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HARRIS THEATER PRESENTS CONTENTS

The Chamber Music Society of Lincoln CenterLove SonnetsMARCH 8, 2017

Program 2

Program Notes 3

Texts and Translations 8

About The Chamber Music Society of Lincoln Center 12

Biographies 13

Harris Theater Leadership and Donors 16

Harris Theater Information 24

The Harris Theater gratefully acknowledges the Irving Harris Foundation for its leadership support of the Presenting Fund

Laura and Ricardo RosenkranzEvening Sponsor

Season Sponsor Official Airline of the Harris Theater

Season Hotel Sponsor

The Harris Theater is grateful for the ongoing support of its season sponsors.

Series Presenting Sponsor

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER PROGRAM

CÉSAR FRANCK Sonata in A major for Cello and Piano (1822-1890) (1886) Allegretto ben moderato Allegro Recitativo—Fantasia Allegretto poco mosso MÜLLER-SCHOTT, BROWN

MAURICE RAVEL Cinq mélodies populaires grecques (1875-1937) for Soprano and Piano (1904-06) Chanson de la mariée Là-bas, vers l’église Quel galant m’est comparable Chanson des cueilleuses de lentisques Tout gai! BULLOCK, WU HAN

JONATHAN BERGER Rime Sparse for Soprano, Violin, Cello, (b. 1954) and Piano (2017) (World Premiere)* Scattered rhymes My ship passes O scattered steps I fear your lovely eyes Just one night Wild thing If this is not love BULLOCK, SUSSMANN, MÜLLER-SCHOTT, WU HAN

—INTERMISSION—

FELIX MENDELSSOHN Trio No. 2 in C minor for Piano, Violin, (1809-1847) and Cello, Op. 66 (1845) Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro, quasi presto Finale: Allegro appassionato WU HAN, SUSSMANN, MÜLLER-SCHOTT

*Commissioned with love by Laura and Ricardo Rosenkranz

on the joyous occasion of their 25th wedding anniversary and offered with gratitude and delight to the Chamber Music Society

of Lincoln Center and The Harris Theater for Music and Dance.

Please turn off cell phones and other electronic devices.Photographing, sound recording, or videotaping this performance

is prohibited.

JULIA BULLOCK, soprano

MICHAEL BROWN, piano

WU HAN, piano

ARNAUD SUSSMANN, violin

DANIEL MÜLLER-SCHOTT, cello

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER PROGRAM NOTES by Dr. Richard E. Rodda

Sonata in A major for Cello and Piano César FranckBorn December 10, 1822 in Liège, Belgium.Died November 8, 1890 in Paris.

Composed in 1886.Premiered on December 16, 1886 in Brussels by violinist Eugène Ysaÿe and pianist Léontine Bordes-Pène.Arranged for cello by Jules Delsart (1844-1900).

Duration: 28 minutes

Franck first considered writing a violin sonata in 1859, when he offered to compose such a piece for Cosima von Bülow (née Liszt, later Wagner) in appreciation of some kind things she had said about his vocal music. He was, however, just then thoroughly absorbed with his new position as organist at Ste.-Clotilde and unable to compose anything that year except a short organ piece and a hymn. (His application to his duties had its reward—he occupied the prestigious post at Ste.-Clotilde until his death 31 years later.) No evidence of any work on the proposed sonata for Cosima has ever come to light, and it was not until 20 years later that he first entered the realm of chamber music with his Piano Quintet of 1879. Franck’s next foray into the chamber genres came seven years after the quintet with his Sonata for Violin and Piano, which was composed as a wedding gift for his friend and Belgian compatriot, the dazzling virtuoso Eugène Ysaÿe, who had been living in Paris since 1883 and befriending most of the leading French musicians; Ysaÿe first played the piece privately at the marriage ceremony on September 28, 1886. The formal premiere was given by Ysaÿe and pianist Léontine Bordes-Pène at the Musée moderne de peinture in Brussels on December 16, 1886. The arrangement of the Sonata for cello is by the Paris Conservatoire faculty member and internationally recognized virtuoso Jules Delsart (1844-1900), who was also a pioneer in the revival of the bass viol.

In tailoring the sonata to the warm lyricism for which Ysaÿe’s violin playing was known, Franck created a work that won immediate and enduring approval and that was instrumental in spreading the appreciation for his music beyond his formerly limited coterie of students and local devotees. The quality of verdant lyricism that dominates the sonata is broken only by the anticipatory music of the second movement and the heroic passion that erupts near the end of the finale. The work opens in a mood of twilit tenderness with a main theme built largely from rising and falling thirds, an intervallic germ from which later thematic material is derived to help unify the over-all structure of the sonata. The piano alone plays the second theme, a broad melody given above an arpeggiated accompaniment never shared with the violin. The movement’s short central section, hardly a true development at all, consists only of a modified version of the main theme played in dialogue between violin and piano. The recapitulation of the principal and secondary subjects (dolcissima ... semper dolcissima

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER PROGRAM NOTES by Dr. Richard E. Rodda

... molto dolcissima—“sweetly ... always sweetly ... very sweetly,” cautions the score repeatedly) rounds out the form of the lovely opening movement. The quick-tempo second movement fulfills the function of a scherzo in the sonata, though its music is more in the nature of an impetuous intermezzo. Two strains alternate to produce the movement’s form. One (“scherzo”) is anxious and unsettled, though it is more troubled than tragic; the other (“trio”) is subdued and rhapsodic. They are disposed in a pattern that yields a fine balance of styles and emotions: scherzo–trio–scherzo–trio–scherzo. The third movement (Recitativo—Fantasia) begins with a cyclical reference to the third-based germ motive that opened the sonata. The violin’s long winding line in the Recitativo section is succeeded by the Grecian purity of the following Fantasia, one of the most chaste and moving passages in the entire instrumental duet literature. The main theme of the finale is so richly lyrical that its rigorous treatment as a precise canon at the octave is charming rather than pedantic. When the piano and violin do eventually take off on their own paths, it is so that the keyboard may recall the chaste melody of the preceding Fantasia. Other reminiscences are woven into the movement—a hint of the third-based germ motive in one episode, another phrase from the Fantasia—which unfolds as a free rondo around the reiterations of its main theme in a variety of keys. The sonata is brought to a stirring climax by a grand motive that strides across the closing measures in heroic step-wise motion.

