Montrose Trio Program

Music@Menlo Winter Series

Montrose Trio JON KIMURA PARKER, piano

MARTIN BEAVER, violin

CLIVE GREENSMITH, cello

November 12, 2017 www.musicatmenlo.org

Music@Menlo

About Music@Menlo

Board

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

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

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

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

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

Music@Menlo 2017–2018 Winter Series Montrose Trio

Sunday, November 12, 2017, 6:00 p.m.

The Center for Performing Arts at Menlo-Atherton DMITRY SHOSTAKOVICH (1906–1975) Piano Trio no. 1 in c minor, op. 8 (1923)

LUDWIG VAN BEETHOVEN (1770–1827) Piano Trio in E-flat Major, op. 1, no. 1 (1794) Allegro Adagio cantabile Scherzo: Allegro assai Finale: Presto

INTERMISSION JOHANNES BRAHMS (1833–1897) Piano Trio no. 1 in B Major, op. 8 (1853–1854, rev. 1889) Allegro con brio Scherzo: Allegro molto Adagio Finale: Allegro Jon Kimura Parker, piano; Martin Beaver, violin; Clive Greensmith, cello

PROGRAM NOTES DMITRY SHOSTAKOVICH (Born September 12/25, 1906, St. Petersburg; died August 9, 1975, Moscow)

Piano Trio no. 1 in c minor, op. 8 Composed: 1923 Published: Unpublished during Shostakovich’s lifetime. The posthumously published edition was assembled from multiple manuscript sources, with the final twenty-two measures of the piano part supplied by Boris Tishchenko (Shostakovich’s student).

Dedication: Tatiana I. Glivenko First performance: December 1923, St. Petersburg Conservatory; first public performance: March 20, 1925, Moscow Conservatory Other works from this period: Suite in f-sharp minor for Two Pianos, op. 6 (1922); Two Fables of Krïlov for Mezzo-Soprano and Orchestra, op. 4 (1922); Symphony no. 1 in f minor, op. 10 (1924–1925) Approximate duration: 13 minutes Any mention of “Shostakovich’s Piano Trio,” as if he wrote only one, refers by default to the Trio in e minor, op. 67. It’s a fair enough assumption. The e minor Trio, composed in 1944, encapsulates much of Shostakovich’s artistic identity, synonymous as his name has become with the intensity of his musical response to his sociopolitical climate. The work is an elegy to the young Russian intellectual Ivan Sollertinsky, a confidant to the composer with whom he weathered the oppression of Stalin’s regime.

It is a powerful work and has rightly become one of Shostakovich’s most highly regarded chamber pieces.

But the Opus 67 Piano Trio is actually Shostakovich’s second piano trio—and as with other prominent composers’ lesser-known juvenilia (cf. Gustav Mahler’s Piano Quartet), examination of the Piano Trio no. 1 is both informative for the historian and satisfying for the listener.

Shostakovich composed the Trio in c minor (published as his Opus 8) while still a student at the St. Petersburg Conservatory. Like other products of his adolescence (the Prelude and Scherzo for String Octet, completed two years later, offers another fine example), the trio not only shows the promise of a gifted young composer but, more than that, presages the hallmarks of his later maturity.

A passive listener might find the trio’s constant shifts in tempo erratic and disorienting. However, the work’s fragmented shape, essential to its overall character, is held together by its musical materials. The most important of these appears in the first measure. The cello presents a simple motif—three descending half-steps (G-flat–F– E)—which is echoed by the violin (C–B–A-sharp) to commence a long, sinewy melody of its own. Those three notes contain the trio’s genetic code.

The piece abruptly picks up speed, and hints of the sardonic smirk that characterizes much of Shostakovich’s later work appear. Just as abruptly, the Andante 4 Music@Menlo

PROGRAM NOTES music returns, now hypnotically centered on the opening three-note motif. In these slower sections, the trio exhibits the lyric sensibility that would later serve such elegiac works as Shostakovich’s Eighth String Quartet. At the following Allegro episode, the cello parlays the descending three-note motif into a clipped, staccato melody. The tempo quickens, momentum builds—then suddenly brakes to Adagio once again. The cello transforms the Allegro staccato melody into a slow, legato utterance, marked piano, espressivo; the piano punctuates the Adagio passage with soft, undulating chords.

This figure continues into the subsequent Andante section, as the cello introduces a new melodic idea. What follows is the trio’s most beguiling music—yet the attentive listener will observe recurrences of the three-note motif, like Waldo mischievously hiding behind the set of a love scene. The legato version of the previous melody returns, now in the violin and somehow suggesting a wry smile. The ear suspects a sly duplicity, as though the cello’s earlier heartfelt utterance were not wholly sincere.

