destination vienna - cloudinary david finckel wu han artistic directors about tonight’s program...

TUESDAY EVENING, NOVEMBER 15, 2016 AT 7:30 3,631ST CONCERT

Alice Tully Hall, Starr Theater, Adrienne Arsht StageHome of The Chamber Music Society of Lincoln Center

SEAN LEE, violinALEXANDER SITKOVETSKY, violinMATTHEW LIPMAN, violaRICHARD O'NEILL, violaDAVID FINCKEL, celloKEITH ROBINSON, cello

WOLFGANG AMADEUS

MOZART(1756–1791)

ARNOLD SCHOENBERG

(1874–1951)

JOHANNES BRAHMS

(1833–1897)

Quintet in C minor for Two Violins, Two Violas, and Cello, K. 406 (1782, arr. 1787) Allegro Andante Menuetto in canone—Trio in canone al rovescio AllegroLEE, SITKOVETSKY, O'NEILL, LIPMAN, ROBINSON

Verklärte Nacht for Two Violins, Two Violas, and Two Cellos, Op. 4 (1899)SITKOVETSKY, LEE, O'NEILL, LIPMAN, ROBINSON, FINCKEL

INTERMISSION

Sextet No. 1 in B-flat major for Two Violins, Two Violas, and Two Cellos, Op. 18 (1860) Allegro ma non troppo Andante, ma moderato Scherzo: Allegro molto Rondo: Poco allegretto e graziosoLEE, SITKOVETSKY, LIPMAN, O'NEILL, ROBINSON, FINCKEL

PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES.Photographing, sound recording, or videotaping this performance is prohibited.

DESTINATION VIENNA

www.ChamberMusicSociety.org

David Finckel Wu HanARTISTIC DIRECTORS

ABOUT TONIGHT’S PROGRAM

Dear Listener,

“Destination Vienna,” the title of our program, is as enticing a travel plan as one could imagine. Not only in Vienna’s storied past was the city a magnet for people seeking the finest things in life: today, Vienna sits near and often at the top of the list of the world’s most livable cities. Having only a year ago led a tour group for a week in the Austrian capital, we can attest to the city’s persistent appeal and to the still-palpable auras of the great artists and thinkers of its past.

It is interesting to remember that most of the great musicians we associate with Vienna were not born in the city but instead were drawn there by their desire to be at the center of the music world, among them Haydn, Mozart, Beethoven, Salieri, Bruckner, Brahms, and Mahler. Similarly, Felix Mendelssohn made the obligatory pilgrimage to the capital of music on his Grand Tour, arriving in Vienna via the Danube River in August of 1830. But alas, Felix had just missed Vienna’s first golden age: Beethoven and Schubert had died two and three years prior, and musical energy had begun to stagnate. Felix knew this for sure when the director of the Kärtnerthortheater actually asked him if the St. Matthew Passion was by Bach!

The second half of the 19th century saw Vienna’s resurgence as Europe’s preeminent music center, although by this time other cities such as Paris had begun to claim similar status. The age of Brahms once again caused all eyes and ears to be cast on Vienna, and in 1897, the year Brahms died and the Secession movement was born, Vienna’s cultural torch was passed to the modern age. As Freud postulated unimaginable theories of the subconscious, musicians such as Arnold Schoenberg were beginning to question as well the old rules of their art. It is in tribute to Vienna’s incomparable artistic and intellectual curiosity, still so relevant, that we offer you this multi-faceted musical portrait of the city which remains an essential destination of anyone’s grand tour.

Enjoy the concert,

The Chamber Music Society of Lincoln Center

The year 1786 was the zenith of Mozart’s career in Vienna. Perhaps because of intrigue but more probably because the geometrical expansion of deep expression in his newest music did not suit the fickle taste of the Viennese, his local popularity began to wane thereafter. Though he tried to economize

by moving from his spacious apartment in the Schullerstrasse to a smaller flat at 224 Landstrasse, he could not abandon his taste for fine clothes and elegant entertaining, and took on debts, several of which were to the textile merchant Michael Puchberg, a fellow Mason. On April 2, 1787, an announcement signed by Mozart appeared in the Wiener Zeitung stating that he was offering for sale by subscription three new string quintets, “finely and correctly written,” which would be available at Puchberg’s establishment in the Hohe Markt after July 1. The intention was apparently that Puchberg would keep the proceeds to repay a debt. To create the promised

WOLFGANG AMADEUS MOZART Born January 27, 1756, in Salzburg. Died December 5, 1791, in Vienna.

Composed in 1782 for eight winds; arranged for strings in 1787. First CMS performance on October 19, 1973. Duration: 24 minutes

Quintet in C minor for Two Violins, Two Violas, and Cello, K. 406

Having played in the Miami Quartet for almost 30 years, I have been able to embrace and enjoy the finest works by composers from Haydn to Bartók. All of the great masters since Haydn have used the string quartet as a conduit for their most personal and impactful musical statements. Adding the extra viola in the case of the Mozart quintet, or the extra viola and cello in the case of the Brahms and Schoenberg sextets, results in an even warmer texture that verges on orchestral at times. In fact, Schoenberg later produced a version of his tone poem Verklärte Nacht for string orchestra some 18 years after composing the sextet.

The leaner quartet is a perfect vehicle for a composer’s intimate ideas, but a sextet is a party! The second cello frees the first cello from the bass line and allows a more soloistic role for the instrument. Likewise, the second viola provides the darker hue which adds so much warmth to the ensemble and the first viola is liberated for some terrific solo lines with the first violin and first cello. The historical range of these compositions (1782–1899) is a fascinating journey from the height of the Classical period through the Romantic era.

—Keith Robinson

NOTES ON THE PROGRAM


trio of works, Mozart created anew the Quintets in C major (K. 515) and G minor (K. 516), and arranged the magnificent Wind Octet in C minor of 1782 (K. 388) for five strings (K. 406, corrected to K. 516b in Einstein’s revisions of Köchel’s catalog).