Cinq mélodies populaires grecques for Soprano and PianoMaurice RavelBorn March 3, 1875 in Ciboure, France.Died December 28, 1937 in Paris.

Composed 1904-06.

Duration: 7 minutes

Among Ravel’s lifelong friends was the Greek-born, Paris-trained Michel Dimitri Calvocoressi, a critic, musicologist, and gifted linguist who was highly regarded for his French translations of songs and operas, including Boris Godunov. Early in 1904, the French musicologist Pierre Aubry planned a lecture at the Sorbonne on the music of the oppressed peoples of Greece and Armenia, and he asked Calvocoressi to provide him with some Greek songs as examples. Calvocoressi selected five items from Hubert Pernot’s recent Chansons populaires de l’Île de Chio (Popular Songs from the Island of Chios) and Pericles Matsa’s Chansons (Constantinople, 1883), translated them into French, and asked Louise Thomasset to perform them at Aubry’s lecture. She agreed only on the condition that the melodies be provided with piano accompaniments. Calvocoressi duly went to Ravel with his problem, and 36 hours later the songs were finished; Mlle. Thomasset introduced the Mélodies populaires grecques at Aubry’s talk on February 20th. Two years later Calvocoressi asked Ravel to revive the Greek songs for a lecture-recital he was giving with Marguerite Babaïan. Ravel retained two of the 1904 settings (Quel galant

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER PROGRAM NOTES cont.

m’est comparable and Chanson des cueilleuses de lentisques), and added three more movements based on songs from Pernot’s collection. (The three exiled songs, all from Matsa’s Chansons, have not been recovered.) This revised set was published as the Cinq mélodies populaires grecques in 1906, the first of Ravel’s compositions issued by Durand, who remained his principal publisher for the rest of his life. A sixth Chanson Grecque (Tripatos) was composed in 1909 at the request of the noted soprano Madeleine Grey, but the score remained unpublished until it appeared in a special memorial issue of La Revue Musicale in December 1938 observing the first anniversary of Ravel’s death.

Ravel’s settings of the Cinq mélodies populaires grecques are direct, lean, and unpretentious, preserving the rustic melodies intact while raising them to the level of art song. According to the respected German music scholar Hans Heinz Stuckenschmidt, their essence lies in the melding of country naïveté and city refinement: “Ravel’s folk-song treatment has a paradoxical magic, because simplicity remains in a constant state of tension with sophistication.” Ravel was sufficiently pleased with his Mélodies populaires grecques that in 1910 he entered similar settings of French, Italian, Spain, Scottish, Flemish, and Hebrew melodies in a competition in Moscow for harmonizations of songs from various nations; he won four of the available ten prizes.

Rime Sparse for Soprano, Violin, Cello, and PianoJonathan BergerBorn March 8, 1954 in New York City.

Composed in 2017.Tonight is the world premiere of this piece.


Jonathan Berger’s recent works—described as “gripping” by both the New York Times and the Chicago Tribune, “poignant,” “richly evocative” (San Francisco Chronicle), “taut, and hauntingly beautiful” (New York Times)—deal with both consciousness and conscience. His chamber operas, Theotokia and The War Reporter, explore hallucination and haunting memories, while his monodrama, My Lai, portrays the ethical dilemmas of an individual placed in an impossible situation. His “dissonant but supple” (New York Times) compositions are often inspired by science and the human condition, including the adaptation of satellite imaging data to turn the dispersal of an oil spill into music (Jiyeh), spatial representation of brain activations of a schizophrenic hallucination (Theotokia), and sonic expression of the chemical spectroscopy of cancer (Diameters).

Thrice commissioned by The National Endowment for the Arts, Berger has also received major commissions from The Mellon and Rockefeller Foundations, Chamber Music America, and numerous chamber music societies and ensembles. Recent commissions include

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My Lai (commissioned by The National Endowment, the Gerbode Foundation, and Harris Theater for the Kronos Quartet, Rinde Eckert, and Van Anh Vo), Tango alla Zingarese (commissioned by the 92nd Street Y), Swallow (commissioned by the St. Lawrence String Quartet), and a work for The Scharoun Ensemble of the Berlin Philharmonic. He was composer-in-residence at Spoleto Festival USA. His violin concerto, Jiyeh, paired with that of Benjamin Britten, was recorded for Harmonia Mundi’s Eloquentia label by violinist Livia Sohn, who also recorded Berger’s War Reporter Fantasy for Naxos and solo works on Miracles and Mud, his acclaimed Naxos recording of music for solo violin and string quartet.

Berger’s love for music goes back to his childhood in Far Rockaway, New York; however, his formal training in music started much later in life, triggered by a lecture in philosophy which led him to drop out of college and ultimately restart his education years later. In addition to composition, he is an active researcher with over 70 publications in a wide range of fields relating to music, science, and technology and has held research grants from DARPA, the Wallenberg Foundation, The National Academy of Sciences, the Keck Foundation, and others. The Denning Family Provostial Professor in Music at Stanford University, Berger is a 2016 Guggenheim Fellow and currently the Elliott Carter Fellow at the American Academy in Rome.

