March 31 at 7:30 pm in Alice Tully HallEmerson String QuartetBARTÓK: Quartet No. 3BEETHOVEN: Quartet in F major, Op. 59, No. 1 (“Razumovsky”)BARTÓK: Quartet No. 1

Tuesday, April 7 at 7:30 pm in Alice Tully HallSteven Osborne, pianoBeethoven’s Final Piano SonatasSonata in E major, Op. 109Sonata in A-flat major, Op. 110Sonata in C minor, Op. 111

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.

Join the conversation: @LincolnCenter

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.

Great Performers I The Program

HANDEL Concerto for organ and strings in F major (1735) Allegro Andante Adagio Allegro ARTEM BELOGUROV, Organ

GEMINIANI Concerto Grosso No. 12 in D minor (“La Follia”) Thema Variations 1–23 MAYUMI HIRASAKI

VIVALDI Concerto for 4 violins, cello, strings, and basso continuo (c. 1711) Allegro Largo—Larghetto—Adagio—Allegro MAYUMI HIRASAKI, JÉSUS MERINO RUIZ, EVGENY SVIRIDOV, SHUNSKE SATO

Great Performers I Snapshot

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1711Vivaldi’s Concerto for 4 violins, cello, strings, and basso continuoAlexander Pope coins the phrase “To err is human, to forgive divine.”

1735Handel’s Concerto for organ and strings William Hogarth’s engraving A Rake’s Progress

1742Vivaldi’s Concerto for Strings Creation of the earliest known square piano

1711Italian scientist Luigi Ferdinando Marsigli demonstrates that coral is an animal, not a plant.

1735Meteorologist George Hadley formulates theory describing the trade winds.

1742Sweden’s Anders Celsius publishes his proposed scale for centigrade temperature.

1711The city’s population num-bers around 5,000.

1735In a landmark victory for freedom of the press, John Peter Zenger is acquitted for “seditious libels” in his New York Weekly Journal.

1742A purported plot to revolt results in the execution of 32 slaves.

SCIENCE

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TimeframeBy David Wright

By 1739, the concerto was well on its way toward becoming the virtuoso showpiece of the Classical and Romantic eras. Vivaldi, with Bach and others following his example, had already standardized a simple three move-ment form and composed distinctive and dif-ficult solo parts. Handel’s more conservative English public, however, preferred the con-certos of Corelli, with their many dance-like movements and modest dialogue between the concertino (solo instruments) and the concerto grosso or ripieno (orchestra). (The latter element eventually gave its name to the entire genre.) In his concertos of Op. 6, while composing for a string orchestra with a concertino of two violins and a cello, Handel rejuvenated the old formula with abundant new ideas in melody, form, and tone color. Handel’s organ concertos—a genre he invented to show off his keyboard prowess—follow the more modern Vivaldi model, as do this program’s concertos for multiple soloists by Bach, Locatelli, and Vivaldi himself. In a still more forward-looking vein, Vivaldi’s Concerto for Strings, RV 158, uses no soloists at all, just four independent orchestral string parts, much as Haydn would later do in his string quartets. Geminiani’s Concerto Grosso No. 12, on the other hand, looks back to the early Baroque era with an orchestral arrangement of Corelli’s dazzling variations on a much-used melody of that time, “La Follia.”

—Copyright © 2020 by David Wright

Great Performers I Notes on the Program

By David Wright

Concerto Grosso in F major, Op. 6, No. 2, HWV 320 (1739)GEORGE FRIDERIC HANDELBorn February 23, 1685, in Halle, GermanyDied April 14, 1759, in London

Approximate length: 12 minutes

At the turning point of his career, between the operas that had brought him fame and the oratorios that would bring him immortality, Handel took some time off to compose purely instrumental music. In just five weeks, he spun out the 12 concertos of Op. 6, an average of one every three days. Balance and contrast are Handel watchwords—compare the flowing line and rich harmonies of the opening Andante larghetto of Op. 6, No. 2 to the second movement’s fidgety dialogue. The third movement, though marked Largo, has a gentle spring in its step that anticipates the bouncy character of the lively fugue that closes the concerto.