From here, the trio builds steadily—Moderato, then Allegro, and finally Prestissimo fantastico—with the three-note motif continuing to permeate the music’s constantly evolving textures. Shostakovich indulges in a brief remembrance of the opening Andante before arriving at the trio’s radiant climax. But by this time, the ear is dizzy from Shostakovich’s wiles. The soaring strings and triumphantly clanging piano chords—signals, one would think, of jubilation—should, perhaps, be met warily.

Such subterfuge would later become an existentially vital part of Shostakovich’s craft.

In 1937, following official criticism of his opera Lady Macbeth of the Mtsensk District, Shostakovich designed his Fifth Symphony to outwardly gratify the Communist Party while furtively expressing his political angst. The Piano Trio in c minor, composed in Shostakovich’s eighteenth year, contains early signs of the technique and artistic fortitude on which his greatness would be founded.

—© 2016 Patrick Castillo

LUDWIG VAN BEETHOVEN (Born in Bonn, baptized December 17, 1770; died March 26, 1827, Vienna)

Piano Trio in E-flat Major, op. 1, no. 1 Composed: 1794 Published: 1795, Vienna Dedication: Carl von Lichnowsky First performance: Detailed in the notes below Other works from this period: Rondo in B-flat Major for Piano and Orchestra, WoO 6 (1793); Piano Trio in G Major, op. 1, no. 2 (1794–1795); Piano Trio in c minor, op. 1, no. 3 (1794–1795); String Quintet in E-flat Major, op. 4 (1795); Piano Concerto no. 1 in C Major, op. 15 (1795) Approximate duration: 34 minutes www.musicatmenlo.org

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PROGRAM NOTES For his first published works, completed within three years of his traveling from his native Bonn to Vienna, the musical capital of the Western world, Beethoven chose a set of three piano trios: two genial, major-key works and the blustery Trio no. 3 in c minor, a key which would become one of the composer’s calling cards. With some dozen or more chamber works already under his belt, composed in Bonn and during his early days in Vienna, the publication of these trios as his Opus 1 represented a bold and deliberate decision. Beethoven’s teacher, Joseph Haydn, had played a groundbreaking role in the elevation of the piano trio genre from light salon music (little more than a keyboard sonata with violin doubling the melody and cello doubling the left hand) to chamber music of the highest sophistication. In choosing Haydn’s signature medium to announce himself to Viennese audiences, the notoriously headstrong Beethoven— whom, moreover, Haydn hardly nurtured with the kind of paternal warmth that, for instance, Mozart had shown to his students—put the public on notice that an important new musical voice was here to be reckoned with.

Beethoven dedicated the trios, significantly, not to Haydn but to the Prince Carl von Lichnowsky, the patron in whose home the works were first performed. Beethoven was joined for the occasion by violinist Ignaz Schuppanzigh and cellist Anton Kraft, two of Vienna’s most prominent chamber musicians. (Before his debut as a composer, Beethoven had already made his mark as a virtuoso pianist. His take-no-prisoners energy at the keyboard became the stuff of legend. Simply put, Vienna had never before heard a pianist like Beethoven. Contemporary accounts noted the “tremendous power, character, unheard-of bravura, and facility” of Beethoven’s playing. Images have endured of the ferocious virtuoso requiring an assistant to pull broken strings out of the instrument as he played.) Vienna’s musical elite, including Haydn, turned up for the performance.

As Beethoven subsequently prepared the trios for publication, Haydn advised that he withhold the Trio in c minor, feeling it out of step with Viennese tastes; when that trio proved the most popular of the set, Beethoven suspected Haydn of jealousy and professional sabotage. It is also telling that he forewent the custom of appending “pupil of Haydn” to his name in the published score. Despite the burgeoning tensions between master and pupil, Beethoven’s Opus 1 trios are nevertheless audibly indebted to Haydn, as well as to Mozart, as the first of these trios, in E-flat, calls to mind the character of Mozart’s Piano Quartet in E-flat Major, K. 493.

The Allegro first movement’s opening theme is marked by a series of ascending arpeggios—a gesture known as the “Mannheim rocket”—separated by three chords. The Mannheim rocket was fashionable at the time, named for its frequent use by composers associated with the Mannheim court orchestra to show off the brilliant virtuosity of that celebrated “army of generals.” Before proceeding to the second theme, the trio offers a glimpse of Beethoven’s obsessive developmental tendencies, fully realized in later works: the three instruments toss the Mannheim rocket gesture back and forth, each extending it in turn while another voice comments. Another series of three chords, at double the note value of those in the opening measures, followed by a simple legato line, signals the arrival of the second theme group, which in turn unfolds as a generous succession of affable melodic ideas. The short but surehanded development section and subsequent recapitulation confirm Beethoven’s total integration of the formal model set by Haydn and Mozart.

