New Music - April 2, 2015

David Finckel and Wu Han, Artistic Directors

NEW MUSIC IN THE KAPLAN PENTHOUSE Thursday Evening, April 2, 2015 at 7:30 Stanley H. Kaplan Penthouse 3,422nd Concert

ANDREW ARMSTRONG, piano GILLES VONSATTEL, piano JAMES EHNES, violin ARNAUD SUSSMANN, violin NICHOLAS CANELLAKIS, cello

45th Anniversary Season

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

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

Derek Bermel's Death with Interruptions was commissioned by Seattle Chamber Music Society Commissioning Club, in collaboration with The Chamber Music Society of Lincoln Center, and La Jolla Music Society for SummerFest, Bowdoin International Music Festival, and the Calyx Trio.

This evening’s performance is being streamed live at www.ChamberMusicSociety.org/WatchLive.

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

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

NEW MUSIC IN THE KAPLAN PENTHOUSE Thursday Evening, April 2, 2015 at 7:30

ANDREW ARMSTRONG, piano GILLES VONSATTEL, piano JAMES EHNES, violin ARNAUD SUSSMANN, violin NICHOLAS CANELLAKIS, cello

JUKKA TIENSUU ...kahdenkesken (Two of Us) for Piano, (b. 1948) Four Hands (1983) ARMSTRONG, VONSATTEL

DEREK BERMEL Death with Interruptions for Piano, (b. 1967) Violin, and Cello (CMS Co-Commission, New York Premiere) (2014) VONSATTEL, EHNES, CANELLAKIS

JÖRG WIDMANN Selections from 24 Duos for Violin and (b. 1973) Cello (2008) 14. Capriccio 15. Canto 17. Choral 21. Valse bavaroise 23. Deciso, con brio 24. Toccatina all'inglese SUSSMANN, CANELLAKIS

—INTERMISSION— AARON JAY KERNIS Two Movements (with Bells) for Violin (b. 1960) and Piano (2007) Presto A Song for my Father EHNES, ARMSTRONG

LEON KIRCHNER Trio No. 1 for Piano, Violin, and Cello (1954) (1919-2009) Marcato Largo

VONSATTEL, SUSSMANN, CANELLAKIS

notes on the

PROGRAM

...kahdenkesken (Two of Us) for Piano, Four Hands Jukka TIENSUU Born August 30, 1948 in Helsinki, FInland.

Composed in 1983.

Premiered on May 14, 1983 in Helsinki by pianist Jouko Laivuori and the composer.

Tonight is the first CMS performance of this piece.

Duration: 5 minutes Jukka Tiensuu is one of the most prominent and influential Finnish composers of today. He was among the founders of both of Finland’s leading contemporary music festivals, Musica nova Helsinki and the Time of Music festival in Viitasaari. He is a first prize winner of the 1988 UNESCO International Rostrum of Composers for his Tokko for men’s chorus and computer-generated tape, a recipient of a 2004 Teosto Prize for his Umori for big band, and a four-time winner of the Nordic Council Music Prize.

Tiensuu’s oeuvre forms an eclectic collection of styles and techniques for a wide range of instruments and digital sound. His recent works include Mora (2012) for tenor and Baroque orchestra; Hou (2012), a concerto for violin and ensemble commissioned by the Koussevitzky

Foundation; Kvagmaa (2011) for two string quartets tuned a quartertone apart; and Egregore (2011) for accordion, piano, guitar, and kantele, a Finnish traditional instrument. Tiensuu studied composition at the Sibelius Academy under Paavo Heininen, The Juilliard School, and at the Staatliche Hochschule für Musik in Freiburg with Brian Ferneyhough and Klaus Huber. In addition to composition, he studied conducting, electronic music, harpsichord, and piano, winning the Maj Lind Piano Competition in 1972. …kahdenkesken (Two of Us) is a short, impish work written for the 1984 Juvenalia Chamber Music Competition in Espoo, Finland.

Tiensuu prefers to let his music speak for itself so he does not write program notes or give background on his pieces. In his profile of the composer, Harri Suilamo writes, “Tiensuu has a Wittgensteinian attitude to his own music: Whereof it is useless or outright detrimental to speak, thereof one must be silent.

