New Music in the Kaplan Penthouse - April 28, 2016

David Finckel and Wu Han, Artistic Directors

NEW MUSIC IN THE KAPLAN PENTHOUSE Thursday Evening, April 28, 2016 at 7:30 Stanley H. Kaplan Penthouse 3,582nd Concert

GLORIA CHIEN, piano JASON VIEAUX, guitar KRISTIN LEE, violin RICHARD O'NEILL, viola NICHOLAS CANELLAKIS, cello DONALD PALMA, double bass

2015-2016 Season

The Chamber Music Society of Lincoln Center 70 Lincoln Center Plaza, 10th Floor New York, NY 10023 212-875-5788 www.ChamberMusicSociety.org

This concert is made possible, in part, by The Gladys Krieble Delmas Foundation, the Samuel I Newhouse Foundation, and the Aaron Copland Fund for Music.

Thanks to Millbrook Vineyards & Winery, official wine sponsor of Kaplan Penthouse New Music Concerts.

NEW MUSIC IN THE KAPLAN PENTHOUSE Thursday Evening, April 28, 2016 at 7:30 GLORIA CHIEN, piano JASON VIEAUX, guitar KRISTIN LEE, violin

MARIO DAVIDOVSKY (b. 1934)

RICHARD O'NEILL, viola NICHOLAS CANELLAKIS, cello DONALD PALMA, double bass

Festino for Guitar, Viola, Cello, and Bass (1993) VIEAUX, O'NEILL, CANELLAKIS, PALMA

THOMAS LARCHER (b. 1963)

Mumien for Cello and Piano (2001) Tempo giusto Schneller als tempo giusto Langsam CANELLAKIS, CHIEN

VIVIAN FUNG (b. 1975)

Twist for Violin and Guitar (2014) Twisted Prelude Twisted Pipa Twisted Jam LEE, VIEAUX

—INTERMISSION— WILLIAM BOLCOM (b. 1938)

JOHN HARBISON (b. 1938)

Duo Fantasy for Violin and Piano (1973) LEE, CHIEN

Trio for Violin, Viola, and Cello (2013) Allegro moderato Adagio, appassionato Intermezzo: Allegretto Variations: Molto moderato Intermezzo: Allegro arieggiato Finale: Allegro moderato LEE, O'NEILL, CANELLAKIS

This evening’s performance is being streamed live at www.ChamberMusicSociety.org/WatchLive, and is being recorded for future broadcast.

Please turn off cell phones and all other electronic devices.

Photographing, sound recording, or videotaping this performance is prohibited.

notes on the

PROGRAM

Festino for Guitar, Viola, Cello, and Bass Mario DAVIDOVSKY Born March 4, 1934 in Médanos, Argentina.

Composed in 1993.

Premiered in 1994 in New York City by Speculum Musicae.

First CMS performance on February 4, 2001.

Duration: 10 minutes Mario Davidovsky is widely recognized for his seminal contributions in the realm of electro-acoustic music. His Synchronisms No. 6, for piano and electronic sounds, won the Pulitzer Prize in 1971. He has received commissions here and abroad from various organizations including: the Philadelphia Orchestra, the San Francisco Symphony, Orpheus Chamber Orchestra, the Juilliard and Emerson String Quartets, Speculum Musicae, the Parnassus Ensemble, NYNME, and The Chamber Society of Lincoln Center.

He has also received numerous grants and awards including Guggenheim and Rockefeller Fellowships, The Kaske Prize (Germany), Naumburg Award, Asociasion Wagneriana, and Asociasion Amigos de la Musica (Argentina).

Davidovsky was born on March 4, 1934 in Medanos, a town in the province of Buenos Aires, Argentina. His main teacher was the composer Guillermo Graetzer. In 1958 he was invited to participate in the Berkshire Music Center at Tanglewood, where he studied with Aaron Copland. His interest in the fledgling field of electronic

music was further encouraged by meeting Milton Babbitt, a faculty member that year. Learning of the imminent opening of the Columbia-Princeton Electronic Music Center in 1959, he joined the early group of composers there and later became the center’s director. Davidovsky is the Fanny P. Mason Prof. Emeritus at Harvard University, former MacDowell Professor of Music at Columbia University, and the director of the Composers Conference and Chamber Music Center at Wellesley College. He is a member of the American Academy of Arts and Letters, the American Academy of Arts and Sciences, and the Academia Nacional de Bellas Artes (Argentina). He has been recorded

by Columbia Records, CRI, New World Records, Wergo, Nonesuch, Finnadar, Turnabout, Bridge Records, DDG, Albany Records; and published by C.F. Peters Corp., E.B. Marks Corp., and McGinnes & Marx.

