2017 Brochure by Claire Graham

CHAMBER MUSIC FESTIVAL AND INSTITUTE

The Fifteenth-Anniversary Season: The Glorious Violin July 14â&#x20AC;&#x201C;August 5, 2017

Welcome to Music@Menlo Dear Friends, In celebration of Music@Menlo’s fifteenth season, we are delighted to once more offer a festival that illuminates the art of chamber music in a uniquely engrossing way. This summer, we will focus not on a composer or musical style but rather on an instrument whose evolution in the hands of master makers and immortal composers constitutes one of music’s richest stories: the violin. A miracle of technology that has not required an upgrade for over three hundred years, the violin has been a driving force in the flowering of musical art. After the Cremonese master Antonio Stradivari perfected its design in the early eighteenth century, the violin had a newfound power to sing, dazzle, and entrance that enabled composers to realize their musical dreams. No musical genre is more indebted to the modern violin family than chamber music. Just imagine: without the innovations of Andrea Amati, the leading inventor of the violin family, we would have no Beethoven quartets, Brahms sextets, or Shostakovich trios! From the innovative composer-performers of the Baroque period, through the technical wizards of the Romantic era, to the pioneers of instrumental expression in the twentieth century, Music@Menlo’s 2017 season celebrates the synergies between immortal composers and the great violinists. Seven Concert Programs, augmented by an extraordinary series of five Carte Blanche Concerts, trace and illuminate the in-tandem evolution of violin playing and musical composition. This festival’s programs would not be possible without Music@Menlo’s evolving family of the finest violinists of our time. With a specially selected group of virtuoso violinists tackling the violin repertoire’s most demanding works, we have incomparable performances on the summer horizon. Add to the mixture the exceptional Escher String Quartet, pianists Orion Weiss and Juho Pohjonen, violists Roberto Díaz and Hsin-Yun Huang, cellists Nicholas Canellakis, Clive Greensmith, and Keith Robinson, and the renowned French hornist Radovan Vlatkovi´ c, and we have a festival of truly extraordinary depth and excitement. Furthermore, an unprecedented series of five Encounters, hosted by a diverse cast of Encounter Leaders, illuminates the violin’s history in greater depth than even we thought possible. Please join us for this exhilarating festival, where the violin and its makers, players, and composers are celebrated in all their splendor.

David Finckel and Wu Han Artistic Directors The Martin Family Artistic Directorship 2

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Contents Welcome 2

Welcome from the Artistic Directors

Festival Introduction

Concerts 6

Concert Programs

Carte Blanche Concerts

25 Prelude Performances and Koret Young Performers Concerts 26

Music@Menlo Winter Series 2017â&#x20AC;&#x201C;2018

Festival Calendar

Discovery and Engagement 22

Michael Steinberg Encounter Series

AudioNotes

Music@Menlo LIVE

Music@Menlo Patron Travel

Recording and Broadcasting

Chamber Music Institute

25 Prelude Performances and Koret Young Performers Concerts 25

CafĂŠ Conversations and Master Classes

Artists 5

Artist Roster

Visual Artist

Artist Biographies

Ticket and Patron Information 32

Join Music@Menlo

Reserving Your Summer Festival Tickets

Summer Festival Subscriber Information

36 The Festival Campus and Performance Venues 37

For Visitors to Our Area

Map and Parking

Festival Calendar subscribe at www.musicatmenlo.org | 650-331-0202

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The Glorious Violin Music@Menlo’s 2017 season examines the unfolding of music through the lens of the violin, an instrument whose makers, players, and composers shaped the very evolution of music itself. The violin family first appeared in the early sixteenth century (see illustration at left) and is among a handful of tools whose design has remained unchanged for over three centuries. After Stradivari perfected the art of violin making in the early eighteenth century, it was the synergy between master composers and virtuoso violinists that drove instrumental music forward. Beginning in the violin’s earliest days with works of fantastic ingenuity, we will hear music’s unfolding all the way to the present day, when great virtuosi of the violin continue to inspire compositions for an instrument with unrivaled musical possibilities.

ARTISTS Piano Gloria Chien Peter Dugan* Gilbert Kalish Hyeyeon Park Juho Pohjonen Yekwon Sunwoo* Orion Weiss* Wu Han

Violin Benjamin Beilman Ivan Chan† Chad Hoopes* Bella Hristova* Paul Huang Soovin Kim Jessica Lee Sean Lee Yura Lee Amy Schwartz Moretti* Arnaud Sussmann Danbi Um

Viola Roberto Díaz Hsin-Yun Huang Paul Neubauer Richard O’Neill

Escher String Quartet Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello

Cello Dmitri Atapine Nicholas Canellakis David Finckel Clive Greensmith Keith Robinson

Brass Radovan Vlatkovi´ c , horn*

Bass Scott Pingel

Encounter Leaders Aaron Boyd Fred Child Christopher H. Gibbs Ray Iwazumi* Soovin Kim *Music@Menlo debut † Guest artist-faculty

Gaudenzio Ferrari (1475–1546). Musical Angels, fresco. Saronno, Italy. Photo credit: Scala/Art Resource, NY subscribe at www.musicatmenlo.org | 650-331-0202

Concert Program I

The Path to Bach “ One night…I dreamed that I had sold my soul to the Devil…I gave him my violin out of curiosity; but I was amazed to hear him play a sonata so miraculous and beautiful…that it exceeded all flights of imagination.”

—Giuseppe Tartini

The 2017 festival journey begins in the generation before J. S. Bach: through the ingenuity of such composervirtuosi as Carlo Farina, Marco Uccellini, and Pietro Antonio Locatelli, the violin evolved from the modest fiddle of street musicians to the voice of musical nobility. Next to the works of these early innovators, Concert Program I features one of the iconic masterpieces of the instrument’s repertoire, Tartini’s famous Devil’s Trill Sonata. The latter half of the program brings together the Baroque period’s most influential composers—Arcangelo Corelli, Antonio Vivaldi, and Johann Sebastian Bach—whose sea-parting concerti simultaneously crowned a king of instruments and defined a musical era.

Carlo Farina (ca. 1604–1639) Capriccio stravagante (1627)

Marco Uccellini (ca. 1603–1680) Sonata no. 18 for Two Violins from Sonatas, Correnti, and Arias, op. 4 (1645)

Giovanni Battista Vitali (1632–1692) Passagallo primo from Varie partite del passemezo, ciaccona, capricii, e passagalli for Two Violins and Continuo, op. 7 (1682)

Pietro Antonio Locatelli (1695–1764) Concerto in g minor from L’arte del violino, op. 3, no. 6 (1733)

Giuseppe Tartini (1692–1770) Sonata in g minor, Devil’s Trill (ca. 1714)

Arcangelo Corelli (1653–1713) Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714)

Antonio Vivaldi (1678–1741) Concerto in D Major for Two Violins, Two Cellos, Strings, and Continuo, RV 564 (before 1742)

Johann Sebastian Bach (1685–1750) Double Violin Concerto in d minor, BWV 1043 (1730–1731)

Artists Gloria Chien, Gilbert Kalish, Hyeyeon Park, Wu Han, harpsichords; Adam Barnett-Hart, Aaron Boyd, Soovin Kim, Amy Schwartz Moretti, Arnaud Sussmann, violins; Hsin-Yun Huang, Pierre Lapointe, Amy Schwartz Moretti, violas; Dmitri Atapine, Keith Robinson, Brook Speltz, cellos; Scott Pingel, bass

Saturday, July 15 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $70/$62 full price; $30/$20 under age thirty Prelude Performance* 3:30 p.m., The Center for Performing Arts at Menlo-Atherton *Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 24–25. Fête the Festival 8:30 p.m., following the concert Join the Artistic Directors, festival musicians, and friends on July 15 to celebrate the season’s first concert at an outdoor catered dinner reception at the Menlo Park Arrillaga Family Recreation Center. (Tickets: $65. Advance purchase required.) The Dream, engraving by James Marshal for the Violin Sonata in g minor, Devil’s Trill, by Giuseppe Tartini (1692–1770). Zenetorteneti Muzeum. © DeAgostini Picture Library/Art Resource, NY

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Concert Program II

The Classical Style “ Though not above ‘borrowing’ some idiomatic traits from Kreutzer, Viotti, and Rode, Beethoven transformed them from mere ‘display’ material to the embellishments of great musical ideas.”

—Boris Schwarz

As Haydn and Mozart crystallized the Classical tradition that Beethoven would inherit and transform, the performers of their day likewise developed ever more sophisticated instrumental techniques. Such violinists as Giovanni Battista Viotti and Ignaz Schuppanzigh fueled these great composers’ innovations, empowering them to create music of heretofore unimagined subtlety and complexity. Alongside Haydn, Mozart, and Beethoven, Concert Program II spotlights Viotti, who played a seminal role in defining the instrument’s tradition in England and France, as well as one of his musical heirs, Rodolphe Kreutzer—the dedicatee of Beethoven’s most fiendish violin sonata and a skilled composer in his own right. These performers’ technical prowess inspired music of newfound resplendence from the day’s finest composers in Haydn and Mozart. Beethoven’s audacious creations, in turn, would challenge even Vienna’s most skilled virtuosi, likewise elevating the instrumental tradition to new heights.

Giovanni Battista Viotti (1755–1824) Duetto for Solo Violin (1821)

Franz Joseph Haydn (1732–1809) Piano Trio in E-flat Major, Hob XV: 29 (1797)

Wolfgang Amadeus Mozart (1756–1791) Violin Sonata in A Major, K. 526 (1787)

Rodolphe Kreutzer (1766–1831) Étude no. 22 in B-flat Major from Forty-Two Études and Caprices for Solo Violin (1796)

Ludwig van Beethoven (1770–1827) String Quintet in C Major, op. 29 (1801)

Artists

Sunday, July 16 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $70/$62 full price; $30/$20 under age thirty

Tuesday, July 18 7:30 p.m., Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty Prelude Performance* 5:00 p.m., Martin Family Hall, Menlo School *Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 24–25.

Gloria Chien, Gilbert Kalish, pianos; Soovin Kim, Amy Schwartz Moretti, Arnaud Sussmann, violins; Hsin-Yun Huang, Pierre Lapointe, violas; David Finckel, Keith Robinson, cellos

Franz Joseph Haydn (1732–1809) rehearsing a string quartet, Wien Museum Karlsplatz, Vienna, Austria. © DeAgostini Picture Library/Art Resource, NY 8

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Concert Program III

German Virtuosity “ The compositions of the virtuosi are necessary for the instrumental art, because the composer (alone) cannot conceive that such effects are possible unless he has before him a model, a guide…”

—Eugène Ysaÿe

Concert Program III continues the festival’s journey from the Classical period into the nineteenth century. The program offers Beethoven’s final violin sonata as its point of departure into the new era—following a nod to the French virtuoso Pierre Rode, another of Viotti’s disciples and the sonata’s dedicatee. In the generation following Beethoven, Louis Spohr would become a standard-bearer for the German violin tradition, introducing expressive innovations such as those heard in his Double String Quartet that gave Romanticism its musical soul. The program continues with music by Ferdinand David, Spohr’s prize pupil and muse to the German tradition’s most brilliant medium, Felix Mendelssohn, whose Opus 3 Piano Quartet closes the program.

Pierre Rode (1774–1830) Caprice no. 3 in G Major from Vingt-quatre caprices en forme d’études for Solo Violin (ca. 1815)

Ludwig van Beethoven (1770–1827) Violin Sonata no. 10 in G Major, op. 96 (1812)

Louis Spohr (1784–1859) Double String Quartet no. 1 in d minor, op. 65 (1823)

Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839)

Felix Mendelssohn (1809–1847) Piano Quartet no. 3 in b minor, op. 3 (1825)

Thursday, July 20 7:30 p.m., Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty Prelude Performance* 5:00 p.m., Martin Family Hall, Menlo School *Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 24–25.