Of the emotional milieu of the C minor String Quintet, Alfred Einstein wrote, “If G minor is the fatalistic key for Mozart, then C minor is the dramatic one, the key of contrasts between aggressive unisons and lyric passages. The lyric quality is always overtaken by gloomy outbursts.” The first movement opens with just such an “aggressive unison” in long note values that establishes the deeply emotional nature of the entire work. Following a brief silence, the lyrical second theme is played in the brighter tonality of E-flat major. The development is given over to sighing figures derived from the main theme. The recapitulation recalls the thematic material from the exposition,

but maintains the dark color of the minor tonality to the stern closing measures of the movement.

The second movement is a lyrical song in sonata form with the moonlit overtones of an operatic love scene. The third movement is one of Mozart’s most elaborate contrapuntal inventions. The minuet proper is in strict canon (i.e., exact imitation, like a round) between the first violin and the cello, with the other instruments filling in the harmony. Occupying yet another level of polyphonic complexity, the central trio is written in “canone al rovescio,” or “canon in reverse.” The new canon melody of the trio is played both in its original version and upside-down, in mirror image, by the four voices of violins, first viola, and cello. The finale is a set of variations on a 16-measure theme announced at the outset by the first violin. The dark shadow of C minor passes from the music in the closing pages for a high-spirited galop in C major to the end. u

During the summer of 1899, Schoenberg was on holiday in the mountain village of Payerbach, south of Vienna, and it was there that he began a work for string sextet based on a poem by Richard Dehmel: Verklärte Nacht (Transfigured Night), which had appeared three years

earlier in a collection called Weib und die Welt (Woman and the World). Dehmel was one of the most distinguished German poets of the day, whose verses bridged the sensuous Impressionism of the preceding generation and the intense spirituality of encroaching Expressionism. Verklärte Nacht matches well the Viennese fin-de-siècle temperament, when Sigmund Freud was intellectualizing sex with his systematic explorations into the subconscious and Gustav Klimt was painting full-length portraits of his female subjects as he imagined they would look totally nude before applying layers of elaborate,

ARNOLD SCHOENBERG Born September 13, 1874, in Vienna. Died July 13, 1951, in Brentwood, California.

Composed in 1899. Premiered on March 15, 1902, in Vienna. First CMS performance on January 7, 1972. Duration: 30 minutes

Verklärte Nacht for Two Violins, Two Violas, and Two Cellos, Op. 4


gold-sparkled costumes to finish the canvas. The following translated excerpt from Dehmel’s poem appears in Schoenberg’s printed score:

“Two people walk through the bare, cold woods; the moon runs along, they gaze at it. The moon runs over tall oaks, no cloudlet dulls the heavenly light into which the black peaks reach. A woman’s voice speaks:

“‘I bear a child, but not by you. I walk in sin alongside you. I sinned against myself mightily. I believed no longer in good fortune but still had mighty longing for a full life, mother’s joy and duty; then I grew shameless, then horror-stricken, I let my sex be taken by a stranger and even blessed myself for it. Now life has taken its revenge: Now I have met you, you.’

“She walks with clumsy gait. She gazes upward; the moon runs along. Her somber glance drowns in the light. A man’s voice speaks:

“‘The child that you conceived be to your soul no burden. Oh look, how clear the universe glitters! There is a glory around All, you drift with me on a cold sea, but a peculiar warmth sparkles from you in me, from me in you. It will transfigure the strange child you will bear

for me, from me; you brought the glory into me, you made myself into a child.’

“He holds her around her strong hips. Their breath kisses in the air. Two people walk through the high, light night.”

Schoenberg glossed this richly emotional poem with music influenced by Wagner’s lush Tristan chromaticism, Brahms’ intellectual rigor, and the intense expression of Romanticism to create a vast one-movement piece for strings that is virtually a programmatic tone poem. The work was premiered on March 15, 1902 when the augmented Arnold Rosé Quartet performed it under the auspices of the Vienna Tonkünstler Society. Schoenberg had already acquired a reputation as an unrepentant modernist, and the audience insisted on being put off by the music’s ripe harmony and the lubricity of its subject. The Hungarian violinist Francis Aranyi reported that the premiere was greeted “with much blowing of whistles, heaving of rotten eggs, etc.,” but that Rosé valiantly took his bows at the end “just as all hell broke loose.” Over a number of years, however, Verklärte Nacht came to be viewed not as an avant-garde aberration but as one of the foremost creations of the Post-Romantic era. u

The Principality of Lippe-Detmold, midway between Frankfurt and Hamburg, was one of the leading centers of 19th-century German music. The reigning Prince, Leopold III, had a taste for music, which he was able to gratify by employing a permanent orchestra of 45 players that presented a broad spectrum of works from Mozart through Wagner. A great deal of chamber music was

JOHANNES BRAHMS Born May 7, 1833, in Hamburg. Died April 3, 1897, in Vienna.

Composed in 1860. Premiered on October 20, 1860, in Hanover

by an ensemble led by Joseph Joachim. First CMS performance on December 11,

1970. Duration: 36 minutes

Sextet No. 1 in B-flat major for Two Violins, Two Violas, and Two Cellos, Op. 18


played by the principals of the orchestra, a choir was formed from members of the household and townsfolk, and guest artists were often asked to visit the court to perform with the resident forces. One such visitor was Clara Schumann, who not only performed but also gave piano lessons to one of the Prince’s sisters and to the sister of the Court Chamberlain. When Clara moved from Düsseldorf to Berlin in 1857, a year after her husband’s death, she recommended that her young friend, the composer Johannes Brahms, continue the ladies’ lessons. So taken were they with their 24-year-old teacher that they wrangled for him a position at court which included conducting the chorus and orchestra, participating in chamber music and, of course, continuing their instruction. The post was only for the three months of October through December, but the salary was sufficient to sustain Brahms in

his modest life style in Hamburg for a full year. He returned again in 1858 and 1859.