Concerto for two violins in D minor, BWV 1043JOHANN SEBASTIAN BACHBorn March 21, 1685, in Eisenach, GermanyDied July 28, 1750, in Leipzig

Approximate length: 14 minutes

In 1717, when Bach became court conductor to the music-loving Prince of Anhalt-Cöthen, he acquired an orchestra and skilled soloists to compose concertos for. To Vivaldi’s lively virtuoso style, Bach added his own love of counterpoint and powerful grasp of musical form. He also experimented constantly; each concerto contains novel features that set it apart not only from the Italian composers but from the rest of Bach’s concertos.

The Concerto for two violins, BWV 1043, begins with just such a feature: a first-movement exposition in the style of a fugue rather than the customary ritornello (refrain). Writing for two violins instead of one seems to allow the sonic possibilities to multiply geometrically; Bach delights in the many ways he can cause the two soloists to intertwine, diverge, and play tag with each other. There is not much that is unusual about the Largo ma non tanto—just a melody of breathtaking simplicity and loveliness, again treated in a fugal style, as languid as the previous movement was taut. The vigorous finale is propelled by the little three-note, down-up motive, called a “mordent,” that became Bach’s melodic signature.

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Great Performers I Notes on the Program

Concerto for Strings in A major, RV 158 (c. 1742)ANTONIO VIVALDIBorn March 4, 1678, in VeniceDied July 27/28, 1741, in Vienna

Approximate length: 8 minutes

Late in Vivaldi’s lifetime, musical fashion shifted from the brilliant virtuosity and counterpoint of the Italian Baroque toward the mellower, more graceful Rococo style of Pergolesi, J.C. Bach, and Boccherini, which in turn was pointing toward the high Classical style of Haydn and Mozart. Listeners who think of the fiery fiddling of The Four Seasons as the real Vivaldi may be surprised to hear the lace handkerchiefs twirling in such works as the Concerto for Strings in A major, RV 158.

This piece is referred to in some sources as “Concerto ripieno,” meaning literally a concerto for the “full” orchestra without soloists, and in others as “Concerto à 4,” meaning a composition in four string parts, like a string quartet. And in fact, it’s easy to think of this music as a precursor to Haydn’s quartets, since the first movement is full of skillful but lightly handled counterpoint, the second is a melodious Andante molto (meaning, in this case, a brisk tempo, “moving right along”), and the fast finale puts its sparkling dance tune through some droll twists and turns, much as Haydn will later do.

Concerto for 4 solo violins and strings in F major, Op. 4, No. 12 (1735)PIETRO LOCATELLIBorn September 3, 1695 in Bergamo, Republic of Venice, ItalyDied March 30, 1764 in Amsterdam

Approximate length: 12 minutes

Pietro Antonio Locatelli was a tireless innovator in violin technique during an era when many Italian composers were developing that instrument’s capabilities. Perhaps only the inventions of his countryman Paganini, a century later, can be compared with his for sheer audacity. Curiously, given Locatelli’s importance to the history of the violin and the high esteem he enjoyed during his life, biographical details about him are scarce. Early on, he performed often in the aristocratic salons of Rome, especially in the household of the arts patron Cardinal Ottoboni. Later, Locatelli appeared at the courts of Munich, Berlin, and Dresden, before settling in Amsterdam, a flourishing center for music publishing. His Six Overtures and Six Concertos, Op. 4, were printed there in 1735.

The closing work in this set is the topper: no fewer than four solo violins drive the opening Allegro with daring leaps and chugging sixteenth notes, throb with organ-like chords in the pathos-laden Largo, and compete with each other in the playful finale.

Great Performers I Notes on the Program

Concerto for organ and strings in F major, HWV 292 (1735) GEORGE FRIDERIC HANDEL

Approximate length: 14 minutes

Handel, known as one of the greatest organists of his time, began writing and performing organ concertos as an additional draw for his oratorio concerts. Composed in 1735 for a revival of the oratorio Athalia, this F-major Concerto abounds in Handelian contrast, particularly between the bright, saucy opening Allegro and the misty atmosphere of the ensuing Andante (a magical blend of pianissimo strings and the organ’s diapason and flute stops). Similarly, a dark, musing Adagio soon gives way to a bold final fugue with a touch of Handel’s “Hallelujah” chorus about it—not surprisingly, since in the original oratorio version this movement led directly into a choral “Alleluia” on the fugue themes.