Written over the course of 40 years (from 1327 to 1368), Francesco Petrarch’s monumental collection of 366 canzoniere, titled Rerum vulgarium fragmenta (fragments written in the vernacular) commonly known as ‘Rime Sparse’ (scattered rhymes), spans the gamut of emotions associated with love—from first gaze to distant memory, from infatuation through exasperation, from gentle joy to pain and fury, through life and beyond death. In The Development of the Sonnet, Michael Spiller described the work as “the single greatest influence on the love poetry of Renaissance Europe until well into the seventeenth century.” The poet’s object of desire has been speculatively associated with Laura de Noves, a married woman, six years younger than Petrarch. However, beyond the mortal beauty, Laura serves as a base from which deeply psychological perspectives on desire, devotion, and time are unfurled.

It is around the words and spirit of Petrarch’s poetic monument to one of life’s most powerful and enduring sentiments that Jonathan Berger weaves his Rime Sparse, composed in 2017. Berger frames the work with uncertainty using the repeating metaphor of being lost at sea on a rudderless boat. Vagueness moves from trepidation to uncontrollable desire, fusing fear and hope before returning to the sense of confusion

caused by unbridled emotion.


Trio No. 2 in C minor for Piano, Violin, and Cello, Op. 66Felix MendelssohnBorn February 3, 1809 in Hamburg.Died November 4, 1847 in Leipzig.

Composed in 1845.


The most intensely busy time of Mendelssohn’s life was ushered in by his appointment in 1835 as the administrator, music director, and conductor of the Leipzig Gewandhaus concerts. In very short order, he raised the quality of musical life in Leipzig to equal that of any city in Europe, and in 1842 he founded the local conservatory to maintain his standards of excellence. In 1841, he was named director of the Music Section of the Academy of Arts in Berlin, which required him not only to supervise and conduct a wide variety of programs but also to compose upon royal demand—the incidental music that complements his dazzling 1826 Overture to A Midsummer Night’s Dream was written to fulfill one of Frederick’s requests. Mendelssohn toured, guest conducted, and composed incessantly, and on March 28, 1837, he took on the additional responsibilities of family life when he married Cécile Jeanrenaud.

Mendelssohn won a brief hiatus from the press of his accumulating duties when he took a leave of absence from his post at the Gewandhaus during the 1844-45 season. Before his sabbatical began, he had to fulfill engagements as conductor and piano soloist in London and Germany, but by the beginning of 1845 he had finally managed to clear his schedule sufficiently to devote himself to composition. He made significant progress on Elijah, scheduled for its premiere at the Birmingham Festival the following year, and completed the String Quintet in B-flat major (Op. 87) and C minor Piano Trio (Op. 66). In the autumn, the King of Saxony convinced him to return to his post at the Gewandhaus. His frantic pace of life was reactivated; he was dead within two years. Except for the F minor String Quartet (Op. 80), the C minor Trio was the last important chamber work of Mendelssohn’s career.

In his study of the chamber music, John Horton noted of the opening movement of the C minor Trio, “Mendelssohn never wrote a stronger sonata-form allegro.” The urgent rising-and-falling phrases of the main theme, announced by the piano, generate a subsequent arch-shaped melody for the violin, which is given above the keyboard’s restless accompaniment. A sweeping subject sung in duet by violin and cello in a brighter tonality serves as the second theme. These motives are elaborated with immense skill and deep emotion as the movement unfolds. The following Andante is laid out in a smoothly flowing three-part form whose middle section is marked by a heightened animation and a sense of adventurous harmonic peregrination. The gossamer Scherzo is musical feather-stitching such as has never been as well accomplished by any other composer. The Finale is built from two contrasting thematic elements: a vivacious principal subject launched by a leaping interval from the cello and a broad chorale melody introduced in a chordal setting by the piano. The main theme returns for a vigorous working-out before a chorale melody, traced by Eric Werner in his biography of Mendelssohn to the hymn Vor Deinem Thron (Before Your Throne) from the Geneva Psalter of 1551, is summoned in a grand, nearly orchestral guise to cap this masterwork of Mendelssohn’s fullest maturity.

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER TEXTS AND TRANSLATIONS

Chanson de la mariéeRéveille-toi, réveille-toi, perdrix mignonne,Ouvre au matin tes ailes.Trois grains de beauté,mon cœur en est brûlé!Vois le ruban d’or que je t’apporte,

Pour le nouer autour de tes cheveux.Si tu veux, ma belle, viens nous marier!Dans nos deux familles, tous sont alliés!

Là-bas, vers l’égliseLà-bas, vers l’église,Vers l’église Ayio Sidéro,L’église, ô Vierge sainte,L’église Ayio Costanndino,Se sont réunis,Rassemblés en nombre infini,Du monde, ô Vierge sainte,Du monde tous les plus braves!

Quel galant m’est comparableQuel galant m’est comparable,D’entre ceux qu’on voit passer?Dis, dame Vassiliki?Vois, pendus à ma ceinture,pistolets et sabre aigu...Et c’est toi que j’aime!

Chanson des cueilleuses de lentisquesÔ joie de mon âme,Joie de mon coeur,Trésor qui m’est si cher ;Joie de l’âme et du cœur,Toi que j’aime ardemment,Tu es plus beau qu’un ange.

Ô lorsque tu parais,Ange si douxDevant nos yeux,Comme un bel ange blond,Sous le clair soleil,Hélas! tous nos pauvres cœurs soupirent!

Cinq mélodies populaires grecques for Soprano and PianoMaurice Ravel

Song of the BrideWake up, wake up, my adorable little partridge, Spread your wings to the morning. Three beauty marks, how they inflame my heart! See the golden ribbon I’ve brought you, for you to tie around your hair. If you’d like, my beauty, we can be married! Within our two families, all are allies!

There, by the churchThere, by the church, By the Ayio Sidero church, The church, O blessed Virgin, The Ayio Costanndino church, They have all come together, Gathered in infinite numbers, In the world, O blessed Virgin, All the best people in the world!