Saturday, July 22 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $70/$62 full price; $30/$20 under age thirty

Artists Juho Pohjonen, Wu Han, pianos; Adam Barnett-Hart, Aaron Boyd, Soovin Kim, Jessica Lee, Sean Lee, Arnaud Sussmann, violins; Roberto Díaz, Pierre Lapointe, violas; Dmitri Atapine, Keith Robinson, Brook Speltz, cellos

Statue of Felix Mendelssohn near Thomaskirche, Leipzig. Photo credit: Albrecht Neumeister, 2009 10

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Concert Program IV

In Joachim’s Orbit “ Joachim was the crown of the evening…he played with such poetry, such perfection, with so much soul in every note…Never before did I receive such an unforgettable impression from a virtuoso.”

—Clara Schumann

The sheer brilliance of Mendelssohn’s musical achievements would inspire an emerging generation of Romantics. Robert Schumann considered him “the first musician of the day…He plays with everything…with such ease, delicacy, and art, with such mastery throughout.” An equal mastery would bless Schumann’s disciple Johannes Brahms, whose catalogue of chamber music stands without peer in their generation. A catalyst to the artistic triumphs of these and other composers, the violinist Joseph Joachim equally towers as one of German Romanticism’s most consequential figures. A protégé of Mendelssohn’s, Joachim would come to personify the German school of violin playing and served as muse to Schumann and Brahms in the creation of their greatest works for violin. Concert Program IV surrounds Joachim with signature works by these composers, culminating in Brahms’s poetic Horn Trio.

Felix Mendelssohn (1809–1847) Lied ohne Worte (Song without Words) in D Major for Cello and Piano, op. 109 (1845)

Robert Schumann (1810–1856) Adagio and Allegro in A-flat Major for Horn and Piano, op. 70 (1849)

Robert Schumann Piano Trio no. 3 in g minor, op. 110 (1851)

Joseph Joachim (1831–1907) Romance, op. 2, no. 1 (ca. 1850)

Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865)

Sunday, July 23 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $70/$62 full price; $30/$20 under age thirty

Monday, July 24 7:30 p.m., Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty Prelude Performance* 5:00 p.m., Martin Family Hall, Menlo School *Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 24–25.

Artists Radovan Vlatkovi´ c, horn; Gloria Chien, Gilbert Kalish, Juho Pohjonen, pianos; Paul Huang, Yura Lee, violins; Keith Robinson, cello

Johann Martin von Rohden (1778–1868). Capriccio View of the Ruins of Heidelberg Castle, oil on canvas. Private collection/Photo © Christie’s Images/Bridgeman Images 12

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Concert Program V

French Luminaries “ To play the violin is rather easy, it is even banal…But to feel, to palpitate, to make vibrate—not the instrument but the soul of the instrument…that power cannot be acquired, it is a gift of God!”

—Eugène Ysaÿe

As violinists from the Baroque period throughout the nineteenth century nurtured Germany’s violin tradition, generations of French virtuosi likewise cultivated a distinct national style. Concert Program V begins with the Sonata in e minor for Two Violins by Jean-Marie Leclair, the first great violinist of the French school, who came to be celebrated as “the French Corelli.” Over a century later, the Belgian violinist, composer, and conductor Eugène Ysaÿe, who combined Joachim’s intellect with Paganini’s flair, would set listeners aflame with his intrepid approach to the instrument. In addition to composing his own masterpieces, Ysaÿe served as inspiration through his brilliant playing for composers from César Franck and Gabriel Fauré to Claude Debussy.

Jean-Marie Leclair (1697–1764) Sonata in e minor for Two Violins, op. 3, no. 5 (1730)

Eugène Ysaÿe (1858–1931) Rêve d’enfant (A Child’s Dream), op. 14 (ca. 1895–1900)

César Franck (1822–1890) Violin Sonata in A Major (1886)

Claude Debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889)

Gabriel Fauré (1845–1924) Piano Quartet no. 1 in c minor, op. 15 (1876–1879, rev. 1883)

Friday, July 28 7:30 p.m., Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty Prelude Performance* 5:00 p.m., The Center for Performing Arts at Menlo-Atherton *Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 24–25.

Saturday, July 29 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $70/$62 full price; $30/$20 under age thirty

Artists Gilbert Kalish, Hyeyeon Park, Orion Weiss, Wu Han, pianos; Chad Hoopes, Arnaud Sussmann, violins; Paul Neubauer, viola; Clive Greensmith, cello

Henri Le Sidaner (1862–1939). Sunday, 1898, oil on canvas. Musée de la Chartreuse, Douai, France. Photo credit: Erich Lessing/Art Resource, NY 14

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Concert Program VI

The Age of Expression “ Technique is decidedly not the main essential of the concert violinist’s equipment. Sincerity and personality are the main essentials.”

—Fritz Kreisler

The generation of virtuosi that emerged in the early twentieth century, headed by the preternaturally gifted Fritz Kreisler, charted new frontiers in the violin’s expressive potential. As the art of the violin was reimagined, so inevitably was the music written for it, as composers created music expressly for the soulful practitioners of the new style. Concert Program VI features music by Borodin, Respighi, Ysaÿe, and even Kreisler himself—works that illustrate the age of expression’s transformative effect on how composers would forever approach the instrument.

Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881)

Ottorino Respighi (1879–1936) Violin Sonata in b minor (1917)

Eugène Ysaÿe (1858–1931) Sonata in e minor for Solo Violin, op. 27, no. 4 (1924)

Fritz Kreisler (1875–1962) String Quartet in a minor (1919)

Wednesday, August 2 7:30 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $70/$62 full price; $30/$20 under age thirty Prelude Performance* 5:00 p.m., The Center for Performing Arts at Menlo-Atherton *Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 24–25.

Artists Orion Weiss, piano; Benjamin Beilman, Paul Huang, Danbi Um, violins; Paul Neubauer, viola; Nicholas Canellakis, Clive Greensmith, cellos

Photo of Fritz Kreisler from the personal collection of William Primrose held at the Primrose International Viola Archive, Brigham Young University, Provo, Utah 16

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Concert Program VII

National Flavors “ There is no top. There are always further h eights to reach.”

—Jascha Heifetz

Music@Menlo’s 2017 festival season finale offers a colorful survey of violin playing across the Western world. The vitality of modern Bohemia is heard in Martinu˚’s ingenious duo, while the visceral influence of the great Russian school of string playing is evident in Shostakovich’s Prelude and Scherzo for String Octet, completed while the composer was still a teenager. Composer Erno ˝ Dohnányi drew from his native Hungary’s folk traditions in his Ruralia hungarica, while American composer John Corigliano’s Red Violin Caprices glorify the instrument with a distinctly modern voice. The program concludes with the thrilling String Octet by the Romanian composer, violinist, pianist, and conductor George Enescu.

Bohuslav Martinu˚ (1890–1959) Duo no. 1 for Violin and Cello (1927)

John Corigliano (Born 1938) Red Violin Caprices (1999)

Erno ˝ Dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op. 32c (1924)

Dmitry Shostakovich (1906–1975) Prelude and Scherzo for String Octet, op. 11 (1924–1925)

Artists Hyeyeon Park, piano; Bella Hristova, Soovin Kim, Arnaud Sussmann, Danbi Um, violins; Paul Neubauer, Richard O’Neill, violas; Dmitri Atapine, Nicholas Canellakis, David Finckel, Clive Greensmith, cellos

Saturday, August 5 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $70/$62 full price; $30/$20 under age thirty

George Enescu (1881–1955) String Octet in C Major, op. 7 (1900)

A boy in a Gypsy orchestra playing in Budapest, Hungary, 1930s, black and white photo. United Archives/Nolte/Bridgeman Images 18

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Carte Blanche Concerts Music@Menlo’s 2017 Carte Blanche series celebrates today’s art of string playing at its finest, in the hands of the festival’s incomparable performers. Carte Blanche Concert I

Carte Blanche Concert II

Paganini’s Incomparable Caprices

Quartet Connections

Sean Lee, violin; Peter Dugan, piano Friday, July 21, 7:30 p.m. Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty To this day, Paganini’s Twenty-Four Caprices represent the Mount Everest of violin technique. Violinist Sean Lee, in a rarely encountered feat of virtuosity, performs the entire cycle of Paganini’s caprices, with Music@Menlo debut pianist Peter Dugan offering the beautiful accompaniments composed by none other than Robert Schumann.

Niccolò Paganini (1782–1840) Twenty-Four Caprices for Solo Violin, op. 1 (ca. 1805) (piano accompaniment by Robert Schumann)

Escher String Quartet: Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Brook Speltz, cello Sunday, July 23, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty As Mozart responded to the quartets of Haydn with his own masterpieces, so did Dvorˇák challenge the high standard set by Brahms with string quartets of quintessential Bohemian spirit. The Escher String Quartet brings its dual mastery of style and technique to a program juxtaposing several immortal composers, each at the apex of his chamber music achievement.

Wolfgang Amadeus Mozart (1756–1791) String Quartet in B-flat Major, K. 458, The Hunt (1784)

Johannes Brahms (1833–1897) String Quartet no. 3 in B-flat Major, op. 67 (1875)

Franz Joseph Haydn (1732–1809) String Quartet in G Major, op. 76, no. 1, Hob. III: 75 (ca. 1797)

Antonín Dvorˇák (1841–1904) String Quartet no. 13 in G Major, op. 106 (1895) Please join the Escher String Quartet for a picnic lunch following the concert. A gourmet boxed lunch may be reserved with your ticket order for $18.

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Carte Blanche Concert III

Carte Blanche Concert IV

Carte Blanche Concert V

Violin Universe

Romantic Voices

A Tribute to Fritz Kreisler

Yura Lee, violin

Danbi Um, violin; Orion Weiss, piano; with Paul Huang, violin

Benjamin Beilman, violin; Yekwon Sunwoo, piano

Wednesday, July 26, 7:30 p.m. Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty Violinist Yura Lee performs an astounding array of works for solo violin, ranging from the adventurous musical experiments of the pre-Baroque era to examples of the most infectiously appealing folk styles of violin playing heard today. Concluding with Bach’s monumental Chaconne, this program is a one-of-a-kind celebration of the violin’s endless potential and timeless popularity.

Heinrich Ignaz Franz von Biber (1644–1704) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Mystery Sonatas (ca. 1674–1676)

Bluegrass Fiddling (To be announced from the stage) Eugène Ysaÿe (1858–1931) Sonata in G Major for Solo Violin, op. 27, no. 5 (1924)

George Enescu (1881–1955) Ménétrier (Fiddler) from Impressions d’enfance, op. 28 (1940)

Henrich Wilhelm Ernst (1814–1865) Grand Caprice on Schubert’s Der Erlkönig for Solo Violin, op. 26 (1854)

Norwegian Fiddling (To be announced from the stage) Johann Sebastian Bach (1685–1750) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)

Sunday, July 30, 6:00 p.m. Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty

Thursday, August 3, 7:30 p.m. Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty

Violinist Danbi Um embodies the tradition of the great Romantic style, her natural vocal expression coupled with virtuosic technique. Partnered by pianist Orion Weiss, making his Music@Menlo debut, she offers a program of music she holds closest to her heart, a stunning variety of both favorites and delightful discoveries.

The charismatic violinist Benjamin Beilman has long been a disciple of the incomparable art of the great Viennese master Fritz Kreisler. Beilman’s extraordinary celebration of Kreisler’s art features pianist Yekwon Sunwoo, making his Music@Menlo debut, and includes music that inspired Kreisler as both a performer and a composer as well as a host of Kreisler’s most famous and beloved works.

