Music@Menlo:Focus Program: Folk Tales by Claire Graham

Folk Tales \ May 2-3, 2019 PAMELA FRANK, ARNAUD SUSSMANN, violins; PAUL NEUBAUER, viola

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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, Chair Terri Bullock Paul M. Ginsburg Jerome Guillen Amy Hsieh 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

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 Focus Residency: Folk Tales Behind the Music: Thursday, May 2, 7:30 p.m. Martin Family Hall, Menlo School Concert Program: Friday, May 3, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park Artists: Pamela Frank, Arnaud Sussmann, violins; Paul Neubauer, viola Message from the Guest Curator Dear Friends, I’m thrilled to have the opportunity to bring an exciting and vibrant program to you, my Music@Menlo family! I’ve been fortunate to be a part of the festival now for the past ten summers, and I’ve paid careful attention to David Finckel and Wu Han’s inventive and bold programming. In this light, I have designed a program, Folk Tales, based on a rather unusual instrumentation for string trio— two violins and a viola. Dvořák’s Opus 74 Terzetto and Miniatures, as well as Zoltán Kodály’s Opus 12 Serenade, are undoubtedly pillars of the repertoire for this particular combination of instruments. Both composers famously incorporated folk elements in their own music, specifically rhythms and melodies from their native countries. Two lesser-known works will also be featured on the program; I’m excited to present for the first time at Music@Menlo Eugène Ysaÿe’s rich and romantic Le Londres and, in contrast, Sergei Taneyev’s neoclassical Trio in D Major. It is always an honor and privilege to share the stage with two great musicians and friends, violinist Pamela Frank and violist Paul Neubauer. What makes both of them so special is their rapport and communication—not only with audiences but with their fellow musicians onstage. On Thursday, May 2, we will go Behind the Music with talented guest lecturer Patrick Castillo to take a closer look at the works featured in the program, with live musical examples provided by the residency’s fantastic musicians. I’m so looking forward to seeing all of you during our residency! Arnaud Sussmann, Guest Curator

Front cover: Zinaida Serebriakova (1884–1967), Harvest, c.1910. Public domain

MUSIC@MENLO:FOCUS Behind the Music with Patrick Castillo Thursday, May 2, 7:30 p.m. Martin Family Hall, Menlo School

As a preface to the Folk Tales Residency, Patrick Castillo returns to lead a Behind the Music discussion to provide deeper insight into the following evening’s concert. Audience members will explore the sonic implications of the program’s unusual instrumentation of two violins and a viola. How have composers dealt with the absence of a cello? What choices do Dvořák, Ysaÿe, Taneyev, and Kodály make to complete the harmonic texture? The Behind the Music discussion will also take a closer look at the use of folk elements, particularly in the music of Dvořák and Kodály, with live musical illustrations provided by Pamela Frank, Arnaud Sussmann, and Paul Neubauer.

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FOLK TALES Concert Program Friday, May 3, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park ANTONÍN DVOŘÁK (1841–1904) Four Miniatures for Two Violins and Viola, op. 75a (1887) Cavatina: Moderato Capriccio: Poco allegro Romanza: Allegro Elegia: Larghetto Pamela Frank, Arnaud Sussmann, violins; Paul Neubauer, viola

EUGÈNE YSAŸE (1858–1931) Le Londres in a minor for Two Violins and Viola (ca. 1914–1916) Poco maestoso – Allegro moderato ma risoluto Arnaud Sussmann, Pamela Frank, violins; Paul Neubauer, viola

ZOLTÁN KODÁLY (1882–1967) Serenade for Two Violins and Viola, op. 12 (1919–1920) Allegramente – Sostenuto, ma non troppo Lento, ma non troppo Vivo Arnaud Sussmann, Pamela Frank, violins; Paul Neubauer, viola

INTERMISSION SERGEI TANEYEV (1856–1915) Trio in D Major for Two Violins and Viola, op. 21 (1907) Allegro giocoso e semplice Menuetto: Allegro, ma non troppo Andante Vivace Pamela Frank, Arnaud Sussmann, violins; Paul Neubauer, viola

ANTONÍN DVOŘÁK Terzetto in C Major for Two Violins and Viola, op. 74 (1887) Introduzione: Allegro ma non troppo – Larghetto Scherzo: Vivace Tema con variazioni: Poco adagio – Molto allegro Arnaud Sussmann, Pamela Frank, violins; Paul Neubauer, viola www.musicatmenlo.org

PROGRAM NOTES ANTONÍN DVOŘÁK (Born September 8, 1841, Nelahozeves, near Kralupy, Bohemia; died May 1, 1904, Prague)

