Saturday Evening, April 9, 2016, at 7:30

Virtuoso Recitals

Richard Goode, Piano

ALL-BACH PROGRAM

Prelude and Fugue No. 1 in C major, BWV 870, from The Well-Tempered Clavier, Book II (c. 1740)

French Suite No. 5 in G major, BWV 816 (c. 1722–25)AllemandeCorrenteSarabandeGavotteBourréeLoureGigue

15 Sinfonias, BWV 787–801 (c. 1720/1723)

Intermission

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

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Please make certain all your electronic devices are switched off.

Steinway PianoAlice Tully Hall, Starr TheaterAdrienne Arsht Stage

Great Performers

BNY Mellon is Lead Supporter of Great Performers

Support is provided by Rita E. and Gustave M. Hauser, 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

UPCOMING GREAT PERFORMERS EVENTS:

Wednesday Evening, April 13, 2016 at 7:30 in Alice Tully HallAccademia BizantinaOttavio Dantone, Conductor (New York conducting debut)Christophe Coin, CelloSergio Azzolini, BassoonDelphine Galou, ContraltoALL-VIVALDI PROGRAMVirtuosic arias and concertos by VivaldiPre-concert lecture by Susan Orlando at 6:15 in the Stanley H. Kaplan Penthouse

Sunday Afternoon, April 17, 2016 at 5:00 in Alice Tully HallEmerson String QuartetHAYDN: Quartets Op. 76, Nos. 2 (“Fifths”) and 5BEETHOVEN: Quartets Op. 18, Nos. 1 and 5Pre-concert lecture by Scott Burnham at 3:45 in the Stanley H. Kaplan Penthouse

Sunday Afternoon, May 8, 2016 at 3:00 in David Geffen HallMurray Perahia, PianoHAYDN: Variations in F minorMOZART: Sonata in A minor, K.310BRAHMS: Ballade in G minor, Op. 118BRAHMS: Two Intermezzos, Op. 119BRAHMS: Intermezzo in A major, Op. 118BRAHMS: Capriccio in D minor, Op. 116BEETHOVEN: Sonata No. 29 in B-flat major (“Hammerklavier”)

For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about program cancellations or to request a GreatPerformers brochure.

Visit LCGreatPerformers.org for more information relating to this season’s programs.

Join the conversation: #LCGreatPerfs

We would like to remind you that the sound of coughing and rustling paper mightdistract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who mustleave before the end of the performance are asked to do so between pieces. The takingof photographs and the use of recording equipment are not allowed in the building.

Great Performers I The Program

Prelude and Fugue No. 11 in F major, BWV 880, from The Well-Tempered Clavier, Book II (c. 1740)

Partita No. 2 in C minor, BWV 826 (1727)SinfoniaAllemandeCouranteSarabandeRondeauxCapriccio

Italian Concerto, BWV 971 (1735)[Allegro]AndantePresto

Great Performers

By David Wright

Unlike his friend G.P. Telemann, J.S. Bachdidn’t court fame with frequent publicationsof his works. His one major publishing pro-ject, which he called Clavier-Übung (KeyboardPractice), was a four-volume anthology ofhis keyboard works in a wide variety ofstyles, aimed at student and professionalkeyboard players who were learning theirway around the world of late-Baroquemusic. Despite its didactic title, the Clavier-Übung was no collection of dry exercises. Infact, it contained many works that form thefoundation of today’s piano and organ reper-toire: the six partitas, the “Goldberg”Variations, the “Italian” Concerto, thechorale preludes, and other large organworks, to name a few. Some of its more inti-mate treasures are less known to audiencesin big concert halls, but they are the dailybread of working, practicing pianists, includ-ing The Well-Tempered Clavier, Books I andII, with its wonderfully varied preludes andfugues in as many as four or five voices. ForBach, “keyboard practice” was inseparablefrom beautiful music-making.

