Music@Menlo 2014 Season Brochure by Claire Graham

The Twelfth Season: Around Dvorˇák July 18–August 9, 2014

Welcome to Music@Menlo Dear Friends: It is hardly an exaggeration to say that the music of Antonín Dvořák is loved everywhere by everyone. Audiences crave Dvořák’s beautiful melodies and heart-touching harmonies, and we revel in the opportunity he provides performers to express our passions unabashedly. We are therefore thrilled to announce our twelfth festival season that examines the works of and around this Bohemian mastermind, in Music@Menlo’s signature thematic style. During the festival’s three weeks, Dvořák will be surrounded by composers who were his neighbors, mentors, musical ancestors, and descendants. His immediately accessible language seamlessly connects the elite Western European cultures with the colorful, folk-inspired worlds to his East. For example, we’ll be hearing from Dvořák’s invaluable advisor and admirer Brahms, who was as interested in middle European music as Dvořák was in the great Viennese traditions. Smetana, the father of Czech classical music, will share our stage with Janáček, who so compellingly brought Dvořák’s unique language into modern times. And, we’ll venture all the way to America, where music profoundly benefitted from Dvořák’s presence and inspiration. Please join our extraordinary selection of masterful performers and lecturers, a conglomerate of the world’s most gifted chamber music students, and Music@Menlo’s incomparable family of friends for an unforgettable Dvořák experience.

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

19 Prelude Performances and Koret Young Performers Concerts 22

2014â&#x20AC;&#x201C;2015 Winter Series

Festival Calendar

Discovery and Engagement 16

Michael Steinberg Encounter Series

Chamber Music Institute

19 Prelude Performances and Koret Young Performers Concerts 20

CafĂŠ Conversations and Master Classes

Chamber Music Institute Open House

Listening Room

AudioNotes

Music@Menlo LIVE

Music@Menlo Travel

Recording and Broadcasting

Artists 5

2014 Artist Roster

Visual Artist

Performer Biographies

Ticket and Patron Information 30

Join Music@Menlo

Reserving Your Summer Festival Tickets

Summer Festival Subscriber Information

34 The Festival Campus and Performance Venues 35

Map, Locations, and Parking

For Visitors to Our Area

Festival Calendar subscribe at www.musicatmenlo.org

Around Dvořák

As the Romantic era progressed into the modern age, Western music saw an unfolding dynamic between the Viennese Classical tradition and the passionate nationalist expressions of a generation of Central European composers. By the turn of the twentieth century, Vienna had secured ownership of the definitive musical tradition, catalyzed by an incredible lineage of composers from Haydn and Beethoven to Brahms and Schoenberg. At the same time, while still under the rule of the AustroHungarian Empire, composers of the Czech lands, Hungary, and Romania proudly asserted their native identities as only composers could—through music. 4

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At the center of this dialectic was Antonín Dvořák, the self-described simple Czech musikant who nonetheless garnered the respect of the paragon of Viennese musical society, Johannes Brahms. Dvořák fluently integrated the dual traditions of Western Classicism and Central European folk music, and his influence and popularity would be felt as far as the United States. Music@Menlo’s 2014 season charts the

rich variety of Dvořák’s musical firmament. Over the course of eight colorful Concert Programs that revolve Around Dvořák, this festival season promises a thrilling journey to Vienna, Prague, and other fascinating musical destinations along the way.

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Statue of Antonín Dvořák overlooking Prague Castle from the Rudolfinum. Photo credit: Richard John Seymour

ARTISTS PIANO Gloria Chien Arnaldo Cohen* Gilbert Kalish Anne-Marie McDermott Hyeyeon Park Juho Pohjonen Dina Vainshtein* Gilles Vonsattel Wu Han

VIOLIN Benjamin Beilman Sunmi Chang Nicolas Dautricourt* Jorja Fleezanis Erin Keefe Kristin Lee Sean Lee Yura Lee Alexander Sitkovetsky* Arnaud Sussmann

VIOLA Sunmi Chang Yura Lee Paul Neubauer CELLO Dmitri Atapine David Finckel Narek Hakhnazaryan* Keith Robinson BASS Scott Pingel

DANISH STRING QUARTET Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello ESCHER STRING QUARTET Adam Barnett-Hart, violin Aaron Boyd, violin* Pierre Lapointe, viola Dane Johansen, cello

WOODWINDS Sooyun Kim, flute Alexander Fiterstein, clarinet* Anthony McGill, clarinet Stephen Taylor, oboe Peter Kolkay, bassoon BRASS Kevin Rivard, horn VOICE Randall Scarlata, baritone

PERCUSSION Florian Conzetti Christopher Froh Ayano Kataoka Ian Rosenbaum ENCOUNTER LEADERS David Beveridge* Ara Guzelimian William Lobkowicz* Michael Parloff *Music@Menlo debut subscribe at www.musicatmenlo.org

Concert Program I

Dvořák in Context

Artist unknown. Nelahozeves, Czechoslovakia. Engraving. Alfredo Dagli Orti/The Art Archive at Art Resource, NY

The 2014 season begins on a festive note, as Mozart’s delightful Serenata notturna leads seamlessly to Dvořák’s pastoral Opus 51 Quartet. Dvořák’s powerful utilization of folk idioms is a tradition inherited by Martinů and Bartók, as evidenced by Martinů’s Three Madrigals and Bartók’s jubilant Divertimento for Strings. Indeed, the rich traditions represented by these works—Viennese Classicism on the one hand and Central European nationalism on the other—come together in the world of Antonín Dvořák, whose flowing lyricism, rhythmic flair, and singular accent characterize the best of the two worlds.

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WOLFGANG AMADEUS MOZART (1756–1791)

Serenade in D Major for String Orchestra, K. 239, Serenata notturna (1776)

Prelude Performance* 3:30 p.m., The Center for Performing Arts at Menlo-Atherton

BOHUSLAV MARTINŮ (1890–1959)

* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

BÉLA BARTÓK (1881–1945)

Fête the Festival 8:30 p.m., following the concert Join the Artistic Directors, festival musicians, and friends on July 19 to celebrate the season’s first concert at an outdoor catered dinner reception on the Menlo School campus. (Tickets: $65. Advance purchase required.)

String Quartet no. 10 in E-flat Major, op. 51 (1878–1879) Three Madrigals for Violin and Viola, H. 313 (1950) Divertimento for String Orchestra, Sz. 113, BB 118 (1939)

Sunmi Chang, Jorja Fleezanis, Erin Keefe, Kristin Lee, Sean Lee, violins; Paul Neubauer, viola; Scott Pingel, bass; Wu Han, timpani; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello; Escher String Quartet: Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Dane Johansen, cello subscribe at www.musicatmenlo.org

6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $68/$58 full price; $30/$20 under age thirty

ANTONÍN DVOŘÁK (1841–1904)

ARTISTS

SATURDAY, JULY 19

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Concert Program II

Viennese Roots

Artist uknown. Mirror gallery, Schönbrunn Palace, Vienna, Austria, nineteenthth century. Watercolor. Gianni Dagli Orti/The Art Archive at Art Resource, NY

Complementing the irresistible influence of his Czech musical heritage, Dvořák likewise aspired to write music of broader, more universal appeal. The foundation of Viennese Classicism that Dvořák drew upon, including the traditions of Haydn, Mozart, and Beethoven, is more deeply explored in this summer’s second Concert Program. “Viennese Roots” begins with music by the father of the Classical style, Joseph Haydn, whose contributions to the piano-trio literature elevated the genre from light salon music to chamber music of the highest sophistication. Franz Schubert inherited the tradition cultivated by Haydn and ushered it into the Romantic generation of the nineteenth century. The tradition is further explored in Dvořák’s Bass Quintet, which realizes the potential of this new aesthetic.

JOSEPH HAYDN (1732–1809)

Piano Trio in C Major, Hob. XV: 27 (1797)

FRANZ SCHUBERT (1797–1828)

Impromptu in A-flat Major, D. 899, no. 4 (op. 90) (1827) Rondo brillant in b minor for Piano and Violin, D. 895 (1826)

ANTONÍN DVOŘÁK (1841–1904)

String Quintet no. 2 in G Major, op. 77 (1875, rev. 1888)

ARTISTS

Gloria Chien, Gilbert Kalish, pianos; Erin Keefe, Kristin Lee, Sean Lee, violins; Paul Neubauer, viola; Dmitri Atapine, David Finckel, cellos; Scott Pingel, bass

SUNDAY, JULY 20

6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $68/$58 full price; $30/$20 under age thirty Prelude Performance* 3:30 p.m., The Center for Performing Arts at Menlo-Atherton

TUESDAY, JULY 22

8:00 p.m., Stent Family Hall, Menlo School Tickets: $78 full price; $35 under age thirty Prelude Performance* 5:30 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. 18–19.

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Concert Program III

Lobkowicz Legacy

Střekov Castle, a historic monument owned by the Lobkowicz family. Photo credit: Marie Lasáková

Members of the Lobkowicz family, one of the most prominent Bohemian lineages dating back to the fourteenth century, have ranked for generations among the Western world’s most significant arts patrons. The seventh Prince Lobkowicz, Joseph Franz Maximilian, was a benefactor to Haydn and Beethoven and was the dedicatee of Haydn’s Opus 77 string quartets, nicknamed the Lobkowicz Quartets. Beethoven, too, dedicated numerous works to the prince, including his Opuses 18 and 74 quartets, the song cycle An die ferne Geliebte, and his Third, Fifth, and Sixth Symphonies. Presented in conjunction with Encounter II (see p. 17), led by William Lobkowicz—Maximilian’s modern heir and trustee of the Lobkowicz family’s trove of musical manuscripts—Concert Program III celebrates the Lobkowicz family’s rich cultural legacy.

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JOSEPH HAYDN (1732–1809)

String Quartet in G Major, op. 77, no. 1, Hob. III: 81 (1799)

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet no. 10 in E-flat Major, op. 74, Harp (1809)

LUDWIG VAN BEETHOVEN

An die ferne Geliebte for Voice and Piano, op. 98 (1816)

LUDWIG VAN BEETHOVEN

String Quartet no. 1 in F Major, op. 18, no. 1 (1799)

ARTISTS

Randall Scarlata, baritone; Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello

FRIDAY, JULY 25

SATURDAY, JULY 26

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $68/$58 full price; $30/$20 under age thirty

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Concert Program IV

Beethoven’s Friends

Ludwig van Beethoven playing the piano for friends. Albert Gräfle (1807–1889). Photogravure. Muller Collection/The New York Public Library for the Performing Arts

In the orbit of such a universal genius as Ludwig van Beethoven existed numerous composers who captured the attention of Vienna. Anton Reicha, a Czech forebear to Antonín Dvořák and an intimate of Beethoven’s from their teenage years, achieved considerable renown in his lifetime as a composer, theorist, and pedagog; his extensive catalog of solo, chamber, and orchestral music reveals a composer of great originality in his own right. Reicha’s Clarinet Quintet, a rarely heard gem of the literature, demonstrates a winning Classical sensibility and a keen melodic imagination worthy of his most prominent contemporaries. The prodigiously gifted Johann Nepomuk Hummel was likewise regarded in his lifetime as one of Europe’s greatest composers and arguably its finest pianist. Though Beethoven’s emergence in Vienna eclipsed Hummel’s own ascent, the two would nevertheless maintain a close, if rivalrous, friendship. More importantly, not even Beethoven’s imposing shadow could blot out the brilliance of Hummel’s musical language, as encountered in his colorful Septet for Winds, Strings, and Piano.