Ernest Bloch (1880–1959)

Fritz Kreisler (1875–1962)

Violin Sonata no. 2, Poème mystique (1924)

George Enescu (1881–1955) Violin Sonata no. 3 in a minor, op. 25, Dans le caractère populaire roumain (In Romanian Folk Character) (1926)

Erich Wolfgang Korngold (1897–1957) Four Pieces from the Incidental Music to Shakespeare’s Much Ado about Nothing, op. 11 (1918–1919)

Jeno ˝ Hubay (1858–1937) Scènes de la csárda no. 3, op. 18, Maros vize (The River Maros) (ca. 1882–1883)

Fritz Kreisler (1875–1962) Midnight Bells (after Richard Heuberger’s Midnight Bells from The Opera Ball) (1923)

Ernest Bloch Avodah (1929)

Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913)

Praeludium and Allegro (1910) Aucassin and Nicolette (1917)

Johann Sebastian Bach (1685–1750) Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720)

Arcangelo Corelli (1653–1713) Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)

Giovanni Battista Viotti (1755–1824) Violin Concerto no. 22 in a minor (arr. Kreisler) (ca. 1793–1794)

Fritz Kreisler La gitana (1917) Lotus Land (after Cyril Scott’s Opus 47 Number 1) (1922) Tambourin chinois, op. 3 (1910)

Nikolay Rimsky-Korsakov (1844–1908) Hymn to the Sun from The Golden Cockerel (arr. Kreisler) (1919)

Fritz Kreisler Viennese Rhapsodic Fantasietta (1941–1942)

Pablo de Sarasate (1844–1908) Navarra (Spanish Dance) for Two Violins and Piano, op. 33 (1889) subscribe at www.musicatmenlo.org | 650-331-0202

Michael Steinberg Encounter Series The Encounter series, Music@Menlo’s signature multimedia symposia, embodies the festival’s context-rich approach to musical discovery, adding dimension, depth, and context for the season’s seven Concert Programs and five Carte Blanche Concerts. The 2017 festival season’s five Encounters, each led by experts in their fields, explore the intriguing history of the violin, beginning with the instrument’s earliest makers, performers, and composers and continuing all the way to the present day. The Encounter series is named in memory of Michael Steinberg, the eminent musicologist and Music@Menlo guiding light.

Encounter I

Encounter II

From the Birth of the Violin to J. S. Bach and the Glory of Cremona

The Emergence of the Classical Tradition in Musical Style and Performance

Led by Aaron Boyd

Led by Christopher H. Gibbs

Friday, July 14, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $48 full price; $20 under age thirty

Sunday, July 16, 3:00 p.m. Martin Family Hall, Menlo School Tickets: $48 full price; $20 under age thirty

With antecedents shared by numerous cultures reaching back to humankind’s earliest and most primitive music, the modern violin appeared in a sleepy Northern Italian town in the mid-sixteenth century, creating one of the great miracles of Western art. In the opening Encounter of the summer, Escher String Quartet violinist Aaron Boyd traces the violin’s history from its hazy origins to its apogee at the hands of Antonio Stradivari, Antonio Vivaldi, and J. S. Bach, examining the creative synergy between the instrument’s earliest performers and composers.

This summer’s second Encounter explores the concurrent advancement of performance practice, compositional innovation, and Viennese musical culture during the Classical and early Romantic eras. Scholar Christopher H. Gibbs returns to Music@Menlo to lead audiences in an overview of the emergence of the Classical style at the hands of Haydn, Mozart, and Beethoven—also revealing the astounding contributions of violinist Ignaz Schuppanzigh, a friend and colleague of Beethoven’s, to the musical life of Vienna.

Encounter III

Encounter IV

Encounter V

The Devil’s Violinist: Niccolò Paganini

Towards the Age of Expression

The Violin Today

Wednesday, July 19, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $48 full price; $20 under age thirty

Thursday, July 27, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $48 full price; $20 under age thirty

Tuesday, August 1, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $48 full price; $20 under age thirty

Niccolò Paganini, a near-mythic figure whose fiendish abilities left listeners, performers, and composers equally awestruck, raised the technical standard of violin playing to stratospheric heights. This summer’s third Encounter, led by violin virtuoso Soovin Kim, will delve into Paganini’s intriguing life and work, ultimately revealing how Paganini’s magnificent legacy has endured throughout history and thrives to this day through his astonishing compositions.

A generation of virtuosi in the second half of the nineteenth century, led by Wieniawski and Vieuxtemps, opened the eyes and ears of the public to a new realm of expressive potential and artistic projection for the violin. Transcendental technique in the service of art then reached its height with the great Belgian violinist Eugène Ysaÿe, who inspired a new generation of virtuosi led by Kreisler, Elman, Heifetz, and many others. At this summer’s fourth Encounter, violinist and Juilliard School professor Ray Iwazumi explores the flowering of expression of the violin during this consequential period in Western music history.

Fred Child, popular host of the American Public Media® radio program Performance Today®, moderates the summer’s final Encounter, featuring an elite panel of Music@Menlo violinists and the incomparable violin maker Samuel Zygmuntowicz. This in-depth discussion of modern violin making, performance, and pedagogy will include violinists who have studied with the greatest virtuosi of our time, with lineage dating all the way back to Joseph Joachim, providing a uniquely engrossing opportunity to hear the perspectives of today’s finest performers—pointing directly toward the future of the majestic violin tradition.

Led by Soovin Kim

Please see page 23 for image captions. 22

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Led by Ray Iwazumi

Led by Fred Child

Recording and Broadcasting Recording Producer Six-time Grammy Award-winning recording producer Da-Hong Seetoo returns to Music@Menlo for a fifteenth consecutive season to record the festival concerts for release on the Music@Menlo LIVE label. A Curtis Institute– and Juilliard School–trained violinist, Da-Hong Seetoo has emerged as one of a handful of elite audio engineers, using his own customdesigned microphones, monitor speakers, and computer software.

Music@Menlo Travel Music@Menlo invites you to join festival artists and patrons on specially curated musical journeys around the world. With local experts, festival artists, and distinguished lecturers, Music@Menlo’s travel programs offer patrons incomparable insider access to some of the most significant historical and cultural landmarks while they enjoy a musical listening experience like no other. This fall, Music@Menlo travels to northern Italy, the epicenter of violin evolution, for a once-in-a-lifetime musical exploration featuring Music@Menlo Artistic Directors Wu Han and David Finckel and other favorite festival artists. If you are interested in learning more about Music@Menlo’s travel programs, please contact Edward Sweeney at (650) 330-2138 or edward@musicatmenlo.org.

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AudioNotes

Music@Menlo LIVE

AudioNotes are Music@Menlo’s innovative series of preconcert listener guides intended to provide greater insight into the music as well as the performers’ perspectives prior to the concert experience. AudioNotes— provided free of charge—offer cultural and historical context highlighted by musical examples and interviews with festival artists. Each AudioNotes recording enhances the concert experience by giving listeners an informed perspective in advance of the performance and provides the foundation for a rich and rewarding musical journey.

Music@Menlo LIVE, the festival’s exclusive recording label, has been praised as “the most ambitious recording project of any classical music festival in the world” (San Jose Mercury News) and its recordings have been hailed as “without question the best CDs I have ever heard” (Positive Feedback Online). Produced by Grammy Award-winning engineer Da-Hong Seetoo using state-of-the-art recording technology, Music@Menlo LIVE releases feature select concert recordings representing Music@Menlo’s signature thematic programming.

AudioNotes are available on CD or as downloadable MP3s. See order form for details.

Music@Menlo LIVE recordings are available for sale throughout the season at festival concert venues and online at www.musicatmenlo.org. They are also available for digital download and streaming through iTunes, Amazon.com, Classical Archives, and Spotify.

Encounter image captions, from I to V: Plaque in memory of the work of Johann Sebastian Bach in Köthen. Inscription: Joh. Seb. Bach created imperishable works of art here in the years 1717–1723 But be worth it. Photo: Ralf Lotys, https://commons.wikimedia.org/wiki/File:2008-01_K%C3%B6then_(Anhalt)_23.jpg

Anonymous. Fiddlestick versus Broomstick, 1831. Paganini standing on a chair with a fiddle in one hand and bow in the other. Around the table sit John Key (Lord Mayor of London), Henry Brougham, Charles (Earl) Grey, and Lord John Russell. The freedom of the city was presented to Lord John Russell at the Mansion House on July 9, 1831; Paganini was invited to play a concerto

Concert hall in the Razumovsky Palace, Vienna, Austria, site of the first performance of the Razumovsky Quartets by Ludwig van Beethoven, nineteenth century. Photo credit: Erich Lessing/ Art Resource, NY

Eugène Ysaÿe in Russia, 1883, by W. Wysochi. Bibliothèque royale de Belgique

Photo by Victor Grigas

His recent clients include the Borromeo, Escher, Emerson, Miró, and Tokyo String Quartets; the Beaux Arts Trio; pianists Daniel Barenboim, Yefim Bronfman, Derek Han, and Christopher O’Riley; violinist Gil Shaham; cellist Truls Mørk; the Chamber Music Society of Lincoln Center; the Chicago Symphony Orchestra under David Zinman; the Evergreen Symphony (Taipei, Taiwan); the New York Philharmonic under Lorin Maazel; the ProMusica Chamber Orchestra (Columbus, Ohio); the Royal Philharmonic Orchestra under Carlos Miguel Prieto; the Singapore Symphony Orchestra; and David Finckel and Wu Han for the ArtistLed label. His recording with the Emerson String Quartet for Deutsche Grammophon, Intimate Letters, garnered the 2010 Grammy Award for Best Chamber Music Performance.

American Public Media® American Public Media® is the leading producer of classical music programming for public radio. This summer, Music@Menlo is proud to welcome American Public Media® once again as the festival’s exclusive broadcast partner. Performances from the festival will air nationwide on the American Public Media® radio program Performance Today®, the largest daily classical music program in the United States, which airs on 260 stations and reaches more than one million people each week, and via Classical 24®, a live classical music service broadcast on 250 stations and distributed by Public Radio International. Fred Child, host of Performance Today®, will lead the festival’s final Encounter this summer. Go online to www.YourClassical.org for archived performances, photos, and interviews.

Samuel Zygmuntowicz shapes a violin arch in his Brooklyn, New York, studio. Photo credit: Lilian Finckel, 2016 subscribe at www.musicatmenlo.org | 650-331-0202

Chamber Music Institute David Finckel and Wu Han Artistic Directors Gloria Chien Institute Director Gilbert Kalish International Program Director Music@Menlo’s Chamber Music Institute has become one of the top-tier summer programs in the world for string players and pianists. The Institute brings together exceptionally talented young musicians and a world-class roster of performing artists for an intensive threeweek training program, consisting of the International Program for preprofessional artists (ages eighteen to twenty-nine) and the Young Performers Program for pre- and early-conservatory-level students (ages nine to eighteen). These extraordinary young artists are selected from top preparatory and conservatory programs across the United States and abroad. Students work closely with the festival’s artistfaculty in coachings, master classes, and various other educational activities. Highlights include the immensely popular Prelude Performances and Koret Young Performers Concerts featuring the Institute’s aspiring young artists. The Chamber Music Institute’s series of master classes and performances—always free and open to the public—offers listeners an opportunity to witness the fostering of great traditions and the exchange of ideas between today’s most accomplished artists and classical music’s next generation. The Chamber Music Institute and its International Program and Young Performers Program participants are supported by contributions to the Ann S. Bowers Young Artist Fund.

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Prelude Performances and Koret Young Performers Concerts The festival’s preconcert and afternoon Prelude Performances and Koret Young Performers Concerts showcase the extraordinary young artists of the Chamber Music Institute and are an integral part of Music@Menlo’s educational mission. These inspiring concerts have become some of the season’s most anticipated events. Experience these young artists performing great music from the chamber music repertoire. For both series, free tickets are required and may be reserved in advance on the day of the concert.

Prelude Performance Schedule

Koret Young Performers Concert Schedule

Featuring the Institute’s International Program artists.

Featuring the students of the Young Performers Program.

