The Cellists of Lincoln Center

David Finckel and Wu Han, Artistic Directors

THE CELLISTS OF LINCOLN CENTER Saturday, April 20, 2013 at 5:00 PM Daniel and Joanna S. Rose Studio

www.ChamberMusicSociety.org

Sunday Afternoon, April 21, 2013, at 5:00

3,211th Concert

NICOLAS ALTSTAEDT, cello CARTER BREY, cello DOROTHEA FIGUEROA, cello DAVID FINCKEL, cello JERRY GROSSMAN, cello EILEEN MOON, cello FRED SHERRY, cello FREDERICK ZLOTKIN, cello

JOHN TAVENER (b. 1944)

GIOVANNI GABRIELI (c. 1554–1612)

ELLIOTT CARTER (1908–2012)

Threnos for Cello (1990) FINCKEL

“Canzon septimi toni a 8” from Sacrae Symphoniae (1597) BREY, FIGUEROA, ZLOTKIN, SHERRY, MOON, ALTSTAEDT, GROSSMAN, FINCKEL

Figment No. 2—Remembering Mr. Ives for Cello (2001) SHERRY

ALEXANDRE TANSMAN (1897–1986)

Two Movements for Four Cellos (1935) Adagio cantabile— Allegro molto risoluto FINCKEL, BREY, GROSSMAN, FIGUEROA (Continued)

Please turn off cell phones, beepers, and other electronic devices.

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

This concert is made possible, in part, by The Florence Gould Foundation, the Grand Marnier Foundation, and The Aaron Copland Fund for Music.

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.

ALICE TULLY HALL, STARR THEATER, ADRIENNE ARSHT STAGE HOME OF THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

HENRI DUTILLEUX (b. 1916)

Trois strophes sur le nom de Sacher for Cello (1976, 1982) Un poco indeciso Andante sostenuto Vivace ALTSTAEDT

ARVO PÄRT (b. 1935)

PABLO CASALS (1876–1973)

Fratres for Four Cellos (1977, arr. 1983) MOON, ZLOTKIN, SHERRY, FINCKEL

Sardana for Eight Cellos (1927) ZLOTKIN, SHERRY, BREY, ALTSTAEDT, FINCKEL, FIGUEROA, GROSSMAN, MOON

INTERMISSION JEAN BARRIÈRE (1707–1747)

Sonata in G major for Two Cellos (1739) Andante Adagio Allegro prestissimo GROSSMAN, ZLOTKIN

IGOR STRAVINSKY (1882–1971)

PETER SCHICKELE (b. 1935)

HEITOR VILLA–LOBOS (1887–1959)

Tango for Four Cellos (1940) ALTSTAEDT, FIGUEROA, MOON, SHERRY

Last Tango in Bayreuth for Four Cellos (1973) ALTSTAEDT, FIGUEROA, MOON, SHERRY

Bachianas brasileiras No. 1 for Eight Cellos (1930–32) Introduction: Embolada Preludio: Modinha Fugue: Conversa BREY, ZLOTKIN, SHERRY, MOON, ALTSTAEDT, FINCKEL, FIGUEROA, GROSSMAN

ABOUT

TONIGHT’S PROGRAM

CHRISTIAN STEINER

Dear Listener, Ask any cellist how people react when they learn what instrument is in their case: The response is, without fail, “Oh, I love the cello!”

There are plenty of reasons to love the cello, among them: 1. It naturally covers the entire range of the voice, male and female.

2. Its tone color is naturally mellow and soothing.

3. The cello is essential for almost every chamber David Finckel and Wu Han ensemble.

4. It’s big enough that you can see how it’s played from a distance.

5. The greatest composers wrote great music for it, both solo and chamber.

6. Cellists are accessible, fun-loving, non-neurotic musicians.

7. The cello can play many roles, from basso continuo to concerto solo.

8. The cello solo is always the best part of the concert.

9. Real-life humanitarian heroes like Casals and Rostropovich were cellists.

10. It has a really nice shape.

The incomparable voice of the solo cello has inspired groundbreaking works by great composers, from Bach to Britten. The sonority of combined cellos adds extraordinary dimension to music from the Renaissance all the way to the 21st century. Our program tonight celebrates the cello by demonstrating its incredibly wide range of capabilities, in a virtual parade of styles, timbres, tonalities, and ensembles.

The Cellists of Lincoln Center is the brainchild of Metropolitan Opera Orchestra principal cellist Jerry Grossman, who simply dreamed of the joy of working together, and producing the sounds that only cellos can make. We are proud to have made that dream a reality, and we are thrilled to collaborate with the distinguished and charismatic principal cellists from all across the Lincoln Center campus. And on behalf of tonight’s performers, we thank you for your overwhelming support of this new venture.

Enjoy the concert,

David Finckel

Wu Han

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NOTES ON THE Threnos for Cello

PROGRAM

John TAVENER Born January 28, 1944, in London.

Composed in 1990.

Premiered on August 24, 1991 at the Edinburgh Festival by Steven Isserlis.

Tonight is the first CMS performance of this piece.

Duration: 6 minutes John Tavener, born in London and trained under Lennox Berkeley at the Royal Academy of Music, ranks (with Estonian composer Arvo Pärt) as the great musical mystic of his generation. After passing through periods as organist in a Presbyterian church in Kensington and an adherent of a reactionary species of Roman Catholicism, he joined the Russian Orthodox Church in 1977, less for its dogma than for what he perceives as its ties to an elemental life force that he believes, with Olivier Messiaen, was

banished from Western music by 17thcentury rationalism. Tavener’s conviction about the mystical powers of music has inspired a large number of works on religious themes with sung texts—cantatas, requiems, introits, canticles, lamentations, prayers, vigils, rites, and operas on St. Thérèse of Lisieux and Mary of Egypt—as well as a growing body of chamber and orchestral compositions, many with soloists.

The essential qualities of Tavener’s music— austerity and transcendence—create a floating quietude that evokes a mystical realm which only music can reveal.

Tavener wrote, “The title Threnos [threnody] has both liturgical and folk significance in Greece—the Threnos of the Mother of God sung at the Epitaphios on Good Friday and the Threnos of mourning that is chanted over the dead body in the house of a close friend. I wrote my short Threnos for solo cello in memory of my dear friend Dr. Costas Marangopoulos.”

“Canzon septimi toni a 8” from Sacrae Symphoniae Giovanni GABRIELI Born between 1554 and 1557 in Venice.

Died there August 12, 1612.

Published in 1597.

Tonight is the first CMS performance of this piece.

Duration: 3 minutes

Giovanni Gabrieli, one of the greatest composers of the era in which the contrapuntal complexities of the Renaissance were giving way to the florid drama of the Baroque, was long associated with the glorious musical establishment of St. Mark’s in Venice. Eschewing the involved polyphony of earlier composers, he wrote in a chordal, often dance-like style that not only took full advantage of the acoustical properties of the ancient basilica, but also embodied a

grandeur of religious and civic pageantry that has never been surpassed.