Four Miniatures for Two Violins and Viola, op. 75a Composed: Completed by January 18, 1887 (revised as Romantic Pieces for Violin and Piano, op. 75, January 20–25, 1887) Published: 1945, Prague First performance: February 24, 1938 in Prague Other works from this period: Second Set of Slavonic Dances for Piano, Four Hands, op. 72 (1886–1887); Terzetto in C Major for Two Violins and Viola, op. 74 (1887); Piano Quintet in A Major, op. 81, B. 155 (1887); Symphony no. 8 in G Major, op. 88 (1889) Approximate duration: 15 minutes Living at the same address in Prague as Dvořák during the winter of 1887 was a chemistry student and amateur violinist named Josef Kruis. Composer and chemist struck up a friendship, and in the space of just one week (January 7–14), Dvořák composed a trio for Kruis, the young man’s teacher—Jan Pelikán, a violinist with the Prague National Theater Orchestra, and himself as violist. (Dvořák played viola in the National Orchestra years before.) The Terzetto proved too difficult for Kruis’ limited technique, however, so the following week Dvořák wrote a simpler set of four bagatelles for two violins and viola. He shortly thereafter arranged the bagatelles for violin and piano as the Romantic Pieces, and performed them publicly in Prague on March 30 with violinist Karel Ondříček, brother of the virtuoso who had premiered Dvořák’s Violin Concerto four years earlier. Dvořák’s main publisher Fritz Simrock, who constantly encouraged Dvořák to write short, easily salable works in the manner of the Slavonic Dances (on which the publisher got very rich), bought the Romantic Pieces and issued them later that year. The original version of the music for two violins and viola was published in 1945 under the title Four Miniatures. The Four Miniatures are lovely and ingratiating, much in the folk-inspired style that made his Slavonic Dances some of the most popular music of his time. In their original versions for string trio, Dvořák gave titles to the movements to summarize the mood of each piece: Cavatina (a term he borrowed from Italian opera, where it indicated a short, solo song), Capriccio, Romanza, and Elegia.

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PROGRAM NOTES EUGÈNE YSAŸE (Born July 16, 1858, Liège, Belgium; died May 12, 1931, Brussels)

Le Londres in a minor for Two Violins and Viola Composed: ca. 1914–1916 Published: 1927 (first movement), 2009 (complete) First performance: Detailed in the notes below Other works from this period: Sonata in a minor for Two Violins (1915); Brabançonne in D Major for Orchestra (1918) Approximate duration: 13 minutes Eugène Ysaÿe (ee-sy-uh) was one of the most beloved musicians in the decades surrounding the turn of the twentieth century, a violinist revered by his peers and lionized by audiences, a teacher of immense influence, a conductor of international repute, and a composer of excellent skill. Ysaÿe began studying violin when he was four and three years later was admitted to the Liège Conservatory, where he won a prize for his playing and a scholarship for study with Henryk Wieniawski at the Brussels Conservatory from 1874 to 1876. Ysaÿe learned in 1876 that Henri Vieuxtemps had recovered sufficiently from a recent stroke to accept a few students, so he moved to Paris to receive that virtuoso’s instruction for the next three years. After serving as Concertmaster of Benjamin Bilse’s orchestra (the predecessor of the Berlin Philharmonic) and touring Germany, Scandinavia, and Russia, Ysaÿe settled from 1883 to 1886 in Paris, where he formed close ties with many of the city’s leading musicians: César Franck, Ernest Chausson, Claude Debussy, and others composed works for him. From 1886 to 1898, Ysaÿe was Professor of Violin at the Brussels Conservatory, where he also established the Ysaÿe String Quartet (for which Saint-Saëns wrote his Quartet No. 1) and founded the orchestral Concerts Ysaÿe, both of which were principally dedicated to promoting new French and Belgian music. Increasing commitments for tours as violinist and conductor required him to leave the Conservatory in 1898, though he continued to live in Brussels until the outbreak of World War I in 1914. Following his debut in the United States in 1894, Ysaÿe’s American prestige equaled that which he enjoyed in Europe, and he was named Music Director of the Cincinnati Symphony in 1918. He returned to Europe in 1922 to revive the Concerts Ysaÿe and resume his tours. Declining health caused by diabetes and an affliction of his bowing arm began to limit his activities in his later years, however, and in 1929 he was forced to have a foot amputated. He died in Brussels in May 1931. In 1937, Queen Elisabeth of Belgium, a long-time violin student of his, inaugurated an annual violin competition in Brussels—the Prix International Eugène Ysaÿe (rechristened the Queen Elisabeth Competition after World War II)—in his honor. www.musicatmenlo.org