ANTON REICHA (1770–1836)

Quintet in B-flat Major for Clarinet and String Quartet, op. 89 (1820)

LUDWIG VAN BEETHOVEN (1770–1827)

Quintet in E-flat Major for Piano and Winds, op. 16 (1796)

JOHANN NEPOMUK HUMMEL (1778–1837)

Septet no. 1 for Flute, Oboe, Horn, Viola, Cello, Bass, and Piano, op. 74 (1817)

ARTISTS

Gilbert Kalish, Juho Pohjonen, pianos; Sooyun Kim, flute; Anthony McGill, clarinet; Stephen Taylor, oboe; Peter Kolkay, bassoon; Kevin Rivard, horn; Nicolas Dautricourt, Arnaud Sussmann, violins; Sunmi Chang, Paul Neubauer, violas; Keith Robinson, cello; Scott Pingel, bass

SUNDAY, JULY 27

6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $68/$58 full price; $30/$20 under age thirty

TUESDAY, JULY 29

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Concert Program V

American Visions

Thomas Hart Benton (1889–1975). Threshing Wheat, 1938–1939. Lithograph. © VAGA, NY. Photo credit: Art Resource, NY

Having achieved great renown for cultivating a distinctly Czech musical idiom, Antonín Dvořák accepted an invitation in 1891 to lead the National Conservatory in New York and guide a rising generation of American composers. Upon arrival, he experienced the overt musical patriotism of such composers as Sousa and Gottschalk and eventually found exciting potential for a truly American voice through Native and African American melodies, rhythms, and harmonies. Leading by example, Dvořák composed his famous symphony From the New World and American-inspired chamber music including this program’s Sonatina for Violin and Piano. The jovial spirit of Dvořák was echoed by American revolutionary Charles Ives, whose songs lifted this unfolding folk idiom to new heights. Continuing to mine America’s folk music in the Dvořák tradition, modern innovator George Crumb turned his kaleidoscopic ear to the American songbook, reimagining such tunes as “Swing Low, Sweet Chariot” into ethereal soundscapes. 10

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LOUIS MOREAU GOTTSCHALK (1829–1869) The Union for Solo Piano, op. 48 (1862)

ANTONÍN DVOŘÁK (1841–1904)

Sonatina in G Major for Violin and Piano, op. 100 (1893)

CHARLES IVES (1874–1954)

Selected Songs for Baritone and Piano

GEORGE CRUMB (b. 1929)

American Songbook II: A Journey beyond Time (2003)

ARTISTS

Randall Scarlata, baritone; Gilbert Kalish, Gilles Vonsattel, Wu Han, pianos; Arnaud Sussmann, violin; Florian Conzetti, Christopher Froh, Ayano Kataoka, Ian Rosenbaum, percussion

THURSDAY, JULY 31

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $68/$58 full price; $30/$20 under age thirty

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Concert Program VI

Transitions

Josef Albers (1888–1976). Bowers, ca. 1929. Glass. © ARS, NY. Photo credit: Albers Foundation/Art Resource, NY

Concert Program VI presents the parallel unfolding of Viennese and Bohemian traditions at the turn of the nineteenth century. Although some chided Brahms in his final years as old-fashioned, works like his Six Intermezzi would be vindicated by such Viennese avant-garde voices as Arnold Schoenberg and Anton Webern, who credited Brahms’s late music as predictive of their own. Indeed, Webern’s early and late miniatures on this program weave a majestic connection between Romantic and modern aesthetics. Dvořák’s Opus 48 String Sextet demonstrates the fully developed voice of the Bohemian master, likewise reimagined in unprecedented ways by his contemporary Leoš Janáček.

JOHANNES BRAHMS (1833–1897) Six Intermezzi, op. 118 (1893)

ANTON WEBERN (1883–1945)

Two Early Pieces (1899); Three Little Pieces (1914)

LEOŠ JANÁČEK (1854–1928) Concertino (1925)

ANTONÍN DVOŘÁK (1841–1904)

String Sextet in A Major, op. 48 (1878)

ARTISTS

Hyeyeon Park, Juho Pohjonen, Wu Han, pianos; Alexander Fiterstein, clarinet; Peter Kolkay, bassoon; Kevin Rivard, horn; Sunmi Chang, Nicolas Dautricourt, Arnaud Sussmann, violins; Yura Lee, violin/viola; Paul Neubauer, viola; Dmitri Atapine, David Finckel, Narek Hakhnazaryan, cellos

FRIDAY, AUGUST 1

8:00 p.m., Stent Family Hall, Menlo School Tickets: $78 full price; $35 under age thirty Prelude Performance* 5:30 p.m., Martin Family Hall, Menlo School

SATURDAY, AUGUST 2

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $68/$58 full price; $30/$20 under age thirty Prelude Performance* 5:30 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. 18–19.

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Concert Program VII

Hungarica

Dance of the Gypsies in Granada, Spain. Four women dance to guitar. © Bettmann/Corbis

Alongside Dvořák and his countrymen, who were fueled by their interest in Czech folk traditions, the composers of nearby Hungary likewise mined the richness of their own musical heritage. Most famously, Béla Bartók—regarded today as history’s first ethnomusicologist—and his colleague Zoltán Kodály researched and recorded peasant music with the aim of developing a distinctively Hungarian musical identity. Continuing Bartók and Kodály’s development of Hungarian music, Liszt and Dohnányi wedded the late Romantic tradition with their own singular voices. György Ligeti, one of the twentieth century’s most inventive enfants terribles, extended the legacy of Hungarian music with a daringly modern flair.

FRANZ LISZT (1811–1886)

Grand duo concertant sur la romance de “Le marin” for Violin and Piano, S. 128 (1849)

BÉLA BARTÓK (1881–1945)

Selected Duos for Two Violins, Sz. 98 (1931)

ZOLTÁN KODÁLY (1882–1967)

Serenade for Two Violins and Viola (1920)

GYÖRGY LIGETI (1923–2006) Sonata for Solo Cello (1953)

ERNÖ DOHNÁNYI (1877–1960)

Piano Quintet no. 1 in c minor, op. 1 (1895)

ARTISTS

Gloria Chien, Wu Han, pianos; Benjamin Beilman, Nicolas Dautricourt, Jorja Fleezanis, Alexander Sitkovetsky, violins; Paul Neubauer, viola; Narek Hakhnazaryan, David Finckel, cellos 12

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TUESDAY, AUGUST 5

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $68/$58 full price; $30/$20 under age thirty

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Concert Program VIII

Bridging Dvořák

Edgar K. Frank. Pedestrians walk on the fourteenth-century bridge to and from the city. Charles Bridge, Prague, Bohemia, February 2, 1917. NGS Image Collection/ The Art Archive at Art Resource, NY

The 2014 season concludes with a linear perspective on Dvořák’s art, from the work of Bohemia’s musical patriarch, Smetana, to the voices of modern Hungarian and Czech composers. Following Smetana’s evocative Bohemian fantasie, the program offers Dohnányi’s dynamic Serenade for String Trio. Encouraged by none other than Dvořák as a child, Erwin Schulhoff would emerge as one of the most original voices of his generation, only to fall victim to the Nazi regime during the Second World War. The resolute strains of his haunting and visceral String Sextet are answered by Dvořák’s transcendent Piano Quintet, one of the most beloved works of the literature.

BEDŘICH SMETANA (1824–1884)

Andantino (Bohemian fantasie) from Z domoviny (From the Homeland), JB 1: 118 (1880)

ERNÖ DOHNÁNYI (1877–1960)

Serenade for String Trio, op. 10 (1902)

ERWIN SCHULHOFF (1894–1942) String Sextet (1920–1924)

ANTONÍN DVOŘÁK (1841–1904)

Piano Quintet no. 2 in A Major, op. 81, B. 155 (1887)

ARTISTS

Anne-Marie McDermott, piano; Benjamin Beilman, Nicolas Dautricourt, Alexander Sitkovetsky, violins; Yura Lee, Paul Neubauer, violas; Dmitri Atapine, Narek Hakhnazaryan, cellos

FRIDAY, AUGUST 8

8:00 p.m., Stent Family Hall, Menlo School Tickets: $78 full price; $35 under age thirty Prelude Performance* 5:30 p.m., Martin Family Hall, Menlo School

SATURDAY, AUGUST 9

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Carte Blanche Concerts Music@Menlo’s series of four artist-curated recitals showcases solo and collaborative performances designed by our festival artists. CARTE BLANCHE CONCERT I:

Wednesday, July 23, 8:00 p.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty

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The four string quartets of Alexander von Zemlinsky represent one of the most powerful cycles of the modern quartet literature. Composed over a period spanning four decades, the cycle chronicles critical points of the composer’s life and career. Following the Romantically Brahmsian First Quartet, the Second, written in response to a spurned marriage proposal, turns turbulent. In his Third Quartet, Zemlinsky departs from his earlier tonal language towards an Expressionist idiom influenced by his famous brother-inlaw, Arnold Schoenberg. The final quartet is written as an homage to Zemlinsky’s pupil and dear friend, Alban Berg.

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ALEXANDER VON ZEMLINSKY (1871–1942)

Escher String Quartet

String Quartet no. 1, op. 4 (1896) String Quartet no. 2, op. 15 (1913–1915) String Quartet no. 3, op. 19 (1924) String Quartet no. 4, op. 25 (1936)

ARTISTS

Escher String Quartet: Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Dane Johansen, cello Prelude Performance* 5:30 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. 18–19.

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CARTE BLANCHE CONCERT II:

Arnaldo Cohen, piano Sunday, July 27, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty Celebrated pianist Arnaldo Cohen makes his Music@Menlo debut with a tour de force of impassioned Romantic expression. The first half of the program is given over to the music of two Baroque masters, reimagined by their nineteenth-century heirs: Bach’s spellbinding d minor Chaconne transcribed by Italian composer and piano virtuoso Ferruccio Busoni and Brahms’s majestic Variations and Fugue on a Theme by Handel. Four scherzi by Fryderyk Chopin conclude the program. A far cry from the short, spirited bagatelles typically classified as scherzi, they are as devilish for the fingers as they are riveting to the ear.

