2018 Benefit Concert Program by Claire Graham

Music@Menlo Chamber Music Institute Benefit Concert & Reception Presenting Institute alumni, with Artistic Codirector David Finckel, in a special concert in support of the 2018 Chamber Music Institute.

March 17, 2018, 7:30 p.m.

Music@Menlo

About Music@Menlo

Board

One of the world’s foremost chamber music festivals and institutes, Music@Menlo promotes the enjoyment and understanding of classical music by encouraging audience members, artists, and young musicians to engage deeply with great music.

Ann S. Bowers Oliver A. Evans Paul M. Ginsburg Jerome Guillen Eff W. Martin Betsy Morgenthaler Camilla Smith Trine Sorensen Brenda Woodson David Finckel and Wu Han, Artistic Directors Allen I. Lantor, ex officio Edward P. Sweeney, Executive Director, ex officio Darren H. Bechtel, emeritus Leonard Edwards, emeritus Earl Fry, emeritus Kathleen G. Henschel, emerita Michael J. Hunt, emeritus Hugh Martin, emeritus William R. Silver, emeritus

Administration David Finckel and Wu Han, Artistic Directors Edward P. Sweeney, Executive Director Patrick Castillo, Audience Engagement Director Claire Graham, Communications Director Matthew Gray, Development Associate Marianne R. LaCrosse, General Manager and Education Programs Director Nathan Paer, Artistic Administrator Lee Ramsey, Development Director Taylor Smith, Patron Engagement Manager Daphne Wong, Director of Artistic Operations

Under the artistic leadership of David Finckel and Wu Han, Music@Menlo combines world-class chamber music performances, extensive audience engagement, and intensive training for young artists in its Chamber Music Institute in an effort to enrich and further build the chamber music community of Silicon Valley and the San Francisco Bay Area. Music@Menlo’s unique approach enhances concert programs by creating an immersive experience through numerous opportunities for deepening and intensifying listeners’ understanding and enjoyment of the music. With a context-rich atmosphere and powerful engagement between its audience and the music, Music@Menlo has set a new standard for chamber music festivals worldwide.

David Finckel and Wu Han, Artistic Directors Music@Menlo Artistic Directors David Finckel and Wu Han are among today’s most influential classical musicians. Named Musical America Musicians of the Year, the cellist and pianist have appeared at many of the world’s most prestigious venues and music festivals. Also Artistic Directors of the Chamber Music Society of Lincoln Center in New York, David Finckel and Wu Han are widely recognized for their initiatives in expanding audiences for classical music and for guiding the careers of countless young musicians.

Music@Menlo CHAMBER MUSIC INSTITUTE BENEFIT CONCERT Saturday, March 17, 2018, 7:30 p.m. Martin Family Hall, Menlo School JOSEPH HAYDN (1732–1809) Piano Trio in C Major, Hob. XV: 27 (ca. 1797) Allegro Andante Finale: Presto Kevin Ahfat, piano; James Thompson, violin; David Finckel, cello

BÉLA BARTÓK (1881–1945) String Quartet no. 3 (1927) Prima parte: Moderato— Seconda parte: Allegro— Ricapitulazione della prima parte: Moderato— Coda: Allegro molto James Thompson, Jeremías Sergiani-Velázquez, violins; Jenni Seo, viola; Coleman Itzkoff, cello INTERMISSION

MAURICE RAVEL (1875–1937) Berceuse sur le nom de Gabriel Fauré (1922) Jeremías Sergiani-Velázquez, violin; Kevin Ahfat, piano

ERNŐ DOHNÁNYI (1877–1960) Piano Quintet no. 1 in c minor, op. 1 (1895) Allegro Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato Kevin Ahfat, piano; Jeremías Sergiani-Velázquez, James Thompson, violins; Jenni Seo, viola; Coleman Itzkoff, cello

PROGRAM NOTES JOSEPH HAYDN (Born March 31, 1732, Rohrau, Lower Austria; died May 31, 1809, Vienna)

Piano Trio in C Major, Hob. XV: 27 Composed: ca. 1797 Other works from this period: String Quartet no. 59 in g minor, Rider (1793–1795); Symphony no. 104 in D Major, London (1795); String Quartet no. 62 in C Major, Emperor (1797) Approximate duration: 17 minutes Following the death of Prince Nikolaus Esterházy in 1790, Joseph Haydn, a longtime employee of the Esterházy estate, was invited by the prominent impresario Johann Peter Salomon to take a year’s leave in London. Haydn accepted the invitation and arrived in London on January 2, 1791. This year was one of the most exciting for Haydn, both artistically and personally; however, at the request of Prince Anton, Nikolaus’s successor, Haydn returned to Vienna on July 24, 1792. The following eighteen months were uneventful and uninspiring for Haydn, and following the death of Anton in 1794, he returned to London as a celebrity. As he was preparing to depart from London again in 1795, Haydn returned to writing piano trios, adding four sets of three piano trios to his already massive catalogue, dedicated, respectively, to Maria Therese Esterházy (the widow of Anton); the wife of Anton’s successor; his mistress, Rebecca Schroeter; and his dear friend Therese Jansen Bartolozzi, an accomplished pianist in London. Well regarded for his contributions to the string-quartet and symphony repertoire, Haydn also made equal advancements in the piano-trio literature. In contrast to tonight’s piano trios, Haydn referred to these compositions as keyboard sonatas with string accompaniment. Traditionally the piano would take a prominent role while the violin occasionally served as soloist and the cello provided either basso continuo or a conservatively harmonic accompaniment. However, in the Trio in C Major, Hob. XV: 27, Haydn’s “keyboard sonata” title is less merited. The leisurely theme of the opening Allegro is deceptively simple. Though the opening arpeggios give the piano a prominent role, the violin and cello are nevertheless liberated from their traditional supporting roles. Even though the movement is in sonata form, the brief development begins with an unprecedented return of the theme, not in G major as the listener would expect but in the unusual key of A-flat major. After a full recapitulation, a placid Andante more prominently features the violin trading the melody with the piano. Haydn writes a furious Sturm-und-Drang phrase described by musicologist Charles Rosen as “close to brutality.” The breathless and dainty finale further incorporates the violin and cello as independent voices, bringing the work to a brilliant exclamatory close. —© 2014 Andrew Goldstein