Brahms found much to like at Detmold. The rich musical atmosphere was an inspiration to his study of the Classical masters, aided by the performances of Mozart and Haydn that the Prince required from the orchestra. The financial reward left him much free time to compose. Perhaps equally important to him were the lovely parks and forests surrounding the palace, where he took long walks to calm himself and ponder his future and his art. In those painful years after Schumann’s death, Brahms was not only confronting his grief at the loss of his dear friend and mentor, but was also sorting out his strong personal feelings for Clara. At Detmold, as throughout his life, he found the antidote to his feelings for her in music. When he returned there in autumn 1859 he wrote to his Aunt Auguste, “I

MATTHEW LIPMAN ON LEARNING THE VIOLA AND CMS"The moment I knew I had to be a musician was right when I first started playing. I started in fourth grade and within a week I was scratching the bow across the open strings. I knew that it was my calling—I didn't know in what capacity, if it would be teaching or orchestra or chamber music, which is obviously what I'm doing now and what I love. But I knew immediately. Hands down. Fell in love.

"I originally wanted to play trumpet, but I was too young when I was five years old because I didn't have the breath support. I didn’t do anything about wanting to play an instrument and then in school, when they offered orchestra, I thought I would take it up for a year before taking up trumpet the next year so I didn't really care which string instrument I would play. The music director of my school said 'you have to play viola if you don't really care' because no one wanted it. I fell in love immediately. Actually, when I fool around sometimes sight-reading on the violin, I have fun for about ten minutes playing the melody but then there's something that I miss—some depth of emotion—that I just feel like I need.


am quite ecstatic: I think of nothing but music, and of other things only when they make music more beautiful to me. If things go on like this, I am perfectly capable of evaporating into a musical chord and floating away in the air.” It was under this halcyon spell that Brahms created his first chamber work for string ensemble, the Sextet in B-flat major.

The sextet was conceived at Detmold in 1859, but largely composed between March and September of the following year. The work was first heard in Hanover in October 1860, played by a group under the direction of the composer’s friend and champion, the violinist Joseph Joachim. Daniel Gregory Mason noted that the work marked an important artistic and stylistic passage for Brahms, “unmistakably the moment of his musical adolescence.... It is the first piece of chamber music in which, freeing himself once for all from the

subjectivity and turgidity of romanticism, he starts to explore the road of classical universality in beauty, in which he was to discover such unprecedented treasures.” Mason then went on to point out the sextet’s indebtedness to the Classical formal models of Mozart and Beethoven. In a later study of Brahms, however, Burnett James, while allowing the dominant vein of neo-Classicism in the sextet, adds, “Yet underneath there is the firm, irresistible, romantic spirit moving.” In noting the apparently antithetical qualities in this music, these two writers have summarized the essential characteristic of Brahms: effulgent Romantic emotional expression absolutely disciplined by impeccable Classical form. The B-flat Sextet is among the earliest indisputable evidences of Brahms, the master.

Brahms was absolutely profligate with fine melodies in the opening

“One musical experience that I’ve had so far that really stands out in my mind is my first CMS performance, when I filled in last minute for Lawrence Power playing the Trout Quintet with Ani Kavafian, Gary Hoffman, Inon Barnatan, and David Grossman. I’ve never been so nervous in my life to go in last minute with all the musicians I’ve grown up respecting and loving but I also don’t think I’ve had an experience where I learned more and it was so fulfilling after the concerts to have played with them.”

Matthew Lipman was featured in the November 2015 CMS Artist Profile. To watch the entire video profile, visit the Watch and Listen section of the CMS website.

Matthew Lipman


sonata-form movement. The first-theme group comprises the lyrical cello strain given immediately at the beginning and a Ländler-like tune (with a dotted rhythm) played in close harmony; a wide-ranging cello melody and another dotted-rhythm motive provide contrast. The development section is

concerned just with the first-theme group motives, but all of the thematic material is returned in the recapitulation in heightened settings. The second movement is a theme with variations of which Brahms was so fond that he made a two-piano version (now lost) to play at parties with friends, as well as a transcription for solo piano (as Theme and Variations in D minor, which he presented to Clara as a birthday gift in 1860). The Scherzo is both vivacious and sly, filled with deceptive but delightful rhythmic cross-accents that fuddle the toe-tapping proclivities of many a listener. The closing Rondo, in its form and thematic material if not in its somewhat prolix working-out an homage to Mozart, confirms Walter Niemann’s words about this sextet: “In it, Brahms’ grave face wears an almost Apollo-like brightness and breathes a strong, healthy spirit of almost exuberant vitality.” u

© 2016 Dr. Richard E. Rodda

MASTER CLASS WITH KEITH ROBINSON, CELLOWEDNESDAY, NOVEMBER 16, 2016, 11:00 AM DANIEL AND JOANNA S. ROSE STUDIO

The art of interpretation and details of technique are explained as master artists share their wisdom with the next generation of chamber musicians.

REFLECTIONSSUNDAY, NOVEMBER 20, 2016, 5:00 PM ALICE TULLY HALL

Mendelssohn's early Op. 13 string quartet freely borrowed ideas from the masterful music of Beethoven, represented on this program by his Violin Sonata in E-flat major. Enjoy these pieces alongside Jewish-inspired works by Bloch, Prokofiev, and Schoenfield.

UPCOMING EVENTS AT CMS

In those painful years after Schumann’s death, Brahms was not only confronting his grief at the loss of his dear friend and mentor, but was also sorting out his strong personal feelings for Clara.


DAVID FINCKEL Co-Artistic Director of the Chamber Music Society, cellist David Finckel is a recipient of Musical America’s Musician of the Year award, one of the highest music industry honors in the US. He leads a multi-faceted career as a concert performer, recording artist, educator, administrator, and cultural entrepreneur that places him in the ranks of today’s most influential classical musicians. He appears extensively with CMS, as recitalist with pianist Wu Han, and in piano trios

with violinist Philip Setzer. Along with Wu Han, he is the founder and Artistic Director of Music@Menlo, Silicon Valley’s acclaimed chamber music festival and institute; co-founder and Artistic Director of Chamber Music Today in Korea; and co-founder and Artistic Director of the Chamber Music Workshop at the Aspen Music Festival and School. Under the auspices of CMS, David Finckel and Wu Han also lead the LG Chamber Music School. Mr. Finckel is the co-creator of ArtistLed, classical music’s first musician-directed and Internet-based recording company, whose 18-album catalogue has won widespread critical praise. The latest release features the Dvorák Cello Concerto and a work written for him by Augusta Read Thomas. Piano Quartets, a 2015 Deutsche Grammophon release recorded live at Alice Tully Hall, features David Finckel, Wu Han, violinist Daniel Hope, and violist Paul Neubauer. David Finckel served as cellist of the nine-time Grammy Award-winning Emerson String Quartet for 34 seasons. The first American student of Rostropovich, David Finckel is on the faculty of The Juilliard School and Stony Brook University.