JOHANN SEBASTIAN BACH (1685–1750)

Chaconne in d minor, BWV 1004 (arr. Ferruccio Busoni, ca. 1895)

CARTE BLANCHE CONCERT III:

Yura Lee, violin, and Dina Vainshtein, piano Wednesday, July 30, 8:00 p.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty Violinist Yura Lee returns to Music@Menlo, joined by pianist Dina Vainshtein in her festival debut, for a colorful program juxtaposing Czech and Hungarian folk-inflected works for violin and piano. The rich textures of George Enescu’s Impressions d’enfance exquisitely preface Dvořák’s beguiling Opus 75 Romantic Pieces. The music of the Hungarian Jenő Hubay and the Czech Josef Suk, each among the leading composer-virtuosos of their generation, demands complete mastery of the instrument, giving voice to folk-like melodies with lyricism and dazzling virtuosity in equal parts. The program concludes with Bartók’s riveting First Violin Sonata, one of the most hallowed works of the modern violin repertoire.

CARTE BLANCHE CONCERT IV:

Gilles Vonsattel, piano Sunday, August 3, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty Praised by the New York Times as “a pianist well worth watching,” Gilles Vonsattel follows his 2013 festival debut with a recital program centered on themes of nationalism and revolution. The program begins with two groundbreaking works by Beethoven: Six Bagatelles and the Moonlight Sonata. Liszt’s Funérailles, written in memory of the crushing of the Hungarian Revolution of 1848, signals the awakening of a new national voice. Janáček’s Sonata 1.X.1905 is of a similar elegiac nature, mourning the death of a slain Czech protester. The program concludes with Saint-Saëns’s exotic Africa fantasy and Frederic Rzewski’s Winnsboro Cotton Mill Blues, based on a workers’ song from the Industrial Revolution.

LUDWIG VAN BEETHOVEN (1770–1827)

Six Bagatelles, op. 126 (1824) Piano Sonata no. 14 in c-sharp minor, op. 27, no. 2, Moonlight (1801)

JOHANNES BRAHMS (1833–1897)

GEORGE ENESCU (1881–1955)

FRYDERYK CHOPIN (1810–1849)

ANTONÍN DVOŘÁK (1841–1904)

FRANZ LISZT (1811–1886)

JENŐ HUBAY (1858–1937)

LEOŠ JANÁČEK (1854–1928)

JOSEF SUK (1874–1935)

CAMILLE SAINT-SAËNS (1835–1921)

BÉLA BARTÓK (1881–1945)

FREDERIC RZEWSKI (b. 1938)

Prelude Performance* 5:30 p.m., Martin Family Hall, Menlo School

Join Gilles Vonsattel for a picnic lunch. A gourmet boxed lunch may be reserved with your ticket order for $18.

Variations and Fugue on a Theme by Handel, op. 24 (1861) Scherzo no. 1 in b minor, op. 20 (ca. 1835) Scherzo no. 2 in b-flat minor, op. 31 (1837) Scherzo no. 3 in c-sharp minor, op. 39 (1839) Scherzo no. 4 in E Major, op. 54 (1842–1843)

Impressions d’enfance for Violin and Piano, op. 28 (1940)

Romantic Pieces for Violin and Piano, op. 75 (1887) Scènes de la Csárda no. 3, op. 18 (1885) Four Pieces for Violin and Piano, op. 17 (1900)

Sonata no. 1 for Violin and Piano, Sz. 75, op. 84 (1921)

Funérailles from Harmonies poétiques et religieuses (1849) Sonata 1.X.1905 (1905–1906)

Africa in g minor for Solo Piano (1891)

Winnsboro Cotton Mill Blues (1980)

* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19. subscribe at www.musicatmenlo.org

Discovery and Engagement Encounters Chamber Music Institute Prelude Performances and Koret Young Performers Concerts Master Classes Café Conversations Chamber Music Institute Open House Listening Room AudioNotes

Michael Steinberg Encounter Series The Encounter series, Music@Menlo’s signature multimedia symposia led by classical music’s most renowned authorities, embodies the festival’s context-rich approach to musical discovery and adds an integral dimension to the Music@Menlo experience. The 2014 festival season’s four Encounters explore the multifaceted world of Antonín Dvořák, providing audiences context for the season’s eight Concert Programs. Using musical examples and drawing upon other art forms and cultural phenomena, this summer’s Encounter Leaders explore musical traditions of Eastern and Western Europe, providing an essential component of the festival experience for longtime music lovers and new listeners alike. The Encounter series is named in memory of Michael Steinberg, the eminent musicologist and Music@Menlo guiding light.

Music@Menlo LIVE Music@Menlo Travel Recording and Broadcasting ‘

2014–2015 Winter Series

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Visual Artist

* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19. 16

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ENCOUNTER I:

Dvořák at the Crossroads of the Nations led by David Beveridge Friday, July 18, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty Despite his humble self-identification as “a simple Bohemian musikant,” Antonín Dvořák in fact possessed a richly complex musical identity, nurtured by the multinational and multiethnic environment of the Austro-Hungarian Empire, where he grew up. With a craftsmanship rooted in the Viennese Classical tradition of Mozart, Beethoven, and Schubert, Dvořák further developed his musical style in some of his mature works under the mentorship of Brahms. He likewise turned an eager ear to inspirations from diverse cultures ranging from Russia through his native Czech lands and the British Isles all the way to African American spirituals of the United States. At this season’s opening Encounter, leading Dvořák scholar David Beveridge probes the emergence of this quintessential Romantic voice, whose universal appeal has continued to enchant listeners for more than a century.

ENCOUNTER II:

A Royal Tradition led by William Lobkowicz Thursday, July 24, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty The Lobkowicz family, one of the oldest noble lineages of the Kingdom of Bohemia, dating from the fourteenth century, has been renowned for generations as great advocates of the arts and culture. Its musical patronage extended to such composers as Gluck, Haydn, and Beethoven, who dedicated his Opus 18 string quartets and Eroica, Fifth, and Pastoral Symphonies, among other works, to the seventh Prince Lobkowicz. The family’s current heir, William Lobkowicz, leads this summer’s second Encounter, discussing the history of his family’s seat and its magnificently extensive collection, including priceless manuscripts, musical instruments, and historic archives. The evening promises an incomparable opportunity to explore Western music history from a wholly unique perspective. Lobkowicz will reveal the dramatic story of his family’s collection, its robbery, and its eventual return. Prelude Performance* 5:30 p.m., Stent Family Hall, Menlo School

Antonín Dvořák (1841–1904). Bronze sculpture. Prague. Courtesy of Angela Gavagai

Nelahozeves Castle, Czech Republic. Image of a historic monument owned by the Roudnice branch of the Lobkowicz family

ENCOUNTER III:

From Exoticism to Folklorism: The Quest for Musical Authenticity led by Michael Parloff Sunday, August 3, 6:00 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty For eighteenth- and nineteenth-century composers from Haydn to Liszt, Hungarian Gypsy music represented the exotic, as well as freedom from constricting Western mores. Over time, though, the genre veered toward more caricatured, commercialized forms of musical expression. During the early twentieth century, composerethnomusicologists such as Béla Bartók, Zoltán Kodály, and Leoš Janáček rejected the popularized style hongrois. Armed with Edison phonographs and wax cylinders, they visited the villages of “greater Hungary” in search of a more undiluted style of music making. From this rich soil of indigenous Eastern European peasant music, they developed a synthesis of pure “Eastern” folk idioms and traditional Western musical forms. In the season’s third Encounter, Michael Parloff will explore the progression from the exoticism of the style hongrois to the authenticity of folk-based, modernist musical languages.

Musicologist John A. Lomax (left) and Uncle Rich Brown at the home of Mrs. Julia Killingsworth near Sumterville, Alabama. Photo by Ruby Terrill Lomax, October 1940. Prints and Photographs Division, Library of Congress

ENCOUNTER IV:

Forbidden Music led by Ara Guzelimian Thursday, August 7, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty The global rupture of World War II had as profound an impact on musical life as it did on other facets of society. At Theresienstadt, a Nazi concentration camp propagandized as a thriving cultural enclave, the composers Viktor Ullmann, Hans Krása, and Gideon Klein were among those Jewish artists whose work was used to conceal the atrocities suffered throughout the prison. The Czech composer Erwin Schulhoff was likewise silenced by the war, dying in a concentration camp in Bavaria. The lives of those who survived tell a story, also. Schoenberg, Bartók, Korngold, Hindemith, and others fled war-ravaged Europe for America; their displacement indelibly altered the course of music history. At this season’s final Encounter, Ara Guzelimian probes this inescapable aspect of the arc of Central European music, exploring the traumatic ripple effect that would be felt across the Western world, from Berlin, Prague, and Vienna to Hollywood and New York. Prelude Performance* 5:30 p.m., Stent Family Hall, Menlo School

A concert in the “community house” at Terezin (Theresienstadt) concentration camp, August 1944. Still from propaganda film The Fuhrer Gives a City to the Jews (Der Führer schenkt den Juden eine Stadt). bpk, Berlin/Art Resource, NY subscribe at www.musicatmenlo.org

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David Finckel and Wu Han, Artistic Directors

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Gilbert Kalish, International Program Director

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Fri Music@Menlo’s Chamber Music Institute has become one of the top-tier summer programs in the United States for string players and pianists. The Institute brings together 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 exceptional young artists are culled 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. Institute 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 18

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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 new 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. The coaching faculty is generously supported by Paul and Marcia Ginsburg. 2014 Young Performers Program Faculty Dmitri Atapine Sunmi Chang Gloria Chien

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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. Prelude Performances feature the Institute’s International Program artists; Koret Young Performers Concerts feature the students of the Young Performers Program. Both series are free and open to the public.

Prelude Performances Schedule Featuring the Institute’s International Program artists. Saturday, July 19, 3:30 p.m., The Center for Performing Arts at Menlo-Atherton Sunday, July 20, 3:30 p.m., The Center for Performing Arts at Menlo-Atherton Tuesday, July 22, 5:30 p.m., Martin Family Hall, Menlo School Wednesday, July 23, 5:30 p.m., Martin Family Hall, Menlo School Thursday, July 24, 5:30 p.m., Stent Family Hall, Menlo School Friday, July 25, 5:30 p.m., Martin Family Hall, Menlo School Monday, July 28, 5:30 p.m., Stent Family Hall, Menlo School Tuesday, July 29, 5:30 p.m., Martin Family Hall, Menlo School Wednesday, July 30, 5:30 p.m., Martin Family Hall, Menlo School Friday, August 1, 5:30 p.m., Martin Family Hall, Menlo School Saturday, August 2, 5:30 p.m., The Center for Performing Arts at Menlo-Atherton Monday, August 4, 5:30 p.m., Stent Family Hall, Menlo School Thursday, August 7, 5:30 p.m., Stent Family Hall, Menlo School Friday, August 8, 5:30 p.m., Martin Family Hall, Menlo School Saturday, August 9, 5:30 p.m., The Center for Performing Arts at Menlo-Atherton Prelude Performances are generously supported by Chandler B. and Oliver A. Evans.