PROGRAM NOTES In 1915, when Ysaÿe was in London waiting out what he called the “years of the terrible trial” of World War I, he composed a Sonata for Two Violins and dedicated the score to his royal student, Queen Elisabeth of Belgium, with the intention that they could “amuse themselves” by playing it together. He realized when the piece was finished, however, that its technical demands were beyond her abilities, so he arranged the work as Le Londres for Two Violins and Viola and gave the premiere in London with violinist André Mangeot and violist Lionel Tertis on April 17, 1916. Ysaÿe revised the piece over the next decade and the score was prepared for publication in 1927, but the plates for the second and third movements were destroyed in a fire and only the opening movement was issued at that time. The score of the first movement was republished in 1970, but it was not until thirty years later that the Hungarian violinist Nandor Szederkényi discovered the original parts for the trio in the Juilliard School Library; Schott Music published his edition of the complete three-movement version of Le Londres in 2009. The Trio’s sonata-form opening movement is nearly symphonic in scale and, given its modest instrumental complement, impressive in sonority. It opens with a broad introduction that presents the strong triplet figuration that in quicker tempo, becomes the seed of the main theme. This idea is worked out as a transition to the lyrical, poignant second subject. The development section is occupied by an intricate imitative treatment of the main subject before the exposition’s materials are fully recapitulated. The movement closes with a coda that recalls both themes.

ZOLTÁN KODÁLY (Born December 16, 1882, Kecskemét, Hungary; died March 6, 1967, Budapest)

Serenade for Two Violins and Viola, op. 12 Composed: 1919–1920 Published: 1921, Vienna First performance: April 8, 1920, in Budapest, by violinists Imre Waldbauer and János Temesvári and violist Egon Kornstein Other works from this period: Sonata for Solo Cello, op. 8 (1915); String Quartet no. 2, op. 10 (1916–1918); Seven Piano Pieces, op. 11 (1910–1918); Psalmus Hungaricus, op. 13 (1923); Háry János Suite (1926–1927) Approximate duration: 22 minutes Following the defeat of Germany in World War I, the Austro-Hungarian Empire collapsed and dissolved into ten independent nations. Upon the dissolution of the empire, the independent Hungarian Democratic Republic that 8 Music@Menlo

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was formed was quickly overthrown in March 1919 by the Hungarian Republic of Councils, a communist state. Though the Republic of Councils was also short-lived, its role in Hungarian music was critical. The government elevated the Budapest Academy of Music to university status, naming Ernő Dohnányi as Director and Zoltán Kodály as Deputy Director. Kodály, a Hungarian composer and ethnomusicologist, was well regarded for his massive contribution to the advancement of Hungarian music. Prior to World War I, his studies of traditional Hungarian folk music, along with work by colleague and friend Béla Bartók, aided in the establishment of a distinct Hungarian idiom. At the fall of the communist regime in August 1919, Kodály, Bartók, and Dohnányi were all subjected to intensive investigation by the new government. Kodály was made a scapegoat for the group and was declared a Bolshevist. The campaign against him, which lasted throughout a six-month trial, crippled most of his composition and teaching activities. Bartók wrote a 1921 review of the Serenade in hopes of bolstering Kodály’s public reputation again: This composition, in spite of its unusual chord combinations and surprising originality, is firmly based on tonality, although this should not be strictly interpreted in terms of the major and minor system. The time will come when it will be realized that despite the atonal inclinations of modern music, the possibilities of building new structures on key systems have not been exhausted. The means used by the composer—the choice of instruments and the superb richness of instrumental effects achieved despite the economy of the work—merit great attention in themselves. The content is suited to the form. It reveals a personality with something entirely new to say and one who is capable of communicating this content in a masterful and concentrated fashion. The work is extraordinarily rich in melodies. Written for the rare combination of two violins and viola, the Serenade reveals Kodály’s tremendous depth and understanding of tonal sonority. The opening movement maneuvers a jubilant triple-meter first theme. A sulky viola melody leads to the development of the theme, until all three voices trail off into silence. The second movement, marked Lento, ma non troppo, is a suspenseful dialogue between the viola and first violin, supported by rapid tremolando in the second violin. Kodály’s markings, which include ridendo (laughing), indifferente (indifferent), and disperato (desperate), perhaps suggest a programmatic context to the movement. The final Vivo continues this conversation between violin and viola, this time in a light and impish manner, providing an exuberant resolution to the work.

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PROGRAM NOTES SERGEI TANEYEV (Born November 13/25, 1856, Vladimir-na-Klyaz’me, Russia; died June 6/19, 1915, Dyud’kovo, near Moscow)