SEAN LEE Violinist Sean Lee has attracted audiences around the world with his lively performances of the classics. A recipient of a 2016 Avery Fisher Career Grant, he enjoys a multi-faceted career as both performer and educator. A former member of Chamber Music Society Two, he continues to perform regularly with The Chamber Music Society of Lincoln Center in New York City, as well as on tour in the 2016-17 season across the United States and Asia. Embracing the legacy of his late teacher,

violinist Ruggiero Ricci, Mr. Lee is one of the few violinists who perform Niccolò Paganini’s 24 Caprices in concert, and his YouTube series, Paganini POV, continues to draw attention for his perspective and insight for aspiring young violinists. His recital and concerto performances have taken him to Carnegie Hall, Festival di Carro Paganiniano, Wiener Konzerthaus, and Tel Aviv Museum of Art. Mr. Lee has called New York City home since moving there at the age of 17 to study at The Juilliard School with his longtime mentor, violinist Itzhak Perlman. He teaches at the Perlman Music Program, where he was a student, as well as The Juilliard School’s Pre-College Division. He performs on a violin originally made in 1999 for violinist Ruggiero Ricci, by David Bague.

ABOUT THE ARTISTS

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MATTHEW LIPMAN The recipient of a prestigious 2015 Avery Fisher Career Grant, violist Matthew Lipman has been hailed by the New York Times for his "rich tone and elegant phrasing" and by the Chicago Tribune for his "splendid technique and musical sensitivity." His debut recording of Mozart’s Sinfonia Concertante with violinist Rachel Barton Pine and the Academy of St Martin in the Fields with Sir Neville Marriner was released last year on the Avie label and reached No. 2 on the Billboard classical charts. This

season he will debut with the Minnesota Orchestra and Illinois Philharmonic, and he has performed concertos with the Grand Rapids Symphony, Wisconsin Chamber, Juilliard, Ars Viva Symphony, and Montgomery Symphony orchestras and recitals at the Phillips Collection in Washington, DC, and the South Orange Performing Arts Center in New Jersey. The only violist featured on WFMT Chicago’s list of 30 Under 30 top classical musicians, he has been profiled by The Strad and BBC Music magazines. He is a member of CMS Two and was a top prizewinner of the Tertis, Primrose, Washington, and Stulberg International competitions. He received his bachelor's and master's degrees as an inaugural Kovner fellow from The Juilliard School, where he continues to serve as teaching assistant to Heidi Castleman, and he has also studied with Misha Amory, Steven Tenenbom, and Roland Vamos. A native of Chicago, Mr. Lipman performs on a fine 1700 Matteo Goffriller viola loaned through the generous efforts of the RBP Foundation.

RICHARD O'NEILL Violist Richard O’Neill is an Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Grant recipient. He has appeared with the London, Los Angeles, Seoul, and Euro-Asian philharmonics; the BBC, KBS, and Korean symphonies; the Moscow, Vienna, and Württemburg chamber orchestras; Kremerata Baltica and Alte Musik Köln with conductors Andrew Davis, Vladimir Jurowski, and Yannick Nézet-Séguin. Highlights of this season include collaborations

with the Vienna Chamber Orchestra, his concerto debut at the Hong Kong Cultural Center, a European tour with the Ehnes Quartet, and his tenth anniversary season as artistic director of DITTO. As recitalist he has performed at Carnegie Hall, Avery Fisher Hall, Kennedy Center, Wigmore Hall, Louvre, Salle Cortot, Madrid’s National Concert Hall, Teatro Colon, Tokyo’s International Forum and Opera City, Osaka Symphony Hall, and Seoul Arts Center. A Universal/DG recording artist, he has made eight solo albums that have sold more than 150,000 copies. Dedicated to the music of our time, he has premiered works composed for him by Elliott Carter, John Harbison, Huang Ruo, and Paul Chihara. His chamber music initiative DITTO has introduced tens of thousands to chamber music in South Korea and Japan. A former member of CMS Two, he was the first violist to receive the artist diploma from Juilliard and was honored with a Proclamation from the New York City Council for his achievement and contribution to the arts. He serves as Goodwill Ambassador for the Korean Red Cross, The Special Olympics, OXFAM, and UNICEF and runs marathons for charity.

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KEITH ROBINSON Cellist Keith Robinson is a founding member of the Miami String Quartet and has been active as a chamber musician, recitalist, and soloist since his graduation from the Curtis Institute of Music. He has had numerous solo appearances with orchestras including the New World Symphony, The American Sinfonietta, and the Miami Chamber Symphony, and in 1989 won the P.A.C.E. "Classical Artist of the Year" Award. His most recent recording released on Blue Griffin Records

features the complete works of Mendelssohn for cello and piano with his colleague Donna Lee. In 1992, the Miami String Quartet became the first string quartet in a decade to win First Prize of the Concert Artists Guild New York Competition. The quartet has also received the prestigious Cleveland Quartet Award, won the Grand Prize at the Fischoff Chamber Music Competition, and was a member of Chamber Music Society Two. Mr. Robinson regularly attends festivals across the United States, including the Santa Fe Chamber Music Festival, Music@Menlo, Kent Blossom Music, Mostly Mozart, Bravo! Vail, Savannah Music Festival, and the Virginia Arts Festival. Highlights of recent seasons include international appearances in Bern, Cologne, Istanbul, Lausanne, Montreal, Rio de Janeiro, Hong Kong, Taipei, and Paris. Mr. Robinson hails from a musical family and his siblings include Sharon Robinson of the Kalichstein-Laredo-Robinson Trio, and Hal Robinson, principal bass of the Philadelphia Orchestra. He plays a cello made by Carlo Tononi in Venice in 1725.