Saturday, July 15, 3:30 p.m., Menlo-Atherton*

Saturday, July 22, 1:00 p.m., Menlo-Atherton*

Tuesday, July 18, 5:00 p.m., Martin Family Hall

Saturday, July 29, 1:00 p.m., Menlo-Atherton*

Wednesday, July 19, 5:00 p.m., Stent Family Hall

Saturday, August 5, 1:00 p.m., Menlo-Atherton*

Thursday, July 20, 5:00 p.m., Martin Family Hall Friday, July 21, 5:00 p.m., Menlo-Atherton* Monday, July 24, 5:00 p.m., Martin Family Hall Wednesday, July 26, 5:00 p.m., Martin Family Hall Thursday, July 27, 5:00 p.m., Stent Family Hall Friday, July 28, 5:00 p.m., Menlo-Atherton* Sunday, July 30, 3:30 p.m., Martin Family Hall Tuesday, August 1, 5:00 p.m., Stent Family Hall Wednesday, August 2, 5:00 p.m., Menlo-Atherton* Friday, August 4, 5:00 p.m., Menlo-Atherton*

In response to the popularity of these events, a ticket is required for all Prelude Performances and Koret Young Performers Concerts. Free tickets can be requested at will call beginning one hour prior to the start of each concert or reserved in advance online at www.musicatmenlo.org starting at 9:00 a.m. on the day of the event. Seating is by general admission. Members of the Bach Circle ($1,000) and above enjoy Advance Ticketing for one Prelude Performance or Koret Young Performers Concert of their choice. Members of the Beethoven Circle ($10,000) and above enjoy Advance Ticketing for all Prelude Performances and Koret Young Performers Concerts. For reserved seating opportunities, please see Premium Seating information on p. 32. *The Center for Performing Arts at Menlo-Atherton

Café Conversations and Master Classes Beginning on July 17, each weekday throughout the festival, Music@Menlo offers midday events including the popular Café Conversations and master classes. Café Conversations feature select festival artists discussing a variety of topics related to music and the arts. These forums showcase the wide-ranging expertise, generosity, and imagination of our artists and provide further insight into their remarkable careers and musical experiences. Master classes offer an opportunity to witness members of the artist-faculty impart their knowledge, art, and expertise to the next generation of performers. In master classes, Chamber Music Institute participants are coached in preparation for their Prelude Performances and Koret Young Performers Concerts. The insight gained from observing the nuanced process of preparing a piece of music for performance deepens audiences’ appreciation of the concert experience. Each weekday of the festival season features a Café Conversation or master class at 11:45 a.m. on the Menlo School campus. Reservations are not necessary or available for these midday events, which are free and open to the public. During the festival season, please consult your festival program book or visit our website at www.musicatmenlo.org for a detailed schedule of master classes and Café Conversation topics.

Open Coachings Monday through Friday from July 17 through August 4, Music@Menlo invites you to experience the Chamber Music Institute by observing coachings or watching a master class or Café Conversation on the Menlo School campus. Daily schedules of open coachings can be found at the Festival Welcome Center. subscribe at www.musicatmenlo.org | 650-331-0202

Music@Menlo Winter Series 2017–2018 Music@Menlo’s Winter Series offers listeners the opportunity to experience the festival’s signature chamber music programming throughout the year.

Montrose Trio Shostakovich, Beethoven, and Brahms Sunday, November 12, 2017, 6:00 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $52/$47 full price; $25/$20 under age thirty Virtuoso pianist Jon Kimura Parker and former Tokyo String Quartet members Martin Beaver and Clive Greensmith open the 2017–2018 Winter Series, performing a program of Shostakovich, Beethoven, and Brahms that offers a rare opportunity to revel in the youthful yet unmistakably refined craftsmanship of these composers’ very first forays into composing for piano trio. Beginning with Shostakovich’s beguiling Piano Trio no. 1 in c minor followed by Beethoven’s simply joyful Opus 1 Number 1 Trio, the program concludes with Brahms’s own First Piano Trio in B Major in an enchanting survey of some of the earliest works of the composers’ extensive oeuvres.

Dmitry Shostakovich (1906–1975) Piano Trio no. 1 in c minor, op. 8 (1923)

Ludwig van Beethoven (1770–1827) Piano Trio in E-flat Major, op. 1, no. 1 (1794)

Johannes Brahms (1833–1897) Piano Trio no. 1 in B Major, op. 8 (1854, rev. 1889)

The Chamber Music Society of Lincoln Center

Schumann Quartet

Brahms and Dvorˇák

Friday, April 20, 2018, 7:30 p.m. Location TBD Tickets: $52/$47 full price; $25/$20 under age thirty

Friday, January 19, 2018, 7:30 p.m. Location TBD Tickets: $52/$47 full price; $25/$20 under age thirty This riveting program juxtaposes two musical giants of Romanticism: Antonín Dvorˇák and Johannes Brahms. Contemporaries and friends, Dvorˇák and Brahms drew inspiration from each other, and it was to Brahms’s Gypsy-inspired Hungarian Dances that Dvorˇák turned for his own Slavonic Dances, which has been a sure-fire hit with audiences ever since its premiere. Brahms’s c minor Piano Trio—a work of searing intensity and epic proportions—is featured before intermission, while Dvorˇák’s Piano Quintet in A Major, one of the finest piano quintets in the repertoire, brings the program to a thrilling close. Joining Chamber Music Society of Lincoln Center and Music@Menlo Artistic Codirector pianist Wu Han for this program is a cohort of some of the most exciting young artists on the distinguished CMS roster: pianist Michael Brown, violinists Paul Huang and Chad Hoopes, violist Matthew Lipman, and cellist Dmitri Atapine.

Antonín Dvorˇák (1841–1904) Selected Slavonic Dances for Piano, Four Hands (1878, 1886)

Johannes Brahms (1833–1897)

ARTISTS Jon Kimura Parker, piano; Martin Beaver, violin; Clive Greensmith, cello

Piano Trio no. 3 in c minor, op. 101 (1886)

Johannes Brahms

Order your Winter Series tickets when you place your order for summer festival tickets. Become a Winter Series Subscriber and save $15 on the three-concert series, plus get a 10 percent discount on Music@Menlo merchandise. Winter Series tickets will be mailed in late August, after the festival.

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Selected Hungarian Dances for Piano, Four Hands (1868, 1880)

Antonín Dvorˇák Piano Quintet in A Major, op. 81, B. 155 (1887)

ARTISTS Michael Brown, Wu Han, pianos; Chad Hoopes, Paul Huang, violins; Matthew Lipman, viola; Dmitri Atapine, cello

Haydn, Bartók, and Schumann

Music@Menlo’s 2017–2018 Winter Series culminates in a dramatically varied program performed by the sensational Schumann Quartet in its Music@Menlo debut. The Schumann Quartet, composed of three charismatic brothers named Schumann and the stunning violist Liisa Randalu, enjoys a thriving career in Europe and through its recent engagements on our shores is off to the start of an equally vibrant U.S. presence. Offering delights for music lovers of all tastes, the program opens with Haydn’s Sunrise Quartet and is followed by Bartók’s String Quartet no. 2, written by the composer in seclusion outside of Budapest during the First World War. The program closes with Robert Schumann’s deeply expressive String Quartet in F Major, which was published along with two additional string quartets as the composer’s Opus 41.

Franz Joseph Haydn (1732–1809) String Quartet in B-flat Major, op. 76, no. 4, Sunrise (1797)

Béla Bartók (1881–1945) String Quartet no. 2, op. 17 (1914–1917)

Robert Schumann (1810–1856) String Quartet in F Major, op. 41, no. 2 (1842)

ARTISTS Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; Mark Schumann, cello

Visual Artist: Enrico Giannini

In Hand:

Skill and Artistry in the Italian Tradition A documentary exhibition by Lilian Finckel

Enrico Giannini was born into a long-standing family tradition of artistic bookbinding in Florence, Italy. Under the watchful eyes of his father and grandfather, he began as an apprentice in the Giannini workshop when he was just eleven years old. In the 1960s, he started experimenting with new techniques of marbleizing paper and researched alternative materials for new products. His paper designs and artistic bookbindings have been displayed in shows in the United States, Japan, and Italy, and he has taught several generations of students. He still creates new designs in his studio in Florence and collaborates with his daughter, Maria, who runs the family business, Giulio Giannini e Figlio, in Piazza dei Pitti in Florence. Music@Menlo’s Visual Artist is generously supported by Libby and Craig Heimark. Front cover, back cover, and upper left: marbled paper by Enrico Giannini

Lilian Finckel is a New York–based artist working in photography, ceramics, and mixed media. Her work is documentary in nature, and her multidisciplinary practice moves through the archival lens. In Hand is an exhibition she developed in 2016 and 2017; it seeks to draw parallels between two artistic masters, bookbinder and paper designer Enrico Giannini and violin maker Samuel Zygmuntowicz, revealing the intricate dexterities of each historic craft. Lilian Finckel graduated from Barnard College, Columbia University with a degree in art history and visual arts in 2016. Upper photo: Samuel Zygmuntowicz carving a cello scroll: a design based on old geometrical proportions, with a practical purpose. Photo credit: Lilian Finckel, 2016 Lower photo: Enrico Giannini in his studio in Florence, Italy. Photo credit: Lilian Finckel, 2017

Artistic Directors: David Finckel and Wu Han The Martin Family Artistic Directorship Music@Menlo founding Artistic Directors cellist David Finckel and pianist Wu Han rank among the most esteemed and influential classical musicians in the world today. Recipients of Musical America’s Musicians of the Year award, they bring unmatched talent, energy, imagination, and dedication to their multifaceted endeavors as concert performers, recording artists, educators, artistic administrators, and cultural entrepreneurs. In high demand as individuals and as a duo, they appear each season at a host of the most prestigious venues and concert series across the United States and around the world. Since 2004, David Finckel and Wu Han have together held the prestigious position of Artistic Director of the Chamber Music Society of Lincoln Center, the world’s largest presenter and producer of chamber music, programming and performing

under its auspices worldwide. Their wide-ranging musical innovations include the launch of ArtistLed (www.artistled.com), classical music’s first musiciandirected and Internet-based recording company, whose catalogue of nineteen albums has won widespread critical acclaim. In 2011, David Finckel and Wu Han were named Artistic Directors of Chamber Music Today, an annual festival held in Seoul, South Korea, and since 2013, they have led the Finckel-Wu Han Chamber Music Studio at the Aspen Music Festival and School. In these capacities, as well as through a multitude of other educational initiatives, they have achieved universal renown for their passionate commitment to nurturing the careers of countless young artists. David Finckel and Wu Han reside in New York City. For more information, please visit www.davidfinckelandwuhan.com. subscribe at www.musicatmenlo.org | 650-331-0202

Festival Artist Biographies

Acclaimed as a “splendid, elegant cellist,” Dmitri Atapine has appeared on some of the world’s foremost stages and is a frequent guest at festivals around the globe. A member of the Chamber Music Society of Lincoln Center’s CMS Two, he has also garnered top prizes at the Carlos Prieto, Plowman, and Premio Vittorio Gui competitions. Atapine is the Artistic Director of the Argenta Concert Series and is a professor at the University of Nevada, Reno. He holds a doctorate from the Yale School of Music, where he studied with Aldo Parisot.

The Cleveland Plain Dealer asserted that violinist Ivan Chan’s “…tonal sweetness is matched by impeccable taste, purposeful energy, and an unerring sense of phrasing.” A member of the Miami String Quartet from 1995 to 2010, Chan is currently Senior Lecturer in String Chamber Music at the Hong Kong Academy for Performing Arts. As a visiting artist, he has taught at the Curtis Institute of Music, the Juilliard School, New England Conservatory, Ravinia’s Steans Institute, Morningside Music Bridge, and Beijing’s Central Conservatory. In 2017, Chan will be on faculty at Music@Menlo, the Meadowmount School of Music, and the Kent/Blossom Music Festival.

American violinist Adam Barnett-Hart has attracted worldwide attention for his sensitive musicianship and inspired artistry. As the founding first violinist of the Escher String Quartet, he has performed in many of the most prestigious venues and festivals around the world including Alice Tully Hall and Carnegie Hall in New York, the Kennedy Center, the Ravinia and Caramoor Festivals, Wigmore Hall, the Louvre, and the Concertgebouw. As a soloist, BarnettHart made his debut performing the Brahms Concerto in Alice Tully Hall with the Juilliard Symphony in 2002. He studied with Pinchas Zukerman and Joel Smirnoff.

Deemed one of the Superior Pianists of the Year (Boston Globe), Gloria Chien is founding Artistic Director of String Theory, a chamber music series in Chattanooga, Tennessee, and was appointed Director of the Chamber Music Institute at Music@Menlo in 2010. A Steinway Artist, she has recorded for Chandos Records and released a CD with clarinetist Anthony McGill in 2010. Gloria Chien is an Artist-in-Residence at Lee University in Tennessee and is an Artist of the Chamber Music Society of Lincoln Center.