Davidovsky composed Festino for a Speculum Musicae concert honoring his 60th birthday. “ A festino,” he explained, “is like a serenade, an entertainment, like a fiesta. Festinos used to be pieces written for entertainment in the Renaissance, they represented the lighter side of music writing, very much like Mozart writing a divertimento for an occasion.” In Festino, Davidovsky’s second work for the guitar, written shortly after Synchronisms No. 10, the viola, cello, and bass imitate and play off the guitar’ s short sound decay.

Guitarist Daniel Lippel described the ensemble as “ a hybrid instrument, a ‘big guitar,’ that generates an expressive and  gestural language all its own.”

Mumien for Cello and Piano Thomas LARCHER Born September 16, 1963 in Innsbruck, Austria.

Composed in 2001.

Premiered on March 8, 2002 in Munich by cellist Heinrich Schiff and pianist Till Fellner.

Tonight is the first CMS performance of this piece.

Duration: 15 minutes

Thomas Larcher writes imaginative compositions that are both experimental and responsive to tradition. An accomplished pianist, he explored the tonal qualities of the piano in his early works such as Naunz for Piano (1989), Kraken for Piano Trio (1994-5), Mumien for Cello and Piano (2001). He began writing for the orchestra with a series of three solo concertos—Still for Viola and Orchestra (2002), Böse Zellen for Piano and Chamber Orchestra (2006), and the Violin Concerto (2008) written for Isabelle Faust. In 2011 he composed his first large orchestral score, Red and Green, a pair of movements with contrasting tonal coloring, for the San Francisco Symphony conducted by Osmo Vänskä. This season his new work for baritone and orchestra, Alle Tage, was premiered by Matthias Goerne with Jaap van Zweden and the Netherlands Radio Orchestra at the Concertgebouw

Amsterdam. Other premieres this season include a quartet for the Belcea Quartet’s 20th anniversary season, a work for cellist Jean-Guihen Queyras and chamber orchestra, and a concerto for orchestra for the Vienna Philharmonic Orchestra and Semyon Bychkov. In recent years he has begun conducting, working with orchestras such as the Munich Chamber Orchestra, Mozarteum Orchester, and Netherlands Radio Kamerfilharmonie.

His recordings have been awarded several international prizes, including the Preis der deutschen Schallplattenkritik, the Choc de la musique, and the Diapason d’Or. In 2015 he received The Chamber Music Society of Lincoln Center’s Elise L. Stoeger Prize, awarded in recognition of significant contributions to the field of chamber music composition. In 1994 Larcher founded Klangspuren, now an internationally renowned festival for contemporary music. He currently runs the Musik im Riesen festival in Wattens, Austria.

The intricate and complex score for Mumien (Mummies) contains a streamof-conscious description of the subject: “mummified—wrapped up—concealed; dried up—parched—leathery traces of memory; dissecting—opening of spots of barely a square centimeter in size— elderberries in the gastro-intestinal tract; tissue samples—under the microscope the nanocosmos is exploding.” 

Twist for Violin and Guitar Vivian FUNG Born February 6, 1975 in Edmonton, Canada.

Composed in 2014.

Premiered on April 25, 2014 in Philadelphia by violinist Kristin Lee and guitarist Jason Vieaux.

Tonight is the first CMS performance of this piece.

Duration: 13 minutes JUNO Award-winning composer Vivian Fung has a talent for combining idiosyncratic textures and styles into large-scale works, often including influences such as non-Western folk music, Tibetan chant, and Brazilian rhythms.

Recent works include Aqua, commissioned by the Chicago Sinfonietta and inspired by Chicago’s iconic Aqua Tower; Violin Concerto No. 2, commissioned and premiered by the Toronto Symphony Orchestra with Jonathan Crow, violin; and Biennale Snapshots, a 25-minute work for the Vancouver Symphony Orchestra, premiered in the VSO’s 2015-16 seasonopening concerts this past September.

Upcoming commissions include a new work for James Sommerville, principal hornist with the Boston Symphony, violinist Scott St. John and pianist Peter Longworth; a new work for the Daedalus Quartet and clarinetist Romie de Guise-Langlois; and a new work for

the National Arts Centre Orchestra in Ottawa, Canada.