ALEXANDER SITKOVETSKY Violinist Alexander Sitkovetsky was praised by Gramophone magazine for "his confident, entirely natural musicianship." He has performed with the Netherlands Philharmonic, the Philharmonia, Royal Philharmonic, Tokyo Symphony, Brussels Philharmonic, the European Union Chamber Orchestra, Academy of St Martin in the Fields, St. Petersburg Symphony, Moscow Symphony, Welsh National Opera, and the BBC Concert Orchestra. In the 2014-15 season he made his debut

with the Yomiuri Nippon Symphony Orchestra in Tokyo and with the BBC Scottish Symphony Orchestra in Glasgow, as well as with the Riga Sinfonietta, Poznan Philharmonic, and the Orquesta Filarmónica de Bolivia. He was guest soloist in two nationwide tours of the UK with the Brussels Philharmonic and the St. Petersburg Symphony. He toured Australia as guest director with the Australian Chamber Orchestra Collective. He also performed a six-date series of sold-out concerts with the Royal Philharmonic Orchestra at the Royal Albert Hall. Forthcoming highlights include his debut with the London Philharmonic Orchestra, the Munich Chamber Orchestra, and the Norwegian Chamber Orchestra as well as the Tonkünstler Orchestra Vienna. His new recording for CPO of Andrzej Panufnik's Violin Concerto has been critically acclaimed and won the 2015 ICMA Special Achievement Award. A former member of Chamber Music Society Two, he was born in Moscow into a family with an established musical tradition and studied at the Menuhin School.

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The Chamber Music Society of Lincoln Center (CMS) is known for the extraordinary quality of its performances, its inspired programming, and for setting the benchmark for chamber music worldwide: no other chamber music organization does more to promote, to educate, and to foster a love of and appreciation for the art form. Whether at its home in Alice Tully Hall at Lincoln Center, on leading stages throughout North America, or at prestigious venues in Europe and Asia, CMS brings together the very best international artists from an ever-expanding roster of more than 150 artists per season, to provide audiences with the kind of exhilarating concert experiences that have led to critics calling CMS “an exploding star in the musical firmament” (The Wall Street Journal). Many of these extraordinary performances are livestreamed, broadcast on radio and television, or made available on CD and DVD, reaching thousands of listeners around the globe each season.

Education remains at the heart of CMS’ mission. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, CMS has created multi-faceted education and audience development programs to bring chamber music to people from a wide range of backgrounds, ages, and levels of musical knowledge. CMS also believes in fostering and supporting the careers of young artists through the CMS Two program, which provides ongoing performance opportunities to a select number of highly gifted young instrumentalists and ensembles. As this venerable institution approaches its 50th anniversary season in 2020, its commitment to artistic excellence and to serving the art of chamber music, in everything that it does, is stronger than ever.

ABOUT THE CHAMBER MUSIC SOCIETY

David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive Director

ADMINISTRATIONKeith Kriha, Administrative DirectorMartin Barr, ControllerErik Rego, Executive and Development Assistant

ARTISTIC PLANNING & PRODUCTIONValerie Guy, Director of Artistic Planning and Administration

Kari Fitterer, Director of Artistic Planning and Touring

Sarissa Michaud, Production ManagerLaura Keller, Program EditorGrace Parisi, Production and Education Associate

Jen Augello, Operations Coordinator

DEVELOPMENTSharon Griffin, Director of Development

David Rubeo, Associate Director, Individual Giving

Christopher Alberti, Manager of Individual Giving, Patrons

Janet Barnhart, Manager of Institutional Giving

Joe Hsu, Development Database and Research Manager

Julia Marshella, Manager of Individual Giving, Friends

Fred Murdock, Special Events Manager

EDUCATIONBruce Adolphe, Resident Lecturer and Director of Family Concerts

Derek Balcom, Director of Education

MARKETING/SUBSCRIPTIONS/ PUBLIC RELATIONS

Emily Holum, Director of Marketing and Communications

Trent Casey, Director of Digital Content

Desmond Porbeni, Associate Director, Audience and Customer Services

Marlisa Monroe, Public Relations Manager

Melissa Muscato, Marketing Content Manager

Natalie Dixon, Audience and Customer Services Associate

Sara Ricci, Marketing AssistantBrett Solomon, Subscription and Ticketing Assistant

Administration


Artists of the 2016–17 SeasonMichelle Areyzaga, sopranoTony Arnold, sopranoJulia Bullock, sopranoLeah Crocetto, sopranoLisette Oropesa, sopranoJoshua Hopkins, baritoneRandall Scarlata, baritoneInon Barnatan, pianoAlessio Bax, pianoMichael Brown, piano*Gloria Chien, pianoJeffrey Kahane, pianoGilbert Kalish, pianoAnne-Marie McDermott, pianoJean-Frédéric Neuburger, pianoJon Kimura Parker, pianoJuho Pohjonen, pianoThomas Sauer, pianoGilles Vonsattel, pianoHuw Watkins, pianoOrion Weiss, pianoShai Wosner, pianoWu Han, pianoWu Qian, piano*Jiayan Sun, harpsichordKenneth Weiss, harpsichordPaul Jacobs, organBenjamin Beilman, violinNicolas Dautricourt, violinYing Fu, violinChad Hoopes, violin*Bella Hristova, violinPaul Huang, violin*Ani Kavafian, violinIda Kavafian, violinErin Keefe, violinKristin Lee, violinSean Lee, violinYura Lee, violin/violaCho-Liang Lin, violinElmar Oliveira, violinMarc Rovetti, violinAlexander Sitkovetsky, violinArnaud Sussmann, violinKyoko Takezawa, violinDanbi Um, violin*Misha Amory, violaChe-Yen Chen, violaRoberto Díaz, violaMark Holloway, violaHsin-Yun Huang, violaKirsten Johnson, viola