He has systematically refrained from providing his works with program notes. In renouncing the role of spokesman for his own music, he is trying to grant his audience the full joy and responsibility of reception.” 

Death with Interruptions for Piano, Violin, and Cello Derek BERMEL Born October 14, 1967 in New York City.

Composed in 2014.

Premiered on July 14, 2014 at the Seattle Chamber Music Society by pianist Anna Polonsky, violinist James Ehnes, and cellist Bion Tsang.

Tonight is the New York premiere of this piece.

Duration: 18 minute Grammy-nominated composer and clarinetist Derek Bermel has been widely hailed for his creativity, theatricality, and virtuosity. Artistic Director of the American Composers Orchestra at Carnegie Hall, he is also Director of Copland House's emerging composers institute, Cultivate, served as Composer-in-Residence at the Mannes College of Music, and enjoyed a four-year tenure as artist-inresidence at the Institute for Advanced Study (IAS) in Princeton. Bermel has become recognized as a dynamic and unconventional curator of concert series that spotlight the composer as performer. Alongside his international studies of ethnomusicology and orchestration, an ongoing engagement with other musical cultures has become part of the fabric and force of his compositional language, in which the human voice and its myriad inflections play a primary role.

He has received commissions from the Pittsburgh, National, Saint Louis, and Pacific Symphonies, Los Angeles Philharmonic, The Chamber Music

Society of Lincoln Center, WNYC Radio, La Jolla Music Society, Seattle Chamber Music Festival, eighth blackbird, Guarneri String Quartet, Music from China, De Ereprijs (Netherlands), violinist Midori, and electric guitarist Wiek Hijmans. His many honors include the Alpert Award in the Arts, Rome Prize, Guggenheim and Fulbright Fellowships, American Music Center's Trailblazer Award, and an Academy Award from the American Academy of Arts and Letters. His discography features three critically-acclaimed discs: an all-Bermel orchestral recording that includes the Grammy-nominated performance of his clarinet concerto Voices, (BMOP/sound); Soul Garden, his small ensemble/solo music (New World/CRI); and his most recent disc, Canzonas Americanas, with Alarm Will Sound (Cantaloupe). Recent and upcoming appearances or premieres include the Intimacy of Creativity Festival in Hong Kong; the Seattle Chamber Music Festival; Hyllos, his evening-length collaboration with The Veenfabriek and Asko | Schönberg Ensemble; performances and recordings with the JACK quartet; and a solo appearance with the New Century Chamber Orchestra.

Bermel writes: “Death with Interruptions (2014) is a piano trio, written in variation form. The title, which comes from the novel by the Portuguese writer José Saramago, describes the chaos that ensues when one day people mysteriously stop dying. Soon afterwards Death herself

enters the narrative and falls madly in love with a cellist. I was intrigued

by Saramago's portrait of death as a character, viewed through a multitude of prisms: the mysterious, the impulsive, the ridiculous, and the dispassionate.

“A simple melody begins the trio and it moves through a series of transformations in mood, texture, and speed. Variations continually return

to the musical heartbeat present in the opening song. Through disparate textures and tempi, the obsessive rhythm emerges as a fixed element bridging musical landscapes. I began writing the work in the months following the passing of my father, Albert Bermel, to whom it is dedicated; he was a playwright, a teacher, a translator, and a great lover of farce, who never seemed to believe that Death would visit one day.” 

Selections from 24 Duos for Violin and Cello Jörg WIDMANN Born June 13, 1973 in Munich.

Composed in 2008.

Premiered on September 1, 2008 in Chambéry, France by violinist Renaud Capuçon and cellist Gautier Capuçon.

Tonight is the first CMS performance of this piece.

Duration: 10 minutes Jörg Widmann is one of Germany’s most sought after composers and a virtuoso clarinetist. String quartets form the core of his oeuvre—his five quartets are intended as a large cycle, with each individual work following a traditional form of setting. He has composed a trilogy of works for large orchestra (Lied, Chor, and Messe) on the transformation of vocal forms for instrumental forces. His stage works include the opera Das Gesicht im Spiegel, Am Anfang, and Babylon, in which Widmann and philosopher Peter

