Music@Menlo Program Book 2008 by Claire Graham

The Sixth Season The Unfolding of Music II CHAMBER MUSIC FESTIVAL AND INSTITUTE

July 18–August 8, 2008 David Finckel and Wu Han, Artistic Directors

Art is a celebration. Whether it takes the form of a simple pleasure or a powerful challenge, art is always a celebration of the human imagination. It is our honor and pleasure to be part of this celebration.

Music@Menlo The Unfolding of Music II the sixth season july 18–august 8, 2008 david finckel and wu han, artistic directors

Contents 3

A Message from the Artistic Directors

Welcome from the Executive Director

7 The Unfolding of Music II: Program Information 8 Essay: “Built to Last: Ensuring That New Works Enter the Repertory” by Alan Fletcher 10

Encounters I–IV

Concert Programs I–V

Carte Blanche Concerts I–IV

The Music@Menlo Story

Chamber Music Institute

Prelude Performance Series

Koret Young Performers Concert Series

Café Conversations

Master Classes

Open House

Visual Arts and the Festival

Music@Menlo LIVE

37 Essay: “Why I Listen to New Music” by L. D. Tashjian 38

Artist Biographies

Glossary

Join Music@Menlo

Acknowledgments

Concert Information

Festival Calendar

Cover: Unsaid #41, 2008, oil transfer drawing, by Doug Glovaski. Images on pp. 10, 11 (The musician’s table), 12–18, courtesy of Art Resource. Image on p. 11 (Crumb) courtesy of C.F. Peters. Photograph on p. 20 (Bartók) courtesy of Lebrecht Music & Arts. Artwork on p. 33 (top right) Vestige #2, 2008, oil transfer drawing; (lower right) Windings #1, 2008, oil on paper, by Doug Glovaski. Photographs on pp. 1, 5, 8, 19, 22–32, 55, 56–61, 63: Tristan Cook. Photographs on pp. 7, 35: Nick Stone. David Finckel and Wu Han (pp. 2, 38), Bruce Adolphe (p. 38), Gary Graffman (p. 42), Derek Han (p. 43), DaXun Zhang (p. 49): Christian Steiner. Borromeo String Quartet (p. 39): Liz Linder. Hasse Borup (p. 39): Mary Noble Ours. Florian Conzetti (p. 40): Kathleen Karn. Jorja Fleezanis (p. 41): Anneliese Varaldiev. Christopher Froh (p. 41): Sarah Raffo. Stuart Isacoff (p. 43): David Beyda. Erin Keefe (p. 44): Lisa-Marie Mazzucco. Paul Neubauer (p. 46): Emiliano Loconsolo. Stephen Prutsman (p. 47): courtesy of California Artists Management. Philip Setzer (p. 47): Mitch Jenkins. Celena Shafer (p. 47): Dario Acosta. Joseph Swensen (p. 48): Eric Richmond. Gabriela Lena Frank (p. 50): Sabine Frank. Kenneth Frazelle (p. 50): Cary Clifford. Jennifer Higdon (p. 50): J.D. Scott. Art direction and design: Nick Stone Design, www.nickstonedesign.com.

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2008 Season Dedication

Music@Menlo’s sixth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support and commitment continue to make the realization of Music@Menlo’s mission possible.

Anonymous (3) Susie & Riley Bechtel Ann S. Bowers Jim & Mical Brenzel Iris & Paul Brest Mr. & Mrs. Henry D. Bullock Chubb Group of Insurance Companies The Jeffrey Dean & Heidi Hopper Family Jennifer DeGolia Rick DeGolia David Finckel & Wu Han Joan & Allan Fisch Mark & Anne Flegel Fleishhacker Foundation Marcia & Paul Ginsburg The Robert J. and Helen H. Glaser Family Foundation The David B. and Edward C. Goodstein Foundation Sue & Bill Gould Wallace R. & Alexandra Hawley Libby & Craig Heimark Kathleen G. Henschel The William and Flora Hewlett Foundation The Hurlbut-Johnson Fund Michael Jacobson & Trine Sorensen Koret Foundation Funds Mary Lorey Moira Cullen Martin & Hugh Martin Patty & Eff Martin In memory of Glen & Caroline Miner The David and Lucile Packard Foundation Laurose & Burton Richter Camilla & George Smith Marcia & Hap Wagner Melanie & Ron Wilensky Kathe & Edwin Williamson

Music@Menlo 2008

A Message from the Artistic Directors Dear Listeners, Welcome to Music@Menlo’s 2008 season, The Unfolding of Music II. The evolution of music is one of the world’s most profound miracles. Music is born of the marriage between the human need for expression and physics, the natural laws of our world. Humans first found their musical voices within themselves, and then discovered that vibrating strings and hollow vessels produced pleasing sounds that resonated with their musical instincts. Music was considered such a phenomenon that the ancient Greeks attempted to explain its mysteries in scientific terms, observing and noting the behavior of sonic vibrations. Since that time, the art of music has evolved in the hands of composers, who have steadily explored the infinite possibilities of combining pitch and rhythm. As these experiments continued over centuries, not only has music come to sound more advanced, but the emotions and ideas it expressed have evolved as well. We are excited to renew an adventure we began six years ago—a journey through chamber music’s rich history. With infinite programming possibilities and routes to explore, the selection of music you will experience this year is as exciting and fascinating as that featured in our inaugural year, offering fresh perspectives and new insights. If you were with us during that first season, we invite you to relive the sensation of hearing the language of music unfold and develop over the course of the festival. If you are joining us on this journey for the first time, you will be amazed, as we travel through these weeks together, at how the music of today becomes as familiar as the music from which it evolved. Throughout The Unfolding of Music II, we will be exploring history, with music as our narration. The Encounters will take us into the ages in which the music of the concert programs was created, and bring to life the composers and other musicians who propelled the art form forward. The young musicians of the Chamber Music Institute will be learning their repertoire assignments in an extraordinary environment not found in any music school. Seasoned listeners will find many opportunities to go deeper into the music; festivalgoers who are new to chamber music will come away engaged and grounded in the art form, ready to continue a lifelong exploration of music. We thank our dedicated Music@Menlo staff for their expert work in fulfilling this vision, and we are especially grateful to our wonderful board and the many of you who support the festival so generously. Without all of you, this would not be possible. With best wishes for a very enjoyable, stimulating, and rewarding festival experience,

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

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Peace of Mind. That’s the art of Chubb. For more than 125 years Chubb has insured and supported the arts. In that spirit, we are proud to once again serve as the Visionary Corporate Sponsor of Music@Menlo.

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Music@Menlo Board Ann S. Bowers Paul M. Ginsburg Kathleen G. Henschel Michael J. Hunt Eff W. Martin Hugh Martin David Finckel and Wu Han, Artistic Directors William R. Silver, ex officio Edward P. Sweeney, Executive Director, ex officio

Administration David Finckel and Wu Han, Artistic Directors Edward P. Sweeney, Executive Director Patrick Castillo, Artistic Administrator Laura Jordan, Assistant to the Artistic Directors Marianne LaCrosse, Operations Director David Lorey, Planning Director Shayne Olson, Marketing Director Marcella Prieto, Patron Services and Development Coordinator Adrienne Stortz, Administrative Assistant Nathalie Strong, Bookkeeper Sally Takada, Development Manager Daphne Wong, Operations Coordinator

Welcome from the Executive Director Dear Friends, It is with great pleasure that I welcome you to the sixth season of Music@Menlo, my first full festival as Executive Director. Music@Menlo is truly an extraordinary endeavor—more than just a music festival, we are a community that gathers each summer to share our passion for chamber music, and to learn and discover in each other’s company. It is this spirit of openminded exploration and learning that is truly the heart and soul of Music@Menlo. From our celebratory fifth-anniversary season last year, we now turn our gaze forward, embarking on our sixth season with great excitement and optimism. This season marks the beginning of our second five-year cycle of artistic programming and organizational consolidation. Our goal is to chart a course that will guide Music@Menlo to its tenth anniversary season, and beyond. While our artistic directors continue to explore the incredible expanse of the chamber music repertoire, our staff and board have crafted a five-year strategic plan that will help Music@Menlo to fulfill its artistic dreams. With the ultimate objective of establishing permanence for the festival in this community, we are continuing to build a strong financial base to support Music@Menlo’s endeavors for years to come. A prime example of Music@Menlo’s commitment to the future is the Chamber Music Institute. If you haven’t yet discovered this gem, I urge you to do so this summer. This unique program brings together three generations of musicians. Under the tutelage of our established artist-faculty, the young professionals of the International Program hone their craft. Those musicians in turn mentor and guide the Young Performers who are just embarking on their lives in music. While providing teaching and guidance, the older generations are at the same time energized and inspired by the spirit of the younger musicians. Indeed, this atmosphere of learning permeates the entire festival. I want to thank our extraordinary board, our dedicated and talented staff, our tireless volunteers, our unbelievably generous donors and home hosts, and our amazing audiences. As we move into this next era for Music@Menlo, I look forward to getting to know all of you better and to broadening our festival community. Please seek me out during the festival and tell me what you personally cherish about Music@Menlo. With your help and guidance, anything is possible. See you at the festival!

Edward P. Sweeney Executive Director

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C I T I P R I VA T E B A N K I S P RO U D TO S U P P O RT

MUSIC  MENLO We welcome the responsibility of serving your needs. Please contact Scott Hayes or Omar Chyou at 650.329.7060.

“Citi Private Bank” is a business of Citigroup Inc., which provides its clients access to a broad array of services and products available through bank and non-bank affiliates. Not all services and products are provided by all affiliates or are available at all locations. For more information, contact a private banker or relationship manager. ©2007 Citigroup. All rights reserved.

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The Unfolding of Music II

programs

artists

Concert Program I: Towards Bach

Violin Jorja Fleezanis Erin Keefe Philip Setzer Arnaud Sussmann* Ian Swensen Joseph Swensen

Flute Sooyun Kim* Demarre McGill*

Wednesday, July 23, 8:00 p.m. • St. Mark’s Episcopal Church Thursday, July 24, 8:00 p.m. • Stent Family Hall Friday, July 25, 8:00 p.m. • Stent Family Hall

Viola Hsin-Yun Huang Paul Neubauer

Clarinet Anthony McGill

Concert Program III: The Romantic Generation

Cello Andrés Díaz David Finckel Laurence Lesser*

Saturday, July 19, 8:00 p.m. • St. Mark’s Episcopal Church Sunday, July 20, 6:00 p.m. • Stent Family Hall Monday, July 21, 8:00 p.m. • Stent Family Hall

Concert Program II: Classical Bookends: Haydn and Schubert

Monday, July 28, 8:00 p.m. • St. Mark’s Episcopal Church Tuesday, July 29, 8:00 p.m. • Stent Family Hall Wednesday, July 30, 8:00 p.m. • Stent Family Hall

Concert Program IV: The Rise of Modernism Saturday, August 2, 8:00 p.m. • St. Mark’s Episcopal Church Sunday, August 3, 6:00 p.m. • Stent Family Hall Monday, August 4, 8:00 p.m. • Stent Family Hall

Concert Program V: Music Now: Voices of Our Time Thursday, August 7, 8:00 p.m. • St. Mark’s Episcopal Church Friday, August 8, 8:00 p.m. • St. Mark’s Episcopal Church

Carte Blanche Concert I: Bach and Forth Sunday, July 20, 10:30 a.m. • Stent Family Hall

Carte Blanche Concert II: The Schubert Piano Trios Sunday, July 27, 10:30 a.m. • Stent Family Hall

Carte Blanche Concert III: For the Left Hand Thursday, July 31, 8:00 p.m. • St. Mark’s Episcopal Church

Carte Blanche Concert IV: The Bartók Quartet Cycle Sunday, August 3, 10:00 a.m. • Stent Family Hall

Oboe William Bennett Kathryn Greenbank*

Bassoon Dennis Godburn French Horn William VerMeulen

Borromeo String Quartet Nicholas Kitchen* Kristopher Tong* Mai Motobuchi* Yeesun Kim*

Soprano Celena Shafer*

Escher String Quartet Adam Barnett-Hart Wu Jie Pierre Lapointe Andrew Janss

Percussion Florian Conzetti Christopher Froh Daniel Kennedy* Tom Kolor*

Bass DaXun Zhang

Encounter Leaders Bruce Adolphe Ara Guzelimian Stuart Isacoff* Michael Steinberg

Piano Gary Graffman Derek Han Jeffrey Kahane Anna Polonsky* Stephen Prutsman* Wu Han Harpsichord Kenneth Cooper

Baritone Robert Gardner*

Visiting Composers Gabriela Lena Frank* Kenneth Frazelle* Jennifer Higdon*

*Music@Menlo debut

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Built to Last: Ensuring That New Works Enter the Repertory by alan fletcher

If we accept the premise that music should grow and change, and should reflect its own times as well as help us remember a nostalgic past, then we need to confront a few key issues. Will an audience be able to hear a new work for itself? Will that work have enough time to make an impression in two senses: time in performance and time in rehearsal? Will the music have legs—will it get a chance to be heard repeatedly, a chance without which no work can enter the repertory? The biggest challenge in presenting new music is to engage the listener’s attention in advance. Because such a significant number of devoted classical music listeners have an inbuilt distrust of the new, anything that persuades them truly to listen is an advantage. Very often, this will be some kind of narrative, either within the piece or about its composition. But then the music itself must have real integrity and must fulfill the requirement of all great classical music— that it grows and changes and deepens its meaning on repeated hearings. This may be why we see the phenomenon of composers who advance a program for a work, and then withdraw it later, once the work is launched—Mahler comes to mind. Jennifer Higdon’s blue cathedral, John Adams’s On the Transmigration of Souls, John Tavener’s The Protecting Veil, and Christopher Rouse’s Gorgon are all examples of pieces that leaned at least a little on a program in their first outings. The notes or pre-concert talks basically say, “This is why this piece sounds the way it does.” And then the listener is happy, or moved, to follow along. In some cases, the pieces depend on the programs; in some the listener may well wish to leave the story behind. I recently presented some new work at the Aspen Institute with about half an hour of careful explanation. The audience seemed to go along fine, but afterwards one listener was quite concerned for anyone who would hear the piece without the explanation. It seemed unlikely to her that so much detailed preparation could be

Music@Menlo 2008

recouped by a listener remote from my description, and she felt she had needed the help. This platform for listening to something for the first time, based on the story that can be told in advance, is also based on expectation. Audiences will give more attention to something given an aura by the composer’s reputation—Adams and Glass and, now, Golijov have an

The healthy diversity we seek in a vital musical culture demands different degrees of difficulty—audiences want to relax and yet they also want to be challenged. advantage here, though this can cut two ways. A listener can be influenced by a composer’s past work in both a good and a restricting way. There’s also an important advantage in having a diverse new music culture. If audiences think they know in advance that new music is unmelodic or ugly or confusing, they won’t be able to hear anything. They’re very likely to find confirmation for whatever formulaic response they’ve decided on. The reverse side of this argument is important, too. If new music enters a conservative, derivative phase and everything new sounds as if it weren’t so new, the whole musical culture has an equally great problem. We should help audiences celebrate that the excitement is precisely in not knowing what a new piece will be like. In commissioning a work, one inevitably worries about time. There’s a simple arithmetic to rehearsal time: if a new work is on the

long side, it had better be easy. Michael Tippett remarked that a new piece needs to get by on sixty per cent of its notes, since that’s how many are likely to be in place for a first hearing. This is an exaggeration, but the playing field for a performance of a Bruckner symphony and a Wuorinen symphony is not level. I think commissioners in the past 25 years or so may have done the art a disservice by asking for shorter orchestral works, designed to be squeezed in before a popular concerto and larger standard symphony. Some music needs a longer space in time to make a full effect, and we need to trust the music, and the audience, to achieve this. After hearing a magnificent performance led by James Levine, a friend of mine and I identified the “Parsifal Paradox”: if it’s taken sublimely slow, Parsifal’s five hours fly by, but if it’s too fast, it seems to last forever. There’s a curious corollary with new music. Some pieces need real length to make an immediate effect. Some of the most successful new works of recent years—Gorecki, Adams, Harbison—are surely in this category. Restricted to ten minutes, they would not develop the connection with the listener that makes them apprehensible. Some music is just born difficult, and some music is just born long, and we need a performance culture that gives time where it’s needed. The Boston Symphony Orchestra is seeking a special endowment to cover as much as $1.5 million in revenue lost and in substantial extra rehearsal time for its ambitious new music schedule. This then returns us to the problem of rehearsal. Most orchestras can present credible performances of difficult Beethoven or Mahler with very short rehearsal periods because the whole musical culture—from conservatories to the recording industry to the audition process—has prepared them for it. This doesn’t mean that these are optimal performances: Celibidache’s famous experiment at Curtis in 1984, with extreme amounts of rehearsal, showed that there are results available only from intense study. But new pieces, especially if there is anything really and truly new about them, don’t have this head start. It can easily happen that a challenging new piece is never heard for its true self because the rehearsal period has not permitted that real face to show. Among many examples, this was the fate of Milton Babbitt’s Transfigured Notes in a notoriously difficult series of attempts in Philadelphia in the 1980s. Maybe the piece is genuinely too difficult, but it was impossible to tell since it had no chance. This is why Levine and the BSO have agreed to rehearse some works over many weeks, a little at a time, instead of the usual 90 minutes and out. (Actually, 90 minutes is unrealistically generous. I had a premiere with the Nashua Symphony in March 2007—beautifully given—with 40 minutes total rehearsal, including the dress. I was delighted with the commission, but naturally I needed to write with this extreme constraint in mind.) The Rite of Spring was too difficult for the orchestra that first played it, and part of the riotous nature of its premiere was that there was virtual chaos on stage and in the pit; now children can play it. They need to be talented children, but they can be children nevertheless. Works like this have literally changed the way we teach and practice music. The healthy diversity we seek in a vital musical culture demands different degrees of difficulty—audiences want to relax and yet they also want to be challenged. The best artistic teams know that this is equally as true of commissioned works as of standard repertoire. Finally comes the question of repetition. One of the mysterious qualities of a great piece is how it changes with our growing knowledge

of it. One might arguably understand everything about The Nutcracker on a first hearing, but who could feel the same about the Pathétique? If a subscriber to a major orchestra hears ten consecutive premieres, each only once, how can she be sure she’s heard any one of those pieces all the way to its most profound depth? Thus Koussevitsky presented some of his commissions repeatedly, most famously Bartók’s Concerto for Orchestra. This can only be done selectively, but conductors and artistic teams need to be alert for the works that will repay this investment. James Levine, and especially his group in Boston, are not only leading exemplars of this kind of commitment, but will surely enter history as among the leading creators of style in our time thereby. Repetition within the programming of one presenter is one crucial kind of horizontal emphasis in time for a new piece. Equally important may be the vertical repetition offered by multiple commissioners. The Made in America project is a great example. Not only does engagement with a wide array of different performers help refine a new work—through multiple rehearsal experiences that will assist the later performers, and through the possibility of revision—taken for granted by all the greatest composers throughout history!—but the knowledge that a piece is being received by many different audiences is likely to provide exactly the kind of push that we opened this essay describing: audiences begin listening with some assurance that there is real value to be had in giving their attention, not worrying that the next 10, or 20, or 40 minutes are a throwaway offered to some onerous responsibility. So how do we—composers, performers, listeners, administrators—know whether a commission has been a success? If the first audience is standing and cheering, that can’t be a bad sign. But some works that make a quick impression don’t make a lasting one, and some that start slow end up with the greatest staying power. We’ll need to have at least two dimensions to the success question: not only asking whether a work is worthy of entering the repertoire, which will be a quality only a very few works can have, but asking whether we’re supporting a healthy practice of experimentation with style, extended technique, freshness of listening, and willingness to take risks. An ensemble whose performers embrace this, and whose organization encourages an audience to respond in kind, is likely also to have a fresh and important approach to the great canon. Alan Fletcher is the President and CEO of the Aspen Music Festival and School. Essay originally appeared in NewMusicBox (www.newmusicbox.org), the Web magazine from the American Music Center, and is reprinted with permission.

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encounters

july 18

july 26

encounter i

encounter ii

Temperament: How Music Became a Battleground for the Great Minds of Western Civilization

Nostalgia Is Not Enough: What Is Romantic?

with Stuart Isacoff Friday, July 18, 7:30 p.m. Martin Family Hall, Menlo School (Prelude Performance 5:30 p.m. See page 24.) In a multimedia presentation—employing musical performance on pianos in different tunings, visual images, and a bit of theater—writer, pianist, and composer Stuart Isacoff takes us on a journey through history to unveil the little-known story of fierce battles over music that have engaged philosophers, popes, scientists, musicians, and artists across many centuries. Combatants included such thinkers as Leonardo da Vinci, Galileo Galilei, and Sir Isaac Newton. At the center of these fights were fundamental questions: Does God have rules governing how we should select the notes of our musical scales? Does Mother Nature teach us the ways of musical harmony? If the universe seems to provide specific musical laws, does anyone have a right to tamper with them? This Encounter tackles these fascinating questions, and is based on Stuart Isacoff’s critically acclaimed book, Temperament (Knopf and Vintage), of which the New York Times Book Review declared: “Isacoff untangles the complexities of this issue with the aplomb of a virtuoso pianist playing scales.”

SPECIAL THANKS Music@Menlo dedicates this Encounter to Laurose and Burton Richter with gratitude for their generous support.

Pythagoras, philosopher and mathematician, 1762. Pietro Longhi (1702–1785) (Art Resource)

10 Music@Menlo 2008

with Michael Steinberg Saturday, July 26, 7:30 p.m. Martin Family Hall, Menlo School (Koret Young Performers Concert 5:30 p.m., Stent Family Hall. See page 27.) The words “Romantic” and “Romanticism” have come to be used in dismayingly imprecise ways, indeed in ways far removed from what the composers, writers, and artists who first used them had in mind. Current usage, particularly in music, tends to be code for “not modern” or, to take it a step further, “don’t worry, it’s not going to upset you.” But this overlooks the desire of the real Romantics to do just that, to turn your world upside down by opening doors and windows onto previously unknown landscapes of feeling and expression. Boldness and adventure, brave new world, are the essential features of the movement that electrified the world at the beginning of the nineteenth century. In this Encounter, Michael Steinberg will, with the help of many examples, explore the origins and the nature of Romanticism and attempt, to the extent that it will allow us, to define it.

SPECIAL THANKS Music@Menlo dedicates this Encounter to Jennifer DeGolia with gratitude for her generous support.

The Lady of Shalott, 1888. John William Waterhouse (1849–1917) (Art Resource)

encounters

august 1

august 6

encounter iii

encounter iv

Delicious Dissonance: Melodic, Harmonic, and Rhythmic Dissonance in the Twentieth Century

Future Forward: Exploring the Here and Now

with Bruce Adolphe Friday, August 1, 7:30 p.m Martin Family Hall, Menlo School (Koret Young Performers Concert 5:30 p.m., Stent Family Hall. See page 28.) A speck of dust in your eye, a car alarm in the street at night while you are trying to sleep, an elevator stuck between floors, and a flirtatious glance from a stranger—all of that is dissonance. In twentieth-century music, dissonance was liberated, integrated, concentrated, and most definitely celebrated as the key (so to speak) to modernity. But the concept of dissonance is still misunderstood by many listeners. Take a tour of the essential ingredients of the daring new music of the last century, as composer and public radio’s piano puzzlemaster (on American Public Media’s Performance Today) Bruce Adolphe examines dissonant rhythm, melody, and harmony—including musical examples from Stravinsky, Schoenberg, Bartók, Ruth Crawford Seeger, Henry Cowell, and others, with some examples from the visual arts, including work by Picasso.

The musician’s table, 1913. Georges Braque (1882–1963) (Art Resource)

with Ara Guzelimian Wednesday, August 6, 7:30 p.m. Martin Family Hall, Menlo School (Koret Young Performers Concert 5:30 p.m., Stent Family Hall. See page 29.) Music, like all the arts, is in a constant process of reinventing itself while reflecting its own times. This talk, led by Ara Guzelimian, Provost and Dean of the Juilliard School, explores the unprecedented diversity of musical idioms at the dawn of the present century, probing the process of musical creativity and innovation along the way. Featuring conversations with festival composers, this Encounter offers audiences a special opportunity to gain insight into the music of our time, including some of the works that will be performed at this year’s closing concerts (see page 16).

SPECIAL THANKS Music@Menlo dedicates this Encounter to Ann S. Bowers with gratitude for her generous support.

Detail from Spiral Galaxy, in Makrokosmos, Volume I, 1972. George Crumb (b. 1929) (Courtesy of C.F. Peters)

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concerts

program i

Towards Bach july 19, july 20, & july 21 Saturday, July 19, 8:00 p.m. St. Mark’s Episcopal Church, Palo Alto (Prelude Performance 6:00 p.m. See page 24.)

Salamone Rossi (1570?–c. 1630)

Sunday, July 20, 6:00 p.m. Stent Family Hall, Menlo School

Giovanni Legrenzi (1626–1690)

Sonata no. 4 sopra l’aria dei Ruggiero (1623) Arnaud Sussmann, Erin Keefe, violins; Laurence Lesser, cello; Kenneth Cooper, harpsichord

Sonata “La Foscari” a due, op. 2 (1655) Adam Barnett-Hart, violin; Dennis Godburn, bassoon; Kenneth Cooper, harpsichord

Monday, July 21, 8:00 p.m. Stent Family Hall, Menlo School (Prelude Performance 6:00 p.m. See page 24.)

SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals and organizations with gratitude for their generous support: July 19: Moira Cullen Martin and Hugh Martin July 20: Martin Family Foundation July 21: Nancy and DuBose Montgomery

Henry Purcell (1658 or 1659–1695) Fantasia upon One Note (1680) Escher String Quartet: Adam Barnett-Hart, Wu Jie, violins; Pierre Lapointe, viola; Andrew Janss, cello; Hsin-Yun Huang, viola

George Frideric Handel (1685–1759) Meine Seele hört im Sehen, HWV 207 (1724–27) Celena Shafer, soprano; Demarre McGill, flute; Laurence Lesser, cello; DaXun Zhang, bass; Kenneth Cooper, harpsichord

Johann Sebastian Bach (1685–1750) Weichet nur, betrübte Schatten, “Wedding Cantata”, BWV 202 (before 1730)

I. II. III. IV. V.

Aria: Weichet nur, betrübte Schatten VI. Recitative: Die Welt wird wieder neu VII. Aria: Phöbus eilt mit schnellen Pferden VIII. Recitative: D’rum sucht auch Amor sein Vergnügen IX. Aria: Wenn die Frühlingslüfte streichen

Recitative: Und dieses ist das Glücke Aria: Sich üben im Lieben Recitative: So sei das Band der keuschen Liebe Aria (Gavotte): Sehet in Zufriedenheit

Celena Shafer, soprano; Kathryn Greenbank, oboe; Erin Keefe, Wu Jie, violins; Hsin-Yun Huang, viola; Laurence Lesser, cello; DaXun Zhang, bass; Kenneth Cooper, harpsichord INTERMISSION

Antonio Vivaldi (1678–1741) /Johann Sebastian Bach arranged by Kenneth Cooper Concerto no. 1 in D Major, BWV 972 (1713–14), after Vivaldi, op. 3, no. 9 I. Allegro II. Larghetto

III. Allegro

Kenneth Cooper, harpsichord; Escher String Quartet: Adam Barnett-Hart, Wu Jie, violins; Pierre Lapointe, viola; Andrew Janss, cello; DaXun Zhang, bass

Johann Sebastian Bach “Schafe können sicher weiden” (Sheep may safely graze), from Was mir behagt, ist nur die muntre Jagd!, BWV 208 (1713) Celena Shafer, soprano; Demarre McGill, Sooyun Kim, flutes; Andrew Janss, cello; DaXun Zhang, bass; Kenneth Cooper, harpsichord

Brandenburg Concerto no. 4 in G Major, BWV 1049 (1721) I. Allegro II. Andante

Apollo and Daphne, detail of heads, 1622–25. Gian Lorenzo Bernini (1598–1680) (Art Resource)

Music@Menlo 2008

III. Presto

Erin Keefe, solo violin; Demarre McGill, Sooyun Kim, flutes; Arnaud Sussmann, Adam Barnett-Hart, violins; Hsin-Yun Huang, viola; Laurence Lesser, cello; DaXun Zhang, bass; Kenneth Cooper, harpsichord

concerts program ii

Classical Bookends: Haydn and Schubert july 23, july 24, & july 25 Wednesday, July 23, 8:00 p.m. St. Mark’s Episcopal Church, Palo Alto (Prelude Performance 6:00 p.m. See page 25.) Thursday, July 24, 8:00 p.m. Stent Family Hall, Menlo School (Prelude Performance 6:00 p.m. See page 25.) Friday, July 25, 8:00 p.m. Stent Family Hall, Menlo School (Prelude Performance 6:00 p.m. See page 25.)

Franz Joseph Haydn (1732–1809) Piano Trio in e minor, Hob. XV:12 (1789) I. Allegro moderato II. Andante III. Rondo: Presto Derek Han, piano; Jorja Fleezanis, violin; Laurence Lesser, cello

String Quartet in B-flat Major, op. 76, no. 4, “Sunrise” (1797) I. Allegro con spirito II. Adagio III. Menuetto: Allegro IV. Finale: Allegro ma non troppo Escher String Quartet: Adam Barnett-Hart, Wu Jie, violins; Pierre Lapointe, viola; Andrew Janss, cello INTERMISSION

SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals with gratitude for their generous support: July 23: The Jeffrey Dean and Heidi Hopper Family July 24: Vivian Sweeney July 25: Jim and Mical Brenzel

Franz Schubert (1797–1828) Octet in F Major, D. 803 (1824)

I. II. III. IV. V. VI.

Adagio–Allegro Adagio Allegro vivace Andante con variazioni Menuetto: Allegretto Andante molto—Allegro

Anthony McGill, clarinet; Dennis Godburn, bassoon; William VerMeulen, French horn; Arnaud Sussmann, Jorja Fleezanis, violins; Hsin-Yun Huang, viola; Andrés Díaz, cello; DaXun Zhang, bass

Landscape with Ruins of a Temple and Statues of Venus and Marcus Aurelius, 1786. Hubert Robert (1733–1808) (Art Resource)

www.musicatmenlo.org

concerts

program iii

The Romantic Generation july 28, july 29, & july 30 Monday, July 28, 8:00 p.m. St. Mark’s Episcopal Church, Palo Alto Tuesday, July 29, 8:00 p.m. Stent Family Hall, Menlo School (Prelude Performance 6:00 p.m. See page 25.) Wednesday, July 30, 8:00 p.m. Stent Family Hall, Menlo School (Prelude Performance 6:00 p.m. See page 25.)

Antonín Dvorˇák (1841–1904) Terzetto in C Major, op. 74 (1887) I. Introduzione: Allegro ma non troppo II. Larghetto III. Scherzo: Vivace IV. Tema con variazioni: Poco adagio—Molto allegro Arnaud Sussmann, Erin Keefe, violins; Paul Neubauer, viola

Hugo Wolf (1860–1903) Italienische Serenade (1887) Escher String Quartet: Adam Barnett-Hart, Wu Jie, violins; Pierre Lapointe, viola; Andrew Janss, cello

Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865) SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals and organizations with gratitude for their generous support: July 28: Mr. and Mrs. Henry D. Bullock July 29: Michael Jacobson and Trine Sorensen July 30: Rick DeGolia Corporate Sponsor

I. Andante II. Scherzo: Allegro III. Adagio mesto IV. Finale: Allegro con brio William VerMeulen, French horn; Jorja Fleezanis, violin; Derek Han, piano INTERMISSION

Robert Schumann (1810–1856) Phantasiestücke, op. 73 (1849) I. Zart und mit Ausdruck II. Lebhaft, leicht III. Rasch und mit Feuer Anthony McGill, clarinet; Derek Han, piano

Piano Quintet in E-flat Major, op. 44 (1842) I. Allegro brilliante II. In modo d’una marcia: Un poco largamente III. Scherzo: Molto vivace IV. Allegro ma non troppo Wu Han, piano; Erin Keefe, Arnaud Sussmann, violins; Paul Neubauer, viola; Andrés Díaz, cello

Speak! Speak!, 1895. Sir John Everett Millais (1829–1896) (Art Resource)

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concerts

program iv

The Rise of Modernism august 2, august 3, & august 4 Saturday, August 2, 8:00 p.m. St. Mark’s Episcopal Church, Palo Alto (Koret Young Performers Concert 6:00 p.m. See page 28.) Sunday, August 3, 6:00 p.m. Stent Family Hall, Menlo School (Prelude Performance 4:00 p.m. See page 26.) Monday, August 4, 8:00 p.m. Stent Family Hall, Menlo School (Prelude Performance 6:00 p.m. See page 26.)

Claude Debussy (1862–1918) Violin Sonata (1916–17) I. Allegro vivo II. Intermède (Fantasque et léger) III. Finale: Très animé Ian Swensen, violin; Anna Polonsky, piano

Igor Stravinsky (1882–1971) Three Pieces for String Quartet (1914) I. Dance II. Eccentric III. Canticle Escher String Quartet: Adam Barnett-Hart, Wu Jie, violins; Pierre Lapointe, viola; Andrew Janss, cello

Louis Gruenberg (1884–1964) Four Diversions for String Quartet, op. 32 (1930) SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals and organizations with gratitude for their generous support: August 2: Mark and Anne Flegel August 3: Kathleen G. Henschel August 4: Eileen and Joel Birnbaum Kris Klint Corporate Sponsor

I. Allegro moderato II. Moderato ed á capriccio III. Andante moderato e delicate IV. Allegro burlando Escher String Quartet: Adam Barnett-Hart, Wu Jie, violins; Pierre Lapointe, viola; Andrew Janss, cello

Charles Ives (1874–1954) “In the Alley” (1896), “Charlie Rutlage” (1920–21), “Down East” (1919), “Serenity” (1919), “The Circus Band” (c. 1899 or c. 1920–21?) Robert Gardner, baritone; Anna Polonsky, piano INTERMISSION

Benjamin Britten (1913–1976) Phantasy, op. 2 (1932) William Bennett, oboe; Ian Swensen, violin; Paul Neubauer, viola; Andrés Díaz, cello

Sergey Prokofiev (1891–1953) Overture on Hebrew Themes, op. 34 (1919) Anthony McGill, clarinet; Jorja Fleezanis, Ian Swensen, violins; Paul Neubauer, viola; David Finckel, cello; Anna Polonsky, piano

Dmitry Shostakovich (1906–1975) Two Pieces for String Octet, op. 11 (1924–25) I. Prelude—Adagio II. Scherzo—Allegro molto Escher String Quartet: Adam Barnett-Hart, Wu Jie, violins; Pierre Lapointe, viola; Andrew Janss, cello; Jorja Fleezanis, Ian Swensen, violins; Paul Neubauer, viola; Andrés Díaz, cello

Ufa Universum Cinema at the Lehniner Platz, Berlin, 1926–28. Architect Erich Mendelsohn (1887–1953). View at night, 1928, anonymous photographer. (Bildarchiv Preussischer Kulturbesitz/ Art Resource)

www.musicatmenlo.org

concerts program v

Music Now: Voices of Our Time august 7 & august 8 Thursday, August 7, 8:00 p.m. St. Mark’s Episcopal Church, Palo Alto (Prelude Performance 6:00 p.m. See page 26.) Friday, August 8, 8:00 p.m. St. Mark’s Episcopal Church, Palo Alto (Koret Young Performers Concert 3:00 p.m. See page 29. Prelude Performance 6:00 p.m. See page 26.)

Jennifer Higdon (b. 1962) Scenes from the Poet’s Dreams (1999) (West Coast premiere)

I. II. III. IV. V.

Racing Through Stars Summer Shimmers Across the Glass of Green Ponds I Saw the Electric Insects Coming In the Blue Fields They Sing The Fast Dancers Dance Faster!

Gary Graffman, piano; Borromeo String Quartet: Nicholas Kitchen, Kristopher Tong, violins; Mai Motobuchi, viola; Yeesun Kim, cello

Kenneth Frazelle (b. 1955) Piano Trio (2008) (world premiere) Commissioned by Music@Menlo with the generous support of Joan and Allan Fisch.

SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals and organizations with gratitude for their generous support: August 7: Joan and Allan Fisch August 8: Mrs. Ralph I. Dorfman

These performances are also supported by a Meet The Composer Grant. Leadership support for Meet The Composer’s MetLife Creative Connections program is generously provided by MetLife Foundation. Additional support is provided by The Amphion Foundation, Argosy Foundation Contemporary Music Fund, BMI Foundation, Inc., Mary Flagler Cary Charitable Trust, Aaron Copland Fund for Music, Inc., The William and Flora Hewlett Foundation, The James Irvine Foundation, Jerome Foundation, mediaThe foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, Pennsylvania Council on the Arts, and Virgil Thomson Foundation, Ltd.

A Peaceable Kingdom with Anna Pavlova, 1990. Malcah Zeldis (b.1931) (Art Resource)

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I. Of Water II. Unto Dust III. Into Light Jeffrey Kahane, piano; Joseph Swensen, violin; Andrés Díaz, cello INTERMISSION

Gabriela Lena Frank (b. 1972) Selections from Songs of Cifar and the Sweet Sea (2004–08) (West Coast premiere)

Me Diste ¡oh Dios! una Hija El Rebelde Tomasito, el Cuque Eufemia En la Vela del Angelito

Robert Gardner, baritone; Anna Polonsky, piano

Tan Dun (b. 1957) Elegy: Snow in June (1991) (San Francisco Bay Area premiere) David Finckel, cello; Daniel Kennedy, Florian Conzetti, Christopher Froh, Tom Kolor, percussion

carte blanche concerts

Carte Blanche Concerts

Music@Menlo’s signature recital series highlighting select artists and their musical specialties. Curated by a cadre of classical music’s most innovative recitalists and renowned chamber musicians, this season’s Carte Blanche Concerts complement the season’s historical survey of the chamber music literature, adding further dimension to The Unfolding of Music II.

carte blanche concert i

Stephen Prutsman: Bach and Forth july 20 Sunday, July 20, 10:30 a.m. Stent Family Hall, Menlo School

SPECIAL THANKS Music@Menlo dedicates this performance to Koret Foundation Funds with gratitude for its generous support.

Johann Sebastian Bach (1685–1750) Prelude and Fugue in c-sharp minor*

Johann Sebastian Bach

Jean-Philippe Rameau (1683–1764) La Boiteuse (Lame Girl) (1724)

Yes

Johann Sebastian Bach

Prelude and Fugue in g-sharp minor*

Prelude and Fugue in d minor*

Ludwig van Beethoven (1770–1827)

Charlie Parker (1920–1955)

Adagio sostenuto from Piano Sonata no. 14 in c-sharp minor, op. 27, no. 2, “Moonlight” (Sonata quasi una fantasia) (1801)

Ornithology (1946)†

Johann Sebastian Bach

Sound Chaser (1974)†

Johann Sebastian Bach Prelude and Fugue in G Major*

Purandara Dasa (1484–1564)

Prelude and Fugue in A Major*

Govinda†

Maurice Ravel (1875–1937) Une barque sur l’ocean (1904–05)

Johann Sebastian Bach

Prelude and Fugue in F Major*

Osvaldo Golijov (b. 1960)

Prelude and Fugue in D Major*

Levante (2004)

Aleksandr Skryabin (1872–1915) Prelude in b minor, op. 22, no. 4 (1897)

Johann Sebastian Bach

Uzbek traditional

Prelude and Fugue in a minor*

Prelude and Fugue in b minor*

Galdir†

Richard Wagner (1813–1883)/ Franz Liszt (1811–1886)

Johann Sebastian Bach

Liebestod from Tristan und Isolde (1867)

Johann Sebastian Bach

Prelude and Fugue in f minor

Walter Hawkins (b. 1949) I’m Goin’ Up a Yonder (1975)†

Gavotte from English Suite No. 6 in d minor, BWV 811 (before 1720?)

Johann Sebastian Bach

Arnold Schoenberg (1874–1951) Mussette from Suite, op. 25 (1923)

Rwandan traditional

Johann Sebastian Bach Prelude and Fugue in B Major* Johann Sebastian Bach, 1746. Elias Gottlob Haussmann (1663–1733) (HIP/Art Resource)

Prelude and Fugue in C Major*

Lunch-Break INTERMISSION

Prelude and Fugue in D-flat Major*

Analiza†

Johann Sebastian Bach Prelude and Fugue in E Major* Stephen Prutsman, piano

* from Das wohltemperirte Clavier (The Well-Tempered Clavier), Book II (1744) †arranged by Stephen Prutsman

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carte blanche concerts

carte blanche concert ii

Wu Han, Philip Setzer, and David Finckel: The Schubert Piano Trios july 27 Sunday, July 27, 10:30 a.m. Stent Family Hall, Menlo School (Begins at 10:30 a.m. with a pre-concert discussion led by Michael Steinberg)

Franz Schubert (1797–1828) Piano Trio in B-flat Major, D. 898 (1828) I. Allegro moderato II. Andante un poco mosso III. Scherzo: Allegro IV. Rondo: Allegro vivace Lunch-Break INTERMISSION

SPECIAL THANKS Music@Menlo dedicates this performance to Iris and Paul Brest with gratitude for their generous support.

Piano Trio in E-flat Major, D. 929 (1827–1828) I. Allegro II. Andante con moto III. Scherzo: Allegro moderato IV. Allegro moderato Wu Han, piano; Philip Setzer, violin; David Finckel, cello

The composer Franz Schubert, Ca. 1900. Otto Nowak (1874–1945) (Bildarchiv Preussischer Kulturbesitz/Art Resource)

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carte blanche concerts

carte blanche concert iii

Gary Graffman: For the Left Hand july 31 Thursday, July 31, 8:00 p.m. St. Mark’s Episcopal Church, Palo Alto (Prelude Performance 6:00 p.m. See page 25.)

Aleksandr Skryabin (1872–1915) Prelude in c-sharp minor, op. 9, no. 1 (1894) Nocturne in D-flat Major, op. 9, no. 2 (1894) Etude in c-sharp minor, op. 2, no. 1 (1894) (arr. Jay Reise) Carl Reinecke (1824–1910)

SPECIAL THANKS Music@Menlo dedicates this performance to Marcia and Paul Ginsburg with gratitude for their generous support.

Sonata, op. 179 I. Allegro moderato II. Andante lento (“nemenj rózám a tarlóra”) III. Menuetto: Moderato IV. Finale: Allegro molto

Johannes Brahms (1833–1897) Chaconne by J.S. Bach (from Partita no. 2 in d minor for solo violin, BWV 1004) (1877) INTERMISSION

Max Reger (1873–1916) Vier Spezialstudien (1901) I. Scherzo II. Humoreske III. Romanze IV. Präludium und Fuge

Leon Kirchner (b. 1919) For the Left Hand (1995) John Corigliano (b. 1938) Etude no. 1 (from Etude Fantasy) (1976)

Felix Blumenfeld (1863–1931) Etude in A-flat Major, op. 36 (1905)

Fryderyk Chopin (1810–1849) Etude in e-flat minor, op. 10, no. 6 (1830–32) (arr. Leopold Godowski) Etude in b minor, op. 25, no. 10 (1835–37) (arr. Leopold Godowski) Gary Graffman, piano

Gary Graffman, photo by Tristan Cook

www.musicatmenlo.org

carte blanche concerts

carte blanche concert iv

Borromeo String Quartet: The Bartók Quartet Cycle august 3 Sunday, August 3, 10:00 a.m. Stent Family Hall, Menlo School

Béla Bartók (1881–1945) String Quartet no. 1, op. 7, Sz. 40 (1908–09) I. Lento II. Poco a poco accelerando all’allegretto III. Introduzione: Allegro—Allegro vivace

SPECIAL THANKS Music@Menlo dedicates this performance to Libby and Craig Heimark with gratitude for their generous support.

String Quartet no. 2, op. 17, Sz. 67 (1914–17) I. Moderato II. Allegro molto capriccioso III. Lento PAUSE

String Quartet no. 3, Sz. 85 (1927)

Prima parte: Moderato Seconda parte: Allegro Recapitulazione della prima parte: Moderato Coda: Allegro molto

String Quartet no. 4, Sz. 91 (1928)

I. II. III. IV. V.

Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto

Lunch-Break INTERMISSION

String Quartet no. 5, Sz. 102 (1934)

I. II. III. IV. V.

Allegro Adagio molto Scherzo: Alla bulgarese—Trio Andante Finale: Allegro vivace—Presto

String Quartet no. 6, Sz. 114 (1939) I. Mesto—Più mosso, pesante—Vivace II. Mesto—Marcia III. Mesto—Burletta: Moderato IV. Mesto Borromeo String Quartet: Nicholas Kitchen, Kristopher Tong, violins; Mai Motobuchi, viola; Yeesun Kim, cello

Béla Bartók listening to a phonogram, 1915 (Lebrecht Music & Arts)

20 Music@Menlo 2008

The Music@Menlo Story a brief history of the festival

In 2002, when David Finckel and Wu Han were looking for the ideal setting for building an entirely new chamber music festival concept—the concept that would become Music@Menlo—they described their vision to local friends and chamber music enthusiasts, creating a picture in the air of what they most desired: a formal, nineteenth-century room of perfect acoustic quality, complete with long windows, gold-leafed ornaments, a large fireplace, and just the right intimate feel for recreating chamber music in its natural environment. A long-time area resident encouraged them to check out the Menlo School campus, and not long after, David and Wu Han found themselves in the darkened Spieker Ballroom in Stent Family Hall, marveling at its exact match to their vision. In that instant, David and Wu Han agreed that they had found the crucible of a new festival experience, a summer utopia where two of the great, renewing pleasures in life—classical chamber music and the stimulating company of artists, students, and music lovers of all ages—could be enjoyed without distraction. Extensive research combined with additional good fortune led to the successful development of David and Wu Han’s initial vision on the San Francisco Peninsula. The entrepreneurial spirit of Silicon Valley, the avid audiences—both new and established—for chamber music, and the forward-looking Head and Board of Trustees of Menlo School came together to bring the festival to the proof-of-concept stage. The dedicated moral, financial, and organizational support of regional individuals and institutions (including importantly the William and Flora Hewlett Foundation) made possible a pilot mini-festival in 2002, followed by the launch of a full two weeks of festival activities the following year. Music@Menlo was formally inaugurated in August 2003 with concerts, lectures, training workshops for aspiring young musicians, open

master classes, young-performers concerts, and a day-long open house for regional chamber music fans. Most events took place on the campus of Menlo School, with its ideal spaces for intimate chamber music performances and events and its ample classrooms for teaching. (In addition to venues at Menlo School, Music@Menlo also presents concerts at St. Mark’s Episcopal Church in Palo Alto and, in 2007, at Menlo Park Presbyterian Church in Menlo Park.) Following the course charted by the inaugural season, all of the offerings and activities of each subsequent festival have been organized around a carefully selected and developed theme in chamber music. Seasons have included an overview of the historical development of Western classical chamber music (2003); an overview of the geographic variety of Western chamber music (2004); an in-depth study of Beethoven’s life and work (2005); a celebration of Mozart’s chamber music (2006); and Bridging the Ages, a program that explored five critical sources of inspiration shared by chamber music composers across time (2007). In 2007, Music@Menlo celebrated its fifth anniversary. Over the course of its first five years, the festival succeeded in creating an intense, immersive experience unparalleled in the world of classical music. In this time, Music@Menlo’s unique philosophy and approach sparked rapid audience growth, critical acclaim, and financial viability. Total festival attendance increased from 4,500 in 2003 to over 10,000 in 2007; total attendance for free programs increased from 1,000 in 2003 to over 6,000 in 2007; the annual budget grew from $200,000 to $1.3 million. Music@Menlo’s signature innovations in programming and audience development have drawn a devoted following, have attracted much attention in the arts-administration world, and have been emulated by other organizations.

www.musicatmenlo.org

Chamber Music Institute david finckel and wu han, artistic directors hasse borup, chamber music institute administrator “Great music and a chance to discover the stars of tomorrow.” —San Francisco Classical Voice

The Chamber Music Institute, which runs concurrently with the festival, represents Music@Menlo’s strong commitment to nurturing the next generation of chamber musicians. This year, the Institute welcomes forty exceptional young artists handpicked from an international pool of applicants. Through coachings and master classes on the Menlo School campus, these promising artists work closely with the esteemed artist-faculty at Music@Menlo to develop interpretive approaches and prepare works of the chamber music literature for the stage. Festival audiences can observe the young artists and faculty of the Institute exchange ideas and share in the timeless art of musical interpretation in various settings, including the festival’s master classes (see page 31), Café Conversations (see page 30), Prelude Performances, and Koret Young Performers Concerts, all of which are free and open to the public.

International Program Music@Menlo’s distinguished training program offers advanced conservatory-level musicians, ages eighteen to twenty-nine, a myriad of opportunities to develop their technical and interpretive skills under the tutelage of world-class chamber music coaches and educators in an intensive exploration of the chamber music repertoire. The International Program artists are featured in the popular Prelude Performances series (see page 24). Free and open to the public, these concerts expand on the festival’s theme, showcasing a broad range of chamber music literature. An extremely accomplished group of musicians, this year’s artists come to Music@Menlo from top conservatories and schools of music, including the Juilliard School, New England Conservatory, Yale University, Mannes College The New School of Music in New York, Kent State University, and Royal Northern College of Music in Manchester, UK. Grace Park, violin Areta Zhulla, violin Youming Chen, viola Dmitri Atapine, cello Sunny Yang, cello

22 Music@Menlo 2008

Hausmann Quartet Isaac Allen, violin Bram Goldstein, violin Angela Choong, viola Yuan Zhang, cello Qing Jiang, piano Liza Stepanova, piano

Young Performers Program Designed for gifted young musicians at the pre-conservatory level, ages eight to eighteen, the Young Performers Program offers students opportunities to develop their musicianship through intensive training with a faculty of experienced musicians. The Young Performers participants are featured in the Koret Young Performers Concert series (see page 27). Free and open to the public, these concerts are ideal for listeners of all ages. Yujin Ariza, violin Matthew Chow, violin Alex Fager, violin Alexi Kenney, violin Kenneth Renshaw, violin Gerard Spronk, violin Ashvin Swaminathan, violin Ethan Tsai, violin Lily Tsai, violin Alex van der Veen, violin Stephen Waarts, violin Regina Ahn, viola Sasha Friedenberg, viola Kate Hales, viola Rosemary Nelis, viola

Will Chow, cello Coleman Itzkoff, cello Eunice Kim, cello Julia Rosenbaum, cello Ila Shon, cello Stephanie Tsai, cello Ella van Poucke, cello Christian Hales, double bass Henry Burnam, piano Michael Davidman, piano Hilda Huang, piano Christine Kim, piano Vien Nguyen, piano Nicolas van Poucke, piano

Pictured above: Jorja Fleezanis coaching Katie Hyun (IP ’07 and Winter Residency Artist ’08) and Wei-Yang Andy Lin (IP ’07 and Winter Residency Artist ’08).

The Ann S. Bowers Young Artist Fund By becoming a sponsor of an individual Institute participant or ensemble, or by making a gift to the Ann S. Bowers Young Artist Fund, you will enjoy the satisfaction of helping extraordinary young musicians realize their lifelong personal and professional ambitions. Sponsors help maintain the Institute’s unique focus on chamber music, the world-class caliber of its artist-faculty, and its one-to-one ratio of participants to faculty. Music@Menlo brings conservatory-level students and emerging professional artists in direct and sustained contact with leading musicians, musicologists, and other music professionals for a rich, multilevel learning experience. While tuition for the Young Performers Program in 2008 is $2,500, this covers only fourteen percent of the total cost of hosting these

The Ann S. Bowers Young Artist Fund offers an opportunity to directly support the aspirations of the young artists in Music@Menlo’s Chamber Music Institute. talented musicians each year. The actual cost per student, which includes teaching, performances, meals, concert production, and administration, is more than $12,000. Music@Menlo awards all International Program participants full-tuition fellowships and extends merit scholarships and need-based financial aid to deserving students in the Young Performers program each year. This season, all Young Performers program participants who applied for merit scholarship or financial aid consideration received partial or full assistance.

Please consider supporting a young artist in the Chamber Music Institute with a full sponsorship or a gift to the young artist fund. In addition to the benefits of the annual membership levels (see page #), Institute sponsors and those who contribute to the fund have the unique opportunity during the festival to meet in person with the young musicians they have generously supported. The greatest reward of supporting these young artists is knowing that you have helped make a meaningful difference in their lives and in their musical studies, significantly advancing their artistic and professional futures. We gratefully acknowledge the following individuals who have generously contributed to the Ann S. Bowers Young Artist Fund in 2008: Full Sponsors: Susie & Riley Bechtel Ann S. Bowers The Jeffrey Dean & Heidi Hopper Family Joan & Allan Fisch Fleishhacker Foundation In memory of Glen & Caroline Miner Marcia & Paul Ginsburg Michael Jacobson & Trine Sorensen Mary Lorey Marcia & Hap Wagner Melanie & Ron Wilensky

Contributors: Anonymous Joyce Beattie & Martin Perl Council for Cultural Affairs in Taiwan, Taipei Cultural Center in New York Nancy Flowers & Ted Andersson Robert J. and Helen H. Glaser Family Foundation Sue & Bill Gould In honor of Suk Ki Hahn Leslie Hsu & Richard Lenon Micki Wesson

To learn more about sponsoring a young artist in the Chamber Music Institute, please contact Sally Takada, Development Manager, at 650-330-2133 or sally@musicatmenlo.org.