Born in Edmonton, Canada, Fung began her composition studies with composer Violet Archer and received her doctorate from The Juilliard School in New York, where her mentors included David Diamond and Robert Beaser. She was a faculty member at Juilliard from 2002 to 2010, and currently lives in California.

Twist was commissioned by Astral Artists for violinist Kristin Lee and guitarist Jason Vieaux with a grant from the National Endowment for the Arts. Fung writes, “The movements are reinterpretations of—my ‘twists’ on—a Baroque prelude, a traditional pipa work, and some jam session licks. In Twisted Prelude, I take stock bariolage passages and then gradually contort the phrases in various ways such as by blurring the lines aleatorically, adding dissonances to create a jarring effect between instruments, and adding rhythmic punches. Twisted Pipa alludes to court pipa music with added color from guitar swoops, violin pizzicati, and harmonics.

The movement builds to a dramatic dissonant climax before the return of a delicate atmosphere. Twisted Jam is a fun, fast close to the piece, featuring licks for both violin and guitar, solo passages, and percussive hitting that develops to a rowdy, intense close.” 

Duo Fantasy for Violin and Piano William BOLCOM Born May 26, 1938 in Seattle.

Composed in 1973.

Premiered on August 6, 1973 in Portland, Oregon by violinist Sergiu Luca and the composer as pianist.

Tonight is the first CMS performance of this piece.

Duration: 13 minutes National Medal of Arts, Pulitzer Prize, and Grammy Award-winner William Bolcom is an American composer of chamber, operatic, vocal, choral, and symphonic music. He has written four violin sonatas; nine symphonies; three operas (McTeague, A View from the Bridge, and A Wedding), plus several musical theater operas; 11 string quartets; two film scores (Hester Street and Illuminata); incidental music for stage plays, including Arthur Miller's Broken Glass; and fanfares and occasional pieces. His setting of William Blake's Songs of Innocence and of Experience, a full evening's work for soloists, choruses, and orchestra, was recorded

by Naxos and won four Grammy Awards in 2005: Best Choral Performance, Best Classical Contemporary Composition, Best Classical Album, and Producer of the Year, Classical. As a pianist Bolcom frequently collaborates with his wife and musical partner, mezzo-soprano Joan Morris, performing his own works, cabaret songs, show tunes, and American popular songs of the 20th century. They have recorded 25 albums together–their most recent album, Autumn Leaves, was released in 2015.

Bolcom studied with Darius Milhaud at Mills College while working on his master’s degree, with Leland Smith at Stanford University while working on his D.M.A., and with Olivier Messiaen and Milhaud at the Paris Conservatoire, where he received the 2éme Prix de Composition. He joined the faculty of the University of Michigan in 1973, was named the Ross Lee Finney Distinguished University Professor of Composition in 1994, and retired in 2008 after 35 years.

Bolcom writes, “The Duo Fantasy is in the classic fantasy-form, a statement that seems at first to be a contradiction in terms. Isn't the idea of a fantasy or sort of free association, an unpredictably formless succession of events? Yes and no. The trick, as seen for example in the Schubert C major Fantasy for violin and piano or his solo-piano Wanderer-Fantasy, is to know exactly when to change, when to enter a new tempo or mood. I liken my Duo Fantasy to a passage through the layers of a musical onion. The outer layer, tightly organized on a four-note cell, gives way to a rhapsodic and more tonal passage. Another surprise leads us into a 3/16 scherzoso section, which is succeeded by what is perhaps the ‘onion ’s ’ center—a simple little waltz in E-flat. Is the following ragtime meant as a contrasting section in the middle of the waltz, or is it part of the journey outward, through the other side of the ‘onion ’ toward the end of the piece?

All I know is that suddenly we come to the outer layer again, and it is time  to leave.”

Trio for Violin, Viola, and Cello John HARBISON Born December 20, 1938 in Orange, New Jersey.

Composed in 2013.

Premiered on September 11, 2014 in Los Angeles by violinist Movses Pogossian, violist Richard O'Neill, and cellist Ani Aznavoorian.

Tonight is the first CMS performance of this piece.

Duration: 25 minutes John Harbison’s concert music includes six symphonies, 12 concertos, a ballet, five string quartets, three operas, and numerous song cycles and chamber works. Four large church cantatas and ten a cappella motets are part of his ongoing involvement with sacred music, along with the large-scale works Four Psalms, for the 50th anniversary of Israel’s statehood, and his Requiem, a Boston Symphony commission.

