Brad Mehldau, piano and Ian Bostridge, tenor

Friday, October 18 at 8:00 p.m.Schwartz Center for Performing Arts

Kronos Quartet with Mahsa VahdatSeptember 14, 2019 at 8:00 p.m.

Brad Mehldau, piano and Ian Bostridge, tenorOctober 18, 2019 at 8:00 p.m.

Joyce DiDonatoIn War and Peace: Harmony Through MusicNovember 3, 2019 at 7:00 p.m.

Royal Philharmonic Orchestra with Khatia Buniatishvili, pianoJanuary 15, 2020 at 8:00 p.m.

Pablo Sáinz Villegas Americano TrioFebruary 29, 2020 at 8:00 p.m.

Jane Bunnett and MaquequeMarch 19, 2020 at 8:00 p.m.

Robert McDuffie, violin and Robert Spano, piano April 10, 2020 at 8:00 p.m.

404.727.5050tickets.arts.emory.edu

SCHWARTZ CENTER FOR PERFORMING ARTS

2019–2020 Candler Concert Series

This page intentionally left blank to represent inside front cover.

Ian Bostridge, tenor and Brad Mehldau, piano

Friday, October 18, 2019, 8:00 p.m.

Emerson Concert Hall Schwartz Center for Performing Arts

This program is made possible by a generous gift from the late Flora Glenn Candler, a friend and patron of music at Emory University.

arts.emory.edu

Please note, tonight’s program contains mature content.

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ProgramThe Folly of Desire Brad Mehldau

The Sick Rose–William Blake Leda and the Swan–William Butler Yeats Sonnet 147–William Shakespeare Sonnet 75–William Shakespeare Über die Verführung von Engeln–Bertold Brecht Ganymed–Johann Wolfgang von Goethe Ganymede–W. H. Auden theboysimeanarenotrefined–e. e. cummings Excerpt from Sailing to Byzantium–William Butler Yeats Night II, from The Four Zoas (The Wail of Enion)–William Blake Lullaby–W. H. Auden

This work was co-commissioned by Elbphilharmonie Hamburg, Wigmore Hall, Stanford Live at Stanford University, and Carnegie Hall.

—Intermission—Dichterliebe Robert Schumann

Dein Angesicht (op. 127, 2) Lehn’ deine Wang’ (op. 142, 2) Es leuchtet meine Liebe (op. 127, 3) Mein Wagen rollet langsam (op. 142, 4) Im wunderschönen Monat Mai Aus meinen Tränen sprießen Die Rose, die Lilie, die Taube, die Sonne Wenn ich in deine Augen seh’ Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wüssten’s die Blumen Das ist ein Flöten und Geigen Hör’ ich das Liedchen klingen Ein Jüngling liebt ein Mädchen Am leuchtenden Sommermorgen Ich hab’ im Traum geweinet Allnächtlich im Traume Aus alten Märchen winkt es Die alten bösen Lieder

Program subject to change.

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The Folly of DesireAfter seeing each other perform in Schloss Elmau, Germany, in 2015, the American pianist/composer Brad Mehldau and British tenor Ian Bostridge met and quickly professed their admiration for each other’s body of work. That chance run-in resulted in an initial friendly correspondence where the two musicians discussed everything from their shared love of lieder to Bach and jazz. This correspondence materialized into a creative spark resulting in a few pieces that Mehldau wrote specifically with Bostridge in mind. After sharing these pieces, the two musicians began to discuss building out this original repertoire into a song cycle revolving around text and themes they both wanted to explore. At the onset of their discussions, Mehldau brought up his interest in investigating the themes of the modern sinuous nature of human desire as it exists in love and adoration. With this agreed central theme in mind, Mehldau began composing a set of music with lyrics drawn from the poetry of Blake, Yeats, Shakespeare, Goethe, and others. In 2019, Bostridge and Mehldau premiere this new song cycle, The Folly of Desire, fittingly paired in a program with Robert Schumann’s Dichterliebe (The Poet’s Love).

The Sick RoseO Rose thou art sick. The invisible worm, That flies in the nightIn the howling storm:

Has found out thy bed Of crimson joy:And his dark secret love Does thy life destroy.

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Leda and the SwanA sudden blow: the great wings beating still Above the staggering girl, her thighs caressed By the dark webs, her nape caught in his bill, He holds her helpless breast upon his breast.

How can those terrified vague fingers push The feathered glory from her loosening thighs? And how can body, laid in that white rush,But feel the strange heart beating where it lies?

A shudder in the loins engenders thereThe broken wall, the burning roof and tower And Agamemnon dead.Being so caught up,So mastered by the brute blood of the air, Did she put on his knowledge with his powerBefore the indifferent beak could let her drop?

Sonnet 147My love is as a fever, longing stillFor that which longer nurseth the disease, Feeding on that which doth preserve the ill, The uncertain sickly appetite to please.

My reason, the physician to my love, Angry that his prescriptions are not keptHath left me, and I desperate now approve, Desire is death, which physic did except.

Past cure I am, now reason is past care, And frantic-mad with evermore unrest,My thoughts and my discourse as madmen’s are, At random from the truth vainly express’d.

For I have sworn thee fair and thought thee bright, Who art as black as hell, as dark as night.

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Sonnet 75So are you to my thoughts as food to life,Or as sweet-season’d showers are to the ground; And for the peace of you I hold such strife,As ‘twixt a miser and his wealth is found.

Now proud as an enjoyer and anonDoubting the filching age will steal his treasure, Now counting best to be with you alone,Then better’d that the world may see my pleasure,

Sometime all full with feasting on your sight, And by and by clean starved for a look, Possessing or pursuing no delightSave what is had or must from you be took.

Thus do I pine and surfeit day by day, Or gluttoning on all, or all away.

Über die Verführung von Engeln Engel verführt man gar nicht oder schnell. Verzieh ihn einfach in den Hauseingang Steck ihm die Zunge in den Mund und lang Ihm untern Rock, bis er sich naß macht, stellIhm das Gesicht zur Wand, heb ihm den Rock Und fick ihn. Stöhnt er irgendwie beklommen Dann halt ihn fest und laß ihn zweimal kommen Sonst hat er dir am Ende einen Schock.Ermahn ihn, dass er gut den Hintern schwenkt Heiß ihn dir ruhig an die Hoden fassenSag ihm, er darf sich furchtlos fallen lassen Dieweil er zwischen Erd und Himmel hängt—Doch schau ihm nicht beim Ficken ins Gesicht Und seine Flügel, Mensch, zerdrück sie nicht.

Über die Verführung von Englen von Bertold Brecht. Bertold Brecht, Werke. Große kommentierte Berliner und Frankfurter Ausgabe, Berlin und Weimar/Frankfurt am Main © 1988, 1993. Benutzte mit Genehmigung von Suhrkamp Verlag.

