Friday Evening, April 15, 2016, at 7:30
3,572nd Concert
GILLES VONSATTEL, piano ARNAUD SUSSMANN, violin PAUL NEUBAUER, viola PAUL WATKINS, cello
LUDWIG VAN BEETHOVEN (1770–1827)
Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 16 (1796) Grave—Allegro ma non troppo Andante cantabile Rondo: Allegro ma non troppo VONSATTEL, SUSSMANN, NEUBAUER, WATKINS
ERNŐ DOHNÁNYI (1877–1960)
Serenade in C major for Violin, Viola, and Cello, Op. 10 (1902) Marcia: Allegro Romanza: Adagio non troppo, quasi andante Scherzo: Vivace Tema con variazioni: Andante con moto Rondo: Allegro vivace SUSSMANN, NEUBAUER, WATKINS
INTERMISSION ANTONÍN DVOŘÁK (1841–1904)
Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 87 (1889) Allegro con fuoco Lento Allegro moderato, grazioso Finale: Allegro ma non troppo VONSATTEL, SUSSMANN, NEUBAUER, WATKINS
The Chamber Music Society acknowledges with sincere appreciation Ms. Tali Mahanor’s generous long-term loan of the Hamburg Steinway & Sons model “D” concert grand piano. Please turn off cell phones and other electronic devices. Photographing, sound recording, or videotaping this performance is prohibited. ALICE TULLY HALL, STARR THEATER, ADRIENNE ARSHT STAGE HOME OF THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER
NOTES ON THE PROGRAM Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 16 ABOUT
TONIGHT’S PROGRAM
LISA-MARIE MAZZUCCO
Dear Listener, It’s a pleasure to welcome you to a program of chamber music classics performed by a truly magnificent cast of artists. We are so fortunate at CMS that our family of musicians has experienced such growth in size, depth, and diversity, to the point where it affords us virtually unlimited opportunities to hear our beloved masterpieces interpreted from fresh new perspectives.
of Haydn’s The Creation the following year and The Seasons in 1801.
Ludwig van Beethoven Born December 16, 1770, in Bonn. Died March 26, 1827, in Vienna. Composed in 1796. Premiered on April 6, 1797, in Vienna by an ensemble led by violinist Ignaz Schuppanzigh. First CMS performance on April 24, 1987. Duration: 26 minutes
The Czech Republic’s predominant neighbors have David Finckel and Wu Han historically been Germany, Austria, and Hungary, and the growth of Bohemian culture, especially in the 19th century, could not escape their influences. Speaking musically, on the Austrian front were the mighty Viennese fathers of the classical genre, whose artistic descendants Schumann and Brahms were contemporaries of Dvořák. Dvořák himself was much more of an intellectual than he is popularly thought of; read his 4,680-word essay of 1894 on the music of Franz Schubert in which he reveals his own wide knowledge of the literature and analytical skill. It was this intelligence (not just the good music!) that attracted the attention and support of the mighty Brahms, perhaps history’s toughest critic of his fellow composers. And from the east, Bohemia absorbed the Magyar influences, not the least of which was the intoxicating music of the Roma. Only two years after Dvořák’s death, the Hungarian Bartók ventured for the first time into the countryside, collecting Magyar folk melodies, and becoming one of the founders of the discipline of ethnomusicology. Ernő Dohnányi, whose enchanting serenade we hear on this program, shared the blessings from Brahms with Dvořák, and carried his work for Hungarian musical culture forward as director of the Budapest Conservatory, and even further, as a hero of Holocaust resistance, resigning from his directorship of the Franz Liszt Academy rather than firing Jewish teachers. With Beethoven as this program’s patriarch, we can enjoy the craft and passion of his two musical descendants, each of whom infused their greatest works with the indomitable spirit of their homelands. Enjoy the concert,
David Finckel
Among the works with which Beethoven sought to establish his reputation as a composer after arriving in Vienna from his native Bonn in November 1792 was a series of pieces for wind instruments—Trio for Two Oboes and English Horn (Op. 87); Trio for Piano, Clarinet, and Cello (Op. 11); Sonata for Horn and Piano (Op. 17); Septet (Op. 20, by far his most popular composition during his lifetime); Quintet for Piano and Winds (Op. 16)—that enabled him to demonstrate his skill in the traditional modes of chamber music without broaching the genre of the string quartet, then still indisputably dominated by Joseph Haydn. The Op. 16 Quintet drew its inspiration and model from Mozart’s exquisite Quintet for Piano and Winds of 1784 (K. 452), which Beethoven heard performed in Prague in spring 1796 during a concert tour that also took him to Dresden and Berlin. He apparently began his quintet in Berlin and completed the score later that year in Vienna. The piece was first given at a concert organized by the violinist Ignaz Schuppanzigh on April 6, 1797 at the palace of Prince Joseph Johann von Schwarzenberg, which was also to be the site of the premiere
Though the version of Op. 16 for piano and winds is one of Beethoven’s most sonorous and ingratiating creations, the original scoring limited the music’s suitability for the burgeoning home market that provided a significant source of income for both composers and publishers. Beethoven therefore made an arrangement of the work for the popular (and easily salable) configuration of piano quartet—piano, violin, viola, and cello—that was issued simultaneously with the original wind version. The musical substance remains unaltered in the quartet version, though the string lines, especially in the slow movement, are given more elaborate figurations and sometimes asked to play a few additional phrases where the wind players are allowed a little breather to rest lip and lung. The piano part is unchanged. The work opens with a slow introduction whose stately tread and pompous rhythms recall the old Baroque form of the French overture. With its sweeping figurations and full scoring, the piano announces its intention to be primus inter pares in the music that follows, and, indeed, appropriates for itself the principal theme of the main body of the movement, a sleek triple-meter melody made from a quick upward leap and a gently descending phrase. The strings are allowed to dabble in this melodic material before more bold piano scales and arpeggios lead to the subsidiary subject, a lovely, flowing strain in even note values. The development section busies itself with some piano figurations before settling down to a
Wu Han
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discussion of the main theme. A long scale in the piano reaches its apex at the recapitulation, which returns the earlier thematic materials to lend this handsome movement balance and formal closure. The
Andante is a richly decorated slow rondo (A–B–A–C–A) that touches upon some poignant proto-Romantic sentiments as it unfolds. The finale is a dashing rondo based on a galloping theme of opera buffa jocularity.