Koret Young Performers Concerts Schedule Featuring the students of the Young Performers Program. Saturday, July 26, 1:00 p.m., The Center for Performing Arts at Menlo-Atherton Saturday, August 2, 1:00 p.m., The Center for Performing Arts at Menlo-Atherton Saturday, August 9, 12:00 p.m., The Center for Performing Arts at 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 ticket reservations for one free concert of their choice. Members of the Beethoven Circle ($10,000) and above enjoy advance ticket reservations for all free concerts. For reserved seating opportunities, please see Premium Seating on p. 30. subscribe at www.musicatmenlo.org

M Chamber Music Institute Open House Day

Café Conversations and Master Classes 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 the artist-faculty members imparting 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 20

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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. Café Conversations and master classes are free and open to the public, taking place each weekday of the festival season at 11:45 a.m. at Menlo School. 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.

On Thursday, July 24, Music@Menlo welcomes the entire community of patrons, music educators, and prospective students and their parents to a free behind-the-scenes peek at what goes on during an average day in the Chamber Music Institute. Experience Music@Menlo from the standpoint of the many young musicians participating in the program. Start your day with a Q & A session with Institute faculty members and the festival Artistic Directors at 9:30 a.m., after which you can observe coachings, take part in a master class with violinist Arnaud Sussmann at 11:45 a.m., and meet the entire Institute faculty. Finish your day by enjoying a Prelude Performance at 5:30 p.m.

Listening Room Music@Menlo’s popular Listening Room series will return for a fifth season, hosted by Patrick Castillo, Audience Engagement Director. On select afternoons throughout the festival, Castillo will be the guide through an exploration of audio and video recordings of a variety of repertoire—ranging from symphonic works and operas to recently composed music. Each Listening Room event is designed to complement the season’s concert offerings and contribute to Music@Menlo’s context-rich brand of musical exploration.

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Recording and Broadcasting

Recording Producer Six-time Grammy Awardwinning recording producer Da-Hong Seetoo returns to Music@Menlo for a twelfth 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 Artistic Directors David Finckel and Wu Han invite you to join them 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 spring, Music@Menlo travels from Italy to Croatia aboard the luxurious Corinthian cruise ship. In the fall, David Finckel and Wu Han lead a once-in-a-lifetime musical exploration through Prague.

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.

If you are interested in learning more about Music@Menlo’s travel programs, please contact Annie Rohan at (650) 330-2133 or annie@musicatmenlo.org.

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 with each advance ticket order—offer cultural and historical context highlighted by musical examples and interviews with festival artists. Each AudioNotes disc 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 Awardwinning engineer Da-Hong Seetoo using state-of-the-art recording technology, Music@Menlo LIVE CDs offer “hours of world-class chamber music performed by top-ranked players and captured for posterity by a first-rate sound engineer” (Strings).

AudioNotes are available in CD or downloadable-MP3 format. 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 through iTunes, Amazon.com, and Classical Archives.

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 the return of American Public Media as the festival’s exclusive broadcast partner. Performances from the festival will air nationwide on American Public Media’s Performance Today®, the largest daily classical music program in the United States, which airs on 260 stations and reaches more than 1.3 million people each week, and via Classical 24®, a live classical music service broadcast on 250 stations and distributed by Public Radio International. Hosts and producers from American Public Media often participate in the festival as event moderators and educators. Go online to www.americanpublicmedia.org for archived performances, photos, and interviews.

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Music@Menlo Winter Series Enjoy Music@Menlo’s incomparable chamber music programming throughout the year, performed by both familiar festival favorites and distinguished artists making their unforgettable Music@Menlo debuts. The 2014–2015 season will comprise three Sunday afternoon performances, featuring a variety of the world’s finest artists. November 16, 2014 The Center for Performing Arts at Menlo-Atherton

February 22, 2015 Schultz Cultural Arts Hall, Oshman Family JCC, Palo Alto (Note: different venue)

May 17, 2015 The Center for Performing Arts at Menlo-Atherton Order your Winter Series tickets when you place your order for summer festival tickets! See the brochure order form for details. Become a Winter Series Subscriber and save $10 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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Classical Traditions

Jerusalem Quartet

Clarinet Celebration

Sunday, November 16, 2014, 4:00 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirty

Sunday, February 22, 2015, 4:00 p.m. Schultz Cultural Arts Hall, Oshman Family JCC, Palo Alto* Tickets: $50 full price; $25 under age thirty

Sunday, May 17, 2015, 4:00 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirty

Music@Menlo’s 2014–2015 Winter Series begins with a program tracing the Classical tradition into the twentieth century. After the program begins with Mozart, the composer under whose pen the Classical style fully crystallized, violinist Kristin Lee and pianist Gloria Chien offer the fiery Kreutzer Sonata of Beethoven, the torchbearer of Viennese Classicism at the dawn of a new era. Though composed more than a century later, Erich Wolfgang Korngold’s cinematic Piano Quintet harkens back to the tradition of Haydn, Mozart, and Beethoven, appropriating the most cherished qualities of their music—its formal elegance, melodic beauty, and effortless charm—for listeners of modern times.

Praised for its “passion, precision, warmth, and a gold blend,” the acclaimed Jerusalem Quartet makes its eagerly anticipated Music@Menlo debut, performing an afternoon of masterworks from the string quartet repertoire. Opening with the charming Rider Quartet by Joseph Haydn, the patriarch of the string quartet tradition, the program continues with Bartók’s gripping Fourth Quartet. Schumann, who carefully studied the string quartets of Mozart, Beethoven, and Haydn before writing his own, embraces the Classical tradition in his passionate Third Quartet.

Clarinetists David Shifrin and Romie de Guise-Langlois partner with violinist Arnaud Sussmann and pianist Hyeyeon Park to present an exceptional program of delightful works for clarinet and ensemble. Mendelssohn’s animated Opus 114 Concert Piece is followed by the lyrical Sonata for Clarinet and Piano by Leonard Bernstein. The program continues with two of the most revered works for clarinet, violin, and piano—Bartók’s Contrasts and Schoenfield’s Clarinet Trio— followed by Poulenc’s Sonata for Two Clarinets. Stravinsky’s L’histoire du soldat Suite presents an enthralling prelude to the virtuosic Il convegno duo by the Italian Romantic Amilcare Ponchielli.

WOLFGANG AMADEUS MOZART (1756–1791)

BÉLA BARTÓK (1881–1945)

LUDWIG VAN BEETHOVEN (1770–1827)

ROBERT SCHUMANN (1810–1856)

Trio in E Major for Piano, Violin, and Cello, K. 542 (1788)

Sonata in A Major for Violin and Piano, op. 47, Kreutzer (1802–1803)

ERICH WOLFGANG KORNGOLD (1897–1957)

Quintet in E Major for Piano, Two Violins, Viola, and Cello, op. 15 (1921)

ARTISTS

Gloria Chien, piano; Kristin Lee, Sean Lee, violins; Richard O’Neill, viola; Mihai Marica, cello

JOSEPH HAYDN (1732–1809)

String Quartet in g minor, op. 74, no. 3, Rider (1793) String Quartet no. 4, BB 95 (1928)

String Quartet in A Major, op. 41, no. 3 (1842)

ARTISTS

Jerusalem Quartet: Alexander Pavlovsky, Sergei Bresler, violins; Ori Kam, viola; Kyril Zlotnikov, cello

FELIX MENDELSSOHN (1809–1847)

Concert Piece for Clarinet, Basset Horn, and Piano, op. 114 (1832)

LEONARD BERNSTEIN (1918–1990)

Sonata for Clarinet and Piano (1941–1942)

BÉLA BARTÓK (1881–1945)

Contrasts for Clarinet, Violin, and Piano, BB 116 (1938)

PAUL SCHOENFIELD (b. 1947)

Trio for Clarinet, Violin, and Piano (1986)

FRANCIS POULENC (1899–1963) *Please note different location.

Sonata for Two Clarinets, FP 7 (1918, rev. 1945)

IGOR STRAVINSKY (1882–1971)

Suite from L’histoire du soldat (The Soldier’s Tale) (1919)

AMILCARE PONCHIELLI (1834–1886)

Il convegno (The Meeting) for Two Clarinets and Piano (1868)

ARTISTS

David Shifrin, Romie de Guise-Langlois, clarinets; Hyeyeon Park, piano; Arnaud Sussmann, violin

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Visual Artist: Tracey Adams Tracey Adams was born in Los Angeles, California, in 1954. She works predominantly in the medium of encaustic. Originally trained as a musician, Adams completed her master’s degree at New England Conservatory of Music in Boston in 1980. Concurrently, she studied painting at the School of the Museum of Fine Arts in Boston. She has had solo shows at the Monterey Museum of Art, the Fresno Museum of Art, and the Santa Cruz Museum of Art and History. In 2003, she was invited to the Slovak Republic, where she exhibited at the Andy Warhol Museum in Medzilaborce, a project supported by artist’s grants from the U.S. Department of State and the Ministry of Culture, Slovak Republic. She is also a recipient of an Artist’s Grant from the Community Foundation of 24

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the Monterey Peninsula. Her work is featured in Authentic Visual Voices (Catherine Nash, 2013) and Embracing Encaustic (Linda Womack, 2014). In 2014, Adams’s work will be included in a traveling group exhibition, Swept Away, at the Hunterdon Art Museum in Clinton, New Jersey. Her work will also be part of an exhibition, The Circle Game, at the Tucson Museum of Art through September 7 and SHIFT: Five Decades of Contemporary California Painting at the Monterey Museum of Art through September 22. Tracey Adams lives and works in Carmel, California. www.traceyadamsart.com Music@Menlo’s Visual Artist is generously supported by Libby and Craig Heimark.