Concerto Grosso No. 12 in D minor (“La Follia”) (1727)FRANCESCO GEMINIANIBorn December 5, 1687 in Lucca, TuscanyDied September 17, 1762 in Dublin.

Approximate length: 12 minutes

Three pages of fine print in the massive New Grove Dictionary of Music and Musicians are devoted to the entry on “La Folia” (or Follia), a tune of ancient Portuguese origin whose harmonic structure became as familiar a feature of Baroque music as the 12-bar blues is in American folk and pop music. Dozens, maybe hundreds, of Baroque composers wrote variations on it. In 1700, the influential composer Arcangelo Corelli closed his set of 12 violin sonatas, Op. 5, with a spectacular movement on “La Folia.”

A generation later, the noted composer and violinist Francesco Geminiani made what we might call a “cover” of Corelli’s violin-and-harpsichord original, preserving the character of each of the variations, but greatly elaborating the string parts in the orchestra. Because “La Folia” is only eight bars long, its 23 variations seem to pile on top of one another, volatile in mood and rich in creative inspiration, thanks to Corelli’s original ideas and Geminiani’s skill at taking them further.

Great Performers I Notes on the Program

Concerto for 4 violins, cello, strings, and basso continuo, RV 580, Op. 3, No. 10 (1711)ANTONIO VIVALDI

Approximate length: 10 minutes

Published in 1711, Vivaldi’s Op. 3, a collection of 12 violin concertos titled L’Estro armonico (“The Harmonic Inspiration”), led a wave of new Italian ideas that was to revitalize musical style all over the continent. Bach arranged the tenth concerto from L’Estro armónico—the one for four violins and cello—as a concerto for four harpsichords, BWV 1065. In 1931, the Bach scholar Arnold Schering observed that “Vivaldi’s original is quite equal to Bach’s arrangement, by virtue of its tender glow and the transparency of the string parts.”

Vivaldi’s first-movement ritornello, on a typically spiky theme, creates a dizzying “hall of mirrors” effect with close imitation among the four violin parts. One by one, the soloists float free of the contrapuntal tangle and display their skill. The most distinctive feature of the formal Largo is its experiment with mixed articulations in the Larghetto section: soloist I plays the arpeggios legato, II in groups of three-plus-one, III staccato, and IV in two-plus-two, all at the same time. At the beginning of the finale, Vivaldi allows the orchestral violins (also divided into four parts) to speak as one for the first time, to telling effect, and follows with rapid-fire dialogue for the soloists.

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

—Copyright © 2020 by David Wright

Great Performers I Meet the Artists

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Mayumi Hirasaki

Mayumi Hirasaki was born in Japan and first studied modern violin at the Tokyo University of the Arts and Music. She then continued her studies at the Hochschule für Musik Nuremberg-Augusburg under Daniel Gaede and specialized in Baroque violin under Mary Utiger at the Hochschule für Music and Theater Munich. Further studies followed with.Giuliano Carmignola in Lucerne and under Christine Schornsheim in Munich, with whom she studied harpsichord.

Ms. Hirasaki has been awarded prizes at international competitions such as the International Bach Competition in Leipzig and the MAfestival Competition in Bruges. Since 2011, she has been concertmaster of Concerto Köln, and in this role has performed with conductors and soloists such as Peter Dijkstra, Andrea Marcon, Pablo Heras-Casado, Hans-Christoph Rademann, Giuliano Carmignola, Dorothee Oberlinger, Midori Seiler, Simone Kermes, Vivica Genaux, and Valer Sabadus.

In addition, she regularly performs with various Baroque orchestras and ensembles in concert halls throughout Europe, the U.S., and Japan, such as the Akademie für Alte Musik Berlin, La Cetra Basel, Dresden Festival Orchestra, Freiburg Baroque Orchestra, Zurich Chamber Orchestra, Basel Chamber Orchestra, King´s Consort, La Divina Armonia, Il Suonar Parlante, and Il Gardellino. Her chamber partners have included Christine Schornsheim, Michael Freimuth, Lorenzo Ghielmi, Vittorio Ghielmi, Francis Jacob, and Maurice Steger. Ms. Hirasaki previously taught Baroque violin and viola at the Folkwang University of the Arts in Essen and has held a professorship in Baroque violin and viola at the University Mozarteum Salzburg since October 2017.