Matthew Lipman, viola*Paul Neubauer, violaRichard O’Neill, violaRichard Aaron, celloDmitri Atapine, cello*Carter Brey, celloNicholas Canellakis, celloColin Carr, celloAndrés Díaz, celloRafael Figueroa, celloDavid Finckel, celloJerry Grossman, celloGary Hoffman, celloJakob Koranyi, celloSumire Kudo, celloMihai Marica, celloDaniel McDonough, celloDaniel Müller-Schott, celloHai-Ye Ni, celloDavid Requiro, celloKeith Robinson, celloJan Vogler, celloPaul Watkins, celloAlisa Weilerstein, celloJoseph Conyers, double bassAnthony Manzo, double bassScott Pingel, double bassWu Man, pipaWilliam Anderson, mandolinAvi Avital, mandolinOren Fader, guitarJason Vieaux, guitarElizabeth Hainen, harpSooyun Kim, fluteTara Helen O’Connor, fluteRandall Ellis, oboeJames Austin Smith, oboeStephen Taylor, oboeRomie de Guise-Langlois, clarinetAlexander Fiterstein, clarinetJose Franch-Ballester, clarinetTommaso Lonquich, clarinet*Anthony McGill, clarinetDavid Shifrin, clarinetMarc Goldberg, bassoonPeter Kolkay, bassoonDavid Jolley, hornEric Reed, hornKevin Rivard, hornStewart Rose, hornGábor Boldoczki, trumpetDavid Washburn, trumpet

Christopher Froh, percussionAndy Harnsberger, percussionAyano Kataoka, percussionIan David Rosenbaum, percussionMilan Turkovic, conductor

CALIDORE STRING QUARTET* Jeffrey Myers, violin Ryan Meehan, violin Jeremy Berry, viola Estelle Choi, cello

DANISH QUARTET Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

ESCHER STRING QUARTET Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello

EMERSON STRING QUARTET Eugene Drucker, violin Philip Setzer, violin Lawrence Dutton, viola Paul Watkins, cello

ORION STRING QUARTET Daniel Phillips, violin Todd Phillips, violin Steven Tenenbom, viola Timothy Eddy, cello

SCHUMANN QUARTET* Erik Schumann, violin Ken Schumann, violin Liisa Randalu, viola Mark Schumann, cello

SHANGHAI QUARTET Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello

ST. LAWRENCE STRING QUARTET Geoff Nuttall, violin Owen Dalby, violin Lesley Robertson, viola Christopher Costanza, cello

* designates a CMS Two Artist

James P. O’Shaughnessy, ChairmanElinor L. Hoover, Vice ChairmanElizabeth W. Smith, Vice ChairmanRobert Hoglund, TreasurerPeter W. Keegan, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinPeter DuchinPeter Frelinghuysen

(Chairman 2004–2014)William B. GinsbergPhyllis GrannPaul B. GridleyNaava GrossmanWalter L. HarrisPhilip K. HowardHarry P. KamenPriscilla F. Kauff

Helen Brown LevineJohn L. LindseyTatiana PouschineDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserDavid SimonJoost F. ThesselingAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinBarbara ErskineAnthony C. GoochMarit GrusonPaul C. LambertDonaldson C. Pillsbury (1940–2008)William G. SeldenAndrea W. Walton

GLOBAL COUNCILJon DickinsonHoward DillonJohn FouheyCharles H. HamiltonRita HauserVicki KelloggJeehyun KimDouglas M. LibbyMike McKoolSeth NovattJoumana RizkSusan SchuurSuzanne E. VaucherShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth,

Founding Artistic Director

Directors and Founders


Contributors to the Annual Fund provide vital support for the Chamber Music Society’s wide-ranging artistic and educational programs. We gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their generous gifts. We also thank those donors who support the Chamber Music Society through the Lincoln Center Corporate Fund.

ANNUAL FUND

LEADERSHIP GIFTS ($50,000 and above)The Chisholm FoundationJoseph M. CohenHoward Gilman FoundationWilliam and Inger G. GinsbergDr. and Mrs. Victor GrannEugene and Emily GrantMr. and Mrs. Paul B. Gridley

Rita E. and Gustave M. HauserElinor and Andrew HooverJane and Peter KeeganLincoln Center Corporate FundNational Endowment for the ArtsMr. and Mrs. James P. O’ShaughnessyBlanchette Hooker Rockefeller Fund

The Fan Fox & Leslie R. Samuels Foundation, Inc.

Mrs. Robert SchuurElizabeth W. SmithThe Alice Tully FoundationThe Helen F. Whitaker Fund

GUARANTORS ($25,000 TO $49,999)Ann BowersJoyce B. CowinSidney E. Frank FoundationFlorence A. Davis and Anthony C. GoochNaava and Sanford GrossmanThe Hamilton FoundationGail and Walter HarrisFrank and Helen Hermann FoundationHarry P. KamenAndrea Klepetar-Fallek

Bruce and Suzie KovnerRobert B. Menschel/Vital Projects FundMetLife FoundationNew York City Department of Cultural AffairsNew York State Council on the ArtsTatiana PouschineDr. Annette U. RickelDr. Richard SacklerThe Morris and Alma Schapiro Fund

Judith and Herbert SchlosserDavid SimonMr. and Mrs. Erwin StallerJoost and Maureen ThesselingTiger Baron FoundationElaine and Alan WeilerMr. and Mrs. Jarvis WilcoxKathe and Edwin Williamson

BENEFACTORS ($10,000 to $24,999)Anonymous The Achelis and Bodman FoundationsRonald AbramsonMr. James A. Attwood and

Ms. Leslie K. WilliamsJonathan Brezin and Linda KeenSally D. and Stephen M. Clement, IIIColburn FoundationThe Gladys Krieble Delmas FoundationJon Dickinson and Marlene BurnsHoward Dillon and Nell Dillon-ErmersMr. and Mrs. Robert S. Erskine, Jr.Martha Escobar and Sandor LehoczkyJudy and Tony Evnin