Pictured above: (left) Adam Barnett-Hart coaching Meha Goyal (YP ’07); (right) Moet Trio (IP ’06 and Winter Residency Artists ’07) members Michael Mizrahi, Yuri Namkung, and Yves Dharamraj with Ann Bowers.

www.musicatmenlo.org

Prelude Performance Series performed by the international program artists Honoring the William and Flora Hewlett Foundation for their leadership, vision, and dedication to arts and education.

july 18

july 19 & july 21

Friday, July 18, 5:30 p.m. Martin Family Hall, Menlo School

Saturday, July 19, 6:00 p.m. St. Mark’s Episcopal Church, Palo Alto

Johann Sebastian Bach (1685–1750) Partita no. 4 in D Major, BWV 828 (1728)

Monday, July 21, 6:00 p.m. Martin Family Hall, Menlo School

I. Overture II. Allemande III. Courante IV. Aria V. Sarabande VI. Menuett VII. Gigue

Qing Jiang, piano

Toccata in f-sharp minor, BWV 910 (c.1712) Liza Stepanova, piano

Italian Concerto in F Major, BWV 971 (1735) I. (Allegro) II. Andante III. Presto Liza Stepanova, piano

SPECIAL THANKS Music@Menlo dedicates this performance to Melanie and Ron Wilensky with gratitude for their generous support.

Arcangelo Corelli (1653–1713) Concerto Grosso in D Major, op. 6, no. 4 I. Adagio—Allegro II. Adagio III. Vivace IV. Allegro Isaac Allen, Areta Zhulla, Bram Goldstein, Grace Park, violins; Youming Chen, Angela Choong, violas; Dmitri Atapine, Sunny Yang, Yuan Zhang, cellos; Qing Jiang, harpsichord

George Frideric Handel (1685–1759) Concerto Grosso in A Major, op. 6, no. 11, HWV 329

I. II. III. IV. V.

Andante larghetto, e staccato Allegro Largo, et staccato Andante Allegro

Grace Park, Bram Goldstein, Areta Zhulla, Isaac Allen, violins; Youming Chen, Angela Choong, violas; Dmitri Atapine, Sunny Yang, Yuan Zhang, cellos; Liza Stepanova, harpsichord

SPECIAL THANKS Music@Menlo dedicates these performances to the to the following individuals and organizations with gratitude for their generous support: July 19: Michael J. Hunt and Joanie Banks-Hunt July 21: The Hurlbut-Johnson Fund

24 Music@Menlo 2008

Prelude performance Series

july 23, july 24, & july 25

july 29, july 30, & july 31

Wednesday, July 23, 6:00 p.m. St. Mark’s Episcopal Church, Palo Alto

Tuesday, July 29, 6:00 p.m. Martin Family Hall, Menlo School

Thursday, July 24, 6:00 p.m. Martin Family Hall, Menlo School

Wednesday, July 30, 6:00 p.m. Martin Family Hall, Menlo School

Friday, July 25, 6:00 p.m. Martin Family Hall, Menlo School

Thursday, July 31, 6:00 p.m. St. Mark’s Episcopal Church, Palo Alto

(July 24 and July 25)

(July 29 and July 30)

Franz Joseph Haydn (1732–1809)

Johannes Brahms (1833–1897)

Piano Trio in C Major, Hob. XV:27 (1795?)

Piano Trio in C Major, op. 87 (1880–82)

I. Allegro II. Andante III. Finale: Presto

I. Allegro II. Andante con moto III. Scherzo: Presto IV. Finale: Allegro giocoso

Qing Jiang, piano; Grace Park, violin; Sunny Yang, cello

Liza Stepanova, piano; Grace Park, violin; Dmitri Atapine, cello

(July 23 and July 25)

Ludwig van Beethoven (1770–1827) Piano Quartet in E-flat Major, op. 16 (orig. 1776, arr. 1801) I. Grave—Allegro ma non troppo II. Andante cantabile III. Rondo: Allegro ma non troppo

(July 30 and July 31)

Robert Schumann (1810–1856) String Quartet in a minor, op. 41, no. 1 (1842)

Liza Stepanova, piano; Areta Zhulla, violin; Youming Chen, viola; Dmitri Atapine, cello

I. Introduzione: Andante espressivo—Allegro II. Scherzo: Presto—Intermezzo III. Adagio IV. Presto

(July 23 and July 24)

Hausmann Quartet: Isaac Allen, Bram Goldstein, violins; Angela Choong, viola; Yuan Zhang, cello

Franz Schubert (1797–1828) String Quartet in d minor, D. 810, “Death and the Maiden” (1827) I. Allegro II. Andante con moto III. Scherzo: Allegro molto IV. Presto Hausmann Quartet: Isaac Allen, Bram Goldstein, violins; Angela Choong, viola; Yuan Zhang, cello

(July 29 and July 31)

Johannes Brahms Piano Quartet no. 3 in c minor, op. 60 (1855–75) I. Allegro non troppo II. Scherzo: Allegro III. Andante IV. Finale: Allegro comodo Qing Jiang, piano; Areta Zhulla, violin; Youming Chen, viola; Sunny Yang, cello

SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals and organizations with gratitude for their generous support: July 24: Sue and Bill Gould July 25: The David B. and Edward C. Goodstein Foundation

SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals and organizations with gratitude for their generous support. July 29: Jennifer and Michael Cuneo July 30: The David and Lucile Packard Foundation

www.musicatmenlo.org

Prelude performance Series

august 3 & august 4

august 7 & august 8

Sunday, August 3, 4:00 p.m. Martin Family Hall, Menlo School

Thursday, August 7, 6:00 p.m. St. Mark’s Episcopal Church, Palo Alto

Monday, August 4, 6:00 p.m. Martin Family Hall, Menlo School

Friday, August 8, 6:00 p.m. St. Mark’s Episcopal Church, Palo Alto

Dmitry Shostakovich (1906–1975) Sonata for Cello and Piano in d minor, op. 40 (1934)

Kenneth Frazelle (b. 1955)

I. Allegro non troppo II. Allegro III. Largo IV. Allegro

III. Molto vivace

Sunny Yang, cello; Liza Stepanova, piano

Piano Trio (2003)

Leosˇ Janácˇek (1854–1928) String Quartet no. 1, “The Kreutzer Sonata” (1923) I. Adagio—Con moto II. Con moto III. Con moto—Vivo—Andante IV. Con moto—Adagio—Maestoso Hausmann Quartet: Isaac Allen, Bram Goldstein, violins; Angela Choong, viola; Yuan Zhang, cello

Dmitry Shostakovich Piano Quintet in g minor, op. 57 (1940)

I. II. III. IV. V.

Prelude: Lento Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento Finale: Allegretto

Qing Jiang, piano; Grace Park, Areta Zhulla, violins; Youming Chen, viola; Dmitri Atapine, cello

SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals with gratitude for their generous support: August 3: Wallace R. and Alexandra Hawley August 4: In memory of Glen and Caroline Miner

26 Music@Menlo 2008

String Trio (1990) Grace Park, violin; Youming Chen, viola; Sunny Yang, cello

Jennifer Higdon (b. 1962) I. Pale Yellow II. Fiery Red Qing Jiang, piano; Areta Zhulla, violin; Dmitri Atapine, cello

Gabriela Lena Frank (b. 1972) Ghosts in the Dream Machine (2005) I. Nocturne-Sonatina II. Night Scenes Liza Stepanova, piano Hausmann Quartet: Isaac Allen, Bram Goldstein, violins; Angela Choong, viola; Yuan Zhang, cello

SPECIAL THANKS Music@Menlo dedicates these performances to the following individuals and organizations with gratitude for their generous support: August 7: The Robert J. and Helen H. Glaser Family Foundation August 8: Marcia and Hap Wagner

Prelude Koret Young Performance Performers Series Concert Series performed by the international program artists performed by the young performers program artists

july 26

july 27

Saturday, July 26, 5:30 p.m. Stent Family Hall, Menlo School

Sunday, July 27, 5:00 p.m. Martin Family Hall, Menlo School

Selected movements from:

Ludwig van Beethoven (1770–1827)

Piano Trio in E-flat Major, op. 70, no. 2 (1808)

Piano Trio in D Major, op. 70, no. 1, “Ghost” (1808)

Nicolas van Poucke, piano; Gerard Spronk, violin; Ella van Poucke, cello

Michael Davidman, piano; Stephen Waarts, violin; Eunice Kim, cello

Franz Joseph Haydn (1732–1809)

Franz Schubert (1797–1828)

String Quartet in B-flat Major, op. 50, no. 1 (1787)

Piano Quintet in A major, “Trout”, D. 667 (1819?)

Ethan Tsai, Ashvin Swaminathan, violins; Regina Ahn, viola; Ila Shon, cello

Vien Nguyen, piano; Kenneth Renshaw, violin; Sasha Friedenberg, viola; Stephanie Tsai, cello; Christian Hales, double bass

Ludwig van Beethoven Piano Trio in E-flat Major, op. 1, no. 1 (1794–95) Henry Burnam, piano; Yujin Ariza, violin; Julia Rosenbaum, cello

Antonín Dvorˇák (1841–1904) Terzetto in C Major, op. 74 (1887) Matthew Chow, Alex van der Veen, violins; Kate Hales, viola

Wolfgang Amadeus Mozart (1756–1791) Piano Trio in C Major, K. 548 (1788) Hilda Huang, piano; Alexi Kenney, violin; Will Chow, cello

Bohuslav Martinu° (1890–1959) Piano Quintet No. 2, H. 298 (1944) Christine Kim, piano; Alex Fager, Lily Tsai, violins; Rosemary Nelis, viola; Coleman Itzkoff, cello

SPECIAL THANKS Music@Menlo dedicates this performance to David Finckel and Wu Han in honor of the students and alumni of the Chamber Music Institute.

SPECIAL THANKS Music@Menlo dedicates this performance to the Fleishhacker Foundation with gratitude for its generous support.

www.musicatmenlo.org

K ORET Y OUN G P ERFORMERS CONCERTS

august 1

august 2

Friday, August 1, 5:30 p.m. Stent Family Hall, Menlo School

Saturday, August 2, 6:00 p.m. St. Mark’s Episcopal Church, Palo Alto

Selected movements from:

Wolfgang Amadeus Mozart (1756–1791)

Aleksandr Borodin (1833–1887) Piano Quintet in c minor (1862)

Piano Trio in E Major, K. 542 (1788) Christine Kim, piano; Alex Fager, violin; Coleman Itzkoff, cello

Antonín Dvorˇák (1841–1904) String Quartet no. 12 in F Major, “The American”, op. 96 (1893) Lily Tsai, Alex van der Veen, violins; Kate Hales, viola; Stephanie Tsai, cello

Robert Schumann (1810–1856) Piano Trio no. 1 in d minor, op. 63 (1847) Michael Davidman, piano; Matthew Chow, violin; Ila Shon, cello

Nicolas van Poucke, piano; Gerard Spronk, Ashvin Swaminathan, violins; Sasha Friedenberg, viola; Will Chow, cello

Franz Joseph Haydn (1732–1809) String Quartet in D Major, op. 71, no. 2 (1793) Kenneth Renshaw, Alexi Kenney, violins; Rosemary Nelis, viola; Ella van Poucke, cello

Felix Mendelssohn (1809–1847) Violin Sonata in f minor, op. 4 (1823) Ethan Tsai, violin; Hilda Huang, piano

SPECIAL THANKS Music@Menlo dedicates this performance to Emiko Higashi and Rod Howard with gratitude for their generous support.

Franz Joseph Haydn Piano Trio in E-flat Major, Hob. XV:29 (1797) Henry Burnam, piano; Yujin Ariza, violin; Eunice Kim, cello

Felix Mendelssohn Piano Quartet no. 3 in b minor, op. 3 (1825) Vien Nguyen, piano; Stephen Waarts, violin; Regina Ahn, viola; Julia Rosenbaum, cello

28 Music@Menlo 2008

K ORET Y OUN G P ERFORMERS CONCERTS

august 6

august 8

Wednesday, August 6, 5:30 p.m. Stent Family Hall, Menlo School

Friday, August 8, 3:00 p.m. St. Mark’s Episcopal Church, Palo Alto

Selected movements from:

Antonín Dvorˇák (1841–1904) Piano Quartet in D Major, op. 23 (1875)

Niels W. Gade (1817–1890) Octet in F Major, op. 17 (1848–49)

Christine Kim, piano; Alex Fager, violin; Rosemary Nelis, viola; Coleman Itzkoff, cello

Ethan Tsai, Yujin Ariza, Matthew Chow, Alex van der Veen, violins; Kate Hales, Regina Ahn, violas; Will Chow, Julia Rosenbaum, cellos

Franz Joseph Haydn (1732–1809) Piano Trio in B-flat Major, Hob. XV:20 (1794)

Antonín Dvorˇák (1841–1904) Piano Quintet in A Major, op. 81 (1887)

Hilda Huang, piano; Lily Tsai, violin; Stephanie Tsai, cello

Nicolas van Poucke, piano; Gerard Spronk, Alexi Kenney, violins; Sasha Friedenberg, viola; Ella van Poucke, cello

Ludwig van Beethoven (1770–1827) Piano Trio in c minor, op. 1, no. 3 (1794–95) Vien Nguyen, piano; Ashvin Swaminathan, violin; Ila Shon, cello

Wolfgang Amadeus Mozart (1756–1791) Sonata for Violin and Piano in B-flat Major, K. 454 (1784) Stephen Waarts, violin; Michael Davidman, piano

SPECIAL THANKS Music@Menlo dedicates this performance to Mary Lorey with gratitude for her generous support.

Piano Trio in B-flat Major, op. 21 (1875) Henry Burnam, piano; Kenneth Renshaw, violin; Eunice Kim, cello

SPECIAL THANKS Music@Menlo dedicates this performance to Kay and John Hesselink and Kathe and Edwin Williamson with gratitude for their generous support.

www.musicatmenlo.org

Café Conversations Free, informal discussion events, led by Music@Menlo’s artists and distinguished guests, Café Conversations delve into a fascinating array of music- and arts-related issues from a multitude of perspectives. Café Conversations offer audiences a chance to absorb new insights into a variety of topics relating to music and culture. Since their inception at Music@Menlo’s 2004 season, Café Conversations have explored numerous music- and arts-related issues from a multitude of perspectives. All Café Conversations take place on the campus of Menlo School and are open to the public. Monday, July 21, 12:00 p.m.

Fame Is the Spur with Michael Steinberg, author and musicologist Thursday, July 24, 12:00 p.m.

Origins of Modern String Playing: Great Artists of the Early Twentieth Century with Laurence Lesser, cellist Saturday, July 26, 12:00 p.m.

The Art of Doug Glovaski with Doug Glovaski, Music@Menlo’s 2008 Visual Artist, and Cathy Kimball, Executive Director, San Jose Institute of Contemporary Art. Reception with the artist to follow.

30 Music@Menlo 2008

Monday, July 28, 12:00 p.m.

The Singing Line with Jorja Fleezanis, violinist Wednesday, July 30, 12:00 p.m.

Canvassing the Conservatory Culture with Hasse Borup, violinist and Chamber Music Institute Administrator; Andrés Díaz, cellist; Gary Graffman, pianist; Erin Keefe, violinist; Ian Swensen, violinist; and moderated by Wu Han, pianist Thursday, July 31, 12:00 p.m.

Poetry Reading Workshop with Michael Steinberg, author and musicologist Saturday, August 2, 12:00 p.m.

Exercises to Improve the Musical Imagination with Bruce Adolphe, composer, author, and music educator

Master Classes Free and open to the public, Music@Menlo’s master classes offer a unique opportunity to observe the learning process between mentors and students of the Chamber Music Institute. Music@Menlo unites the next generation of great chamber musicians with a renowned faculty of today’s most esteemed artists and educators. Join the young artists and faculty of the Chamber Music Institute during the festival as they exchange ideas, discuss interpretive approaches, and prepare masterworks of the classical music literature for the stage. The Institute’s master classes and other select Institute activities offer visitors the rare opportunity to witness the special exchange between artist and apprentice, an artistic tradition revered for generations. Tuesday, July 22, 12:00 p.m.

Laurence Lesser, cello Wednesday, July 23, 12:00 p.m.

Jorja Fleezanis, violin

Friday, August 1, 12:00 p.m.

Bruce Adolphe, composer, author, and music educator Monday, August 4, 12:00 p.m.

Andrés Díaz, cello Tuesday, August 5, 12:00 p.m.

Gary Graffman, piano Wednesday, August 6, 12:00 p.m.

Borromeo String Quartet Thursday, August 7, 12:00 p.m.*

Gabriela Lena Frank, Kenneth Frazelle, and Jennifer Higdon, composers All master classes are held in Stent Family Hall on the Menlo School campus and are free and open to the public. For the most up-to-date information during the festival, please visit www.musicatmenlo.org.

Friday, July 25, 12:00 p.m.

Philip Setzer, violin

* This special master class will be two hours long and will include forty minutes for each composer to work with the students.

Tuesday, July 29, 12:00 p.m.

Ian Swensen, violin

www.musicatmenlo.org

Open House On Saturday, July 26, beginning at 8:30 a.m., Music@Menlo welcomes the community to a day-long series of events on the beautiful grounds of Menlo School, offering visitors a special opportunity to get behind the scenes of the festival.

Open House Schedule of Events 8:30 a.m.

Q&A Coffee with the Artistic Directors Festival Welcome Center, Menlo School Meet with David Finckel and Wu Han in an informal setting. 9:00 a.m.–11:50 a.m.

Institute Coachings Menlo School Music@Menlo’s artist-faculty coaches the Institute’s young musicians in preparation for their upcoming performances. 10:30 a.m.–11:30 a.m.

1:00 p.m.–3:00 p.m.

Open Rehearsal Menlo School Pianist Wu Han, violinists Erin Keefe and Arnaud Sussmann, violist Paul Neubauer, and cellist Andrés Díaz rehearse Robert Schumann’s Opus 44 Piano Quintet. 2:30 p.m.–3:30 p.m.

Open Rehearsal Menlo School Clarinetist Anthony McGill and pianist Derek Han rehearse Robert Schumann’s Opus 73 Fantasy Pieces. 2:30 p.m.–4:00 p.m.

Institute Coachings Menlo School Music@Menlo’s artist-faculty coaches the Institute’s young musicians in preparation for their upcoming performances.

Open Rehearsal

3:30 p.m.–5:00 p.m.

Menlo School Pianist Wu Han, violinist Philip Setzer, and cellist David Finckel rehearse for their upcoming Carte Blanche Concert, “The Schubert Piano Trios” (see page 18).

Menlo School Violinists Arnaud Sussmann and Erin Keefe and violist Paul Neubauer rehearse Antonín Dvorˇák’s Opus 74 Terzetto.

10:30 a.m.–12:00 noon

Open Rehearsal

5:30 p.m.

Koret Young Performers Concert

Menlo School Horn player William VerMeulen, violinist Jorja Fleezanis, and pianist Derek Han rehearse Brahms’s Opus 40 Horn Trio.

Stent Family Hall, Menlo School The artists of the Chamber Music Institute’s Young Performers Program perform music by Haydn, Beethoven, and Dvorˇák.

12:00 noon–1:00 p.m.

7:30 p.m.

Café Conversation: The Art of Doug Glovaski Stent Family Hall, Menlo School 2008 Visual Artist Doug Glovaski discusses his work with Cathy Kimball, Executive Director of the San Jose Institute of Contemporary Art.

Encounter II: Nostalgia Is Not Enough: What Is Romantic? Martin Family Hall, Menlo School Led by Michael Steinberg. (See page 10 for details. Tickets required.) Schedule of events subject to change or cancellation.

32 Music@Menlo 2008

Visual Arts and the Festival 2008 visual artist: doug glovaski Each season, Music@Menlo invites a distinguished visual artist to exhibit a selection of paintings at Menlo School throughout the festival, and showcases the artist’s work in Music@Menlo’s publications. This year Music@Menlo is pleased to feature Doug Glovaski. Doug Glovaski was born in Saginaw, Michigan, in 1951 and moved to Los Gatos, California, in 1958. Although Glovaski studied art throughout high school, he did not commit to being an artist until much later in life. After several years of jobs in Silicon Valley, at the age of thirty-five, he set up a modest studio in his apartment and began to make art. In the twenty years since, Glovaski’s work has been exhibited extensively throughout northern California, in New York City, and in Zurich, Switzerland. In 1996, he received the highly prestigious Pollock/Krasner Foundation Grant recognizing artistic merit. His work is in numerous public collections, including the Achenbach Collection at the California Palace of the Legion of Honor in San Francisco, the Fogg Museum in Cambridge, and the San Jose Museum of Art in San Jose, as well as corporate and private collections throughout the country and abroad. Recent solo shows include Mapping Time at the San Jose Institute of Contemporary Art, and New Work at Dolby Chadwick Gallery in San Francisco. Glovaski is represented by Dolby Chadwick Gallery in San Francisco and Sears-Peyton Gallery in New York City. He lives and works in San Francisco. Doug Glovaski’s work will be displayed on campus throughout the festival. During the Open House on Saturday, July 26, at 12:00 p.m., Cathy Kimball, Executive Director of the San Jose Institute of Contemporary Art, will lead a Café Conversation with the artist, followed by an artist’s reception, both of which are free and open to the public.

Top right: Vestige #2, 2008, oil transfer drawing, 30" x 22" Lower right: Windings #1, 2008, oil on paper, 30" x 22"

www.musicatmenlo.org

“A rich and enormously appealing collection of musical performances. . . It’s not just the freshness and élan of the performance that pulls us in but the clarity and warmth of the recording. This is absolutely great engineering.” —Positive Feedback Online

Music@Menlo LIVE, the festival’s exclusive recording label, was launched in 2004, receiving rave reviews from critics and customers alike. The label has been praised as a “breakthrough” (Billboard) and “probably the most ambitious recording project of any classical music festival in the world” (San Jose Mercury News). One critic hailed Music@Menlo LIVE’s recordings as “without question the best CDs I have ever heard” (Positive Feedback Online). These unique boxed sets feature select concert recordings from Music@Menlo’s first five seasons, engineered and produced by Da-Hong Seetoo using state-of-the-art technology.

Recording Engineer: Da-Hong Seetoo The five-time Grammy Award–winning recording producer Da-Hong Seetoo returns to Music@Menlo for a sixth consecutive season to record the festival concerts. 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 custom-designed microphones, monitor speakers, and computer software. 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 Evergreen Symphony Orchestra (Taipei, Taiwan); the New York Philharmonic under music director 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 Voices, garnered the Grammy Award for Best Chamber Music Performance in 2006.

Broadcast Partner: American Public Media Music@Menlo is proud to welcome the return of American Public Media as the festival’s exclusive broadcast partner. Performances will air nationwide on American Public Media’s Performance Today®, the largest daily classical music program in the United States, which airs on 245 stations and reaches more than 1.2 million people weekly, and via Classical 24®, a live classical music service broadcast on 250 stations and distributed by Public Radio International. Visit www.americanpublicmedia.org for archived performances, photos, and interviews.

Latest Release: 2007’s Bridging the Ages A six-CD boxed set commemorating the Music@Menlo festival’s landmark fifth anniversary season, this comprehensive volume captures the 2007 season’s exciting performances of works by composers distanced by both geography and history but compelled by like ideas and creative inspirations. Other recordings include the fourth season’s seven-disc set Returning to Mozart, the third season’s four-disc collection Beethoven: Center of Gravity, the second season’s two-disc set Origin/Essence: A Musical Odyssey, and the five-disc collection, Innovation/Evolution: The Unfolding of Music, from the festival’s inaugural season. Watch for the 2008 festival recordings to be released in late fall. Complete boxed sets and individual CDs from all seasons can be purchased on our Web site at www.musicatmenlo.org.

www.musicatmenlo.org

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Your on-line guide to San Francisco Arts & Culture

World Premiere Commissioned by San Francisco Opera

September 13, 16, 20m, 25, 28m, 30; October 3 Tickets go on sale July 14, 2008

sfopera.com (415) 864-3330

IMAGE BY HAN FENG

By Stewart Wallace and Amy Tan

Why I Listen to New Music by l.d. tashjian, m.d.

I have a hard time with new music. Not the romantic treacle of, say, an Andrew Lloyd Webber, or the revisionist, marshmallow-sweet tunes of many of his colleagues, but the gritty, dissonant music of a Henze or a Messiaen or a Takemitsu, even a Schoenberg. I often lose my way. I get distracted. I daydream. I am bothered by the lack of familiarity, by the absence of repetition, of signposts. I am often neither reassured nor comforted when listening to such music, and when the music is over, I feel as if I have endured and triumphed. Yet I listen to new music. I must also confess that I have a hard time with new literature—not the fictions that use a 19th-century format with a 21st-century sensibility, but those on the edge, like a Pynchon or a Saramago. Yet I read new literature. And I have a hard time, I again confess, with new art—new painting and sculpture, and mixed media. I also find I struggle with installation art

What if I had been in the audience for the premiere of The Rite of Spring? Would I have heard the greatness of the music or would I have heard noise? at SITE Santa Fe. I try not to look stupid when attending such exhibitions; I try to look as if I know what I’m looking at, even as I think, “What am I looking at?” Yet I go to such exhibitions. I listen to new music, read new literature, and go to new exhibitions simply because I’m curious and want to learn and grow. I find I have to battle within myself the tendency to close doors, put up barricades, batten down the hatches—to say that I have learned enough, that I know what I like and what I don’t like, and that that is sufficient for me. I don’t want to close off to experience. I see the entropy of complacency as my “enemy within”—much worse than the “enemy without” of atonality or dissonance. And sometimes I am surprised, sometimes rewarded with sublime and rapturous music; with, say, the angst-filled pathos of a Shostakovich quartet, or moments of Schoenberg. And sometimes my hearing improves and my reach is extended. That, often, is reward enough. But there are other barriers here, other impediments in my ongoing struggles with the new. The first is that of context. When I listen to Haydn, I know I am with a master of the Classical period; when I listen to Bach, the Baroque; to Schumann, the Romantic. In a sense, the music is predigested, certainly preselected, for me. I don’t have to contend with all of Schumann’s peers who were writing Schumann-like music but were second-rate. They have been weeded out of the canon. There is a lot of Baroque music that is never performed or has been irretrievably lost that I

never have to hear. The separation of wheat from chaff has been taken care of by others. Thank God! With the new, I have to listen to the second- and third-rate as well as the first-rate, and judge for myself the music’s merits. But am I even able to distinguish the first-rate— to sense what might be likely to be played again from that which will be gratefully forgotten? What if I had been in the audience for the premiere of The Rite of Spring? Would I have heard the greatness of the music or would I have heard noise? I often worry about my judgment, my ability to discern—another reason I keep listening. Another impediment to my being able to hear new music is that music, of all the art forms, directly impacts our senses and emotions. Even when looking at a painting for the first time, one can stand back, look at color and form, and reflect on the visual impact. But in listening to a new work of music, one is immersed and swept along without the capacity to stand aside and observe. And if one’s ears are not tuned to the new idiom, one hears only chaos and noise. An analogy might be reading an unfamiliar writer for the first time. It often takes some work on my part to get into the rhythm of his style, to get in sync with the way he puts words, phrases, and sentences together. Listening to new music is a greater challenge. I have to work at it in a way much different from how I work when listening ot Brahms. But when I do that work, expend that mental energy, I expand not only my ears but also my mind. The new helps me to further define the old. As a consequence, I hear Brahms with a greater depth and awareness. As much as I love Haydn’s chamber music—it’s probably what I would take with me to a desert island—its familiarity is both satisfying and numbing. I like being surprised by a Henze, a Subotnick, a Perle—I find it exciting to be in such terra incognita. I need to be involved in art forms that are controversial, that abrade and unsettle. Whether it be a movie or a novel or a musical composition, I often find that the work of art that most troubles me, that causes me to lose sleep at night and makes me gnash my teeth, is the work of art that stays with me the longest. Not always, to be sure, but frequently enough to make the listening well worth my while. L.D. Tashjian is a psychiatrist, author, lecturer, and former board member of the Santa Fe Chamber Music Festival. Essay originally appeared in the Santa Fe Chamber Music Festival’s 2000 season program book and is reprinted with permission. Image: Detail from String Trio (1990) by Kenneth Frazelle (b. 1955).

www.musicatmenlo.org

biographies

2008 Artist Biographies

most recent addition to the ArtistLed catalogue, Russian Recital, marks Wu Han’s first full-length solo recording for the label and features works by Tchaikovsky, Rachmaninov, and Scriabin. A recording of Schubert’s trios with violinist Philip Setzer will be released during the fall of 2008. David Finckel and Wu Han have served as Artistic Directors of the Chamber Music Society of Lincoln Center since 2004. Prior to launching Music@Menlo, Wu Han and David Finckel served for three seasons as Artistic Directors of SummerFest La Jolla. For many years, David Finckel and Wu Han taught alongside the late Isaac Stern at Carnegie Hall and the Jerusalem Music Centre. They appeared annually in the Aspen Music Festival’s Distinguished Artist Master Class series and in various educational outreach programs across the country. David Finckel and Wu Han reside in New York with their fourteen-year-old daughter Lilian.