Join us on Tuesday, July 29, for a special Café Conversation with Tracey Adams (11:45 a.m., Stent Family Hall), and meet the artist at an in-person morning discussion during the annual Caruso Coffee (see p. 30 for more information on donor benefits). Adams’s work will be displayed on campus throughout the festival. Cover: Revolution 34, 2007, 18 x 54 in., encaustic on three panels. Collection of Alan Markesich Back cover: Lumenins 27B, 2014, 40 x 40 in., encaustic and oil on panel Upper left: Revolution 23, 2007, 20 x 30 in., encaustic on panel. Collection of Elise Waters Olonia Upper right: Revolution 50, 2008, 48 x 24 in., encaustic on panel. Collection of the Crocker Art Museum, Sacramento

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Artistic Directors: David Finckel and Wu Han The Martin Family Artistic Directorship Cellist David Finckel and pianist Wu Han, Musical America’s 2012 Musicians of the Year, rank among the most esteemed and influential classical musicians in the world today. The talent, energy, imagination, and dedication they bring to their multifaceted endeavors as concert performers, recording artists, educators, artistic administrators, and cultural entrepreneurs go unmatched. In high demand year after year among chamber music audiences worldwide, the duo has appeared each season at the most prestigious venues and concert series across the United States and around the world to unanimous critical acclaim. For thirty-four years, David Finckel served

as cellist of the Grammy Award-winning Emerson String Quartet. David Finckel and Wu Han’s wide-ranging musical innovations include the launch of ArtistLed (www.artistled.com), classical music’s first musician-directed and Internet-based recording company, whose catalog of sixteen albums has won widespread critical acclaim. They are the founding Artistic Directors of Music@Menlo and have served as Artistic Directors of the Chamber Music Society of Lincoln Center since 2004. In 2011, David Finckel and Wu Han were named Artistic Directors of Chamber Music Today, an annual festival held in Korea, and David Finckel was recently named Artistic Director and honoree

of the Mendelssohn Fellowship, which identifies young Korean musicians and promotes chamber music in Korea. In these capacities, as well as through a multitude of other education initiatives, such as their newly created chamber music studio at the Aspen Music Festival and School, 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. For more information, please visit www.davidfinckelandwuhan.com.

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Festival Performer Biographies

Acclaimed as a “splendid, elegant cellist,” Dmitri Atapine has appeared on some of the world’s foremost stages, and his recordings can be found on the Naxos, Urtext Digital, and Blue Griffin labels. Atapine is a top-prize winner at the Carlos Prieto, Plowman, and Premio Vittorio Gui competitions, among many others. He is the Artistic Director of the Ribadesella Festival and Argenta Concert Series and is a cello professor at the University of Nevada, Reno.

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, and was appointed Director of the Chamber Music Institute at Music@Menlo in 2010. A Steinway artist, she has recorded for Chandos Records and recently released a CD with clarinetist Anthony McGill. Gloria Chien is an Associate Professor at Lee University and is a member of the Chamber Music Society of Lincoln Center’s CMS Two.

French violinist Nicolas Dautricourt is a member of the Chamber Music Society of Lincoln Center’s CMS Two program and has appeared with the Orchestre National de France, Sinfonia Varsovia, and the Nice Philharmonic. Dautricourt has won awards from the Henryk Wieniawski Competition in Poznań and the Jeunesses Musicales Competition in Belgrade, among others, and is Artistic Director of Les Moments Musicaux de Gerberoy. Dautricourt holds the Marilyn and Boris Wolper Violin Chair in honor of Philip Setzer for 2014.

In 2012, violinist Benjamin Beilman received an Avery Fisher Career Grant and a London Music Masters Award. He also captured First Prize at the 2010 Young Concert Artists International Auditions and YCA’s Helen Armstrong Violin Fellowship. This season’s highlights include his concerto debut at Carnegie Hall in addition to concerto debuts with the London Philharmonic, Los Angeles Chamber Orchestra, and Chicago Philharmonic. He is a graduate of the Curtis Institute of Music and a member of CMS Two at the Chamber Music Society of Lincoln Center.

Brazilian-born pianist Arnaldo Cohen came to prominence after winning First Prize at the Busoni International Piano Competition. He performs worldwide with orchestras such as the London Philharmonic, the Bavarian Radio Symphony Orchestra, the Philadelphia Orchestra, and the Cleveland Orchestra. He is a frequent recording artist, with recent discs including recitals and all the piano concerti of Liszt and Rachmaninov. Cohen is Artistic Director of the Portland Piano International Series and holds a full professorship at the Jacobs School of Music at Indiana University.

The Escher String Quartet has received acclaim for its individual sound, inspired artistic decisions, and unique cohesiveness. The quartet has performed at prestigious venues and festivals across the United States and overseas, including Lincoln Center, the Kennedy Center, and the Louvre, as well as the Ravinia and Caramoor festivals and La Jolla SummerFest. One of BBC’s renowned New Generation Artists, the quartet is now an Artist of the Chamber Music Society of Lincoln Center. Recent releases include the complete Zemlinsky quartets on the Naxos label.

Musicologist David R. Beveridge taught and lectured at various American colleges and universities before settling permanently in the Czech Republic in 1993. He is working on the most comprehensive treatment ever of the life and work of Antonín Dvořák. He has published numerous articles on the topic and is editor and coauthor of the book Rethinking Dvorˇák: Views from Five Countries. In 2013 he won an award from the Hlávka Foundation for his book on relationships among Dvorˇák, architect Josef Hlávka, and their wives.

Percussionist Florian Conzetti performs as a soloist and chamber music collaborator. He has appeared at the Astoria Music Festival, Cascadia Composers Concerts, Cal Performances, and Stanford Live; performed with the San Francisco Contemporary Music Players, the Berkeley Contemporary Chamber Players, Alarm Will Sound, and the Meridian Arts Ensemble; and recorded solo and chamber music works for the Innova and Albany labels. Conzetti is Artistic Codirector of Northwest New Music and teaches at Portland State University and Linfield College.

Recipient of a prestigious Avery Fisher Career Grant in 2009, clarinetist Alexander Fiterstein has been praised by the New York Times for possessing a “beautiful liquid clarity.” He is a First Prize winner of the Carl Nielsen International Clarinet Competition and the Aviv Competitions in Israel and is a winner of the Young Concert Artists International Auditions. Fiterstein is a founding member of the Zimro Project and is an Artist of the Chamber Music Society of Lincoln Center. He serves as clarinet professor at the University of Minnesota, Twin Cities.

As the laureate of both the 2007 International Markneukirchen and Sion-Valais International Violin Competitions, violinist/violist Sunmi Chang has performed worldwide to much acclaim as a soloist and chamber musician. An active chamber musician, Chang won First Prize at the Plowman Chamber Music Competition and has collaborated with many renowned artists. Currently she plays with the St. Paul Chamber Orchestra, having won a position there in 2009. Chang holds the Leslie Hsu and Rick Lenon Violin Chair for 2014.

Technical skill as well as a fresh approach to familiar repertoire have become the trademarks of the Danish String Quartet. Among its honors are the Carl Nielsen Prize, the Twentieth-Century Prize, the Beethoven Prize, the Sidney Griller Award, and the Menton Festival Prize. The Danish String Quartet was the Danish Radio Artist-in-Residence, and its recordings have been released on the Dacapo label. In 2013–2014, the quartet joined the Chamber Music Society of Lincoln Center’s prestigious CMS Two.

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In September 2009, violinist Jorja Fleezanis embarked on a new career path as Professor of Orchestral Studies and Violin at the Indiana University Jacobs School of Music, after holding the post of Concertmaster of the Minnesota Orchestra for twenty years. Commissioned works for her include Nicholas Maw’s Sonata for Solo Violin; Aaron Jay Kernis’s Brilliant Sky, Infinite Sky, commissioned by the Schubert Club; and John Adams’s Violin Concerto and John Tavener’s Ikon of Eros, both commissioned by the Minnesota Orchestra.

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.

Bassoonist Peter Kolkay is a recipient of both an Avery Fisher Career Grant and First Prize at the Concert Artists Guild Competition. An Artist of the Chamber Music Society of Lincoln Center, Kolkay is also on the faculty of the Blair School of Music at Vanderbilt University. A dedicated performer of new music, he recently premiered Joan Tower’s bassoon concerto Red Maple. His first solo album, BassoonMusic (CAG Records), features works by twenty-first-century American composers.

Committed to influencing and expanding the repertoire for solo percussion through commissions and premieres, percussionist Christopher Froh collaborates with leading composers as a member of the San Francisco Contemporary Music Players, Empyrean Ensemble, and San Francisco Chamber Orchestra. His solo performances stretch from Rome to Tokyo to Istanbul and are recorded on the Albany, Bridge, Equilibrium, and Innova labels. He is currently on the faculty at the University of California at Davis.

Known for her artistic versatility, Ayano Kataoka was the first percussionist to be chosen for the Chamber Music Society of Lincoln Center’s CMS Two program. She has collaborated with Yo-Yo Ma, Emanuel Ax, Jaime Laredo, Ani Kavafian, and David Shifrin. Her solo recital at the Tokyo Opera City Recital Hall was broadcast on NHK, Japan’s national public radio. She is currently a faculty member of the University of Massachusetts Amherst.

Violinist Kristin Lee has performed with major orchestras including the St. Louis Symphony, Rochester Philharmonic, and Juilliard Orchestra and given recitals throughout the United States, South Korea, Italy, Russia, and France. She graduated from the Juilliard School under Itzhak Perlman and Donald Weilerstein and is currently an Artist of the Chamber Music Society of Lincoln Center and on faculty at the Aaron Copland School of Music at Queens College.

Ara Guzelimian is Provost and Dean of the Juilliard School, where he oversees the faculty, curriculum, and artistic planning of the distinguished performing arts conservatory in all three of its divisions: dance, drama, and music. He previously served as Senior Director and Artistic Advisor of Carnegie Hall from 1998 to 2006. In the past he has served as Artistic Administrator of the Los Angeles Philharmonic and the Aspen Music Festival and School and as Artistic Director of the Ojai Festival.

American violinist Erin Keefe, winner of a 2006 Avery Fisher Career Grant, has also won the Grand Prize in the Valsesia Musica, Toruń, Schadt, and Corpus Christi competitions and the silver medal in the Carl Nielsen, Sendai, and Gyeongnam competitions. She has performed with orchestras in the United States, Japan, Korea, Germany, Italy, Denmark, and Poland and is Concertmaster of the Minnesota Orchestra. She has recorded for Naxos and Deutsche Grammophon. Erin Keefe is an Artist of the Chamber Music Society of Lincoln Center.

With performances described by the New York Times as “breathtakingly beautiful,” violinist Sean Lee is quickly gaining recognition as one of today’s most talented rising artists, having received prizes in the Premio Paganini International Violin Competition and the Young Concert Artists International Auditions. His recent EMI Classics recording reached the Top Twenty on the iTunes Top Classical Albums list. An equally involved chamber musician, Lee is performing from 2012 to 2015 as a CMS Two Artist at the Chamber Music Society of Lincoln Center.