Bach also composed keyboard dance suitesmodeled on those of Jean-Baptiste Lully,court composer to France’s King Louis XIV.The “French” suites follow Lully’s formulaclosely with a string of dances from alle-mande to gigue; the partitas add a lively pre-lude and other non-dance movements.

The tuneful Italian Concerto was originallycomposed for a harpsichord with two manu-als (keyboards) representing, respectively, anorchestra and a brilliant soloist in Vivaldi-likeconversation. The performer on a modern,one-keyboard piano aims to achieve the sameeffect with contrasting touch and tone color.

—Copyright © 2016 by David Wright

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172315 SinfoniasHandel moves to 25 BrookStreet, London, the modern-day Handel House Museum.

1725French Suite No. 5Italian autobiographer andadventurer Giacomo Casanovais born.

1735Italian ConcertoEnglish sculptor ThomasBanks is born.

1723Pioneer of the microscopeAntonie van Leeuwenhoekdies.

1725The binary numeral system isinvented by Basile Bouchon.

1735Cobalt is discovered and isolated by Georg Brandt.

1723New York City populationstands at 7,248.

1725William Bradford begins publishing the New YorkGazette, the city’s first newspaper.

1735Journalist and printer JohnPeter Zenger is charged withlibel after publishing newspa-per copy critical of the colo-nial governor.

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Great Performers I Notes on the Program

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Prelude and Fugue No. 1 in C major, BWV 870Prelude and Fugue No. 11 in F major, BWV 880, from The Well-Tempered Clavier, Book II (c. 1740)JOHANN SEBASTIAN BACHBorn March 21, 1685, in Eisenach, GermanyDied July 28, 1750, in Leipzig, Germany

Approximate length: 9 minutes total

For centuries, keyboard instruments were tuned to “natural” scales,with the effect that the further a piece moved away from its home key,the more out-of-tune it sounded. But a few little adjustments in tuningproduced a “tempered” scale that sounded equally good (or for thosewith sensitive ears, equally bad) in all keys.

Bach eagerly embraced this innovation for the harmonic freedom it gavehim in his compositions, and he celebrated it explicitly in 1722 with TheWell-Tempered Clavier, a collection of paired preludes and fugues, onein each of the 24 major and minor keys. About 20 years later, herepeated the feat with 24 more preludes and fugues, which came to beknown as The Well-Tempered Clavier, Book II.

The two pairs from Book II on this evening’s program have much incommon: home keys with cheerful connotations (C major and F major),preludes in flowing-scale style, and fugues in dance-like tempos(gavotte and gigue respectively). Like the Sinfonias also performedtonight, each of these fugues is in three-voice counterpoint.

French Suite No. 5 in G major, BWV 816 (c. 1722–25)JOHANN SEBASTIAN BACH

Approximate length: 11 minutes

Bach’s instrumental suites are the high point of a tradition dating backto the mid-17th century, when Jean-Baptiste Lully began extracting thedance interludes of his operas for concert performance. Liberated fromthe stage or the dance floor, the movements of the concert suitebecame more elaborate and less danceable, until Bach’s contemporaryJohann Mattheson could write, “An allemande for dancing and one forplaying are as different as Heaven and Earth.”

Sometime after Bach’s death, his “French” suites acquired their nick-name because they follow the simple plan favored by Couperin and theother clavecinistes. Each begins with an allemande, the traditional

Great Performers I Notes on the Program

courtly dance for stately entrances, and proceeds with a courante or corrente,a sarabande, two to four other dances ad lib, and finally a lively gigue.Sometimes the movements’ themes resemble each other, as in the openingphrases of the Allemande and the Bourrée of the G-major French Suite.

A single mood predominates in each suite, shifting subtly from movement tomovement. In the G major, that mood is so openly warm and lyrical that thishas become the most popular of all Bach’s suites, especially among teachersand students. Appropriately, this music made its first appearance in the “LittleClavier Book” of Anna Madgalena Bach, the 20-year-old singer whom Bachhad just made his second wife.