Performers

Artistic Directors The Martin Family Artistic Directorship Cellist David Finckel and pianist Wu Han, the founders and Artistic Directors of Music@Menlo, 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. Their busy seasons include performances as a duo and as chamber musicians (including, in David Finckel’s case, more than one hundred concerts annually as cellist of the Emerson String Quartet). Their duo performances take them to some of the most prestigious venues and concert series across the United States, including Lincoln Center, Morgan Library & Museum, Town Hall, and 92nd Street Y in New York; Washington’s Kennedy Center, Smithsonian Institute, and Dumbarton Oaks; San Francisco Performances, Stanford Lively Arts, UCLA LIVE!, and UCSB Arts and Lectures in California; Union Theater and Pabst Theater in Wisconsin; as well as the University of Chicago’s Mandel Hall, Princeton University Concerts, the University of Iowa’s Hancher Auditorium, the Cleveland Chamber Music Society, New Orleans Friends of Chamber Music, and Aspen’s Harris Concert Hall. The duo’s international engagements have taken them to Mexico, Canada, the Far East, Scandinavia, and continental Europe to unanimous critical acclaim. Highlights from recent seasons include their debuts in Germany and at Finland’s Kuhmo Festival, their presentation of the complete Beethoven cycle in Tokyo, and their signature allRussian program at London’s Wigmore Hall. David Finckel and Wu Han’s wide-ranging musical activities also include the launch of ArtistLed, the first musician-directed and Internetbased recording company, which is celebrating its tenth year. All ten ArtistLed recordings have received critical acclaim and are available via the company’s Web site at www.artistled.com. The duo’s Russian Classics recording, featuring works by Rachmaninov, Prokofiev, and Shostakovich, received BBC Music Magazine’s coveted Editor’s Choice award. The

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A composer, author, educator, and performer, Bruce Adolphe is the Resident Lecturer and Director of Family Concerts for the Chamber Music Society of Lincoln Center, the comic keyboard quiz-master for American Public Media’s Piano Puzzlers on Performance Today, and Founder and Creative Director of the Learning Maestros education company.  Bruce Adolphe has composed music for many renowned musicians and ensembles, including Itzhak Perlman, Yo-Yo Ma, Sylvia McNair, the Beaux Arts Trio, Orpheus Chamber Orchestra, National Symphony Orchestra, Caramoor Festival, Orchestra of St. Luke’s, New York Chamber Symphony, Miami Quartet, and the Chamber Music Society of Lincoln Center. He has been composer-in-residence at many festivals and institutions, including the Santa Fe Chamber Music Festival, Chamber Music Northwest, Music from Angel Fire, Perlman Music Program, Bridgehampton Chamber Music Festival, OK Mozart Festival, and SummerFest La Jolla. From 2003 to 2004, Adolphe served as the Distinguished Composer-inResidence at Mannes College The New School for Music. Formerly on the faculties of the Juilliard School and New York University, and a Visiting Lecturer at Yale University, Bruce Adolphe has been the Resident Lecturer of the Chamber Music Society of Lincoln Center since 1992, and has been featured in nationally broadcast Live from Lincoln Center television programs. In addition to his lecture series, Inside Chamber Music, now in its twelfth season at Lincoln Center, Bruce Adolphe was a featured lecturer from 2001 to 2005 at the Metropolitan Museum of Art in New York, where his series was called A Composer’s View. In 2008 he was appointed Composer-in-Residence at the Brain and Creativity Institute in Los Angeles. With Julian Fifer, Bruce Adolphe cofounded the Learning Maestros, formerly called PollyRhythm Productions, a company devoted to the creation of music, books, CDs, and scripts linking music to science, art, history, literature, and the environment. Bruce Adolphe’s many works for young people have been performed throughout the world by orchestras and ensembles, including the Los Angeles Chamber Orchestra, Orpheus Chamber Orchestra, and the Orchestra of St. Luke’s. Performances of his music have been featured at such unusual venues as the American Museum of Natural History in New York, the Smithsonian Museum of Natural History in Washington, D.C., The Field Museum in Chicago, and the Scripps Institution of Oceanography in La Jolla. Bruce Adolphe’s music has been recorded on the Telarc, Naxos, CRI, Delos, Koch, Summit, Albany, and PollyRhythm labels.

biographies William Bennett is Principal Oboist of the San Francisco Symphony and occupant of the Edo de Waart Chair, a position he has held since September 1987, when he was appointed by Herbert Blomstedt. He joined the San Francisco Symphony in 1979 as Associate Principal to Marc Lifschey. A regular soloist with the San Francisco Symphony, in 1992 he gave the world premiere of John Harbison’s Oboe Concerto with Herbert Blomstedt conducting—music commissioned for him by the San Francisco Symphony and which he went on to perform on tour with the symphony in Carnegie Hall and throughout Europe, including performances in Vienna and London. He also recorded that work with the symphony for London Records. William Bennett’s other solo performances with the San Francisco Symphony have included Richard Strauss’s Oboe Concerto, Françaix’s The Flower Clock, and the Mozart Oboe Concerto, as well as concerti by Bach, Haydn, Barber, Martin, and Cordero-Saldivia. William Bennett has appeared in solo recital, concerto, chamber, and orchestral engagements throughout the Americas, Europe, and the Far East. He has performed at the Marlboro Festival, Festival D’Inverno in Sao Paolo, Aspen Music Festival, Tanglewood Music Center, and Music@Menlo. In 1990 and 1991, he was a soloist and woodwind coach with the Asian Youth Orchestra, touring Japan, Hong Kong, Korea, and the People’s Republic of China. William Bennett is also an active soloist in the Bay Area and Northern California, having performed solo works by Barber, Bellini, Dalbavie, Handel, Hummel, Marcello, Martinu°, Mozart, Satie, Takemitsu, and Vaughan Williams. As soloist he has also performed his own transcriptions of Debussy, Ellington, and Pasculli with the San Francisco Contemporary Music Players, the Parlante Chamber Orchestra, and Symphony Parnassus, plus the orchestras of Berkeley, Fresno, Modesto, Napa, Santa Cruz, and Stockton. William Bennett’s chamber transcriptions of other classical and jazz standards have been a feature of several recitals and benefit concerts in the Bay Area. A graduate of Yale University, he studied oboe with Robert Bloom at Yale and at the Juilliard School. William Bennett is on the faculty at the San Francisco Conservatory of Music.

Considered “simply the best there is” by the Boston Globe, the critically acclaimed Borromeo String Quartet is one of the most sought-after string quartets in the world, each season performing more than one hundred concerts of classical and contemporary literature across three continents. Audiences and critics alike have championed the Borromeo Quartet’s revealing explorations of Beethoven, Brahms, Bartók, Schoenberg, Shostakovich, and Ligeti, and its affinity for making challenging repertoire approachable. The Borromeo—violinists Nicholas Kitchen and Kristopher Tong, violist Mai Motobuchi, and

cellist Yeesun Kim—perform at the world’s most illustrious concert halls and music festivals, and continue long-standing residencies at the Isabella Stuart Gardner Museum, the Tenri Cultural Institute, and Dai-Ichi Seimei Hall in Tokyo. They are Quartet-in-Residence at New England Conservatory. In April 2007, the Borromeo String Quartet was honored in New York with a prestigious Avery Fisher Career Grant, and in 2006 the Aaron Copland House honored the Borromeo’s commitment to performing contemporary music by creating the Borromeo Quartet Award, an annual initiative that premieres the work of important young composers to audiences internationally. In 2003 the quartet made classical music history with its pioneering record label, the Living Archive Recorded Performance Series, making it possible to order DVDs and CDs of many of its concerts around the world, a feat previously attempted only in rock music. The series allows listeners the chance to explore in greater depth the music they have just heard in concert, as well as to explore new and rarely performed works. In 2000 they completed two seasons as members of Lincoln Center’s Chamber Music Society Two program for emerging young artists and served as Ensemble-in-Residence for the 1998–99 season of National Public Radio’s Performance Today. Awards include Lincoln Center’s Martin E. Segal Award in 2001, Chamber Music America’s Cleveland Quartet Award in 1998, and the Young Concert Artists International Auditions in 1991, as well as top prizes at the International String Quartet Competition in Evian, France, in 1990. Violinist Hasse Borup is professor of violin and chamber music performance at the University of Utah School of Music. He maintains a busy performance schedule at music series and festivals. Previous appointments include positions at the University of Virginia and George Washington University. He earned degrees in violin performance from the Royal Danish Conservatory of Music and the Hartt School of Music, and a doctorate in musical arts from the University of Maryland. In addition to numerous prestigious prizes and fellowships, Hasse Borup is the only Dane to win the International Yamaha Music Prize. He has appeared as soloist in Venice, Cremona, Paris, Copenhagen, Charlottesville, and Salt Lake City. Hasse Borup was a founding member of the award-winning Coolidge Quartet, serving as the first-ever Guarneri Fellowship Quartet at the University of Maryland. He has also worked with members of the Emerson, Guarneri, and Juilliard quartets, and with Isaac Stern, William Preucil, Roland and Almita Vamos, David Takeno, and Hatto Beyerle. In 2000 the quartet was the subject of the documentary film Four/Fours, directed by Israeli filmmaker Uri Gal-Ed. Hasse Borup has performed live on National Danish Radio, National Slovenian Radio, National Australian Radio, and Radio Hong Kong, and has been featured on NPR’s Performance Today. In 2002, he performed Bright Sheng’s Piano Trio with the composer at the piano, at a Silk Road Project–sponsored event. Recent performance locations include the Grand Teton Music Festival, Arnold Schoenberg Center (Vienna), Washington, D.C., Chinese Central Conservatory (Beijing), Nanjing University, and San Francisco, among others. Centaur Records released his CD, entitled American Fantasies, with music of Arnold Schoenberg and his American students and followers, in March 2008. This recording was supported and endorsed by the Arnold Schoenberg Center in Vienna. Upcoming releases include the complete sonatas for violin and piano by Danish Romantic composer Niels W. Gade on the Naxos Label. This release is supported by the prominent Scandinavian arts foundations Augustinus

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biographies Fonden and Weyse Fonden. As an active educator, Hasse Borup has published articles in Strad magazine (August 2006 issue, describing a series of groundbreaking instrument-acoustics workshop collaborations between the University of Utah and the Violin Making School of America) and the ASTA Magazine (May 2008, analyzing intonation in Classical string repertoire). Florian Conzetti has performed as a percussion soloist, chamber music collaborator, and orchestral musician in Europe and the United States. He studied percussion, marimba, timpani, and music education at the Konservatorium für Musik in Bern, Switzerland; the Eastman School of Music; and the Peabody Conservatory, where he earned a doctorate in music as a student of marimbist Robert Van Sice and musicologist John Spitzer. He has appeared most recently at Stanford Lively Arts (with Alarm Will Sound), Cal Performances, and Music@Menlo. He also performs regularly with the San Francisco Contemporary Music Players, Berkeley Contemporary Chamber Players, Peabody Percussion Group, Eastman Wind Ensemble, and Bern Symphony Orchestra, and has recorded for Albany Records. Florian Conzetti teaches at the University of San Francisco and University of California–Berkeley, and has been a guest speaker at Stanford University, the San Francisco Conservatory of Music, and the Chinese University of Hong Kong. Harpsichordist, pianist, musicologist, and conductor Kenneth Cooper is one of the world’s leading specialists in the music of the eighteenth century and one of America’s most exciting and versatile performers. Renowned for his improvisations and his expertise in ornamentation—a long-lost eighteenth century art—he has revived countless works, lending them extraordinary authenticity as well as great vitality. The possessor of a Ph.D. in musicology from Columbia University, Kenneth Cooper is on the faculty there as well as at the Manhattan School of Music, where he is Chair of the harpsichord department and Director of the Baroque Aria Ensemble. As Music Director of the Berkshire Bach Ensemble since its inception, Kenneth Cooper has made a tradition of the New Year’s performances of the six Bach Brandenburg Concerti, and has instituted a series of Concerto concerts that have featured such superlative artists as Eugene Drucker and Ani and Ida Kavafian. He is heard regularly at the Bridgehampton and Music@Menlo chamber music festivals, and with the Sherman Chamber Ensemble, the Norfolk Chamber Music Festival, and The Little Orchestra Society’s Vivaldi festivals at Alice Tully Hall. Kenneth Cooper has toured widely, having appeared recently at the Yellow Barn Music Festival, at Chamber Music Northwest, and with the Chamber Music Society of Lincoln Center. Over the past decades, Kenneth Cooper has made almost one hundred recordings, among them Bach: Sonatas for Viola da Gamba &

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Harpsichord (CBS, with Yo-Yo Ma), the complete Bach sonatas for flute and fortepiano (Bridge Records, with Susan Rotholz) and Bach: The Six Brandenburg Concerti and Goldberg Variations (Berkshire Bach Society). His most recent releases include J.S. Bach: Six Sonatas for Violin & Fortepiano with Ani Kavafian (Kleos), and the December 2006 Baroque Concert from Lincoln Center’s Chamber Music Society on DG Concerts (through iTunes). In 2004 and 2005, the International Music Company issued Kenneth Cooper’s award-winning editions of Bach’s Two and Three Part Inventions. Kenneth Cooper’s past season included, in April, the production and direction of Handel’s English opera Susanna at the Manhattan School of Music. He also welcomes the release by International Music Company of his reconstruction, from the 1793 sketchbooks, of Beethoven’s original cadenza to his Second Piano Concerto. Cellist Andrés Díaz has earned exceptional reviews for his “strongly personal interpretive vision” (New York Times) and his “bold and imaginative” playing (Boston Globe). He was born in Santiago, Chile, and began studying the cello at the age of five. As a child he moved to Atlanta with his family. He graduated from New England Conservatory, where he continues to play an active role in chamber music performances with NEC faculty. He served for five years as Associate Professor of Cello at Boston University and Codirector of the Boston University Tanglewood Institute Quartet Program. He is currently Artist-in-Residence at the Brevard Music Center in North Carolina, and was recently appointed head of the string department at Southern Methodist University. Andrés Díaz gave the world premiere of Gunther Schuller’s Concerto for Cello and Orchestra with the Brevard Festival Orchestra. He performed the U.S. premiere of Frank Bridge’s Oration for cello and orchestra at Boston University and premiered Thomas Oboe Lee’s Cello Concerto (written expressly for Andrés Díaz) with the Boston Civic Symphony. He gave the Boston and Washington, D.C., premieres of Leon Kirchner’s Music for Cello and Orchestra. Andrés Díaz later performed the piece with the National Symphony Orchestra, for which it received First Prize in the Friedheim Awards. The Díaz/Sanders Duo, with the late pianist Samuel Sanders, performed at venues across the United States and abroad. The duo recorded works by de Falla and Schumann for MusicMasters and, for Dorian, released Brahms’s Sonatas for Piano and Cello, Russian Romantics (a compilation of short Russian works), and American Visions, featuring works of Barber, Bernstein, and Foote. Andrés Díaz’s solo performance on Dorian, featuring the Villas-Lobos Cello Concerto no. 2 with the Simón Bolivar Symphony Orchestra and conductor Enrique Diemecke, won a 1996 Allegro Music Award for Best Orchestral Release. His latest recording, in memory of his collaborator Samuel Sanders, features the works of Martinu°, Lutoslawski, and Rachmaninoff and won the Classical Recording Foundation 2003 Award. Andrés Díaz is very active with the Díaz String Trio, featuring violinist Andrés Cárdenes and violist Roberto Díaz. At Carnegie Hall, the trio performed the world premiere of a string trio written for them by Gunther Schuller and, at Isaac Stern’s invitation, played at Carnegie Hall’s Centennial Celebration. From 1994 to 1996, it served as Trio-in-Residence at Florida International University. Andrés Díaz plays a 1698 Matteo Goffriller cello with a bow made by his father, Manuel Díaz.

biographies

Formed in 2005, the Escher String Quartet has attracted the attention of several esteemed artists who immediately admired the young ensemble’s individual sound, inspired artistic decisions, and unique cohesiveness. In only three years, the group has established a reputation as a world-class string quartet. Within months of its inception, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be the student Quartet-in-Residence at each artist’s summer festival, and had made its Kennedy Center debut. The Escher String Quartet comprises violinists Adam Barnett-Hartt and Wu Jie, both students of Pinchas Zukerman at the Manhattan School of Music; violist Pierre Lapointe, who studied with Emerson String Quartet violist Lawrence Dutton at the Manhattan School of Music; and cellist Andrew Janss, who studied with David Geber at the Manhattan School. September saw the Escher Quartet begin its residency at Lincoln Center’s Chamber Music Society Two. The quartet is also the Ernst Stiefel String Quartet-in-Residence at Caramoor Center for Music and the Arts. In 2007–08, the ensemble also performs at the festivals of Ravinia, Green Music, Great Lakes Chamber Music, Music@Menlo, and La Jolla, and makes appearances at the 92nd Street Y, Symphony Space, and Mannes College The New School for Music in New York, as well as Boston’s Isabella Stewart Gardner Museum and the Rhinebeck Chamber Music Society. The quartet also joins the faculty of Stony Brook University as Visiting Artist-in-Residence in a unique relationship with the world-renowned Emerson String Quartet. Jorja Fleezanis has been concertmaster of the Minnesota Orchestra since September of 1989, assuming that position after eight years with the San Francisco Symphony as Associate Concertmaster. This season she will perform the Elgar Concerto in Pendleton, Oregon, with Neville Marriner conducting the Minnesota Orchestra. With her recital partner Karl Paulnack she will give performances and master classes at Moravia College and the Boston Conservatory, and will also teach at the New World Symphony and Indiana University. This summer she will perform at the Trasimeno Music Festival (Italy) led by pianist Angela Hewitt. Her long-time piano trio with Garrick Ohlsson and Michael Grebanier, the Fog Trio, will give concerts in San Francisco and Napa Valley. The Minnesota Orchestra has commissioned two major solo works for Jorja Fleezanis: the John Adams Violin Concerto and the Ikon of Eros by John Tavener, the latter recorded on Reference Records. Her performances of the complete violin sonatas of Beethoven with the French fortepianist Cyril Huvé were released in 2003 on the Cypres label. Other recordings include Aaron Jay Kernis’s Brilliant Sky, Infinite Sky on CRI, commissioned for her by the Schubert Club of St. Paul,

Minnesota, and Stefan Wolpe’s Violin Sonata, with Garrick Ohlsson as her partner, for Koch International. Her performance of the premiere of Nicholas Maw’s Sonata for Solo Violin, commissioned for her by Minnesota Public Radio, was broadcast on Public Radio International’s Saint Paul Sunday Morning in 1998, and in 1999 she gave the British premiere at the Chester Summer Music Festival. In 1998, she was the violin soloist in the American premiere of Britten’s recently discovered Double Concerto for Violin and Viola. Jorja Fleezanis has been an adjunct faculty member at the University of Minnesota since 1990. She is frequently a visiting teacher at Indiana University and the New World Symphony, and has been on the faculty of the International Festival-Institute at Round Top since 1991. She has been an artist and teacher at Music@Menlo since its debut season in 2003. Jorja Fleezanis plays a violin by the Venetian maker Matteo Goffriller made in 1700 that was donated to the Minnesota Orchestra for her use only. She is married to the musicologist, lecturer, and writer Michael Steinberg. Percussionist Christopher Froh is principally committed to influencing and expanding the repertoire through commissions and premieres. He began his training as a fellow with the National Symphony Orchestra and continued at the Eastman School of Music with percussionist John Beck before moving to Japan to study and perform with marimba pioneer and composer Keiko Abe. He received his bachelor’s and master’s degrees at the University of Michigan with percussionist Michael Udow and marimbist Julie Spencer. He is currently on the faculty at the University of California–Davis. Christopher Froh is a former founding director of the Ann Arbor– based new music group and series, Brave New Works. Currently, he is a core member of the San Francisco Contemporary Music Players, the Empyrean Ensemble, the ADORNO Ensemble, and sfSound Group, and is principal percussionist with the San Francisco Chamber Orchestra. As a guest artist, he has performed with a broad array of ensembles including Alarm Will Sound, the Honolulu Symphony, and Gamelan Sekar Jaya. Festival appearances include performances at the Festival Nuovi Spazi Musicali, Music@Menlo, Festival of New American Music, Pacific Rim Festival, and Other Minds Festival. He continues his close ties to Japan by touring with marimbist Mayumi Hama and as a soloist with Keiko Abe and the Galaxy Percussion Group. He has performed regularly at the Percussive Arts Society International Convention and appeared as the solo percussionist for the Berkeley Repertory Theater’s production of Aeschylus’s The Oresteia. Christopher Froh is recorded as a soloist on the Albany, Equilibrium, and Innova labels. American baritone Robert Gardner has appeared with numerous opera houses and symphony orchestras in the United States, Europe, and Asia, including New York City Opera, Washington National Opera, Spoleto Festival USA, Santa Fe Opera, Aspen Music Festival, Bavarian National Opera, Edmonton Opera, Munich Philharmonic, and South Korea’s Taejon Symphony, among others. His opera credits include debuts as

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biographies Marcello in La Bohème at New York City Opera and Knoxville Opera, Sharpless in Palm Beach Opera’s Madama Butterfly, and Zurga in Madison Opera’s The Pearl Fishers. He has appeared as Robert Storch in Richard Strauss’s domestic comedy Intermezzo as a guest debut artist for the Aspen Music Festival under the baton of David Zinman; as Prospero in the U.S. premiere of Adès’s opera The Tempest; and as Jokanaan in Strauss’s Salome for the Santa Fe Opera. He has appeared as Silvano (Ballo) and Morales (Carmen) for the Bavarian National Opera and has served as a leading baritone for American Opera Projects for several years. In 2008, Robert Gardner sang premieres of works by John Harbison and Aaron Jay Kernis with the American Modern Ensemble in New York. He has also been instrumental in the creation of Sarah and Hagar, a new opera by Gerald Cohen. Other recent performances include Carnegie Hall premieres with MidAmerica Productions, as well as with hosts Dawn Upshaw and John Harbison in appearances for the Weill Music Institute; Mendelssohn’s Elijah with the Choral Society of Grace Church (New York); the Brahms Requiem with the Dallas Symphony Orchestra; Carmina Burana in Lincoln Center’s Avery Fisher Hall with the National Chorale; and Beethoven’s Missa Solemnis with the Lexington Philharmonic. Robert Gardner is a featured artist on the Naxos Records six-CD set of the complete songs of Charles Ives. Robert Gardner’s numerous awards include the prestigious Lili Boulanger Memorial Award, Pro Musicis International Award, William Matheus Sullivan Foundation Award, and the Gerda Lissner Award. He trained at Yale Opera of the Yale University School of Music and participated in young artist programs with the Santa Fe Opera, the Bavarian National Opera, and the Steans Institute for Young Artists at Ravinia in Chicago. Robert Gardner is a member of the Society of American Fight Directors and has choreographed safe yet effective stage conflicts professionally; he is a professional animal trainer in his spare time. Dennis Godburn leads a distinguished career as a performer of baroque, classical, and modern bassoons, concertizing throughout the United States, Europe, Japan, and South America. He has served as Principal Bassoonist for the Orchestra of St. Luke’s since 1976. He is also a member of the Orpheus Chamber Orchestra. Dennis Godburn has performed with the Metropolitan Opera, New England Bach Festival, Boston Early Music Festival Orchestra, Handel and Haydn Society, Waverly Consort, Philharmonia Baroque Orchestra, and the Classical Band, among many others. He has also appeared as soloist in the Great Performers series at Lincoln Center and at the Mostly Mozart Festival, Chamber Music Society of Lincoln Center, Ravinia Festival, and the Kennedy Center. Dennis Godburn can be heard in recordings spanning medieval to contemporary repertoire on RCA Records, Sony Classics, L’OiseauLyre, Telarc, Columbia Masterworks, Harmonia Mundi, EMI, and Deutsche Grammophon. The celebrated pianist Gary Graffman has been a major figure in the music world since winning the prestigious Leventritt Award in 1949. For the next three decades he toured almost continuously, playing the most demanding works in the piano literature, both in recital and with the world’s great orchestras. In 1979, however, Gary Graffman’s performing career was curtailed by an injury to his right hand. His performances are now limited to the small but brilliant repertoire of concerti written for the left hand alone.