Serenade in C major for Violin, Viola, and Cello, Op. 10 ernő Dohnányi Born July 27, 1877, in Pozsony, Hungary (now Bratislava, Slovakia). Died February 9, 1960, in New York City. Composed in 1902. Premiered on January 5, 1904, in Vienna by members of the Fitzner Quartet. First CMS performance on November 24, 1972. Duration: 20 minutes Ernst von Dohnányi was among the 20thcentury’s foremost composers, pianists, teachers, and music administrators. Born on July 27, 1877, in Pozsony, Hungary (now Bratislava, Slovakia), he inherited his musical interests from his father, a talented amateur cellist, who gave him his first lessons in piano and theory. At 17, he entered the newly established Franz Liszt Academy in Budapest, the first Hungarian of significant talent to do so. The young composer was honored with the Hungarian Millennium Prize for his Symphony No. 1 in 1895, and two years later he received the Bösendorfer Prize for his First Piano Concerto. He graduated from the Academy in 1897, and toured extensively for the next several years, appearing throughout Europe, Russia, the United States, and South America. From
1905 to 1915, Dohnányi taught at the Berlin Hochschule für Musik, a position he assumed at the invitation of his friend, the eminent violinist Joseph Joachim. He returned to Budapest in 1915, becoming director of the Academy in 1919 and musical director of Hungarian Radio in 1931. He served as conductor of the Budapest Philharmonic for the 25 years after 1919 while continuing to concertize at home and abroad and remaining active as a composer. In addition to his work as a performer and composer, Dohnányi’s contributions to the musical life of his homeland included inspiring and performing the works of younger composers (notably Bartók and Kodály), reforming the Budapest Academy’s music curriculum, guiding the development of such talented pupils as Georg Solti, Géza Anda, and Annie Fischer, expanding the repertory of the nation’s performing groups, and serving as a model in musical matters through the strength of his personality and the quality of his musicianship. In 1944, Dohnányi left Hungary, a victim of the raging political and militaristic tides that swept the country during World War II. He moved first to Austria, then to Argentina, and finally settled in Tallahassee in 1949 as pianist and composer-in-residence at Florida State University, where his students included Pulitzer Prize–winning American composer
Ellen Taaffe Zwilich and his grandson, conductor Christoph von Dohnányi, former Music Director of the Cleveland Orchestra. Though Dohnányi was in his 70s, his abilities remained unimpaired, and he continued an active musical life. He appeared regularly on campus and in guest engagements; his last public performance was as conductor of the FSU Symphony just three weeks before his death. He died in New York on February 9, 1960 during a recording session. The Serenade for Strings, Op. 10 of 1902, one of the earliest works of Dohnányi’s creative maturity, combines a folkish sense of melody with mastery of form and harmonic sophistication. The composition
opens with a March, which, in the fashion of serenades from Mozart’s time, returns at the end of the finale. The principal theme of the first movement is provided balance by a lyrical subject introduced by the cello above a drone-like viola accompaniment. The Romanza embraces a flight of melody for the viola and a more animated and wideranging theme for the violin. The nimble Scherzo is spun out upon featherweight imitative counterpoint; the central trio uses a smooth, contrasting melody, which is ingeniously superimposed upon the Scherzo theme on its return. A set of variations on a melancholy chromatic theme and a dashing Rondo round out this handsome composition.
Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 87 Antonín Dvořák Born September 8, 1841, in Nelahozeves, Bohemia. Died May 1, 1904, in Prague. Composed in 1889. Premiered on November 23, 1890, in Prague by Hanuš Trneˇcek (piano), Ferdinand Lachner (violin), Petr Mares (viola), and Hanuš Wihan (cello). First CMS performance on March 31, 1974. Duration: 35 minutes By the time Dvořák undertook his Piano Quartet in E-flat major in 1889, when he was nearing the age of 50, he had risen from his humble and nearly impoverished beginnings to become one of the most respected musicians in his native Bohemia and throughout Europe and America. He was invited to become Professor of Composition at the Prague Conservatory at the beginning of the year, but refused the offer after much
careful thought in order to continue devoting himself to creative work and touring as a conductor of his music. In February, his opera The Jacobin enjoyed a great success at its premiere in Prague, and the following month his orchestral concert in Dresden received splendid acclaim. In May, Emperor Franz Josef awarded him the distinguished Austrian Iron Cross, and a few months later he received an honorary doctorate from Cambridge University. Dvořák composed his E-flat major Piano Quartet at his country home in Vysoká during the summer of 1889, the time between receiving these last two honors, in response to repeated requests from his publisher in Berlin, Fritz Simrock, who had been badgering him for at least four years to provide a successor to the Piano Quartet, Op. 23 of 1875. The new composition was begun on July 10, and completed within just five weeks, evidence of the composer’s testimony to his friend Alois Göbl that his head was so full of ideas during that time that he regretted he could
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© 2016 Dr. Richard E. Rodda For more information on each of these pieces please visit our website and look for the Program Notes link for this concert.
Violist Paul Neubauer’s exceptional musicality and effortless playing led the New York Times to call him “a master musician.” This season he will record the Aaron Jay Kernis Viola Concerto with the Royal Northern Sinfonia in the United Kingdom, a work he premiered with the St. Paul Chamber Orchestra, Los Angeles Chamber Orchestra, Chautauqua Symphony, and Idyllwild Arts Orchestra in 2014. A solo album of music recorded at Music@Menlo will also be released this season. At Alice Tully Hall, he will premiere Joan Tower’s Purple Rush for solo viola, a CMS commission and the fourth work Ms. Tower has composed for him. Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the New York, Los Angeles, and Helsinki philharmonics; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth symphonies; and Santa Cecilia, English Chamber, and Beethovenhalle orchestras. Mr. Neubauer performs in a trio with soprano Susanna Phillips and pianist Anne-Marie McDermott. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical. He is on the faculty of The Juilliard School and Mannes College.
MATT DINE
The quartet’s first movement follows a freely conceived sonata form. To launch the work, the unison strings present the bold main theme, which immediately elicits a capricious response from the piano. Following a grand restatement of the opening theme and a transition based on a jaunty rhythmic motive, the viola introduces the arching subsidiary subject. The development is announced by a recall of the theme that began the movement. A varied recapitulation of the earlier materials rounds out the movement. The Lento is unusual in its structure, consisting of a large musical chapter comprising five distinct thematic entities played twice. The cello presents the first melody, a lyrical phrase that the composer’s biographer Ottokar Šourek believed was “an expression of deep, undisturbed peace.” The delicate second
motive, given in a leisurely, unruffled manner by the violin, is even more beatific in mood. A sense of agitation is injected into the music by the animated third theme, entrusted to the piano, and rises to a peak of intensity with the stormy fourth strain, which is argued by the entire ensemble. Calm is restored by the piano’s closing melody. This thematic succession is repeated with only minor changes before the movement is brought to a quiet and touching end. The third movement, the quartet’s scherzo, contrasts waltz-like outer sections with a central trio reminiscent of a fiery Middle Eastern dance. The Finale, like the opening Allegro, follows a fully realized sonata form in which an energetic main theme (which stubbornly maintains its unsettled minor tonality for much of the movement) is contrasted with a lyrically inspired second subject, first allotted to the cello. A rousing coda of almost symphonic breadth closes this work of Dvořák’s full maturity.
BERNARD MINDICH
not write them down fast enough; he completed his boundlessly lyrical Symphony No. 8 two months later.
ARTISTS
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, D.C. 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, 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.
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JEAN-CLAUDE CAPT
Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality. Recipient of an Avery Fisher Career Grant and winner of the Naumburg and Geneva competitions, he has in recent years made his Boston Symphony, Tanglewood, and San Francisco Symphony debuts, and performed recitals and chamber music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo! Vail, Music@Menlo, the Lucerne festival, and the Munich Gasteig. Chamber partners include James Ehnes, Frank Huang, Nicolas Altstaedt, David Shifrin, David Finckel, and the Swiss Chamber Soloists. Deeply committed to the performance of contemporary music, he has premiered numerous works both in the United States and Europe and worked closely with notable composers such as Jörg Widmann, Heinz Holliger, and George Benjamin. His 2011 recording on the Honens label was named one of Time Out New York’s classical albums of the year, while a 2014 release on GENUIN received a 5/5 from FonoForum and widespread international critical praise. This season’s projects include the Berg Kammerkonzert with the Orchestra della Svizzera Italiana, a tour with Jörg Widmann and the Irish Chamber Orchestra, Mozart concertos with the Vancouver Symphony and Florida Orchestra, as well as multiple appearances with the Chamber Music Society. A former member of CMS Two, Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School. He is on the faculty of the University of Massachusetts at Amherst.