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PROGRAM NOTES The tender Adagio cantabile is a rondo, shaded with remarkable subtlety and expressive nuance. Consider the second episode, in e-flat minor: following a thoughtful utterance in the piano, the violin presents an ascending melody—a prayer of supplication, perhaps—soon taken up by the cello. But the mood of this passage is short-lived: the atmosphere turns suddenly sentimental and then assertive, all within the span of a few measures. While this slow movement may not break any new ground in its formal structure, a subtle but powerful sense of drama nevertheless plays out, framed by seemingly innocuous (but, indeed, deeply felt) music.

The scherzo shows a restraint perhaps unexpected in the first published scherzo from such a youthful firebrand as Beethoven in 1794. But likewise does this movement demonstrate some of the propensities that would come to define Beethoven’s voice over the following decades, such as his obsessive working-over of short motivic cells and shockingly abrupt dynamic contrasts.

The exposition of the sonata-form Presto finale recalls Haydn in its mischievous sense of humor, right from its opening gesture: cheeky ascending leaps of a tenth in the piano. The music that follows, with its rhythmic pep and effervescent energy, might evoke children at play, as does the extended recapitulation. But the movement’s development section unleashes a sudden outburst beyond even Haydn’s most forward-looking Sturm-und-Drang moments. Cast into relief against the innocuous material that comes before and after, this music’s ferocity is only further intensified. The moment passes quickly but makes an indelible impression. It is as though Beethoven offers but a taste of what he has up his sleeve.

—© 2015 Patrick Castillo

JOHANNES BRAHMS (Born May 7, 1833, Hamburg; died April 3, 1897, Vienna)

Piano Trio no. 1 in B Major, op. 8 Composed: 1853–1854, rev. 1889 Published: 1854, rev. 1891, by Simrock First performance: October 13, 1855, Danzig (revised version: January 10, 1890, Budapest) Other works from this period: Sonata no. 3 in f minor for Solo Piano, op. 5 (1853); Piano Concerto no. 1 in d minor, op. 15 (1854–1859); Piano Quartet no. 3 in c minor, op. 60 (1855–1875); Violin Sonata no. 3 in d minor, op. 108 (1886–1888) Approximate duration: 36 minutes In 1853—the same momentous year in which he met Robert and Clara Schumann— the twenty-year-old Brahms set to work on what would become one of his grandest contributions to the chamber music repertoire: the Piano Trio in B Major, op.

8. Though Brahms had by this time produced numerous chamber works, all were withheld from publication. A notorious perfectionist, Brahms famously burned www.musicatmenlo.org

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PROGRAM NOTES countless manuscripts throughout his career that did not meet his uncompromising standards. The Opus 8 Trio is the first chamber work that Brahms saw fit to publish— and even in this case, he returned to the work and made revisions to it more than three decades later. Curiously, Brahms allowed both versions to remain in publication; the 1889 revision is the version commonly heard today.

Departing from the piano trios of Haydn and Mozart, which typically comprise three movements, Brahms’s Opus 8 echoes the symphonic breadth of Beethoven’s fourmovement trios.

The opening Allegro con brio begins with a broad, stately theme, begun by the piano and continued in the cello’s tenor register. This music steadily unfolds towards an emphatic proclamation by all three instruments, quickly foiled by a hushed transformation of the theme. The piano quietly introduces the second theme: this music, too, quickly expands in a series of long, breathless melodies, each flowing organically into the next. The great melodic wealth of the exposition yields an equally rich development section, where Brahms transfigures the movement’s thematic material to explore broad expressive terrain.

In contrast to the first movement’s majestic carriage, the scherzo gallops at a light and mischievous gait. In true Romantic fashion, Brahms sets the fleet-footed theme in emotive extremes, alternating whispered restraint with dramatic exclamations. The trio section offers another expressive contrast, offsetting the scherzo’s austerity with a sentimental Viennese waltz.

The sublime Adagio begins as a call-and-response between spacious chords in the piano and expressive utterances in the strings. As these two elements unite, a new, plaintive melody emerges in the cello. The music of the opening returns, transfigured.

The cello sets the fourth movement Allegro in motion with an unsettled waltz. Echoing the dialectic of the scherzo movement, the finale juxtaposes this agile Viennese waltz with music of a more vigorous, Germanic flavor: an extroverted second theme sung forth by the piano and accentuated by the cello’s insistent syncopation. The dialogue between these two musical ideas develops freely and intensifies towards the trio’s assertive conclusion.