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Ganymed Ganymed (trans. Brad Mehldau)Wie im Morgenglanze How in the morning’s radianceDu rings mich anglühst You, surrounding me, glowing,Frühling, Geliebter! Springtime, lover!Mit tausendfacher Liebeswonne With thousandfold bliss of love Sich an mein Herz drängt Pressing itself onto my heart,Deiner ewigen Wärme Your eternal warmthHeilig Gefühl, Divine feeling,Unendliche Schöne! Endless beauty!

Daß ich dich fassen möchte’ Oh that I could grasp youIn diesen Arm! In this arm!

Ach, an deinem Busen Oh, on your chestLieg’ ich, schmachte, I lie, pining,Und deine Blumen, dein Gras And your flowers, your grass Drängen sich an mein Herz. Press themselves on my heart.Du kühlst den brennenden You cool the burningDurst meines Busens, Thirst in my chest,Lieblicher Morgenwind! Lovely morning wind!Ruft drein die Nacthigall There calls the nightingaleLiebend nach mir aus dem Nebeltal. Lovingly to me from the misty valley. Ich komm’, ich komme! I’m coming, I’m coming!Wohin? Ach, wohin? To where? oh, to where?

Hinauf! Hinauf strebt’s. Up! Upwards it strives.Es schweben die Wolken The clouds are driftingAbwärts, die Wolken Downwards, the cloudsNeigen sich der sehnenden Liebe. Incline themselves to my craving love. Mir! Mir! Me! Me!In eurem Schosse In your lapAufwärts! Upwards!Umfangend umfangen! Embracing, embraced!Aufwärts an deinen Busen, upwards on your bosom,Alliebender Vater! All loving father!

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GanymedeHe looked in all His wisdom from the throne Down on that humble boy who kept the sheep, And sent a dove; the dove returned alone:Youth liked the music, but soon fell asleep.

But He had planned such future for the youth:Surely, His duty now was to compel.For later he would come to love the truth, And own his gratitude. His eagle fell.

It did not work. His conversation boredThe boy who yawned and whistled and made faces, And wriggled free from fatherly embraces;

But with the eagle he was always willing To go where it suggested, and adored And learnt from it so many ways of killing.Ganymede by W. H. Auden. Used by permission of Curtis Brown, Ltd., Copyright © 1939, 1940. All rights reserved.

the boys I mean are not refinedthe boys i mean are not refinedthey go with girls who buck and bite they do not give a fuck for luckthey hump them thirteen times a night

one hangs a hat upon her titone carves a cross on her behind they do not give a shit for wit the boys i mean are not refined

they come with girls who bite and buck who cannot read and cannot writewho laugh like they would fall apart and masturbate with dynamite

the boys i mean are not refined they cannot chat of that and this they do not give a fart for artthey kill like you would take a piss

they speak whatever’s on their mind they do whatever’s in their pants the boys i mean are not refinedthey shake the mountains when they dance

theboysimeanarenotrefined. Copyright © 1935,1963, 1991 by the Trustees for the E.E. Cummings Trust. Copyright © 1978 by George James Firmage, from Complete Poems: 1904–1962 by E.E. Cummings, edited by George J. Firmage. Used by permission of Liveright Publishing Corporation.

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Excerpt from Sailing to ByzantiumIIIO sages standing in God’s holy fire As in the gold mosaic of a wall,Come from the holy fire, perne in a gyre, And be the singing masters of my soul. Consume my heart away; sick with desire It knows not what it is; and gather me Into the artifice of eternity.

Night II from “The Four Zoas” (The Wail of Enion)I am made to sow the thistle for wheat; the nettle for a nourishing dainty I have planted a false oath in the earth, it has brought forth a Poison Tree I have chosen the serpent for a counsellor and the dogFor a schoolmaster to my childrenI have blotted out from light and living the dove and nightingale And I have caused the earthworm to beg from door to doorI have taught the thief a secret path into the house of the justI have taught pale Artifice to spread his nets upon the morning My heavens are brass, my earth is iron, my moon a clod of clayMy sun a pestilence burning at noon, and a vapour of death in night.

What is the price of Experience? Do men buy it for a songOr Wisdom for a dance in the street? No – it is bought with the price Of all that a man hath – his house, his wife, his children.Wisdom is sold in the desolate market where none come to buy And in the wither’d field where the farmer ploughs for bread in vain.

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LullabyLay your sleeping head, my love, Human on my faithless arm:Time and fevers burn away Individual beauty fromThoughtful children, and the grave Proves the child ephemeral:But in my arms till break of day Let the living creature lie, Mortal, guilty, but to meThe entirely beautiful.

Soul and body have no bounds:To lovers as they lie upon Her tolerant enchanted slope In their ordinary swoon, Grave the vision Venus sends Of supernatural sympathy, Universal love and hope;While an abstract insight wakes Among the glaciers and the rocks The hermit’s carnal ecstasy.

Certainty, fidelityOn the stroke of midnight pass Like vibrations of a bellAnd fashionable madmen raise Their pedantic boring cry:Every farthing of the cost,All the dreaded cards foretell. Shall be paid, but from this night Not a whisper, not a thought.Not a kiss nor look be lost.

Beauty, midnight, vision dies:Let the winds of dawn that blow Softly round your dreaming head Such a day of welcome showEye and knocking heart may bless, Find the mortal world enough; Noons of dryness find you fedBy the involuntary powers, Nights of insult let you pass Watched by every human love.

Lullaby by W. H. Auden. Used by permission of Curtis Brown, Ltd., Copyright © 1939, 1940. All rights reserved.

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DichterliebeDein Angesicht Your FaceDein Angesicht so lieb und schön, Your face so lovely and fairDas hab ich jüngst im Traum gesehn, appeared to me in a recent dream, Es ist so mild und engelgleich, so mild, it looks, and angel-like, Und doch so bleich, so schmerzensreich. and yet so pale, so full of pain.Und nur die Lippen, die sind rot; And your lips alone are red;Bald aber küsst sie bleich der Tod. but death shall soon kiss them pale. Erlöschen wird das Himmelslicht, The heavenly light will be extinguished Das aus den frommen Augen bricht. that gleams from your innocent eyes.

Lehn’ deine Wang’ Rest Your Cheek Against My CheekLehn’ deine Wang’ an meine Wang’, Rest your cheek against my cheek, Dann fließen die Tränen zusammen; together our tears shall flow;Und an mein Herz drück fest dein Herz, and against my heart press firm your heart,Dann schlagen zusammen die Flammen! together the flames shall leap!Und wenn in die große Flamme fließt And when into that great flame Der Strom von unsern Tränen, our river of tears shall flow,Und wenn dich mein Arm and when I clasp you

gewaltig umschließt wildly in my arms–Sterb ich vor Liebessehnen! I shall die of love’s desire!