PAUL MARC MITCHELL
Paul Watkins enjoys a distinguished career both as a cellist and as a conductor, and in the 2009-10 season became the first ever music director of the English Chamber Orchestra. As solo cellist he performs regularly with all the major British orchestras including the London Philharmonic, Royal Philharmonic, London’s Philharmonia, and City of Birmingham Symphony. Outside the United Kingdom he has performed with the Netherlands Philharmonic, Melbourne Symphony, Konzerthausorchester Berlin, and the RAI National Symphony Orchestra of Turin. Recent highlights include his debut at Carnegie Hall performing Brahms’ Double Concerto with Daniel Hope, and appearances with the Royal Flemish Philharmonic, City of Birmingham Symphony, Philharmonia, and Hong Kong Philharmonic Orchestra. He also premiered (and was the dedicatee of) Mark-Anthony Turnage’s new concerto with the Royal Flemish, Tampere, and Royal Liverpool Philharmonic Orchestras and the Gewandhausorchester Leipzig. A dedicated chamber musician, he was a member of the Nash Ensemble from 1997 to 2013, and joined the Emerson String Quartet in 2013. He has given solo recitals at the Wigmore Hall, Amsterdam Concertgebouw, South Bank Centre, Manchester’s Bridgewater Hall, and Queens Hall in Edinburgh. In 2009 he signed an exclusive contract with Chandos Records. Recent releases include the Delius, Elgar, and Lutosławski concertos, and discs of British music for cello and piano. In 2014 he was appointed artistic director of the Great Lakes Music Festival of Detroit. Mr. Watkins plays a cello made by Domenico Montagnana and Matteo Goffriller in Venice, c.1730.
WEDNESDAY, JULY 6 7:30 PM
SUNDAY, JULY 10 5:00 PM
WEDNESDAY, JULY 13 7:30 PM
MOZART Quintet in E-flat major for Horn, Violin, Two Violas, and Cello, K. 407 (1782) MENDELSSOHN Quartet in D major for Strings, Op. 44, No. 1 (1838) BRAHMS Sextet No. 1 in B-flat major for Two Violins, Two Violas, and Two Cellos, Op. 18 (1859-60)
MOZART Quartet in E-flat major for Piano, Violin, Viola, and Cello, K. 493 (1786) DVOŘÁK Selected Slavonic Dances for Piano, Four Hands (1886) SCHUMANN Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 47 (1842)
MOZART Quartet in D major for Flute, Violin, Viola, and Cello, K. 285 (1777) BEETHOVEN Serenade in D major for Flute, Violin, and Viola, Op. 25 (1801) DVOŘÁK Quintet in A major for Piano, Two Violins, Viola, and Cello, B. 155, Op. 81 (1887)
Escher String Quartet (Adam Barnett-Hart, Aaron Boyd, violin • Pierre Lapointe, viola • Brook Speltz, cello) • Roberto Diaz, viola • Andres Diaz, cello • Kevin Rivard, horn
Orion Weiss, Wu Qian, piano • Alexander Sitkovetsky, violin • Yura Lee, viola •Jan Vogler, cello
Jon Kimura Parker, piano • Benjamin Beilman, Daniel Phillips, violin • Richard O’Neill, viola • Dmitri Atapine, cello • Tara Helen O’Connor, flute
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JOIN US THIS SPRING AT
THE CHAMBER MUSIC SOCIETY AMERICAN VISIONS Tuesday, April 19, 7:30 PM An evening inspired by American popular and folk music from patriotic tunes to familiar melodies such as Swing Low, Sweet Chariot. Featuring works by Gottschalk, Dvořák, Ives, and Crumb. Randall Scarlata, baritone; Michael Brown, Gilbert Kalish, piano; Chad Hoopes, violin; Christopher Froh, Ayano Kataoka, Eduardo Leandro, Ian David Rosenbaum, percussion
THE ROMANTIC VIOLA WITH PAUL NEUBAUER Sunday, April 24, 5:00 PM The irresistible resonance of the viola is revealed in a set of extraordinary works collected by the incomparable violist Paul Neubauer. Featuring works by Schumann, Brahms, Joan Tower, and more.
CHAMBER MUSIC SOCIETY
The Chamber Music Society of Lincoln Center makes its home at Alice Tully Hall, which has received international acclaim as one of the world’s most exciting venues for chamber music. CMS presents chamber music of every instrumentation, style, and historical period in its extensive concert season in New York, its national and international tours, its many recordings and national radio broadcasts, its broad commissioning program, and its multifaceted educational programs. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, CMS has created programs to bring the art of chamber music to audiences from a wide range of backgrounds, ages, and levels of musical knowledge. The artistic core of CMS is a multi-generational, dynamic repertory company of expert chamber musicians who form an evolving musical community. As part of that community, the CMS Two program discovers and weaves into the artistic fabric a select number of highly gifted young artists—individuals and ensembles—who embody the great performance traditions of the past while setting new standards for the future. CMS produces its own recordings on the CMS Studio Recordings label, which has been highly praised for both the artistry and the recorded sound of the eclectic range of repertoire it has released. These recordings are sold on-site at concerts in New York, on tour, and through the CMS website as well as online retailers such as iTunes. The newest media innovation, CMS Live!, offers recordings available only by download of extraordinary live performances chosen by CMS artistic directors David Finckel and Wu Han from among each season’s many concerts. CMS also has a broad range of historic recordings on the Arabesque, Delos, SONY Classical, Telarc, Musical Heritage Society, MusicMasters, and Omega Record Classics labels. Selected live CMS concerts are available for download as part of Deutsche Grammophon’s DG Concerts series.