Trio in D Major for Two Violins and Viola, op. 21 Composed: 1907 Published: 1909, Moscow Dedication: Henryk Pachulski Other works from this period: Piano Quartet in E Major, op. 20 (1906); Piano Trio in D Major, op. 22 (1908); Suite de concert for Violin and Orchestra, op. 28 (1908–1909); Piano Quintet in g minor, op. 30 (1910–1911) Approximate duration: 20 minutes Sergei Taneyev, one of the most gifted musicians of late Imperial Russia, was born in 1856 into the family of a cultured and affluent civil servant. (An uncle, Aleksandr Sergeyevich Taneyev, born six years earlier, gained some notoriety as a composer in the Russian nationalist vein.) Taneyev had his first piano lessons at age five and entered the Moscow Conservatory before his tenth birthday; he studied piano there with Nikolai Rubinstein and composition with Pyotr Ilyich Tchaikovsky, whose steadfast friend, trusted confidant, and respected critic he became. (Taneyev gave the Moscow premiere of Tchaikovsky’s Piano Concerto no. 1 in December 1875.) Upon his graduation in May 1875, Taneyev became the first student to win gold medals in both performance and composition from the school, and when Tchaikovsky resigned from the faculty in 1878, Taneyev, 22, took his place teaching harmony and orchestration; in 1885, he became the Conservatory’s Director. He resigned as Director in 1889 to give more time to composition, but continued to teach counterpoint until 1905, when he left in protest over the repressive discipline meted out to the students involved in disturbances at the school sparked by the revolutionary movement then sweeping Russia. He withdrew into a reclusive existence in a primitive house in the distant suburbs of Moscow to compose and write a treatise on counterpoint that still serves as an important text on the subject in Russia’s music schools. He was elected to honorary membership in the Russian Musical Society in 1913. In April 1915, Taneyev stood in the rain at the funeral of his former student Aleksandr Scriabin, contracted pneumonia, and died of a heart attack on June 6th. Taneyev’s D Major Trio for Two Violins and Viola is a work of split musical personality, faux-Mozart in its opening movement and Russian Romantic in its last two, with a stylistically transitional Menuetto in between. The delightful opening movement (Allegro giocoso e semplice—literally, “cheerful, playful, and unaffected”) is a (nearly) textbook sonatina form based on a precisely arched main theme and a music-box subsidiary subject. 10 Music@Menlo

PROGRAM NOTES There is no development section and the recapitulation commences after two pairs of quiet, unison notes and a silence. That reprise, however, starts in the wrong key and the movement does not regain its home key until well into the music-box theme. The second movement is a fully developed Menuetto with a rustic central trio, a classic eighteenth-century genre, though it is worked out at considerable length, inflected with the contrapuntal interplay of which Taneyev was Russia’s greatest master, and subject to considerable harmonic daring. The Andante’s abundant lyricism and poignancy bordering on melancholy fully abandon eighteenth-century Habsburg Vienna for nineteenth-century Romanov Moscow. The finale is a bright-eyed rondo based around the modified returns of its infectious theme.

ANTONÍN DVOŘÁK Terzetto in C Major for Two Violins and Viola, op. 74 Composed: January 7–14, 1887 Published: 1887, Berlin First performance: March 30, 1887, Prague Dedication: Josef Kruis and Jan Pelikán Other works from this period: Cypresses (1865) later arranged as Ohlas písní [Echoes of Songs] for string quartet (1887) and revised as Písne milostné [Love Songs]) (1888); Symphonies Nos. 2–5 (1865–1875); String Quartet no. 8 in E Major, op. 80 (1876); String Quintet no. 2 in G Major (with bass), op. 77 (1876); Symphonic Variations (1877); Jakobin (1887–1888) Approximate duration: 18 minutes Dvořák composed his Opus 74 Terzetto in one week in January 1887 for an amateur violinist who lived in the same boarding house as his family. The neighbor received lessons from a violinist of the Prague National Theatre Orchestra. Upon overhearing student and teacher playing duets during their lessons, Dvořák suggested that he might compose a work for the three of them to play together—Dvořák himself being an able violist. When the work proved too difficult for the student violinist, Dvořák composed a new chamber piece for the same trio of instruments, which he would later arrange as the Opus 75 Romantic Pieces for Violin and Piano. The Terzetto is immediately distinguishable by the unique timbre of its peculiar instrumentation—two violins and viola, sans cello—and unfolds over four pithy movements. The first page of the Introduzione (so designated by the composer) immediately demonstrates a key element distinguishing Romanticism from the Classical idiom: while the Classical composers began to www.musicatmenlo.org

PROGRAM NOTES combine contrasting humors in their music, the Romantics pushed the envelope significantly further. Their subjective approach to the compositional craft empowered them to leap manically from one deeply felt emotion to another. The Terzetto’s opening measures accordingly juxtapose, in startlingly close quarters, soft tenderness with vigorous energy. The first movement proceeds attacca into the peaceful Larghetto. As in the Introduzione, Dvořák interrupts the movement’s serenity without warning, stepping abruptly into a dotted-rhythm march. But just as quickly as it came, the militaristic passage yields and the music turns lyrical again. Dvořák sets the Scherzo as a furiant, a traditional Czech folk dance marked by a syncopated triple meter. The contrasting trio section—a convention retained from the minuet, the scherzo’s Classical-period ancestor—proceeds at a more relaxed gait: indeed, it could almost be mistaken for a Viennese waltz, but peppered with a little Eastern European countryside. The finale, an expertly wrought theme and variations, illustrates the Romantic temperament beautifully: sudden stops and starts and the use of loud and soft dynamics give the theme a sense of anxious urgency. Again encompassing a vast emotional spectrum, each variation represents a drastic transfiguration of the theme. At the movement’s arresting climax, evoking the speech-like recitative of Baroque and Classical opera, the first violin issues a dramatic proclamation, accompanied by suspenseful tremolos in the lower strings.