15 Sinfonias, BWV 787–801 (c. 1720/1723)JOHANN SEBASTIAN BACH

Approximate length: 26 minutes

In 1723 Bach was music director to the Duke of Anhalt-Cöthen and also thefather to several musically gifted sons. In a notebook for his 13-year-old sonWilhelm Friedemann Bach, he wrote 15 keyboard teaching pieces in twovoices—that is, one melodic line in each hand. These compositions, known asTwo-Part Inventions, are delightful character pieces and studies in two-partcounterpoint, and have been the bread and butter of intermediate-level pianostudents ever since. Less well-known are the Sinfonias, sometimes calledThree-Part Inventions, which Bach subsequently added to young Wilhelm’snotebook. There are 15 of those too, following the same sequence of keys asthe two-part works, but with the all-important complication that they havemore melodic lines than the pianist has hands, and so they introduce a moresophisticated concept of how to realize counterpoint at the keyboard.

The Sinfonias are rich in contrapuntal ingenuity and expressive variety, fromthe dance-like F major to the vocal duet in E-flat major, from the whizzing toc-cata in E major to the pathos of the G minor. The set concludes with theSinfonia in B minor, whose Scarlatti-like brilliance and bite represented themost “modern” sound in keyboard music in 1723.

Partita No. 2 in C minor, BWV 826 (1727)JOHANN SEBASTIAN BACH

Approximate length: 31 minutes

The partita was an expanded version of the ubiquitous Baroque dance suite; it included an elaborate opening movement and some non-dance pieces sprinkled in among the allemandes, courantes, and sarabandes. The C-minorPartita, composed in 1727, begins with a Sinfonia, in this case meaning anoverture; despite its “orchestral” title, the movement is in only two voices for

Great Performers I Notes on the Program

most of the way. After three dance movements, the partita ends not with thecustomary gigue but with two non-dances: a Rondeaux (predecessor of theClassical rondo) with a recurring theme, and a Capriccio that gets its “capri-ciousness” from wide, goat-like skips in the melody.

Italian Concerto, BWV 971 (1735)JOHANN SEBASTIAN BACH

Approximate length: 12 minutes

The Concerto nach italienischem Gusto (Concerto after the Italian Taste), BWV 971—or the Italian Concerto, as it is usually called—is modeled on thevirtuoso solo concertos of Vivaldi, then the rage all over Europe. Bach com-posed this work for a large harpsichord with at least two manuals (keyboards);switching between them, the player could mimic the contrasting sounds oforchestra and soloist.

The modern pianist, with only one set of strings at his or her disposal, pro-duces these orchestral and solo sonorities by touch alone—although Bachhelps out, for example, by supporting the first movement’s opening and clos-ing ritornello with rich chords, then thinning out the texture for the “solo”episodes. Writing not only in Vivaldi’s form but under his stylistic influence,Bach permits himself a more popular, flashier style here than in many of hisother works. In no way, however, could this be mistaken for a work by Vivaldi;the richness of Bach’s contrapuntal and harmonic imagination, and the pro-found expression of the Andante, go beyond anything in the Italian master’smore than 500 concertos.

David Wright, a music critic for Boston Classical Review, has provided programnotes for Lincoln Center since 1982.

—Copyright © 2016 by David Wright

Great Performers I Meet the Artist

Hailed for music-making of tremendous emotional power, depth, andexpressiveness, Richard Goode is one of today’s leading interpreters ofClassical and Romantic music. In regular performances with the majororchestras, recitals in the world’s music capitals, and through his exten-sive and acclaimed Nonesuch recordings, he has won a large anddevoted following.