David Finckel and Wu HanMr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Florence Gould FoundationJerome L. Greene FoundationIrving Harris FoundationRobert and Suzanne HoglundMr. and Mrs. Philip K. HowardPriscilla F. KauffVicki and Chris KelloggJeehyun KimC.L.C. Kramer FoundationDouglas M. Libby

Millbrook Vineyards & WinerySamuel I. Newhouse FoundationMr. Seth Novatt and Ms. Priscilla NatkinsMarnie S. PillsburyKhalil Rizk FundSandra Priest RoseDr. Beth Sackler and Mr. Jeffrey CohenSeth Sprague Educational and

Charitable FoundationWilliam R. Stensrud and

Suzanne E. VaucherJoe and Becky StockwellShannon Wu and Joseph Kahn

GOLD PATRONS ($2,500 to $4,999)Anonymous (2)Nasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichJoan AmronAxe-Houghton FoundationAmerican Chai Trust

Constantin R. BodenThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerSuzanne DavidsonCarole DonlinHelen W. DuBoisJoan DyerDr. and Mrs. Fabius N. Fox

Mrs. Beatrice FrankDiana G. FriedmanEgon R. GerardMarion GoldinJudith HeimerFrederick L. JacobsonMichael Jacobson and Trine SorensenAlfred and Sally Jones

PLATINUM PATRONS ($5,000 to $9,999)Mr. and Mrs. Stanley BrezenoffMr. and Mrs. John D. CoffinCon EdisonNathalie and Marshall CoxRobert and Karen DesjardinsValerie and Charles DikerMr. Lawrence N. Field and

Ms. Rivka SeidenMr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationAdriaan FuchsMr. Robert Goldfarb

Mr. and Mrs. Allan D. GoodridgeMarlene Hess and James D. Zirin,

in loving memory of Donaldson C. Pillsbury

The Hite FoundationPaul C. LambertJonathan E. LehmanHelen Brown LevineLeon Levy FoundationMr. and Mrs. H. Roemer McPhee

in memory of Catherine G. CurranMitsui & Co. (U.S.A.), Inc.

Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperCharles S. SchregerEsther Simon Charitable TrustDr. and Mrs. Ralph H. SpekenLynn G. StrausMartin and Ruby VogelfangerMrs. Andrea W. WaltonNeil Westreich

Artistic Directors Circle

Patrons


Paul KatcherEd and Rosann KazMr. and Mrs. Hans KilianMr. and Mrs. Robert W. KleinschmidtJudy and Alan KosloffChloë KramerDr. and Mrs. Michael N. MargoliesMr. and Mrs. Leigh Miller

Sassona Norton and Ron FillerThe Ostling FamilyRichard Prins and Connie SteensmaRichard and Carole RifkindMr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphMichael W. Schwartz

Mr. Peter D. SelmanCarol and Richard SeltzerThe Susan Stein Shiva FoundationErik and Cornelia ThomsenSally WardwellPaul and Judy WeislogelLarry Wexler and Walter BrownNoreen and Ned Zimmerman

YOUNG PATRONS* ($500+)Jordan C. AgeeJamie ForsethRobert J. Haley

Dr. Daniela JodorkovskyJason JonesLucy Lu and Mark Franks

Mr. Edwin MeulensteenMr. Nick Williams and Ms. Maria Doerfler

SILVER PATRONS ($1,500 to $2,499)AnonymousAlan AgleHarry E. AllanMr. and Mrs. Winthrop J. AllegaertJames H. ApplegateBrett Bachman and Elisbeth ChallnerDavid R. Baker and Lois A. GaetaDr. Anna BalasBetsy and Robert BarbanellRichard L. BaylesLawrence B. BenensonMurat BeyazitAdele BilderseeJudith Boies and Robert ChristmanSusan S. BraddockAnn and Paul BrandowThomas Brener and Inbal Segev-BrenerCharles and Barbara BurgerAllan and Carol CarltonDale C. Christensen, Jr.Marilyn and Robert CohenAlan and Betsy Cohn FoundationTheodore Cohn Linda S. DainesMr. and Mrs. Thomas E. EngelMr. Arthur FegusonHoward and Margaret FluhrMr. Andrew C. Freedman and

Ms. Arlie Sulka

Mr. and Mrs. Burton M. FreemanMr. and Mrs. John F. GeerEdda and James GillenDr. Beverly Hyman and

Dr. Lawrence BirnbachBill and Jo Kurth JagodaKenneth Johnson and Julia TobeyDr. Felisa B. KaplanKeiko and Steven B. KaplanWilliam S. KeatingEdward W. KersonDr. Thomas C. KingShiou Der Wann KossakCraig Leiby and Thomas ValentinoHarriet and William LembeckDr. Donald M. LevineRobert Losada, Jr.Jennifer ManocherianNed and Francoise MarcusJane A. MartinezBernice H. MitchellAlan and Alice ModelJessica NagleBarbara A. PelsonCharles B. RaglandMr. Roy Raved and Dr. Roberta LeffCarroll and Ted ReidDr. Hilary Ronner and Mr. Ronald FeimanJoseph and Paulette Rose

Diana and Michael RothenbergDavid and Sheila RothmanRobert and Margaret RothschildArlene Lidsky Salomon and

Chester B. SalomonSari and Bob SchneiderDavid and Lucinda SchultzDavid Seabrook and

Sherry Barron-SeabrookDr. Michael C. SingerJill S. SlaterAnnaliese SorosDr. Margaret Ewing SternDeborah StilesAlan and Jaqueline StuartSusan Porter TallJoseph C. TaylorDr. and Mrs. Alex TraykovskiSalvatore and Diane VaccaMr. and Mrs. Joseph ValenzaMarei von SaherDr. Judith J. Warren and

Dr. Harold K. GoldsteinAlex and Audrey WeintrobRobert Wertheimer and Lynn SchackmanJohn S. WilsonGilda and Cecil Wray, Jr.Janet Yaseen and the

Honorable Bruce M. Kaplan

PRESTO($1,000 to $1,499)

ALLEGRO ($600 to $999)

Anonymous (3)Maurice and Linda Binkow Philanthropic

Fund of the United Jewish FoundationAllyson and Michael ElyJoseph Fazio and Scott HunterEunice and Milton Forman, in honor of