Paul Neubauer, viola; Jennifer Johnson Cano, mezzo soprano; Alessio Bax, piano; Ida Kavafian, Daniel Phillips, violin; Lawrence Dutton, Hsin-Yun Huang, Pierre Lapointe, Richard O’Neill, Cynthia Phelps, viola; Paul Watkins, cello; James Austin Smith, oboe; Romie de Guise-Langlois, clarinet
ADMiniStRAtion David Finckel and Wu Han, Artistic Directors
HORN CALLS WITH RADOVAN VLATKOVIĆ Tuesday, May 3, 7:30 PM Internationally renowned virtuoso Radovan Vlatković is featured in a program of beloved chamber works for french horn. Featuring Brahms' Trio in E-flat major for Horn, Violin, and Piano, Op. 40. Radovan Vlatković, horn; Nicholas Phan, tenor; Gloria Chien, Juho Pohjonen, piano; Paul Huang, violin; Nicholas Canellakis, Mihai Marica, cello
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ARtiStS oF the SeASon 2015–16
YOUNG PATRONS Supporting Young Audiences and Young Artists
Kiera Duffy, soprano Jennifer Johnson Cano, mezzo soprano Nicholas Phan, tenor Randall Scarlata, baritone Yunpeng Wang, baritone Inon Barnatan, piano Jean-Efflam Bavouzet, piano Alessio Bax, piano Michael Brown, piano* Gloria Chien, piano Jeffrey Kahane, piano Gilbert Kalish, piano Konstantin Lifschitz, piano Anne-Marie McDermott, piano Juho Pohjonen, piano Robert Spano, piano Yekwon Sunwoo, piano Gilles Vonsattel, piano Orion Weiss, piano Wu Han, piano Wu Qian, piano* John Gibbons, harpsichord Kenneth Weiss, harpsichord Benjamin Beilman, violin Nicolas Dautricourt, violin Chad Hoopes, violin* Daniel Hope, violin Bella Hristova, violin Paul Huang, violin* Ani Kavafian, violin Ida Kavafian, violin/viola Erin Keefe, violin Benny Kim, violin Jessica Lee, violin Kristin Lee, violin Sean Lee, violin Yura Lee, violin/viola Cho-Liang Lin, violin Daniel Phillips, violin/viola Alexander Sitkovetsky, violin Arnaud Sussmann, violin Danbi Um, violin* Roberto Diaz, viola Lawrence Dutton, viola Mark Holloway, viola Hsin-Yun Huang, viola Pierre Lapointe, viola Matthew Lipman, viola* Paul Neubauer, viola Richard O’Neill, viola
Cynthia Phelps, viola Dmitri Atapine, cello* Efe Baltacıgil, cello Nicholas Canellakis, cello Colin Carr, cello David Finckel, cello Gary Hoffman, cello Jakob Koranyi, cello Laurence Lesser, cello Mihai Marica, cello Daniel McDonough, cello Keith Robinson, cello Sophie Shao, cello Torleif Thedéen, cello Paul Watkins, cello Timothy Cobb, double bass Joseph Conyers, double bass David Grossman, double bass Anthony Manzo, double bass Donald Palma, double bass Paul O’Dette, theorbo Jason Vieaux, guitar Bridget Kibbey, harp Sooyun Kim, flute Demarre McGill, flute Tara Helen O’Connor, flute Ransom Wilson, flute Randall Ellis, oboe James Austin Smith, oboe Stephen Taylor, oboe Romie de Guise-Langlois, clarinet Alexander Fiterstein, clarinet Jose Franch-Ballester, clarinet Tommaso Lonquich, clarinet* Anthony McGill, clarinet Ricardo Morales, clarinet David Shifrin, clarinet Jörg Widmann, clarinet Marc Goldberg, bassoon Peter Kolkay, bassoon Julie Landsman, horn Jennifer Montone, horn Trevor Nuckols, horn Kevin Rivard, horn Radovan Vlatkovic´, horn Brandon Ridenour, trumpet Christopher Froh, percussion Ayano Kataoka, percussion Eduardo Leandro, percussion Ian David Rosenbaum, percussion
Amphion String Quartet* Katie Hyun, violin David Southorn, violin Wei-Yang Andy Lin, viola Mihai Marica, cello Danish String Quartet* Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Sjölin, cello Escher String Quartet Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello Daedalus Quartet Min-Young Kim, violin Matilda Kaul, violin Jessica Thompson, viola Thomas Kraines, cello Jerusalem Quartet Alexander Pavlovsky, violin Sergei Bresler, violin Ori Kam, viola Kyril Zlotnikov, cello Miró Quartet Daniel Ching, violin William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello Orion String Quartet Daniel Phillips, violin Todd Phillips, violin Steven Tenenbom, viola Timothy Eddy, cello Opus One Piano Quartet Anne-Marie McDermott, piano Ida Kavafian, violin Steven Tenenbom, viola Peter Wiley, cello
* designates a CMS Two Artist
Memberships start as low as $42 per month. The Young Patrons of The Chamber Music Society of Lincoln Center is a sophisticated and social group of music lovers ages 21-45 committed to playing a leadership role in supporting the premier chamber music organization in the world, its extensive education programs, and CMS Two, a prestigious three year residency for an international array of tomorrow’s most important Artists.