In the 2016–2017 season, violinist Benjamin Beilman performs as soloist with the Philadelphia Orchestra and the Chicago Symphony, as well as with the symphony orchestras of Detroit, San Diego, Atlanta, and Grand Rapids. Making recital debuts in San Francisco and Vancouver this season, he also frequently performs at chamber music festivals, including Music@Menlo, Music from Angel Fire, and Chamber Music Northwest, as well as the Bridgehampton, Marlboro, Santa Fe, Seattle, and Sedona Chamber Music Festivals. Beilman is the recipient of the prestigious Borletti-Buitoni Trust Fellowship for 2014, a 2012 Avery Fisher Career Grant, and a 2012 London Music Masters Award.

Fred Child is the host of the American Public Media® radio program Performance Today®, the most listened-to classical music radio show in America. Child is also the commentator and announcer for Live from Lincoln Center on PBS, the only live performing arts series on television. He was cohost of Carnegie Live, a three-year series of national broadcasts from America’s premier concert venue, and has hosted numerous other live national broadcasts, including significant events from New York, Los Angeles, London, and Boston, as well as the Aspen Music Festival. Fred Child also hosted NPR’s Creators at Carnegie, a program with wide-ranging performers in concert, and was previously Music Director and Director of Cultural Programming at WNYC in New York.

Violinist Aaron Boyd enjoys a versatile career as a soloist, chamber musician, and recording artist and concertizes throughout the United States, Europe, Russia, and Asia. As a violinist of the Escher String Quartet, Boyd was a recipient of the 2013 Avery Fisher Career Grant and appears regularly as an Artist of the Chamber Music Society of Lincoln Center. He has participated in the Marlboro, La Jolla, Bridgehampton, and Prussia Cove festivals. Previously on the violin faculty of Columbia University and the University of Arizona, Aaron Boyd now lives in New York with his family. He plays the “ex-Stopak” Matteo Goffriller violin, made in Venice in 1700.

A violist of international reputation, Roberto Díaz is President and CEO of the Curtis Institute of Music. As a teacher of viola at Curtis and former Principal Violist of the Philadelphia Orchestra, Díaz has already had a significant impact on American musical life and continues to do so in his dual roles as performer and educator. He has appeared as an orchestral soloist and recitalist in major cities around the globe and has worked with many of the leading conductors and composers of our time. A celebrated chamber artist and recitalist, Roberto Díaz is a member of the Díaz Trio and performs frequently on tour in programs featuring Curtis students.

Hailed as a “superb young soloist” (New Yorker), Nicholas Canellakis has become one of the most sought-after and innovative cellists of his generation. Canellakis recently made his Carnegie Hall concerto debut with the American Symphony Orchestra and is an Artist of the Chamber Music Society of Lincoln Center, with which he performs regularly in Alice Tully Hall and on tour throughout the United States and abroad. He has participated in many of the world’s leading music festivals, including Santa Fe, La Jolla, Music@Menlo, Ravinia, Verbier, Mecklenburg, Bridgehampton, Moab, Sarasota, and Aspen. He is a graduate of the Curtis Institute of Music and New England Conservatory and is on faculty at the Brooklyn College Conservatory of Music.

Pianist Peter Dugan, hailed by the Washington Post as a “formidable soloist,” makes his debut this season with the San Francisco Symphony under the baton of Michael Tilson Thomas. Dugan recently gave his Weill Hall debut recital with baritone John Brancy, presented by Carnegie Hall. A sought-after crossover artist, he has performed in duos and trios with artists ranging from Itzhak Perlman and Joshua Bell to Jesse Colin Young and Glenn Close. Peter Dugan holds master and bachelor of music degrees from the Juilliard School, where he studied under Matti Raekallio and currently serves on the piano faculty of the Evening Division.

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The Escher String Quartet is an Artist of the Chamber Music Society of Lincoln Center and has made a distinctive impression throughout Europe, with recent debuts at the Amsterdam Concertgebouw, the Berlin Konzerthaus, London’s Kings Place, the Slovenian Philharmonic Hall, and the Auditorium du Louvre. Alongside its growing European profile, the Escher continues to flourish in its home country, performing at Alice Tully Hall in New York, the Kennedy Center in Washington, D.C., and the Ravinia and Caramoor festivals. The Escher String Quartet is currently the String Quartet-in-Residence at Southern Methodist University in Dallas, Texas.

Violist Hsin-Yun Huang has been a soloist with the Berlin Radio Orchestra, the Tokyo Philharmonic, Zagreb Soloists, and the London Sinfonia, among many others, and she performs regularly at festivals including Marlboro, Spoleto, Rome, and Santa Fe. She was a member of the Borromeo String Quartet from 1994 to 2000. A native of Taiwan, Huang first came to international attention as the gold medalist and youngest competitor in the 1988 Lionel Tertis International Viola Competition. She received degrees from the Curtis Institute of Music and the Juilliard School and currently serves on the faculty of both schools.

Christopher H. Gibbs is the James H. Ottaway Jr. Professor of Music at Bard College, Coartistic Director of the Bard Music Festival, and Executive Editor of the Musical Quarterly. He edited The Cambridge Companion to Schubert, coedited Franz Liszt and His World and Franz Schubert and His World, and is the author of The Life of Schubert. He is the coauthor, with Richard Taruskin, of The Oxford History of Western Music, College Edition. Since 2000, he has written the program notes for the Philadelphia Orchestra.

Taiwanese-American violinist Paul Huang’s recent and upcoming engagements include debuts with the Houston, Pacific, and Omaha Symphonies, the Santa Barbara Chamber Orchestra, and the Louisiana and Seoul Philharmonics, as well as return engagements with the Detroit, Alabama, and Bilbao Symphonies and the national symphonies of Mexico and Taiwan. The recipient of a prestigious Avery Fisher Career Grant in 2015, Huang has performed recitals at Lincoln Center, the Kennedy Center, the Phillips Collection, the Gardner Museum, the Seoul Arts Center in Korea, and the Louvre in Paris. He plays the Guarneri del Gesù Cremona 1742 “ex-Wieniawski” violin, on loan through the Stradivari Society, and is a member of the Chamber Music Society of Lincoln Center’s CMS Two.

Paul Huang holds the Marilyn and Boris Wolper Violin Chair in honor of Philip Setzer for 2017.

Clive Greensmith holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2017.

Cellist Clive Greensmith joined the Tokyo String Quartet in 1999 and has performed with the quartet at the most prestigious venues and concert series across the globe. As a soloist, he has appeared with the London Symphony Orchestra, the Royal Philharmonic, the Seoul Philharmonic, and the RAI Orchestra of Rome, among others. Greensmith has performed at the Marlboro Music Festival, the Salzburg Festival, the Edinburgh Festival, the Pacific Music Festival, the Sarasota Music Festival, and Music@Menlo. He is a founding member of the Montrose Trio with pianist Jon Kimura Parker and violinist Martin Beaver, and he is currently Professor of Cello and Codirector of Chamber Music at the Colburn School.

Violinist and lecturer Ray Iwazumi is widely respected as both an expert on the FrancoBelgian violin school and a performer of uncommon musicianship and integrity. Iwazumi shares his expertise through lectures and lecture-performances and has published several articles, particularly about the solo sonatas of Ysaÿe, in the Strad, MLA Notes, and other publications. He has catalogued the rare materials related to Ysaÿe at the Juilliard School, is active as an editor and music research consultant, and is on the faculty at the Juilliard School. He has edited the Scherzo-Tarantella of Wieniawski and the Vieuxtemps Violin Concerto in a minor for G. Henle Verlag. http://www.rayiwazumi.com.

Described by the New York Times as “[an] impressive…prodigiously talented [musician with] enormous stamina and [a] brilliant, zippy sound,” twenty-two-year-old American violinist Chad Hoopes appears regularly in concert halls throughout the world. In the 2015–2016 season, he was the Munich Symphony Orchestra’s first Artist-in-Residence. Recent debuts include the Philadelphia Orchestra, National Symphony Orchestra, Konzerthausorchester Berlin, and Orchestre de Paris. In spring 2016, Hoopes made his London debut at the Royal Festival Hall with the National Youth Orchestra of Great Britain and conductor Kristjan Järvi. His debut CD with the MDR Leipzig Radio Symphony Orchestra (Mendelssohn and Adams concerti) was released in spring 2014.

Pianist Gilbert Kalish’s profound influence on the musical community as a performer, educator, and recording artist has established him as a major figure in American music making. He was pianist of the Boston Symphony Chamber Players for thirty years, was a founding member of the Contemporary Chamber Ensemble, and is an Artist of the Chamber Music Society of Lincoln Center. Kalish is Distinguished Professor and Head of Performance Activities at Stony Brook University. He was previously a faculty member and Chair of the Faculty at the Tanglewood Music Center. Kalish received the American Composers Forum’s Champion of New Music Award in 2017.

Winner of the 2013 Avery Fisher Career Grant, violinist Bella Hristova received First Prize in the 2009 Young Concert Artists International Auditions and the 2007 Michael Hill International Violin Competition. As a soloist, she has performed alongside Pinchas Zukerman and the Orchestra of St. Luke’s at Lincoln Center and with the New York String Orchestra under Jaime Laredo at Carnegie Hall. She has been a featured performer at Australia’s Musica Viva, Music@Menlo, Music from Angel Fire, Chamber Music Northwest, the Santa Fe Chamber Music Festival, and the Marlboro Music Festival. Her most recent projects include her recording Bella Unaccompanied and the commission of Second String Force from Joan Tower.

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Festival Artist Biographies Violinist Soovin Kim is an exciting player who has built on the early successes of his prizewinning years to emerge as a mature and communicative artist. Kim enjoys a broad musical career, performing repertoire such as Bach sonatas and Paganini caprices for solo violin and Mozart and Vivaldi concerti without conductor, as well as Romantic concerti, sonatas for violin and piano ranging from Beethoven to Ives, and world-premiere works almost every season. For two months each year, he performs as the first violinist of the Johannes String Quartet. Soovin Kim is the founder and Artistic Director of the Lake Champlain Chamber Music Festival (LCCMF) in Burlington, Vermont, and serves on the faculty of New England Conservatory.

Known for her music career of broad versatility, violinist Amy Schwartz Moretti is Director of the McDuffie Center for Strings, the Caroline Paul King Chair in Strings at the Mercer University Townsend School of Music, and former Concertmaster of the Oregon Symphony and Florida Orchestra. She is a member of the Ehnes String Quartet and maintains an active performing schedule of solo, chamber, and concertmaster activities. In addition to her recordings and international performances, she curates the Fabian Concert Series in Macon, Georgia. Through the generous efforts of the Stradivari Society, she plays the 1744 G. B. Guadagnini violin known as the “Canadian.”

Canadian violist Pierre Lapointe is a member of the Escher String Quartet. He earned a doctoral degree from Manhattan School of Music in 2012 for his dissertation on Zemlinsky’s Second String Quartet. His main teachers were Yaela Hertz Berkson, Calvin Sieb, Paul Yarbrough, and Lawrence Dutton. Since 2010, Pierre Lapointe has played on a viola ingeniously designed and made by Christophe Landon.

Violist Paul Neubauer’s exceptional musicality and effortless playing led the New York Times to call him “a master musician.” Appointed Principal Violist of the New York Philharmonic at age twenty-one, he has appeared as soloist with over one hundred orchestras including the New York, Los Angeles, and Helsinki Philharmonics; the National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth Symphonies; and the Santa Cecilia, English Chamber, and Beethovenhalle Orchestras. He has premiered viola concerti by Bartók (the revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower and recorded for Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical.