Es leuchtet meine Liebe The Gleam of My LoveEs leuchtet meine Liebe, The gleam of my loveIn ihrer dunkeln Pracht, in its dark splendorWie’n Märchen traurig und trübe, is like a tale, sad and gloomy, Erzählt in der Sommernacht. told on a summer night.Im Zaubergarten wallen In the magic garden wander Zwei Buhlen, stumm und allein; two lovers, silent and alone; Es singen die Nachtigallen, the nightingales are singing, Es flimmert der Mondenschein. the moon is shimmering.Die Jungfrau steht still wie ein Bildnis, The maiden stands as silent as a picture, Der Ritter vor ihr kniet. the knight kneels down before her.Da kommt der Riese der Wildnis, Suddenly the wild giant appears, Die bange Jungfrau flieht. the frightened maiden flees.Der Ritter sinkt blutend zur Erde, The knight sinks bleeding to the ground, Es stolpert der Riese nach Haus. the giant stumbles home;Wenn ich begraben werde, and when I’m dead and buried;Dann ist das Märchen aus. this story shall be done.

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Mein Wagen rollet langsam My Carriage Rolls SlowlyMein Wagen rollet langsam My carriage rolls slowlyDurch lustiges Waldesgrün, through the cheerful green woodlands, Durch blumige Täler, die zaubrisch through flowery valleysIm Sonnenglanze blühn. magically blooming in sun. Ich sitze und sinne und träume, I sit and muse and dream, Und denk an die Liebste mein; and think of my dear love;Da grüßen drei Schattengestalten three shadowy forms nod at me Kopfnickend zum Wagen herein. through the carriage window. Sie hüpfen und schneiden Gesichter, They hop and pull faces,So spöttisch und doch so scheu, so mocking yet so shy,Und quirlen wie Nebel zusammen, and whirl together like mist Und kichern und huschen vorbei. and flit chuckling by.

Im wunderschönen Monat Mai In the Wondrous Month of MayIm wunderschönen Monat Mai, In the wondrous month of May,Als alle Knospen sprangen, when all the buds burst into bloom,Da ist in meinem Herzen then it was that in my heartDie Liebe aufgegangen. love began to blossom.Im wunderschönen Monat Mai, In the wondrous month of May, Als alle Vögel sangen, when all the birds were singing,Da hab’ ich ihr gestanden then it was I confessed to herMein Sehnen und Verlangen. my longing and desire.

Aus meinen Tränen sprießen From My Tears Will SpringAus meinen Tränen sprießen From my tears will spring Viel blühende Blumen hervor, many blossoming flowers, Und meine Seufzer werden and my sighs will becomeEin Nachtigallenchor. a choir of nightingales. Und wenn du mich lieb hast, Kindchen, And if you love me, child, Schenk’ ich dir die Blumen all’, I’ll give you all the flowers,Und vor deinem Fenster soll klingen and at your window shall sound Das Lied der Nachtigall. the nightingale’s song.

Die Rose, die Lilie, Rose, Lily, die Taube, die Sonne Dove, SunDie Rose, die Lilie, die Taube, die Sonne, Rose, lily, dove, sun,Die liebt’ ich einst alle in Liebeswonne. I loved them all once in the bliss of love. Ich lieb’ sie nicht mehr, ich liebe alleine I love them no more, I only loveDie Kleine, die Feine, die Reine, die Eine; she who is small, fine, pure, rare; Sie selber, aller Liebe Wonne, she, most blissful of all loves,Ist Rose und Lilie und Taube und Sonne. is rose and lily and dove and sun.

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Wenn ich in deine Augen seh’ When I Look into Your EyesWenn ich in deine Augen seh’, When I look into your eyes, So schwindet all’ mein Leid und Weh; all my pain and sorrow vanish; Doch wenn ich küsse deinen Mund, but when I kiss your lips,So werd’ ich ganz und gar gesund. then I am wholly healed.Wenn ich mich lehn’ an deine Brust, When I lay my head against your breast, Kommt’s über mich wie Himmelslust; heavenly bliss steals over me;Doch wenn du sprichst: ich liebe dich! but when you say: I love you! So muss ich weinen bitterlich. I must weep bitter tears.

Ich will meine Seele tauchen Let Me Bathe My SoulIch will meine Seele tauchen Let me bathe my soulIn den Kelch der Lilie hinein; in the lily’s chalice; Die Lilie soll klingend hauchen the lily shall resoundEin Lied von der Liebsten mein. with a song of my love.Das Lied soll schauern und beben The songs shall tremble and quiver Wie der Kuss von ihrem Mund, like the kiss her lipsDen sie mir einst gegeben once gave meIn wunderbar süßer Stund’. in a sweet and wondrous hour.

Im Rhein, im heiligen Strome In the Rhine, the Holy RiverIm Rhein, im heiligen Strome, In the Rhine, the holy river,Da spiegelt sich in den Well’n there is reflected in the waves, Mit seinem großen Dome with its great cathedral,Das große, heil’ge Köln. great and holy Cologne.Im Dom da steht ein Bildnis, In the cathedral hangs a picture, Auf gold’nem Leder gemalt; painted on gilded leather;In meines Lebens Wildnis into my life’s wilderness Hat’s freundlich hineingestrahlt. it has cast its friendly rays. Es schweben Blumen und Eng’lein Flowers and cherubs hover Um unsre liebe Frau; around Our beloved Lady;Die Augen, die Lippen, die Wänglein, her eyes, her lips, her little cheeks Die gleichen der Liebsten genau. are the image of my love’s.

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Ich grolle nicht I Bear No GrudgeIch grolle nicht, I bear no grudge,Und wenn das Herz auch bricht, though my heart is breaking,Ewig verlor’nes Lieb! Ich grolle nicht. O love forever lost! I bear no grudge.Wie du auch strahlst in Diamantenpracht, However you gleam in diamond splendor,Es fällt kein Strahl no ray falls

in deines Herzens Nacht. in the night of your heart.Das weiß ich längst. I’ve known that long.

Ich sah dich ja im Traume, For I saw you in my dreams,Und sah die Nacht and saw the night

in deines Herzens Raume, within your heart,Und sah die Schlang’, and saw the serpent

die dir am Herzen frisst, gnawing your heart–Ich sah, mein Lieb, I saw, my love,

wie sehr du elend bist. how pitiful you are.