Armenian cellist Narek Hakhnazaryan—winner of the prestigious XIV International Tchaikovsky Competition—recently debuted with the Chicago Symphony and the Orchestra of St. Luke’s. In 2013–2014, he is appearing in recital at Carnegie Hall and throughout the United States. He was mentored by Mstislav Rostropovich and studied with Laurence Lesser. Hakhnazaryan holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2014.

Winner of the Georg Solti Foundation Career Grant, Sooyun Kim has been praised as “a rare virtuoso of the flute” by Libération. Since her concerto debut with the Seoul Philharmonic Orchestra at age ten, she has enjoyed a flourishing career as a collaborator and soloist, performing in the world’s most prestigious venues. This past summer she served as an Artist-in-Residence with the Danish Chamber Players in Fuglsang, Denmark. Kim is an Artist of the Chamber Music Society of Lincoln Center. subscribe at www.musicatmenlo.org

Festival Performer Biographies

Violinist/violist Yura Lee, recipient of a prestigious Avery Fisher Career Grant, is enjoying an international career that spans almost two decades. As a soloist, she has appeared with virtually every major orchestra in the country and has given recitals worldwide. At age twelve she was the youngest ever recipient of the NPR Debut Artist of the Year prize. She won First Prize at the 2013 ARD Competition (Germany) and holds countless other international awards. Lee is an Artist of the Chamber Music Society of Lincoln Center as a violinist and a violist.

Anthony McGill, Principal Clarinet of the Metropolitan Opera Orchestra since 2004, was chosen to perform with Yo-Yo Ma, Itzhak Perlman, and Gabriela Montero at President Obama’s inauguration in January of 2009. His performances throughout the world as a recitalist, chamber musician, and soloist with orchestra consistently receive rave reviews. From Chicago, McGill attended the Curtis Institute of Music and is a recipient of an Avery Fisher Career Grant, as well as the first Sphinx Medal of Excellence.

Principal Flutist of the Metropolitan Opera Orchestra from 1977 until 2008, Michael Parloff has been heard regularly as a lecturer, recitalist, chamber musician, and concerto soloist throughout North America, Europe, and Japan. He is the founder and Artistic Director of Parlance Chamber Concerts, which promotes the appreciation and understanding of classical music in Northern New Jersey. Parloff has recorded extensively with the Metropolitan Opera for Deutsche Grammophon, Sony Classical, London, and Philips.

William Lobkowicz traces his family’s ancestry back over seven centuries as princes of the Holy Roman Empire and High Chancellors of the Kingdom of Bohemia. Since returning to Bohemia in 1990, he has been responsible for reclaiming his family’s philanthropic heritage, founding the Lobkowicz Collections Foundation and L. E. Holdings, as well as Lobkowicz Events Management, which manages and operates four family castles in the Czech Republic. He is a board member and Executive Committee member of the American Chamber of Commerce in Prague.

Violist Paul Neubauer has appeared with over one hundred orchestras throughout the world, including the New York, Los Angeles, and Royal Liverpool Philharmonics; the National, St. Louis, Detroit, Dallas, and San Francisco Symphonies; and the Santa Cecilia, English Chamber, and Beethovenhalle Orchestras. He has been featured on CBS’s Sunday Morning and A Prairie Home Companion with Garrison Keillor. At age twenty-one, he was the youngest principal string player in the history of the New York Philharmonic.

Principal Bass of the San Francisco Symphony since 2004, Scott Pingel previously served as Principal Bass of the Charleston Symphony Orchestra and as Guest Principal with the National Arts Centre Orchestra in Canada. As a chamber musician, he can often be heard on radio programs including NPR’s Performance Today. Formerly active as a jazz musician, Pingel performed in venues from New York to Stockholm. Currently, he is a faculty member of the San Francisco Conservatory of Music.

American pianist Anne-Marie McDermott is a consummate artist who balances a versatile career as a soloist and collaborator, performing one hundred concerts annually. She tours with her piano quartet, Opus One, and as a duo with violinist Nadja SalernoSonnenberg. McDermott is Artistic Director of the famed Bravo! Vail Valley Music Festival in Colorado, as well as the Ocean Reef Chamber Music Festival in Florida and the Avila Chamber Music Celebration in Curaçao. She has been an Artist of the Chamber Music Society of Lincoln Center since 1995.

Described as a pianist “with power, precision, and tremendous glee” by Gramophone, Hyeyeon Park was selected as a 2012 Artist of the Year by the Seoul Arts Center. She has appeared as a soloist and chamber musician worldwide and is a prizewinner of numerous international competitions, including Oberlin, Ettlingen, Hugo Kauder, Maria Canals, Prix Amadèo, and Corpus Christi. Park is an Assistant Professor of Piano at the University of Nevada, Reno, and she can be heard on the Blue Griffin, Urtext Digital, HM, and Naxos labels.

Juho Pohjonen has attracted great attention as one of Finland’s most intriguing and talented pianists. His 2004 debut at Carnegie’s Weill Hall was selected as one of the most memorable concert events heard in New York that year by the New York Times. Last season’s highlights include international tours with the Chamber Music Society of Lincoln Center and debut performances with the Louisiana Philharmonic. Pohjonen recently debuted at the Aspen Music Festival and has given recitals in Dresden, Hamburg, Vancouver, Hong Kong, Warsaw, and throughout the United States. Pohjonen holds the Kathleen G. Henschel Piano Chair in honor of Wu Han for 2014.

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Known for his “delicious quality of tone,” Kevin Rivard, Coprincipal Horn of the San Francisco Opera Orchestra and Principal Horn of the San Francisco Ballet Orchestra, has performed with Orpheus Chamber Orchestra and the Chamber Music Society of Lincoln Center, among others. His awards include Grand Prize at the Concours International d’Interprétation Musicale in Paris, the International Horn Competition of America, and the Farkas Horn Competition. Rivard is a horn professor at California State University East Bay.

Praised by the New York Times as “an intelligent and communicative singer” with a “compelling desire to bring texts to life,” baritone Randall Scarlata enjoys a lively career encompassing opera, recital, chamber music, and works for voice and orchestra. His repertoire spans four centuries and fifteen languages, and he has given world premieres of works by George Crumb, Ned Rorem, and Christopher Theofanidis, among others. An international award winner and Fulbright Scholar, Scarlata serves on the faculty of West Chester University and SUNY Stony Brook.

Stephen Taylor, one of the most sought-after oboists in the country, holds the Mrs. John D. Rockefeller III Solo Oboe Chair at the Chamber Music Society of Lincoln Center. He is a solo oboist with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St. Luke’s Chamber Ensemble (for which he has served as Codirector of Chamber Music), the American Composers Orchestra, the New England Bach Festival Orchestra, and Speculum Musicae, and he is Coprincipal Oboist of Orpheus Chamber Orchestra. He is a faculty member of the Juilliard, Yale, and Manhattan schools of music.

Cellist Keith Robinson is a founding member of the Miami String Quartet and an active chamber musician, recitalist, and soloist. Winner of the 1989 PACE Classical Artist of the Year Award, he has recorded for the Blue Griffin, BMG, CRI, Musical Heritage Society, and Pyramid recording labels. With the Miami String Quartet, he was a member of the Chamber Music Society of Lincoln Center’s CMS Two program and has won the Concert Artists Guild, London String Quartet, and Fischoff Chamber Music competitions.

Russian violinist Alexander Sitkovetsky has performed with the Netherlands Philharmonic, London’s Philharmonia, the Royal Philharmonic, the Konzerthausorchester Berlin, the Tucson Symphony Orchestra, the St. Petersburg Symphony Orchestra, and the Academy of St. Martin in the Fields. Together with pianist Wu Qian and cellist Leonard Elschenbroich, he performs in the Sitkovetsky Piano Trio, regularly appearing in England at Wigmore Hall and across Europe. Alexander Sitkovetsky is a member of CMS Two at the Chamber Music Society of Lincoln Center.

Pianist Dina Vainshtein has collaborated with some of the most promising musicians around the world, from Alice Tully Hall and Weill Recital Hall in New York City to the Caramoor Festival, the Ravinia Festival, and the Music Academy of the West in Santa Barbara and tours of Japan, China, Europe, and Russia. She received the Special Prize for Best Collaborative Pianist at the 1998 Tchaikovsky International Competition. For nearly a decade, Vainshtein has been affiliated with New England Conservatory. She has released recordings on the Naxos label.

Praised for his “excellent” and “precisely attuned” performances by the New York Times, percussionist Ian David Rosenbaum has developed a musical breadth far beyond his years. He made his Kennedy Center debut in 2009 and garnered a special prize created for him at the Salzburg International Marimba Competition. Recently joining the CMS Two roster at the Chamber Music Society of Lincoln Center, Rosenbaum is a member of Le Train Bleu, Novus NY, the Sandbox percussion quartet, and Time Travelers. He has recorded for the Bridge, Innova, and Naxos labels and is a faculty member of the Dwight School in Manhattan.

Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann has appeared with the New York Philharmonic and the American Symphony and recently toured Israel. Winner of the Andrea Postacchini and Vatelot/Rampal Competitions, he studied under Itzhak Perlman and was his Teaching Assistant for two years. Sussmann is an Artist of the Chamber Music Society of Lincoln Center and appears regularly at festivals nationwide. Sussmann’s first solo CD, with pianist Orion Weiss, will be released this summer on the Telos Music label.

Winner of a 2008 Avery Fisher Career Grant, Swiss pianist Gilles Vonsattel is a musician of uncommon versatility. An Artist of the Chamber Music Society of Lincoln Center, Vonsattel captured the top prize at the prestigious Naumburg International Piano Competition in 2002 and has appeared on the world’s most renowned stages. He has premiered works by composers such as Ned Rorem and Nico Muhly, and his recent recording was named one of Time Out New York’s Classical Albums of the Year. He is Assistant Professor of Piano at the University of Massachusetts Amherst. Vonsattel holds the Karen and Rick DeGolia Piano Chair for 2014.

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Beethoven ($10,000–$24,999) Members enjoy: • a total of eight Premium Seating reservations 3

• advance ticket reservations for all free concerts 2 • acknowledgment on season dedication concert-hall signage and the program book dedication page • the Beethoven Circle Dinner Party: Join the Artistic Directors, festival musicians, and Institute faculty and staff for an inner-circle post-concert dinner party, hosted by the board.

Patrons Circle Enjoy customized recognition, intimate dinners, and the annual Patrons Circle Season Announcement.