Which gallant can compare to meWhich gallant can compare to me,Among those we see passing by?Tell me, lady Vassiliki?See, hanging from my belt,Pistols and a sharpened saber...And it’s you that I love!

Song of the resin gatherers

O joy of my soul,Joy of my heart,My dearest treasure;Joy of my soul and heart,You whom I love so passionately,You are more beautiful than an angel.O when you appear,Sweetest one,Before our eyesLike a beautiful golden angel,In the shining sun,Alas! how all our poor hearts sigh!

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER TEXTS AND TRANSLATIONS cont.

Tout gai!Tout gai! gai, Ha, tout gai!Belle jambe, tireli, qui danse;Belle jambe, la vaisselle danse,

Tra la la la la...

All are merry!All are merry! merry, ha, all merry!Beautiful leg, tireli, that dances;Beautiful leg, set the dishes dancing,Tra la la la la ...

Translation by Danielle Sinclair

Rime Sparse for Soprano, Violin, Cello, and PianoJonathan Berger

Scattered rhymes Voi ch’ ascoltate in rime sparse il suono di quei sospiri ond’ io nudriva ‘l core in sul mio primo giovenile errore, quand’ era in parte altr’ uom da quel ch’ i’ sono.

My ship passes Passa la nave mia—colma d’oblioper aspro mare a mezza note il vernoenfra Scilla et Caribdi et al governosiede ‘l signore anzi ‘l nimico mio;

à ciascun remo un penser pronto et rioche la tempesta e ‘l fin par ch’abbi a scherno;la vela rompe un vento umido eternodi sospir, di speranze et di desio;

pioggia di lagrimar, nebbia di sdegnibagna et rallenta le già stanche sarteche son d’error con ignoranzia attorto

Celansi i duo mei dolci usati segni,morta fra l’onde è la ragion et l’artetal ch’ i’ ‘ncomincio a desperar del porto.

You who hear in scattered rhymes the sound of the sighs that fed my heart when I was carefree— a different man than I am now.

My ship passes in oblivion through rough sea on a wintery midnight between Scylla and Charybdis.At the helm sits not my lord, but my enemy

At each oar a cruel thought scorns the storm— An incessant soaking wind of sighs,Hopes and desires breaks the sails.

A rain of tears, a fog of disdain Pours down and loosens the already weary ropes Made of mistakes twisted with ignorance

Hidden among the waves are my two expected stars, reason and skill. I begin to despair of the port.

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O scattered stepsO passi sparsi, o pensier vaghi et pronti,o tenace memoria, o fero adore,

o possente desire, o debil core,oi occhi miei—occhi non gia, ma fonti.

o anime gentili et amorose.

s’ alcuna à ‘l mondo, et voi nude ombra et polve;deh, ristate a veder quale è ‘l mio male!

I fear your lovely eyesIo temo si de’ begli occhi l’assaltone’quali Amore et la mia morte alberga,ch’ i’ fuggo lor come fanciul la verga,et gran tempo è ch’i presi il primier salto.

Just one nightCon lei foss’ io da che si parte il sole,et non ci vedess’ altri che le stellesol una note et mai non fosse l’alba.

Wild thingQuesta umil fera, un cor di tigre o d’orsache ‘n vista umana o’ n forma d’angel vene,in riso e ‘n pianto, fra paura et spenemi rota si ch’ ogni mio stato inforsa.

O scattered steps, O yearning thoughts, vague and immediate,O tenacious memory, O savage ardor,O powerful desire, O feeble heart,O my eyes, no longer eyes, but fountains.

O noble loving spirit, if there is any in this world.And you, bare shade and dust.

I dare you to stay and see my suffering.

I fear the assault of your lovely eyes Those eyes where love and death live together.I flee them like a child flees the rod,And it has been a long time since I first leapt to flee.

May I be with her when the sun departs And no one see us but the stars Just one night, and let the dawn never come.

The humble wild beast, heart of the tiger or bearIn human appearance and in the shape of an angel in laughter and tears,

I turn between fear and hope, uncertain of myself.


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If this is not loveS’amor non è, che dunque è quel ch’io sento?ma s’ egli è amor, per Dio, che cosa et quale?

se bona, ond’ è l’effetto aspro mortale?se ria, ond’ è sì dolce ogni tormento?

Fra si contrari venti in frale barcami trovo in alto mar senza governo.ch’ ì medesmo non so quell ch’ io mi voglioe tremo a mezza state, ardendo il verno.

Petrarch

If it is not love what then is it that I feel?But if it is love, by God, what kind of thing is it?

If it is good, why is it killing me?

If it is bad, why is the torment so sweet?

I find myself at sea in a frail boat without a rudder

I do not know what I want

I shiver in mid-summer, am scorched in winter.


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ABOUT THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

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 in New York, 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” (Wall Street Journal). Many of these extraordinary performances are live-streamed on the CMS website, 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.

Visit the Chamber Music Society online at www.ChamberMusicSociety.org.

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER BIOGRAPHIES

Pianist-composer Michael Brown, winner of a 2015 Avery Fisher Career Grant, has been described by the New York Times as a “young piano visionary” and “one of the leading figures in the current renaissance of performer-composers.” Selected by Sir András Schiff for his Building Bridges series in 2016-17, Mr. Brown will perform debut recitals in Berlin, Frankfurt, Antwerp, Zurich, Florence, Milan, and at New York’s 92nd Street Y. His recent

schedule includes performances with the Seattle, North Carolina, New Haven, and Maryland symphony orchestras; a Carnegie Hall Stern Auditorium debut with the New York Youth Symphony; recitals at Wigmore Hall, the Louvre, Alice Tully Hall, and Weill Hall; performances at the Marlboro, Ravinia, Caramoor, Moab, Mostly Mozart, and Music@Menlo festivals; and concerts with his regular collaborators: cellist Nicholas Canellakis and violinist Elena Urioste. Recent commissions of his own compositions include a piano concerto for the Maryland Symphony and works for the Look & Listen Festival, Bargemusic, Concert Artists Guild, The Stecher and Horowitz Foundation, and Shriver Hall. A native New Yorker, Mr. Brown earned dual bachelor’s and master’s degrees in piano and composition from The Juilliard School, where he studied with pianists Jerome Lowenthal and Robert McDonald and composers Samuel Adler and Robert Beaser. He is the first prize winner of the 2010 Concert Artists Guild Competition, a Steinway Artist, and a member of Chamber Music Society Two.