Und wüssten’s die Blumen If the Little Flowers KnewUnd wüssten’s die Blumen, die kleinen, If the little flowers knew,Wie tief verwundet mein Herz, how deeply my heart is hurt, Sie würden mit mir weinen, they would weep with me,Zu heilen meinen Schmerz. to heal my pain.Und wüssten’s die Nachtigallen, If the nightingales knew, Wie ich so traurig und krank, how sad I am and sick,Sie ließen fröhlich erschallen they would joyfully make the air resoundErquickenden Gesang. with refreshing song.Und wüssten sie mein Wehe, And if they knew of my grief, Die goldenen Sternelein, those little golden stars,Die kämen aus ihrer Höhe, they would come down from the sky,Und sprächen Trost mir ein. and console me with their words. Sie alle können’s nicht wissen, But none of them can know,Nur eine kennt meinen Schmerz; my pain is known to one alone; Sie hat ja selbst zerrissen, for she it was who broke,Zerrissen mir das Herz. broke my heart in two.

Das ist ein Flöten und Geigen What a Fluting and Fiddling Das ist ein Flöten und Geigen, What a fluting and fiddling, Trompeten schmettern darein; what a blaring of trumpets;Da tanzt wohl den Hochzeitsreigen that must be my dearest love Die Herzallerliebste mein. dancing at her wedding feast. Das ist ein Klingen und Dröhnen, What a booming and ringing, Ein Pauken und ein Schalmei’n; what a drumming and piping; Dazwischen schluchzen und stöhnen with lovely little angelsDie lieblichen Engelein. sobbing and groaning between.

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Hör’ ich das Liedchen klingen When I Hear the Little SongHör’ ich das Liedchen klingen, When I hear the little song Das einst die Liebste sang, my beloved once sang,So will mir die Brust zerspringen my heart almost bursts Von wildem Schmerzendrang. with the wild rush of pain. Es treibt mich ein dunkles Sehnen A dark longing drives me Hinauf zur Waldeshöh’, up to the wooded heights,Dort löst sich auf in Tränen where my overwhelming griefMein übergroßes Weh’. dissolves into tears.

Ein Jüngling liebt ein Mädchen A Boy Loves a GirlEin Jüngling liebt ein Mädchen, A boy loves a girlDie hat einen andern erwählt; who chooses another;Der and’re liebt eine and’re, he in turn loves another Und hat sich mit dieser vermählt. and marries her.Das Mädchen nimmt aus Ärger The girl, out of pique, Den ersten besten Mann, takes the very first manDer ihr in den Weg gelaufen; to come her way;Der Jüngling ist übel dran. the boy is badly hurt.Es ist eine alte Geschichte, It’s an old story,Doch bleibt sie immer neu; yet remains ever new;Und wem sie just passieret, and he to whom it happens,Dem bricht das Herz entzwei. it breaks his heart in half.

Am leuchtenden Sommermorgen One Bright Summer MorningAm leuchtenden Sommermorgen One bright summer morning Geh’ ich im Garten herum. I walk round the garden.Es flüstern und sprechen die Blumen, The flowers whisper and talk, Ich aber wandle stumm. but I move silently.Es flüstern und sprechen die Blumen The flowers whisper and talk, Und schaun mitleidig mich an: and look at me in pity:Sei uns’rer Schwester nicht böse, be not angry with our sister, Du trauriger blasser Mann. you sad, pale man.

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Ich hab’ im Traum geweinet I Wept in My DreamIch hab’ im Traum geweinet, I wept in my dream,Mir träumte, du lägest im Grab. I dreamt you lay in your grave. Ich wachte auf, und die Träne I woke, and tearsFloss noch von der Wange herab. still flowed down my cheeks. Ich hab’ im Traum geweinet, I wept in my dream,Mir träumt’, du verließest mich. I dreamt you were leaving me.Ich wachte auf, und ich weinte I woke, and wept onNoch lange bitterlich. long and bitterly.Ich hab’ im Traum geweinet, I wept in my dream,Mir träumte, du wär’st mir noch gut I dreamt you loved me still. Ich wachte auf, und noch immer I woke, and stillStrömt meine Tränenflut. my tears stream.

Allnächtlich im Traume Nightly in My Dreams Allnächtlich im Traume seh’ ich dich Nightly in my dreams I see you, Und sehe dich freundlich grüßen, and see your friendly greeting, Und laut aufweinend stürz’ ich mich and weeping loud, I hurl myself Zu deinen süßen Füßen. down at your sweet feet.Du siehest mich an wehmütiglich Wistfully you look at me, Und schüttelst das blonde Köpfchen; shaking your fair little head; Aus deinen Augen schleichen sich tiny little pearl-like tears Die Perlentränentröpfchen. trickle from your eyes.Du sagst mir heimlich ein leises Wort You whisper me a soft wordUnd gibst mir den Strauß von Zypressen. and hand me a wreath of cypress. Ich wache auf, und der Strauß ist fort, I wake up and the wreath is gone, Und’s Wort hab’ ich vergessen. and I cannot remember the word.

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Aus alten Märchen winkt es A White Hand BeckonsAus alten Märchen winkt es A white hand beckonsHervor mit weißer Hand, from fairy tales of old,Da singt es und da klingt es where there are sounds and songs Von einem Zauberland; of a magic land;Wo bunte Blumen blühen Where brightly colored flowersIm gold’nen Abendlicht, bloom in golden twilight,Und lieblich duftend glühen, and glow sweet and fragrant,Mit bräutlichem Gesicht; with a bride-like face;Und grüne Bäume singen And green treesUralte Melodei’n, sing primeval melodies,Die Lüfte heimlich klingen, mysterious breezes murmur,Und Vögel schmettern drein; and birds warble;Und Nebelbilder steigen And misty shapes rise upWohl aus der Erd’ hervor, from the very ground,Und tanzen luft’gen Reigen and dance airy dancesIm wunderlichen Chor; in a strange throng;Und blaue Funken brennen And blue sparks blazeAn jedem Blatt und Reis, on every leaf and twig,Und rote Lichter rennen and red fires raceIm irren, wirren Kreis; madly round and round;Und laute Quellen brechen And loud springs gushAus wildem Marmorstein. from wild marble cliffs.Und seltsam in den Bächen And strangely in the streamsStrahlt fort der Widerschein. the reflection shines on.Ach, könnt’ ich dorthin kommen, Ah, could I but reach that land, Und dort mein Herz erfreu’n, and there make glad my heart, Und aller Qual entnommen, and be relieved of all pain,Und frei und selig sein! and be blissful and free!Ach! jenes Land der Wonne, Ah, that land of delight,Das seh’ ich oft im Traum, I see it often in my dreams, Doch kommt die Morgensonne, but with the morning sun, Zerfließt’s wie eitel Schaum. it melts like mere foam.