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Gary Graffman has also devoted a large part of his life to education. Most notable has been his leadership of the renowned Curtis Institute of Music in Philadelphia. He first joined its piano faculty in 1980 and became Director of the all-scholarship conservatory in 1986. He was appointed President of the Curtis Institute in 1995, a position he held until May 2006. In the summer of 2005, Gary Graffman led the piano department at the Canton International Summer Music Academy in Guandong, China, giving him an opportunity to explore his love of education, chamber music, and Chinese culture. He has also participated in the Santa Fe Chamber Music Festival, Chamber Music Northwest, and the tenth anniversary celebration of Morningside Music Bridge, held in Shanghai in 2006. Gary Graffman was born in New York, of Russian parents, and began to play the piano at age three. When he was seven, the Curtis Institute accepted him to study with the renowned Isabelle Vengerova— exactly 50 years before he would become the school’s director. After graduation from Curtis, he worked for several years with Vladimir Horowitz and, during the summers, at the Marlboro Music Festival with Rudolf Serkin. Kathryn Greenbank has been Principal Oboist of the Saint Paul Chamber Orchestra (SPCO) since 1982. She is a graduate of the Curtis Institute of Music where she studied with John de Lancie. Kathryn Greenbank is a frequent soloist with the SPCO and has been featured on many of their recordings, including Ravel’s Le Tombeau de Couperin, Stravinsky’s Pulcinella, and Dvorˇák’s Serenade for Winds. An avid chamber musician, she has performed at the Marlboro Music Festival, Aspen Music Festival, Grand Teton Music Festival, Sarasota Music Festival, Music in the Vineyards, Alpenglow Chamber Music Festival, and the Bay Chamber Concerts series. She has toured with Music from Marlboro and appeared with them at Carnegie Hall during the ensemble’s fortieth-anniversary concerts. Kathryn Greenbank has played with the Philadelphia Orchestra, Boston Symphony Orchestra, Orpheus Chamber Orchestra, Kansas City Symphony, and Kansas City Chamber Orchestra. She also served on the faculty of the University of Minnesota from 1985 to 1996. 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. He is also an active lecturer, writer, and music critic. In recent seasons, he has been heard on the

biographies Metropolitan Opera Radio broadcasts and as a guest host on American Public Media’s Saint Paul Sunday. He is the editor of Parallels and Paradoxes: Explorations in Music and Society, a collection of dialogues between Daniel Barenboim and Edward Said. In 2003, Ara Guzelimian was awarded the title Chevalier des Arts et des Lettres by the French government for his contributions to French culture. Derek Han launched his international career by winning First Prize and the Gold Medal at the Athens International Piano Competition in 1977, with early engagements as soloist with the Sofia Radio Orchestra and numerous performances at the Marlboro Music Festival at the invitation of Rudolf Serkin. Highlights of Derek Han’s many solo performances include performances with Sinfonia Varsovia under Yehudi Menuhin in 1996 on tour in South Africa, celebrating Lord Menuhin’s eightieth birthday; major tours of the United States and the UK with the Berliner Symphoniker and Philharmonie der Nationen; touring the UK with the Bolshoi Symphony Orchestra; and European tours with the Moscow Philharmonic and Buenos Aires Philharmonic. He has toured the Netherlands and South America with the Residentie Orchestra and has also played in the Netherlands with Philharmonie der Nationen, the London Philharmonic Orchestra, and the Budapest Symphony Orchestra. In the Far East, Derek Han has performed with the Warsaw Philharmonic and Philharmonie der Nationen. He has appeared at the George Enescu Festival in Bucharest with Camerata Salzburg, in Germany and Holland with the Nordwest Deutsche Philharmonie, and on tour in Italy with the Sofia Philharmonic. Recent engagements include appearances as soloist with the Czech National Symphony, Moscow State Symphony, Budapest Symphony, Royal Philharmonic Orchestra, London Philharmonic Orchestra, Hong Kong Philharmonic, and the Orquesta Sinfónica Nacional de Argentina at Teatro Colón, Buenos Aires. Recitals and chamber music performances have taken Derek Han to Buenos Aires, the Australian Chamber Music Festival, the Finca Festival in the Canary Islands, and the La Musica International Chamber Music Festival (Florida), of which he is currently Associate Artistic Director. A prolific recording artist, Derek Han has a discography that includes the complete piano concerti of Haydn and Mozart with the English Chamber Orchestra and the Philharmonia Orchestra respectively. He has also recorded Beethoven’s complete piano concerti live at the Amsterdam Concertgebouw with the Berliner Symphoniker, both Mendelssohn piano concerti with the Israel Chamber Orchestra, and both Edward MacDowell piano concerti with the Chicago Sinfonietta. In addition, he has recorded piano concerti by Tchaikovsky, Rachmaninov, and Shostakovich, together with the complete Mozart violin sonatas with Joseph Silverstein, and other chamber music works. Derek Han has released recordings of the Chopin piano concerti and Rachmaninov’s piano concerti no. 1 and no. 2 with the Royal Philharmonic Orchestra. Hsin-Yun Huang established herself among her generation’s leading violists with top prizes at the ARD International Music Competition and the Bunkamura Orchard Hall Award in 1993. In 1988, she became the youngest-ever gold medalist in the Lionel Tertis International Competition. Following these and other successes, she was telecast in concerto appearances with the Bavarian Radio Orchestra in Munich, the Zagreb Soloists in Paris, and the Tokyo Philharmonic; other appearances have included live broadcast performances with the Berlin Radio Symphony,

the Russian State Philharmonic, and the National Symphony of Taiwan. An active soloist and chamber musician in the United States, Europe, and the Far East, Hsin-Yun Huang is in special demand in her native Taiwan, appearing annually with the National Symphony and recently giving a nationally televised recital for President Chen Shui-Bian. She has participated in various prominent chamber music festivals, including the Rome Chamber Music Festival, Music@Menlo, Moritzburg Festival (Dresden), Spoleto (Italy and Charleston, South Carolina), Cartagena Festival (Colombia), Chamber Music Northwest, Marlboro Music Festival, Bridgehampton, Newport Festival, and many others. She has collaborated with such artists as Yo-Yo Ma, Jaime Laredo, Joshua Bell, Joseph Suk, Menahem Pressler, Joseph Silverstein, Gary Hoffman, and Michael Tree. Recent season highlights include a collaborative tour with the Orion String Quartet and the Bill T. Jones/Arnie Zane Dance Company, a concerto appearance in Central Park, and a European tour with the Brentano String Quartet. Hsin-Yun Huang recently embarked on a series of major commissioning projects for solo viola and chamber ensemble. In 2006, she premiered Shu Shon Key (Remembrance) by Houston-based Taiwanese composer Shih-Hui Chen with the Broyhill Chamber Ensemble at An Appalachian Summer Festival in North Carolina. The 2007 season saw the premiere of Ground Swell, a new work for solo viola and chamber ensemble by Steven Mackey at the Aspen Music Festival. As a member of the Borromeo String Quartet from 1994 to 2000, Hsin-Yun Huang appeared in such prominent venues as New York’s Alice Tully Hall, London’s Wigmore Hall, Berlin’s Philharmonie, and Japan’s Casals Hall. In 1998, the Borromeo received the prestigious Cleveland Quartet Award and was chosen for Lincoln Center’s Chamber Music Society Two roster. Hsin-Yun Huang is a founding member of the Variation String Trio and currently serves on the faculties of the Juilliard School and Mannes College The New School for Music in New York. Stuart Isacoff, a pianist and composer, is Founding Editor of the magazine Piano Today, Executive Editor of Sheet Music Magazine, and a recipient of the ASCAP Deems Taylor Award for excellence in writing about music. His numerous articles have appeared in the New York Times, The New Grove Dictionary of Music in America, Chamber Music, Musical America, Keyboard, Stagebill, Symphony, and Connoisseur. Stuart Isacoff’s original musical compositions and instructional books have been published by Boosey & Hawkes, G. Schirmer, Associated Music Publishers, Carl Fischer, Music Sales Corp., Warner Bros., and Ekay Music. Stuart Isacoff’s recent appearances as a recitalist and lecturer have included performances at the Verbier Festival and Academy (Switzerland), Van Cliburn Piano Institute (Fort Worth), Gilmore International Keyboard Festival (Kalamazoo), Gina Bachauer International Piano Foundation (Salt Lake City), and the Caramoor Center for Music and the Arts (Katonah).

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biographies Believing that most musical boundaries are artificial, Stuart Isacoff performs recitals that combine classical repertoire with jazz improvisation in ways that illustrate bridges between musical works written centuries and continents apart. Of his piano playing, pianist André Watts has said: “Stuart Isacoff’s music-making is original and revelatory. Subtle, brilliant use of the instrument combined with a unique musical perspective create performances of uncommon depth. Isacoff reveals his beautiful interior world with every performance.” Stuart Isacoff has been a longtime student of the Chinese art of Tai Chi Chuan, and in recent years has also taken up gymnastics. He has degrees in philosophy and music composition, and was a classical piano student of Zenon Fishbein and a jazz piano student of Sir Roland Hanna. Stuart Isacoff has taught at several schools, including Brooklyn College, William Paterson University, and the Verbier Festival and Academy. He lives in Bergen County, New Jersey. Renowned as a pianist and conductor, Jeffrey Kahane is recognized around the world for his mastery of diverse repertoire from Bach to Gershwin. He has established a reputation not only as music director of two unique ensembles but also as a truly versatile artist equally sought-after as soloist, conductor, and chamber musician. In 2007–08, Jeffrey Kahane enters his eleventh season as Music Director of the Los Angeles Chamber Orchestra and continues his successful tenure as Music Director of the Colorado Symphony Orchestra. Under his leadership, both ensembles received 2007 ASCAP Awards for Adventurous Programming. He also continues as Artistic Director of the Green Music Festival at Sonoma State University, having completed his tenth and final season as Music Director of the Santa Rosa Symphony in 2006. Highlights of Jeffrey Kahane’s 2007–08 season include a return engagement with the Chamber Music Society of Lincoln Center in New York, as well as a number of premieres in both Los Angeles and Denver. With the Los Angeles Chamber Orchestra, highlights include leading the orchestra on a four-country, ten-day European tour—his first with the orchestra—and performing and conducting the world premiere of Kevin Puts’ solo piano concerto Night, the first-ever piano concerto composed for Jeffrey Kahane to conduct from the keyboard. High points with the Colorado Symphony Orchestra include conducting the “Hope and Despair” festival, which presents works by World War II victims and includes the Colorado Symphony Orchestra premieres of works by composers Viktor Ullmann, Wladyslaw Szpilman, and Kurt Weill. Other highlights include leading the Colorado Symphony Orchestra from the keyboard in a dedicated all-Mendelssohn program, and collaborating with guest artists including violinist Midori, pianists Olga Kern and Ingrid Fliter, and the Colorado Symphony Orchestra Chorus, directed by Duain Wolfe. Jeffrey Kahane’s belief in the educational and inspirational power of music to inspire young people led him to found the Los Angeles Chamber Orchestra’s Family Concerts series. Under his leadership, the orchestra has also increased its Meet the Music series for school children this season from four to six performances. For educational projects undertaken with the Santa Rosa Symphony, Jeffrey Kahane received one of the first MetLife Awards for Excellence in Community Engagement from the League of American Orchestras; and in May 2005, he was awarded an honorary doctorate of fine arts by Sonoma State University for his services to the arts and education.

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American violinist Erin Keefe, winner of the 2006 Avery Fisher Career Grant, is quickly establishing a reputation and earning praise as a compelling artist who combines exhilarating temperament and fierce integrity. A top prize winner of several international competitions, she recently took the Grand Prize in the 2007 Torun International Violin Competition (Poland), the 2006 Schadt Competition (Allentown), and the Corpus Christi International String Competition, and was the Silver Medalist in the Carl Nielsen (Denmark), Sendai (Japan), and Gyeongnam (Korea) International Violin Competitions, resulting in performances and immediate re-engagements in the United States, Europe, and Asia. Erin Keefe has appeared in recent seasons with orchestras such as the New Mexico Symphony, New York City Ballet Orchestra, Amadeus Chamber Orchestra, Allentown Symphony, Sendai Philharmonic (Japan), Suwon Philharmonic (Korea), and the Odense Symphony Orchestra (Denmark), and has given recitals in the United States, Germany, Korea, Poland, Japan, and Denmark. Erin Keefe has collaborated with many leading artists of today including the Emerson String Quartet, Roberto and Andrés Díaz, Edgar Meyer, Gary Graffman, Richard Goode, David Soyer, Colin Carr, Menahem Pressler, Leon Fleisher, and William Preucil. Her recording credits include Schoenberg’s Second String Quartet with Ida Kavafian, Paul Neubauer, Fred Sherry, and Jennifer Welch-Babidge for Robert Craft and the Naxos Label; recordings of the Dvorˇák Terzetto and the Dvorˇák Piano Quartet in E-flat with David Finckel and Wu Han for the CMS Studio Recording label; and live performances of the Bartók Contrasts, Dvorˇák Piano Quintet, and Mozart E-flat Piano Quartet recorded for Deutsche Gramophone. Erin Keefe’s festival appearances have included the Marlboro Music Festival, Music@Menlo, Music from Angel Fire, and Ravinia, and the Seattle, OK Mozart, Mimir, and Bridgehampton chamber music festivals. As a member of Lincoln Center’s prestigious Chamber Music Society Two program for the 2006–09 seasons, Erin Keefe is appearing in numerous programs at Lincoln Center as well as on tour throughout the United States. In January 2008 she and other artist members were featured on Live from Lincoln Center playing Schoenberg’s Verklärte Nacht. She has performed with the Brooklyn Chamber Music Society and appears regularly with the Boston Chamber Music Society. Erin Keefe earned a master’s degree in music from the Juilliard School and a bachelor’s degree in music from the Curtis Institute. Her teachers included Ronald Copes, Ida Kavafian, Arnold Steinhardt, Philip Setzer, and Philipp Naegele. Daniel Kennedy holds a master’s degree in music from California Institute of the Arts, and a doctoral degree in percussion performance from Stony Brook University under the guidance of multi-percussionist Raymond DesRoches, hand-drum specialist John Bergamo, and tabla master Swapan Chaudhuri. He has been a founding member of several contemporary music ensembles, including the California EAR Unit and the Talujon Percussion Quartet, and has performed throughout the United

biographies States, Europe, India, Bali, and Japan. His recent concert appearances include performances of Steven Mackey’s Micro-Concerto at the Kennedy Center and the Los Angeles County Museum, a performance with the So¯ Percussion quartet at the 2005 Other Minds Festival, and solo performances for Day of Percussion events at the University of Nebraska at Omaha, Queens College, California State University at Fresno, and Southern Oregon University at Ashland. Currently a member of the San Francisco Contemporary Music Players and Gamelan Sekar Jaya, Daniel Kennedy resides in Sacramento, California, where he is the Instructor of Percussion at Sacramento State University. Flutist Sooyun Kim made her prizewinning debut at age ten with the Seoul Philharmonic Orchestra, and has since won numerous awards, including the 2007 Georg Solti Foundation Career Grant. During the past season, she made concerto appearances with the New England Conservatory Symphony Orchestra, the New Amsterdam Symphony Orchestra (New York) and the Boston Pops Orchestra. She has also appeared in a series of solo recitals in Boston, New York City (presented by the Joyce Dutka Arts Foundation), and Chicago (presented by the Barnett Family Arts Foundation). A devoted chamber musician, Sooyun Kim is a member of the Nobis Trio, the 2007 New England Conservatory Honors Chamber Ensemble. She also regularly appears at the summer Spoleto Festival USA. In addition, she has performed in chamber music concerts with flutist Paula Robison, violinist Jaime Laredo, harpsichordist John Gibbons, the Borromeo String Quartet, New Budapest Quartet, Musicians from Marlboro, and the Parker String Quartet. In December 2007, Sooyun Kim was named as a “Young Leader of Tomorrow” by the Korean Daily Central News for her achievement and contribution to her native Korea. Previously, Sooyun Kim has appeared as a soloist with the Yewon Orchestra (Korea), the Isabella Stewart Gardner Museum Chamber Orchestra, and the New Jersey Symphony Orchestra. She also performed in some of the world’s most prestigious concert venues, such as the Franz Liszt Hall in Budapest, Bunka Hall in Kobe, Sejong Arts Hall in Seoul, and Alice Tully Hall in New York. Her interest in the fine arts has also led her to participate in a month-long conceptual art project with artist Sol Lewitt and flutist Paula Robison at the Isabella Stewart Gardner Museum, performing Mozart flute quartets in a space created by the artist; more recently she performed solo works of J.S. Bach and Debussy in a space filled with the ceramic works of celebrated potter Brother Thomas in his Remembrance Concert. Specializing in twentieth- and twenty-first century music, percussionist Tom Kolor holds a master’s degree from the Juilliard School and is presently an adjunct professor at Purchase College and William Paterson University. This season, he performed with vocalist Meredith Monk, bassist Anthony Jackson, guitarist Steven Mackey, and drummer Roland Vasquez, and collaborated with composer Karlheinz Stockhausen. Tom Kolor is a

member of Talujon Percussion, the Columbia Sinfonietta, Ensemble 21, Sospeso, the American Modern Ensemble, Newband, and the New Jersey Percussion Ensemble. He is the frequent guest of such ensembles as New York New Music Ensemble, the Chamber Music Society of Lincoln Center, Speculum Musicae, Continuum, Da Capo Chamber Players, the Group for Contemporary Music, Orpheus Chamber Orchestra, and the Orchestra of St. Luke’s. As a soloist, he has premiered works by such composers as Milton Babbitt, John Zorn, Wayne Peterson, Tania Leon, and Jerome Kitzke. Tom Kolor has recorded for the Bridge, New World, Albany, Capstone, Innova, Wergo, Naxos, CRI, Koch, RCA Classics, Tzadik, and North/South Consonance labels. Laurence Lesser, cellist, has enjoyed a multifaceted career as concert artist, teacher, and arts administrator. A native of Los Angeles, he was a top prize winner in the 1966 Tchaikovsky Competition in Moscow and a participant in the historic Heifetz-Piatigorsky concerts and recordings. Laurence Lesser has been soloist with the Boston Symphony Orchestra, the London Philharmonic, the New Japan Philharmonic, and other orchestras worldwide. He has performed under the batons of Ozawa, Rostropovich, and Tilson Thomas, among others. As a chamber musician he has participated at the Casals, Marlboro, Spoleto, and Santa Fe festivals. He has served as jury member for numerous international competitions and in 1994 was chairman of the Tchaikovsky Competition (cello) in Moscow. Laurence Lesser was President of New England Conservatory (NEC) from 1983 to 1996, during which period America’s oldest independent school of music enjoyed an impressive rise in reputation. Laurence Lesser is the President Emeritus of NEC, and during the academic year 2006–07, Laurence Lesser served as Interim CEO of NEC while a search for a new president was completed. Principal Clarinetist of the Metropolitan Opera Orchestra, Anthony McGill is quickly becoming one of classical music’s most sought-after soloists and chamber musicians. A winner of the highly prestigious Avery Fisher Career Grant, Anthony McGill took his most recent position following a four-year tenure as Associate Principal Clarinetist of the Cincinnati Symphony Orchestra. Prior to this, he was a student at the Curtis Institute of Music. An experienced chamber musician, he has performed at the Marlboro Music Festival, Sarasota Festival, La Musica, Tanglewood, Music@Menlo, and the Grand Teton Music Festival. He has also appeared as soloist with the symphony orchestras of Baltimore, New Jersey, and Hilton Head. He has performed with some of the great string quartets of the world, including the Guarneri, Tokyo, Shanghai, Miami, Brentano, Miró, and Daedalus quartets. Anthony McGill has appeared in Ravinia’s Rising Stars series, toured repeatedly with Musicians from Marlboro, and performed at Lincoln Center as a member of Chamber Music Society Two. He has also toured Europe and Japan with a chamber group including the Brentano String Quartet, Mitsuko Uchida, Marina Piccinini, and Barbara Sukova.

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biographies Winner of a 2003 Avery Fisher Career Grant, flutist Demarre McGill has performed concerti with the Chicago Symphony, Philadelphia Orchestra, Florida Orchestra, Winston-Salem Symphony, Toledo Symphony, Milwaukee Symphony, Baltimore Symphony, Harrisburg Symphony, Hilton Head Symphony, and the Juilliard Symphony. An active chamber musician, Demarre McGill is a member of the Jacksonville, Florida–based Ritz Chamber Players and has been a member of Lincoln Center’s Chamber Music Society Two. He has been featured on a PBS Live From Lincoln Center broadcast with the Chamber Music Society performing Bach’s Brandenburg Concerto no. 2, as well as on an Angel Records CD playing Bach’s Brandenburg Concerto no. 5 with pianist Awadagin Pratt and the St. Lawrence String Quartet. Demarre McGill has participated in the Sarasota, Tanglewood, Music from Angel Fire, Santa Fe, Kingston, Cape Cod, Mainly Mozart, La Jolla, and Marlboro music festivals. He has also performed in the Ravinia Festival’s Rising Star series, the A&E Network series The Gifted Ones, and as a special guest on the Mr. Roger’s Neighborhood television program. Currently principal flutist of the San Diego Symphony, Demarre McGill has held the same position with the Florida Orchestra and the Santa Fe Opera Orchestra. He also served as acting Principal Flutist of the Pittsburgh Symphony during the 2005–06 season. In addition to his performance schedule, Demarre McGill teaches privately and at San Diego State University. In 2007 he created Art of Élan, a chamber music organization in Southern California devoted to generating a new and younger audience for classical music. Demarre McGill received his bachelor’s degree in flute performance from the Curtis Institute of Music, where he studied with Julius Baker and Jeffrey Khaner. He continued his studies with Julius Baker at the Juilliard School, where he received a master’s of music degree. The exceptional musicality and effortless playing of violist Paul Neubauer distinguish him as one of this generation’s quintessential artists. Balancing a solo career with performances as an artist member of the Chamber Music Society of Lincoln Center, at age twenty-one he was the youngest principal string player in the New York Philharmonic’s history. This summer, Paul Neubauer appears at the OK Mozart Festival (where he is the Orchestra and Chamber Music Director); Chamber Music Northwest; Encuentro de Música y Academia de Santander in Santander, Spain; Caramoor (with violinist Gil Shaham in Mozart’s Sinfonia Concertante); Music@Menlo; SummerFest La Jolla; and with the Lighthouse Chamber Players in Cape Cod. This past season, he continued to perform Purple Rhapsody by Joan Tower, which was a result of a co-commission for Paul Neubauer by the Omaha Symphony, Buffalo Philharmonic Orchestra, Kansas City Symphony, Virginia Symphony Orchestra, Chautauqua Symphony Orchestra, Peninsula Music Festival Orchestra, and the ProMusica Chamber Orchestra.

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Paul Neubauer recently released an all-Schumann recital album with pianist Anne-Marie McDermott for Image Recordings, which Strings magazine hailed as an “exceptional release in every way.” He also recorded works that were written expressly for him: Wild Purple for solo viola by Joan Tower; Viola Rhapsody, a concerto by Henri Lazarof; and Soul Garden for viola and chamber ensemble by Derek Bermel. His recording of the Walton Viola Concerto was recently re-released on Decca. Paul Neubauer has appeared with more than one hundred orchestras throughout the United States, Europe, and Asia, including the New York, Los Angeles, Helsinki, and Royal Liverpool Philharmonics; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth Symphonies; Santa Cecilia, English Chamber, and Beethovenhalle Orchestras. He gave the world premiere of the revised Bartók Viola Concerto as well as concerti by Penderecki, Picker, Jacob, Lazarof, Suter, Müller-Siemens, Ott, and Friedman. He has performed at the festivals of Verbier, Ravinia, Stavanger, Hollywood Bowl, Lincoln Center, Mostly Mozart, and Marlboro. Paul Neubauer was an Avery Fisher Career Grant recipient and the first-prize winner of the Whitaker, D’Angelo, and Lionel Tertis International Competitions. He has been featured in Strad, Strings, and People magazines. He is on the faculty of the Juilliard School and Mannes College The New School for Music. Pianist Anna Polonsky is widely in demand as a soloist and chamber musician. She has appeared with the Moscow Virtuosi and Vladimir Spivakov, the Buffalo Philharmonic with JoAnn Falletta, St. Luke’s Chamber Ensemble, Columbus Symphony Orchestra, Chamber Orchestra of Philadelphia, and many others. Anna Polonsky has collaborated with the Guarneri, Orion, and Audubon quartets, and with such musicians as Mitsuko Uchida, David Shifrin, Richard Goode, Ida and Ani Kavafian, ChoLiang Lin, Arnold Steinhardt, Anton Kuerti, Gary Hoffman, and Fred Sherry. She is regularly invited to perform chamber music at festivals such as Marlboro, Chamber Music Northwest, Seattle, Moab, Santa Fe, Bridgehampton, Bard, and Caramoor, as well as at Bargemusic in New York City. Anna Polonsky has given concerts in the Amsterdam Concertgebouw and Alice Tully, Weill, Zankel, and Merkin Halls in New York’s Carnegie Hall, as well as the 92nd Street Y in New York, and has toured extensively throughout the United States, Europe, and Asia. A frequent guest at the Chamber Music Society of Lincoln Center, she was an artist member of Lincoln Center’s Chamber Music Society Two during 2002–04. In 2006 she took part in the European Broadcasting Union’s project to record and broadcast all of Mozart’s keyboard sonatas, and in the spring of 2007 she performed a Carnegie Hall solo recital, inaugurating the Emerson Quartet’s Perspectives Series. Anna Polonsky made her solo piano debut at the age of seven at the Special Central Music School in Moscow, Russia. She emigrated to the United States in 1990, and attended high school at the Interlochen Arts Academy in Michigan. She received her bachelor’s degree from the Curtis Institute of Music, where she worked with the renowned pianist Peter Serkin, and continued her studies with Jerome Lowenthal, earning her master’s degree from the Juilliard School. A Steinway Artist, Anna Polonsky was a recipient of a Borletti-Buitoni Trust Fellowship in 2003. In addition to performing, she serves on the piano faculty of Vassar College.

biographies Pianist, composer, and arranger Stephen Prutsman is known as one of his generation’s most versatile and innovative musicians, moving easily between classical, jazz, and world music in his quest to explore common ground in the music of all cultures and languages. He began playing piano by ear before moving on to formal music studies. In his early teens he played keyboard for several art rock groups including Cerberus and Vysion, and enjoyed a moment of musical irony when he won television’s Gong Show as a pseudo–honky-tonk pianist. In college, Stephen Prutsman supported himself by playing in jazz clubs and lounges, and working as music arranger and pianist for a nationally syndicated televangelist program. Medals at the Tchaikovsky and Queen Elisabeth competitions, combined with an Avery Fisher Career Grant, established Stephen Prutsman’s career in the early 1990s as a concert pianist, leading to performances with orchestras throughout the United States and Europe. In 2004, Stephen Prutsman was appointed Artistic Partner with the St. Paul Chamber Orchestra, where he currently acts as composer, arranger, program host, and pianist. Stephen Prutsman’s dedication to the creation of new musical environments, coupled with his love for chamber music, led him to found music festivals in Guam and El Paso, where he served as Music Director for ten years. He currently hosts the Pacific Symphony Orchestra’s chamber series and regularly travels as a member of the Nobilis Trio in Europe, the United States, and diverse locales throughout the developing world. As a composer, Stephen Prutsman has produced over forty arrangements for the Kronos Quartet. Other leading artists who have performed his works include Leon Fleisher, Dawn Upshaw, Yo-Yo Ma, the Silk Road Project, and the St. Lawrence Quartet. Recent premieres include Jazz Septet, composed for the inauguration of the Michigan Chamber Music Society; a new work for piano four hands; and a contribution to a cycle of new silent film scores, performed with the St. Lawrence Quartet in Maine. As a pianist and arranger outside the classical music world, he has collaborated with Tom Waits, Nelly Furtado, Rokia Traore, Kayhan Kalor, and Asha Bhosle; he has also arranged the music of Sigur Rós for the Kronos Quartet. Recent recordings by Stephen Prutsman include the MacDowell Piano Concerti with the National Symphony of Ireland, and the Barber Piano Concerto with the Royal Scottish National Orchestra. A recording of Bach’s The Well-Tempered Clavier and a solo piano jazz album are soon to be released under Stephen Prutsman’s own Studio AJEA label. Violinist Philip Setzer, founding member of the Emerson String Quartet, was born in Cleveland, Ohio, and began studying violin at the age of five with his parents, both violinists in the Cleveland Orchestra. He continued his studies with Josef Gingold and Rafael Druian, and later at the Juilliard School with Oscar Shumsky. In 1967, Philip Setzer won second prize at the Meriwether Post Competition in