Violinist Jessica Lee, Grand Prize winner of the 2005 Concert Artists Guild International Competition and Assistant Concertmaster of the Cleveland Orchestra, has performed around the world as soloist with the Pilsen Philharmonic, Gangnam Symphony, and Malaysia Festival Orchestra, as well as the Houston, Grand Rapids, Richmond, and Modesto Symphonies. As a recitalist, she has performed at the Rudolfinum in Prague, Weill Hall at Carnegie Hall, and the Phillips Collection and the Kennedy Center in Washington, D.C. A longtime member of the Johannes String Quartet and the Chamber Music Society of Lincoln Center’s CMS Two, Jessica Lee has appeared at the Bridgehampton, Santa Fe, Seoul Spring, Olympic, and Music@Menlo festivals.

An Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Grant recipient, violist Richard O’Neill has appeared as soloist with the London and Los Angeles Philharmonics and the BBC Symphony with Andrew Davis, Vladimir Jurowski, and Yannick Nézet-Séguin. He is a Universal/ Deutsche Grammophon recording artist, and his albums have sold over 200,000 copies. An Artist of the Chamber Music Society of Lincoln Center, he has introduced thousands to chamber music in South Korea through his chamber music initiative, DITTO. Elliott Carter, John Harbison, and Huang Ruo have dedicated works to him. The first violist to receive the Artist Diploma from Juilliard, Richard O’Neill was honored with a Proclamation from the New York City Council. He runs marathons for charity.

Violinist Sean Lee has attracted audiences around the world with his lively performances of the classics. A recipient of the 2016 Avery Fisher Career Grant, Lee is one of only a few violinists who perform Niccolò Paganini’s Twenty-Four Caprices in concert, and his YouTube series, Paganini POV, continues to draw attention for its insight for aspiring young violinists. An Artist of the Chamber Music Society of Lincoln Center, Lee currently teaches at the Juilliard School’s Pre-College Division as well as the Perlman Music Program, where he was also a student. He performs on a violin originally made for violinist Ruggiero Ricci in 1999 by David Bague.

A prizewinner at numerous international competitions including Oberlin, Ettlingen, Hugo Kauder, Prix Amadèo, Premio Vittorio Gui, Plowman, and Corpus Christi, pianist Hyeyeon Park has been presented at the Dame Myra Hess Recital Series, Trinity Wall Street, Bargemusic, and the Phillips Collection, among others. Selected as a 2012 Artist of the Year by the Seoul Arts Center, Park has appeared as a soloist and chamber musician on major concert stages, performing with orchestras such as the Seoul Philharmonic, Seoul Symphony, KNUA Chamber Orchestra, Incheon Philharmonic, and Gangnam Symphony, to name a few. Hyeyeon Park is currently a professor of piano at the University of Nevada, Reno.

Violinist Yura Lee has appeared as a soloist with many major orchestras, including the New York Philharmonic, Chicago Symphony, Baltimore Symphony, Cleveland Orchestra, Detroit Symphony, San Francisco Symphony, Los Angeles Philharmonic, Monte Carlo Philharmonic, Hong Kong Philharmonic, and Tokyo Philharmonic, to name a few. As a chamber musician, Lee regularly takes part in the Marlboro, Salzburg, Verbier, La Jolla SummerFest, Seattle, Caramoor, Ravinia, Kronberg, and Aspen music festivals, among many others. She teaches both violin and viola at the Mason Gross School of the Arts at Rutgers University and divides her time between New York City and Berlin.

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Scott Pingel’s career has included serving as the San Francisco Symphony’s Principal Bass for twelve years, in addition to positions such as Principal Bass of the Charleston Symphony Orchestra and Guest Principal with the National Arts Centre Orchestra in Canada, among others. As a chamber musician, he can be heard in venues around the country with groups such as the Chamber Music Society of Lincoln Center and on radio programs including NPR’s Performance Today®. Formerly active as a jazz musician, Pingel performed in clubs from New York to Stockholm. He was previously a tenured Associate Professor of Music at the University of Michigan and is currently a faculty member of the San Francisco Conservatory of Music.

Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann debuts in the 2016–2017 season with the Vancouver Symphony, Pacific Symphony, and Alabama Symphony, among other orchestras. He has appeared previously with the American Symphony Orchestra, Stamford Symphony, Chattanooga Symphony, Minnesota Sinfonia, Jerusalem Symphony, and Paris Chamber Orchestra. A dedicated chamber musician, he has been affiliated with the Chamber Music Society of Lincoln Center since 2006 and regularly appears with it in New York and on tour. Born in Strasbourg, France, and based now in New York City, Arnaud Sussmann trained at the Conservatoire de Paris and the Juilliard School with Boris Garlitsky and Itzhak Perlman.

Celebrated as one of Finland’s most outstanding pianists, Juho Pohjonen is widely praised for his stellar musicianship and distinctive interpretations of a broad range of repertoire from Bach to Salonen. He has appeared with the Los Angeles Philharmonic, the San Francisco, Danish National, Finnish Radio, and Swedish Radio Symphonies, the Scottish Chamber Orchestra, and the Lahti Symphony, with which he toured Japan. Pohjonen has been presented on recital series in Carnegie’s Zankel Hall and at the Kennedy Center and in Vancouver, San Francisco, and Detroit. Season highlights include his Vancouver Symphony debut, his third invitation to the Atlanta Symphony Orchestra, and chamber programs at Lincoln Center’s Alice Tully Hall and the Library of Congress.

Violinist Danbi Um has appeared as soloist with the Israel Symphony, Vermont Symphony, Herzliya Chamber Orchestra, Auckland Philharmonic, and Dartmouth Symphony and in venues such as Alice Tully Hall, the Harris Theater, the Kennedy Center, the Perelman Theater at the Kimmel Center, the Isabella Stewart Gardner Museum, Kumho Art Hall, the Tel Aviv Museum of Art, Saratoga Springs, and Bennett Gordon Hall at the Ravinia Festival, as well as for the Seattle Chamber Music Society. She is a winner of Astral Artists’ 2015 National Auditions, a prizewinner in the Menuhin and Michael Hill International Competitions, and a member of the Chamber Music Society of Lincoln Center’s CMS Two. She has performed at festivals such as Marlboro, Ravinia, Music@Menlo, Yellow Barn, and Caramoor.

Cellist Keith Robinson is a founding member of the Miami String Quartet and has been active as a chamber musician, recitalist, and soloist since his graduation from the Curtis Institute of Music. His most recent recording, released on Blue Griffin Records with pianist Donna Lee, features Mendelssohn’s complete works for cello and piano. As a member of the Miami String Quartet, he has recorded for the BMG, CRI, Musical Heritage Society, and Pyramid recording labels, was a member of the Chamber Music Society of Lincoln Center’s CMS Two, and won the Concert Artists Guild, London String Quartet, and Fischoff Chamber Music competitions. He plays a Carlo Tononi cello made in Venice and dated 1725.

One of the leading instrumentalists of his generation, French hornist Radovan Vlatkovi´ c has traveled the globe performing extensively as a soloist and popularizing the horn as a recording artist. He has played with the best orchestras around the world and was the Artistic Director of the September Chamber Music Festival in Maribor, Slovenia. Vlatkovi´ c played first performances of works by Elliott Carter, Sofia Gubaidulina, and Heinz Holliger, and most recently he premiered the Horn Concerto written for him by Krzysztof Penderecki. His extensive recordings have been awarded prestigious prizes. In 2014, Vlatkovi´ c received an Honorary Membership of the Royal Academy of Music (Hon RAM).

The cellist of the Escher String Quartet, Los Angeles native Brook Speltz has performed as a soloist, chamber musician, and recitalist throughout the United States, Canada, Latin America, Europe, and Asia. Since winning First Prize in the Ima Hogg Competition, he has performed as a soloist with the Houston Symphony, Colorado Music Festival Orchestra, and International Contemporary Ensemble, among others, and is a regular performer at England’s IMS Prussia Cove and on tour with Musicians from Marlboro. Based in New York City, Speltz tours and performs with ensembles such as SHUFFLE Concert and the East Coast Chamber Orchestra and on the Omega Ensemble Series.

One of the most sought-after soloists in his generation, American pianist Orion Weiss has performed with many of the major American orchestras, including the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, and New York Philharmonic. Also an enthusiastic chamber musician, Weiss performs regularly with his wife, pianist Anna Polonsky, violinists James Ehnes and Arnaud Sussmann, and cellist Julie Albers, as well as ensembles including the Pacifica Quartet. He has appeared across the United States at Lincoln Center, the Ravinia Festival, the Sheldon Concert Hall, the Seattle Chamber Music Festival, La Jolla SummerFest, Chamber Music Northwest, the Bard Music Festival, the Bridgehampton Chamber Music Festival, the Kennedy Center, and Spivey Hall.

Pianist Yekwon Sunwoo won the 2015 International German Piano Award Competition in Frankfurt and the 2014 Vendome Competition at the Verbier Festival, among others. He has performed as a soloist with numerous international orchestras such as the Baltimore Symphony Orchestra and the Houston Symphony Orchestra. He has given recitals at Carnegie Hall, Hamarikyu Asahi Hall in Tokyo, Wigmore Hall in London, and the Salle Cortot and Radio France in Paris. Recently, he has performed at the Französische Friedrichstadtkirche in Berlin, Alte Oper in Frankfurt, Theater Bonn, and Kursaal Bad Cannstatt in Stuttgart.

Orion Weiss holds the Kathleen G. Henschel Piano Chair in honor of Wu Han for 2017.

Brooklyn-based violin maker Samuel Zygmuntowicz was already a prizewinning sculptor before he began his instrument-making studies at age thirteen. His violins have won the highest honors including double gold medals for violin tone and workmanship. Since 1985, he has made commissioned instruments for such performers as Cho-Liang Lin, Joshua Bell, Maxim Vengerov, Yo-Yo Ma, Leila Josefowicz, David Finckel, and the Emerson String Quartet. He is also an acoustics researcher and Creative Director of Strad3D.org, with a team of scientists, violin makers, and musicians. The quest is to move past myths to understand what a violin does and not just what it looks like or costs.

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Music@Menlo Membership

Become a Member by making a contribution to Music@Menlo’s Annual Fund.

In addition to the benefits at your membership level, you will enjoy the benefits associated with all previous levels.

Performers Circle Paganini ($100–$249) Members enjoy: • CODA, Music@Menlo’s donors-only e-newsletter – enjoy behind-thescenes stories, special offers, and engaging musical content curated just for you • Receiving the festival brochure in advance of the general public • Recognition as a supporter in the festival program book

Joachim ($250–$499) Members enjoy: • A 10 percent discount on Music@Menlo merchandise

Caruso ($500–$999) Members enjoy: • The Caruso Coffee – savor a late-morning breakfast and panel discussion during the festival on an intriguing musical topic

Composers Circle Bach ($1,000–$2,499) Members enjoy: • Concierge Services – order tickets first during a special early access period, utilize no-fee exchanges, and receive dedicated assistance through a donors-only phone line throughout the year • Prelude/KYPC Advance Ticketing – skip the line and reserve up to four general-admission tickets to one Chamber Music Institute performance of your choice at least one day prior to the performance

Haydn ($2,500–$4,999) Members enjoy: • Premium Seating – upgrade any two tickets of your choice to include assigned seating reflecting your preferences • The Haydn Circle Dinner Party – mingle with festival musicians and friends at this casual post-concert dinner party • Two complimentary beverage passes to use at a performance during the festival

Mozart ($5,000–$9,999) Members enjoy: • Premium Seating – upgrade a total of four tickets

• Premium Seating – upgrade a total of twelve tickets • Season Dedication – enjoy recognition on a special dedication poster at the concert hall during the season and in the festival program book • The Patrons Circle Season Announcement – join the Artistic Directors for an exclusive, private in-home concert and dinner in the spring where the next festival theme is unveiled • The Patrons Circle Dinner Party – fine wine, exquisite food, and an intimate, private home setting are hallmarks of this post-concert dinner with the Artistic Directors, festival artists, and Institute faculty

• A Mozart Circle Dinner Party – get to know the Artistic Directors and musicians at one of our private post-concert dinner parties

Carnegie ($50,000–$99,999) Members enjoy:

Beethoven ($10,000–$24,999) Members enjoy: • Premium Seating – upgrade a total of eight tickets

• The Festival Season Preview – learn about the season to come in advance of the general public at this private spring performance and reception • The Bach BBQ – join festival artists, Institute participants, and friends at this popular mid-summer festival event

• Concert Dedication – in recognition of your generosity, a summer festival performance will be dedicated to you

• The Music@Menlo Calendar – enjoy stunning festival photos and keep track of Music@Menlo events with this limited-edition calendar available in the spring

• The Beethoven Circle Dinner Party – savor delectable food and drink while mingling with the Artistic Directors, festival musicians, and Institute faculty at this elegant patron-hosted post-concert dinner

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Esterházy ($25,000–$49,999) Members enjoy:

• Mozart at Midday – enjoy the company of friends and musicians at a delightful afternoon reception during the festival

• Prelude/KYPC Advance Ticketing – reserve up to four general-admission seats for every Chamber Music Institute performance (reserve at least one day in advance)

Patrons Circle

• Premium Seating – upgrade a total of sixteen tickets • Customized benefits and recognition

Medici ($100,000+) Members enjoy: • Premium, reserved seating for you and your guests at all events • The opportunity to host a private concert in your home with festival artists and your friends

Supporting Music@Menlo Gifts to the Annual Fund Gifts to the Annual Fund support the critical daily operations of the festival and are acknowledged through membership benefits.