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Die alten, bösen Lieder The Bad Old SongsDie alten, bösen Lieder, The bad old songs,Die Träume bös’ und arg, the bad and bitter dreams,Die lasst uns jetzt begraben, let us now bury them,Holt einen großen Sarg. fetch me a large coffin.Hinein leg’ ich gar manches, I have much to put in it, Doch sag’ ich noch nicht, was; though what I won’t yet say;Der Sarg muss sein noch größer, the coffin must be even larger Wie’s Heidelberger Fass. than the Vat at Heidelberg.Und holt eine Totenbahre And fetch a bierUnd Bretter fest und dick; made of firm thick timber; Auch muss sie sein noch länger, and it must be even longer Als wie zu Mainz die Brück’. than the bridge at Mainz.Und holt mir auch zwölf Riesen, And fetch for me twelve giants, Die müssen noch stärker sein they must be even strongerAls wie der starke Christoph than Saint Christopher the Strong Im Dom zu Köln am Rhein. in Cologne cathedral on the Rhine. Die sollen den Sarg forttragen, They shall bear the coffin away, Und senken ins Meer hinab; and sink it deep into the sea;Denn solchem großen Sarge for such a large coffinGebührt ein großes Grab. deserves a large grave. Wisst ihr, warum der Sarg wohl Do you know why the coffin So groß und schwer mag sein? must be so large and heavy? Ich senkt’ auch meine Liebe I’d like to bury there my loveUnd meinen Schmerz hinein. and my sorrow too.

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Program NotesWritten by Brad Mehldau.

Tacit ConsentLovers give themselves in a moment of trust—or they dare to take without asking. The fact that this giving and taking is without an established contract—there is risk—is what gives desire its wings, and also makes it potentially transgressive. Consent exists ideally, but it is unspoken. This tacit quality of consent makes it downright holy for poets, artists, and musicians—quiet, untouched by all the prosaic discourse. Desire—unrequited, or consecrated in ecstasy—is a strong trope in music, wrapped into the game of tonality itself: tension and resolution, tension again, and resolution. In its unspoken abstraction, music can trace lucidly an intimate exchange.

In the initial idea for this song cycle, the order of the songs was to reflect a spiritual climb from pure lust all the way to lust-free love. That ascension, though, would import a moral message into the music: that carnal desire itself was base and ignoble, and love free of desire was the highest achievement. It was too simple. Music should provoke more questions, not answer them with prescriptive finality.

The next thought was to address lust only and thus confront it directly and unapologetically. Too unapologetically, though—might that serve to celebrate what one would condemn? Finally the goal was to neither condemn nor sanction, yet still probe the subject without dodging “should” and “shouldn’t” questions.

A discourse about what may and may not take place, and an attempt to find a provisional consensus, is valuable. It might focus on just how one defines consent. There should remain, though, a private space where one can just love someone and take without asking.

This privacy has been a cherished freedom of liberal societies, but is under question now. When sex enters the public forum, it becomes political, and we speak of a citizen’s right to privacy. Closely related is freedom of speech. Sexual expression, like speech, often takes place in a relatively anarchic locus in which there are no fixed rules and no policing presence nearby. If someone is asocial—forcing an unwelcome sexual advance, or inciting violence through speech—the governing body is compelled to paternalistically step in, halting the expression.

This point in history is unique because leaders are doing the opposite: they are goading the anti-social expression onward. A vote, as an expression of speech, has become a raised middle-finger, a malevolent gesture. The free-roaming playful kind of anarchy is threatened from the inside.

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Romantic Irony as Self-CensureHeinrich Heine’s title for the collection of poems that Robert Schumann drew from was Buch der Leider (Book of Songs) proclaiming the quality of song already in the poems. When Schumann titled his song cycle Dichterliebe (The poet’s love) he effectively returned the authority to the first-person protagonist of the poems. Authority over himself is the struggle of this passionate figure, who is always in danger of drowning in his rapture for a young woman, losing his common sense. Schumann conveyed masterfully that unhinged mental state in his musical expression: at turns violent, euphoric, dreamy, and unreal.

Heine’s Romantic irony, as it came to be known, involved an act of self-censure from the poet, in which he would assess the folly of his own ardent feeling within the same poem. It might be a painfully jarring corrective, yet is less destructive than the folly of losing his wits completely, obsessively pining for someone he will never possess. Heine’s caustic reawakening to reality is particularly effective in Schumann’s musical dramaturgy when it is deferred until the end of the poem, as in IV, Wenn ich in deine Augen seh’ and VII, Ich grolle nicht.

In those two settings, Schumann’s gambit is not to change the musical fabric at all—making the abrupt mood change of the text even more tragically apparent by understating it. It’s a real German Romantic move—wearing the emotion on your sleeve and holding it in at the same time, verklemmt. That kind of narrative dissonance also foreshadowed modern cinematic intentional incongruity—like when Scorsese sets a violent scene to cheerful doo-wop music.

The perpetrators in the #MeToo accounts and the Catholic church sanctioned their actions through willful fantasy, essentially lying to themselves, not unlike the 19th-century personage in Dichterliebe. A measure of Heine-like self-critical distance might have helped them avoid a destructive path. Romantic irony introduced a potential freedom for writers. They could momentarily escape the imposed frame of their narrative. Likewise in real life, one might escape the fictive story he repeatedly tells himself about the object of his desire. And who knows—if we censure ourselves now and then in the polis, we might retain our right to privacy and free speech.

The new songs here for male voice and piano are an inquiry into the limits of post-#MeToo Romantic irony. The variables are still the same: the subject is in danger of valorizing his desire precisely when he should sublimate it. He does not see clearly, and commits folly. Yet, some of this folly he welcomes—he does not want to see clearly. At what cost though?

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A few words about the individual poems: The suitor in Shakespeare’s two sonnets is perpetually self-aware, a trait Harold Bloom identified in the Bard’s most famous characters. In Sonnet 147, the subject reasons about how he has lost his reason: “My reason, the physician to my love,/Angry that his prescriptions are not kept/Hath left me, and I desperate now approve.” Even as he sees the folly of his desire, he chooses ruin. Here, self-ironizing doesn’t help, and leads to inertia: he perpetually diagnoses the problem yet never takes the bitter medicine.

If tacit, genuine consent is the holy grail, then its most extreme, violent opposite is rape. Yeats’s mythological Leda and the Swan is unsettling because it locates a dark Sublime in Zeus’s brute overpowering of the girl, who, being so close to the god, might have “put on his knowledge with his power.” In Brecht’s Über die Verführung von Engeln the dark humor from this master of satire has a purpose: Brecht describes the duplicity and self-sanctioning of the rapist-protagonist, who mockingly instructs the reader how to say or do whatever necessary to get what he wants. Here, the roles are reversed—whereas Zeus was the perpetrator, the angel here is the one perpetrated, a sublime figure whom one may not gaze at directly, even as he takes him by force—Doch schau ihm nicht beim Ficken ins Gesicht.