Sloterdijk present a new interpretation of the Babylon story. He has received numerous prizes for his compositions: the Belmont Prize for Contemporary Music from the Forberg-Schneider Foundation (1998), the SchneiderSchott Music Prize, the Paul Hindemith Prize (both in 2002), the Encouragement Award from the Ernst von Siemens Music Foundation, the Achievement Award from the Munich Opera Festival (both in 2003) as well as the Arnold Schönberg Prize (2004). In 2006, Widmann received the Composition Prize from the SWR Sinfonieorchester Baden-Baden und Freiburg as well as the Claudio Abbado Composition Prize from the Orchestra Academy of the Berlin Philharmonic Orchestra. In 2009, he received the Elise L. Stoeger Prize from The Chamber Music Society of Lincoln Center, and in 2013, he was awarded the Music Award of the Heidelberger Frühling and the GEMA German Music Authors Award. He is a fellow of the Institute for Advanced Study in Berlin and a full member

of the Bavarian Academy of Fine Arts, the Free Academy of the Arts in Hamburg, and the German Academy of Dramatic Arts. He has been composerin-residence of the Deutsches Symphonie-Orchester Berlin, the Cleveland Orchestra, the Salzburg Festival, the Lucerne Festival, the Cologne Philharmonic Orchestra, and the Vienna Konzerthaus. He studied the clarinet at the Hochschule für Musik in Munich with Gerd Starke and later with Charles Neidich at The Juilliard School. He studied composition with Hans Werner Henze and later Heiner Goebbels and Wolfgang Rihm in Karlsruhe. From 2001 to 2015, Widmann was professor of clarinet at the Freiburg Staatliche Hochschule für Musik where he was also professor of composition starting in 2009.

Widmann writes, “My initial intention was to write a few small duos for violin and violoncello. I could not then have imagined that this would ultimately produce 24 duos created in elated compositional excess. The result is two volumes containing 13 and 11 duos respectively.

“For a while, I retained great respect for the vulnerability and reductive nature of this duo constellation, and my tonal powers of imagination remained curiously inhibited and onedimensional. I was somehow only able to produce a small number of scattered and tonally extremely brittle and sparse tonal constellations. I then decided to make these unprotected and naked two-part structures deliberately audible in certain movements.

In almost all remaining pieces, I extended the harmony to form a

three- and frequently even four-part structure. The substantial number of the resulting double stops represents a particular technical challenge for both instruments, but it is precisely this almost continuously utilized technique which produces the specific tonal quality of the work.

“Violin and violoncello simultaneously form a comparable and incomparable pair. In these duos, both instruments are inseparably dependent on one another and cannot exist without each other. It is also essential to visualize the predominant compositional technique in the literal sense of “note against note” as strictly contrapuntal.

Everything is interwoven, and everything one instrument does has consequences for the other. They attract each other, reject each other, love and hate each other, sometimes throw balls back and forth in play and then suddenly with an almost destructive intent. The playful elements of the work therefore always remain serious and the serious elements playful. Tricks and effects are totally absent: I have concentrated on the bare and essential musical substance right down to the most miniature phrases.

“Substantial parts of the duos were composed in distant Dubai. This seems to have proved to have been an extremely inspirational and productive time for me, even though the titles of certain movements such as “Valse bavaroise” in Vol. 2 or the final piece in Vol. 1 “Four Verses of Homesickness” tell of a different type of longing.” 

Two Movements (with Bells) for Violin and Piano Aaron Jay KERNIS Born January 15, 1960 in Philadelphia.

Composed in 2007.

Premiered on July 23, 2007 in London by violinist James Ehnes and pianist Eduard Laurel.

Tonight is the first CMS performance of this piece.

Duration: 17 minutes Aaron Jay Kernis’ music figures prominently on orchestral, chamber, and recital programs worldwide. He has been commissioned by many of America‘s foremost performing artists, including soprano Renée Fleming, violinists Joshua Bell and Nadja SalernoSonnenberg, soprano Dawn Upshaw, and guitarist Sharon Isbin, and by institutions including the New York Philharmonic, San Francisco Symphony, Birmingham Bach Choir, Minnesota Orchestra, the Los Angeles and Saint Paul chamber orchestras, the Walt Disney Company, the Ravinia Festival, The Chamber Music Society of Lincoln Center, and Rose Center for Earth and Space at the Museum of Natural History. Recent and upcoming commissions include new concertos for cellist Joshua Roman and for violist Paul Neubauer, works for eighth blackbird, the Santa Fe Chamber Music Festival, La Jolla Chamberfest, and his third string quartet for the Jasper Quartet. His most recent recording is a disc featuring pianist Andrew Russo, violinist James Ehnes, and the Albany Symphony with David Alan Miller.