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PROGRAM NOTES BÉLA BARTÓK (Born March 25, 1881, Nagyszentmiklós, Hungary; died September 26, 1945, New York City)

String Quartet no. 3 Composed: 1927 Other works from this period: Piano Concert no. 1 (1926); The Miraculous Mandarin, op. 19 (orchestral suite) (1927); String Quartet no. 4 (1928) Approximate duration: 16 minutes After the fiendish winds of the First World War had finally blown themselves out in 1918, there came into music a new invigoration and an eagerness by composers to stretch the forms and language of the ancient art. Stravinsky, Schoenberg, Webern, Prokofiev, Shostakovich, Copland, and other important early twentieth-century masters challenged listeners and colleagues throughout the 1920s with their daring visions and their brilliant iconoclasms. It was the most exciting decade in the entire history of music. Béla Bartók, whose folk song research was severely limited geographically by the loss of Hungarian territories through the treaties following the war, was not immune to the spirit of experimentation, and he shifted his professional concentration at that time from ethnomusicology to composition and his career as a pianist. He was particularly interested in the music of Stravinsky, notably the mosaic structures and advanced harmonies of the Diaghilev ballets, and in the recent Viennese developments in atonality and motivic generation posited by Arnold Schoenberg and his friend/disciple Alban Berg. A decided modernism entered Bartók’s music with his searing 1919 ballet, The Miraculous Mandarin, and his works of the years immediately following the two violin sonatas—the piano suite Out of Doors, the First Piano Concerto, and the String Quartet no. 3—are the most daring he ever wrote. He was reluctant to program them for any but the most sophisticated audiences. Bartók’s Third Quartet is among the great masterworks of twentieth-century music— brilliant, challenging, cathartic, and one of the most difficult yet rewarding pieces in the entire chamber literature. Though the music is Bartók’s furthest adventure into modernity, it is founded solidly on the confluence of two traditional but seemingly opposed musical streams—the folk music of Eastern Europe, a subject on which Bartók was a scholar of the highest accomplishment, and the elaborate contrapuntal constructions of Bach and other Baroque composers. By 1927, the time of the Third Quartet, Bartók had so thoroughly absorbed the quirky intervals, tightly circling motivic phrases, snapping rhythms, and ornate decorations of indigenous Hungarian music into his original work that his themes constitute a virtual apotheosis of native folk song. “The melodic world of my string quartets does not essentially differ from that of folk song,” he said, “only the framework is stricter.” For the working-out of his folk-derived thematic materials (Bartók never quoted existing melodies unless specifically noting that they were arrangements), he turned to the highly organized models of canon and fugue postulated by Bach and his eighteenth-century contemporaries. The Third Quartet therefore represents a marvelous pan-European synthesis—the structural integrity and emotional range of Bach wedded to the melodic and rhythmic exoticisms of Slavic folk song. www.musicatmenlo.org

PROGRAM NOTES The Third Quartet, one of Bartók’s most tightly constructed works, is disposed as a large single span divided into four sections. Part I opens with a mysterious harmonic curtain that serves as an introduction to the work’s germinal theme—a tiny fragment comprising a rising fourth and a falling minor third initiated by the violin in measure six, at which point the lower strings remove their mutes. The first section is largely based on the extensive permutations of this pregnant thematic kernel through imitation, inversion, augmentation, diminution, and other processes that Bartók learned from Bach. Part II, which follows without pause, is a free, continuously unfolding variation of an arch-shaped folk-dance melody presented in pizzicato multiple stops by the cello. A passage of dizzying slides and almost brutal dissonance bridges to Part III, which is a thoroughly reworked version of Part I (Bartók marked this section “Ricapitulazione della prima parte” but also noted, “I do not like to repeat a musical idea without change”), a distillation of the essence of the quartet’s earlier material. The concluding coda starts as a vague, bow-tip buzzing but soon develops into a furious altered restatement of the folk dance of Part II. The quartet culminates in a powerful, viscerally compelling cadence. —© 2018 Dr. Richard E. Rodda

MAURICE RAVEL (Born March 7, 1875, Ciboure, Basses-Pyrénées, France; died December 28, 1937, Paris)

Berceuse sur le nom de Gabriel Fauré Composed: 1922 Other works from this period: La valse (1919–1920); Sonata for Violin and Cello (1920– 1922); L’enfant et les sortilèges (opera) (1920–1925) Approximate duration: 3 minutes The 1920s marked a critical point in French music history. The decade saw Gabriel Fauré, the refined elder statesman of French music, in his final years. Born in 1845, Fauré by this time represented the aesthetic of a bygone era: his music nostalgically reflected an old-world elegance and sophistication. Fauré’s Opus 116 Barcarolle in C Major, for solo piano, illustrates his music’s characteristic intimacy and charm. The barcarolle is a genre of music meant to evoke the songs sung by Venetian gondoliers. Fauré composed his C Major Barcarolle in 1921, three years before his death. It is the last of thirteen barcarolles he composed throughout his career. Meanwhile, in the wake of the death of Claude Debussy in 1918, Fauré’s student Maurice Ravel had emerged as France’s leading musical voice. Ravel was, second only to Debussy, the most important French composer of his generation. Debussy and Ravel were the leading proponents of the Impressionist movement. Ravel composed the Berceuse sur le nom de Gabriel Fauré for violin and piano, a poignant tribute to his teacher, in 1922. The violinist plays muted for the entire work, imbuing the Berceuse (lullaby) with a fittingly hushed atmosphere. Substituting pitches for letters with no corresponding notes, Ravel fashions the Berceuse’s opening melody on Fauré’s name: 6 Music@Menlo