Music@Menlo Membership Circles

Esterházy ($25,000–$49,999) Members enjoy: • a total of twelve Premium Seating reservations 3

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

• a personalized program book, signed by Artistic Directors David Finckel and Wu Han

In addition to the benefits at your membership level, you will enjoy the benefits associated with all previous levels. All summer festival event invitations will be mailed in June.

Performers Circle Welcome to the Music@Menlo community!

Paganini ($100–$249) Members enjoy:

• receiving the festival brochure and reserving your festival tickets in advance of the general public • acknowledgment in the festival program book

Caruso ($500–$999) Members enjoy:

• the Caruso Coffee: Join us for a late-morning breakfast and panel discussion about behind-the-scenes aspects of the festival.

Haydn ($2,500–$4,999) Members enjoy:

•P remium Seating reservations for you and your guests at all events 3

• the Haydn Circle Post-Concert Dinner with Festival Friends: Mingle with the Artistic Directors, festival musicians, and festival friends at this casual post-concert dinner reception.

Medici ($100,000+) Members enjoy:

• the opportunity to host a private concert in your home with festival artists and your friends Please note: 1

VIP ticket orders are filled before those of Subscribers and the general public according to level of giving. VIP ticket services also include no-fee ticket exchanges and dedicated-staff assistance.

Advance ticket reservations provide tickets for general-admission seating at a free concert and may be used for up to four people. Contact VIP ticket services at least one day in advance to reserve your unassigned free ticket. See Premium Seating reservations (Haydn Circle and above) for assigned seating opportunities.

Premium Seating reservation provides special seating consideration A for a paid or free concert of your choice. A ticket is required for each performance for which you wish to use your Premium Seating request. Specific seats cannot be guaranteed; all Premium Seating reservations are assigned seats, including in otherwise unreserved halls.

Mozart ($5,000–$9,999) Members enjoy:

• the Garden Party: Enjoy the outdoors and the company of festival musicians and friends at the annual Garden Party—hosted by a fellow patron.

Bach ($1,000–$2,499) Members enjoy: • priority ticket fulfillment and VIP ticket services 1

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• customized benefits and recognition

• a concert dedication, acknowledged in the festival program book

Enjoy free-concert reservations, VIP ticketing, and special events.

• the Bach BBQ: Celebrate the festival season at the annual Bach BBQ. Join the Artistic Directors, artists, and Chamber Music Institute faculty and students at a casual barbecue among friends.

• a total of sixteen Premium Seating reservations 3

• a total of four Premium Seating reservations 3

Composers Circle

• advance ticket reservations for one free concert of your choice

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

• the Chamber Music Institute Private Recital and Luncheon: Enjoy a private student performance, with lunch.

• a 10 percent discount on Music@Menlo merchandise, including LIVE CDs

• the Patrons Circle Festival Dinner: Enjoy this intimate post-concert Sunday dinner with the Artistic Directors, festival artists, and Institute faculty.

• the Festival Season Preview: Be among the first to learn about the season to come at this private spring performance and reception.

• a total of two Premium Seating reservations

Joachim ($250–$499) Members enjoy:

• the Patrons Circle Season Announcement: Join the Artistic Directors for the Patrons Circle Season Announcement—a private, in-home concert and dinner in the spring where the programming for the next festival is unveiled. You are the first to know!

• a Mozart Circle Dinner Party: Enjoy one Mozart Circle post-concert dinner party, hosted by a fellow patron, with the Artistic Directors, artists, and close festival friends. 4

Please choose one of the Mozart Circle Dinner Parties offered during the summer. Space is limited and based on availability at the time of your RSVP.

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Supporting Music@Menlo Gifts to the Annual Fund

Ways to Give

Sponsor a Student with a Gift to the Ann S. Bowers Young Artist Fund

Pledges: Gifts may be pledged and paid in increments comfortable for you. Please contact us for more information.

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

Sponsorships provide essential support for the more than forty talented young musicians who participate in Music@Menlo’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, 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 at multiple levels and 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 Music@Menlo’s longterm financial health and for board-designated 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.

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.

Employer Matching Gifts: Many companies match donations by their employees and retirees. Contact your employer’s human resources department to find out more. Music@Menlo is an eligible 501(c)3 educational institution. Corporate Partnerships/In-Kind Gifts: The festival has expenses in the areas of wine, catering, air travel, and transportation. Contributions of goods and services greatly reduce our operating costs and offer promotional benefits for your business. Planned Gifts: 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 Annie Rohan, Institutional Advancement Director, at 650-330-2133 or email annie@musicatmenlo.org. subscribe at www.musicatmenlo.org

Reserving Your Summer Festival Tickets

Get the Best Seats! Support Members of the Bach Circle ($1,000) and above receive advance ticket reservations for one free concert of your choice and VIP priority ticketing—these 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 30 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 13 for Subscriber priority ticketing. (To learn more, see the description on this page.)

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

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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 ticket services hours: Before July 14: Monday–Friday, 10:00 a.m.–4:00 p.m. July 14–August 9: Daily, 9:00 a.m.–4:00 p.m.

2014 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 2014 summer season! Subscribers also enjoy free ticket exchanges for the 2014 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 orders 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. • Ticket replacement: Enjoy lost-ticket insurance in case you ever misplace or forget your tickets.

Choose-Your-Own Summer Festival Mini Subscription

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.

hoose-Your-Own Summer Festival C 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 2014 Music@Menlo LIVE CDs when they are released later in the year.

COntaCt InFORMatIOn

We’re always glad to hear from you!

I have chosen all festival Concert Programs (I–VIII, my choice of dates) and all Encounters (I–IV).

10% off: Summer Festival Immersion Subscription

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10% off: Choose-Your-Own Summer Festival Full Subscription

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5% off: Choose-Your-Own Summer Festival Mini Subscription

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6 COnFIRM tOtaL and PaYMEnt InFORMatIOn

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5 handLInG FEE

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Ticket sales fund less than 20 percent of Music@Menlo’s programming, which includes all Institute activities and free concerts. Your contributions make Music@Menlo possible. Please consider making a gift with your ticket order—thank you! (Learn more on pp. 30–31.)

4 SUPPORt thE MUSIC YOU LOvE!

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(Learn more on p. 32.)

3 SUbSCRIbE and SavE!

 MP3: I would prefer my AudioNotes in MP3 format. Please send download instructions to my email address.

 CD: Please mail my AudioNotes CDs with my tickets.

They are available in CD or MP3 format. (Learn more on p. 21.)

you this summer!

We look forward to seeing

Thank you for your order.

ORdER tOtaL:

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(% Discount x Festival Ticket Total)

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Summer Festival Ticket Total: $ _________ Special Event Ticket Total: + $ _________

of this form and write in the totals here:

AudioNotes, Music@Menlo’s signature preconcert listener guides, are complimentary with your summer festival ticket order.

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2 SELECt YOUR tICKEtS

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For questions, please call Music@Menlo’s ticket services office at 650-331-0202, email tickets@musicatmenlo.org, or visit us online at www.musicatmenlo.org.

Before July 14: Monday–Friday, 10:00 a.m.–4:00 p.m. July 14–August 9: Daily, 9:00 a.m.–4:00 p.m.

Music@Menlo ticket services hours:

_______________________________________________________________________________________________ NAME

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CHAMBER MUSIC FESTIVAL AND INSTITUTE

2014 Order Form

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Sat, July 26 / 8:00 p.m. / Menlo-Atherton

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Tue, August 5 / 8:00 p.m. / Menlo-Atherton

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Total

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SUMMER FESTIVAL TICKET TOTAL:

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Under age thirty*

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. Please note: Winter Series concerts do not count towards festival subscriptions. ripti

Sun, May 17 / 4:00 p.m. / Menlo-Atherton

Clarinet Celebration

Sun, February 22 / 4:00 p.m. / Oshman Family JCC $50 × ____

Jerusalem Quartet

Sun, November 16 / 4:00 p.m. / Menlo-Atherton $50 × ____

Classical Traditions

Nov. 16, 2014 / Feb. 22, 2015 / May 17, 2015

Three-Concert Subscriber Package (Save $10!)

2014–2015 WIntER SERIES (pp. 22–23)

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B Seating

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A Seating

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Sun, August 3 / Menlo School Campus

X Carte Blanche IV: Post-Concert Gourmet Picnic Lunch

Sat, July 19 / 8:30 p.m. / Menlo School Campus

X Fête the Festival

X SPECIaL EvEntS

Thu, August 7 / 7:30 p.m. / Martin Family Hall

Encounter IV: Forbidden Music

Sun, August 3 / 6:00 p.m. / Martin Family Hall

The Quest for Musical Authenticity

Encounter III: From Exoticism to Folklorism:

Thu, July 24 / 7:30 p.m. / Martin Family Hall

Encounter II: A Royal Tradition

Fri, July 18 / 7:30 p.m. / Martin Family Hall

Encounter I: Dvořák at the Crossroads of the Nations

EnCOUntERS (pp. 16–17)

X Sun, August 3 / 10:30 a.m. / Stent Family Hall

Carte Blanche Concert IV: Gilles Vonsattel, piano

Wed, July 30 / 8:00 p.m. / Stent Family Hall

Carte Blanche Concert III: Yura Lee and Dina Vainshtein

Sun, July 27 / 10:30 a.m. / Stent Family Hall

Carte Blanche Concert II: Arnaldo Cohen, piano

Wed, July 23 / 8:00 p.m. / Stent Family Hall

Carte Blanche Concert I: Escher String Quartet

Full Price

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Sat, August 9 / 8:00 p.m. / Menlo-Atherton CaRtE bLanChE COnCERtS (pp. 14–15)

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Fri, August 8 / 8:00 p.m. / Stent Family Hall

Concert Program VIII: Bridging Dvořák

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Sat, August 2 / 8:00 p.m. / Menlo-Atherton Concert Program VII: Hungarica

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Fri, August 1 / 8:00 p.m. / Stent Family Hall

Concert Program VI: Transitions

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Tue, July 29 / 8:00 p.m. / Stent Family Hall Concert Program V: American Visions

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Sun, July 27 / 6:00 p.m. / Menlo-Atherton

Concert Program IV: Beethoven’s Friends

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Fri, July 25 / 8:00 p.m. / Stent Family Hall

Concert Program III: Lobkowicz Legacy

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Tue, July 22 / 8:00 p.m. / Stent Family Hall

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Full Price

Sun, July 20 / 6:00 p.m. / Menlo-Atherton

Concert Program II: Viennese Roots

X Sat, July 19 / 6:00 p.m. / Menlo-Atherton

Concert Program I: Dvořák in Context

FEStIvaL COnCERt PROGRaMS (pp. 6–13)

A Seating

B Seating

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SELECt YOUR tICKEtS

A Seating

*For Concert Programs, Carte Blanche Concerts, and Encounters, a minimum age of seven years is required. For younger audiences, please see the Prelude Performances and Koret Young Performers Concerts schedule on p. 19.