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Born in Cuenca, Spain in 1991, Jesús Merino Ruiz has studied with Ruth Olmedilla, Lina Tur at the Conservatorio Superior de Música de Aragón, Eberhard Feliz at the Hochschule für Musik Hanns Eisler, Sebastian Hamann at the Hochschule für Musik Luzern, and Petra Müllejans at the Hochschule für Musik Frankfurt.In 2008, he began studying at Indiana University–Bloomington with Jaime Laredo, Mauricio Fuks, Beaux Arts Trio, Mimi Zweig, and Brenda Brenner.

Together with the Cuarteto Klimt, Mr. Ruiz has perfomed in leading festivals and halls in Spain, including Palau de la Música Catalana, Fundación Juan March, Festival de Música y Danza de Granada, and Schubertíada a Vilabertrán, among others. As a modern violinist, he performs as a member of the Geneva Camerata, has served as guest concertmaster of the Kürpfälzisches Kammerorchester, and plays regularly with Spira Mirabilis, Camerata de Murcia, and Kammerorchester I Tempi. He has recorded for RNE, Catalunya Música, SWR, NDR y SFR, and the Sony Classical and Outhere labels.

Mr. Ruiz performs regularly as guest concertmaster of Concerto Köln and with the Collegium Vocale Gent, Il Convito, Bach-Akademie, and Kölner Akademie. Together with the Edding Quartet, he has also appeared as soloist with Concerto Köln in the Kölner Philharmonie. He is a co-founder of the Ensemble Summa, with whom he performs throughout Europe, and every summer in Monzón, where the ensemble founded the Festival Internacional de Música de Cámara de Monzón in 2017.

Great Performers I Meet the Artists

Jésus Merino Ruiz©

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Shunske Sato

Shunske Sato is known for his distinctive and engaging performances on both modern and historical instruments. Equally in demand as concertmaster, chamber musician, soloist, and teacher, Mr. Sato is artistic leader and concertmaster of the Netherlands Bach Society and concertmaster of Concerto Köln. Since 2013, he has been a faculty member of the Amsterdam Conservatory, where he teaches violin in the context of historical per-formance practice of eras ranging from Baroque to the early 20th century.

He has performed as soloist with American and European orchestras such as the Deutsche Oper Berlin, Bavarian Radio Philharmonic, Orchestre Philharmonique de Radio France, and National Symphony Orchestra, as well as with orchestras in Japan such as the NHK Philharmonic and Osaka Century Orchestra. Mr. Sato has recorded violin concertos by Haydn and Mozart with Orchestra Libera Classica under the baton of Hidemi Suzuki, and in 2011 gave the first performance of Paganini’s second violin concerto on historical instruments with the Academy of Ancient Music. His discography includes works for solo violin by Bach, Telemann, Paganini, and Eugène Ysaÿe.

As soloist and concertmaster, Mr. Sato has worked with numerous conductors, including Ivor Bolton, Richard Egarr, Christopher Hogwood, and Kent Nagano. In 2010, he was awarded second prize and the audience prize at the 17th International Johann Sebastian Bach Competition in Leipzig. He also won the Young Concert Artists Award at the age of 12, the youngest ever to date.

Born in Tokyo, Mr. Sato immigrated to the U.S. at the age of four. He studied at The Juilliard School in New York, Conservatoire National de Région in Paris, and Hochschule für Musik und Theather in Munich. His teachers include Chin Kim, Dorothy DeLay, Masao Kawasaki, Gérard Poulet, Eiichi Chijiiwa, and Mary Utiger.

Great Performers I Meet the Artists

Evgeny Sviridov

Evgeny Sviridov’s career as soloist, con-certmaster, and chamber musician covers an extensive repertoire that inclu-des early Baroque works through con-temporary compositions. He regularly performs in major European concert venues, including Concertgebouw Amsterdam, Kölner Philharmonie, Vienna’s Musikverein, the St. Petersburg and Moscow Philharmonics, and has performed at Bachfest in Leipzig, MAfestival in Brugge, Thuringer Bach Woche in Weimar, Haut Jura in France,

and Earlymusic in St. Petersburg, among others. His discography includes a solo album dedicated to Bach and Biber violin sonatas, released in 2011 on Genuin Classics, and a recording of Giuseppe Tartini’s violin sonatas, which was awar-ded the German Record Critics’ Award in 2019. In 2014, he co-founded the Baroque ensemble Ludus Instrumentalis, which won the Berlin Bach Competition in 2015 and the Brothers Grauns Competition in 2016.