Sponsor a Student with a Gift to the Ann S. Bowers Young Artist Fund Sponsorships provide essential support for the talented young musicians who participate in Music@Menloâ&#x20AC;&#x2122;s Chamber Music Institute. Sponsors nourish the future of classical music by enabling students to come to Music@Menlo to experience an inspiring and rigorous learning environment with a world-class roster of artist-faculty members and an exceptional student-faculty ratio. Sponsors also play a critical role in the lives of these extraordinary young artists by helping them realize their lifelong personal and professional ambitions. Sponsorships are available for International Program participants ($15,000) and Young Performers ($7,500), and partial sponsorships are also welcome. Sponsors enjoy the same benefits as contributors to the Annual Fund as well as special opportunities to get to know their student. Please contact us to learn how to become a Sponsor.

Gifts to the Music@Menlo Fund Initially funded by the Tenth-Anniversary Campaign, the Music@Menlo Fund holds board-designated funds to support long-term financial health and for special projects. Please contact us to learn more about making a special gift or pledge to the Music@Menlo Fund and to learn about special recognition opportunities.

Ways to Give Gifts of Cash: Gifts may be made online at www.musicatmenlo.org or by phone at 650-330-2030 or may be mailed to Music@Menlo at 50 Valparaiso Avenue, Atherton, CA 94027. Pledges: Gifts may be pledged and paid in increments comfortable for you. Please contact us for more information. Employer Matching Gifts: Many companies match donations by their employees and retirees. Contact your employerâ&#x20AC;&#x2122;s human resources department to find out more. As a program of Menlo School, Music@Menlo is an eligible 501(c)(3) educational institution. Isaac Stern Circle: Planned commitments and charitable trusts and annuities help champion the future of chamber music. Please speak with us about your specific interests and talk with your estate planning advisor to learn more. Gifts of Securities: A gift of appreciated stock may offer valuable tax benefits. Please contact your financial advisor for more information. To learn more, please call Taylor Smith at 650-330-2030 or email taylor@musicatmenlo.org.

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Reserving Your Summer Festival Tickets Ways to Order Mail:

Music@Menlo Tickets 50 Valparaiso Avenue Atherton, CA 94027

Phone:

650-331-0202

Fax:

650-330-2016

Online: www.musicatmenlo.org Music@Menlo box office hours: Before July 10: Monday–Friday, 10:00 a.m.–4:00 p.m. July 10–August 5: Daily, 9:00 a.m.–4:00 p.m.

2017 Summer Festival Subscription Offerings Become a Music@Menlo Summer Festival Subscriber and enjoy exclusive benefits, personalized services, and special savings throughout the entire festival. Your Subscriber discount extends to all additional ticket purchases you make throughout the 2017 summer season! Subscribers also enjoy free ticket exchanges for the 2017 summer season. Subscriber benefits include the following: • Special savings: Receive a 5 percent or a 10 percent discount on all your ticket purchases throughout the festival. • Priority ticketing: Get your order filled before non-Subscribers for improved seats and access to concerts that sell out quickly. • Free ticket exchanges: Easily exchange your tickets within the same season free of charge.

Choose-Your-Own Summer Festival Mini Subscription

Get the Best Seats! Support Members of the Bach Circle ($1,000) and above receive Advance Ticketing for one Prelude Performance or Koret Young Performers Concert of your choice and VIP priority ticketing—VIP ticket orders are filled first, ensuring ticket availability for the most popular concerts and securing priority seats, based on giving level. Members of the Haydn Circle ($2,500) and above also receive Premium Seating reservations for the best seats in the hall. Order by April 18 for priority ticketing.

Subscribe Summer Festival Subscribers receive Subscriber priority ticketing. Subscriber orders are filled immediately after VIP priority orders and before single-ticket orders. Order by May 2 for Subscriber priority ticketing. (To learn more, see the description on this page.)

Order Early Single-ticket orders are filled in the order they are received, after Bach Circle and above Member and Subscriber priority ticketing windows have closed. Order early to get the best seats in our reserved-seating venues and to get tickets to concerts that sell out quickly!

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Save 5 percent on your summer festival ticket order and subsequent ticket purchases throughout the summer festival when you purchase any combination of four or five ticketed festival concerts or Encounters, and receive the above benefits.

Choose-Your-Own Summer Festival Full Subscription Save 10 percent on your summer festival ticket order and subsequent ticket purchases throughout the summer festival when you purchase any combination of six or more ticketed festival concerts or Encounters, and receive the above benefits.

Summer Festival Immersion Subscription Immerse yourself in the music for the complete Music@Menlo experience! Purchase tickets to all summer festival Concert Programs and Encounters and receive the above benefits, a 10 percent discount on your tickets throughout the summer, a 10 percent discount on Music@Menlo merchandise, and a complimentary boxed set of the 2017 Music@Menlo LIVE CDs when they are released later in the year.

Reserving Your Summer Festival Tickets

More Ticketing Information Members of the Bach Circle and Above (contributors of $1,000 or more to the 2017 Annual Fund) Your priority ticket order (placed by April 18) will be filled before all other ticket orders (based on giving level; see p. 32 for more information). For your first summer festival ticket order, pay festival Subscriber or nonSubscriber handling fees, as noted below. Then, enjoy waived handling fees for all additional ticket purchases or exchanges throughout the 2017 summer festival.

Summer Festival Subscribers (purchasing tickets to four or more ticketed summer festival concerts or Encounters) Receive a 5 percent (Summer Festival Mini Subscribers) or a 10 percent (Summer Festival Full Subscribers/Immersion Subscribers) discount on all ticket purchases throughout the 2017 summer festival and have your advance order (placed by May 2) filled before non-Subscriber orders (see p. 34 for more information). A $10-per-order handling fee applies to each original order. Subscribers pay no handling fees on ticket exchanges throughout the 2017 summer festival. Subsequent new ticket purchases (not exchanges) will incur the standard $6-per-order handling fee.

Summer Festival Non-Subscribers/Single-Ticket Orders A $6 handling fee applies to any order of three or fewer concerts or Encounters (including the Winter Series, see p. 26). A $3-per-ticket handling fee applies to exchanges.

Discounted Tickets for Those under Age Thirty Music@Menlo is committed to making tickets available at a greatly reduced rate for audience members under the age of thirty. Prices vary by event and venue and are listed on the order form. Proof of age is required.

Seating for Paid Events Seating is reserved for all Concert Programs and Carte Blanche Concerts in Stent Family Hall and the Center for Performing Arts at Menlo-Atherton. Seating is by general admission for all Encounters and all free events, including Prelude Performances, Koret Young Performers Concerts, CafĂŠ Conversations, and master classes. For reserved-seating events, seats are assigned on a best-available basis at the time the order is filled. Priority orders placed by April 18 for Bach Circle and above Members and by May 2 for Subscribers are filled according to giving level and Subscriber status. See p. 32 for information about Premium Seating for Haydn Circle ($2,500) and above Members.

Receiving Your Summer Festival Tickets Tickets will be mailed beginning in mid-June. For ticket orders placed after that, tickets will be mailed within approximately five business days. For ticket orders placed fewer than seven days prior to a performance, tickets will be held at will call. (For Winter Series tickets, see p. 26.)

Ticket Returns, Exchanges, and Donations We welcome ticket returns for a credit, exchange, or donation. You may return your ticket up to twenty-four hours prior to a performance for a ticket credit (to be used within the same season), an immediate exchange, or a tax-deductible donation. Ticket exchanges are complimentary for Summer Festival Subscribers and Members of the Bach Circle ($1,000) and above. All other exchanges are subject to a

$3-per-ticket fee. There is never a fee to donate your ticket. Proof of the return must be provided by returning the original tickets or tearing them in half and sending an image of the torn tickets by fax, scan, or digital photograph. We cannot refund tickets, except in the case of a canceled event. All programs and artists are subject to change without notice.

Ticket Reservations for Prelude Performances and Koret Young Performers Concerts Online ticket reservations are available for Prelude Performances and Koret Young Performers Concerts and can be made at www.musicatmenlo.org on the day of the event starting at 9:00 a.m. Free tickets can also be requested in person at will call beginning one hour prior to the start of each concert. Members of the Bach Circle ($1,000) and above enjoy Advance Ticketing for one Prelude Performance or Koret Young Performers Concert of their choice. Members of the Beethoven Circle ($10,000) and above enjoy Advance Ticketing for all Prelude Performances and Koret Young Performers Concerts. Ticket reservations are general admission. For reserved seats, Members of the Haydn Circle ($2,500) and above may use their Premium Seating reservations (see p. 32 for donor benefit information).

Will Call and Ticket Services at the Venue Will call and on-site ticket services at each venue open one hour before the start of any ticketed event. Tickets for all Music@Menlo paid events may be ordered at on-site ticket services.

Questions For questions about tickets or your order, please call patron services at 650-331-0202, email tickets@musicatmenlo.org, or visit www.musicatmenlo.org. subscribe at www.musicatmenlo.org | 650-331-0202

The Festival Campus and Performance Venues Music@Menlo’s Home: Menlo School Menlo School is one of the nation’s leading independent collegepreparatory schools and has been the home of Music@Menlo since its inaugural season in 2003. The Menlo School campus is host to many of the festival concerts, the Encounter series, and Music@Menlo’s Chamber Music Institute. The school’s classrooms offer an ideal setting for rehearsals and coachings, while Martin Family Hall and Stent Family Hall’s Spieker Ballroom provide intimate settings for music as well as for Café Conversations, master classes, and other Institute activities. Menlo School’s commitment to learning and its welcoming atmosphere and beautiful grounds make it the ideal environment for audiences, Institute students, and the festival’s artist-faculty to share ideas and realize Music@Menlo’s educational mission, which serves festival audiences, Menlo School students, and the next generation of chamber musicians.

During the school year, Music@Menlo supports Menlo School’s commitment to instilling creative-thinking skills in all of its students. Music@Menlo’s annual Winter Residency brings classical music into the Menlo School classrooms with a series of special performances, discussions, and classroom presentations designed to introduce Menlo School students to a broad selection of chamber music masterpieces, all in the context of curricula ranging from American literature to foreign language studies.

Festival Welcome Center Music@Menlo’s Welcome Center is open daily throughout the festival. The Welcome Center serves as a place for artists, students, audience members, and festival guests to connect during the festival. Visitors to the Welcome Center can purchase concert tickets and get information about the festival’s many offerings and events.