Recent performances of Harbison ’ s music include a new production in December 2015 of his opera The Great Gatsby by Semperoper Dresden, with a revival there planned for May 2017. His current composition projects include a work for cello and strings, Longfellow settings for countertenor and viol consort, his sixth string quartet, and a monodrama.

As one of America’s most distinguished artistic figures, Harbison has composed music for many of its premiere musical institutions, including the Metropolitan Opera, Chicago Symphony, Boston Symphony, New York Philharmonic, The Chamber Music Society of Lincoln Center, Chicago Chamber Musicians,

and the Orion, Emerson, and Cleveland Quartets. He is the recipient of numerous awards and honors, including the prestigious MacArthur Foundation award, the Pulitzer Prize, a Kennedy Center Friedheim Award, a Heinz Award, and the Harvard Arts Medal.

More than 100 of Harbison’s works have been recorded on leading labels such as Harmonia Mundi, New World, Deutsche Grammophon, Albany, Centaur, and Naxos. He received degrees from Harvard and Princeton before joining the faculty of the Massachusetts Institute of Technology, where he is currently Institute Professor. He taught composition at Tanglewood beginning in 1984, serving as head of the composition program there from 2005 to 2015. Harbison and violinist Rose Mary Harbison are the founders and artistic directors of the Token Creek Chamber Music Festival.

In April 2012, before he began the String Trio, Harbison wrote, “When I was 15 years old I began a string trio. I wrote about three pages before deciding it was too difficult for me at that time.

All subsequent attempts over the last 40 years yielded the same results. In the meantime I have performed string trios by Beethoven and Mozart, and studied others. I have no reason to believe the medium has gotten easier, but my music has become somewhat simpler and has fewer notes, which I imagine to be an advantage. The piece begins very loud, or perhaps very soft, or better with an intriguing neutrality of mood which takes on a kind of menace.

The impression is formidable but at the same time winning, even droll. Let the

critic not be fooled however by this veneer of friendliness. I have a knife for his ribs later on, at the moment of greatest security. By the end even the violist has lost all sense of normalcy, or decency.

“Most of the motives in the piece are based on the name of Barcelona ’ s forward, the Mozart of world soccer, Lionel Messi. This is all I can reveal of this piece at this point, but even the construction of this program note spells confidence that finally at this point I will make friends with this dragon. ” In 2014, after completing the piece, he returned to the note, “The original fictional note is amazingly close to what I might say now about the piece.

I would only add a few remarks about the once and future king of the string trio repertoire, Mozart ’ s Divertimento, K. 563 (563 Franklin Street was my address from 1967 to 1985).

“Mozart ’ s piece hides under its title, but we are not fooled: it is one of his most ambitious and comprehensive pieces. It contains stretches of great learnedness and patches of casual geniality. It re-examines the ‘ highest ’ symphonic structures and the ‘ lowest ’ popular dances. Rather than mask the difficulty, the leanness of the texture, Mozart disdains orchestral effects; he writes few multiple stops, exults in the sufficiency of two or three voices. The players find their parts pleasurable, grateful, demanding, and unforgiving. Virtuosity happens, it is never obligatory.

“When I mentioned to some friends that I had written a string trio, they said, ‘ Does it have too many movements, like the Mozart ’ ?

“Irreverence is the only defense, as we look with an eye both jaundiced and bewitched at the wonders of Ozymandias. ” 

meet tonight’s

ARTISTS

Hailed as a “superb young soloist” (The New Yorker), Nicholas Canellakis has become one of the most sought-after and innovative cellists of his generation, captivating audiences throughout the United States and abroad. In the New York Times his playing was praised as “impassioned” and “soulful,” with “the audience seduced by Mr. Canellakis’s rich, alluring tone.” In the spring of 2015 he made his Carnegie Hall concerto debut, performing Leon Kirchner’s Music for Cello and Orchestra with the American Symphony Orchestra in Isaac Stern Auditorium. A former member of CMS Two, he appears regularly with the Chamber Music Society in Alice Tully Hall and on tour. He performs numerous recitals throughout the country each season with his duo partner, pianist/composer Michael Brown, and has been a guest artist at many of the world’s leading music festivals, including Santa Fe, La Jolla, Music@Menlo, Ravinia, Bridgehampton, Verbier, Mecklenburg, Moab, and Bowdoin. He is also the co-artistic director of the Sedona Winter MusicFest in Arizona. He is a graduate of the Curtis Institute of Music and New England Conservatory, where his teachers included Orlando Cole, Peter Wiley, and Paul Katz. He is on the faculty of the Brooklyn College Conservatory of Music.