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DiReCtoRS AnD FoUnDeRS James P. O’Shaughnessy, Chairman Elinor L. Hoover, Vice Chairman Elizabeth W. Smith, Vice Chairman Robert Hoglund, Treasurer Peter W. Keegan, Secretary Nasrin Abdolali Joseph M. Cohen Joyce B. Cowin Peter Duchin Leah Yoon Frelinghuysen Peter Frelinghuysen* William B. Ginsberg Phyllis Grann Paul B. Gridley Naava Grossman Charles H. Hamilton Walter L. Harris Philip K. Howard Harry P. Kamen
Priscilla F. Kauff Helen Brown Levine John L. Lindsey Tatiana Pouschine Dr. Annette U. Rickel Beth B. Sackler Herbert S. Schlosser David Simon Suzanne Cohn Simon (1940–2015) Joost F. Thesseling Alan G. Weiler Jarvis Wilcox Kathe G. Williamson *Chairman 2004–2014
Paul C. Lambert Donaldson C. Pillsbury (1940–2008) William G. Selden Andrea W. Walton
DIRECTORS EMERITI Anne Coffin Barbara Erskine Anthony C. Gooch Marit Gruson
FOUNDERS Miss Alice Tully William Schuman Charles Wadsworth, Founding Artistic Director
GLOBAL COUNCIL Jon Dickinson Howard Dillon Jeehyun Kim Douglas M. Libby Mike McKool Joumana Rizk Suzanne E. Vaucher Shannon Wu
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AnnUAL FUnD 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.
($2,500 to $4,999)
Anonymous (2) Nasrin Abdolali Elaine and Hirschel Abelson Dr. and Mrs. David H. Abramson Ms. Hope Aldrich Joan Amron Mr. and Mrs. Seymour R. Askin, Jr. Axe-Houghton Foundation American Chai Trust The Aaron Copland Fund for Music Robert J. Cubitto and Ellen R. Nadler Suzanne Davidson Carole Donlin Helen W. DuBois Dr. and Mrs. Fabius N. Fox Mrs. Beatrice Frank
SILVER PATRONS
ARtiStiC DiReCtoRS CiRCLe LEADERSHIP GIFTS
($50,000 and above) Elinor and Andrew Hoover Jane and Peter Keegan Lincoln Center Corporate Fund National Endowment for the Arts Mr. and Mrs. James P. O’Shaughnessy Blanchette Hooker Rockefeller Fund
The Chisholm Foundation Joseph M. Cohen William and Inger G. Ginsberg Dr. and Mrs. Victor Grann Eugene and Emily Grant Mr. and Mrs. Paul B. Gridley Rita E. and Gustave M. Hauser
GUARANTORS
($25,000 TO $49,999) Bruce and Suzie Kovner Robert B. Menschel/ Vital Projects Fund MetLife Foundation New York City Department of Cultural Affairs New York State Council on the Arts Tatiana Pouschine Dr. Annette U. Rickel Khalil Rizk Fund Dr. Richard Sackler
Ann Bowers Joyce B. Cowin Sidney E. Frank Foundation Florence A. Davis and Anthony C. Gooch Naava and Sanford Grossman The Hamilton Foundation Gail and Walter Harris Harry P. Kamen Jeehyun Kim Andrea Klepetar-Fallek
BENEFACTORS
The Fan Fox & Leslie R. Samuels Foundation, Inc. Mrs. Robert Schuur Elizabeth W. Smith The Alice Tully Foundation The Helen F. Whitaker Fund
The Morris and Alma Schapiro Fund Judith and Herbert Schlosser Suzanne and David Simon Mr. and Mrs. Erwin Staller Joost and Maureen Thesseling Tiger Baron Foundation Travel Dynamics International Elaine and Alan Weiler Mr. and Mrs. Jarvis Wilcox Kathe and Edwin Williamson
($10,000 to $24,999)
Anonymous The Achelis and Bodman Foundations Ronald Abramson Mr. James A. Attwood and Ms. Leslie K. Williams Jonathan Brezin and Linda Keen Sally D. and Stephen M. Clement, III Chris and Bruce Crawford Crum & Forster The Gladys Krieble Delmas Foundation Jon Dickinson and Marlene Burns Howard Dillon and Nell Dillon-Ermers The Carol G. Elledge Trust Mr. and Mrs. Robert S. Erskine, Jr. Martha Escobar and Sandor Lehoczky
Judy and Tony Evnin David Finckel and Wu Han Mr. and Mrs. Peter Frelinghuysen Ann and Gordon Getty Foundation Francis Goelet Charitable Lead Trusts The Florence Gould Foundation Grand Marnier Foundation Jerome L. Greene Foundation Irving Harris Foundation Frank and Helen Hermann Foundation Robert and Suzanne Hoglund Mr. and Mrs. Philip K. Howard Shannon Wu and Joseph Kahn Priscilla F. Kauff C.L.C. Kramer Foundation