Washington, D.C., and in 1976 received a Bronze Medal at the Queen Elisabeth International Competition in Brussels. Philip Setzer has appeared with the National Symphony, Aspen Chamber Symphony, Memphis Symphony, New Mexico Symphony, Puerto Rico Symphony, Omaha Symphony, and Anchorage Symphony, and on several occasions with the Cleveland Orchestra. He has also participated in the Marlboro Music Festival. Philip Setzer has been a regular faculty member of the Isaac Stern Chamber Music Workshops at Carnegie Hall and the Jerusalem Music Centre. His article about those workshops appeared in the New York Times on the occasion of Isaac Stern’s eightieth birthday celebration. He also serves as Professor of Violin and Chamber Music at Stony Brook University and has given master classes at schools around the world, including the Curtis Institute, London’s Royal Academy of Music, San Francisco Conservatory of Music, UCLA, Cleveland Institute of Music, and Mannes College The New School for Music. In April 1989, Philip Setzer premiered Paul Epstein’s Matinee Concerto. This piece, dedicated to and written for Philip Setzer, has since been performed by him in Hartford, New York, Cleveland, Boston, and Aspen. Philip Setzer’s idea to create a theater piece about Shostakovich resulted in The Noise of Time, a ground-breaking collaboration between the Emerson String Quartet and Simon McBurney’s theatre company, Complicité. Praised for her vocal beauty, fearlessly committed acting, and impeccable technique, soprano Celena Shafer is recognized as one of the leading artists of her generation, garnering great acclaim for her operatic, orchestral, and recital performances. In the 2007–08 season Celena Shafer debuts with the St. Louis Symphony as Marzelline in concert performances of Beethoven’s Fidelio, and with the Seattle Symphony for Handel’s Messiah. She returns to the Phoenix Symphony for the Brahms German Requiem, the New York Philharmonic for Handel’s Messiah, and the Madison Symphony for the Rossini Stabat Mater. Celena Shafer’s recent highlights include her New York Philharmonic debut in Handel’s Messiah, and returns for Mozart’s Coronation Mass and the Brahms German Requiem; a debut with the Chicago Symphony in Mahler’s Symphony No. 2 led by Michael Tilson Thomas and the Brahms German Requiem; her Carnegie Hall debut in Mozart’s Requiem with the Orchestra of St. Luke’s; a Los Angeles Philharmonic debut in the Mozart Requiem; Mozart’s Mass in c minor with the Kansas City Symphony; her debuts with the Pittsburgh Symphony and the Philadelphia Orchestra in Handel’s Messiah; and singing with the San Francisco Symphony in Carmina Burana. Operatic highlights have included Johanna in Sweeney Todd with the Lyric Opera of Chicago; Aithra in Die Ägyptische Helena with the American Symphony Orchestra, recorded and released on Telarc; Zerbinetta in a concert performance of Ariadne auf Naxos at the Concertgebouw Orchestra; Nanetta in Falstaff with Los Angeles Opera; Gilda in Rigoletto with the Welsh National Opera; the title role in Esclarmonde with Washington Concert Opera; and Ismene in Mitridate, Hero in Beatrice and Benedict, and Giunia in Lucio Silla with the Santa Fe Opera. A Utah native, Celena Shafer appears regularly with the Utah Symphony and Opera in works from Bach to Britten, often with music director Keith Lockhart.

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biographies Officially unemployed but in fact quite busy, Michael Steinberg writes books and occasional program notes for record companies and various musical organizations as well as giving preconcert talks for, among others, the Boston Symphony Orchestra, Los Angeles Philharmonic, Minnesota Orchestra, and the San Francisco Symphony. For a quarter of a century, he worked for various orchestras as program annotator, program planner, lecturer, and musicologist-in-residence. Before that, he was active as a teacher, working at the Manhattan School of Music, New England Conservatory, Smith College, Wellesley College, Boston University, Massachusetts Institute of Technology, and others. This spring, he gave a course on “Talking About Music” at the University of Minnesota, and he has taught for many summers at festivals including Round Top and Music@Menlo. From 1964 until 1976, he was music critic of the Boston Globe. He received his training at Princeton University and as a Fulbright scholar in Rome. Some of Michael Steinberg’s program notes have been published in book form as The Symphony: A Listener’s Guide, The Concerto: A Listener’s Guide, and Choral Masterworks: A Listener’s Guide (all Oxford University Press); the next book in that series, Beyond the Symphony: A Listener’s Guide, will cover symphonic poems and other orchestral repertory. For the Love of Music, a book of essays by Michael Steinberg and his San Francisco Symphony colleague Larry Rothe, was published to considerable acclaim in 2006 (Oxford). Michael Steinberg wrote the program notes and glossary for The Beethoven Quartet Companion, edited by Robert Winter and Robert Martin (University of California Press). He is also a contributor to major reference works, among them the Encyclopedia Britannica and The New Grove Dictionary of Music and Musicians. Poetry about music and musicians is a special interest of his. Along with having given poetry readings and taught courses in poetry, he and Eric Friesen of the Canadian Broadcasting Centre are planning an anthology of such works. Michael Steinberg has also been active as a performer of compositions involving a speaker—among them Haydn’s Seven Last Words; Beethoven’s Egmont; Schoenberg’s Gurre-Lieder, Ode to Napoleon, and A Survivor from Warsaw; Walton’s Façade; and Picker’s The Encantadas— work for which he collaborated with such conductors as Dennis Russell Davies, Ann Manson, Kurt Masur, Alexander Schneider, Gunther Schuller, Osmo Vänskä, and Edo de Waart. Twenty-three-year-old violinist Arnaud Sussmann is quickly establishing a reputation as a multifaceted and compelling artist, earning the highest praise from both critics and audiences alike. He has performed as a soloist throughout the United States, Central America, Europe, and Asia at many renowned venues such as Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, the Smithsonian Museum, and the Louvre Museum. He has recently appeared with the New York Philharmonic, American Symphony Orchestra, Cannes Orchestra, Nice Orchestra, Monaco Chamber Orchestra, Orchestre des Pays de la Loire, and the Tanglewood Music Center Orchestra, and has given recitals in New York, Memphis, Chicago, Panama City, San Salvador, Paris, and St. Petersburg. This season he appears with the Hudson Valley Philharmonic and the Nice

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Orchestra (France), performs at the Metropolitan Museum of Art and the Isabella Stewart Gardner Museum, and plays recitals in Sarasota and New York. During the 2006–07 season, he performed at Carnegie’s Stern and Zankel Halls, Santa Fe New Music, Rockefeller University, and the Music Festival of the Hamptons. He also appeared in chamber music concerts at the Virginia Arts Festival and participated in a Ravinia tour. He is the winner of several international competitions, including the Andrea Postacchini Competition (Italy), the Vatelot/Rampal International Competition (France), and the New York Virtuosi Chamber Symphony concert series grant that resulted in a live broadcast on WQXR’s McGraw-Hill Young Artists Showcase. A leader of the Suedama and Metropolis Ensembles, he is featured on a recording of Mozart piano concerti released on the Vanguard label, and has recently recorded chamber works of Beethoven and Dvorˇák with the Chamber Music Society of Lincoln Center. He holds bachelor’s and master’s degrees from the Juilliard School, where he studied with Itzhak Perlman. Made a Starling Fellow, an honor qualifying him as Teaching Assistant to Itzhak Perlman for the next two years, Arnaud Sussmann is a member of Lincoln Center’s Chamber Music Society Two program. Ian Swensen is one of the few violinists with the distinction of being awarded the Walter W. Naumberg International Competition’s top prize for both chamber music and violin. Ian Swensen enjoys a career as soloist, chamber musician, and professor of violin. He grew up in New York, studying at the Juilliard School with Dorothy DeLay and at the Eastman School of Music with Donald Weilerstein. As a teenager, he formed the Meliora String Quartet and toured with them for many years. Passionate about chamber music, Ian Swensen has performed in many festivals, including Music@Menlo, Spoleto, Santa Fe, and Marlboro. He has performed with members of the Juilliard, Cleveland, Emerson, Takács, Concord, and Tokyo string quartets; with the Beaux Arts Trio and the Peabody Trio; and with Gilbert Kalish, Mark O’Connor, Yo-Yo Ma, and Martha Strongin Katz. A frequent master-class presenter, Ian Swensen has coached string players from California to Canada and across Europe. Ian Swensen’s 2007–08 schedule takes him to Ireland, touring with the Irish Chamber Orchestra; to Australia, with the Australian Youth Orchestra; to the Chamber Society of Lincoln Center for an all-Russian program; to the Chamber Music Masters Series at the San Francisco Conservatory of Music; and other locales. Recent performances include recitals with Menahem Pressler and the Chamber Music Society of Lincoln Center, soloing in the Barber Violin Concerto with the Rogue Valley Orchestra, and performances in New York, Canada, Switzerland, Los Angeles, Australia, and Korea. He has recorded for TelArc and Deutsche Grammophon. Ian Swensen lives in the Bay Area with his wife Judy, and their three children, Julia, Talya, and Cole. Joseph Swensen, Principal Conductor of the Malmö Opera (Sweden) and Conductor Emeritus of the Scottish Chamber Orchestra (SCO), was extremely active as a violin soloist until 1990, when he decided to devote himself almost entirely to conducting. Swensen’s many guest conducting engagements include the Orchestre National du Capitole de Toulouse, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Hallé Orchestra, Ensemble Orchestral de Paris,

biographies London Mozart Players, Tokyo Metropolitan Symphony, Los Angeles Chamber Orchestra, Orchestre National de Montpellier, BBC National Orchestra of Wales, Netherlands Symphony Orchestra, Orquesta Ciudad de Granada, and Orquestra Nacional do Porto. Joseph Swensen was principal conductor of the Scottish Chamber Orchestra from 1996 to 2005. Swensen and the SCO have toured extensively in the United States, the Far East, Spain, and Portugal; together they have made a series of recordings for Linn records, including music by Mendelssohn, Sibelius, Brahms, Prokofiev, and Dvorˇák. The Prokofiev recording features Joseph Swensen’s own orchestration of the composer’s Cinq Melodies. His enthusiasm for new music has resulted in many major works written for both him and the SCO by such composers as James MacMillan, Einojuhani Rautavaara, Sally Beamish, Karin Rehnqvist, and Elenor Alberga.  Before deciding to dedicate himself solely to his conducting career, Joseph Swensen enjoyed a highly successful career as a violin soloist and was an exclusive recording artist with Sony BMG. Nowadays his occasional appearances as soloist are a natural extension of his work as a conductor, playing and directing concerti with the SCO and other orchestras with whom he enjoys a particularly close relationship. His love of chamber music results in occasional performances in that genre as well; for example, in October 2007 he performed with the Chamber Music Society of Lincoln Center in New York. Joseph Swensen is also active as a composer. His major recent works include Mantram (1998) for string orchestra, Latif (1999) for solo cello with chamber ensemble, and Shizue (2001) for solo shakuhachi and orchestra. His orchestration of the rarely performed 1854 version of the Brahms Opus 8 Trio, a work he has entitled Sinfonia in B, was premiered by orchestras in Europe and the United States during the 2007–08 season. He is currently completing a new work—Symphony for Horn and Orchestra, The Fire and the Rose—written for Radovan Vlatkovic, and inspired by T.S. Elliot’s Four Quartets. Joseph Swensen was born in 1960 in New York (an American, of Norwegian-Japanese descent), and lives with his family in Copenhagen, Denmark. Hailed as “an impeccable solo horn” by the Berlin Neue Zeit, William VerMeulen has been Principal Horn of the Houston Symphony since 1990. In addition, he has performed as guest Principal Horn of the Los Angeles Philharmonic, Cincinnati Symphony, St. Louis Symphony, Pittsburgh Symphony, and the St. Paul Chamber Orchestra. He previously played with the orchestras of Chicago, Columbus, Honolulu, and Kansas City. William VerMeulen maintains a busy schedule as a soloist and chamber musician with recent engagements in Spain, Israel, Poland, New York, Alabama, Colorado, Florida, Ohio, Idaho, Orcas Island, Virginia, Washington, and Texas. William VerMeulen has participated as a performer and on faculty with numerous music festivals and chamber music presenters, including the Chamber Music Society of Lincoln Center, Aspen, Music@Menlo, Orpheus Chamber Orchestra, Tanglewood, Grand Teton, Steamboat Springs, Orcas Island, National Repertory Orchestra, Round Top, Interlochen, Chamber Music Northwest, and the Sun Valley Summer Symphony, where he also serves as Principal Horn. He has performed to critical acclaim on four continents as a soloist and chamber musician, and is a popular artist at the annual International Horn Symposium. His critically acclaimed recording of the four Mozart horn concerti with Christoph Eschenbach and the Houston Symphony has sold

out of its third pressing. A champion of new music, William VerMeulen has had numerous pieces written for him including concerti by American composers Samuel Adler and Pierre Jalbert. Winner of an array of awards and honors, William VerMeulen received first prize at the 1980 International Horn Society Soloist Competition and the Shapiro Award for Most Outstanding Brass Player at the Tanglewood Festival. Arguably the most successful of horn teachers working today, William VerMeulen is Professor of horn at the Shepherd School of Music at Rice University, with students performing in numerous major orchestras throughout the world. He also serves as an adjudicator and board member of the International Horn Competition of America and has been a regular coach at the New World Symphony in Miami. In 1985 he was invited to the White House to receive a Distinguished Teacher of America Certificate of Excellence from President Reagan and the White House Commission on Presidential Scholars. William VerMeulen studied with Dale Clevenger at Northwestern University and the Interlochen Arts Academy. He performs on custom horns, handcrafted by Keith Berg of Canada and Engelbert Schmid of Germany. He is Founder and President of VerMeulen Music, L.L.C., which offers music and products for horn players worldwide. “If the bass is finally to produce a headliner, the instrument can have no better champion,” wrote the Washington Post of double bassist DaXun Zhang. Winner of an 2007 Avery Fisher Career Grant—only the second double bassist in the history of this prestigious award— DaXun Zhang has since appeared as soloist, recitalist, and chamber musician throughout the United States. As concerto soloist, he has appeared with Orange County’s Pacific Symphony, Monroe Symphony Orchestra, Grand Rapids Symphony, Chamber Orchestra of the Triangle, and Cedar Rapids Symphony Orchestra. He has given recitals at Boston’s Isabella Stewart Gardner Museum, the Kravis Center for the Performing Arts, the University of Georgia, Missouri State University, and the Chinese Embassy in the Embassy Series in Washington, DC. He has performed chamber music at Music@Menlo, Summerfest La Jolla, Linton Chamber Music Series in Cincinnati, Strings in the Mountains Music Festival, and the Vancouver Chamber Music Festival, and is a member of Lincoln Center’s Chamber Music Society Two. DaXun Zhang has performed extensively with Yo-Yo Ma’s Silk Road Project in concerts and cultural exchanges in China, as well as in concerts with the Chicago Symphony Orchestra, at Carnegie Hall, and in California and Japan. He appears on the soundtrack to a 10-part documentary series on the Silk Road, which aired in Japan on NHK Television, and was subsequently released as Silk Road Journeys: Beyond the Horizon (Sony Classical). DaXun Zhang has also joined with fellow Silk Road musician and pipa player Yang Wei and pianist Tomoko Kashiwagi to form the innovative chamber ensemble Qi Lin. DaXun Zhang is the first double bass player to win the Young Concert Artists International Auditions and start a career under the auspices of Young Concert Artists. He has also won the La Jolla Music Society Prize, the Orchestra New England Soloist Prize, and the Fergus Prize. DaXun Zhang was the first double bassist to win First Prize in the 2003 Women’s Auxiliary of the Minnesota Symphony Orchestra competition, leading to a performance with the Minnesota Symphony Orchestra. In 2001, DaXun Zhang was the youngest artist ever to win the International Society of Bassists Solo Competition. DaXun Zhang has served on the faculty of Northwestern University and was recently appointed Assistant Professor of Double Bass at the University of Texas at Austin.

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biographies Visiting Composers Gabriela Lena Frank is something of a musical anthropologist. She has traveled extensively throughout South America, and her pieces reflect and refract her studies of Latin-American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework. She writes challenging works for solo instrumentalists, vocalists, chamber ensembles, and orchestras. Her compositions also reflect her virtuosity as a pianist, and, when not composing, she is a sought-after performer, specializing in contemporary repertoire. Gabriela Lena Frank’s upcoming premieres include New Andean Songs for the Los Angeles Philharmonic Green Umbrella new music series; Inca Suite for guitarist Manuel Barrueco and the Cuarteto Latinoamericano; Peregrinos for the Indianapolis Symphony; and additional works for guitarist Sharon Isbin, the Chiara Quartet, the Concertante sextet, the ADORNO Ensemble with two-time Naumburg International Competition winner soprano Lucy Shelton. Some of her recent premieres include works for the Brentano String Quartet, the all-male vocal ensemble Chanticleer, and a double concerto for David Finckel and Wu Han with the ProMusica Orchestra in Columbus, Ohio. Her work has been commissioned by the Marilyn Horne Foundation with Carnegie Hall, Yo-Yo Ma’s Silk Road Project, the Aspen Summer Music Festival, the Da Camera Society of Houston, the Seattle Symphony under the baton of Jun Märkl, the Kronos Quartet, and others. Gabriela Lena Frank was born in Berkeley, California, in 1972. She earned bachelor’s and master’s degrees from Rice University in Houston, Texas, and a D.M.A. in composition in 2001 from the University of Michigan. Kenneth Frazelle‘s music blends structural and tonal sophistication with a lyrical clarity. Influenced not only by his study with the great modernist Roger Sessions, but also by the folk songs and fiddle tunes of his native North Carolina, his works have been commissioned and performed by numerous prominent artists, including Yo-Yo Ma, Jeffrey Kahane, Dawn Upshaw, Emmanuel Ax, the Chamber Music Society of Lincoln Center, Ransom Wilson, Paula Robison, John Adams, the Saint Paul Chamber Orchestra, Jan DeGaetani, and Gilbert Kalish. Having first received international acclaim with his score for Still/ Here, a multimedia dance/theater work for the Bill T.Jones/Arnie Zane Dance Company, Kenneth Frazelle was the winner of the 2001 Barlow Prize, the international competition administered through Brigham Young University. He has received awards and fellowships from the American Academy of Arts and Letters, the American Academy in Rome, and Columbia University. He has held residencies with the Los Angeles Chamber Orchestra, the Santa Rosa Symphony, and the Isabella Stewart Gardner Museum. Born in Jacksonville, North Carolina, in 1955, Kenneth Frazelle was a pupil of Roger Sessions at the Juilliard School and graduated in 1978 with the Gretchaninoff Award for High Achievement in Composition. He attended high school at the North Carolina School of the Arts, where he now teaches. His music is published by Subito Music Corporation.

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Jennifer Higdon maintains a full schedule of commissions, creating music that is known for its technical skill and audience appeal. Hailed by the Washington Post as “a savvy, sensitive composer with a keen ear, an innate sense of form and a generous dash of pure esprit,” she is one of the most performed living American composer working today. She is the recipient of awards, including a Pew Fellowship, a Guggenheim Fellowship, and two awards from the American Academy of Arts and Letters. The Telarc release of Jennifer Higdon: Concerto for Orchestra/ City Scape won a Grammy award in 2005. Her work blue cathedral is one of the most-performed orchestral works by a living composer (150 orchestras have performed the work since its premiere in 2000). Some of her recent commissions include works for the Philadelphia Orchestra, Atlanta Symphony, Pittsburgh Symphony, Chicago Symphony, St. Paul Chamber Orchestra, eighth blackbird, Tokyo String Quartet, and the Ying Quartet. Upcoming projects include a new violin concerto for Hilary Hahn. A solo disc of her chamber music was recently released by Naxos. Born in Brooklyn, New York, in 1962, Jennifer Higdon is now on the composition faculty at the Curtis Institute of Music in Philadelphia.

International Program Artist Biographies The first-prize winner at the 2004 Carlos Prieto International Cello Competition (Mexico), Dmitri Atapine began his education at the age of five in the St. Petersburg Special Music School. Since 1992, Dmitri Atapine has been a resident of Spain, where he graduated with honors from the Eduardo Martinez Torner Advanced Conservatory of Music (Asturias, Spain) under Alexander Fedortchenko. After receiving his bachelor’s and master’s degrees in music from Michigan State University under Suren Bagratuni, he continued his studies with Aldo Parisot at the Yale School of Music, obtaining a master’s of musical arts and the Artist Diploma. Dmitri Atapine’s recent performance engagements have included solo recitals in the Juan March Foundation (Madrid) and the Great Hall of the Spanish National Auditorium, as well as orchestral appearances with the Principality of Asturias Symphony Orchestra in the Prince Philip Auditorium. His multiple awards include first prize at the Villa de Llanes International Cello Competition (Spain) and the grand prize at the 2007 Plowman Chamber Music Competition, as a founding member of Alianza Quartet. As an active soloist and chamber musician, he participated in numerous festivals such as Aldeburgh, Aix-en-Provence, French Academy in Rome, Norfolk, Banff Summer Arts, Pacific Music Festival (Sapporo), and Great Mountains International Chamber Music Festival (South Korea). Dmitri Atapine’s CD of showpieces is currently in production for the Urtext Digital label. Violist Youming Chen is an active recitalist, chamber musician, and orchestral musician. He has appeared in Carnegie Hall, Alice Tully Hall, Royal Albert Hall, Avery Fisher Hall, and Merkin Concert Hall. As winner of the Rutgers Symphony Orchestra concerto competition, he performed the revised edition of Bartók’s Viola Concerto with Rossen Milanov. He is a former violist of the Gustave Rosseels Quartet and a founding

biographies member of the Fader Piano Quartet, with whom he won the Saunderson Award at the 58th Coleman Chamber Ensemble Competition. The Fader Piano Quartet was also invited as musical guest to play in the Rainbow Room at the NBC Studios and at the American Irish Historical Society in New York. Among Youming Chen’s orchestral appearances, he has collaborated with Sir Colin Davis at the BBC Proms as principal violist, and has also served as principal violist for the Centennial Tour of the Juilliard Orchestra with James DePreist. He is currently studying with Paul Neubauer at Mannes College The New School for Music. He received a master’s degree from the Juilliard School, and a bachelor’s degree from the University of Michigan. His teachers have included Hsin-Yun Huang, Toby Appel, Yizhak Schotten, Victoria Chiang, and Alan de Veritch. Praised for its charismatic playing, the Hausmann Quartet— comprising violinists Isaac Allen and Bram Goldstein, violist Angela Choong, and cellist Yuan Zhang—formed in 2004 and made their debut with the Lyrica Boston Chamber Music Players performing the Mendelssohn Octet.  As part of the Norfolk Festival, the Hausmann Quartet worked closely with members of the Vermeer, Tokyo, and Keller string quartets. They served as Quartet-in-Residence at the 2007 Kent/Blossom Music festival, and in 2008, they performed at the Great Lakes Chamber Music Festival and were invited to participate in the Emerson String Quartet’s International Chamber Music Workshop at Stony Brook. The Hausmann Quartet has frequently appeared in the Lyrica Boston Chamber Music Series and has most recently given concerts at the Longy School of Music, the Columbus Museum of Art, and the Ludwig Recital Hall at Kent State University. In 2006, the quartet collaborated with composer John Howell Morrison in preparation for the East Coast premiere of his work Hard Weather Makes Good Wood for string quartet and tape. More recently, the Hausmann Quartet collaborated with Egyptian musicologist and composer Halim El-Dabh for the world premiere of The Pomegranate Concerto for string quintet and alto saxophone. Upon completion of Lyrica Boston’s Young Artist Residency in 2006, the Hausmann Quartet relocated to Kent State University, where they currently serve as teaching assistants to the Miami String Quartet. Collectively, the quartet has been mentored by groups such as the Miami, Emerson, St. Lawrence, Tokyo, Vermeer, and Keller string quartets. Pianist Qing Jiang, born in Zhenjiang, China, won several competitions in her native country before coming to the United States, including top honors in the Jiangsu Province Piano Competition and the Pearl River Piano Competition in Shanghai. In 2000, she gave her American debut recital at Arizona State University (ASU) and subsequently accepted a four-year full scholarship to ASU with Caio Pagano. In 2003, Qing Jiang placed first in the ASU concerto competition, with her subsequent appearance with the ASU Symphony Orchestra being broadcast on KBAQ Radio. She was featured in the concert series of Vladimir Horowitz’s Centennial Birthday celebration at Steinway Hall, and at the Annual Chinese Week in Phoenix. Qing Jiang has participated in many prestigious music festivals, including three years at the Aspen Music Festival with eminent piano instructors

Ann Schein and Yoheved Kaplinsky. In the summer of 2006, she won the concerto competition at Aspen and performed with the Academy of American Conducting Orchestra. An avid chamber musician and a former member of the New Juilliard Ensemble, Qing Jiang has performed in Alice Tully Hall, Jay Sharpe Theater, and Weill Hall. As a Jack Kent Cook scholar, she received her master’s degree at the Juilliard School under Robert McDonald. Qing Jiang is currently a doctoral candidate at New England Conservatory studying with Patricia Zander. Violinist Grace Park won her first competition at age seven, and has since won the International Young Artists Peninsula Music Festival Competition, placed third in the Los Angeles Philharmonic Bronislaw Kaper Awards Competition, taken part in the finals of the Stulberg International String Competition, and received honorable mention in Lincoln Center’s Young Artists Competition. In the past year, she has been invited to perform as a soloist with the North Czech Philharmonic in Prague and with the St. Petersburg Chamber Orchestra in St. Petersburg. She also participated in the Prussia Cove music seminar, led by Steven Isserlis, and worked with Gehrard Schulz of the Alban Berg Quartet. Previous solo appearances include engagements with the Herbert Zipper Orchestra, the Torrance Symphony, and the Annenberg Debut Orchestra. An active chamber and orchestra musician, Grace Park has been a member of the Colburn Chamber Orchestra and the Disney Young Musicians Symphony Orchestra, and has served as concertmistress in the Crossroads Chamber Orchestra. Her summer festival experience includes performances at the Great Mountains International Music Festival, International School for Musical Arts (Canada), ENCORE, and the Chamber Music Workshop at the Perlman Music Program. A multiple recipient of the Leni Fe Bland Scholarship from the Young Musicians Foundation, Grace Park received a full scholarship for the Colburn School of Performing Arts where she studied with Robert Lipsett. Currently, she attends New England Conservatory in Boston, where she studies with Donald Weilerstein. Grace Park performs on a 1745 Vincenzo Panormo, graciously on loan from the Mandell Collection of Southern California. Pianist Liza Stepanova debuted at Philharmonic Hall in her native Belarus at age eleven. After moving to Germany, she performed as a soloist with the Berliner Symphoniker at Philharmonic Hall in Berlin, as well as at Munich Klassiktage, the Davos International Music Festival in Switzerland, Salzburg Schlosskonzerte, and other venues in Germany, Austria, France, and Sweden. In the summer of 2007, Liza Stepanova performed a fifteen-concert tour of Germany and Austria, which included both Chopin concerti in one evening, to particular critical acclaim. She made her first U.S. appearance in the AmerKlavier™ series at DePaul University in Chicago in 2004. Since settling in New York City in 2005, Liza Stepanova has performed in Alice Tully Hall, Steinway Hall, Peter Jay Sharp Theater, and the National Arts Club, and has appeared live on WQXR Radio. In December 2007, she was a soloist with the Juilliard Orchestra under James DePreist in Lincoln Center’s Frederick P. Rose Hall. Liza Stepanova is a prizewinner of the Steinway Piano Competition (Berlin), Ettlingen International Competition for Young Pianists, Renate Schorler Piano Competition (Berlin), and the Jugend Musiziert competition series. She holds a bachelor’s degree from the Hanns Eisler Academy in Berlin and a master’s degree from the Juilliard School, where she is currently a D.M.A. candidate. Liza Stepanova’s primary teachers have been Georg Sava, Jerome Lowenthal, and Seymour Lipkin.