Highlights of his 2015–16 season include solo performances with the LosAngeles Chamber Orchestra and Jeffrey Kahane, Orchestre de Paris andHerbert Blomstedt, the Cincinnati Symphony and David Zinman, and theOrchestre National de Lyon and Ton Koopman. A compelling recitalist, Mr.Goode appears at the Royal Festival Hall in London and in the ChicagoSymphony series as well as at Lincoln Center and other major venues inCleveland, Denver, Philadelphia, San Francisco, Budapest, Dublin, andVancouver, among others. He also returns to both the GilmoreInternational Keyboard Festival and Krannert Center for the PerformingArts at the University of Illinois, and performs in a gala concert celebratingthe 30th anniversary of the Philadelphia Chamber Music Society.

An exclusive Nonesuch recording artist, Mr. Goode has made more thantwo dozen recordings, ranging from solo and chamber works to lieder andconcertos. His 2009 recording of the five Beethoven piano concertoswith the Budapest Festival Orchestra and Iván Fischer was released toexceptional critical acclaim and nominated for a Grammy Award. His ten-CD set of the complete Beethoven sonatas cycle, the first-ever by anAmerican-born pianist, was nominated for a Grammy and has beenranked among the most distinguished recordings of this repertoire. Otherrecording highlights include a series of Bach Partitas, a duo recordingwith Dawn Upshaw, and Mozart piano concertos with the OrpheusChamber Orchestra.

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From 1999 through 2013, Mr. Goode served, with Mitsuko Uchida, as co–artistic director of the Marlboro Music School and Festival in Marlboro,Vermont. His numerous prizes over the years include the Young ConcertArtists Award, First Prize in the Clara Haskil International Piano Competition,the Avery Fisher Prize, and a Grammy Award for his recording of the BrahmsSonatas with clarinetist Richard Stoltzman.

Lincoln Center’s Great Performers

Celebrating its 50th anniversary, Lincoln Center’s Great Performers offers clas-sical and contemporary music performances from the world’s outstandingsymphony orchestras, vocalists, chamber ensembles, and recitalists. Since itsinitiation in 1965, the series has expanded to include significant emergingartists and premieres of groundbreaking productions, with offerings fromOctober through June in Lincoln Center’s David Geffen Hall, Alice Tully Hall,and other performance spaces around New York City. Along with liederrecitals, Sunday morning coffee concerts, and films, Great Performers offersa 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: pre-senter of artistic programming, national leader in arts and education and com-munity relations, and manager of the Lincoln Center campus. A presenter ofmore than 3,000 free and ticketed events, performances, tours, and educa-tional activities annually, LCPA offers 15 programs, series, and festivals includ-ing American Songbook, Great Performers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival,and the White Light Festival, as well as the Emmy Award–winning Live FromLincoln Center, which airs nationally on PBS. As manager of the LincolnCenter campus, LCPA provides support and services for the Lincoln Centercomplex and the 11 resident organizations. In addition, LCPA led a $1.2 billioncampus renovation, completed in October 2012.

Great Performers I Meet the Artist

Great Performers

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerAndrew Elsesser, Temporary Associate Director, ProgrammingCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingRegina Grande, Associate ProducerAmber Shavers, Associate Producer, Public ProgrammingNana Asase, Assistant to the Artistic DirectorLuna Shyr, Senior EditorJenniffer DeSimone, Production CoordinatorOlivia Fortunato, House Seat Coordinator

Mr. Goode’s representation:Frank Salomon Associateswww.franksalomon.com

In the summer of 2014, more than 90

middle school arts students arrived on

Lincoln Center’s campus as part of a newly

created initiative called Middle School Arts

Audition Boot Camp. This free two-week

program, created in partnership with the

New York City Department of Education,

was designed to level the playing field

for students as they audition for some

of the city’s most competitive arts-based

high schools. As part of the intensive,

ten-session, two-week program, students

from schools with limited resources

received coaching in dance, theater, music,

and the visual arts from professionals

and teaching artists within Lincoln Center’s

resident organizations, and Department

of Education teachers. After receiving this

preparation, which included masterclasses

and mock auditions, an astounding 90%

of the students received an offer to the

high school of their choice, and 64%

were offered placement in arts-based

high schools. Audition Boot Camp was

so successful that it was repeated in the

summer of 2015 with an even larger group

of students. Within the next few weeks,

the 149 students from the 2015 class will

find out about their high school placements.