Douglas M. Libby Millbrook Vineyards & Winery Linda and Stuart Nelson Samuel I. Newhouse Foundation Marnie S. Pillsbury Sandra Priest Rose Dr. Beth Sackler and Mr. Jeffrey Cohen Seth Sprague Educational and Charitable Foundation The Starr Foundation William R. Stensrud and Suzanne E. Vaucher Joe and Becky Stockwell
PAtRonS PLATINUM PATRONS Mr. and Mrs. Stanley Brezenoff Mr. and Mrs. John D. Coffin Colburn Foundation Con Edison Nathalie and Marshall Cox Robert and Karen Desjardins Valerie and Charles Diker Mr. Lawrence N. Field and Ms. Rivka Seiden Mr. and Mrs. Irvine D. Flinn Mr. Robert Goldfarb
($5,000 to $9,999) Marlene Hess and James D. Zirin, in loving memory of Donaldson C. Pillsbury The Hite Foundation Paul C. Lambert Jonathan E. Lehman Helen Brown Levine Leon Levy Foundation Mr. and Mrs. H. Roemer McPhee in memory of Catherine G. Curran Mitusi & Co. (U.S.A.), Inc.
Mr. Seth Novatt and Ms. Priscilla Natkins Mr. and Mrs. Howard Phipps, Jr. Charles S. Schreger Esther Simon Charitable Trust Dr. and Mrs. Ralph H. Speken Martin and Ruby Vogelfanger Mrs. Andrea W. Walton Neil Westreich
The Frelinghuysen Foundation Diana G. Friedman Egon R. Gerard Judith Heimer Mr. and Mrs. James R. Houghton Alfred and Sally Jones Paul Katcher Ed and Rosann Kaz Mr. and Mrs. Hans Kilian Judy and Alan Kosloff Chloë Kramer Dr. and Mrs. Michael N. Margolies Mr. and Mrs. Leigh Miller Newman’s Own Foundation Sassona Norton and Ron Filler Eva Popper
Richard Prins and Connie Steensma Richard and Carole Rifkind Mr. and Mrs. Joseph Rosen The Alfred and Jane Ross Foundation Mary Ellen and James Rudolph Michael W. Schwartz Mr. Peter D. Selman Carol and Richard Seltzer The Susan Stein Shiva Foundation Erik and Cornelia Thomsen Sally Wardwell Paul and Judy Weislogel Larry Wexler and Walter Brown Noreen and Ned Zimmerman
($1,500 to $2,499)
Jacqueline Adams Harry E. Allan Mr. and Mrs. Winthrop J. Allegaert James H. Applegate David R. Baker and Lois A. Gaeta Dr. Anna Balas Betsy and Robert Barbanell Richard L. Bayles Murat Beyazit Adele Bildersee Judith Boies and Robert Christman Susan S. Braddock Ann and Paul Brandow Charles and Barbara Burger Allan and Carol Carlton Dale C. Christensen, Jr. Marilyn and Robert Cohen Alan and Betsy Cohn Foundation Theodore Cohn Linda S. Daines Mr. and Mrs. Pierre de Vegh Joan Dyer Thomas and Suzanne Engel Howard and Margaret Fluhr Mr. Andrew C. Freedman and Ms. Arlie Sulka Mr. and Mrs. Burton M. Freeman Mr. and Mrs. John F. Geer Edda and James Gillen
YOUNG PATRONS*
Dr. Beverly Hyman and Dr. Lawrence Birnbach Frederick L. Jacobson Kenneth Johnson and Julia Tobey Dr. Felisa B. Kaplan Keiko and Steven B. Kaplan William S. Keating Vicki and Chris Kellogg Peter L. Kennard Dr. Thomas C. King Mr. Peter Klein and Dr. Phyllis Urman-Klein The Kleinschmidt Family Foundation Shiou Der Wann Kossak Craig Leiby and Thomas Valentino Harriet and William Lembeck Dr. Donald M. Levine Robert Losada, Jr. Elizabeth and Bertil Lundqvist Jennifer Manocherian Justin Manus Dr. Ned and Francoise Marcus Jane A. Martinez Bernice H. Mitchell Alan and Alice Model Jessica Nagle Barbara A. Pelson Mr. Roy Raved and Dr. Roberta Leff Carroll and Ted Reid
Dr. Hilary Ronner and Mr. Ronald Feiman Diana and Michael Rothenberg David and Sheila Rothman Robert and Margaret Rothschild Arlene Lidsky Salomon and Chester B. Salomon Sari and Bob Schneider Dr. Michael C. Singer Jill S. Slater Annaliese Soros Dr. Margaret Ewing Stern Deborah Stiles Alan and Jaqueline Stuart Susan Porter Tall Joseph C. Taylor Dr. and Mrs. Alex Traykovski Salvatore and Diane Vacca Mr. and Mrs. Joseph Valenza Marei von Saher Dr. Judith J. Warren and Dr. Harold K. Goldstein Alex and Audrey Weintrob Robert Wertheimer and Lynn Schackman John S. Wilson Gilda and Cecil Wray, Jr. Janet Yaseen and the Honorable Bruce M. Kaplan
($1,000+)
Jordan C. Agee Jamie Forseth Dr. Daniela Jodorkovsky