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ABOUT THE ARTISTS Patrick Castillo leads a multifaceted career as a composer, performer, writer, and educator. His music has been described as “restrained and reflective but brimming with a variety of texture and sound that draws you into its world” (I Care If You Listen) and has been presented at festivals and venues throughout the United States and internationally, including the Chamber Music Society of Lincoln Center, Schubert Club, Birdfoot Festival, Hot Air Music Festival, Bavarian Academy of Music (Munich), Nuremberg Museum of Contemporary Art, and Havana Contemporary Music Festival. He is founding composer and Director of Third Sound and Executive Director of Hotel Elefant; he previously served as Artistic Administrator of Music@Menlo and Senior Director of Artistic Planning of the Saint Paul Chamber Orchestra. The Quality of Mercy, an album of Patrick Castillo’s vocal chamber music, has been praised as “affecting and sensitively orchestrated…,[a] gorgeous, masterfully crafted canvas” (Cleveland Classical). Violinist Pamela Frank has established an outstanding international reputation across an unusually varied range of performing activity. As a soloist, she has performed with leading orchestras including the New York Philharmonic, the Chicago Symphony Orchestra, the San Francisco Symphony, Academy of St. Martin in the Fields, the Berlin Philharmonic, and the St. Petersburg Philharmonic. Frank performed regularly with the Zurich Tonhalle Orchestra, recording the complete Mozart Violin Concertos with the orchestra and David Zinman, and has also recorded a Schubert album and the Beethoven sonata cycle, both with her father, Claude Frank. She is a sought-after chamber musician and has performed at many international festivals including Aldeburgh, Verbier, Edinburgh, Salzburg, Tanglewood, Marlboro, and Ravinia. Aside from her devotion to works of the standard repertory, Frank has performed and recorded a number of contemporary works. Her accomplishments were recognized in 1999 with the prestigious Avery Fisher Prize. Frank is Professor of Violin at the Curtis Institute of Music and teaches and coaches annually at the Tanglewood, Ravinia, and Verbier Festivals. Since 2008, she has been the Artistic Director of Evnin Rising Stars, a mentoring program for young artists at Caramoor Center for the Arts. Her newest venture is the formation of Fit as a Fiddle Inc., a collaboration with physical therapist Howard Nelson in which they use both their expertise for injury prevention and treatment of musicians.

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ABOUT THE ARTISTS Violist Paul Neubauer’s exceptional musicality and effortless playing led the New York Times to call him “a master musician.” In 2018 he made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the U.S. premiere of the newly discovered Impromptu for Viola and Piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia was released on Signum Records and his recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos. 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; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth Symphonies; and Santa Cecilia, English Chamber, and Beethovenhalle Orchestras. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower and has been featured on CBS’s Sunday Morning and A Prairie Home Companion and in Strad, Strings, and People magazines. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical. Neubauer is the Artistic Director of the Mostly Music series in New Jersey and is on the faculty of the Juilliard School and Mannes College as well as a Visiting Professor at DePaul University. Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann has distinguished himself with his unique sound, bravura, and profound musicianship. Minnesota’s Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you’ll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener.” A thrilling young musician capturing the attention of classical critics and audiences around the world, he has appeared on tour in Israel and in concert at Lincoln Center’s Alice Tully Hall, the White Nights Festival in Saint Petersburg, the Dresden Music Festival in Germany, and the Phillips Collection in Washington, DC. He has been presented in recital in Omaha on the Tuesday Musical Club series, New Orleans by the Friends of Music, Tel Aviv at the Museum of Art, and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Moritzburg, Caramoor, Music@Menlo, La Jolla SummerFest, Mainly 14 Music@Menlo

ABOUT THE ARTISTS Mozart, Seattle Chamber Music, Bridgehampton, and Moab Music festivals. Sussmann has performed with many of todayâ&#x20AC;&#x2122;s leading artists including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenasi, Wu Han, David Finckel, Jan Vogler, and members of the Emerson String Quartet. An alum of the Bowers Program (formerly CMS Two), he regularly appears with the Chamber Music Society of Lincoln Center in New York and on tour, including performances at Londonâ&#x20AC;&#x2122;s Wigmore Hall.