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biographies Cellist Sunny Yang has appeared in concert as both a soloist and a chamber musician in the United States, South Africa, Korea, and Europe. Recent performances include the Brahms Double Concerto and the Dvorˇák Concerto with the Eastman School orchestras, 2006–07 IMS Prussia Cove concerts, the 2008 IMS Open Chamber Music Seminar concert, Tchaikovsky’s String Quartet no. 1 at the Royal Northern College of Music (RNCM) Chamber Music Festival in England, the opening recital of the 2007 RNCM Manchester International Cello Festival, and the London String Quartet Symposium at Duke’s Hall. A keen chamber musician, Sunny Yang performed Schubert’s Cello Quintet with Ani Kavafian and Natasha Brofsky at the Heifetz Academy, and did an extensive educational outreach program in Baltimore and the greater Rochester area as a member of the Matryoshka String Quartet. She is also a first-prize winner of numerous competitions including the Kenneth Loveland Gift, Beeld Pretoria-Eisteddfod, ABSA National Youth Music Competition, and two Eastman concerto competitions. She has received lessons and master classes from Tsuyoshi Tsutsumi, Timothy Eddy, Bernard Greenhouse, and Janos Starker, among others. Sunny Yang has recently completed her postgraduate diploma at the Royal Northern College of Music, and will start her master’s degree in the fall of 2008 at the University of Southern California, where she will continue her studies with Ralph Kirshbaum.

Music@Menlo 2008

biographies Violinist Areta Zhulla began performing recitals and appearing on television and radio programs in her home country of Greece at a young age. At age eleven, she performed the Mozart Violin Concerto in G Major with the Symphony Orchestra of Niš in the former Yugoslavia, and in May 1999, she won first prize at the Panhellenic Competition. Currently a student of Itzhak Perlman and Cathy Cho at the Juilliard School, Areta Zhulla attended Canada’s National Arts Centre Young Artists Program in 2000, under the direction of Pinchas Zukerman, with whom she studied for two years. She also attended the Perlman Music Program on a scholarship for five summers. In 2002, Areta Zhulla began studies with Itzhak Perlman and was selected to participate in the Perlman Music Program trip to China, which included a public television broadcast of Live from Lincoln Center in January 2003. In 2003, she won a competition to perform solo with the Juilliard Pre-College Symphony Orchestra, performed with the Kenosha Symphony Orchestra, and also performed at Kennedy Center with several other students during the presentation of the Kennedy Honors to Itzhak Perlman. In 2006 she performed a recital at the Louvre for the Young Artist Series, and in 2007 she performed at the Metropolitan Museum of Art with her teacher Itzhak Perlman. Areta Zhulla has played in master classes for Valery Oistrakh, Donald Weilerstein, and Ruggiero Ricci.

glossary

Musical Glossary Accelerando – Italian: accelerating. Adagio – Italian: leisurely. “Adagio” designates a slow tempo. Allegro – Italian: merry, lively. “Allegro” designates a fast tempo. (“Allegretto,” a diminutive of “Allegro,” is used to indicate a tempo slightly slower than “Allegro.”) Allemande – One of the Baroque era’s most popular dance forms and a standard fixture of the Baroque dance suite. Andante – Italian: at a walking pace. “Andante” designates a fast tempo. Animato – Italian: lively. “Animato” designates an animated tempo. Appoggiatura – Italian: to lean against. A dissonant note that leans into a note consonant with the present harmony. Aria – Italian: air. A lyrical work for voice (though the term has been used in instrumental works as well), typically as part of a larger work such as an opera or cantata. Arpeggio – The sounding of individual notes of a chord in succession rather than all at once. Assai – Italian: very (as in “Allegro assai,” “Assai vivace”).

Canon – A musical passage in which several instruments or voices state the same melody in succession.

Counterpoint (contrapuntal) – The musical texture produced by note-against-note movement between two or more instruments.

Cantabile – Italian: songlike, singable.

Courante – A Baroque dance form, often used as one movement of a multi-movement dance suite. The courante is characterized by its rhythmic ambiguity.

Cantata – A work for one or more voices with instrumental accompaniment, normally comprising several movements. Cantatas constituted the most ubiquitous genre of vocal music during the Baroque period. Chaconne – A quick, triple-meter Baroque dance. Chromatic – From the Greek word for color. Chromatic notes fall outside the central tonality of a piece (for example, in C major— C, D, E, F, G, A, B—such notes as C-sharp and A-flat are chromatic). Chorale – A passage comprising a sequence of chords; the chorale originated in four-part Lutheran hymns, as composed by Johann Sebastian Bach.

Basso continuo – A standard feature of Baroque music. Normally provided by harpsichord and a low string instrument, the basso continuo (also called continuo or thoroughbass) consists of a continuous bass line, over which the keyboard player improvises an accompaniment, based on harmonies given by the composer. BWV – Abbreviation for Bach-Werke-Verzeichnis (German): “Bach works catalog.” The BWV index is used to catalog the works of Johann Sebastian Bach. Cadence – The conclusion or resolution of a musical phrase. Cadenza – An extended virtuosic passage, prevalent in concerti, played by an instrumental soloist, typically near the end of a movement.

D. – Abbreviation for Deutsch. The Deutsch index is used to catalogue Schubert’s works; after Otto Erich Deutsch (1883–1967). After a brief career as a bookseller, Deutsch worked as a music librarian to Anthony van Hoboken (see Hob.) from 1926 to 1935. Da capo – Italian: from the head. An instruction to return to the beginning of the movement and repeat it in part or in its entirety. Decrescendo – A decrease in volume. Development – See: Sonata form.

Coda – Italian: tail. New musical material added to the end of a standard musical structure. Comodo – Italian: comfortable. Often used as an emotive qualification of another tempo marking, as in “Allegro comodo.”

Double-stop – The technique of bowing two strings of a stringed instrument at once (tripleand quadruple-stops are also employed). Episode – In rondo form, any of the musical passages that alternate with the refrain.

Con brio – Italian: with vivacity. Con fuoco – Italian: with fire.

Atonality – A term used to describe music not based on a central tonality (such as C Major).

Crescendo – An increase in volume.

Espressivo – Italian: expressive. Used as an emotive qualification of a tempo marking, as in “Andante espressivo.”

Con moto – Italian: with motion. Concertino – In Baroque concerto form, the concertino comprises a group of soloists who play in alternation with the full ensemble, called the concerto grosso. Concerto – Typically an instrumental work marked by the contrast between an instrumental soloist (or group of soloists) and an orchestral ensemble.

Étude – French: study. Used to describe short pieces designed to explore and develop a certain performance technique. Exposition – See: Sonata form. Fantasia – A term used to describe a work whose form derives “solely from the fantasy and skill of an author who created it” (Luis de Milán, 1536). Forte – Italian: loud. (Fortissimo: very loud.)

Concerto grosso – In Baroque concerto form, the concerto grosso refers to the full ensemble (also called the ripieno), which plays in alternation with solo passages played by the concertino. Concerto grosso is also used to refer generally to this form of composition; Bach’s Brandenburg Concerto no. 4 and the concerti of Corelli, Handel, and Vivaldi are examples of the Baroque concerto grosso.

Fugue – A movement or passage of music based on the contrapuntal development of a short musical idea called the fugal subject, which is stated in succession by each instrument at the start of the fugue. Furiant – Czech: A proud, swaggering, conceited man. A quick Czech couple-dance, characterized by a syncopated triple meter.

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glossary Gavotte – A French folk dance especially prevalent during the Baroque era. Gigue – One of the Baroque era’s most popular dance forms and a standard fixture of the Baroque dance suite. Giocoso – Italian: jocular. Used as an emotive qualification of a tempo marking, as in “Allegro giocoso.” Glissando – The sliding from one note to another.

K. – Abbreviation for Köchel. The K. index is used to catalogue Mozart’s works; after Ludwig Ritter von Köchel (1800–1877).

Obbligato – Italian: necessary. Used to describe an instrumental part that is secondary to the principal melody, but is essential to the whole.

Largo – Italian: broad. “Largo” indicates a slow tempo. (“Larghetto,” a diminutive of “Largo,” is used to indicate a tempo slightly quicker than “Largo.”)

Opus – Latin: work. The most common method of cataloguing a composer’s work, although opus numbers are often unreliable in establishing the chronology of composition. (Abbreviated: op.)

Legato – Italian: bound. A musical expression indicating that a succession of notes should be played smoothly and without separation. Lento – Italian: slow.

Ostinato – A motif that repeats continuously, generally as an accompaniment to other motifs (such as melodies or harmonies) that are changing.

Grave – Italian, French: heavy, serious. Lied – German: song (plural “lieder”). Grazioso – Italian: graceful. Maestoso – Italian: majestic. Harmonics – On a stringed instrument, high ringing notes produced by lightly placing the finger at nodal points along the string. Harmony – The combination of notes producing chords and chord progressions, and the subsequent determination of the mood or atmosphere of a piece of music. Hemiola – The rhythmic ratio of 3:2. Hemiolas affect the feeling of having shifted from triple meter to duple meter: ONE-two-three | ONE-two-three | ONE-and-TWO- | andTHREE-and…. Hob. – Hoboken, used to catalogue Haydn’s works; after Anthony van Hoboken (1887–1983), who spent 30 years compiling the extensive catalogue. A Roman numeral indicates the genre (for example XV for piano trio), followed by an Arabic number, which places the work chronologically within that genre, as in Piano Trio in G Major, Hob. XV:25.

Marcia – Italian: march. Mesto – Italian: sad, sorrowful.

Phrase – A musical gesture. Melodies, as complete ideas, typically comprise a series of interdependent phrases.

Meter – The rhythmic organization of a piece of music (for example 4/4 meter: ONE-twothree-four, ONE-two-three-four).

Piano – Italian: soft. (Pianissimo: very soft.)

Minuet – An aristocratic French dance, played in a moderate triple tempo, which became a standard movement in works of the Classical period. It came to be replaced toward the end of the eighteenth century by the scherzo. (French: menuet; Italian: menuetto)

Impressionism – An aesthetic term borrowed from French painting in the late nineteenth and early twentieth centuries. The term comes from Claude Monet’s 1873 painting Impressionism, Sunrise. In music, impressionism primarily refers to the vivid works of Claude Debussy and Maurice Ravel. Intermezzo – Originally, a musical interlude, such as an entr’acte in a dramatic work. Since the nineteenth century, intermezzo has been used as a designation for independent works or individual movements within multimovement works.

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Pizzicato – Playing by plucking the strings of an instrument that is normally played with a bow, such as a violin or viola. Polyphony – Music that employs multiple, simultaneously sounding melodic lines.

Moderato – Italian: moderately.

Presto – Italian: ready, prompt. “Presto” designates a fast tempo.

Modulation – The harmonic shift in tonal music from one key to another.

Quarter-tones – Non-standard pitches between the twelve tones of the chromatic scale.

Molto – Italian: very. Used as a qualification of a tempo marking, as in “Molto allegro”.

Recapitulation – See: Sonata form.

Motive – A short musical gesture. HWV – Abbreviation for Händel-Werke-Verzeichnis (German): “Handel works catalog.” The HWV index is used to catalog the works of Georg Frideric Handel.

Pesante – Italian: heavy. Pesante is used as an expressive instruction, applicable both to individual notes or phrases and to entire movements.

Movement – A self-contained section of a larger composition. Movements of a piece of music are analogous to chapters in a book: although they can often stand on their own to a large degree, they more significantly combine with and relate to each other in ways that produce a cohesive whole. Neo-classicism – An aesthetic prevalent among certain twentieth-century composers (most notably Stravinsky) characterized by an interest in the musical principles of the Classical period.

Recitative – A style of writing, typically employed in opera and other vocal music, designed to imitate dramatic speech. Refrain – The main musical material in rondo form, which alternates with episodes. Risoluto – Italian: resolute. Ritornello – In a Baroque concerto, the opening musical material played by the concerto grosso (large ensemble) which appears throughout and at the end of the piece, either as a whole or fragmented, and often in varying keys. The ritornello alternates with solo passages, played by the concertino (concert soloists).

Nocturne – A work evocative of the nighttime. Non troppo, non tanto – Italian: not too much (as in “Allegro ma non tanto” and “Adagio ma non troppo”).

Rondo – A musical structure, commonly used throughout the Classical and Romantic eras, in which a main passage, called the refrain, alternates with episodes, which depart from the movement’s central musical material.

glossary

Sarabande – The oldest of the standard Baroque dance forms, brought from Spain in the late sixteenth century to France, and characterized by a slow triple meter, in which the second beat is stressed. Scherzo – Italian: joke. A fast movement that came to replace the minuet around the turn of the nineteenth century. (Scherzando: playfully.) Serialism – A compositional method in which musical structure is governed by a fixed permutation of a series of pitches: usually (as in the music of Schoenberg) a twelve-note series comprising each pitch of the chromatic scale. Sonata – A composition for one or more instruments, usually comprising several movements. While the term has been used to describe works quite different from each other formally and stylistically depending on the period of composition, a sonata almost always describes a work for solo instrument with or without piano accompaniment. Sonata form – The most standard musical structure throughout the Classical and Romantic eras for first, and often final, movements of multi-movement pieces composed for solo, chamber, or orchestral forces. In sonata form, musical ideas are organized into three sections: the exposition, in which the main themes are introduced; the development, in which the themes are transformed; and the recapitulation, in which the music restates each theme in the home key. (Also sonata-allegro form.) Sordino – Italian: mute. The second movement of Bartók’s String Quartet no. 4, marked “Prestissimo, con sordino,” is played with all players applying mutes to their instruments. Sostenuto – Italian: sustained.

Spiccato – In string playing, short, quick, offthe-string bow strokes. Staccato – Italian: detached. A musical expression indicating that notes should be played with separation. Step – The melodic interval of a major second (such as C-natural to D-natural). The interval of a minor second is a half-step (such as C-natural to C-sharp). Sturm und drang – German: storm and stress. An artistic movement that valued impulse and emotion over more Classical virtues such as balance and form. The sturm und drang movement had a profound influence on the entire Romantic generation. Subject – The central musical idea of a fugue, which is stated in succession by each instrument to begin the fugue. Sul ponticello – Technique of playing near the bridge of a stringed instrument, which impedes the vibration of the string to produce an unsettling sound. Syncopation – The technique of shifting the rhythmic accent from a strong beat to a weak beat.

matic scale are made uniform. Theme – A central musical idea that serves as substantive material in a piece of music. Theme and variations – A standard musical form in which a main theme is followed by a succession of variations on that theme. Time signature – The printed indication of the meter of a piece of music (such as 4/4). Toccata – A fluid musical form intended to demonstrate the performer’s facility with his or her instrument. Tremolo – Italian: trembling. A musical expression indicating the rapid reiteration of a single note or chord. Trio – The contrasting middle section of a minuet or scherzo. Tutti – Italian: all. In the Baroque concerto, tutti sections, played by the concerto grosso, alternate with solo sections played by the concertino. Variations – A compositional technique in which a theme is altered or modified. Vivace – Italian: lively. “Vivace” designates a fast tempo, in between “Allegro” and “Presto.”

Sz. – Abbreviation for the Szöllo˝sy index, used to catalogue the works of Béla Bartók; after András Szöllo˝sy (1921-2007). Temperament – Any of several methods of tuning the scale that sacrifice, to varying degrees, the purity of certain individual intervals for the sake of the scale’s overall usability. The prevalent temperament today is equal temperament, in which each of the twelve half-steps that constitute the chro-

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Join Music@Menlo

Enrich your involvement with Music@Menlo by joining one of our Membership Circles today, and enjoy a wide array of benefits such as VIP ticketing, seating upgrades, and invitations to special events during the festival and throughout the year. Performers Circle members enjoy invitations to join us behind the scenes, as well as advance mailing of the festival brochure, discounts on festival merchandise (including artist CDs), and Music@Menlo’s newsletter. Composers Circle members enjoy the above rewards, plus VIP ticketing, premium seating upgrades, and invitations to special events with the artists during the festival and year-round, bringing you closer to the music and the musicians of Music@Menlo. Patrons Circle members enjoy all of the above rewards, plus additional special benefits, including the opportunity to experience live music in the intimacy of a living room setting—an unparalleled way to further explore the festival’s great music!

Patrons Circle

1 2 3 4 5 6 7 8 9 10 11 12

Medici

$100,000+

• • • • • • • • • • • •

Carnegie

$50,000–$99,999

• • • • • • • • • • •

Esterházy

$25,000–$49,999

• • • • • • • • • •

Membership Circle Rewards Performers Circle 1. Advance, first-class mailing of the festival brochure and ticket order form. 2. Festival newsletters and special mailings. Be among the first to receive the latest festival information about your favorite artists, festival recordings, and added events, including dates and other details on Café Conversations, master classes, and the Chamber Music Institute winter concert. 3. Acknowledgment of your support in the festival program book. 4. Discount of 10% on festival merchandise, including festival artists’ and Music@Menlo LIVE CDs, books, T-shirts, and other apparel. 5. I nvitation to breakfast with the Artistic Directors, David Finckel and Wu Han, during the festival—a wonderful opportunity to ask questions, learn what happens behind the scenes, and start your day of musical discovery.

Composers Circle

1 2 3 4 5 6 7 8 9 10 11 12

Beethoven

$10,000–$24,999

• • • • • • • • •

Mozart

$5,000–$9,999

• • • • • • • •

Haydn

$2,500–$4,999

• • • • • • •

6. I nvitation to a weekend brunch performance in the winter or spring of 2008–09 featuring Chamber Music Institute International Program artists—an ideal time to enjoy chamber music up close while building and renewing friendships.

Bach

$1,000–$2,499

• • • • • •

Performers Circle

1 2 3 4 5 6 7 8 9 10 11 12

Caruso

$500–$999

• • • • •

Joachim

$250–$499

• • • •

Paganini

$100–$249

• • •

56 Music@Menlo 2008

IP ticket handling and reservation services,* according to V Membership Circle.

* With VIP ticketing and reservation services, your ticket order will be filled in advance of general ticketing activities. Additionally, you will have access to a dedicated VIP ticketing phone number for your reservation services. You also will qualify for free ticket exchanges and our discounted handling charge when you place your ticket order.

7. Invitation to a lunchtime recital hosted by the William and Flora Hewlett Foundation. Join a handful of members and Music@Menlo’s Artistic Directors during the festival for lunch and a special recital by participants in the Chamber Music Institute.

Two premium seating upgrades** for ticketed festival events.

** Use your seating upgrades to reserve premium seats on the festival date(s) of your choosing; Music@Menlo’s friendly staff will assist you personally. Seating in Music@Menlo’s venues otherwise is by general admission. Premium seating upgrades require that you hold a regular ticket for the evening and make an advance reservation for your upgrade.

8. I nvitation to an evening concert party in the winter or spring of 2008–09. These concerts offer festive evenings of music, food, and conversation with friends, the artists, and the Artistic Directors. Two additional upgrades, for a total of four premium seating upgrades.** Concert, Encounter, or other festival event dedication in your honor in the festival program book. 9. Invitation to a Beethoven Circle party with festival artists—a special time during the festival to get to know the musicians personally while sharing the unique camaraderie of the festival setting. Four additional upgrades, for a total of eight premium seating upgrades.**

eason dedication in your honor in the concert hall signage and S festival program book.

Patrons Circle 10. Invitation to the Patron’s Circle Season Announcement Party and Concert. Join us for a private and intimate in-home concert when the theme and programming for the 2009 festival will be unveiled for the first time! Artistic Director Wu Han and International Program artists will give you a personal introduction to the upcoming season with live musical illustration. Four additional upgrades, for a total of twelve premium seating upgrades.** 11. A private concert in your home. Enjoy this opportunity to share your love of chamber music with artists and your closest friends. Four additional upgrades, for a total of sixteen premium seating upgrades.** 12. Customized benefits and recognition tailored to meet your interests and enhance your enjoyment of chamber music. (Please clip and include the form below with your gift.)

Yes, I want to join Music@Menlo! Membership Circles

Enclosed is my/our c gift of $______ and/or c pledge of $_______ in support of Music@Menlo.

Patrons Circle

Name/s________________________________________________________________________________

Medici

$100,000+

Carnegie

$50,000–$99,999

Esterházy

$25,000–$49,999

Composers Circle

(Please note how you would like name/s to appear in publications.)

Address________________________________________________________________________________________________________ Phone____________________________________Email__________________________________________________

(We’ll never share your telephone or email with any other group.)

Gifts at this time: c Enclosed is a check made payable to “Menlo School–Music@Menlo.”

Beethoven

$10,000–$24,999

Mozart

$5,000–$9,999

Haydn

$2,500–$4,999

Bach

$1,000–$2,499 c I/we will be making a gift of securities.*

Please charge my c Visa c MasterCard Account number______________________________________ Account name________________________________Signature_________________________Expiration _________

This gift will be matched by ____________________________________________________________________

Performers Circle

(Please include name of organization and matching forms.)

Caruso

$500–$999

Pledges:

Joachim

$250–$499

c Please accept this as my/our pledge of support. The pledge will be fulfilled by Sept. 1, 2008.

Paganini

$100–$249

Other $_______

*To arrange a transfer of securities, please call Sally Takada at 650-330-2030, or email sally@musicatmenlo.org.

Mail to: Music@Menlo, 50 Valparaiso Avenue, Atherton, CA 94027 www.musicatmenlo.org

Thank You!