In the meantime, the program will continue

again this summer with a third class of up

to 160 eighth graders.

Preparing for the high school audition

is important, but what happens next?

Lincoln Center is expanding its

commitment to the graduates of the

Middle School Arts Audition Boot Camp

program through a new initiative called

Mentor-Linc. In this program, Boot Camp

alumni will have access to their peer

network all year long and can opt to be

paired with a mentor, who will continue

to offer advice and support through

four years of high school. By providing

continued access to a mentor, Lincoln

Center Education will help guide these

eighth graders toward success beyond

the audition, opening doors to a future

of opportunities.

Learn more about Lincoln Center Education: LincolnCenterEducation.org

NYC Department of Education teacher Dan Burwasser training music students for auditions

4 decades of thinking like an artist

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Accessibility at Lincoln CenterReflecting a quote by Lincoln

Center’s first president John D. Rockefeller III that “the arts are not for the privileged few, but for the many,” Lincoln Center has had as a central mission from its start making the arts available to the widest possible audiences. In 1985, that led to the establishment of the Department of Programs and Services for People with Disabilities to ensure full participation in the thousands of events presented annually across the Lincoln Center campus. It was the first such program at any major performing arts center in the U.S. and has long-served as a model for other arts institutions around the country.

Celebrating its 30th anniversary with a new name, Accessibility at Lincoln Center, the program continues to provide exceptional guest care to all visitors, as well as training in accessibility to colleagues at Lincoln Center’s resident organizations, including the Film Society of Lincoln Center, the New York Philharmonic, and Jazz at Lincoln Center.

Accessibility oversees the production of large-print and Braille programs for hundreds of performances taking place each year at various Lincoln

Center venues. Another major component of Accessibility is its longstanding “Passport to the Arts.” The program annually distributes to children with disabilities thousands of free tickets to a variety of Lincoln Center performances, including New York City Ballet and the New York Philharmonic—a welcoming introduction to the arts. A parent who participated in a recent “Passport” event commented “It allowed my family and I to enjoy and learn along with everyone else. The accessibility… made it easier for our family to “relax”

and truly enjoy the experience.”

Accessibility is expanding the ways it serves adults with disabilities. It introduced and oversees American Sign Language-led official tours of Lincoln Center, and offers live audio description for select Lincoln Center Festival performances. Accessibility

looks forward to growing its inclusive programs in the years to come.

To learn more about Accessibility at Lincoln Center, please contact access@lincolncenter.org or call 212.875.5375.

American Table Café and Bar byMarcus Samuelsson in Alice Tully Hall

is a great dining option available to LincolnCenter patrons, along with LincolnRistorante on Hearst Plaza, indie food &wine in the Elinor Bunin Munroe FilmCenter, ‘wichcraft in the DavidRubenstein Atrium, The Grand Tier in theMetropolitan Opera house, and LincolnCenter Kitchen and the cafe in DavidGeffen Hall.

Marcus Samuelsson, the youngest chefever to be awarded a three-star reviewby The New York Times and the winnerof the James Beard Award for both“Rising Star Chef” (1999) and “BestChef: New York City” (2003), craftedthe menu along with long-time associateNils Noren, MSG’s Vice President ofRestaurant Operations. American TableCafe and Bar by Marcus Samuelssonserves food that celebrates the diversityof American cuisine, drawing on influ-ences and regions from across thecountry. Dishes on the menu, which isoffered for both lunch and dinner,include Smoked Caesar Salad, ShrimpRoll, and Chocolate Cardamom PannaCotta. The bar features a cocktail menudesigned by consulting master mixolo-gist, Eben Klemm, as well as a selectionof reasonably-priced wines.