Suzanne and David SimonThe Gordon FoundationAlicia Guttman, M.D.Dr. and Mrs. Wylie C. HembreeCharles and Nancy HoppinMr. and Mrs. James R. HoughtonOffice of Cultural Affairs,

Consulate of Israel in New York

Dr. and Mrs. Eugene S. KraussMargaret and Oscar LewisohnEdward S. Loh, M.D.Katherine MeleMerrick Family FundDeborah Mintz,

in memory of Nancy RosenthalDot and Rick NelsonThe Honorable Paula J. Omansky and

Mr. Mordecai RosenfeldChristine PishkoMr. David Rockefeller, Sr.Sandra Priest RoseMichael Sawyer

The Honorable and Mrs. Stephen M. Schwebel

Monique and Robert SchweichMr. and Mrs. William G. SeldenJeff and Helene SlocumBarbaralee Diamonstein-Spielvogel and

Ambassador Carl SpielvogelMs. Jane V. TalcottHerb and Liz TulchinTricia and Philip WintererFrank Wolf

AnonymousMrs. Albert Pomeroy BedellMr. and Mrs. T. G. BerkAmanda and David BowkerBrian Carey and Valerie TomaselliDorothy and Herbert FoxMrs. Margherita S. FrankelMs. Jane GilMiriam GoldfineGordon GouldAbner S. Greene

Evan and Florence JanovicMs. Frances KazanPatricia Kopec Selman and Jay E. SelmanPeter KrollMr. Stanley E. LoebWalter F. and Phyllis Loeb Family Fund

of the Jewish Communal FundCaroline and Richard MarlinAmanda ReedMr. David RosnerPeter and Laraine Rothenberg

Peter and Sharon SchuurDiana and John SidtisRobert A. SilverSteven Skoler and Sandra HorbachMorton J. and Judith SloanMr. and Mrs. Myron SteinMr. David P. StuhrMr. and Mrs. George WadeWillinphila FoundationGro V. and Jeffrey S. Wood

Friends

*For more information, call (212) 875-5216 or visit chambermusicsociety.org/yp


From the Chamber Music Society’s first season in 1969–70, support for this special institution has come from those who share a love of chamber music and a vision for the Society’s future.

While celebrating our 47th Anniversary Season this year we pay tribute to the distinguished artists who have graced our stages in thousands of performances. Some of you were here in our beloved Alice Tully Hall when the Chamber Music Society’s first notes were played. Many more of you are loyal subscribers and donors who, like our very first audience, are deeply passionate about this intimate art form and are dedicated to our continued success.

Those first steps 48 years ago were bold and ambitious. Please join your fellow chamber music enthusiasts in supporting CMS by calling the Membership Office at (212) 875-5782, or by donating online at www.ChamberMusicSociety.org/support. Thank you for helping us to continue to pursue our important mission, and for enabling the Chamber Music Society to continue to present the finest performances that this art form has to offer.

The Chamber Music Society gratefully recognizes those individuals, foundations, and corporations whose estate gifts and exceptional support of the Endowment Fund ensure a firm financial base for the Chamber Music Society’s continued artistic excellence. For information about gifts to the Endowment Fund, please contact Executive Director Suzanne Davidson at (212) 875-5779.

The Chamber Music Society wishes to express its deepest gratitude for The Daniel and Joanna S. Rose Studio, which was made possible by a

generous gift from the donors for whom the studio is named.

CMS is grateful to JoAnn and Steve Month for their generous contribution of a Steinway & Sons model “D” concert grand piano.

The Chamber Music Society’s performances on American Public Media’s Performance Today program are sponsored by MetLife Foundation.

CMS extends special thanks to Kaye Scholer for its great generosity and expertise in acting as pro bono Counsel.

CMS gratefully recognizes Shirley Young for her generous service as International Advisor.

CMS wishes to thank Covington & Burling for acting as pro bono Media Counsel.

This season is supported by public funds from the National Endowment for the Arts, the New York City Department of Cultural Affairs, in partnership with the City Council,

and the New York State Council on the Arts.

MAKE A DIFFERENCE

THE CHAMBER MUSIC SOCIETY ENDOWMENT

Lila Acheson Wallace Flute ChairMrs. John D. Rockefeller IIIOboe ChairCharles E. Culpeper Clarinet ChairFan Fox & Leslie R. SamuelsViolin ChairMrs. William Rodman Fay Viola ChairAlice Tully and Edward R.

Wardwell Piano ChairEstate of Robert C. AckartEstate of Marilyn ApelsonMrs. Salvador J. AssaelEstate of Katharine BidwellThe Bydale FoundationEstate of Norma ChazenJohn & Margaret Cook FundEstate of Content Peckham CowanCharles E. Culpeper FoundationEstate of Catherine G. Curran

Mrs. William Rodman FayThe Hamilton FoundationEstate of Mrs. Adriel HarrisEstate of Evelyn HarrisThe Hearst FundHeineman FoundationMr. and Mrs. Peter S. HellerHelen Huntington Hull FundEstate of Katherine M. HurdAlice Ilchman Fund

Anonymous Warren Ilchman

Estate of Jane W. KitselmanEstate of Charles Hamilton

NewmanMr. and Mrs. Howard Phipps, Jr.Donaldson C. Pillsbury FundEva Popper, in memory of Gideon StraussMrs. John D. Rockefeller 3rd

Daniel and Joanna S. RoseEstate of Anita SalisburyFan Fox & Leslie R. Samuels

FoundationThe Herbert J. Seligmann

Charitable TrustArlene Stern TrustEstate of Arlette B. SternEstate of Ruth C. SternElise L. Stoeger Prize for

Contemporary Music, bequest of Milan Stoeger

Estate of Frank E. Taplin, Jr.Mrs. Frederick L. TownleyMiss Alice TullyLila Acheson WallaceLelia and Edward WardwellThe Helen F. Whitaker FundEstate of Richard S. ZeislerHenry S. Ziegler

destination vienna - cloudinary david finckel wu han artistic directors about tonight’s program...

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