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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 Focus Residencies possible. Medici Circle ($100,000+) Ann S. Bowers The William and Flora Hewlett Foundation The Martin Family Foundation

Carnegie Circle ($50,000–$99,999) Chandler B. & Oliver A. Evans Paul & Marcia Ginsburg Michael Jacobson & Trine Sorensen George & Camilla Smith

Esterházy Circle ($25,000–$49,999) Bank of America Private Bank Jim & Mical Brenzel Terri Bullock The David B. and Edward C. Goodstein Foundation Jerome Guillen & Jeremy Gallaher Leslie Hsu & Rick Lenon Koret Foundation Funds Margulf Foundation Laurose & Burton* Richter Marcia & Hap* Wagner Brenda & Wade Woodson

Beethoven Circle ($10,000–$24,999) Anonymous Alan & Corinne Barkin Dan & Kathleen Brenzel Iris & Paul Brest Hazel Cheilek Michèle & Larry Corash The Jeffrey Dean & Heidi Hopper Family David Finckel & Wu Han Mark Flegel The Ann and Gordon Getty Foundation Sue & Bill Gould Kathleen G. Henschel & John W. Dewes Mr. Laurance R. Jr. & Mrs. Grace M. Hoagland Amy & Bill Hsieh Mary Lorey

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The Meta Lilienthal Scholarship Fund David Morandi Betsy Morgenthaler Bill & Paula Powar Abe & Marian Sofaer Andrea & Lubert Stryer Lena & Ken Tailo US-China Cultural Institute Melanie & Ron Wilensky Peter & Georgia Windhorst Marilyn Wolper

Mozart Circle ($5,000–$9,999) Kathy & Frederick Baron Eileen & Joel Birnbaum Susan Carey Carmen Chang & William H. Simon Dr. Michael & Mrs. Joanne Condie Bill & Bridget Coughran Susan & Eric Dunn Betsy & David Fryberger Rosann & Ed Kaz Howard & Laura Levin Gladys & Larry Marks Drs. Michael & Jane Marmor/Marmor Foundation Gary & Eileen Morgenthaler William Reller Dr. Condoleezza Rice Barry & Janet Robbins Elizabeth Wright

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Joan Mansour Peter & Liz Neumann Nancy & Norm Rossen Alice J. Sklar Edward & Kathy Sweeney Hal & Jan Thomas Edwin & Kathe Williamson David & Janet Wilson, in memory of Dr. Philip D. Wilson Jr. Ron & Alice Wong Susan & David Young

Bach Circle ($1,000–$2,499) Anonymous (3) Millie & Paul Berg Charlotte & David Biegelsen Dr. & Mrs. Melvin C. Britton Joan Brodovsky Chris Byrne Renee Chevalier Betsy Clinch George W. Cogan & Fannie Allen Mrs. Ralph Dorfman Mike & Allyson Ely Enterprise Holdings Foundation Maria & George Erdi Scott & Carolyn Feamster Patricia Foster John R. Hall Jennifer Hartzell & Donn R. Martin Adele M. Hayutin Mary Page Hufty & Daniel Alegria Sunny Kaplan Marianne R. LaCrosse & Ihab S. Darwish Vera Luth Carol Masinter William & Muriel McGee Denny McShane & Rich Gordon MIT Community Running Club (MITcrc) George* & Holde Muller Neela Patel Shela & Kumar Patel Anne Peck Pegasus Family Foundation Jonathan B. Phillips Michelle & Laurent Philonenko

Lee Ramsey & Matthew Barnard Robert & Shirley Raymer Rossannah & Alan Reeves Robert & Diane Reid Amir & Nicole Rubin Gordon Russell & Dr. Bettina McAdoo Stephen & Merritt Sawyer Ken Schroeder Armand A. Schwartz Jr. Steven E. Shladover Dalia Sirkin Jim & Mary Smith In memory of Michael Steinberg David & Mary Alice Thornton Ellen & Mike Turbow

Caruso Circle ($500–$999) Anonymous (3) Carl Baum & Annie McFadden Janice Boelke Anne Dauer Jo & John De Luca Miriam DeJongh Leonard & Margaret Edwards Thomas & Ellen Ehrlich Edward & Linda Ericson Jane Farrant Joan & Allan Fisch S. Robert & Sarah W. Freedman Marilee Gardner Michael Golub Jim Hagan, in memory of Linda J. Hagan Elsa & Raymond Heald David Heintz Petya Hristova James Kleinrath & Melody Singleton Terri Lahey & Steve Smith Drs. John & Penny Loeb Harvey Lynch Brian P. McCune Dr. Jay Moon & Kate Kim Thomas & Cassandra Moore Rudolf & Bernice Moos Mr. G. B. & Marcia W. Norall Kay Pauling Janice & Jeff Pettit David & Virginia Pollard * Deceased

Kathryn Pryor Robert & Adelle Rosenzweig Ed & Linda Selden Art & Sharon Small Peggy & Art Stauffer Peter Straus & Katie Gardella Ian & Julia Wall Michelle Wang & Yonggang Jin Elizabeth Yun & Jehyoung Lee