In 1597, Gabrieli published a large collection of his own music in two volumes titled Sacrae Symphoniae (Sacred Symphonies), which contained motets for one to four choirs of voices and instruments, sonatas, and instrumental canzoni, whose sectional construction, chordal textures, and dancelike rhythms were derived from the French

vocal chanson. Among the important innovations in the Sacrae Symphoniae was the specification of exact instruments for some of the canzoni, one of the earliest occurrences of precise orchestration in music history. The canzoni were written for four to fifteen players disposed variously into choirs, and were designated simply by the church mode in which they were written (i.e., “septimi toni”—“seventh tone”—denotes the Mixolydian mode, based on the note G).

Figment No. 2—Remembering Mr. Ives for Cello Elliott CARTER Born December 11, 1908, in New York City.

Died there November 5, 2012.

Composed in 2001.

Premiered on December 2, 2001 at Alice Tully Hall in New York City by Fred Sherry.

First CMS performance on December 2, 2001.

Duration: 4 minutes Elliott Carter composed short works in honor of friends and colleagues throughout his life: birthday pieces for Pierre Boulez, Witold Lutosławski, Swiss conductor Paul Sacher, Italian composer Goffredo Petrassi, and British critic William Glock; memorial tributes to Igor Stravinsky, Aaron Copland, Roger Sessions, publishing executive David Huntley, and music patron Paul Fromm; even an Anniversary for orchestra to mark the 50 years of his own marriage. In 2001, Carter wrote Figment No. 2—Remembering Mr. Ives for cellist Fred Sherry, whose

“outstanding instrumental and organizational abilities and boundless enthusiasms,” the composer noted in a preface to the score, “have done so much for music. This short Figment recalls fragmentarily bits of the Thoreau movement of the Concord Sonata and Hallowe’en by my late friend Charles Ives, whose music I have known since 1924.

I have loved these works in particular.”

Carter was introduced to Ives when the young musician was a student at New York’s Horace Mann High School by his teacher Clifton Furness, who guided him through recent works by Stravinsky, Poulenc, Milhaud, Casella, Hindemith, and other leading progressive composers, took him to concerts of such avant-gardists as Cowell and Varèse, and explored Indian and Balinese music. Ives and Carter saw each other often to play four-hand piano music, attend concerts together, and evaluate Carter’s early creative efforts. It was Ives who encouraged his young friend to pursue music as a profession and wrote a letter of recommendation to support his application to Harvard. Carter was admitted.

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Two Movements for Four Cellos Alexandre TANSMAN Born June 12, 1897, in Lodz, Poland.

Died November 15, 1986, in Paris.

Composed in 1935.

Tonight is the first CMS performance of this piece.

Duration: 8 minutes Though composer, pianist, and conductor Alexandre Tansman was born in Poland and lived for an extended period in the United States, his music, temperament, and residence were primarily French. Born in Lódz on June 12, 1897, he began to compose at the age of eight, took piano and harmony lessons at the local conservatory as a boy, and studied law and philosophy at Warsaw University while continuing his musical education privately. After Poland declared its political independence following the First World War, Tansman enlisted in the Polish army but continued to compose. In 1919, he submitted a pair of works under two different pseudonyms to the Polish National Music Competition; he won both first and second prizes. The publicity from

that coup enabled him to give a pair of highly successful concerts, the proceeds of which financed his move to France. Tansman made his American debut as a pianist with Koussevitzky and the Boston Symphony in 1927 in the premiere of his Second Piano Concerto, and thereafter appeared widely as a keyboard virtuoso in Europe, Canada, and Palestine. During the 1930s, he also frequently conducted his own works on tours that took him around the world. In 1941, Tansman fled the Nazi invasion of Paris, and for the next five years lived in the United States, where his friendship with the recently arrived Igor Stravinsky opened important professional opportunities for him, including writing the scores for a number of Hollywood films. After the war, Tansman returned to Europe, where he continued to compose and to tour as a pianist and conductor. He lived in Paris until his death in 1986.

Tansman’s Two Movements for Four Cellos of 1935—an expressive, richly chromatic Adagio and a jauntily rhythmic Allegro with a fugal central episode—show his attractive melodic invention, clarity of form and surety of instrumental writing.

Trois strophes sur le nom de Sacher for Cello Society, and honorary memberships in the Académie Royale de Belgique and American Academy of Arts and Letters.

Henri DUTILLEUX Born January 22, 1916, in Angers, France.

Composed in 1976 and 1982.

Movement I premiered on May 2, 1976, in Zurich and the complete work premiered on April 28, 1982, in Basel by Mstislav Rostropovich.

Tonight is the first CMS performance of this piece.

Duration: 10 minutes Henri Dutilleux, the descendant of a long line of French artists and musicians, was born on January 22, 1916, in Angers, in the Loire region, and grew up in Douai, where he attended the local conservatory as a student of piano, harmony, and counterpoint while still in secondary school. In 1933, he entered the Paris Conservatoire to study with the brothers Noël and Jean Gallon (fugue and harmony) and Henri Büsser (composition).

Dutilleux won the Prix de Rome in 1938, but his residency in Italy was cut short by the outbreak of World War II the following year; he enlisted as a stretcher-bearer in September 1939. In 1942–43, he was chorus master at the Paris Opéra. He held a similar post with the French Radio in 1943–44, and from 1945 to 1963, served as that organization’s chief conductor. He taught composition at the École Normale de Musique in Paris from 1961 until 1970, and was guest professor at the Paris Conservatoire in 1970–71; he has also taught at leading European and American summer schools, including Tanglewood. His work has been recognized with the Grand Prix National de la Musique, Praemium Imperiale (from the government of Japan), Grand-Croix de la Légion d’Honneur, Gold Medal of London’s Royal Philharmonic

Paul Sacher was one of the driving forces of 20th-century music. Born in Basel, Switzerland in 1906, he studied conducting with Felix Weingartner at the Basel Conservatory and musicology at the University of Basel with Karl Nef. In 1926, he founded the Basel Chamber Orchestra, and over the next seven decades, until his death in May 1999, Sacher commissioned more than 200 works from dozens of leading composers, from Bartók to Stravinsky, from Strauss to Tippett. In 1933, he established the Schola Cantorum Basiliensis for the study of Medieval music, and eight years later became conductor of the newly founded Collegium Musicum Zurich. A foundation that he established in 1973 is one of the most important repositories of modern manuscript scores—it holds the estates of Stravinsky, Webern, Boulez, Lutoslawski, Martin, Dutilleux, Honegger, and some 60 other eminent composers.

For a concert at Zurich’s Tonhalle on May 2, 1976 celebrating Sacher’s 70th birthday, the famed cellist Mstislav Rostropovich solicited from 12 composers associated over the years with the conductor-patron new works for unaccompanied cello based on pitches that spell out Sacher’s name: E-flat (S [ess] in German notation = E-flat)—A—C—B (H in German notation = B-natural)—E—D (R [re] in the European solfeggio system = D).

Rostropovich premiered ten of them that evening (by Britten, Ginastera, Fortner, Beck, Dutilleux, Lutoslawski, Berio, Halffter, Huber, and Holliger); Boulez and Henze later added their pieces to complete the set.