PROGRAM NOTES G A B R I E L G A B D B E E F A U R E F A G D E

#2 & 4œ œ œ œ Sourdine

Violin

œ œ œ

p G - A - B - R - I - E - L

nœ

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F - A - U - R - E

ERNŐ DOHNÁNYI (Born July 27, 1877, Pozsony [now Bratislava]; died February 9, 1960, New York City)

Piano Quintet no. 1 in c minor, op. 1 Composed: 1895 Other works from this period: Four Piano Pieces, op. 2 (1896–1897); Piano Concerto no. 1 in e minor, op. 5 (1897–1898); String Quartet no. 1 in A Major, op. 8 (1899) Approximate duration: 30 minutes Excepting perhaps Franz Liszt, Ernő Dohnányi must be regarded as the most versatile musician to come from Hungary. He was, in addition to being a great composer, one of history’s greatest pianists; he achieved particular notoriety for performing Beethoven’s complete piano music in one season and undertaking all twenty-seven of Mozart’s piano concerti in another. Dohnányi was moreover a supremely gifted conductor and an influential teacher and administrator, as well, playing a crucial role in building Hungary’s musical culture in the first half of the twentieth century. Dohnányi received his formal musical training at the Budapest Academy of Music, where he would later briefly serve as Director. At the time of his enrollment, he was the first Hungarian musician of his level to choose to study at the Budapest Academy; his childhood friend Béla Bartók followed suit, beginning a lifelong trope of Dohnányi leading the way forward for Hungarian musical culture by his example. Some years later, starting in 1915, Dohnányi took it upon himself to raise Hungary’s collective musical sophistication: he independently presented hundreds of concerts, selecting programs that aspired to a higher artistic standard than Hungarian audiences were accustomed to—and, between 1919 and 1921, when guest artists were unavailable, Dohnányi himself performed some 120 concerts a year in Budapest alone. Bartók credited Dohnányi with providing his country’s entire musical life during these years.

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PROGRAM NOTES But unlike Bartók and Kodály, Dohnányi didn’t mine Hungarian folk music for his compositional vocabulary—which has likely complicated his place in history somewhat, in that he was the chief architect of Hungary’s musical landscape but has inevitably been overshadowed in this respect by those composers who more literally gave Hungary its musical voice. Dohnányi’s music instead celebrates the Romantic legacy of Johannes Brahms and Robert Schumann; his Piano Quintet in c minor, op. 1, can be heard as a descendant of the quintets of Schumann, Brahms, and Dvorák, which essentially defined the genre. Dohnányi composed his Opus 1 Piano Quintet in 1895, at the age of eighteen. The work caught the attention of Brahms—at the time, Western Europe’s most distinguished musical figure. Brahms’s remark that “I couldn’t have written it better myself,” coming from the author of one of the repertoire’s seminal piano quintets, was no faint praise. Brahms arranged for a performance of Dohnányi’s quintet in Vienna, the first of a series of professional triumphs that would solidify Dohnányi’s reputation as the finest composer and pianist to come from Hungary since Liszt. The quintet’s Allegro first movement begins with a tempestuous first theme, driven by the piano with dense chords above turbulent triplets in the deep bass register. This is music that comes audibly from the Romantic tradition of Brahms; the moody key of c minor, famously the key of Mozart and Beethoven’s darkest and stormiest nights, is likewise well suited to this music’s Sturm-und-Drang character. The steadily brewing storm quickly erupts into a fortissimo tutti statement of the theme. The cello leads the ensemble into more lyrical territory, but still haunted by the specter of the opening melody. The second theme, in E-flat major, offers a comforting foil. At the end of the exposition, the warmth of E-flat major overcomes, at least temporarily, the first theme, transforming it into a wholly new idea. Following a thorough development section, the movement’s transition into the recapitulation offers one of the quintet’s most startlingly powerful moments. The ephemeral second movement scherzo hints at Dohnányi’s Central European heritage: its rhythmic profile comes from the furiant, a Bohemian folk dance encountered frequently in the music of Dvořák. But its rhythmic vigor notwithstanding, this music bears little resemblance to folk music. Its prevailing character is full-voiced Sturm und Drang that continues to evoke the music of Brahms. The viola introduces the poignant theme of the quintet’s slow movement, a melody marked by surprising leaps and harmonic turns; it is as immediately gripping as it is unexpected. Following the searingly beautiful third movement, the piece’s rondo finale nods more explicitly to Dohnányi’s heritage. The movement begins with a Magyar-inspired theme in 5/4 time. The rondo’s episodes are particularly imaginative, ranging from music of sweeping lyricism to a Bachian fugue, whose subject reimagines the main theme of the Allegro first movement. —© 2014 Patrick Castillo

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THANK YOU – ANNUAL FUND ABOUT THE ARTISTS

As a performer who “leaves no question about his riveting presentation and technical finesse” (Seattle Times), Canadian-born pianist Kevin Ahfat is “poised to become one of the young heirs of the classical piano realm, with a bold, boundary-pushing, millennial style matched by refined execution” (Vanguard Seattle). Highlights of recent seasons include a return to the Seattle Symphony at Benaroya Hall for its first-ever Shostakovich Concerto Festival, a two-evening celebration of all six of Shostakovich’s piano, violin, and cello concerti with violinist Aleksey Semenenko and cellist Edgar Moreau. Other highlights include partnering with Richard Alston and Juilliard Dance in their re-creation of Alston’s Sheer Bravado (2006), set to Shostakovich’s First Piano Concerto, as well as giving the inaugural master class and recital for the Las Vegas Master Class Series at the University of Nevada, Las Vegas. This season, he is thrilled to give the North American premiere of Camille Saint-Saëns’s Third Cello Sonata, with a longtime artistic collaborator, cellist Juliette Herlin. Currently, Kevin Ahfat continues his studies at the Juilliard School in New York under the tutelage of Joseph Kalichstein and Stephen Hough.