Music@Menlo is grateful for the generosity of contributing organizations and individuals who have made this year’s festival possible. (Gifts, grants, and pledges received as of June 26, 2008)

Medici Circle ($100,000+)

The William and Flora Hewlett Foundation Patty & Eff Martin

Carnegie Circle ($50,000–$99,999)

Ann S. Bowers Iris & Paul Brest Chubb Group of Insurance Companies Cornell University Foundation Marcia & Paul Ginsburg Goldman Sachs Philanthropy Fund Michael Jacobson & Trine Sorensen

Esterházy Circle ($25,000–$49,999)

Anonymous (2) Jim & Mical Brenzel Joan & Allan Fisch Kathleen G. Henschel Koret Foundation Funds Moira Cullen Martin & Hugh Martin The David and Lucile Packard Foundation

Beethoven Circle ($10,000–$24,999)

Anonymous Susie & Riley Bechtel Mr. & Mrs. Henry D. Bullock The Jeffrey Dean & Heidi Hopper Family Jennifer DeGolia Rick DeGolia Fidelity Charitable Gift Fund David Finckel & Wu Han

58 Music@Menlo 2008

Mark & Anne Flegel Fleishhacker Foundation The Robert J. and Helen H. Glaser Family Foundation The David B. and Edward C. Goodstein Foundation Sue & Bill Gould Harris myCFO Foundation Wallace R. & Alexandra Hawley Libby & Craig Heimark The Hurlbut-Johnson Fund Mary Lorey In memory of Glen & Caroline Miner Laurose & Burton Richter Silicon Valley Community Foundation Camilla & George Smith Marcia & Hap Wagner Melanie & Ron Wilensky Kathe & Edwin Williamson

Mozart Circle ($5,000–$9,999)

Eileen & Joel Birnbaum Citi Private Bank Jennifer & Michael Cuneo Mrs. Ralph I. Dorfman Kay & John Hesselink Emiko Higashi & Rod Howard Michael J. Hunt & Joanie Banks-Hunt Kris Klint Nancy & DuBose Montgomery Schwab Charitable Fund Vivian Sweeney

Haydn Circle ($2,500–$4,999)

Drs. Richard & Barbara Almond Lindy Barocchi

Mary & Mel Britton Dr. Michael Condie Linda DeMelis & Ted Wobber Ann and Gordon Getty Foundation Ann M. Griffiths Laurance & Grace Hoagland Jewish Community Endowment Fund David Lorey, in memory of Jim Lorey Drs. Michael & Jane Marmor/ Marmor Foundation Bill Miller & Ida Houby Linda & Stuart Nelson Public Welfare Foundation Andrea & Lubert Stryer Kathy Hansen & Edward Sweeney Marilyn & Boris Wolper Elizabeth Fenno Wright

Bach Circle ($1,000–$2,499)

Carol Adler & Audrey Jarach Michiharu & Nagisa Ariza David & Marty Arscott Stuart & Helen Bessler Lisa K. Breakey Burnam Family Chris Byrne Malkah & Donald Carothers George W. Cogan & Fannie Allen Council for Cultural Affairs in Taiwan, Taipei Cultural Center in New York Delia F. Ehrlich Tom & Ellen Ehrlich Harvey Eisenberg, M.D. Equity Foundation In honor of Nicholas Greer Feamster Helen Finckel Brian & Mary Fisher Betsy & David Fryberger

In honor of Suk Ki Hahn Pete & Rebecca Helme Henry Ilg Marney & Larry Janss Susan & Knud Knudsen Wendy S. Lea John & Nicki Lin Janie & John MacArthur Carol MacCorkle Kim & Judy Maxwell Meet The Composer MIT Community Running Club (MITCRC) Kay Pauling Nancy & Norman Rossen Ann & John Rossi Armand Schwartz Bill & Joan Silver Alan & Alice Sklar James Skrydlak Art Small Susan Wilson Peter & Georgia Windhorst

Caruso Circle ($500–$999)

Anonymous David & Judith Preves Anderson Rich Gifford Peter & Laura Haas Larry & Anne Hambly Adele Hayutin Susan & Chris Hoebich Tom Humphrey William & Muriel McGee George & Holde Muller Barbara & Curtis Smith Chalmers & Carolyn Smith Darlene P. Vian & Brian P. McCune

Joachim Circle

We thank the following foundations, corporations, and media partners for their generous support:

($250–$499)

Anonymous (2) Matthew & Marcia Allen Lianne Araki & Edward Hattyar Julie & Jon Backlund Alan & Corinne Barkin Neil Brast Joan Brodovsky & Bruno Schwebel Alexis & David Colker Robert Marcus & Ann Coulston Jo & John De Luca Miriam & Don DeJongh Ruth Eliel & Bill Cooney Linda & Jerome Elkind Jane Enright Field-Smith Family Gladys R. Garabedian Gerry Goldsholle & Myra Levenson George & Elizabeth Gulevich Helen & Gary Harmon Linda & Robert Holub Dale & Clarice Horelick Leslie Hsu & Richard Lenon Etty Huynen Kenneth Johnson & Nina Grove Andrea G. Julian, in memory of Doris G. Julian Marjo Lachman Lois & Paul Levine Raymond Linkerman & Carol Eisenberg BJ & Frank Lockfeld Cory Luellen Juliet Melamid Anne Peck Rossannah Reeves Norma & Seymour Reiss Barry & Janet Robbins Win & Barb Seipp Steven E. Shladover Clinton & Sharon Snyder Peggy & Art Stauffer Ann & John Varady Ian & Julia Wall Susan & Lew Wexler Jane Fowler Wyman

Paganini Circle ($100–$249)

Anonymous (7) Carole Alexander Mickie Anderson Carl Baum & Annie McFadden Joyce Beattie & Martin Perl Elaine & Herb Berman Donna Bestock Frederick & Alice Bethke Melanie Bieder & Dave Wills John & Lu Bingham Richard Bland & Marlene Rabinovitch Pat & Bill Blankenburg Barbara & Arnold Bloom Jocelyn & Jerry Blum Roger & Brenda Borovoy Carol & Michael Bradley Joan Brennan & Tom Passell

Katherine Bukstein Anne Carlson Marjorie Cassingham William & JoAn Chace Robert & Ann Chun PL Cleary Martin Cohn Dr. & Mrs. Bernard Cooper Karen DeMello Terry Desser & Daniel Rubin John & Ann Dizikes Don Drury Charlotte Epstein Edward & Linda Ericson Tom & Nancy Fiene Nancy Flowers & Ted Andersson Tyra Gilb Gloria H. Goldberg Gabe & Edie Groner Jim & Linda Hagan Diane & Peter Hart Margaret Harvey Raymond & Elsa Heald Liisa Juola Tobye & Ron Kaye Clarence Knight Terri Lahey & Steve Smith Mike & Carol Lavelle Rosalie Lefkowitz Joan & Philip Leighton Howard & Laura Levin Rudolf Loeser Teresa Lunt & Tom Garvey Susie MacLean Robert March & Lisa Lawrence Patricia McGuigan Mary-Mignon Mitchell June Morrall Peter & Elizabeth Neumann Betsy & Bill Pace Billie Sue Parry Barbara Richards Maureen & Paul Roskoph Audrey Rust Nancy Sabbag Jeffrey D. & Phyllis Scargle Lorraine & Jerry Seelig Ilana Sharaun & Frank Annis In honor of Dr. Alan Sklar Jim & Mary Smith Laurie Spaeth Kathy & Andy Switky Lesley Taplin Genevieve Torresola Ellen & Mike Turbow Joe & Anne Welsh

Micki Wesson Dr. George & Bay Westlake Sallie & Jay Whaley Margaret Wunderlich

The David and Lucile Packard Foundation

Friends

(Gifts up to $99) Anonymous (2) Hans & Nina Cohn Pamela Rummage Culp Mary & Tom Cooper Alvin & Caryl Dockter Sid Drell Sarah & Robert Freedman Gilda Itskovitz John Josse Robert & Deborah Kessler Linda R. Mankin Dr. & Mrs. Tag E. Mansour Fred Muribus Esther Pfeiffer Sid & Sue Rosenberg Ed & Linda Selden In honor of Andrea & Lubert Stryer

Matching Gifts

We thank the following corporations for matching their employees’ gifts: IBM Matching Grants Program Microsoft Matching Gifts Program Silicon Valley Community Foundation SPX Corporation Steelcase Foundation Sun Microsystems The William and Flora Hewlett Foundation

In-Kind Support

We thank the following individuals and organizations for their in-kind gifts: Café Borrone Costco House of Bagels The Milk Pail Market Peet’s Coffee and Tea Posh Bagel Red Cottage Inn & Suites Ridge Vineyards Safeway Trader Joe’s Trefethen Vineyards The Village Cheese House

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Prazak Quartet 3/15/09 at 3

The â&#x20AC;&#x153;luminously opulentâ&#x20AC;? Czech ensembleâ&#x20AC;&#x201D;Haydn, Janacek, Schubert

Kalichstein-Laredo-Robinson Trio 3/29/09 at 3

BEETHOVEN â&#x20AC;&#x153;Archdukeâ&#x20AC;?Trio SHOSTAKOVICH Trio No. 2

Pascal RogĂŠ, piano 4/5/09 at 3

The Grammy-winner returns to San Francisco

Emerson Quartet 4/19/09 at 7

BEETHOVEN Op. 95 MOZART K. 589 RAVEL Quartet

Nelson Freire, piano 4/25/09 at 8

The renowned Brazilian masterâ&#x20AC;&#x2122;s SF recital debut

Brandenburg Concertos 5/10/09 at 2

Bachâ&#x20AC;&#x2122;s happiest masterpieces, for Motherâ&#x20AC;&#x2122;s Day

Jon Nakamatsu, piano 5/17/09 at 7 The Van Cliburn Gold Medalist in recital

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Geraldine Walther & Friends 6/7/09 at 3

Featuring Carey Bell in Brahmsâ&#x20AC;&#x2122; Clarinet Quintet

Full Series Subscription $275 Pick-4 packages also available

Acknowledgments Music@Menlo thanks the following individuals and organizations for their dedication and commitment.

Seasonal Staff and Service Professionals

Yotam Baruch, Faculty, Chamber Music Institute Hasse Borup, Administrator, Chamber Music Institute Scott Cannon, Audio Consultant Gloria Chien, Faculty, Chamber Music Institute Tristan Cook, Video and Photography Conor Dooley, Video and Photography Jan Lorey Hood, Editorial Services Mark Hurty, Internet and Web Services, Webmaster Julie Lewis, Editorial Services Adrienne Malley, House Manager Kristin Orlando, Production Manager Aaron Requiro, Faculty, Chamber Music Institute Da-Hong Seetoo, Recording Producer Nick Stone, Graphic Design (www.nickstonedesign.com) Greg van der Veen, Production Consultant Pm Weizenbaum, Editorial Services Heath Yob, Technology Services Teresa Yu, Faculty, Chamber Music Institute

Internship Program

Music@Menlo’s internship program is underwritten, in part, by the David B. and Edward C. Goodstein Foundation. Special thanks to the Foundation directors and staff for their support: Francesca Eastman Edward Goodstein Jonathan Backlund Inga Dorosz Jenna Kahl David Sleeth Chris Whitmore

2008 Interns

Irina Antonova, Production Jules Brouillet, Production Christian Bondoc, Production David Castillo, Video/Photo Dillon Chambers, Production Nicole Curatola, Production Molly Gerth, Marketing and Merchandising BrandyLee Hatcher, Assistant Stage Manager Christina Hu, Student Liaison Chanelle Kasik, Event Planning and Hospitality Management Lauren Mouat, Ticketing and Community Relations Alaina Pritz, Artist Liaison Katherine Raymond, Operations Heather Rosen, Event Planning and Hospitality Management Hermione Sharp, Development

Jennifer Slate, Marketing and Merchandising Allison Stroud, Event Planning and Hospitality Management Sophie Walker, Student Liaison Jesse Ward, Production Jessica Zink, Event Planning and Hospitality Management

Milina Barry PR

Milina Barry, President You You Xia, Public Relations Associate Mary Montalbano, Office Manager

Menlo School

Special thanks to Menlo School’s Board of Trustees, faculty, staff, students, and families for their continuing enthusiasm and support: Norm Colb, Head of School William R. Silver, Business Manager and Chief Financial Officer Tony Lapolla, Dean of Students John Schafer, Upper School Director Erin Brigham, Middle School Director Alex Perez, Director of Creative Arts and Strategic Communications Diane Clausen, Director of Development Liza Bennigson, Alumni Relations Director Colleen Labozetta, Development Coordinator Denise McAdoo, Annual Fund Director Kris Weems, Development Officer David McAdoo, Director of Operations and Construction Jeff Healey, Facilities Supervisor Tom Del Carlo, Facilities Supervisor

St. Mark’s Episcopal Church Rev. Matthew McDermott, Rector Rev. Lori Walton, Associate Rector Katie Yates, Office Administrator Marco Picon, Facilities Manager

American Public Media

American Public Media is the leading national producer of classical music programming, including Performance Today, SymphonyCast, Pipedreams, Composers Datebook, and Classical 24. Gayle Ober, Director of Classical Music Programming Brian Newhouse, Senior Producer, Host, SymphonyCast Fred Child, Host, Performance Today Julie Amacher, Manager, Classical 24 Silvester Vicic, Manager, Performance Today

Home and Event Hosts

Richard & Barbara Almond Joyce Beattie & Martin Perl Ann S. Bowers Dr. & Mrs. Melvin C. Britton Joyce Hoffspiegel & David Buchanan Mr. & Mrs. Henry D. Bullock Jennifer & Michael Cuneo Sharon & Stuart Dalton Jeff Dean & Heidi Hopper Rick DeGolia Delia F. Ehrlich Carolyn & Scott Feamster Suzanne Field & Nicholas Smith Joan & Allan Fisch Anne & Mark Flegel Jenise Fuess Sue & Bill Gould The William and Flora Hewlett Foundation Emiko Higashi & Rod Howard Laurie & Gay Hoagland Michael J. Hunt & Joanie Banks-Hunt Michael Jacobson & Trine Sorensen Christina & Deepak Kamra Kris Klint Tom & Patricia Klitgaard Christine Hansen & Roger Knopf Susan & Knud Knudsen Elizabeth & Joe Lewis Margy & Art Lim Patty & Eff Martin Holde & George Muller Dawn Murakami & Bill Palmer Kay Pauling Jack Phillips & Tenoch Esparza Virginia & David Pollard Debbie & Stuart Rosenberg Myrna Robinson Peggy & Art Stauffer Francine Toder & Joe Hustein Ian & Julia Wall Melanie & Ron Wilensky Marilyn & Boris Wolper Elizabeth Fenno Wright

Friends Council Jane Fowler Wyman, Chair Pat Blankenburg, Welcome Center Coordinator Rich Gifford, Custom Mailings Coordinator Joe Hustein, Business and Professional Liaison Andrea Julian, Friends Newsletter Coordinator Margy & Art Lim, Usher Liaisons Jack Phillips, Winter Residency Event Coordinator

Friends of the Festival Volunteers Judy Anderson Peter Asimov Bill Blankenburg Diana Bloch Jocelyn Blum Ruth Brill Marda Buchholz

June Cancell Bernard & Shirley Cooper Evie Davidson Jean Dehner Miriam & Don DeJongh Tenoch Esparza Nancy Flowers Kay Garcia Peggy George Edie & Gabe Groner Clarice & Dale Horelick Virginia Holcombe Shirley Ingalls Linda Kaplan Katherine & Shea Ketsdever Yun Kim Ginny King Pat Levinson Jennifer Lezin Lois & Paul Levine Diane Lillibridge Rosemary & John Maulbetsch Mary McDonald Betty & Ernst Meissner Sally Mentzer Jean Nixon Anne Peck Virginia Pollard Chris Prael Nan Reitz Myrna Robinson Robert Schreiber Winifred Simpson Richard Steinberg Jeff & Sueann Stone Cindy Strause Judith Stubbs Ram & Rajasree Swaminathan Francine Toder Carol Toppel Elizabeth Watson-Semmons Susan Weisberg Mimi Wolf Alice Wong Elizabeth Fenno Wright Geri & Floyd Yearout

More Thanks

A Festive Affair Absolutely Music, Inc. Accurate Staging Communication Rental Service CoolEatz Catering Frank Music Company Kevin Fryer Garden Court Hotel Doug Glovaski Great American Framing Company Il Fornaio Italian Restaurant and Bakery Cathy Kimball Left Bank Menlo Park Pro Audio Pro Piano San Jose Institute of Contemporary Art Sears-Peyton Gallery Sodexho The Travel Agents, Lynne Rosenfeld Thoits Insurance Weir & Associates

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1/7/08 10:21:34

Ticketing and Performance Information Ticket Services The ticket services office and will call table open one hour prior to the start of each ticketed event. All programs and artist rosters are subject to change without notice. All tickets are non-refundable, except in cases of canceled events. Members, Festival Subscribers, and Summer Immersion Package participants enjoy ticket-exchange privileges. For ticket-related questions or to exchange tickets, please contact Music@Menlo’s ticket services office at 650-331-0202 or tickets@musicatmenlo.org.

Seating Policies • Doors open approximately 25 minutes before the start time of each event. • Seating at all Music@Menlo events is by general admission. Seating at St. Mark’s Episcopal Church is by general admission within the two designated seating sections (center and side). • Student ticket holders must be prepared to present a valid full-time student ID at the door. • Latecomers will be seated at the discretion of the artists and house manager at an appropriate interval in the performance. • St. Mark’s Episcopal Church, Stent Family Hall, and Martin Family Hall all are wheelchair accessible, and wheelchair seating is available in all venues in the designated wheelchair locations only. Please ask an usher to guide you to a designated location. One companion seat is reserved next to each wheelchair location. Additional guest seating is by general admission.

Concert and Event Policies • We want everyone to share in the enjoyment of our performances. As a courtesy to the performers and to your fellow audience members, please turn off cell phones, pagers, watch alarms, personal organizers, and all sound-emitting devices prior to the start of all events. • Please make a conscious effort to keep audience noises, such as coughing and conversation, to a minimum as they can be quite distracting. Please unwrap any lozenges or other products before the performance starts. We appreciate your consideration, as will the musicians, your fellow listeners, and our recording engineer. • Children need to be at least seven years of age and able to sit quietly throughout a full performance to attend ticketed concerts and Encounters. Please consult your festival brochure for events designed for younger audiences. • Unauthorized recording or photographing of any kind is strictly prohibited. • Food or beverages (except bottled water) are not allowed inside the performance venues. Concessions are generally available for purchase outside of the concert halls. • Many people are highly allergic to perfume, cologne, or scented products, so we kindly ask that patrons avoid using them.

Entry and Re-entry Policy for Prelude Performances and Koret Young Performers Concerts Prelude Performances and Koret Young Performers Concerts are free and open to the public. A free seat pass is now required for these concerts at Stent Family Hall and Martin Family Hall. One seat pass per person can be requested at the will call table beginning one hour prior to the start of the performance. Seat passes cannot be reserved in advance, and seating is by general admission. At the end of Prelude Performances and Koret Young Performers Concerts, guests will be asked to clear the venue with personal belongings in hand for admission to the next event, which will be through two lines: one for arrivals who did not attend the preceding Prelude or Koret Young Performers Concert, and one for re-entry. Doors will open simultaneously for both lines. Any items left behind when exiting Prelude Performances or Koret Young Performers Concerts may be reclaimed at the will call table outside the venue. Music@Menlo is not responsible for lost or stolen articles.

Locations and Parking Menlo School, Martin Family Hall, and Stent Family Hall are located at 50 Valparaiso Avenue in Atherton, between El Camino Real and Alameda de las Pulgas at the Menlo Park border. St. Mark’s Episcopal Church is located at 600 Colorado Avenue in midtown Palo Alto, between Middlefield Road and Cowper Street. Parking is free in any of the venues’ available lots. Overflow parking is available on nearby neighborhood streets. Please be mindful of neighbors and posted parking restrictions.

Restrooms and Exits Restrooms at Menlo School are located through the side exit at the back of the ballroom and in the building behind Martin Family Hall. Restrooms at St. Mark’s Episcopal Church are available in the adjoining walkways, next to the church office. Fire exits are marked at each venue.

Lost and Found Any personal items found at festival venues will be held at the festival Welcome Center at Menlo School. Inquire at the Welcome Center or call 650-330-2030. The festival assumes no responsibility for personal property.

www.musicatmenlo.org

Music@Menlo Calendar july 18–august 8, 2008 july 18–august 8, 2008 Date Date

Free Events Events Free

Friday, Friday, July 18 18 July

5:30 p.m. p.m. Prelude Prelude Performance Performance 5:30 (MartinFamily FamilyHall) Hall) (Martin

Ticketed Events Events Ticketed PAGE24 24 PAGE

7:30 p.m. p.m. Encounter Encounter I:I: Temperament: Temperament: How How Music Music 7:30 Became aa Battleground Battleground for for the the Great Great Became Minds of of Western Western Civilization Civilization Minds

PAGE10 10 PAGE

8:00 p.m. p.m. Concert Concert Program Program I:I: Towards Towards Bach Bach 8:00

PAGE12 12 PAGE

10:30 a.m. a.m. Carte Carte Blanche Blanche Concert Concert I:I: 10:30 Stephen Prutsman: Prutsman: Bach Bach and and Forth Forth Stephen

PAGE17 17 PAGE

6:00 p.m. p.m. Concert Concert Program Program I:I: Towards Towards Bach Bach 6:00

PAGE12 12 PAGE PAGE 12

8:00 p.m. p.m. Concert Concert Program Program I:I: Towards Towards Bach Bach 8:00

PAGE12 12 PAGE

8:00 p.m. p.m. Concert Concert Program Program II: II: Classical Classical Bookends Bookends 8:00

PAGE13 13 PAGE

8:00 p.m. p.m. Concert Concert Program Program II: II: Classical Classical Bookends Bookends 8:00

PAGE13 13 PAGE

8:00 p.m. p.m. Concert Concert Program Program II: II: Classical Classical Bookends Bookends 8:00

PAGE13 13 PAGE

(MartinFamily FamilyHall) Hall) (Martin

Saturday, Saturday, July 19 19 July

6:00 p.m. p.m. Prelude Prelude Performance Performance 6:00

(St.Mark’s Mark’sEpiscopal EpiscopalChurch) Church) (St.

PAGE24 24 PAGE

Sunday, Sunday, July 20 20 July

(St.Mark’s Mark’sEpiscopal EpiscopalChurch) Church) (St.

(StentFamily FamilyHall) Hall) (Stent

Monday, Monday, July 21 21 July

12:00 p.m. p.m. Café Café Conversation: Conversation: “Fame “Fame Is Is the the Spur” Spur” 12:00 with Michael Michael Steinberg Steinberg (Martin (MartinFamily FamilyHall) Hall) with 6:00 p.m. Prelude Performance 6:00 p.m. Prelude Performance

PAGE30 30 PAGE

12:00 p.m. p.m. Master Master class: class: Laurence Laurence Lesser, Lesser, cello cello 12:00

PAGE31 31 PAGE

(MartinFamily FamilyHall) Hall) (Martin

Tuesday, Tuesday, July 22 22 July

(StentFamily FamilyHall) Hall) (Stent

Wednesday, 12:00 12:00 p.m. p.m. Wednesday, July 23 23 July 6:00 p.m. p.m. 6:00

Thursday, Thursday, July 24 24 July

PAGE31 31 PAGE

Prelude Performance Performance Prelude

PAGE25 25 PAGE

(St.Mark’s Mark’sEpiscopal EpiscopalChurch) Church) (St.

12:00 p.m. p.m. Café Café Conversation: Conversation: “Origins “Origins of of Modern Modern PAGE30 30 12:00 PAGE String Playing” Playing” with with cellist cellist Laurence Laurence Lesser Lesser String

(St.Mark’s Mark’sEpiscopal EpiscopalChurch) Church) (St.

(StentFamily FamilyHall) Hall) (Stent

(MartinFamily FamilyHall) Hall) (Martin

6:00 p.m. p.m. Prelude Prelude Performance Performance 6:00 (MartinFamily FamilyHall) Hall) (Martin

Friday, Friday, July 25 25 July

PAGE24 24 PAGE

Master class: class: Jorja Jorja Fleezanis, Fleezanis, violin violin Master (StentFamily FamilyHall) Hall) (Stent

(StentFamily FamilyHall) Hall) (Stent

12:00 p.m. p.m. Master Master class: class: Philip Philip Setzer, Setzer, violin violin 12:00 (StentFamily FamilyHall) Hall) (Stent

6:00 p.m. p.m. Prelude Prelude Performance Performance 6:00 (MartinFamily FamilyHall) Hall) (Martin

Saturday, 8:30 a.m. a.m. Saturday, 8:30 July 26 26 12:00 p.m. p.m. July 12:00 Open House House Open 5:30 p.m. p.m. 5:30

Q&A Coffee Coffee (Menlo (MenloCampus, Campus,TBD) TBD) Q&A CaféConversation Conversationwith with2008 2008Visual VisualArtist Artist Café DougGlovaski Glovaski(Stent (StentFamily FamilyHall) Hall) Doug Koret Young Young Performers Performers Concert Concert Koret

Sunday, Sunday, July 27 27 July

(MartinFamily FamilyHall) Hall) (Martin

(StentFamily FamilyHall) Hall) (Stent

5:00 p.m. p.m. Koret Koret Young Young Performers Performers Concert Concert 5:00

PAGE25 25 PAGE PAGE31 31 PAGE

(StentFamily FamilyHall) Hall) (Stent

PAGE25 25 PAGE

PAGE32 32 7:30 p.m. p.m. PAGE 32 7:30 PAGE30 30 PAGE

Encounter II: II: Nostalgia Nostalgia Is Is Not Not Enough: Enough: Encounter What Is Is Romantic? Romantic? What

PAGE10 10 PAGE

(MartinFamily FamilyHall) Hall) (Martin

PAGE27 27 PAGE PAGE27 27 10:30 10:30 a.m. a.m. Carte Carte Blanche Blanche Concert Concert II: II: Wu Wu Han, Han, PAGE

Philip Setzer, Setzer, David David Finckel: Finckel: Philip The Schubert Schubert Piano Piano Trios Trios The

PAGE18 18 PAGE

(StentFamily FamilyHall) Hall) (Stent

Monday, Monday, July 28 28 July

12:00 p.m. p.m. Café Café Conversation: Conversation: “The “The Singing Singing Line” Line” 12:00 with violinist violinist Jorja Jorja Fleezanis Fleezanis with

64 Music@Menlo 2008

(MartinFamily FamilyHall) Hall) (Martin

PAGE30 30 PAGE

8:00 p.m. p.m. Concert Concert Program Program III: III: 8:00 The Romantic Romantic Generation Generation The (St.Mark’s Mark’sEpiscopal EpiscopalChurch) Church) (St.

PAGE14 14 PAGE

Date

Free Events

Tuesday, July 29

12:00 p.m. Master class: Ian Swensen, violin

Ticketed Events PAGE 31

8:00 p.m. Concert Program III: The Romantic Generation

PAGE 25

(Stent Family Hall)

PAGE 30

8:00 p.m. Concert Program III: The Romantic Generation

(Stent Family Hall)

6:00 p.m. Prelude Performance

PAGE 14

(Martin Family Hall)

Wednesday, July 30

12:00 p.m. Café Conversation: “Canvassing the Conservatory Culture” (Martin Family Hall)

6:00 p.m. Prelude Performance

PAGE 14

(Stent Family Hall) PAGE 25

(Martin Family Hall)

Thursday, July 31

12:00 p.m. Café Conversation: Poetry Reading Workshop with Michael Steinberg

PAGE 30

(Martin Family Hall)

6:00 p.m. Prelude Performance

8:00 p.m. Carte Blanche Concert III: Gary Graffman: For the Left Hand

PAGE 19

(St. Mark’s Episcopal Church) PAGE 25

(St. Mark’s Episcopal Church)

Friday, August 1

12:00 p.m. Master class: Bruce Adolphe, composer

PAGE 31

(Stent Family Hall)

5:30 p.m.

Koret Young Performers Concert

PAGE 28

(Stent Family Hall)

Saturday, August 2

12:00 p.m. Café Conversation: “Exercises to Improve PAGE 30 the Musical Imagination” with Bruce Adolphe (Martin Family Hall) 6:00 p.m. Koret Young Performers Concert PAGE 28

7:30 p.m. Encounter III: Delicious Dissonance: Melodic, Harmonic, and Rhythmic Dissonance in the Twentieth Century

PAGE 11

(Martin Family Hall)

8:00 p.m. Concert Program IV: The Rise of Modernism

PAGE 15

(St. Mark’s Episcopal Church)

Sunday, August 3

4:00 p.m. Prelude Performance

PAGE 26 10:00 a.m. Carte Blanche Concert IV: Borromeo

PAGE 20

String Quartet: The Bartók Quartet Cycle

(Martin Family Hall)

(Stent Family Hall)

6:00 p.m. Concert Program IV: The Rise of Modernism PAGE 15 (Stent Family Hall)

Monday, August 4

12:00 p.m. Master class: Andrés Díaz, cello

PAGE 31

(Stent Family Hall)

6:00 p.m. Prelude Performance

PAGE 26

8:00 p.m. Concert Program IV: The Rise of Modernism

PAGE 15

(Stent Family Hall)

(Martin Family Hall)

Tuesday, August 5

12:00 p.m. Master class: Gary Graffman, piano

Wednesday, August 6

12:00 p.m. Master class: Borromeo String Quartet

PAGE 31

(Stent Family Hall)

PAGE 31

(Stent Family Hall)

5:30 p.m. Koret Young Performers Concert

PAGE 29

7:30 p.m. Encounter IV: Future Forward: Exploring the Here and Now

PAGE 11

(Martin Family Hall)

(Stent Family Hall)

Thursday, August 7

12:00 p.m. Master class: Kenneth Frazelle, Gabriela Lena Frank, Jennifer Higdon, composers

PAGE 31

(Stent Family Hall)

6:00 p.m. Prelude Performance

8:00 p.m. Concert Program V: Music Now: Voices of Our Time

PAGE 16

(St. Mark’s Episcopal Church) PAGE 26

(St. Mark’s Episcopal Church)

Friday, August 8

3:00 p.m. Koret Young Performers Concert

PAGE 29

(St. Mark’s Episcopal Church)

6:00 p.m. Prelude Performance

PAGE 26

8:00 p.m. Concert Program V: Music Now: Voices of Our Time

PAGE 16

(St. Mark’s Episcopal Church)

www.musicatmenlo.org

Bubble full 7.5x10 Menlo 08:Bubble B/W Dallas 8.5x11 04

5/28/08

3:22 PM

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