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Dutilleux contributed a rhapsodic movement (Un poco indeciso—“A little indecisive”) titled Hommage à Paul Sacher to the festivities in Zurich and six years later added to it two pieces, one slow and sustained, the other fast and virtuosic, to create the Trois strophes sur le nom de Sacher, which Rostropovich premiered in Basel on April 28, 1982. Dutilleux called the Trois strophes “a

short suite referring to the idea of returning but also of ‘being put into rhyme.’ The cello’s lower strings have to be re-tuned from G to F-sharp and from C to B-flat. At the end of the first stanza there is a brief quote [in tremolo double stops] from Béla Bartók’s Music for Strings, Percussion, and Celesta, commissioned by Sacher and first performed in Basel in January 1937.”

Fratres for Four Cellos Arvo PÄRT Born September 11, 1935, in Paide, Estonia.

Composed in 1977; arranged for cellos in 1983.

Tonight is the first CMS performance of this piece.

Duration: 10 minutes Arvo Pärt, born in 1935 in Paide, Estonia, 50 miles southeast of Tallinn, graduated from the Tallinn Conservatory in 1963 while working as a recording director in the music division of the Estonian Radio. A year before leaving the Conservatory, he won first prize in the All-Union Young Composers’ Competition for a children’s cantata and an oratorio. In 1980, he emigrated to Vienna, where he took Austrian citizenship; he moved to Berlin in 1982 and has recently returned to Tallinn.

Pärt’s many distinctions include the Artistic Award of the Estonian Society in Stockholm, honorary memberships in the Royal Swedish Academy of Music, American Academy of Arts and Letters, and Belgium’s Royal Academy of Arts, five Grammy nominations, and recognition as a Commandeur de l’Ordre des Arts et des Lettres de la République Française. In his early works, Pärt explored

the influences of the Soviet music of Prokofiev and Shostakovich, the serial principles of Schoenberg, and the techniques of collage and quotation, but in the late 1960s he abandoned creative work for several years and devoted himself to the study of such Medieval and Renaissance composers as Machaut, Ockeghem, Obrecht, and Josquin.

Guided by the spirit and method of those ancient masters, Pärt developed a distinctive idiom that utilizes quiet dynamics, rhythmic stasis, and open-interval and triadic harmonies to create a thoughtful mood of mystical introspection reflecting the composer’s personal piety.

Fratres was composed in 1977 for string quintet and wind quintet, and first performed by the Estonian early music ensemble “Hortus musicus.” Pärt has subsequently adapted the work for many other solo and ensemble combinations of strings, winds, and percussion; the cello arrangement dates from 1983. Fratres is based on the repetitions of an austere, hymnal theme played above a continuous drone on the interval of an open fifth. The repetitions, separated by notes simulating drum taps, are transposed downward a minor or major third on each appearance, so that the sonority grows

lower and richer as Fratres unfolds. The dynamic peak is reached in the middle of the work, after which the music is gradually overtaken by silence to end in a state of hushed spirituality. The work’s title— Brothers—seems to indicate that this music

was inspired by the vision of a solemn procession of Medieval monks, wending their way by flickering candlelight along the ambulatory to the abbey’s chapels for another of the endless succession of services that regulated their monastic lives.

Sardana for Eight Cellos Pablo CASALS Born December 29, 1876, in Vendrell, Catalonia, Spain.

Died October 22, 1973, in San Juan, Puerto Rico.

Composed in 1927.

Tonight is the first CMS performance of this piece.

Duration: 7 minutes The sardana originated in the 16th century in the Empordà, in Spain’s northeast corner, and became one of the most characteristic musical emblems of Catalonian nationalism.

The dance is performed by men and women in a circle and usually consists of an introduction played by fife and drum followed by two contrasting sections, a quick one with the arms extended from the shoulders and a slower one with the arms held at the sides. The traditional sardana band includes a fife, two shawms (rustic oboes whose piercing sound suits them particularly well to outdoor performance), various brass instruments, string bass, and drums. The sardana is an integral part of the elaborate festa major staged annually from August 29 to September 2 in honor of St. Felix in Vilafranca del Penedès, whose Santa Maria Basilica houses relics of the third-century holy man, and includes a solemn Mass, music, dances, processions, shows, fireworks, and a remarkable human pyramid, eight men high.

Pablo Casals, the 20th-century’s foremost cellist, a talented composer, and an ardent Catalonian throughout his life, was born in Vendrell, just 20 miles from Vilafranca, and he was familiar with the town’s festival from boyhood. (A square in the town is named for him.) In 1927, Casals composed a Sardana for eight cellos inspired by the Vilafranca festival that captures not just the contrasting rhythmic and melodic elements of the dance, but in one passage even imitates the accompanying drum cadences and, with quick parallel harmonies in the melody, the nasal sound of the “Grallas Tcine” (one of the shawms), and then layers these ideas with a phrase of plainchant in the lowest voice as a reminder of the festival’s religious significance; another episode suggests an Ivesian overlapping of two competing sardanas. The work was written for Herbert Walenn’s London Cello School, whose students included Zara Nelsova and Jacqueline du Pré, and recorded in March 1928 by an ensemble led by John Barbirolli, another of the school’s pupils. The Sardana became a celebration piece for Casals—33 cellists performed it in 1929 at the “Orquestra Pau Casals” series he founded in Barcelona; 102 cellists recorded it at a concert in the Sorbonne in Paris in honor of his 80th birthday in 1956; he conducted the piece as part of the opening of the Pablo Casals International Cello Library at Arizona State University in Phoenix in 1966 (the Arizona governor presented him with a cowboy hat); and he led 80 cellists in the work at Lincoln Center in 1972, when he was 96.

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Sonata in G major for Two Cellos Jean BARRIÈRE Born May 2, 1707, in Bordeaux.

Died June 6, 1747, in Paris.

Composed in 1739.

Tonight is the first CMS performance of this piece.

Duration: 10 minutes Cellist and composer Jean Barrière was born in 1707 in Bordeaux and began his musical career playing viola da gamba, which had then been out of fashion in Italy for at least two decades and was rapidly giving way in France to the modern cello.

Nothing more is known of Barrière’s early life until he arrived in Paris in 1730 to join, as a cellist, the Académie Royale de Musique, the orchestra of the royal opera and ballet.

He quickly built a reputation not only as a performer but also as a composer, and in 1733 King Louis granted him a six-year privilege to publish “Sonates et autres ouvrages [other works] de musique instrumentale”; his first book of sonatas for cello and continuo appeared later that year and his second in 1735. From 1736 to 1739, Barrière was in Rome, becoming acquainted at first hand with that country’s fashionable musical styles and perhaps studying with the celebrated cellist Francesco Alborea.

Barrière returned to Paris in 1739, becoming known as a soloist at the Concerts Spirituels, the city’s foremost concert series, and having his publication privilege renewed for another 12 years. He composed during the following years in a style influenced by his musical experiences in Italy and issued two more books of sonatas for cello and continuo (1739, 1740), one for Pardessus de Viole (a treble viol, 1739), and one for harpsichord (1740). Barrière died in Paris in 1747.

Barrière’s cello sonatas, which date from the decades when an idiomatic style was first being defined for the instrument, often present such pioneering technical challenges as double stops, arpeggios, and extreme range. The Sonata in G major for Two Cellos (Bk. 4, No. 4) is characteristic of his music in its elegance, polish, and emotional reserve.