Goethe’s Ganymed craves the Father: Aufwärts an deinen Busen, Alliebender Vater. Zeus is less perpetrator and more pantheistic ideal—the divine expressed in eternal nature, into which Ganymed is received, ecstatically. This spiritualized Zeus is perhaps less Greek, but otherwise it was always difficult to believe that the youth would be so enchanted as he is lifted away—wouldn’t he be terrified, like Leda? Ganymed’s Liebeswonne (bliss of love) is intertwined with his heilig Gefühl (holy feeling). They are both unendliche Schöne—eternally beautiful. The poem suggests that spiritual striving and earthly desire both seek the same thing: to cool our “burning thirst”—Du kühlst den brennenden Durst meines Busens.

What is the nature of that thirst—could lust then be a kind of holy impulse? Not if we understand the holy to be benevolent. Desire in itself is blind by nature, never giving and always seeking to possess. We would hope that the Godhead would give us eyes to see our own folly. Yet such a sharp division between holy and carnal can itself become spiritual blindness. It becomes another strategy of denial and hidden complicity, of believing what you want to believe. What else were all those priests doing?

The unsettling suggestion in Auden’s Ganymede is that perpetration begets violence on the one perpetrated—which in

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turn might continue a cycle. For William Blake, lust and violence are destructive forces beyond our control, omnipresent elements that “shake the mountains,” as e. e. cummings proclaims in his raucous poem here, which yokes the two together more viscerally. The prelapsarian innocence is gone; Blake’s rose is sick. Yeats calls on the holy sages to guide him in Sailing to Byzantium, for his heart is “sick with desire/And fastened to a dying animal/It knows not what it is.” Blake answers him from the past in Night II: Self-wisdom may be had, but “it is bought with the price/Of all that a man hath: his house, his wife, his children.” Both poets write of “Artifice”—be it deceitful in the case of Blake, or a property of eternity itself for Yeats. The burning thirst is unquenchable, be it of flesh or spirit, or finally, both.

Auden returns once more for Lullaby, which forms a postlude for the cycle. “Let the living creature lie,” he writes, of someone who consents to him, and finally, one who is loved and loves without censure: “Mortal, guilty, but to me/The entirely beautiful.”

Ian Bostridge, tenorIan Bostridge’s international recital career has taken him to the Salzburg, Edinburgh, Munich, Vienna, St. Petersburg, Aldeburgh, and Schwarzenberg Schubertiade festivals and to the main stages of Carnegie Hall and the Teatro alla Scala in Milan. He has held artistic residencies at the Vienna Konzerthaus and Schwarzenberg Schubertiade (2003–2004), a CarteBlanche series with Thomas Quasthoff at the Amsterdam Concertgebouw

(2004–2005), a Perspectives series at Carnegie Hall (2005–2006), the Barbican in London (2008), the Luxembourg Philharmonie (2010–2011), Wigmore Hall (2011–2012), and Hamburg Laeiszhalle (2012/2013). In 2018 Bostridge began an artistic residency with the Seoul Philharmonic Orchestra, the first of its kind for the ensemble.

His recordings have won major international prizes and been nominated for 15 Grammys. They include Schubert Die schöne Müllerin with Graham Johnson (Gramophone Award, 1996), Tom Rakewell (The Rake’s Progress) with Sir John Eliot Gardiner (Grammy Award, 1999), and Belmonte with William Christie. Under his exclusive contract with Warner Classics, recordings included Schubert Lieder and Schumann Lieder (Gramophone Award, 1998); English song and Henze Lieder with Julius Drake; Britten’s Our Hunting Fathers with Daniel Harding;

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Mozart’s Idomeneo with Sir Charles Mackerras; Janáček’s The Diary of One Who Disappeared with Thomas Adès; Schubert with Leif Ove Andsnes, Mitsuko Uchida, and Antonio Pappano; Noël Coward with Jeffrey Tate; Britten orchestral cycles with the Berliner Philharmoniker and Sir Simon Rattle; Wolf with Antonio Pappano; Bach cantatas with Fabio Biondi; Handel arias with Harry Bicket; Britten’s Canticles and both Britten’s The Turn of the Screw (Gramophone Award, 2003) and Billy Budd (Grammy Award, 2010); Adès’s The Tempest (Gramophone Award 2010); and Monteverdi’s Orfeo. Recent recordings include Britten songs with Antonio Pappano for Warner Classics, Schubert songs with Julius Drake for Wigmore Hall Live, and Shakespeare songs with Antonio Pappano for Warner Classics (Grammy Award, 2017). In further collaboration with Warner and Antonio Pappano, Bostridge released a disc in autumn 2018 commemorating the centenary of WW1.

Bostridge has worked with the Berliner Philharmoniker; Wiener Philharmoniker; Chicago, Boston, London, and BBC symphony orchestras; the London, New York, and Los Angeles philharmonic orchestras; and the Rotterdams Philharmonisch Orkest and Royal Concertgebouw Orchestra, Amsterdam, under Sir Simon Rattle, Sir Colin Davis, Sir Andrew Davis, Seiji Ozawa, Antonio Pappano, Riccardo Muti, Mstislav Rostropovich, Daniel Barenboim, Daniel Harding, and Donald Runnicles. He sang the world premiere of Henze Opfergang with the Accademia Santa Cecilia in Rome under Antonio Pappano.

His operatic appearances have included Lysander (A Midsummer Night’s Dream) for Opera Australia and at the Edinburgh Festival; Handel’s Jephtha at the Opéra National de Paris; Tamino (Die Zauberflöte) and Jupiter (Semele) for English National Opera; and Peter Quint (The Turn of the Screw), Don Ottavio (Don Giovanni), and Caliban (Adès’s The Tempest) for the Royal Opera. For the Bayerische Staatsoper he has sung Nerone (L’Incoronazione di Poppea), Tom Rakewell, and Male Chorus (The Rape of Lucretia); and Don Ottavio for the Wiener Staatsoper. He has sung Aschenbach (Death in Venice) for English National Opera and in Brussels and Luxembourg.