Cellist David Finckel’s multifaceted career as concert performer, recording artist, educator, arts administrator, and cultural entrepreneur distinguishes him as one of today’s most influential classical musicians. He is a recipient of Musical America’s Musician of the Year award. Finckel appears extensively as recitalist with pianist Wu Han and in piano trios with violinist Philip Setzer. Along with Wu Han, David Finckel serves as Artistic Director of the Chamber Music Society of Lincoln Center (CMS), and they are the founding Artistic Directors of Music@Menlo in the Silicon Valley and Artistic Directors of Chamber Music Today, an annual festival in Seoul, South Korea. His wide-ranging musical activities also include the launch of ArtistLed, classical music’s first musician-directed and Internet-based recording company, whose nineteen-album catalogue has won widespread praise. David Finckel is professor of cello at the Juilliard School, Artist-in-Residence at Stony Brook University, and Director of the LG Chamber Music School in Korea. He also leads the FinckelWu Han Chamber Music Studio at the Aspen Music Festival and School. He served as cellist of the Grammy Award-winning Emerson String Quartet for thirty-four seasons.

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ABOUT THE ARTISTS Hailed by Alex Ross and the New Yorker for his “flawless technique and keen musicality,” cellist Coleman Itzkoff enjoys a diverse career as a soloist, chamber and orchestral musician, and educator. Itzkoff has been a featured Artist-in-Residence on American Public Media’s Performance Today and has soloed with numerous orchestras across the nation. Recently, he gave his acclaimed Walt Disney Concert Hall concerto debut as soloist in Tan Dun’s epic Heaven, Earth, and Mankind. A passionate proponent of contemporary music, he recently joined the newly founded ensemble AMOC, the American Modern Opera Company. Coleman Itzkoff is a sought-after chamber musician and has performed with such distinguished artists as Pamela Frank, Shmuel Ashkenasi, Richie Hawley, Cho-Liang Lin, David Finckel, Johannes Moser, and Peter Frankl. His cello was made in 1740 by Gennaro Gagliano and is generously on loan to him by the Amatius Foundation.

Korean violist Jenni Seo is an immersive and versatile soloist, chamber and orchestral musician who has performed extensively with international artists all over the United States in prestigious venues such as Carnegie Hall, Alice Tully Hall, David Geffen Hall, Hahn Hall, Granada Theatre, the Walt Disney Concert Hall, the Lobero Theater, the Van Wezel Performing Arts Hall, and many more. The winner of the 2011 ASTA National Solo Competition, Seo is the recipient of the Irene Diamond Graduate Fellowship, Beatrice Schacher-Myers Scholarship, the C. V. Starr Scholarship, and the Juilliard Alumni Scholarship. She is also a returning artist of the Perlman Music Program Summer School, Chamber Music Workshop and its traveling residencies in Stowe, Vermont; Sarasota, Florida: and Tel Aviv, Israel. She has performed alongside many distinguished artists including Lynn Harrell, Merry Peckham, Itzhak Perlman, Donald Weilerstein, Nicholas McGegan, Richard O’Neill, and Martin Chalifour. As a member of the Bordone Quartet, she recently performed at Alice Tully Hall, on WQXR, at the Harvard Club of New York City, and in Mountain Lake, Florida. Jenni participated in the International Program at Music@Menlo in 2017 and is currently playing in the Baltimore Symphony Orchestra for the 2017–2018 season. She has been a frequent substitute with the New York Philharmonic, New York City Ballet Orchestra, and Los Angeles Philharmonic. Her teachers include Cynthia Phelps, Heidi Castleman, and Steven Tenenbom.

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ABOUT THE ARTISTS Hailed as “accomplished in mechanism and style” (Buenos Aires Herald), Argentinean violinist Jeremías Sergiani-Velázquez was awarded First Prize at the Argentinean Hebrew Foundation Competition and has performed with the renowned Orpheus Chamber Orchestra at Carnegie Hall as well as on tour throughout the United States, Canada, and Europe, serving as Principal Second Violinist on several occasions. Recent engagements include a concert at National Sawdust in New York with Miranda Cuckson, a performance at the Metropolitan Museum of Art alongside bandoneonist J. P. Jofre, and a tour of Nepal and Japan as part of the Music Sharing International Community Engagement Program, where he performed in a string quartet with the violinist Midori. Sergiani-Velázquez started playing the violin at the age of three and made his first solo appearances at the age of ten and has soloed with the Córdoba Youth Orchestra, the Córdoba National University Symphony, and the San Martín Theater Youth National Symphony. He received his bachelor of music degree from New England Conservatory under Miriam Fried, obtained his master of music degree at the Juilliard School with Sylvia Rosenberg and Ronald Copes, and is currently pursuing a Professional Studies Certificate at Manhattan School of Music with Glenn Dicterow and Lisa Kim. He has attended Music@Menlo, the Aspen Music Festival and School, the Perlman Music Program, the Taos School of Music, and the Kneisel Hall Chamber Music Festival, among other programs. Jeremías Sergiani-Velázquez is a recipient of the 2011, 2012, and 2013 “Fondo de Becas” and 2016 Teresa Grüneisen scholarships from the Argentine Mozarteum.