Joachim Circle ($250–$499) Anonymous (3) Enrico & Jane Bernasconi John & Lu Bingham Clinton Blount & Margo Crabtree Julie & Ellis Brenner Ruth Brill Alison Campbell Mr. & Mrs. William C. Chace Channing House Entertainment Coordinators Tiffany Chao Sandra & Chris Chong Robert & Ann Chun Christine & Frank Currie Mary Dahlquist Ann & John Dizikes Earl & Barbara Douglass Philip & Jean Eastman Ruth Eliel & Bill Cooney Lynn Ellington Shelley Floyd & Albert Loshkajian Bruce & Marilyn Fogel Neil & Ruth Foley The Frank Family Lawrence & Leah Friedman Gladys R. Garabedian Gerry H. Goldsholle & Myra K. Levenson Mr. Ulrich Herberg David & Jane Hibbard Clarice & Dale Horelick Jim & Kathy Johnson Andrea G. Julian Ms. Hannah Kim Nina Kulgein Jean Bernard & Elisabeth Le Pecq Lucille Lee Joan & Philip Leighton Dr. & Mrs. Michael Link John Maulbetsch Frances & John Morse * Deceased

THANK YOU – ANNUAL FUND Joan Norton Louise & Lee Patch Monika & Raul Perez Allen & Joyce Phipps Annie E. Rohan Benn & Eva Sah Elizabeth M. Salzer Susan Southworth Elizabeth Trueman & Raymond Perrault Dr. George & Bay Westlake Sallie & Jay Whaley Lyn & Greg Wilbur Jane Fowler Wyman

Paganini Circle ($100–$249) Anonymous (2) J. M. Abel Dr. Marc & Sophia Abramson Bill & Marsha Adler Carole Alexander Matthew & Marcia Allen Leslie & Dan Armistead Kim Arndt Lindy Barocchi Clay & Nancy Bavor Donna Bestock Stephen & Cathy Biagini Melanie Bieder & Dave Wills Kaye Bishop Bill & Pat Blankenburg Arnold & Barbara Bloom Catherine Bolger Mark Boslet Lillian Brewer Laurel Brobst Julie Buckley Mr. George Bunting Benjamin Burr Joanne & Peter Carey J. Anne Carlson Armando Castellano Alfonso & Susan Chang Constance Crawford Ms. Jean Dana Marge & Jim Dean Ken & Sue Dinwiddie Robert & Loretta Dorsett Edma Dumanian Melissa Eddy Alan M. Eisner Jane Enright David & Sharon Espar Tom & Nancy Fiene Mr. Lawrence Fischer Jeffrey Fox Carol C. & Joel P. Friedman, M.D. John & Florine Galen Marianne Gerson

Paul Goldstein & Dena Mossar Marjory & George Greenwald Dr. Donald E. Grimes Edie & Gabe Groner Roger Hagman Jane Harris Miss Donna Hetchler Mary Christine Jacobs Diana & Walter Jaye Rita Keleta Susan Kinloch Betsy Koester Hilda Korner Dr. Tiiu & Jaan Laane Barton Lane Henry & Jane Lesser Jennifer Lezin Marjorie Lin Dr. Leon Lipson & Susan Berman Lindy Lo Carol & Harry Louchheim Carol & Mac* MacCorkle Robert March & Lisa Lawrence Lisa Marsh Robert & Joan McCowan Kirk McKenzie James McKeown Sally Mentzer Shirley-Lee Mhatre James & Barbara Newton John Nuechterlein Stephen Paniagua Ms. Gail Peerless P. Porter & S. Browning Marcia Pugsley & Kent Mather Dr. Melanie Mauldin Raanes Susan D. Reich Phyllis & Jeffrey Scargle Damon Schechter Charlotte Scheithauer Birgit Schettler Gerry* & Coco Schoenwald Elizabeth & Curt Schulze Joan & Paul Segall Kenneth Seeman, M.D. Nicole Sheehan Robert & Nancy Shostak Dr. George W. Simmonds & Garnet L. Spielman Ethan Mickey Spiegel Madeleine Stovel Sue Swezey & Marc Henderson William Tankersley Les Thompson & Freda Hofland

Carol & Hal Toppel, in memory of Electra van Bragt Daphne & Stuart Wells Lynn Wendell Darlene & Charles Whitney Kathy Wong Weldon & Carol Wong Stephanie & Horace Work Jade Wu & Peng Tu Weldon & Carol Wong