Soprano Julia Bullock, equally at home with concert repertoire and opera, has been hailed for her versatile talent. This season she debuts with the Sydney Symphony Orchestra, Los Angeles Philharmonic, and Baltimore Symphony, and appears as Anne Trulove in The Rake’s Progress at Aix-en-Provence and Kitty Oppenheimer in the BBC Symphony’s production and recording of John Adams’ Dr. Atomic. She has appeared with orchestras

including the London Symphony Orchestra, New York Philharmonic, New World Symphony, Orchestra of St. Luke’s, and the San Francisco Symphony. She performed the title role in Henry Purcell’s The Indian Queen at the Perm Opera House, the Bolshoi, Teatro Real, and the English National Opera, and she sang the lead role in the Berlin Philharmonic’s Orchestra Academy performance of Kaija Saariaho’s La passion de Simone, directed by Peter Sellars, which she reprised at the Ojai Festival. Other opera roles include Pamina in Peter Brook’s A Magic Flute, Susanna in Le Nozze di Figaro, and the title roles in Massenet’s Cendrillon, Janáček’s The Cunning Little Vixen, and Ravel’s L’Enfant et les Sortilèges. As first prize winner of the 2012 Young Concert Artists Auditions, she has been presented in recitals across North America. She is also a winner of the 2014 Naumburg International Vocal Competition, and recipient of a 2016 Sphinx Foundation Medal of Excellence, and Lincoln Center’s 2015 Martin E. Segal Award. She holds degrees from the Eastman School of Music, Bard Graduate Vocal Arts Program, and The Juilliard School.

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER BIOGRAPHIES cont.

Daniel Müller-Schott ranks among the best cellists of his generation and has made his mark as “a fearless player with technique to burn” (New York Times). He has worked with many international orchestras, including the New York Philharmonic, Boston Symphony, Cleveland Orchestra, Chicago Symphony, Philadelphia Orchestra, London Philharmonic, London’s Philharmonia, Berlin Philharmonic, Gewandhausorchestra Leipzig, the Orchestre

National de Radio France, Tokyo’s NHK Symphony Orchestra, Seoul Philharmonic, and radio orchestras in Berlin, Munich, Frankfurt, Stuttgart, Leipzig, and Hamburg. Sir André Previn and Peter Ruzicka have both dedicated cello concertos to him that he premiered under the composers’ batons. He appears at international festivals and venues including the Proms in London, the Schubertiade, Schleswig-Holstein, Rheingau, Schwetzingen, Mecklenburg-Vorpommern, Vancouver Chamber Music, Tanglewood, Ravinia, and the Hollywood Bowl in Los Angeles. His newest recording is a collection of violin/cello duos with Julia Fischer, awarded the ICMA award 2017, and past recordings from his extensive discography include the Beethoven cycle with Angela Hewitt and the complete Britten and Bach solo suites. He has received numerous awards, including the Diapason d’Or, Gramophone Editor’s Choice, Strad Selection, and in 1992, at the age of 15, he won First Prize at the Moscow International Tchaikovsky Competition for Young Musicians. Born in Munich, Mr. Müller-Schott studied under Walter Nothas, Heinrich Schiff, Steven Isserlis, and Mstislav Rostropovich, and benefited early on from personal sponsorship by Anne-Sophie Mutter as the recipient of a scholarship from her foundation. He plays the “Ex Shapiro” Matteo Goffriller cello, made in Venice in 1727.

Winner of a 2009 Avery Fisher Career Grant, Arnaud Sussmann has distinguished himself with his unique sound, bravura, and profound musicianship. Minnesota’s Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you’ll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener.” A thrilling young musician capturing the attention of classical

critics and audiences around the world, he has appeared on tour in Israel and in concert at Lincoln Center’s Alice Tully Hall, the Dresden Music Festival in Germany, and the Phillips Collection in Washington, DC. He has been presented in recital in Omaha on the Tuesday Musical Club series, New Orleans by the Friends of Music, Tel Aviv at the Museum of Art, and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Moritzburg, Caramoor, Music@Menlo, La Jolla SummerFest, Mainly Mozart, Seattle Chamber Music, Bridgehampton, and the Moab Music festivals. Mr. Sussmann has performed with many of today’s leading artists including Itzhak Perlman, Menahem Pressler,

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THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER BIOGRAPHIES cont.

Gary Hoffman, Shmuel Ashkenasi, Wu Han, David Finckel, Jan Vogler, and members of the Emerson String Quartet. A former member of Chamber Music Society Two, he regularly appears with CMS in New York and on tour, including performances at London’s Wigmore Hall.

Co-Artistic Director of the Chamber Music Society, pianist Wu Han is among the most esteemed and influential classical musicians in the world today. She is a recipient of Musical America’s Musician of the Year award, one of the highest music industry honors in the US, and has risen to international prominence through her wide-ranging achievements as a concert performer, recording artist, educator, arts administrator, and cultural entrepreneur.

Wu Han appears extensively with CMS; as recitalist with cellist David Finckel; and in piano trios with violinist Philip Setzer. Along with David Finckel, she 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. Wu Han 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. Recent recording releases include Wu Han LIVE and Piano Quartets, a Deutsche Grammophon release recorded live at Alice Tully Hall with cellist David Finckel, violinist Daniel Hope, and violist Paul Neubauer. Wu Han’s most recent concerto performances include appearances with the Aspen Chamber Orchestra, the Atlanta Symphony, and the Philadelphia Orchestra.