Marcus Samuelsson’s memoir, Yes,Chef, chronicles his remarkable journeyfrom being orphaned at age three in hisnative Ethiopia to his adoption by a fami-ly in Göteborg, Sweden, where he firstlearned to cook by helping his grand-mother prepare roast chicken. He wenton to train in top kitchens in Europebefore arriving in New York, first takingthe reins at Aquavit. He has won thetelevision competition Top ChefMasters on Bravo as well as top honorson Chopped All Stars: Judges Remix.

His current New York restaurant, thewildly successful Red Rooster, is locat-ed in his home base of Harlem.

American Table Cafe and Bar seats 73inside, plus more space outside on theAlice Tully Hall Plaza. Diller Scofidio +Renfro, the designers of the criticallyacclaimed Alice Tully Hall, transformedthe glass-walled space with lounge-likefurniture in warm, rich colors, a longcommunal couch, tree-trunk tables, andlighting that can be dimmed to adjustthe mood. The design—an eclectic reinterpretation of Americana—draws its inspiration from the cafe’s culinaryfocus. Call 212.671.4200 for hours ofoperation.

The Table is Set

Marcus Samuelsson

LINCOLN CENTER, THE WORLD’SLEADING PERFORMING ARTSCENTER, is a premiere New York destination for visitors from aroundthe globe. Did you know that tours ofits iconic campus have made the TopTen Tour list of NYC&CO, the officialguide to New York City, for twoyear’s running? All tour options offeran inside look at what happens onand off its stages, led by guides withan encyclopedic knowledge ofLincoln Center, great anecdotes, and

a passion for the arts. The daily one-hour Spotlight Tour covers the Center’s history alongwith current activities, and visits at least three of its famous theaters. Visitors can now alsoexplore broadcast operations inside the Tisch WNET-TV satellite studio on Broadway, andsee Lincoln Center’s newest venue, the Elinor Bunin Munroe Film Center, home to thelargest 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 ofNew York City’s “must-see” attractions with one ticket. This package combines the MusicHall’s Stage Door tour of its Art Deco interior—which might include meeting a world-famousRadio City Rockette—with Lincoln Center’s Spotlight Tour, where a sneak peak at a rehearsalhappens whenever possible.

� ART & ARCHITECTURE TOUR Lincoln Center’s 16-acre campus has one of New YorkCity’s greatest modern art collections, with paintings and sculpture by such internationallyacclaimed 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 ofvisionary architects like Philip Johnson, as well as the innovative concepts of architectsDiller Scofidio+ Renfro with FXFOWLE, Beyer Blinder Belle, and Tod Williams Bille Tsien,designers of the campus’ $1.2 billion renovation.

� EVEN MORE TOUR OPTIONS Lincoln Center offers ForeignLanguage Tours in five languages: French, German, Italian,Japanese, and Spanish, in addition to American SignLanguage tours. Visitors with a special interest in jazz can takethe Jazz at Lincoln Center Tour of the organization’s gorgeousvenues at the Times Warner Center, the only facilities createdspecifically for the performance of jazz music. And Group Toursof more than 15 people get a discount.

For more information, click on LincolnCenter.org/Tours.To book atour, call (212) 875.5350, email tour_desk@lincolncenter.org, orvisit the Tour and Information Desk in the David RubensteinAtrium at Lincoln Center, located on Broadway between 62nd and63rd Streets. –Joy Chutz

Learn More, Take the Tour

Visitors get a concert preview at rehearsal

Inside the David H. Koch Theater

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WHO SAYS THE NIGHTLIFE FOR YOUNG PROFESSIONALS IS DOWNTOWN?Young Patrons of Lincoln Center (YPLC) is a dynamic network of urban professionals intheir 20s to early 40s making a splash way above 14th Street. With an annual contribu-tion 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 memberstogether for bi-monthly cocktail parties with live performances where they meet like-minded arts enthusiasts and interact with the artists. Recent 101 events have includedBallet 101: The Nutcracker with dancers from the New York City Ballet; Mixology 101 atLincoln Ristorante; and Lincoln Center 101 with Harvard Business School professor AllenGrossman.