In the work’s opening Andante, the cellos alternate between providing background for each other’s graceful melodic flights and playing together in euphonious harmonies.

The Adagio is a melancholy, elaborately decorated aria for the first cello. The closing Allegro prestissimo, with its flying scales, close harmonies, cross-string figurations, and reminiscence of the preceding Adagio unexpectedly inserted into the second section as a sort-of cadenza, is a display piece for paired cellos.

Tango for Four Cellos Igor STRAVINSKY Born June 17, 1882, in Oranienbaum, near St. Petersburg.

Died April 6, 1971, in New York City.

Composed in 1940.

Tonight is the first CMS performance of this piece.

Duration: 4 minutes On September 30, 1939, Stravinsky arrived in the United States, seeking refuge from World War II and solace for his spirit following the death of his daughter and his wife during the first three months of the year. He went immediately to Boston,

where he delivered six talks on The Poetics of Music for Harvard University’s Norton Lectures series, then traveled to San Francisco for some concerts in December.

He was back in New York the following month for the arrival of Vera de Bosset, a close acquaintance of many years; the couple were married in Boston on March 9, 1940. After travelling extensively, they settled in Los Angeles that summer, and in August he completed the Symphony in C, which had frequently been interrupted by the recent changes in his life. Two months later he finished his first piece composed completely in America, a Tango inspired by the seductive Latin dance style then very much in vogue in his newly adopted country.

Last Tango in Bayreuth for Four Cellos Peter SCHICKELE Born July 17, 1935, in Ames, Iowa.

Composed in 1973.

First CMS performance on May 16, 1988.

Duration: 3 minutes Peter Schickele is most infamous as the perpetrator of the person and music of P.D.Q. Bach (1807–1742?), the profligate, only forgotten son of Johann Sebastian. In atonement, Schickele has also composed in excess of a hundred concert works, for which he has the following qualifications: bassoonist in the Fargo-Moorhead Symphony while a youth; a B.A. degree in music from Swarthmore (where he was the only music major); private study with Roy Harris in Pittsburgh; a graduate degree from Juilliard,

where he studied with Vincent Persichetti and William Bergsma; and lessons with Darius Milhaud at the Aspen Music School.

Schickele has taught at Swarthmore, Juilliard, and Aspen, and spent a year (1960–61) as Composer-in-Residence to the Los Angeles public schools under a Ford Foundation grant. He was also a founder of the contemporary music groups Composers’ Circle and The Open Window, and from 1992 to 2007, produced and hosted a wide-ranging weekly radio program, heard nationwide, called Schickele Mix, which won ASCAP’s prestigious Deems Taylor Award.

The Last Tango in Bayreuth for four low instruments was issued in 1973 by Bubonic Publishing. The outer sections of this Latin-beat send-up of Richard Wagner are based on two tasty motives and a harmonic progression from the Prelude to Tristan und

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Isolde. The center part transmogrifies the theme of the Act III Prelude to Lohengrin. The

Tango’s tiny coda borrows just a smidgen of the “Love-Death” from Tristan.

Bachianas brasileiras No. 1 for Eight Cellos Heitor VILLA-LOBOS Born March 5, 1887, in Rio de Janeiro.

Died there December 17, 1959.

Composed in 1930–32.

Premiered on September 12, 1932 in Rio de Janeiro.

Tonight is the first CMS performance of this piece.

Duration: 19 minutes The set of nine Bachianas brasileiras holds a special place in Heitor Villa-Lobos’ enormous output of more than 2,000 works. These compositions, which Arthur Cohn called “less a musical form than a type of creative principle,” combine the melodic and rhythmic characteristics of Brazilian music with the texture and style of Bach.

The Bachianas brasileiras No. 1 for Eight Cellos hews closely to Baroque techniques in the last two of its three movements, but for its Introduction, Villa-Lobos followed the style and form of the Brazilian folk genre, the embolada. The embolada is a type of very fast singing using alliteration and

onomatopoeias, and Villa-Lobos borrowed the term to indicate the quick, toccata-like nature of this music. The work begins with a jazzy accompaniment rhythm over which blossoms a broad, sweeping theme. Other melodies follow—a close-range strain that twists around a central note; a swaying, dance-like motive embellished with a repeated note accompaniment; and a peasant song above a pizzicato background—before the opening theme returns in a full setting to round out the movement. The modinha was a 19th-century Brazilian song type marked by lyricism and sentiment that was much influenced by the bel canto style of Italian opera. As the center piece of this Bachianas brasileiras, Villa-Lobos created a Modinha that is richly nostalgic in mood and elegiac in tone, qualities especially suited to the plaintive sound of massed cellos. The finale is a Fugue (appropriately subtitled Conversa) based on a strongly syncopated subject that is brought forth for discussion four successive times before the movement proceeds to all the episodes and reprises appropriate to this most exacting of musical genres. The work closes in a glorious welter of contrapuntal conversation.

© 2013 Dr. Richard E. Rodda

MEET THE

ARTISTS

MARCO BORGGREVE

Cellist Nicolas Altstaedt won the Borletti Buitoni Trust Fellowship and the Credit Suisse Young Artist Award 2010, as part of which he performed Schumann’s Cello Concerto with the Vienna Philharmonic under the baton of Gustavo Dudamel at the Lucerne Festival. This year Gidon Kremer chose him as his successor as artistic director of the Lockenhaus Chamber Music Festival. An Artist of the Chamber Music Society and a former member of CMS Two, he is a BBC New Generation Artist, which enables him to perform with all BBC orchestras, as well as at the United Kingdom’s most prestigious festivals and concert halls.

Highlights of past and upcoming seasons include concerts with the Tonhalle Orchestra; the Vienna Symphony Orchestra; the Tapiola Sinfonietta and Kremerata Baltica; the Simon Bolivar Orchestra; the Munich, Zurich, and Stuttgart Chamber Orchestras; the Czech Philharmonic; the Melbourne and New Zealand Symphony Orchestras; the Radio Symphony Orchestras of Berlin, Stuttgart, and Helsinki as well as the Tchaikovsky Symphony Orchestra under the batons of Sir Neville Marriner, Neeme Järvi, Sir Roger Norrington, Vladimir Fedosseev, Vladimir Ashkenazy, and David Zinman. His two most recent recordings—of the Haydn concertos with the Potsdamer Kammerakademie and concertos by Schumann, Tchaikovsky, and Gulda—were highly acclaimed worldwide. Born into a family of German and French descent, Mr. Altstaedt was one of Boris Pergamenschikow’s last students in Berlin, where he has continued his studies with Eberhard Feltz. He plays a cello by Nicolas Lupot (Paris, 1821) loaned to him by the Deutsche Stiftung Musikleben.