Filmmaking is a special interest of Mr. Canellakis. He has produced, directed, and starred in several short films and music videos, including his popular comedy web series “Conversations with Nick Canellakis.”

Picked by the Boston Globe as one of the superior pianists of the year, “… who appears to excel in everything,” pianist Gloria Chien made her orchestral debut at the age of 16 with the Boston Symphony Orchestra. Since then she has appeared as a soloist under the batons of Sergiu Comissiona, Keith Lockhart, Thomas Dausgaard, and Irwin Hoffman. She has presented concerts at Alice Tully Hall, Library of Congress, Isabella Stewart Gardner Museum, Phillips Collection, Jordan Hall, Philadelphia Chamber Music Society, Savannah Musical Festival, Kissinger Sommer, Dresden Chamber Musical Festival, Salle Cortot in Paris, and the National Concert Hall in Taiwan. An avid chamber musician, she has collaborated with artists such as David Shifrin, Daniel Hope, Shmuel Ashkenasi, Jaime Laredo, James Ehnes, Roberto Díaz, David Finckel, Jan Vogler, Soovin Kim, Radovan Vlatković, and Carolin Widmann, and the St. Lawrence, Miró, Pacifica, and Brentano quartets. She also recently released a CD with clarinetist Anthony McGill. In 2009 she launched String Theory, a chamber music series at the Hunter Museum in Chattanooga, as its founder and artistic director. The following year, she was appointed director of the chamber music institute at the Music@Menlo festival by Artistic Directors David Finckel and Wu Han. A native of Taiwan, Ms. Chien is a graduate of the New England Conservatory, where she was a student of Russell Sherman and Wha-Kyung Byun. She is an artist-in-residence at Lee University in Cleveland, Tennessee, and a Steinway Artist.

Violinist Kristin Lee, winner of a 2015 Avery Fisher Career grant, enjoys a vibrant career as a soloist, recitalist, and chamber musician. Her recent engagements

include recitals in New York’s Merkin Concert Hall and Washington DC’s Phillips Collection, and appearances with the Philadelphia Orchestra, Milwaukee Symphony, and the St. Paul Chamber Orchestra. As a recitalist, she has performed at Ravinia's Rising Stars Series, the Salon de Virtuosi at Steinway Hall, The Metropolitan Museum of Art, the Louvre in Paris, the Kumho Art Gallery in her native Seoul, and throughout northern Italy. A winner of Juilliard’s Concerto Competition and the Aspen Music Festival’s Violin Competition, she was a top prize winner of the 2012 Naumburg Competition, Astral Artists Auditions in 2010, and Italy's Premio di Trieste Competition in 2011. As a chamber musician, she has made appearances at the Ravinia Festival, Music@Menlo, La Jolla, Sarasota, El Sistema in Caracas, and Festicamara de Medellin. Ms. Lee earned a master’s degree from The Juilliard School in 2010 under Itzhak Perlman and Donald Weilerstein and served as an assistant teacher in Mr. Perlman’s studio. She is a former member of CMS Two and on the faculty at the Aaron Copland School of Music in Queens College.

Violist Richard O’Neill is an Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Grant recipient. He has appeared as soloist with the London, Los Angeles, Seoul, and Euro-Asian Philharmonics; the BBC, KBS, and Korean Symphonies; the Moscow, Vienna, and Württemburg Chamber Orchestras; and Alte Musik Köln with conductors Andrew Davis, Vladimir Jurowski, and Yannick Nézet-Séguin. Highlights of this season include collaborations with Gidon Kremer, concertos with Kremerata Baltica, his first tour to China with Ensemble DITTO, and a European tour and complete Beethoven quartet cycle with the Ehnes Quartet.

As recitalist he has performed at Carnegie Hall, Avery Fisher Hall, Kennedy Center, Wigmore Hall, Louvre, Salle Cortot, Madrid’s National Concert Hall, 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. In his tenth season as artistic director of DITTO, he has introduced tens of thousands to chamber music in South Korea and Japan. The first violist to receive the artist diploma from Juilliard, he 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, and UNICEF; runs marathons for charity; and teaches at UCLA. He is a former member of CMS Two. Donald Palma has an active career as a double bassist, conductor, and educator.