Friends (Gifts up to $99) Anonymous (3) Alicia Bakowski Susan Albro Barkan Betsy & George Bechtel Jay Bergman Peter Brodie Terrigal Burn Christine Cheeks Lisa Cochran Dr. Peter W. Deutsch Chauncey & Emily Dilaura Andrew Doty Arden D. Down Robert Flanagan & Susan Mendelsohn Jan & Ann Gazenbeek Jo R. Gilbert Larry Gordon Bina Lea Guerrieri Minghua Guo Sujeeva Hapugalle Jim Harmon Jerrol Harris, in memory of Gerry Schoenwald Rory Hartong-Redden Harry & Susan Hartzell Margaret Harvey Shaul Hestrin Bill Hitt In honor of Leslie Hsu & Rick Lenon Claire Hwang Kristin Anne Jackson Steven Jeffries Linda & Charles Jordan William Kamin Mrs. Stella Karras Stephanie Katz Mike Keating Sunli Kim Jungwon Elizabeth Kim Dr. Jean P. Kirsch Dr. Leonid Kitainik Cynthia & Kimberly Klustner Mira Kosenko Joan Larrabee Micha Lee

www.musicatmenlo.org

ABOUT THANK THE YOU ARTISTS – MUSIC@MENLO FUND Mrs. Jiyoung Lee Mr. Hollis Lenderking Dennis Levi Peter Levins & Rick Trushel Ilona Magyary Marina Makarenko Sheila Mandel Janet McLaughlin Vineet Mehta & Karishma Sharma John & Anita Mitchell Ms. Sramana Mitra Dennis Moore Ms. Mary Munter Merla Murdock Mr. Seiji Naiki Alan Ni George Northup Yuriko Payton-Miyazaki Ms. Shauna PickettGordon Leah Reider Robert Ripps Steve & Cindy Rowe Daniel Rubin & Lina Swisher Dr. Mark G. Saifer Lorraine & Gerard Seelig Judith & Donald Shernock Mr. Basil Shikin In memory of Dr. Alan Sklar Phil & Carolyn Spiegel Erin Stanton Alois Joseph Strnad Li-Teh Teng

Mabel Tyberg Lucy L. Ullman Joan Urquhart Margrit & Jack Vanderryn Barbara Wagger Mr. Richard Waltonsmith William Welch Kris Yenney David Yost Mr. Dian Zhang

The Goldman Sachs Philanthropy Fund The Jewish Community Federation and Endowment Fund The Marin Community Foundation Schwab Charitable Fund The Silicon Valley Community Foundation

City of Menlo Park

Rick Zinman

Vanguard Charitab

Matching Gifts

In-Kind Contributions

Apple Matching Gift Program Bristol-Myers Squibb Foundation Matching Gift Program Chevron Humankind Matching Gift Program Google Matching Gift Program The William and Flora Hewlett Foundation IBM Matching Grants Program Intel Matching Gifts Program Microsoft Matching Gifts Program

Adeline Coffee Cocola Bakery Eric’s Gourmet Food and Catering Freewheel Brewery Grocery Outlet Bargain Market Hobee’s Market The Milk Pail Market Peet’s Coffee and Tea Ridge Vineyards Robert’s Market Safeway Starbucks Sultana TurkishMediterranean Kitchen Total Wine & More Trader Joe’s Twomey Cellars Urban Botanica The Willows Market Zoetic Wines

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.

Community Foundations and Donor-Advised Funds

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

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

Restaurant Partner Music@Menlo is proud to partner with Left Bank Brasserie for the 2018– 2019 season.

The Fidelity Charitable Gift Fund

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 Terri Bullock Michèle & Larry Corash

18 Music@Menlo

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 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 * Deceased

ABOUT THE ARTISTS THANK YOU – MUSIC@MENLO FUND 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 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

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

Gifts under $100

Community Foundations and Donor-Advised Funds

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

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

American Endowment Federation 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

Former Board Members

Music@Menlo is grateful to the following individuals, who gave generously of their time and expertise as members of Music@Menlo’s board: Darren H. Bechtel Leonard Edwards Oliver A. Evans Earl Fry Kathleen G. Henschel Michael J. Hunt Hugh Martin William R. Silver * Deceased

www.musicatmenlo.org

Join us for the 2019 summer festival: July 12–August 3!

Tickets are now available for Music@Menlo’s upcoming summer festival, Incredible Decades! The 2019 season is an exciting journey through musical history, uncovering classical music’s evolution in seven specific chapters. Each chapter focuses on an especially momentous decade, beginning with the splendor and complexity of J. S. Bach and his contemporaries and culminating in the musical audacity and creativity that illuminated the twentieth century’s final decade. Taking place from July 12 to August 3, the festival presents close to fifty events and features performances by many of the world’s finest classical musicians, nine of whom will be making their Music@Menlo festival debuts. An Overture Concert also provides a very special opportunity to witness first-hand the collaboration between the extraordinary International Program artists and the festival’s acclaimed, seasoned main-stage performers, who share their expertise with the next generation of chamber musicians.

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

David Finckel and Wu Han, Artistic Directors Edward P. Sweeney, Executive Director 50 Valparaiso Avenue • Atherton, California 94027 • 650-330-2030 www.musicatmenlo.org