Mr. Kernis received the Grawemeyer Award for the cello concerto Colored Field and the 1998 Pulitzer Prize for

his String Quartet No. 2 (“musica instrumentalis”). He has also been awarded the Elise L. Stoeger Prize from The Chamber Music Society of Lincoln Center, a Guggenheim Fellowship, the Rome Prize, and received Grammy nominations for Air and the Second Symphony. In Minnesota’s Twin Cities, he has served as composer-in-residence for the St. Paul Chamber Orchestra, Minnesota Public Radio, the American Composers Forum, and as New Music Advisor to the Minnesota Orchestra.

For 15 years, he was chairman and codirector of the Minnesota Orchestra Composer Institute, a program that gives young composers the opportunity to hear their works played by one of the world’s great orchestras. He has taught composition at the Yale School of Music since 2003.

Kernis writes: “Two Movements (with Bells) is a memory piece in honor of my father, Frank Kernis, who passed away in 2004. His favorite music was jazz and American popular song of the 40's and 50's, and although when I took up music I gravitated to classical and new classical music, as I was growing up there was a lot of music based in the blues and jazz playing around the house. After distancing myself from it for a number of years, since my father's death I've been surprised to see those musics seeping back into my work. I'm becoming more aware of how jazz has implicitly marked my emotional and physical experience of music and what elements in my work can unexpectedly arise from improvisation, the soaring and emotional melodies of mid-20th-century ballad singers, and even the rawness of the blues.

“I can also draw a direct line to this most recent of my works, Two Movements (with Bells), all the way back to my New Era Dance from 1992. While New Era Dance is rambunctious and colored by the urban Manhattan cityscape (and influenced strongly by Latin salsa, the "cool" jazz of the '50s and even rap music), Two Movements (with Bells) is essentially introspective and personal in character. Notwithstanding all the virtuosic and rhythmic music in this new work, it varies a great deal in mood, from exuberance, intense lyricism, desolation, emotional distance to melancholy and mournfulness. Much more chromatic than much of my lyrical music, the two movements share a tendency toward frequent expressive shifts, contrasts in mood and speeds and an improvisatory impetuousness. This comes in part out of free jazz and an expressionistic take on the common variation form of standard-based jazz. Certainly there are other influences from classical and 20thcentury music at the heart of this work, but I've been aware of their formative role in my compositional voice for longer.

“While the first movement is marked Presto, it is filled with restless, often uneasy lines and silences, which often break into wild figurations and speeds. It is more fast than slow, while the second movement, A Song for my Father, is the opposite—mostly lyrical and song-like with outbursts of activity and intensity.

“Bell sounds are not used so explicitly, but I was hearing them in my head during the entire time that I was writing the work, and their presence (especially in the piano part) should color how the performers approach its sound world. Are they funeral bells, bells of distant memory, bells made of dense clusters of overtones which fracture and fragment from the intensity of their physical attack?

“Two Movements (with Bells) was commissioned expressly for James Ehnes—whose exceptional musicality and virtuosity has inspired this effort— and his fine duo partner Eduard Laurel— by the BBC Proms. It was written in the late spring and early summer of 2007.” 

Trio No. 1 for Piano, Violin, and Cello Leon KIRCHNER Born January 24, 1919 in New York City.

Died September 17, 2009 in New York City.

Composed in 1954.

Premiered on November 1, 1954 at the Coleman Chamber Series in Pasadena, California by violinist Henri Temianka, cellist Lucien Laporte, and the composer as pianist.

Tonight is the first CMS performance of this piece.