CHRIS LEE

Carter Brey was appointed principal cellist of the New York Philharmonic in 1996, and made his subscription debut as soloist with the orchestra in May 1997, performing Tchaikovsky’s Rococo Variations led by then-Music Director Kurt Masur. He has performed as soloist in subsequent seasons in the Elgar Cello Concerto with André Previn conducting; in Richard Strauss’s Don Quixote with Music Director Lorin Maazel and with former Music Director Zubin Mehta; and in the Brahms Double Concerto with Concertmaster Glenn Dicterow and conductor Christoph Eschenbach. His chamber music career is equally distinguished. He has made regular appearances with the Tokyo and Emerson string quartets as well as at the Spoleto Festival in the United States and Italy, and the Santa Fe and La Jolla chamber music festivals. He presents an ongoing series of recitals with pianist Christopher O’Riley and together they have recorded The Latin American Album for Helicon Records. He rose to international attention in 1981 as a prizewinner in the Rostropovich International Cello Competition and he was the first musician to win the Arts Council of America’s Performing Arts Prize. A faculty member of the Curtis Institute, he appeared as soloist with the Curtis Orchestra at Verizon Hall and Carnegie Hall in April of 2009. Mr. Brey was educated at the Peabody Institute, where he studied with Laurence Lesser and Stephen Kates, and at Yale University, where he studied with Aldo Parisot.

www.ChamberMusicSociety.org

NORBERT SCHRAMM

German cellist Dorothea Figueroa is currently in her 11th season at the Metropolitan Opera Orchestra as Associate Principal Cellist. She gave her debut as soloist at the Gewandhaus with the Dvoˇrák Concerto in 2000, and returned in 2004 to the sold out hall performing the Haydn D major Concerto to critical acclaim. She gave recitals and concerts in historical venues such as the Mendelssohn and Bach Houses in Leipzig, Mozarteum in Salzburg, Kaisersaal München, and Cité de la Musique in Paris. As a chamber musician, Ms. Figueroa has performed with various ensembles. She joined Gewandhaus String Quartet for its national “castle tour,” and toured Germany and Slovenia with a clarinet quintet founded at Juilliard. As a teenager, she won Germany’s National Competition “Jugend musiziert” with her cello quartet Die Vier Cellisten, subsequently touring all over Europe. The love for multi-cello ensembles continued: in 2000 she performed in the World Cello Congress III with more than 200 cellists on stage, and last year gave a concert with the 12 Cellists of the Verbier Festival, where she has been on faculty since 2009. Other festival appearances include Schleswig-Holstein, Oberstdorf, Salzburg, Ljubljana, and Kronberg. Before receiving her master’s degree from Juilliard in 2001 in the class of Harvey Shapiro, Ms. Figueroa studied at the Leipzig Hochschule with Matthias Moosdorf and at the Conservatoire in Paris with Phillippe Muller.

CHRISTIAN STEINER

Co-artistic director of the Chamber Music Society, cellist David Finckel, named Musical America’s 2012 Musician of the Year, leads a multifaceted career as a concert performer, recording artist, educator, administrator, and cultural entrepreneur that places him in the ranks of today’s most influential classical musicians. He has been hailed as a “world class soloist” (Denver Post) and “one of the top ten, if not top five, cellists in the world today” (Nordwest Zeitung, Germany). As a chamber musician, he appears extensively with pianist Wu Han and as cellist of the Grammy Award-winning Emerson String Quartet, which he leaves after the 2012-13 season to pursue new initiatives. In 1997 David Finckel and Wu Han launched ArtistLed, classical music’s first musician-directed and Internet-based recording company, whose catalogue of 15 albums has won widespread critical acclaim. Along with Wu Han, he is the founder and artistic director of Music@Menlo Chamber Music Festival and Institute, and is artistic director for Chamber Music Today in Seoul, Korea. In 2012, Mr. Finckel was named honoree and artistic director of The Mendelssohn Fellowship, an initiative in Korea set on expanding the presence of chamber music. Mr. Finckel has achieved universal renown for his commitment to nurturing the careers of countless young artists. He was recently appointed to the cello faculty of The Juilliard School in addition to his residency with the Emerson Quartet at Stony Brook University. Under the auspices of The Chamber Music Society of Lincoln Center, David Finckel and Wu Han established the LG Chamber Music School, which serves dozens of young musicians in Korea annually.

Jerry Grossman has been principal cellist of the Metropolitan Opera Orchestra since 1986. He made his New York debut at the Metropolitan Museum of Art and the following year performed the American premiere of Kurt Weill’s 1920 Cello Sonata, which led to recording that work, as well as solo works by Dohnányi, Prokofiev, Bartók, and Kodály for Nonesuch Records. He has appeared as a soloist at Carnegie Hall and on domestic and European tours with the Met Orchestra under James Levine playing Don Quixote by Richard Strauss. The performance has also been recorded for Deutsche Grammophon. He has had a long association with the Marlboro Music Festival, including numerous Musicians from Marlboro tours and recordings. He is a former member of Orpheus and Speculum Musicae, and has also appeared as a guest artist with the Guarneri, Vermeer, and Emerson string quartets. He was the founding cellist of both the Chicago String Quartet and the Chicago Chamber Musicians.

Before assuming his position at the Metropolitan Opera, Mr. Grossman was a member of the Chicago Symphony for two seasons and the New York Philharmonic for two seasons. Mr. Grossman began his music studies in his native Cambridge, Massachusetts. His teachers there included Judith Davidoff, Joan Esch, and Benjamin Zander. He attended the Curtis Institute of Music, where he studied cello with David Soyer and chamber music with the other members of the Guarneri Quartet. Sandor Vegh and Harvey Shapiro were also important influences.

CHRIS LEE

Eileen Moon joined the cello section of the New York Philharmonic in 1998; she was appointed Associate Principal Cello in 2007. She is founder of the Warwick Music Series in partnership with Warwick Grove Community and is Artistic Advisor at Bethel Woods Center for the Arts, where she is curator of the music series Sundays with Friends. She received her Bachelor of Music degree from The Juilliard School and continued her education at the Hochschule fur Musik in Vienna, Austria, where she was Principal Cello of the Vienna Chamber Orchestra. She has received Fourth Prize at the Tchaikovsky International Competition and Second Prize at the Geneva International Competition. She was born and raised in the San Francisco Bay Area. As a student of Frances Bennion and later Irene Sharp at the San Francisco Conservatory of Music pre-college division, Ms. Moon was intensely involved in the music and arts community. In addition to being a member of the acclaimed Palo Alto Chamber Orchestra, she was a soloist with numerous Bay Area groups. She supports many charitable causes, including co-founding The Artemis Project (a TNR stray cat organization) with Philharmonic violist Dorian Rence in 2000, and creating the auxiliary group Friends of Warwick Valley Humane Society in Warwick, New York, where she resides.

www.ChamberMusicSociety.org

SAVE THE DATE December 27, 2013 – January 3, 2014 Ring in the New Year with Chamber Music Society of Lincoln Center artists Wu Han, David Finckel, Ani Kavafian, and Yura Lee on a Music Cruise to the

HIDDEN CARIBBEAN

Welcome 2014 in private style aboard the 130-guest Yorktown as you cruise to some of the most appealing islands in the Caribbean— off-the-beaten-path places that remain pristine and free of crowds.

Days will be spent swimming, snorkeling, exploring rain forests, and observing the abundant wildlife and marine life of these tranquil shores.

Includes four evening onboard concerts.