During Mr. Sviridov’s studies at the St. Petersburg Conservatory, he competed in the the International Yehudi Menuhin Competition (Third Prize) and the 52nd International Paganini Competition, both in 2008; in 2010 he received First Prize in the 17th International Bach Competition in Leipzig. The latter persuaded him to pursue authentic ways of playing and studying Baroque music. In 2016, Mr. Sviridov won First Prize and an audience prize in Concours Corneille in Rouen, and in 2017, he won the MAfestival Competition in Bruges.

Since 2016, Mr. Sviridov has been living in Cologne, where he currently serves as concertmaster of Concerto Köln, becoming one of the youngest musicians to have ever held this position. He plays a unique Baroque violin by Januarius Gagliano (Naples, 1732), kindly provided him by Jumpstart Jr. Foundation in Amsterdam.

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Great Performers I Meet the Artists

Concerto Köln

Passionate performance style and an unwavering drive to explore uncharted ter-rain are the trademarks of Concerto Köln. For more than 30 years, this distinctive orchestra has remained one of the top historically-informed performance practice ensembles. Maintaining deep roots in Cologne’s own musical scene while making regular guest appearances at renowned festivals and in major music centers worldwide, the name Concerto Köln has become synonymous with outstanding interpretations of early music.

Concerto Köln’s extensive discography includes two recents recordings of works by Francesco Geminiani and a live recording of virtuosic Italian concertos for four solo violins featuring the ensemble’s concertmasters, who will also take the works on tour throughout Europe and North America. A multi-annual research project—Wagner Readings—was launched in the 2017–18 season and continues to receive international attention. This project, initiated by Concerto Köln together with Kent Nagano, is an ongoing exploration of Richard Wagner’s Ring cycle from a historical performance perspective. In commemoration of their long-standing and ongoing collaboration, Nagano was appointed honorary conductor of Concerto Köln in 2019. The collaboration continues with a series of performances of Beethoven’s Missa solemnis in celebration of the 250th anniversary of Beethoven’s birthday in 2020.

Concertmasters Mayumi Hirasaki, Evgeny Sviridov, and Shunske Sato, together with Artistic Director Alexander Scherf, assume the leading roles within the self-governed orchestra. With their choice of projects, they manage to prove time and again that high artistic standards and popular appeal are not necessarily a contradiction in terms.

Great Performers I Meet the Artists

CONCERTO KÖLN

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Violin SoloMayumi HirasakiShunske SatoEvgeny SviridovJésus Merino Ruiz

ViolinMarkus HoffmannStephan SängerJörg BuschhausHedwig van der

LindeAntje EngelFrauke Pöhl

ViolaCosima NieschlagChiharu Abe

CelloAlexander ScherfCandela Gomez

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BassJean-Michel Forest

OboeClara BlessingSimon Böckenhoff

LuteLiza Solovey

BassoonLorenzo Alpert

HarpsichordArtem Belogurov

Great Performers

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Initiated in 1965, Lincoln Center’s Great Performers series offers classical and con-temporary 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 David Geffen Hall, Alice Tully Hall, Walter Reade Theater, and other performance spaces around New York City. From sym-phonic 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.

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Great Performers

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingJordana Leigh, Director, David Rubenstein AtriumCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingWalker Beard, Production ManagerAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerViviana Benitez, Associate Producer, David Rubenstein AtriumOlivia Fortunato, Associate Producer, Public ProgrammingJames Fry, Technical Manager, Contemporary ProgrammingAnnie Guo, Production CoordinatorShade Adeyemo, Programming Coordinator, David Rubenstein AtriumCharmaine Marshall, Assistant to the Artistic DirectorPaloma Estevez, Company Manager, Contemporary ProgrammingRoshni Lavelle, House Seat Coordinator