Violinist James Thompson, from Ohio, is enrolled as a master’s student at the Cleveland Institute of Music (CIM) with Jaime Laredo, having studied previously with William Preucil and Paul Kantor. In 2014, Thompson was selected to solo with the Cleveland Orchestra at Severance Hall as part of the ensemble’s education series. He has appeared as a soloist with numerous orchestras including the CIM Orchestra, the Blue Water Chamber Orchestra, the Cleveland Pops, and the Cleveland Philharmonic, in addition to touring as a soloist with the Cleveland Orchestra Youth Orchestra in the Boston area. Thompson has been invited to attend several chamber music festivals, including Music@Menlo in 2017, the Taos School of Music in 2014 and 2015, and the Perlman Chamber Music Workshop in 2014. An active member of Cleveland’s thriving local music community, he has given many recitals throughout the city over the course of the past eight years in collaboration with pianist Julia Russ. As a chamber musician, he has collaborated with CIM faculty members Brian Sweigart, Linda Jones, and Daniel Shapiro, in addition to Cleveland Orchestra cellist Tanya Ell, as part of both CIM’s faculty recital series and the Arts Renaissance Tremont series. www.musicatmenlo.org

THANK YOU – ANNUAL FUND Music@Menlo is grateful to the following individuals and organizations, whose support of the Annual Fund makes the Institute, Festival, and Winter Series possible. Medici Circle ($100,000+) Ann S. Bowers Chandler B. & Oliver A. Evans The William and Flora Hewlett Foundation The Martin Family Foundation

Carnegie Circle ($50,000–$99,999) Paul & Marcia Ginsburg Michael Jacobson & Trine Sorensen

Esterházy Circle ($25,000–$49,999) Jim & Mical Brenzel Terri Bullock The David B. & Edward C. Goodstein Foundation Libby & Craig Heimark Leslie Hsu & Rick Lenon Koret Foundation Funds Margulf Foundation Laurose & Burton Richter U.S. Trust Marcia & Hap Wagner

Beethoven Circle ($10,000–$24,999) Alan & Corinne Barkin Dan & Kathleen Brenzel Iris & Paul Brest Hazel Cheilek Michèle & Larry Corash The Jeffrey Dean & Heidi Hopper Family David Finckel & Wu Han The Ann and Gordon Getty Foundation Sue & Bill Gould Jerome Guillen & Jeremy Gallaher Kathleen G. Henschel & John W. Dewes The Meta Lilienthal Scholarship Fund Mary Lorey Betsy Morgenthaler George & Camilla Smith Abe & Marian Sofaer Vivian Sweeney Melanie & Ron Wilensky

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Peter & Georgia Windhorst Marilyn Wolper

Mozart Circle ($5,000–$9,999) Jeff & Jamie Barnett Lindy Barocchi Eileen & Joel Birnbaum Bill & Bridget Coughran Betsy & David Fryberger Mr. Laurance R. Jr. & Mrs. Grace M. Hoagland Rosann & Ed Kaz Howard & Laura Levin Gladys & Larry Marks Drs. Michael & Jane Marmor/Marmor Foundation Dr. Jay Moon & Kate Kim Bill & Paula Powar Dr. Condoleezza Rice Barry & Janet Robbins Andrea & Lubert Stryer Frank Wiley Elizabeth Wright

Haydn Circle ($2,500–$4,999) Anonymous Judy & Doug Adams Dave & Judy Preves Anderson Marda Buchholz Dr. Michael & Mrs. Joanne Condie Linda DeMelis & Ted Wobber Maureen & Paul Draper Earl & Joy Fry In memory of Suk Ki Hahn Lavinia Johnston Kris Klint Margy & Art Lim David Lorey, in memory of Jim Lorey Alice J. Sklar Edward & Kathy Sweeney Hal & Jan Thomas Joe & Anne Welsh Edwin & Kathe Williamson Janet & David Wilson, in honor of Jim & Kit Mitchell Ronald & Alice Wong Susan & David Young

Bach Circle ($1,000–$2,499) Anonymous (3) The ACMP Foundation Jeffrey M. Adams & Susan M. Hunter Millie & Paul Berg Charlotte & David Biegelsen Dr. & Mrs. Melvin C. Britton Joan Brodovsky Chris Byrne Susan Carey Betsy Clinch George Cogan & Fannie Allen Peggy & Reid Dennis Mrs. Ralph Dorfman Susan & Eric Dunn Mike & Allyson Ely Enterprise Holdings Foundation Maria & George Erdi Scott & Carolyn Feamster Patricia Foster Marilee Gardner Adele M. Hayutin Mary Page Hufty & Daniel Alegria Marianne R. LaCrosse & Ihab S. Darwish Carol & Mac MacCorkle Joan Mansour Denny McShane & Rich Gordon MIT Community Running Club (MITcrc) Neela Patel Shela & Kumar Patel Kay Pauling Anne Peck Pegasus Family Foundation Robert & Shirley Raymer Rossannah & Alan Reeves Robert & Diane Reid Nancy & Norm Rossen Gordon Russell & Dr. Bettina McAdoo Merritt Sawyer Eve Schooler & Bob Felderman Armand A. Schwartz Jr. Steven E. Shladover Bill & Joan Silver Dalia Sirkin Mary & Jim Smith

In memory of Michael Steinberg Mrs. Lena Tailo Ellen & Mike Turbow Margrit & Jack Vanderryn

Caruso Circle ($500–$999) Cindy Akard Carl Baum & Annie McFadden Janice Boelke Michael Brady Anne Cheilek & Alexander Klaiber Anne Dauer Miriam DeJongh Jo & John De Luca Thomas & Ellen Ehrlich Joan & Allan Fisch Shelley Floyd & Albert Loshkajian Bruce & Marilyn Fogel Jim Hagan, in memory of Linda J. Hagan Jennifer Hartzell & Donn R. Martin Elsa & Raymond Heald David Heintz Terri Lahey & Steve Smith Drs. John & Penny Loeb Rudolf & Page Loeser Vera Luth Harvey Lynch Brian P. McCune William & Muriel McGee Michelle & Laurent Philonenko David & Virginia Pollard Lee Ramsey & Matthew Barnard Robert & Adelle Rosenzweig Ed & Linda Selden Art & Sharon Small Peggy & Art Stauffer Peter Straus & Katie Gardella Betty Swanson David & Mary Alice Thornton Ian & Julia Wall Sallie & Jay Whaley, in honor of David Lorey