St. Thomas • Jost Van Dyke • Tortola & Peter Island • Virgin Gorda • Cooper & Norman Islands • St. John Rates start at $4,995 per person Air Credit of $500 per person if booked by May 30, 2013

Call The Chamber Music Society of Lincoln Center to reserve your cabin: 212-875-5782 

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BEN ESNER

Cellist Fred Sherry has introduced audiences on five continents and all 50 United States to the music of our time through his close association with such composers as Babbitt, Berio, Carter, Davidovsky, Foss, Knussen, Lieberson, Mackey, Takemitsu, Wuorinen, and Zorn. In 2011 he premiered two concertos written for him: David Rakowski’s Talking Points, commissioned by The Orchestra of the League of Composers, and John Zorn’s A Rebours, commissioned by the Tanglewood Music Center. He has been a member of the Group for Contemporary Music, Berio’s Juilliard Ensemble, and the Galimir String Quartet and is a close collaborator with jazz pianist and composer Chick Corea. Mr. Sherry was a founding member of Speculum Musicae and Tashi. He is on the faculty of the Mannes College of Music, the Manhattan School of Music, and The Juilliard School. In his extensive recording career, he has been a soloist and “sideman” on hundreds of commercial and esoteric recordings; his longstanding collaboration with Robert Craft has produced recordings of major works

by Schoenberg, Stravinsky, and Webern; and his eponymous string quartet received a 2010 Grammy nomination. Boosey & Hawkes recently released his book 25 Bach Duets from the Cantatas, which will be followed by a treatise on contemporary string techniques.

Mr. Sherry has been an Artist of the Chamber Music Society since 1984 and was its artistic director from 1989 to 1992.

Cellist Frederick Zlotkin is recognized as one of today’s outstanding musical artists. Among the highlights of his musical career are solo engagements with the Minnesota Orchestra, St. Louis Symphony, National Symphony Orchestra, Detroit Symphony, and l’Orchestre de la Suisse Romande. He recorded Korngold’s Cello Concerto with the BBC Symphony Orchestra and performed the Walton Concerto, Tchaikovsky’s Rococo Variations, and the Shostakovich Cello Sonata with the New York City Ballet Orchestra. For over 40 years he has served as Principal Cellist for the New York City Ballet Orchestra. He was the winner of the International Music Competition at Geneva in 1975. He earned his doctorate, master’s, and bachelor’s degrees from The Juilliard School and he studied with Gregor Piatigorsky, Leonard Rose, and Channing Robbins. His fully-ornamented recording of Bach’s Six Suites for Solo Cello has been hailed as “one of the most gratifying Bach performances on record.” A fourth-generation cellist, Mr. Zlotkin comes from a distinguished musical family.

His great-uncle Modest Altschuler, his grandfather Gregory Aller, and his mother Eleanor Aller were all cellists. His mother and his father, Felix Slatkin (violinist and conductor), founded the Hollywood String Quartet. His brother Leonard Slatkin currently serves as Music Director of the Detroit Symphony. He has enjoyed a substantial chamber music career. He is a member of the Lyric Piano Quartet and the newly-formed Trio Rhamantus. He has performed at the 9/11 Ground Zero memorial since 2003.

www.ChamberMusicSociety.org

STRINGS CELEBRATION Thursday, October 17, 2013, 7:30 PM

GOLDBERG VARIATIONS Tuesday, December 10, 2013, 7:30 PM

GREAT PIANO QUARTETS Sunday, October 20, 2013, 5:00 PM Tuesday, October 22, 2013, 7:30 PM

THE MASTER PIANIST: PRESSLER AT 90 Saturday, December 14, 2013, 7:30 PM

GRAND OCTETS Friday, November 1, 2013, 7:30 PM

BRANDENBURG CONCERTOS Sunday, December 15, 2013, 5:00 PM Tuesday, December 17, 2013, 7:30 PM

MEET THE MUSIC! A TRILLING EVENT Sunday, November 17, 2013, 2:00 PM

BACH AND BEYOND Sunday, January 12, 2014, 5:00 PM

THE VIRTUOSO CLARINETIST Tuesday, November 19, 2013, 7:30 PM

HAYDN & MOZART QUARTETS Tuesday, January 21, 2014, 7:30 PM

Pre-Concert Composer Chat at 6:30 PM in the Rose Studio

DIVINE COMEDIES Sunday, November 24, 2013, 5:00 PM BAROQUE COLLECTION Friday, December 6, 2013, 7:30 PM Sunday, December 8, 2013, 5:00 PM

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CLASSICAL FLOWERING Sunday, January 26, 2014, 5:00 PM ELOQUENT MASTERWORKS Friday, February 7, 2014, 7:30 PM BEETHOVEN REFLECTED Sunday, February 9, 2014, 5:00 PM

2013-2014 SEASON IN ALICE TULLY HALL MASTERPIECES FOR EIGHT Sunday, February 23, 2014, 5:00 PM Tuesday, February 25, 2014, 7:30 PM

QUARTET FOR THE END OF TIME Friday, April 11, 2014, 7:30 PM

TRANSCENDENCE Sunday, March 2, 2014, 5:00 PM

AN EVENING WITH SCHUMANN Sunday, April 27, 2014, 5:00 PM

EMOTION UNBOUND Friday, March 7, 2014, 7:30 PM MEET THE MUSIC! LEAVE IT TO LUDWIG Sunday, March 16, 2014, 2:00 PM RUSSIAN TWILIGHT Tuesday, March 18, 2014, 7:30 PM FRENCH REVELATIONS Friday, March 21, 2014, 7:30 PM ROMANTIC TRANSFORMATIONS Sunday, March 30, 2014, 5:00 PM

DUOS & TRIOS Tuesday, May 6, 2014, 7:30 PM

Pre-Concert Composer Chat at 6:30 PM in the Rose Studio

MEET THE MUSIC! INSPECTOR PULSE’S MOTHER Sunday, May 11, 2014, 2:00 PM MENDELSSOHN & BRAHMS Friday, May 16, 2014, 7:30 PM Sunday, May 18, 2014, 5:00 PM

Visit www.ChamberMusicSociety.org to view the entire season of events.

DESTINATION AMERICA Sunday, April 6, 2014, 5:00 PM

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ABOUT THE

CHAMBER MUSIC SOCIETY

The Chamber Music Society of Lincoln Center makes its home at the magnificently renovated Alice Tully Hall, which has received international acclaim as the world’s most exciting new venue 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.