Performances during the 2013 Britten anniversary celebrations included War Requiem with the London Philharmonic Orchestra under Vladimir Jurowski; Les Illuminations with the Royal Concertgebouw Orchestra under Andris Nelsons; and Madwoman (Curlew River) in the Netia Jones staging for the London Barbican, which was also seen in New York and on the west coast of America. In autumn 2014 he embarked on a European recital tour of Schubert’s Winterreise with Thomas Adès to coincide with the publication by Faber and

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Faber in the United Kingdom and Knopf in the United States of his book Schubert’s Winter Journey: Anatomy of an Obsession. In 2016, Bostridge was awarded the Pol Roger Duff Cooper Prize for non-fiction writing for the book that has been translated into 12 languages. Recent engagements include his operatic debut at La Scala, Milan, as Peter Quint; an American recital tour of Winterreisse with Thomas Adès; performances of Hans Zender’s orchestrated version of Schubert’s Winterreise in Taipei, Perth, for Musikkollegium Winterthur, and at New York’s Lincoln Center; Berlioz’s Les nuits d’été with the Seattle Symphony and Ludovic Morlot; recital tours to both the East and West coasts of the United States; the title role in Handel’s Jephtha at the Opéra national de Paris; a residency with the Seoul Philharmonic Orchestra; and Britten’s War Requiem with the Staatskapelle Berlin and Antonio Pappano.

Highlights of the 2019–2020 season include a United States recital tour with jazz pianist Brad Mehldau, including Mehldau’s Folly of Desire, written for Bostridge; a world premiere of a new commission by Olli Mustonen at the Amsterdam Concertgebouw and Wigmore Hall; Debussy’s Livre de Baudelaire orchestrated and conducted by John Adams with the Orchestre Philharmonique de Radio France; Aschenbach/Death in Venice at the Deutsche Oper Berlin; and Madwoman/Curlew River on tour with the Britten Sinfonia.

Bostridge was a fellow in history at Corpus Christi College, Oxford (1992–1995), and in 2001 he was elected an honorary fellow of the college. In 2003 he was made an honorary doctor of music by the University of St. Andrews and in 2010 he was made an honorary fellow of St. John’s College, Oxford. He was made a CBE in the 2004 New Year’s Honors. In 2014 he was Humanitas Professor of Classical Music at the University of Oxford.

Brad Mehldau, pianoJazz pianist Brad Mehldau has recorded and performed extensively since the early 1990s. Mehldau’s most consistent output has been in the trio format. Beginning in 1996, his group released a series of five records on Warner Bros. titled The Art of the Trio (rereleased as a 5-disc box set by Nonesuch in late 2011). During that same period, Mehldau also released a solo piano recording titled Elegiac Cycle, and a record called Places M

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that included both solo piano and trio songs. Elegiac Cycle and Places might be called “concept” albums made up exclusively of original material with central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes—a trio outing with bassist Larry Grenadier and drummer Jorge Rossy.

His first record for Nonesuch, Brad Mehldau Live in Tokyo, was released in September 2004. After 10 rewarding years with Rossy playing in Mehldau’s regular trio, drummer Jeff Ballard joined the band in 2005. The label released its first album from the Brad Mehldau Trio—Day is Done—on September 27, 2005. An exciting double live trio recording titled Brad Mehldau Trio Live was released on March 25, 2008 (Nonesuch). On March 16, 2010, Nonesuch released a double-disc of original work titled Highway Rider, the highly anticipated follow up to Largo. The album was Mehldau’s second collaboration with renowned producer Jon Brion and featured performances by Mehldau’s trio—drummer Jeff Ballard and bassist Larry Grenadier—as well as percussionist Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. In 2011 Nonesuch released Live in Marciac—a two-CD release with a companion DVD of the 2006 performance, and Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli. In 2012 Nonesuch released an album of original songs from the Brad Mehldau Trio—Ode—the first from the trio since 2008’s live Village Vanguard disc and the first studio trio recording since 2005’s Day is Done. Ode went on to garner a Grammy nomination. Nonesuch released the trio’s Where Do You Start, a companion disc to the critically acclaimed Ode, in fall 2012. Whereas Ode featured 11 songs composed by Mehldau, Where Do You Start was comprised of interpretations of 10 tunes by other composers, along with one Mehldau original. In 2013, Mehldau produced and performed on Walking Shadows, the acclaimed Nonesuch release from Joshua Redman. The year 2013 also saw a number of collaborative tours including a duo tour with mandolin virtuoso Chris Thile, piano duets with Kevin Hays, and a new electric project with prodigious drummer Mark Guiliana titled Mehliana. Mehliana: Taming the Dragon, the debut release by Mehliana, was released in early 2014.

Mehldau’s monumental and ambitious 10 Years Solo Live eight-LP vinyl box set was released to unanimous critical acclaim on October 16, 2015 (with CD and digital versions released in November). The set was culled from 19 live recordings made during a decade of the

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pianist’s European solo concerts and was divided into four thematic subsets of four sides each: Dark/Light, The Concert, Intermezzo/Rückblick, and E Minor/E Major.

In 2016, Nonesuch Records released Blues and Ballads—the trio’s first new release since 2012’s Where Do You Start—and the celebrated debut album of the Joshua Redman/ Brad Mehldau Duo, Nearness, featuring recordings from their 2011 European tour. Both albums have received universal praise from critics and audiences alike, and both earned a Grammy nomination for Mehldau. After several years of performing live, labelmates mandolinist/singer Chris Thile and Mehldau released their debut: Chris Thile and Brad Mehldau. In 2018, Nonesuch Records released both After Bach, an album that paired improvisations on Bach and Mehldau’s previously commissioned solo piece Three Pieces After Bach; and the highly anticipated Brad Mehldau Trio studio recording Seymour Reads the Constitution! This year has seen the release of the critically and commercially acclaimed conceptual recording, Finding Gabriel—an album of harmonically rich vocal layers paired with strings, synthesizers, rock drums, and improvisation—featuring a number of high-profile guests including Ambrose Akinmusire, Kurt Elling, Becca Stevens, Gabriel Kahane, and Mark Guiliana, among others.

Mehldau was appointed as curator of an annual four-concert jazz series at London’s prestigious Wigmore Hall during its 2009–2010 and 2010–2011 seasons and in January 2010 Carnegie Hall announced Mehldau’s residency as the Richard and Barbara Debs Composer’s Chair for the 2010–2011 season—he was the first jazz artist to hold that position since it was established in 1995.

Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves. Each tune has a strongly felt narrative arc, whether it expresses itself in a beginning, an end, or something left intentionally open-ended. The two sides of Mehldau’s personality—the improviser and the formalist—play off each other, and the effect is often something like controlled chaos.

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Schwartz Center StaffRachael Brightwell, Managing DirectorLisa Baron, Communications Specialist Carrie Christie, Program CoordinatorKathryn Colegrove, Associate Director for Programming and OutreachLewis Fuller, Associate Director for Production and OperationsJennifer Kimball, Assistant Stage Manager Jeff Lenhard, Operations Assistant Alan Strange, Box Office ManagerNicholas P. Surbey, Senior Graphic Designer Mark Teague, Stage Manager Nina Vestal, House ManagerMatt Williamson, Multimedia Specialist

The Schwartz Center gratefully acknowledges the generous ongoing support of Donna and Marvin Schwartz.