Music@Menlo’s performance venues are wheelchair accessible. Patrons requiring special seating accommodations should request them at the time of purchase. For any accessibility questions or requests, please contact the ticket services team at 650-331-0202.

ADA Accessibility

venue seating maps are not drawn to scale.

A Seating

Stage

B Seating

Stage

B Seating (rear orchestra)

A Seating

B Seating

Stent Family Hall Menlo School, Atherton (148 seats)

A Seating

A Seating (orchestra)

Martin Family Hall Menlo School, Atherton (220 seats)

B Seating

Stage

The Center for Performing Arts at Menlo-Atherton (492 seats)

Reserved Seating—Seating for paid concerts is reserved at the Center for Performing Arts at MenloAtherton and Stent Family Hall (new this year!). Seating is by general admission in Martin Family Hall and for all Prelude Performances and Koret Young Performers Concerts. Ticket orders are filled in the following order: 1) Members of the Bach Circle ($1,000) and above, based on level of giving; 2) Subscribers, in the order they were received; and 3) individual ticket buyers, in the order they were received. For concerts in reserved-seating venues, seats are assigned on a best-available basis at the time the order is filled.

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Among the festival’s most beloved events, Music@Menlo’s FREE Prelude Performances and Koret Young Performers Concerts showcase the exciting young artists of the Chamber Music Institute. In response to the popularity of these events, a free 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. To learn about reserving tickets in advance of the general public, please see p. 30.

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please see the Prelude Performances and Koret Young Performers Concerts schedule on p. 19.

Reserving Your Summer Festival Tickets

Priority Ticketing, Ticket Discounts, and Handling Fees Members of the Bach Circle and Above

(contributors of $1,000 or more to the 2014 Annual Fund) Your priority ticket order (placed by Wednesday, April 30) will be filled before all other ticket orders (based on giving level; see p. 30 for more information). For your first summer festival ticket order, pay festival Subscriber or non-Subscriber handling fees, as noted below. Then, enjoy waived handling fees for all additional ticket purchases or exchanges throughout the 2014 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 2014 summer festival and have your advance order (placed by Tuesday, May 13) filled before non-Subscriber orders (see p. 32 for more information). A $10-per-order handling fee applies to each original order. Subscribers pay no handling fees on ticket exchanges throughout the 2014 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 an order of three or fewer concerts or Encounters (including the Winter Series, see p. 22). 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 (new this year!) 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, Café 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 30 for Bach Circle and above Members and by May 13 for Subscribers are filled according to giving level and Subscriber status. See p. 30 for information about Premium Seating for Haydn Circle 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. 22.)

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-perticket 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 program. 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 after 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 ticket reservations for one free concert of their choice. Members of the Beethoven Circle ($10,000) and above enjoy advance ticket reservations for all free 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. 30 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 contact ticket services at 650-331-0202, email tickets@musicatmenlo.org, or visit www.musicatmenlo.org.

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The Festival Campus and Performance Venues

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The Festival Home: Menlo School Menlo School, one of the nation’s leading independent collegepreparatory schools, 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 34

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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.

masterpieces, all in the context of curricula ranging from American literature to foreign language studies.

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

Music@Menlo’s Welcome Center serves as a place for artists, students, audiences, 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. Located on the Menlo School campus on the ground floor of Stent Family Hall (beneath Spieker Ballroom), the Welcome Center is open daily throughout the festival.

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For Visitors to Our Area The Center for Performing Arts at Menlo-Atherton

Performance Venues In 2014, Music@Menlo offers audiences a 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 pp. 16–17), select Prelude Performances (see pp. 18–19), master classes, and Café Conversations (see p. 20). The Center for Performing Arts at Menlo-Atherton, opened in 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 492seat 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 this page.

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MENLO PARK

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 eating: 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 in the adjacent lot.

MAP NOT DRAWN TO SCALE

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, 14 (Adam Barnett-Hart), 15 (Yura Lee), 16, 18, 19, 20, 22, 30, 31, 32, 33, 34, and 35: Tristan Cook with Brian Benton and Diana Lake. pp. 14 (Escher String Quartet) and 23 (Sean Lee and Kristin Lee; David Shifrin, Anne-Marie McDermott, and Romie de Guise-Langlois): Tristan Cook, courtesy of the Chamber Music Society of Lincoln Center. Artist portraits: Danish String Quartet (p. 26): Caroline Bittencourt. Juho Pohjonen (p. 28): Marco Borggreve. Jerusalem String Quartet (p. 23), Ayano Kataoka (p. 27), Chris Froh, Ayano Kataoka, and Ian Rosenbaum (p. 20), and Michael Parloff (p. 28): Tristan Cook. Benjamin Beilman (p. 26): Benjamin Ealovega. Arnaud Sussmann (p. 29): Nyght Falcon. Ian Rosenbaum (p. 29): Matt Fried. Kevin Rivard (p. 29): Heather George. David Beveridge (p. 26): Zdenek Hrabica. Jorja Fleezanis (p. 27): courtesy of Indiana State University. Sooyun Kim (p. 27): Andrew Kim. Gloria Chien (p. 26), David Finckel and Wu Han (p. 25), and Erin Keefe (p. 27): Lisa-Marie Mazzucco. Keith Robinson (p. 29): Tara McMullen. Paul Neubauer (p. 28): Bernard Mindich. Escher String Quartet (p. 26): Laura Rose. Ara Guzelimian (p. 27): Peter Schaaf. Anthony McGill (p. 28): Katie Smith. Sunmi Chang (p. 26): courtesy of the Saint Paul Chamber Orchestra. Da-Hong Seetoo (p. 21) and Stephen Taylor (p. 29): Christian Steiner. Art direction and design: Nick Stone, www.nickstonedesign.com subscribe at www.musicatmenlo.org

36 subscribe at www.musicatmenlo.org

Thursday, July 31

Wednesday, July 30

Tuesday, July 29

Monday, July 28

Sunday, July 27

Saturday, July 26

Friday, July 25

Thursday, July 24 Chamber Music Institute Open House

Wednesday, July 23

11:45 a.m.

Tuesday, July 22 5:30 p.m.

5:30 p.m.

1:00 p.m.

5:30 p.m.

11:45 a.m.

4:15 p.m.

11:45 a.m.

11:45 a.m. Master Class/Café Conversation* Martin Family Hall 4:15 p.m. Listening Room with Patrick Castillo Martin Family Hall

Master Class/Café Conversation* Martin Family Hall

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

Café Conversation* with Visual Artist Tracey Adams Stent Family Hall Prelude Performance Martin Family Hall

Master Class/Café Conversation* Martin Family Hall Listening Room with Patrick Castillo Martin Family Hall Prelude Performance Stent Family Hall

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

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

Master Class* with Arnaud Sussmann, violin Martin Family Hall Prelude Performance Stent Family Hall

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

Prelude Performance The Center for Performing Arts at Menlo-Atherton

Monday, July 21

3:30 p.m.

7:30 p.m.

8:00 p.m.

6:00 p.m.

10:30 a.m.

8:00 p.m.

6:00 p.m.

8:30 p.m.

Sunday, July 20

Prelude Performance The Center for Performing Arts at Menlo-Atherton

6:00 p.m.

3:30 p.m.

Saturday, July 19

7:30 p.m.

Paid Events

Free Events

Friday, July 18

Date

Music@Menlo Calendar

Concert Program V: American Visions The Center for Performing Arts at Menlo-Atherton ($68/$58)

Carte Blanche Concert III: Yura Lee, violin, and Dina Vainshtein, piano Stent Family Hall ($70)

Concert Program IV: Beethoven’s Friends Stent Family Hall ($78)

Carte Blanche Concert II: Arnaldo Cohen, piano Stent Family Hall ($70) Concert Program IV: Beethoven’s Friends The Center for Performing Arts at Menlo-Atherton ($68/$58)

Concert Program III: Lobkowicz Legacy The Center for Performing Arts at Menlo-Atherton ($68/$58)

Concert Program III: Lobkowicz Legacy Stent Family Hall ($78)

Encounter II: A Royal Tradition, led by William Lobkowicz Martin Family Hall ($45)

Carte Blanche Concert I: Escher String Quartet Stent Family Hall ($70)

Concert Program II: Viennese Roots Stent Family Hall ($78)

Concert Program II: Viennese Roots The Center for Performing Arts at Menlo-Atherton ($68/$58)

Concert Program I: Dvorˇák in Context The Center for Performing Arts at Menlo-Atherton ($68/$58) Fête the Festival Menlo School Campus ($65)

Encounter I: Dvorˇák at the Crossroads of the Nations, led by David Beveridge Martin Family Hall ($45)

July 18–August 9, 2014

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5:30 p.m.

12:00 p.m.

11:45 a.m.

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

Master Class/Café Conversation* Martin Family Hall

Master Class/Café Conversation* Martin Family Hall Listening Room with Patrick Castillo Martin Family Hall Prelude Performance Stent Family Hall

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

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

7:30 p.m.

8:00 p.m.

6:00 p.m.

10:30 a.m.

8:00 p.m.

Paid Events

Concert Program VIII: Bridging Dvorˇák The Center for Performing Arts at Menlo-Atherton ($68/$58)

Concert Program VIII: Bridging Dvorˇák Stent Family Hall ($78)

Encounter IV: Forbidden Music, led by Ara Guzelimian Martin Family Hall ($45)

Concert Program VII: Hungarica The Center for Performing Arts at Menlo-Atherton ($68/$58)

Carte Blanche Concert IV: Gilles Vonsattel, piano Stent Family Hall ($70) Picnic Lunch ($18) Encounter III: From Exoticism to Folklorism, led by Michael Parloff Martin Family Hall ($45)

Concert Program VI: Transitions The Center for Performing Arts at Menlo-Atherton ($68/$58)

Concert Program VI: Transitions Stent Family Hall ($78)

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ProPiano is the official provider of Steinway grand pianos to Music@Menlo 2014.

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

Special Thanks

*Each weekday of the festival features either a master class with the Chamber Music Institute’s young artists (see p. 18) or a Café Conversation (see p. 20). 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.

Saturday, August 9

Friday, August 8

5:30 p.m.

11:45 a.m.

Thursday, August 7

11:45 a.m.

Wednesday, August 6

5:30 p.m.

11:45 a.m.

4:15 p.m.

11:45 a.m.

1:00 p.m.

Tuesday, August 5

Monday, August 4

Sunday, August 3

Saturday, August 2

5:30 p.m.

11:45 a.m.

Friday, August 1

Free Events

Date

Nonprofit Org. U.S. Postage PAID Menlo Park, CA

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

Permit No. 149