Performance Venues In 2017, Music@Menlo offers audiences the chance to hear great chamber music in three unique concert spaces: Stent Family Hall, on the Menlo School campus, is, in the words of one festival artist, “one of the world’s most exquisite chamber music spaces.” The hall’s elegant Spieker Ballroom, with seating for 148 guests, provides a listening experience in the intimate setting for which chamber music was intended. Martin Family Hall, Menlo School’s versatile 220-seat multimedia facility, offers up-close enjoyment from every seat for Encounters (see p. 22), select Prelude Performances (see pp. 24–25), master classes, and Café Conversations (see p. 25). The Center for Performing Arts at Menlo-Atherton, open since 2009, is the Peninsula’s first state-of-the-art concert hall, acoustically ideal for chamber music. With an architectural design inspired by the neighboring oak tree grove and an intimate interior, the 492-seat hall is located in close proximity to downtown Menlo Park on the campus of Menlo-Atherton High School. Reserved Seating—Seating for paid concerts at the Center for Performing Arts at Menlo-Atherton and Stent Family Hall is reserved. Seating in Martin Family Hall and for all free events, including Prelude Performances and Koret Young Performers Concerts, is by general admission. Venue seating maps and more information on reserved seating can be found on the order form, and directions to the venues appear on the opposite page.

Stent Family Hall

Martin Family Hall

The Center for Performing Arts at Menlo-Atherton

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For Visitors to Our Area Location: Atherton and Menlo Park are situated adjacent to each other on the San Francisco Peninsula, midway between San Francisco and San Jose. Getting here: The San Francisco Bay Area is served by three international airports: San Francisco, San Jose, and Oakland. Atherton and Menlo Park are within forty-five minutes of each. Caltrain services Menlo Park and nearby Palo Alto for a direct link to San Francisco. Weather: In July and August, it almost never rains on the Peninsula. Days are dry and warm, frequently in the low eighties, and evenings can be cool, sometimes in the high fifties. Shopping and dining: The towns of Menlo Park and Palo Alto offer tree-lined streets featuring distinctive boutiques, shops, and outstanding eateries serving cuisine to suit any taste. Also nearby, the Stanford Shopping Center in Palo Alto is an upscale open-air mall.

Accommodations: Comfortable and welcoming hotels are available in a variety of price ranges in Menlo Park and Palo Alto. Visit www.musicatmenlo.org for more information and useful links to area websites.

Directions and Parking Menlo School, Stent Family Hall, and Martin Family Hall all are located at 50 Valparaiso Avenue in Atherton, between El Camino Real and Alameda de las Pulgas, at the Atherton/Menlo Park border. Parking is plentiful and free on the school’s campus. The Center for Performing Arts at Menlo-Atherton is located on the campus of Menlo-Atherton High School at 555 Middlefield Road in Atherton, near the intersection of Middlefield Road and Ravenswood Avenue. Parking is free.

1. Menlo School: 50 Valparaiso Ave., Atherton 2. The Center for Performing Arts at Menlo-Atherton: 555 Middlefield Road, Atherton PHOTO CREDITS Music@Menlo photographs (pp. 2–3, 24, 25, 32–37): Carlin Ma. Travel programs (p. 23): iStock. David Finckel and Wu Han (p. 27): Lisa-Marie Mazzucco. Escher String Quartet (pp. 20, 29): Sophie Zhai. Yura Lee (pp. 21, 30): Giorgia Bertazzi. Danbi Um (p. 21): Ah-Hyun Cho. Orion Weiss (pp. 21, 31): Jacob Blickenstaff. Benjamin Beilman (pp. 21, 28): Giorgia Bertazzi. Yekwon Sunwoo (p. 21): Bonsook Koo. Michael Steinberg (p. 22): Tristan Cook. Montrose Trio (p. 26): Jerry Zolynsky. Artists of the Chamber Music Society of Lincoln Center (p. 26): Tristan Cook. Schumann Quartet (p. 26): Kaupo Kikkas. Enrico Giannini (p. 27): Cy DeCosse. Dmitri Atapine (p. 28): Do Hyung Kim. Adam Barnett-Hart, Gloria Chien (p. 28): Lisa-Marie Mazzucco. Aaron Boyd (p. 28): Carlin Ma. Nicholas Canellakis (p. 28): Sophie Zhai. Ivan Chan (p. 28): Zheng Yang. Fred Child (p. 28): American Public Media. Roberto Díaz (p. 28): Alisa Garin. Peter Dugan (p. 28): Gerard Collett. Christopher H. Gibbs (p. 29): John Galayda. Clive Greensmith (p. 29): Philip Pirolo. Chad Hoopes, Bella Hristova (p. 29): Lisa-Marie Mazzucco. Hsin-Yun Huang (p. 29): Lin Li. Paul Huang (p. 29): Marco Borggreve. Ray Iwazumi (p. 29): Damiano Rosa. Gilbert Kalish (p. 29): Anneliese Varaldieve. Soovin Kim (p. 30): Woo-Ryong Chai. Pierre Lapointe (p. 30): Lisa-Marie Mazzucco. Jessica Lee (p. 30): Jodi Buren. Sean Lee (p. 30): Eric Ryan Anderson. Amy Schwartz Moretti (p. 30): Angela Morris. Paul Neubauer (p. 30): Bernard Mindich. Richard O’Neill (p. 30): CREDIA. Hyeyeon Park (p. 30): D. H. Kim. Scott Pingel (p. 31): Matthew Washburn. Juho Pohjonen (p. 31): J. Henry Fair. Keith Robinson (p. 31): Tara McMullen. Brook Speltz (p. 31): Maia Cabeza. Yekwon Sunwoo (p. 31): Taeuk Kang. Arnaud Sussmann (p. 31): Matt Dine. Danbi Um (p. 31): Vanessa Briceno. Radovan Vlatkovic´ (p. 31): Branko Hrkacˇ. Samuel Zygmuntowicz (p. 31): Isaiah Tanenbaum. Art direction and design: Nick Stone, www.nickstonedesign.com

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38 subscribe at www.musicatmenlo.org | 650-331-0202

Thursday, July 27

11:45 a.m.

Wednesday, July 26

5:00 p.m.

11:45 a.m.

5:00 p.m.

11:45 a.m.

5:00 p.m.

11:45 a.m.

1:00 p.m.

5:00 p.m.

11:45 a.m.

5:00 p.m.

11:45 a.m.

Tuesday, July 25

Monday, July 24

Sunday, July 23

Saturday, July 22

Friday, July 21

Thursday, July 20

5:00 p.m.

Master Class/Café Conversation* Martin Family Hall Prelude Performance Stent Family Hall

Master Class/Café Conversation* Martin Family Hall Prelude Performance Martin Family Hall

Master Class/Café Conversation* Martin Family Hall

Master Class/Café Conversation* Martin Family Hall Prelude Performance Martin Family Hall

Koret Young Performers Concert The Center for Performing Arts at Menlo-Atherton

Master Class/Café Conversation* Martin Family Hall Prelude Performance The Center for Performing Arts at Menlo-Atherton

Master Class/Café Conversation* Martin Family Hall Prelude Performance Martin Family Hall

Master Class/Café Conversation* Martin Family Hall Prelude Performance Stent Family Hall

11:45 a.m.

Wednesday, July 19

5:00 p.m.

Master Class/Café Conversation* Martin Family Hall Prelude Performance Martin Family Hall

11:45 a.m.

Tuesday, July 18

Prelude Performance The Center for Performing Arts at Menlo-Atherton

11:45 a.m. Master Class/Café Conversation* Martin Family Hall

3:30 p.m.

Free Events

Monday, July 17

Sunday, July 16

Saturday, July 15

Friday, July 14

Date

Music@Menlo Calendar

page

7:30 p.m.

6:00 p.m.

10:30 a.m.

6:00 p.m.

7:30 p.m.

6:00 p.m.

3:00 p.m.

8:30 p.m.

6:00 p.m.

7:30 p.m.

page

Encounter IV: Towards the Age of Expression, led by Ray Iwazumi Martin Family Hall ($48)

Carte Blanche Concert III: Violin Universe Stent Family Hall ($80)

Concert Program IV: In Joachim’s Orbit Stent Family Hall ($80)

page

Carte Blanche Concert II: Quartet Connections page 20 Stent Family Hall ($80) Picnic Lunch ($18) Concert Program IV: In Joachim’s Orbit page 12 The Center for Performing Arts at Menlo-Atherton ($70/$62)

Concert Program III: German Virtuosity page 10 The Center for Performing Arts at Menlo-Atherton ($70/$62)

Carte Blanche Concert I: Paganini’s Incomparable Caprices Stent Family Hall ($80)

Concert Program III: German Virtuosity Stent Family Hall ($80)

Encounter III: The Devil’s Violinist: Niccolò Paganini, led by Soovin Kim Martin Family Hall ($48)

Concert Program II: The Classical Style Stent Family Hall ($80)

Encounter II: The Emergence of the Classical Tradition page 22 in Musical Style and Performance, led by Christopher H. Gibbs Martin Family Hall ($48) Concert Program II: The Classical Style page 8 The Center for Performing Arts at Menlo-Atherton ($70/$62)

Concert Program I: The Path to Bach page 6 The Center for Performing Arts at Menlo-Atherton ($70/$62) Fête the Festival page 6 Menlo Park Arrillaga Family Recreation Center ($65)

Encounter I: From the Birth of the Violin to J. S. Bach and the Glory of Cremona, led by Aaron Boyd Martin Family Hall ($48)

Paid Events

July 14–August 5, 2017

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Master Class/Café Conversation* Martin Family Hall

Master Class/Café Conversation* Martin Family Hall Prelude Performance Stent Family Hall Master Class/Café Conversation* Martin Family Hall Prelude Performance The Center for Performing Arts at Menlo-Atherton Master Class/Café Conversation* Martin Family Hall

3:30 p.m.

11:45 a.m.

Sunday, July 30

Monday, July 31

Tuesday, August 1

Thursday, August 3

Friday, August 4

1:00 p.m.

5:00 p.m.

Koret Young Performers Concert The Center for Performing Arts at Menlo-Atherton

Master Class/Café Conversation* Martin Family Hall Final Prelude Performance The Center for Performing Arts at Menlo-Atherton

page

6:00 p.m.

7:30 p.m.

6:00 p.m.

7:30 p.m.

Open for tasting Saturday & Sunday, 11 - 5

on Monte Bello Ridge overlooking the peninsula

Since 1962 traditionally-made wines from California’s finest old vines

RIDGE

The Margulf Foundation

page

Concert Program VII: National Flavors page 18 The Center for Performing Arts at Menlo-Atherton ($70/$62)

Carte Blanche Concert V: A Tribute to Fritz Kreisler Stent Family Hall ($80)

Concert Program VI: The Age of Expression page 16 The Center for Performing Arts at Menlo-Atherton ($70/$62)

Encounter V: The Violin Today, led by Fred Child Martin Family Hall ($48)

Carte Blanche Concert IV: Romantic Voices Stent Family Hall ($80)

ProPiano is the official provider of Steinway Hamburg grand pianos to Music@Menlo 2017.

Music@Menlo is made possible by a leadership grant from the William and Flora Hewlett Foundation. Additional support provided by the Margulf Foundation, Koret Foundation Funds, U.S. Trust, and the many individuals and organizations that share the festival’s vision.

Special Thanks

page

Concert Program V: French Luminaries page 14 The Center for Performing Arts at Menlo-Atherton ($70/$62)

Concert Program V: French Luminaries Stent Family Hall ($80)

Paid Events

*Each weekday of the festival, beginning on July 17, features either a master class with the Chamber Music Institute’s young artists or a Café Conversation. Master classes and Café Conversations are offered at 11:45 a.m. on the campus of Menlo School. These events are free and open to the public. Please consult your festival program book or visit www.musicatmenlo.org during the festival season for a detailed schedule of master classes and Café Conversation topics (reservations are not necessary or available).

Saturday, August 5

Wednesday, August 2

5:00 p.m.

Prelude Performance Martin Family Hall

Koret Young Performers Concert The Center for Performing Arts at Menlo-Atherton

1:00 p.m.

5:00 p.m.

Saturday, July 29

Free Events Master Class/Café Conversation* Martin Family Hall Prelude Performance The Center for Performing Arts at Menlo-Atherton

Friday, July 28

11:45 a.m.

Date

Nonprofit Org. U.S. Postage

FIFTEENTH ANNIVERSARY

PAID Menlo Park, CA

Menlo School 50 Valparaiso Avenue Atherton, California 94027 www.musicatmenlo.org (650) 331-0202

Permit No. 149