THANK YOU – ANNUAL FUND

Joachim Circle ($250–$499)

Paganini Circle ($100–$249)

Anonymous Enrico & Jane Bernasconi Clinton Blount & Margo Crabtree Julie & Ellis Brenner Ruth Brill Alison Campbell Renee Chevalier Sandra & Chris Chong Robert & Ann Chun Christine & Frank Currie Mary Dahlquist Ann & John Dizikes Earl & Barbara Douglass Leonard & Margaret Edwards Ruth Eliel & Bill Cooney Lynn Ellington Sam Ersan Neil & Ruth Foley Sarah & Robert Freedman Lawrence & Leah Friedman Gladys R. Garabedian, in memory of Russell Tincher Gerry H. Goldsholle & Myra K. Levenson Margaret & Michael Herzen David & Jane Hibbard Clarice & Dale Horelick Andrea G. Julian Betty & Jim Kasson Robert Kessler Joan & Philip Leighton Michael & Vicki Link Dr. Leon Lipson & Susan Berman Robert March & Lisa Lawrence Carol Masinter John Maulbetsch Bill Miller & Ida Houby Rudolf & Bernice Moos Frances & John Morse George Burton Norall Ann Ratcliffe Benn & Eva Sah Elizabeth M. Salzer Phyllis & Jeffrey Scargle Susan Schendel Lorraine & Gerard Seelig Sheila Sternberg Barbara Tam Elizabeth Trueman & Raymond Perrault Dr. George & Bay Westlake Lyn & Greg Wilbur Jane Fowler Wyman

Anonymous (3) Bill & Marsha Adler Matthew & Marcia Allen Rolene AuClaire Kathryn & Frederick Baron Clay & Nancy Bavor Betsy Bayha Mark Berger & Candace DeLeo Donna Bestock Frederick & Alice Bethke Melanie Bieder & Dave Wills Bill Blankenburg Miriam Blatt Arnold & Barbara Bloom Catherine Bolger Ms. Lea Anne Borders Mark Boslet Carol Bradley, in memory of Michael Bradley Lillian Brewer Laurel Brobst Julie Buckley J. Anne Carlson Dr. Denise Chevalier P. L. Cleary Jacqueline M. & Robert H. Cowden Jean & Duncan Davidson Marge & Jim Dean Ken & Sue Dinwiddie Norman & Jennie Dishotsky Robert & Loretta Dorsett Edma Dumanian Jeanne Duprau Philip & Jean Eastman Phil Egan Alan M. Eisner Jan Epstein Edward & Linda Ericson Tom & Nancy Fiene Carol C. & Joel P. Friedman, M.D. Michael Golub Diane & Harry Greenberg, in honor of Michèle & Larry Corash Shannon Griscom Edie & Gabe Groner Claes Gustafsson Andrea Harris Mary Ann Hayward Marc Henderson & Sue Swezey Freda Hofland & Les Thompson Petya Hristova Laurie Hunter & Jonathan MacQuitty

* Deceased

Honar & Hillard Huntington Diana & Walter Jaye Susan & Knud Knudsen Hilda Korner Nina Kulgein Michael & Carol Lavelle William & Lucille Lee Gwen Leonard Jean Bernard & Elisabeth Le Pecq Marjorie Lin Joanna & Laurie Liston Frank Mainzer & Lonnie Zwerin, in honor of Sue Gould Lisa Marsh Kirk McKenzie James McKeown Sally Mentzer, in memory of Myrna Robinson and Lois Crozier Hogle Dimitrios Michailidis Thomas & Cassandra Moore Dena Mossar & Paul Goldstein James & Barbara Newton Monika & Raul Perez Joyce & Allen Phipps Dr. Patricia R. Plante Anne Prescott Marlene Rabinovitch & Richard Bland Beverly Radin & Larry Breed Dorothy Saxe, in honor of Gladys Monroy Marks Victor & Jan Schachter Charlotte Scheithauer Dr. George W. Simmonds & Garnet L. Spielman Clinton & Sharon Snyder Ethan Mickey Spiegel Laura Sternberg Madeleine Stovel Jocelyn Swisher Golda Tatz Daphne & Stuart Wells Darlene & Charles Whitney Bryant & Daphne Wong Kathy Wong Weldon & Carol Wong Margaret Wunderlich Kris Yenney MyungJu Yeo & Andrew Bradford Shirley Yfantis

Friends (Gifts up to $99) Anonymous J. M. Abel Michiharu & Nagisa Ariza Michael & Maria Babiak Dr. Elizabeth U. Baranger Jay Bergman Reece Bomagat James Brandman Patricia Brandt Peter Brodie Mr. George Bunting Benjamin Burr Gregory Cheung Anne Marie Cordingly William Courington Peter Deutsch Sherrie Epstein Mary MacConnell Ferry Jan & Ann Gazenbeek Marianne Gerson Jo R. Gilbert Brian Good Larry Gordon Claire Graham Bina Guerrieri Mary Diane Guiragossian Jane Harris Ernest Hayden Bill Hitt Harold & Jennifer Brock Hughes Inge Infante Gilda & Harold Itskovitz Aran Johnson Dr. Linda Cooke Johnson Joan Karlin & Paul Resnick Betsy Koester Suzanne Koppett Mira Kosenko David Krevor Virginia Larsen Marlene Levenson Jennifer Lezin Marina Makarenko Loy Martin Shirley-Lee Mhatre William & Betsy Miller Dr. Judy Michele Mohr David Morandi Merla Murdock Leonard Norwitz Julia Oliver Jonathan Phillips Jan Willem L. Prak John Stephen Prusynski Mr. Roland Quintero Mr. Thomas Charles Robinson Bill Rose Sidney & Susan Rosenberg Kumiko Sakamoto Gerry & Coco Schoenwald