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HARRIS THEATER BOARD OF TRUSTEES

(Listing as of December 1, 2016)

OfficersAlexandra C. Nichols, ChairmanElizabeth Hartigan Connelly, Vice Chair Peter M. Ellis, Vice ChairCaryn Harris, Vice ChairRicardo T. Rosenkranz, MD, Vice ChairMary Kay Sullivan, Vice ChairMarilyn Fatt Vitale, SecretaryDavid Snyder, Treasurer

TrusteesJohn W. BallantineLee Blackwell BaurPaul S. BoulisElizabeth Hartigan Connelly, Vice ChairPeter M. Ellis, Vice ChairLouise FrankJay FrankeRobert J. Gauch, Jr. Sandra P. Guthman, Past ChairmanCaryn Harris, Vice ChairJoan W. Harris, Past ChairmanChristine N. Evans KellyDeborah A. KorompilasMerrillyn J. KosierMac MacLellanZarin MehtaAlexandra C. Nichols, ChairmanKenneth R. NorganAbby McCormick O’Neil, Past ChairmanJason Palmquist, Ex-OfficioRicardo T. Rosenkranz, M.D., Vice ChairWilliam Ruffin, Ex-OfficioPatrick M. SheahanJohn Q SmithDavid Snyder, TreasurerSusan StarkMary Kay Sullivan, Vice ChairMarilyn Fatt Vitale, SecretaryDori WilsonMaria Zec

Life TrusteesPeter M. AscoliCameron S. AveryMarshall Field VJames J. GlasserSarah Solotaroff MirkinJudith NeisserHarrison I. SteansRobin S. Tryloff

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HARRIS THEATER STAFF

(Listing as of February 10, 2017)

OFFICE OF THE PRESIDENTPaul Organisak,

Alexandra C. and John D. Nichols President and CEO Endowed Chair

Jake Anderson, Manager of Artistic Administration

Erin Singer, Board Liaison and Executive Assistant to the President & CEO

FINANCE & ADMINISTRATIONLaura Hanssel,

Chief Financial Officer, Senior Vice President of Administration

Mary Jo Rudney, Director of Finance

Gena Lavery, Finance Manager

EXTERNAL AFFAIRSPatricia Barretto,

Executive Vice President of External Affairs

DevelopmentElizabeth Halajian,

Director of Individual & Major GiftsJosh Fox,

Manager of Corporate & Foundation Relations

Sammi Shay, Manager of Annual Giving & Special Events

MarketingJamie Sherman,

Manager of Public Relations & Communications

Mary Larkin, Marketing Manager

Samantha Allinson, Digital Production DesignerOliver Camacho, External Affairs Coordinator

Community EngagementMeghan McNamara,

Manager of Community Engagement & Partnerships

Ticketing ServicesAllan Waite,

Box Office Treasurer

OPERATIONS & PRODUCTIONLori Dimun,

General Manager

Front of HouseKay Harlow, House ManagerJamelle Robinson,

Concessions and Events ManagerMelaney Reed, Saints CoordinatorThe Saints, Volunteer Usher Corps

OperationsEmily Macaluso,

Director of OperationsHillary Pearson,

Manager of OperationsDawn Wilson,

Manager of Production / Technical Manager

Leticia Cisneros, Lead Day Porter

Ed Mlakar, Facilities Engineer

ProductionJeff Rollinson,

Head Carpenter & IATSE StewardAnthony Montuori, Head FlymanJeffrey Kolack, Head of PropsDon Dome Jr., Head of AudioKevin Sullivan, Head Electrician

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HARRIS THEATER CAMPAIGN

Imagine: The Campaign for Harris Theater is a $38.8M comprehensive fundraising effort to transform our physical space and expand our partnerships with resident companies, world-renowned artists, and members of the greater community.

We are pleased to acknowledge our donors who have contributed one-time campaign gifts or multi-year pledges of $2,500 or more between the inception of the campaign on July 1, 2013 and February 1, 2017. The continued growth and success of the Harris Theater would not be possible without this generosity and support.

PREMIER BENEFACTOR, $5,000,000+Irving Harris Foundation,

Joan W. HarrisChauncey and Marion D. McCormick

Family Foundation, Abby McCormick O’Neil and D. Carroll Joynes

Alexandra C. and John D. Nichols

MAJOR BENEFACTOR, $3,000,000+The Harris Family Foundation,

Caryn and King Harris

LEAD BENEFACTOR, $1,500,000+Jay Franke and David Herro

BENEFACTOR, $1,000,000+The Crown FamilyThe Elizabeth Morse Charitable

Trust and Elizabeth Morse Genius Charitable Trust

PREMIER PATRON, $750,000+Jack and Sandra Guthman

MAJOR PATRON, $500,000+The Andrew W. Mellon FoundationThe Neisser Family FoundationThe Northern Trust CompanyZell Family Foundation

LEAD PATRON, $300,000+Anonymous

PATRON, $250,000+Christine and Glenn KellyJim and Kay MabieJohn D. and Catherine T. MacArthur

FoundationMarilyn and David J. Vitale

MAJOR SPONSOR, $100,000+Lucy and Peter AscoliJohn and Caroline BallantinePaul S. BoulisKay BucksbaumPamela CrutchfieldITWKenneth R. Norgan

SPONSOR, $50,000+AnonymousJames L. Alexander and

Curtis D. DrayerBMO Harris BankHarry F. and Elaine Chaddick FoundationElizabeth F. Cheney FoundationSunny and Gery J. ChicoElizabeth and Matthew ConnellyCrain’s Chicago BusinessPeter and Shana EllisMr. and Mrs. Marshall Field VFay and Daniel LevinReed Smith LLPDr. Patrick M. SheahanThe Siragusa FoundationMichael and Sharon Tiknis