A native New Yorker, he attended The Juilliard School and joined Leopold Stokowski’s American Symphony. As a member of the newly formed new music ensemble Speculum Musicae, he went on to win the Naumburg Competition and secure management with Young Concert Artists. A founding member of the Orpheus Chamber Orchestra, he has toured the globe and recorded over 50 compact discs for Deutsche Grammophon, including the Grammy Award winning Stravinsky CD Shadow Dances. He has also been a member of the Los Angeles Philharmonic and

played principal bass in the National Arts Centre Orchestra. He played principal bass for Leonard Bernstein on his recording of West Side Story and was a featured artist on Kathleen Battle’s recording Grace. Many works have been composed for him, including Elliott Carter’s Figment III, Mario Davidovsky’s Synchronisms No. 11, Charles Wuorinen’s Spin-Off, and Robert Ceely’s Harlequin. Recently he conducted Ives’s Symphony No. 2 and Strauss’s Four Last Songs with the Xalapa Symphony in Mexico, conducted/played in concerts celebrating Mario Davidovsky’s 80th birthday at the Teatro Colon in Buenos Aires, and recorded Stravinsky’s L’histoire du Soldat for the Bridgehampton Chamber Music Festival.

He is a member of Mistral, the Walden Chamber Players, and music director of the Symphony by the Sea on the north shore of Boston. Mr. Palma is on the faculty of the Yale School of Music and the New England Conservatory, where he directs the NEC Chamber Orchestra.

Grammy-winning guitarist Jason Vieaux puts his expressive gifts and virtuosity at the service of a remarkably wide range of music. His schedule of recital, concerto, chamber music, teaching, and recording commitments is distinguished, with return engagements throughout the US and abroad. Recent and future highlights include returns to The Chamber Music Society of Lincoln Center, Caramoor Festival, Philadelphia Chamber Music Society, and New York’s 92nd Street Y. He collaborates in recitals this season with the Escher Quartet, acclaimed harpist Yolanda Kondonassis, and accordion/bandoneón virtuoso Julien Labro. He has performed as concerto soloist with nearly 100 orchestras, including Cleveland, Houston, Toronto, San Diego, Ft. Worth, Santa Fe, Charlotte, Buffalo, Grand Rapids, Kitchener-Waterloo, Richmond, Edmonton, IRIS Chamber, and Chamber Orchestra of Philadelphia. His 2014 solo album, PLAY, was released on Azica Records and won the 2015 Grammy award for Best Classical Instrumental Solo. In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an interface that provides one-on-one online study with Vieaux for guitar students around the world. In 2011, he co-founded the guitar department at The Curtis Institute of Music, and he has taught at the Cleveland Institute of Music since 2001. His primary teachers were Jeremy Sparks and John Holmquist. He has received a Naumburg Foundation top prize, a Cleveland Institute of Music Alumni Achievement Award, and a Salon di Virtuosi Career Grant.

Spring 2016

WATCH LIVE Enjoy a front row seat from anywhere in the world. View chamber music events streamed live to your computer or mobile device, and available for streaming on demand for the following 24 hours. Relax, browse the program, and experience the Chamber Music Society like never before.

5/5/16 7:30 PM Art of the Recital: Benjamin Beilman & Yekwon Sunwoo 5/19/16 7:30 PM The Kirchner String Quartet Cycle

All events are free to watch.

View full program details online. www.ChamberMusicSociety.org/WatchLive

SUBSCRIBE TODAY TO THE 2016-17 NEW MUSIC SERIES! Starting next season, you will be able to hear performances of today's foremost chamber music composers in the exemplary acoustics of the beautiful Rose Studio. Choose the concert time that works best for you—6:30 or 9:00 PM. Visit www.ChamberMusicSociety.org or call 212-875-5788 to subscribe

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Hear more from CMS this season

upcoming

EVENTS

HORN CALLS WITH RADOVAN VLATKOVIĆ

Tuesday, May 3, 7:30 PM • Alice Tully Hall Internationally renowned horn virtuoso Radovan Vlatković is featured in a program of beloved chamber works for this remarkable instrument.

THE ART OF THE RECITAL

Thursday, May 5, 7:30 PM • Daniel and Joanna S. Rose Studio Featuring violinist Benjamin Beilman and pianist Yekwon Sunwoo.

This event will also be streamed live at www.ChamberMusicSociety.org/watchlive

MACABRE

Friday, May 13, 7:30 PM • Alice Tully Hall Join an all-star cast of CMS artists as they offer eerie, spine-chilling, and beautifully unnerving musical statements of Herrmann, Caplet, Ravel, and Schubert.