www.musicatmenlo.org

ABOUT THANK THE YOU ARTISTS – ANNUAL FUND Joan & Paul Segall Kenneth Schreiber Kenneth Seeman, M.D. Sally W. Smith Laurie Spaeth Erin Stanton Bill Stensrud & Suzanne Vaucher David & Jean Struthers JoAnne & Richard Stultz Ann Sun Matthew Thompson Mabel Tyberg Lucy & Henry Ullman Ed Vincent William Welch Linda Wilson Stephen Wolf Jade Wu Kana Yamada

Matching Gifts Apple Matching Gift Program Coca-Cola Matching Gift Program Google Matching Gift Program The William and Flora Hewlett Foundation IBM Matching Grants Program Intel Matching Gifts Microsoft Matching Gifts

Community Foundations and Donor-Advised Funds The Fidelity Charitable Gift Fund The Goldman Sachs Philanthropy Fund The Jewish Community Federation and Endowment Fund The Marin Community Foundation Schwab Charitable Fund The Silicon Valley Community Foundation

In-Kind Contributions Amici’s East Coast Pizzeria, Menlo Park Avanti Pizza Fresh Pasta, Menlo Park Costco, Foster City Costco, Redwood City Cream, Palo Alto Dehoff’s Key Market, Redwood City Delucchi’s Market & Delicatessen, Redwood City Grocery Outlet Bargain Market, Redwood City Kara’s Cupcakes, Palo Alto Mardini’s Gourmet Deli The Milk Pail Market

Numi Tea Oren’s Hummus Shop Paradise Flowers & Gifts Robert’s Market Safeway, Foster City Safeway, Sequoia Station, Redwood City Safeway, Sharon Park Road, Menlo Park Starbucks, California Avenue, Palo Alto Starbucks, El Camino Real, Menlo Park Starbucks, El Camino Real, Palo Alto Starbucks, Marsh Road, Redwood City Starbucks, Middlefield Road, Palo Alto Starbucks, Santa Cruz Avenue, Menlo Park Starbucks, Sharon Park Drive, Menlo Park Starbucks, Woodside Road, Redwood City Subway, Menlo Park Subway, Woodside Road, Redwood City Target, Redwood City The Willows Market Woodside Bakery and Cafe

City of Menlo Park Music@Menlo is grateful to the City of Menlo Park for its support of our performances at the Center for Performing Arts at Menlo-Atherton.

Menlo School Music@Menlo would like to extend special thanks to Head of School Than Healy, the Board of Trustees, faculty, staff, students, and the entire Menlo School community for their continuing enthusiasm and support.

Hotel Partners Music@Menlo is grateful for the support of the Stanford Park Hotel, Crowne Plaza Palo Alto, and Residence Inn Marriott Hotel.

Restaurant Partner Music@Menlo is proud to partner with Left Bank Brasserie for the 2017–18 season.

Music@Menlo is grateful to the following individuals and organizations for their contributions to the Music@Menlo Fund through bequests and planned gifts, the Tenth-Anniversary Campaign, and other designated contributions. Leadership Circle ($100,000+) Anonymous The Estate of Avis Aasen-Hull Ann S. Bowers Chandler B. & Oliver A. Evans Paul & Marcia Ginsburg Michael Jacobson & Trine Sorensen The Martin Family Foundation Bill & Lee Perry

$10,000–$99,999 Anonymous Darren H. Bechtel Jim & Mical Brenzel Iris & Paul Brest

14 Music@Menlo

Terri Bullock Michèle & Larry Corash Karen & Rick DeGolia The David B. and Edward C. Goodstein Foundation Sue & Bill Gould Libby & Craig Heimark Kathleen G. Henschel Leslie Hsu & Rick Lenon Michael J. Hunt & Joanie Banks-Hunt The Kaz Foundation, in memory of Steve Scharbach Jeehyun Kim Hugh Martin William F. Meehan III Betsy Morgenthaler Dr. Condoleezza Rice The Shrader-Suriyapa Family

In memory of Michael Steinberg Marcia & Hap Wagner Melanie & Ronald Wilensky Marilyn & Boris* Wolper

$1,000–$9,999 Anonymous (3) Judy & Doug Adams Eileen & Joel Birnbaum Kathleen & Dan Brenzel Dr. & Mrs. Melvin C. Britton Sherry Keller Brown Chris Byrne Patrick Castillo Jo & John De Luca Delia Ehrlich Mike & Allyson Ely Scott & Carolyn Feamster

Suzanne Field & Nicholas Smith David Finckel & Wu Han Joan & Allan Fisch Earl & Joy Fry Betsy & David Fryberger Karen & Ned Gilhuly Laura & Peter Haas Adele M. Hayutin Kris Klint Margy & Art Lim, in memory of Myrna Robinson, Don DeJongh, and Pat Blankenburg Mary Lorey Carol & Mac MacCorkle Lawrence Markosian & Deborah Baldwin Gladys & Larry Marks Drs. Michael & Jane Marmor/Marmor Foundation * Deceased