PREMIER CONTRIBUTOR, $25,000+Ariel InvestmentsBlumKovler FoundationComEdLouise FrankMerrillyn J. Kosier and

James F. KinoshitaPhil LumpkinMac MacLellan and Miriam WaltzRobert R. McCormick FoundationJ.B. & M.K. Pritzker Family FoundationThe Rhoades FoundationDavid Snyder and Peggy SalamonSteans Family Foundation

MAJOR CONTRIBUTOR, $10,000+Cameron Avery and Lynn DonaldsonJoan M. HallSarah Solotaroff MirkinConor O’NeilJeff and Betsy SteeleMary Kay Sullivan

CONTRIBUTOR, $5,000+Steve AbramsPatricia and Sheldon BarrettoMatt and Laura HansselDeborah and Michael KorompilasCarmen and Zarin MehtaCheryl MendelsonDori WilsonMaria Zec

FRIEND, $2,500+Cynthia and Douglas McKeenRobin S. Tryloff and John M. McNamaraJodi and Eliot Wickersheimer

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HARRIS THEATER ANNUAL FUND

The Harris Theater for Music and Dance is pleased to recognize our donors who have contributed $250 or more to the Theater’s Annual Fund from February 1, 2016 to February 1, 2017. Through their support of our resident companies, general operations, and community engagement programs, these generous individuals play a direct role in sustaining the future of extraordinary music and dance in Chicago.

$50,000+Helen Brach FoundationIrving Harris Foundation,

Joan W. Harris

$25,000+Matthew and Elizabeth ConnellyThe Harris Family Foundation,

Caryn and King HarrisAlexandra C. and John D. Nichols

$10,000+Anonymous (2)Feitler Family Fund Richard and Mary L. GrayInvest for KidsITW FoundationNIB FoundationPrince Charitable TrustsThe Rhoades Foundation Brenda ShapiroDavid Snyder and Peggy Salamon

The Harris Theater is partially supported by a grant from the Illinois Arts Council Agency.

$5,000+ AnonymousDavid and Luann Blowers Charitable

Trust Fund Rosemarie and Dean L. Buntrock Ann and Gordon Getty FoundationMr. and Mrs. James J. GlasserJeannette and Jerry GoldstoneChauncey and Marion D. McCormick


Leo and Cathy MiserendinoPatrick G. and Shirley W. Ryan

Foundation

Cynthia M. SargentSargent Family FoundationDr. Scholl Foundation John Q and Karen E. SmithTom & Sue StarkA. Montgomery Ward Foundation,

John A. Hutchings, Richard W. Oloffson & Bank of America, N.A., Trustee

$2,500+Arts Midwest Touring FundRobert J. Gauch, Jr.Mr. and Mrs. Bruce KovnerPamela MeyerPark GrillJeffery M. RollinsonSahara Enterprises, Inc.Bettylu and Paul Saltzman

$1,000+Jeffrey AlexanderSandra BassRosemarie and Dean L. BuntrockJoyce ChelbergLynn Donaldson and Cameron AveryThe Donnelley Foundation Henry and Frances Fogel The Jannotta Family FundDeborah and Michael KorompilasRuss LymanHoward M. McCue IIIMeyers Fund Charitable Remainder

UnitrustTom O’KeefeBarbara ParsonLiz StiffelVirginia Tallman and

William ZiemannCate and Rick Waddell

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HARRIS THEATER ANNUAL FUND cont.

$500+Anonymous (2)The Chicago Community TrustLawrence O. CorryMr. and Mrs. William F. FarleyArthur L. Frank, MDDale and David GinsburgNancy and Gene HallerDrs. Adrianna and Geoffrey HewingsDrs. Annette and John MartiniJoe RubinelliRichard RyanShow Services Mr. and Mrs. Robert G. WeissLinda and Michael Welsh

$250+C. Bekerman, M.D.Art Beyda and Elisa SpainDonald R. ChaunceyNancy and James DecorrevontDr. Margaret DolanElizabeth FosterLinda FullerGerald and Dr. Colette GordonElizabeth HalajianMeghan McNamara and Paul ReetzMr. and Mrs. Lester S. Morse, Jr.Janet and Philip RotnerSandra and John SchmollRobert Seeman and Karin JacobsonAnnette ThompsonRebecca Tung

HARRIS THEATER IN-KIND GIFTS

The Harris Theater would like to thank the following individuals and organizations for their valuable donations of goods and/or services between February 1, 2016 and February 1, 2017.

Chicago Athletic AssociationCrain’s Chicago BusinessThe Golden TriangleJ & L CateringLou Malnati’sMetropolis Coffee CompanyPark Grill

The Peninsula ChicagoRevolution BrewingSwissôtel ChicagoTagPrints DigitalRobert and Jamie TaylorUnited Airlines

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HARRIS THEATER PERFORMANCE SPONSORS

The Harris Theater gratefully acknowledges our performance sponsors, without whom our 2016-17 season would not be possible. These generous individuals and organizations have contributed gifts of $5,000 or more to support the renowned artists and companies taking the stage this season and establish the Theater as a cultural anchor in Chicago.