Duration: 10 minutes

Leon Kirchner’s compositional style was remarkably individual; earlier influences of Hindemith, Bartók, and Stravinsky soon yielded to a wholehearted identification with the aesthetics, if not necessarily the specific procedures, of Schoenberg, Berg, and Webern. Extraordinarily gifted as both a pianist and a conductor, Kirchner was first and foremost a composer. A member of the American Academies of Arts and Letters and of Arts and Sciences, he was honored twice by the New York

Music Critics’ Circle (String Quartets Nos. 1 and 2), and received the Naumburg Award (Piano Concerto No. 1), the Pulitzer Prize (String Quartet No. 3), and the Friedheim Award (Music for Cello and Orchestra). The Chamber Music Society of Lincoln Center co-commissioned his Fourth String Quartet in 2006 and other organizations that commissioned his works include the Ford, Fromm, and Koussevitzky Foundations, the New York Philharmonic, the Philadelphia Orchestra, St. Paul Chamber Orchestra, Spoleto and Santa Fe Chamber Music Festivals, and the Boston Symphony Orchestra. He also conducted at a number of leading music festivals around the world and taught for many years at Harvard University. Kirchner was born in 1919 of Russian parents in Brooklyn, grew up in Los Angeles, and studied with Arnold Schoenberg, Roger Sessions, and Ernest Bloch.

Kirchner wrote his First Piano Trio after returning to where he grew up, southern California, to teach at USC. He socialized with the many European émigrés who had settled in the area, including Stravinsky and Theodor Adorno. One of Kirchner’s most frequently performed works, the trio is in two powerful movements studded with descriptive markings (such as “Coming from nowhere, almost out of control,” “Wild!” and “hold back” ) that exhibit his characteristic passionate intensity.

“There is throughout a feeling of high drama and improvisatory spontaneity” writes John and Dorothy Crawford in their study of Schoenberg and his influence, Expressionism in Twentieth Century Music.

Through the trio’s developing variations, the “succinct thematic material experiences far-reaching  psychological metamorphoses.”

meet tonight’s

ARTISTS

Praised by critics for his passionate expression and dazzling technique, pianist Andrew Armstrong has delighted audiences around the world. He has performed solo recitals and appeared with orchestras in Asia, Europe, Latin America, and the United States, including performances at Alice Tully Hall, Carnegie Hall, the Kennedy Center, the Grand Hall of the Moscow Conservatory, and Warsaw's National Philharmonic. This season he performs Saint-Saëns' Fifth Piano Concerto (“The Egyptian”), Mozart's Concerto in A major, K. 488, Gershwin's Rhapsody in Blue, and Beethoven's Fifth Piano Concerto, the “Emperor.” As a chamber musician, he is a member of the Caramoor Virtuosi at the Caramoor International Music Festival and the Jupiter Symphony Chamber Players.

He has been a member of the Amelia Piano Trio since 2010 and its first CD with Armstrong as pianist was released in February 2015. He regularly collaborates with violinist James Ehnes and their four CDs were released to critical acclaim. His debut CD, featuring works of Rachmaninov and Mussorgsky, was released in 2004. His follow-up CD was issued in 2007 on Cordelia Records and includes works by Chopin, Liszt, Debussy, and the world premiere recording of Lisa Bielawa's Wait for piano and drone. Upcoming releases include works of Strauss and Franck, Leclair and Tartini/Kreisler. His performances are heard regularly on National Public Radio and WQXR. At the 1993 Van Cliburn Competition, where he was the youngest pianist entered, he received the Jury Discretionary Award.

Nicholas Canellakis has become one of the most sought-after and innovative cellists of his generation, captivating audiences throughout the United States and abroad. The New York Times praised his playing as “impassioned” and “soulful,” with “the audience seduced by Mr. Canellakis's rich, alluring tone.”

Later this month, he will make his Carnegie Hall concerto debut, performing Leon Kirchner’s Music for Cello and Orchestra with the American Symphony Orchestra in Isaac Stern Auditorium. He performs regularly with the Chamber Music Society in Alice Tully Hall and on tour, and is a former member of CMS Two. A frequent performer at Bargemusic in New York City, he has also been a guest artist at many of the world's leading music festivals, including Santa Fe, La Jolla, Music@Menlo, Ravinia, Verbier, Mecklenburg, Moab, Bridgehampton, Sarasota, and Aspen. He is the co-artistic director of the Sedona Winter MusicFest in Arizona. Mr. Canellakis is a graduate of the Curtis Institute of Music and New England Conservatory and is on the faculty of the Brooklyn College Conservatory of Music and the Bowdoin International Music Festival.