ABOUT THE ARTISTS THANK YOU – MUSIC@MENLO FUND Brian P. McCune Carol & Doug Melamed Nancy & DuBose Montgomery George* & Holde Muller Music@Menlo Chamber Music Institute Faculty Members, 2010–2012 Linda & Stuart Nelson, in honor of David Finckel & Wu Han Rebecca & John Nelson Shela & Kumar Patel Anne Peck Bill & Paula Powar Robert & Diane Reid Laurose & Burton Richter Barry & Janet Robbins Annie E. Rohan Barry Rosenbaum & Eriko Matsumoto Gordon Russell & Dr. Bettina McAdoo Bill & Joan Silver Jim & Mary Smith Abe & Marian Sofaer Edward & Kathy Sweeney Vivian Sweeney Ellen & Mike Turbow Joe & Anne Welsh Peter & Georgia Windhorst Elizabeth Wright Frank Yang

$100–$999 Anonymous (3) Matthew & Marcia Allen Alan & Corinne Barkin Millie & Paul Berg Mark Berger & Candace DeLeo Melanie Bieder & Dave Wills John & Lu Bingham Bill Blankenburg Jocelyn & Jerome Blum Joan Brodovsky Marda Buchholz Louise Carlson & Richard Larrabee Malkah & Donald* Carothers Hazel Cheilek Dr. Denise Chevalier Sandra & Chris Chong Robert & Ann Chun Alison Clark Betsy & Nick* Clinch Neal & Janet Coberly Norm & Susan Colb Jacqueline M. & Robert H. Cowden Anne Dauer * Deceased

Gordon & Carolyn Davidson Miriam DeJongh Edma Dumanian Leonard & Margaret Edwards Thomas & Ellen Ehrlich Alan M. Eisner Sherrie & Wallace* Epstein Maria & George Erdi Michael Feldman Tom & Nancy Fiene Bruce & Marilyn Fogel Lawrence & Leah Friedman Lulu & Larry Frye, in honor of Eff & Patty Martin Rose Green Edie & Gabe Groner Jerome Guillen Helen & Gary Harmon Elsa & Raymond Heald Erin L. Hurson Melissa Johnson Andrea G. Julian Meredith Kaplan Dr. Ronald & Tobye Kaye Yeuen Kim & Tony Lee Susan & Knud Knudsen Hilda Korner Mimi & Alex Kugushev Daniel Lazare Joan & Philip Leighton Lois & Paul Levine Raymond Linkerman & Carol Eisenberg Drs. John & Penny Loeb David E. Lorey, in memory of Jim Lorey Susie MacLean Frank Mainzer & Lonnie Zwerin Robert March & Lisa Lawrence Valerie J. Marshall Sally Mentzer, in memory of Myrna Robinson and Lois Crozier Hogle Ellen Mezzera Bill Miller & Ida Houby, in memory of Lois Miller Thomas & Cassandra Moore Peter & Liz Neumann Neela Patel Lynn & Oliver Pieron David & Virginia Pollard Ann Ratcliffe Hana Rosenbaum Sid & Susan Rosenberg Elizabeth Salzer Birgit & Daniel Schettler Elaine & Thomas Schneider Gerry & Coco Schoenwald Nancy G. Schrier

Armand A. Schwartz Jr. Steven E. Shladover Judy & Lee Shulman Edgar Simons Alice Sklar Betty Swanson Barbara Tam Golda Tatz Isaac Thompson Jana & Mark Tuschman Jack & Margrit Vanderryn Dr. George & Bay Westlake Sallie & Jay Whaley Lyn & Greg Wilbur Bryant & Daphne Wong Ronald & Alice Wong

Gifts under $100 Anonymous (3) Susan Berman Veronica Breuer Marjorie Cassingham Constance Crawford David Fox & Kathy Wosika Sandra Gifford Andrew Goldstein Laura Green Barbara Gullion & Franck Avril Jennifer Hartzell & Donn R. Martin Margaret Harvey Mark Heising Abe Klein Hiroko Komatsu Amy Laden Marcia Lowell Leonhardt Carol & Harry Louchheim Ben Mathes James E. McKeown Janet McLaughlin Michael Mizrahi, in honor of Ann Bowers Merla Murdock Joan Norton Rossannah & Alan Reeves Shirley Reith Nancy & Norm Rossen Ed & Linda Selden Helena & John Shackleton Charlotte Siegel Alice Smith Denali St. Amand Misa & Tatsuyuki Takada Margaret Wunderlich Chris Ziegler

Matching Gifts Abbott Fund Matching Grant Plan Chevron The William and Flora Hewlett Foundation IBM Matching Grants Program Microsoft Matching Grants Program

Community Foundations and Donor-Advised Funds The Jewish Community Federation and Endowment Fund Jewish Family and Children’s Services The Marin Community Foundation Schwab Charitable Fund The Silicon Valley Community Foundation

www.musicatmenlo.org

Coming up at Music@Menlo SCHUMANN QUARTET Haydn, Bartók, and Schumann Friday, April 20, 2018, 7:30 p.m. Schultz Cultural Arts Hall, Oshman Family JCC, Palo Alto Tickets: $52/$47 full price; $25/$20 under age thirty Music@Menlo’s 2017–2018 Winter Series culminates in a dramatically varied program performed by the Schumann Quartet. The quartet enjoys a thriving career in Europe and through its recent engagements is off to the start of an equally vibrant U.S. presence. The program opens with Haydn’s Sunrise Quartet, followed by Bartók’s String Quartet no. 2, and closes with Robert Schumann’s deeply expressive String Quartet in F Major.

Tickets and information: www.musicatmenlo.org / 650-331-0202

2018 FESTIVAL – SAVE THE DATES!

The Sixteenth Season: Creative Capitals July 13 through August 4, 2018 Full festival details and tickets will be available at www.musicatmenlo.org in mid-April. David Finckel and Wu Han, Artistic Directors Edward P. Sweeney, Executive Director 50 Valparaiso Avenue • Atherton, California 94027 • 650-330-2030 www.musicatmenlo.org