Mr. Nick Williams and Jason Jones Ms. Maria Doerfler Lucy Lu and Mark Franks Mr. Edwin Meulensteen *For more information, call (212) 875-5216 or visit chambermusicsociety.org/yp
FRienDS PRESTO
($1,000 to $1,499)
Anonymous (6) Maurice and Linda Binkow Philanthropic Fund of the United Jewish Foundation Kenneth P. Browne Mr. and Mrs. Ronald Compton Hester Diamond Allyson and Michael Ely Joseph Fazio and Scott Hunter Judi Flom Eunice and Milton Forman, in honor of Suzanne and David Simon Ms. Jane Gil
ALLEGRO
The Gordon Foundation Alicia Guttman, M.D. Dr. and Mrs. Wylie C. Hembree Charles and Nancy Hoppin Office of Cultural Affairs, Consulate of Israel in New York Margaret and Oscar Lewisohn Katherine Mele Merrick Family Fund Dot and Rick Nelson Christine Pishko Mr. David Rockefeller, Sr.
Sandra Priest Rose Michael Sawyer Monique and Robert Schweich David Seabrook and Sherry Barron-Seabrook Mr. and Mrs. William G. Selden Jeff and Helene Slocum Lynn Straus Ms. Jane V. Talcott Herb and Liz Tulchin Tricia and Philip Winterer Frank Wolf
Frances Kazan Patricia Kopec Selman and Jay E. Selman Peter Kroll Mr. Stanley E. Loeb Walter F. and Phyllis Loeb Family Fund of the Jewish Communal Fund Edward S. Loh, M.D. Caroline and Richard Marlin Linda and William Musser The Honorable Paula J. Omansky and Mr. Mordecai Rosenfeld
Mr. David Rosner Peter and Laraine Rothenberg E.H. and J.B. Schneewind Peter and Sharon Schuur Robert A. Silver Steven Skoler and Sandra Horbach Morton J. and Judith Sloan Myron and Marcia Stein Mr. David P. Stuhr Ms. Alair A. Townsend Mr. and Mrs. George Wade
($600 to $999)
Anonymous (2) Alan Agle Mr. and Mrs. O. Kelley Anderson Mrs. Albert Pomeroy Bedell Amanda and David Bowker Brian Carey and Valerie Tomaselli Mrs. Margherita S. Frankel Miriam Goldfine Gordon Gould The Grand Tour Travel Co. LLC Abner S. Greene
www.ChamberMusicSociety.org
MAke A DiFFeRenCe 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 46th 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 47 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 keep presenting the finest performances that this art form has to offer.
the ChAMBeR MUSiC SoCiety enDoWMent 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. Lila Acheson Wallace Flute Chair Mrs. John D. Rockefeller III Oboe Chair Charles E. Culpeper Clarinet Chair Fan Fox & Leslie R. Samuels Violin Chair Mrs. William Rodman Fay Viola Chair Alice Tully and Edward R. Wardwell Piano Chair Estate of Robert C. Ackart Estate of Marilyn Apelson Mrs. Salvador J. Assael Estate of Katharine Bidwell The Bydale Foundation Estate of Norma Chazen John & Margaret Cook Fund Estate of Content Peckham Cowan Charles E. Culpeper Foundation Estate of Catherine G. Curran
Mrs. William Rodman Fay The Hamilton Foundation Estate of Mrs. Adriel Harris Estate of Evelyn Harris The Hearst Fund Heineman Foundation Mr. and Mrs. Peter S. Heller Helen Huntington Hull Fund Estate of Katherine M. Hurd Alice Ilchman Fund Anonymous Warren Ilchman Estate of Jane W. Kitselman Estate of Charles Hamilton Newman Mr. and Mrs. Howard Phipps, Jr. Donaldson C. Pillsbury Fund Eva Popper, in memory of Gideon Strauss Mrs. John D. Rockefeller 3rd
Daniel and Joanna S. Rose Estate of Anita Salisbury Fan Fox & Leslie R. Samuels Foundation The Herbert J. Seligmann Charitable Trust Arlene Stern Trust Estate of Arlette B. Stern Estate of Ruth C. Stern Elise L. Stoeger Prize for Contemporary Music, bequest of Milan Stoeger Estate of Frank E. Taplin, Jr. Mrs. Frederick L. Townley Miss Alice Tully Lila Acheson Wallace Lelia and Edward Wardwell The Helen F. Whitaker Fund Estate of Richard S. Zeisler Henry S. Ziegler
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. 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. 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.