This made historical and intellectual sense. Over the course of the past several decades, Mostly Mozart evolved from a diet of light classics into a sometimes sprawling series that treated its namesake composer more as a starting point than a consistent theme. It may even perform some regular old classical music.Ĭhange comes gradually, then all of a sudden. Lincoln Center’s leaders promise that the summer ensemble will have a significant, but as yet undefined, role in that transformation. It’s an all-embracing approach that elides the difference in mission between the commercial-entertainment machine and an institution that uses philanthropic dollars to support less capitalistic artistic pursuits. In this additional position, he will help Lincoln Center in its ongoing rebranding project, led by artistic director Shanta Thake, to fill the campus with a smorgasbord of genres so that nobody feels left out.
Heyward, who recently made his New York Philharmonic debut and will conduct the Mostly Mozart Orchestra in Schumann’s “Rhenish” Symphony this summer, recently became the first Black music director of the Baltimore Symphony Orchestra.
In the name of breaking down silos and broadening audiences, a classical-music tradition will have to fight for its place in an evolving artistic landscape. The festival itself will end its 53-year run, and at least some of its activities will be absorbed into a unified panoply of events. Starting next year, 30-year-old Jonathon Heyward will begin a three-year contract at the head of an orchestra with a new profile as Lincoln Center’s summer ensemble. This summer, Louis Langrée wraps up his 21-year run as music director of the Mostly Mozart Festival and its orchestra. Jonathon Heyward, new music director of the (soon to be formerly known as) Mostly Mozart Festival.
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