UPCOMING

CONCERTS AT CMS

THOMAS HAMPSON AND THE JUPITER QUARTET Sunday, April 28, 5:00 pm Alice Tully Hall Works by Schubert, Webern, Adamo, and Wolf

BRITTEN AT 100 Friday, May 10, 7:30 pm Alice Tully Hall Daniel Taylor, countertenor; Anthony Dean Griffey, tenor; Gloria Chien, piano; Wu Han, piano; David Finckel, cello; Orion String Quartet (Daniel Phillips, Todd Phillips, violin; Steven Tenenbom, viola; Timothy Eddy, cello); James Austin Smith, oboe

ARTISTS OF THE SEASON 2012–13 Alessio Bax, piano Gloria Chien, piano* Jeremy Denk, piano Gilbert Kalish, piano Soyeon Kate Lee, piano* Anne-Marie McDermott, piano Juho Pohjonen, piano Gilles Vonsattel, piano Orion Weiss, piano Wu Han, piano Benjamin Beilman, violin* Nicolas Dautricourt, violin* Ani Kavafian, violin Ida Kavafian, violin Erin Keefe, violin Kristin Lee, violin Sean Lee, violin* Yura Lee, violin/viola Daniel Phillips, violin/viola Alexander Sitkovetsky, violin* Arnaud Sussmann, violin Areta Zhulla, violin*

Brett Dean, viola Mark Holloway, viola Paul Neubauer, viola Richard O’Neill, viola Nicolas Altstaedt, cello Efe Baltacıgil, cello Nicholas Canellakis, cello Timothy Eddy, cello David Finckel, cello Jakob Koranyi, cello Mihai Marica, cello* Fred Sherry, cello Kurt Muroki, double bass Sooyun Kim, flute Tara Helen O’Connor, flute Ransom Wilson, flute James Austin Smith, oboe* Stephen Taylor, oboe Romie de Guise-Langlois, clarinet* David Shifrin, clarinet Peter Kolkay, bassoon Bram van Sambeek, bassoon*

William Purvis, horn Radovan Vlatković, horn Ian David Rosenbaum, percussion* Escher String Quartet Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Dane Johansen, cello Jerusalem Quartet Alexander Pavlovsky, violin Sergei Bresler, violin Ori Kam, viola Kyril Zlotnikov, cello Orion String Quartet Daniel Phillips, violin Todd Phillips, violin Steven Tenenbom, viola Timothy Eddy, cello

* designates a CMS Two Artist

DIRECTORS AND FOUNDERS Peter Frelinghuysen, Chairman Charles H. Hamilton, Vice Chairman James P. O’Shaughnessy, Vice Chairman Harry P. Kamen, Treasurer Anthony C. Gooch, Secretary Nasrin Abdolali Joseph M. Cohen Joyce B. Cowin Peter Duchin William B. Ginsberg Robert Hoglund Elinor L. Hoover

Philip K. Howard Priscilla F. Kauff Paul C. Lambert Helen Brown Levine Mike McKool Richard J. Miller, Jr. Dr. Annette U. Rickel Beth B. Sackler Herbert S. Schlosser Donald Schnabel Suzanne Cohn Simon Elizabeth W. Smith Andrea W. Walton Jarvis Wilcox Kathe G. Williamson

DIRECTORS EMERITI Anne Coffin Barbara Erskine Marit Gruson William G. Selden FOUNDERS Miss Alice Tully William Schuman Charles Wadsworth, Founding Artistic Director GLOBAL COUNCIL Victor Grann Jeehyun Kim Joumana Rizk Suzanne Vaucher Shannon Wu

ADMINISTRATION David Finckel and Wu Han, Artistic Directors Administration Keith Kriha, Administrative Director Martin Barr, Controller Robert Whipple, Executive and Production Intern Artistic Planning and Production Valerie Guy, Director of Artistic Operations Michael Lawrence, Director of Artistic Programs Mathíeu Chester, Production Manager Kari Fitterer, Production and Touring Coordinator Laura Keller, Program Editor

Norma Hurlburt, Executive Director

Education Bruce Adolphe, Resident Lecturer and Director of Family Concerts Derek Balcom, Director of Education Development Sharon Griffin, Director of Development Janet Barnhart, Manager of Institutional Giving Susanna Eiland, Manager of Individual Giving Fred Murdock, Special Events Manager Bryan O’Keefe, Development Database and Research Manager Anne Myers, Development Assistant

Marketing/Subscriptions/ Public Relations Lauren Bailey, Director of Marketing and Communications Trent Casey, Web and Digital Producer Emily Holum, Marketing Manager Marlisa Monroe, Public Relations Manager Desmond Porbeni, Manager of Subscription and Ticket Services Susan Mandel, Subscription and Ticket Services Assistant Deborah Mason, Subscription and Ticket Services Assistant

www.ChamberMusicSociety.org

ANNUAL FUND Contributors to the Annual Fund provide essential support for the wide-ranging artistic and educational programs of the Chamber Music Society. We gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their generosity. We would also like to thank those donors who support the Chamber Music Society through the Lincoln Center Corporate Fund.

ARTISTIC DIRECTORS CIRCLE LEADERSHIP GIFTS

($50,000 and above) The Fan Fox & Leslie R. Samuels Foundation, Inc. Joan W. Harris+ Blanchette Hooker Rockefeller Foundation Mrs. Elizabeth W. Smith+

Booth Ferris Foundation The Hamilton Foundation+ Lincoln Center Corporate Fund Linda and Stuart Nelson Mr. and Mrs. James P. O’Shaughnessy+

GUARANTORS

($25,000 TO $49,999)

Nasrin Abdolali+ Joseph M. Cohen+ Joyce B. Cowin+ Sidney E. Frank Foundation Mr. and Mrs. Peter Frelinghuysen William B. Ginsberg+ Florence A. Davis and Anthony C. Gooch+ Robert and Suzanne Hoglund* Elinor and Andrew Hoover+

BENEFACTORS

Mr. and Mrs. Erwin Staller+ The Alice Tully Foundation The Helen F. Whitaker Fund

Mr. and Mrs. Philip K. Howard+ Harry P. Kamen+ Mrs. Adler Katzander Andrea Klepetar-Fallek Mike McKool+ Robert B. Menschel/ Vital Projects Fund MetLife Foundation National Endowment for the Arts Khalil Rizk Fund

Beth B. Sackler+ The Morris and Alma Schapiro Fund Charles and Lynn Schusterman Family Foundation Suzanne and David Simon The Starr Foundation Travel Dynamics International Mr. and Mrs. Jarvis Wilcox+ Kathe and Edwin Williamson+ The Winston Foundation

($10,000 to $24,999)

Anonymous (1) Mr. James A. Attwood and Ms. Leslie K. Williams The Bodman Foundation The Chisholm Foundation The Gladys Krieble Delmas Foundation Howard Dillon and Nell Dillon-Ermers* Mr. and Mrs. Robert S. Erskine, Jr.* David Finckel and Wu Han Ann and Gordon Getty Foundation

Francis Goelet Charitable Lead Trusts The Florence Gould Foundation Grand Marnier Foundation Dr. and Mrs. Victor Grann Mr. and Mrs. Paul B. Gridley Rita E. and Gustave M. Hauser+ Priscilla F. Kauff+ Jeehyun Kim Jane Kitselman CLC Kramer Foundation Paul C. Lambert

New York City Department of Cultural Affairs New York State Council on the Arts Dr. Annette U. Rickel Sandra Priest Rose Judith and Herbert Schlosser+ Mr. Donald Schnabel and Ms. XiaoWei Sun+ Ruth C. Stern Tiger Baron Foundation Suzanne Vaucher Andrea W. Walton

+ Includes support of 2013 Spring Gala

PATRONS PLATINUM PATRONS Robert C. Ackart Jonathan Brezin and Linda Keen* Colburn Foundation Con Edison Lewis B. and Dorothy Cullman Foundation Joseph and Joan Cullman Foundation for the Arts Joan Dyer Mr. and Mrs. Irvine D. Flinn