Beyond events produced especially for YPLC, members also receive email updatesand invitations to Lincoln Center’s broader programming, including reserved seating atAmerican Songbook, Great Performers, and Lincoln Center Festival. In July 2011, eightyyoung professionals went to see As You Like It performed by the Royal ShakespeareCompany at the Park Avenue Armory, and were joined by the cast at an exclusive cham-

pagne after-party at the Nespresso Boutique on MadisonAvenue.

To support this flourish of activity, YPLC hosts anannual black tie gala. The event attracts more than 600young philanthropists who raise a glass to celebrate andsupport the spectacular redevelopment of LincolnCenter’s campus with hors d’oeuvres, open bar, anddancing into the night.

And it doesn’t stop there. By flashing their purplemembership card, YPLC members receive discounts atrestaurants and retailers in the Lincoln Center neighbor-hood. For those who are volunteer-oriented, YPLC offersan opportunity to participate on committees focused onoutreach, education, and fundraising. Funds raisedthrough YPLC events, along with annual membershipcontributions, support projects that bring new audiences

to Lincoln Center. With four hundred members and counting, YPLC is committed to cel-ebrating and supporting the world’s leading performing arts center, and has a lot of fun inthe process.

For more information on YPLC membership and events, visit www.lincolncenter.org/yplc, email yplc@lincolncenter.org or call 212.875.5236.

YPLC is sponsored by Nespresso.

Young Patrons of Lincoln Center

Members Walter Hack andKatherine Carey smile for the camera at a YPLC mixer

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LC Kids—Lincoln Center for the Performing Arts’ program aimed at

young audiences which promotes a life-long love of the performing arts—presents a monthly series of free music performances, LC Kids Artists at the Atrium.

Formerly known as Meet the Artist Saturdays, these informal, interactive, one-hour free presentations at Lincoln Center’s David Rubenstein Atrium (scheduled for the first Saturday morning of each month, excluding January) include a wide range of performances by artists from different disciplines, specially created for family appeal and enjoyable for all ages.

Showcasing a diverse range of musical styles from leading artists from across the country, these programs showcase a unique blend of performance, participation, and education to give family audiences opportunities to experience the arts up-close and first-hand with world-class performers. Sometimes featuring interactive components, these presentations also include Q&A’s with the artists.

Upcoming LC Kids Artists at the Atrium performances include The Okee Dokee Brothers (November 7, 2015), a Grammy-winning blend of American folk music, witty lyrics, and stories of thrilling outdoor adventures; Jazzy Ash and the Leaping Lizards (December 5, 2015), which leads audiences on a musical tour of New Orleans culture; Rabbit Days and

Dumplings (February 6, 2016), a reimagining of traditional children’s songs from East Asia with western folk and rock instruments; and The Itty Biddies (March 5, 2016), who take audiences on an interactive, playful journey of the imagination through storytelling and song.

LC Kids Artists at the Atrium is produced by Lincoln Center Education, a global leader in arts education and advocacy. Lincoln Center Education believes that the arts cultivate a unique skill set that is indispensable for the 21st century: problem-solving, collaboration, communication, imagination and creativity. Through this work, Lincoln Center equips young people for success in their careers and to serve as active participants in their communities.

Learn more about Lincoln Center Education: LincolnCenterEducation.org Learn more about LC Kids Artists at the Atrium: Kids.LincolnCenter.org

Jazzy Ash and the Leaping Lizards

4 decades of thinking like an artist

LC Kids Artists at the Atrium