Filmmaking is a special interest of Mr. Canellakis. He has produced, directed, and starred in several short films and music videos, all of which can be found on his website.

Known for his virtuosity and probing musicianship, violinist James Ehnes has performed in over 30 countries on five continents, appearing regularly in the world’s great concert halls and with many of the most celebrated orchestras

and conductors. In the 2014-15 season he performs concerts with the Royal Philharmonic, Danish National, Melbourne, Sydney, NHK, Vienna, and Boston symphony orchestras, and recitals in Prague, London, Toronto, Fort Worth, and Montreal. He also appears with the Ehnes Quartet across North America and will lead the winter and summer festivals of the Seattle Chamber Music Society, where he is the artistic director. He has an extensive discography of over 35 recordings featuring music ranging from J.S. Bach to John Adams and his recordings have been honored with many international awards and prizes, including a Grammy, a Gramophone, and nine Juno Awards. Born in Canada, he was a protégé of the noted Canadian violinist Francis Chaplin. He also studied with Sally Thomas at the Meadowmount School of Music and from 1993 to 1997 at The Juilliard School. He has won numerous awards and prizes, including the first-ever Ivan Galamian Memorial Award, the Canada Council for the Arts’ Virginia Parker Prize, and a 2005 Avery Fisher Career Grant. Mr. Ehnes plays the “Marsick” Stradivarius of 1715. He currently lives in Bradenton, Florida with his family.

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

A “wanderer between worlds” (Lucerne Festival), Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality.

Comfortable with and seeking out an enormous range of repertoire, he displays a musical curiosity and sense of adventure that has gained him many admirers.

Recipient of an Avery Fisher Career Grant and winner of the Naumburg and Geneva competitions, he recently made his Boston Symphony, Tanglewood, and San Francisco Symphony debuts, while performing recitals and chamber music at the Tonhalle Zürich, Ravinia, Tokyo's Musashino Hall, Wigmore Hall, Bravo! Vail, Music@Menlo, the Gilmore festival, the Lucerne festival, and the Munich Gasteig. His most recent 2014 New York solo recital was hailed

as “tightly conceived and passionately performed...a study in intensity” by the New York Times. 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 for the Honens/Naxos label of music

by Debussy, Honegger, Holliger, and Ravel was named one of Time Out New York's classical albums of the year. A former member of Chamber Music Society Two, he received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School, where he studied with Jerome Lowenthal. Mr. Vonsattel is an assistant professor at the University of Massachusetts at Amherst.

Spring 2015

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

4/16/15 4/20/15 4/30/15 5/7/15 5/13/15

9:00 PM 11:00 AM 7:30 PM 7:30 PM 11:00 AM

Late Night Rose Master Class with Cho-Liang Lin Art of the Recital: Gilbert Kalish New Music in the Kaplan Penthouse Master Class with Jason Vieaux

All events are free to watch.

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

upcoming

EVENTS

ROSE STUDIO CONCERT

Thursday, April 16, 2015, 6:30 PM • Daniel & Joanna S. Rose Studio • SOLD OUT Featuring works by Vivaldi, Ginastera, Poulenc, and Villa-Lobos.

LATE NIGHT ROSE

Thursday, April 16, 2015, 9:00 PM • Daniel & Joanna S. Rose Studio • SOLD OUT Featuring works by Vivaldi, Ginastera, Poulenc, and Villa-Lobos, hosted by Patrick Castillo.

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

COPLAND & STRAVINSKY

Sunday, April 19, 2015, 5:00 PM • Alice Tully Hall Working during the same era, Copland and Stravinsky both developed distinctly unique musical sound worlds that would impact composers for generations to come.

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER

cordially invites you to our

Spring Gala Honoring

Reynold Levy monday, april 20, 2015

Alice Tully Hall

•

Broadway at 65th Street

The Chamber Music Society of Lincoln Center is proud to honor Reynold Levy, the driving force behind the transformation of our home, Alice Tully Hall.

“With its grand, airy, people-friendly new lobby and heavenly acoustics, the new Alice Tully Hall is a remarkable achievement.” -The New York Times

WITH A MUSIC PERFORMANCE BY

Emanuel Ax, Alessio Bax, Joseph Kalichstein, Anne-Marie McDermott, Gilles Vonsattel, and Wu Han

For more information, please call 212-875-5216