($5,000 to $9,999) Frelinghuysen Foundation Mr. Robert Goldfarb Jerome L. Green Foundation Frank and Helen Hermann Foundation Marlene Hess and James D. Zirin, in loving memory of Donaldson C. Pillsbury Katherine M. Hurd Shannon Wu and Joseph Kahn

Bruce and Suzie Kovner The Leon Levy Foundation Mr. and Mrs. H. Roemer McPhee in memory of Catherine G. Curran Mr. and Mrs. Dennis Mehiel Samuel I. Newhouse Foundation Newman’s Own Foundation Joe and Becky Stockwell Julien J. Studley Mr. and Mrs. Alan Weiler

GOLD PATRONS

($2,500 to $4,999)

Anonymous Mr. and Mrs. Hirschel B. Abelson Joan and Howard Amron* David R. Baker and Lois A. Gaeta* Mr. and Mrs. James A. Block Mr. and Mrs. Stanley Brezenoff Mrs. Anitra Christoffel-Pell Mr. and Mrs. John D. Coffin The Aaron Copland Fund for Music Nathalie and Marshall Cox Robert and Karen Desjardins Mrs. Beatrice Frank*

SILVER PATRONS

Diana Friedman Egon Gerard The Hite Foundation Mr. and Mrs. James R. Houghton Mr. and Mrs. Peter Keegan Mr. and Mrs. Hans Kilian Mr. Jonathan Lehman Helen Brown Levine* Bernice H. Mitchell* NOK Foundation Sassona Norton and Ron Filler Mr. and Mrs. Howard Phipps, Jr.

Eva Popper The Alfred and Jane Ross Foundation James and Mary Ellen Rudolph* Mr. and Mrs. Harold D. Slapin Paul J. Taubman, in memory of Robert V. Lindsay Dr. Baylis Thomas and Ms. Norma Hurlburt Sally Wardwell Larry Wexler and Walter Brown

($1,500 to $2,499)

Anonymous Jacqueline Adams Ms. Hope Aldrich Mr. and Mrs. Seymour R. Askin, Jr. Dr. Anna Balas Richard L. Bayles Ann and Paul Brandow Dale C. Christensen, Jr. and Patricia Hewitt Mr. Stephen Cooper and Professor Karen Gross Robert J. Cubitto and Ellen R. Nadler Helen DuBois Thomas and Suzanne Engel Judy and Tony Evnin Howard and Margaret Fluhr Dr. and Mrs. Fabius N. Fox* Andrew C. Freedman and Arlie Sulka Mr. and Mrs. Burton Freeman

Victor S. Friedman and Victoria E. Schonfeld Mr. and Mrs. John F. Geer Edda and James Gillen Dr. Beverly Hyman and Dr. Lawrence Birnbach* Mr. Bruce Kaplan and Ms. Janet Yaseen William S. Keating Peter L. Kennard Tom and Jody King ChloĂŤ and Alan Kramer Harriet and William Lembeck Dr. Donald M. Levine Mr. and Mrs. Bernardino Lombardi John McGarry and Michelle Wernli Alan and Alice Model Dr. and Mrs. Martin L. Nass Alex Pagel Mr. Roy Raved and Dr. Roberta Leff* Mr. and Mrs. Joseph Rosen Robert F. and Margaret Rothschild

Mr. and Mrs. Arthur I. Sarnoff Mr. David Schlapbach Arlene and Chester Salomon Mr. and Mrs. William G. Selden The Susan Stein Shiva Foundation Ms. Jeanne S. Siegel Dr. Michael C. Singer Jill S. Slater Dr. Margaret Ewing Stern Mr. Stephen Surgit Salvatore and Diane Vacca Martin and Ruby Vogelfanger Marei von Saher Susan Porter Tall Dr. and Mrs. Alex Traykovski Mr. and Mrs. Pierre de Vegh Dr. Judith J. Warren and Dr. Harold K. Goldstein* Mr. and Mrs. Paul Weislogel Neil Westreich Mr. and Mrs. John C. Whitehead Gilda and Cecil Wray, Jr.

* Special thanks to our Patron Committee members for their tireless efforts as ambassadors for the Chamber Music Society.

FRIENDS PRESTO

($1,000 to $1,499)

Anonymous (4) Dr. and Mrs. David H. Abramson Harry E. Allan Ms. Anita Fial, in honor of Harry Kamen Mr. Stephen Fillo Mr. and Mrs. Sheldon S. Gordon Kenneth Johnson and Julia Tobey Mr. William Kerr

ALLEGRO

Dr. Beth Lieberman Ms. Paula Lieberman Office of Cultural Affairs, Consulate of Israel in New York Merrick Family Fund Sheila and Sara Perkins Fund Edward and Carroll Reid Mrs. Robert Schuur Jeff and Helene Slocum

Annaliese Soros Lynn Straus Ms. Jane V. Talcott Mr. A. Robert Towbin Mr. Alden Y. Warner, III and Mr. Peter S. Reed Tricia and Philip Winterer

Mary and Gordon Gould Abner S. Greene Dr. and Mrs. Wylie C. Hembree Jane A. Martinez Mr. and Mrs. John R. Monahan, Jr. Mr. and Mrs. William Musser Sherry Barron-Seabrook and David Seabrook Mr. Robert Schneider

Mr. David P. Stuhr Mr. Philippe Treuille and Mrs. Beverly Benz Treuille, in honor of Priscilla Kauff Mr. and Mrs. George Wade Frank Wolf

($600 to $999)

Anonymous Anonymous, in memory of Dr. John J. Rothschild Mrs. Albert Pomeroy Bedell Judith Boies and Robert Christman Charles and Barbara Burger Hester K. Diamond Miriam Goldfine

Although space allows us to list only Friends donors of $600 or more, we gratefully acknowledge all members of the Chamber Music Society family, whose generous gifts help to make this season possible.

www.ChamberMusicSociety.org

MAKE A DIFFERENCE From the Chamber Music Society’s first season in 1969-70, support for this nascent institution came from those who shared a love of chamber music and a vision for the Society’s future.

This season we celebrate the 43rd anniversary of the Chamber Music Society and salute the distinguished artists who have graced our stage in thousands of public performances and meaningfully changed our lives. Some of you were here in our beloved Alice Tully Hall when the first notes were played and many more of you have joined them as loyal subscribers and donors who, like the first audience, share a love of chamber music and a vision for the Society’s future.

Those first steps over forty years ago were bold ones and continue to resonate in our successes and inspire us in our challenges. It is this generosity of spirit that has sustained us throughout the unsteady economic cycles across four decades.

Please join your fellow chamber music enthusiasts and support CMS by calling the Membership office at (212) 875-5780, or donate online at www.ChamberMusicSociety.org/support. Thank you very much!

THE CHAMBER MUSIC SOCIETY ENDOWMENT The Chamber Music Society gratefully recognizes those individuals, foundations, and corporations whose vision 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 Norma Hurlburt, 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 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 The Hearst Fund Heineman Foundation Mr. and Mrs. Peter S. Heller Helen Huntington Hull Fund Alice Ilchman Fund Anonymous Warren Ilchman 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 Arlette B. 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

*Denotes a gift given after July 1, 2012 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.