The Flora Glenn Candler Concerts Committee

Gary Motley, Chair, Department of MusicBobby Paul, Immediate Past Chair, Department of AnthropologyPatrick Allitt, Department of HistoryMaria Archetto, Oxford CollegeGuy Benian, Department of PathologyRachael Brightwell, Schwartz Center for Performing ArtsGreg Catellier, Emory DanceElena Cholakova, Department of MusicAllison Dykes, Vice President and Secretary of the UniversityAmanda Freeman, Center for the Study of Human HealthBradley Howard, Department of MusicArun Jones, World EvangelismKevin Karnes, Department of MusicRosemary Magee, Honorary MemberLisa Paulsen, Theater EmoryDavid Schuster, Nuclear MedicineElizabeth Wilson, Women’s, Gender, and Sexuality Studies

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Beyond the Concert

Candler Concert Series artist Ray Chen working with Emory Youth Symphony Orchestra violinist Harriet Skowronek in a master class.

In harmony with Emory’s focus on cultivating and developing innovative arts leaders, the Schwartz Center for Performing Arts is a catalyst for harnessing imagination and discovery through community engagement, curricular enhancements, and performances with world-renowned artists.

Candler Concert Series artists and Schwartz Artists in Residence conduct interdisciplinary programs that provide a unique opportunity for meaningful contact with performing artists, composers, choreographers, and art scholars whose work reflects international and diverse cultural dimensions. Your contributions to the Schwartz Center for Performing Arts support these programs with Emory and the greater Atlanta community.

Make your donation today at engage.emory.edu/Schwartz2019 or bycalling 404.712.GIVE.

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Upcoming Music EventsGo to music.emory.edu to view the complete list of upcoming music events. Ticket prices are listed in the following order: Full price/Emory student price (unless otherwise noted as the price for all students). For more information, contact the Schwartz Center Box Office at 404.727.5050, or visit arts.emory.edu.

Saturday, October 19, 8:00 p.m., Emory Wind Ensemble, Schwartz Center, Emerson Concert Hall, free

Sunday, October 20, 4:00 p.m., Just Jazzin’ Around, ECMSA: Family Series, Michael C. Carlos Museum, free

Thursday, October 24, 6:00 p.m., Jazz on the Green, Patterson Green, free

Thursday, October 24, 8:00 p.m., Emory University Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free

Friday, October 25, noon, The Art of Song, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free

Saturday, October 26, 8:00 p.m., Emory Choirs, Family Weekend Concert, Schwartz Center, Emerson Concert Hall, free: tickets required

Sunday, October 27, 4:00 p.m., Emory Concerto and Aria Competition, Schwartz Center, Emerson Concert Hall, free

Sunday, November 3, 7:00 p.m., Joyce DiDonato–In War and Peace: Harmony Through Music, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $90/$10

Friday, November 8, noon, Emily Uematsu, violin, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free

Sunday, November 10, 4:00 p.m., Emory Chamber Ensembles, Schwartz Center, Emerson Concert Hall, free

Sunday, November 10, 7:00 p.m., Emory Collaborative Piano, Schwartz Center, Emerson Concert Hall, free

Wednesday, November 13, 6:00 p.m., Vocal Symposium: African American Spirituals and Art Song, Performing Arts Studio, 1804 N. Decatur Rd., free

Wednesday, November 13, 8:00 p.m., Emory Youth Symphony Orchestras, Schwartz Center, Emerson Concert Hall, free

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Thursday, November 14, 4:00 p.m., Vocal Symposium: African American Spirituals and Art Song, Performing Arts Studio, 1804 N. Decatur Rd., free

Friday, November 15, 8:00 p.m., Alexandra Shatalova Prior, oboe, artist affiliate recital, Schwartz Center, Emerson Concert Hall, free

Sunday, November 17, 4:00 p.m., Songs of Norway, ECMSA Emerson Series, Schwartz Center, Emerson Concert Hall, free

Saturday, November 23, 8:00 p.m., Emory University Symphony Orchestra and Emory Wind Ensemble, Schwartz Center, Emerson Concert Hall, free

Tuesday, December 3, 8:00 p.m., Emory Jazz Ensembles, Schwartz Center, Emerson Concert Hall, free

Friday, December 6, noon, Emory’s Young Artists, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free

Friday, December 6, 8:00 p.m., A Festival of Nine Lessons and Carols, Glenn Auditorium, $20/$5

Saturday, December 7, 4:00 p.m. and 8:00 p.m., A Festival of Nine Lessons and Carols, Glenn Auditorium, $20/$5

Friday, December 13, 8:00 p.m., Christmas with the Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $35/$15 all students

Saturday, December 14, 8:00 p.m., Christmas with the Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $35/$15 all students

Sunday, December 15, 4:00 p.m., Christmas with the Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $35/$15 all students

Box Office/Audience Information404.727.5050 • arts.emory.edu

IN CONSIDERATION Please turn off all electronic devices.

PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission.

COUGH DROPS Available in the lobby.

USHERS Members of Music at Emory Volunteers. Call 404.727.6640 for ushering opportunities.

EVENT AND PROGRAM INFORMATION Available online at arts.emory.edu.

ACCESSIBILITY The Schwartz Center for Performing Arts is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@emory.edu. For seating accommodations, please contact us at least 24 hours in advance of the event.

FRONT COVER PHOTOS Brad Mehldau by Michael Wilson; Ian Bostridge by Sim Canetty-Clarke.

TREE LIGHTS AND EXTERIOR ARCHITECTURAL BUILDING LIGHTS Made possible by a generous gift from Donna and Marvin Schwartz.

Brad Mehldau, piano and Ian Bostridge, tenor

Friday, October 18 at 8:00 p.m.Schwartz Center for Performing Arts

Kronos Quartet with Mahsa VahdatSeptember 14, 2019 at 8:00 p.m.

Brad Mehldau, piano and Ian Bostridge, tenorOctober 18, 2019 at 8:00 p.m.

Joyce DiDonatoIn War and Peace: Harmony Through MusicNovember 3, 2019 at 7:00 p.m.

Royal Philharmonic Orchestra with Khatia Buniatishvili, pianoJanuary 15, 2020 at 8:00 p.m.

Pablo Sáinz Villegas Americano TrioFebruary 29, 2020 at 8:00 p.m.

Jane Bunnett and MaquequeMarch 19, 2020 at 8:00 p.m.

Robert McDuffie, violin and Robert Spano, piano April 10, 2020 at 8:00 p.m.

404.727.5050tickets.arts.emory.edu

SCHWARTZ CENTER FOR PERFORMING ARTS

2019–2020 Candler Concert Series