$150,000+Irving Harris Foundation,

Joan. W. Harris

$50,000+Jay Franke and David Herro The Harris Family Foundation,

Caryn and King Harris Dance Residency Fund

The John D. and Catherine T. MacArthur Foundation

Kenneth R. NorganNorthern Trust

$25,000+John and Caroline BallantineLaurie V. and James N. BayElizabeth F. Cheney FoundationExelonSandra and Jack GuthmanMellody Hobson and George LucasJPMorgan ChasePatricia A. Kenney and

Gregory J. O’Leary Chauncey and Marion D. McCormick


Alexandra C. and John D. NicholsPrince Charitable TrustsRavinia Festival

$10,000+AnonymousAriel InvestmentsJulie and Roger BaskesPaul BoulisCrain’s Chicago BusinessThe Pamela Crutchfield Dance Fund

of the Imagine CampaignShana and Peter M. EllisJudith NeisserLaura and Ricardo Rosenkranz Artistic

Innovation Fund of the Imagine Campaign

Reed Smith LLPJohn Q and Karen E. Smith

$5,000+Christine and Glenn KellyDeborah and Michael KorompilasHelen Hall MelchiorSarah Solotaroff MirkinPhyllis NeimanNew England Foundation for the ArtsPeoples Gas

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HARRIS THEATER PRESENTS CONSORTIUM

The Harris Theater proudly recognizes the members of our Harris Theater Presents Consortium. Their annual membership gifts made between February 1, 2016 and February 1, 2017 make it possible for the Theater to present some of the world’s most prestigious artists and ensembles who are influencing the landscape of their respective art forms.

$25,000+Sandra and Jack GuthmanChauncey and Marion D. McCormick


$10,000+Lee Blackwell BaurPamela CrutchfieldElizabeth Amy LiebmanPhil Lumpkin

$5,000+Judd and Katherine MalkinConor O’NeilD. Elizabeth Price

$2,500+Maria C. Bechily and Scott Hodes Judy and John BrossTed A. Grady Joan M. HallKaren and Marvin HermanHelen Hall Melchior Cathy PeponisMadeleine P. PlonskerSusan and Bob Wislow

$1,000+Taylor and Carrie AdamsGreg Cameron and Greg ThompsonLainey CanevaroLewis CollensJennifer and Scott EdgcombPatti Eylar and Charlie GardnerTerri and Stephen GeifmanBarbra Goering and James C. MurrayEthel and Bill GofenTibor Gross and

Dr. Elisabeth Klor-GrossGary Johnson and Brenda AshleyJulian Family FoundationKevin McGirrSandra McNaughtonSheli Z. and Burton X. RosenbergNancy and Gregg Seiler Dana Shepard Treister and

Dr. Michael Roy TreisterWilliam Ziemann

$500+AnonymousMichael C. CleavengerWinifred EggersMaecenasDiane M. McKeever and Eric Jensen

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HARRIS THEATER TRIBUTE GIFTS

For information about making a contribution to the Harris Theater for Music and Dance, please contact us at 312.334.2482 or visit www.HarrisTheaterChicago.org.

The Harris Theater for Music and Dance would like to thank the following individuals who chose to honor a special person in their lives, celebrate a milestone event, or memorialize an inspirational friend of family member with a tribute gift to the Theater between February 1, 2016 and February 1, 2017.

In Memory of:

Gayle BezdekLesley Bezdek

In Honor of:

Caryn and King HarrisMadeleine Grynsztejn and Tom Shapiro

Joan Harris’s BirthdayNancy Hughes

Joan HarrisDaniel Frank

Christine KellyLouise Lane

Debbie Korompilas Mary Jo and Steve Herseth Mary Pieters

Helen MelchiorLouise Lane

Alexandra NicholsSusan D. Bowey

Ken NorganMara Mills Barker

Roger PomeranceLynne Attaway

Michael TiknisJohn and Caroline BallantineJulie and Roger BaskesDavid and Luann Blowers

Charitable Trust Fund Paul BoulisKay Bucksbaum Larry and Susan ChiltonLibby Lai-Bun ChiuLynn Donaldson and Cameron AveryThe Donnelley FoundationAnn Dudley and Stanford GoldblattWinifred EggersMary E. FreyHelyn Goldenberg and Michael AlperJeannette and Jerry GoldstoneThe Harris Family Foundation,

Caryn and King HarrisMickey HerstRhona HoffmanLeland Hutchinson and Jean PerkinsMary JakockoJim and Dee KoehlerDeborah and Michael KorompilasMerrillyn J. Kosier and James F. KinoshitaDr. Elisabeth Klor-Gross and

Mr. Tibor GrossMac and Miriam MacLellanAlexandra and John NicholsKen Norgan James J. PeltsDerek RaridonDavid Snyder and Peggy SalamonBettylu and Paul SaltzmanBrenda ShapiroWilliam S. Singer and Joanne CicchelliMary Kay SullivanRobin S. TryloffR.W. Westerfield and

Betsey A. MeisenheimerDori Wilson

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HARRIS THEATER INFORMATION

Rental information: If you have any questions about the Harris Theater, including rental of the facility, group tours, or volunteer opportunities, please call the administrative office Monday through Friday, 9AM–5PM, at 312.334.2407.

Ticket purchases: To purchase tickets, visit HarrisTheaterChicago.org. Call or visit our Box Office at 312.334.7777 Monday through Friday, 12–6PM or until curtain on performance days.

In consideration of other patrons and the performers: Please turn off all cell phones. Photography is not permitted in the Theater at any time and texting during performance is strictly prohibited. Film or digital images will be confiscated or deleted by the Harris Theater house staff; violators will be subject to a fine. Latecomers will be seated at the discretion of the house management. Smoking is prohibited within the Harris Theater. Allowance of personal items and baggage into the auditorium space is at the sole discretion of House Management.

For your safety: Please take a moment and note the nearest exit. In the event of an emergency, follow the directions of the Harris Theater house staff. In the event of an illness or injury, inform the Harris Theater house manager.

Accessibility: Infrared assisted listening devices are available from the Harris Theater house staff. The Theater is equipped for easy access to all seating levels for patrons needing special access. Please advise the Box Office prior to the performance for any special seating needs.

Parking: Discounted parking validation is available for all ticket holders using the Millennium Park Garage. A validation machine is located next to the Box Office on the Orchestra Level, as you enter the Theater lobby.

Lost and found: Retrieved items will be held for 30 days with the Harris Theater house staff at 312.334.2403.

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