Even in Brahms’s 1889 revision, the Opus 8 Trio captures the passion and ambition of Brahms in his youth. While Brahms revised melodic ideas and the trio’s overall scale (the revision is shortened by nearly one third), the spirit of the original work—its essence that foreshadowed one of the nineteenth century’s foremost musical voices—is in no way suppressed.

—© 2011 Patrick Castillo

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ARTIST ARTISTBIOGRAPHIES BIOGRAPHY ABOUT THE TRIO Formed in 2014, Montrose Trio is a collaboration stemming from a long and fruitful relationship between pianist Jon Kimura Parker and the Tokyo String Quartet. Parker was the quartet’s final guest pianist, and a backstage conversation with violinist Martin Beaver and cellist Clive Greensmith led to Montrose Trio’s creation.

Named after Château Montrose, a storied Bordeaux wine long favored after concerts, with a nod to the Montrose Arts District of Houston and the street in Winnipeg where Beaver was raised, Montrose Trio has quickly established a reputation for performances of the highest distinction. In 2015 the Washington Post raved about its “absolutely top-notch music making, as fine as one could ever expect to hear… poised to become one of the top piano trios in the world.”

Montrose Trio gave its debut performance for the Chamber Music Society of Detroit, with subsequent performances at Wolf Trap, in Montreal, and at the Santa Fe Chamber Music Festival. Its 2015–2016 season included concerts in Philadelphia, New York, Vancouver, Portland, Eugene, Baltimore, Jacksonville, Durham, Detroit, Buffalo, and La Jolla and at the Hong Kong Chamber Music Festival.

Pianist Jon Kimura Parker performs with major North American orchestras on a regular basis, including recent concerto performances with the orchestras of New York, Chicago, and Philadelphia. In the 2016–2017 season, he appeared with the orchestras of Indianapolis, Pittsburgh, Ottawa, Vancouver, Toronto, Colorado, and Washington, D.C. He also appears in Off the Score, an experimental group with legendary Police drummer Stewart Copeland. He is Artistic Advisor of the Orcas Island Chamber Music Festival and Professor of Piano at the Shepherd School of Music at Rice University in Houston.

Violinist Martin Beaver has appeared as soloist with the orchestras of San Francisco, Indianapolis, Montreal, and Toronto and in Belgium and Portugal. A top-prize winner at the international violin competitions of Indianapolis and Montreal, he studied with Danchenko, Gingold, and Szeryng. Beaver was a founding member of the Toronto String Quartet and Triskelion and was the first violinist of the Tokyo String Quartet for eleven years. He is currently on faculty at the Colburn School in Los Angeles.

Cellist Clive Greensmith has performed as soloist with the London Symphony, the Royal Philharmonic, the English Chamber Orchestra, the Mostly Mozart Orchestra, the Seoul Philharmonic, and the RAI Orchestra in Rome. He has worked with distinguished musicians including András Schiff, Claude Frank, and Steven Isserlis and won prizes in the Premio Stradivari held in Cremona, Italy. Greensmith was the cellist of the Tokyo String Quartet for fourteen years and is currently on faculty at the Colburn School in Los Angeles.

In 2016–2017, Montrose Trio performed in cities including Cleveland, Indianapolis, Portland, Houston, Phoenix, and Toronto. For more information, please see montrosetrio.com.

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THANK YOU – ANNUAL FUND THANK YOU – MUSIC@MENLO Music@Menlo is grateful to the following individuals and organizations for their contributions to the Music@Menlo Fund through the Tenth-Anniversary Campaign.

Leadership Circle ($100,000+) Anonymous The Estate of Avis Aasen-Hull Ann S. Bowers Chandler B. & Oliver A. Evans Paul & Marcia Ginsburg Michael Jacobson & Trine Sorensen The Martin Family Foundation Bill & Lee Perry

$10,000–$99,999 Anonymous Darren H. Bechtel Jim & Mical Brenzel Iris & Paul Brest Terri Bullock Michèle & Larry Corash Karen & Rick DeGolia The David B. and Edward C. Goodstein Foundation Sue & Bill Gould Libby & Craig Heimark Kathleen G. Henschel Leslie Hsu & Rick Lenon Michael J. Hunt & Joanie Banks-Hunt The Kaz Foundation, in memory of Steve Scharbach Jeehyun Kim Hugh Martin William F. Meehan III Betsy Morgenthaler Dr. Condoleezza Rice The Shrader-Suriyapa Family In memory of Michael Steinberg Marcia & Hap Wagner Melanie & Ronald Wilensky Marilyn & Boris* Wolper

$1,000–$9,999 Anonymous (3) Judy & Doug Adams Eileen & Joel Birnbaum Kathleen & Dan Brenzel Dr. & Mrs. Melvin C. Britton Sherry Keller Brown Chris Byrne Patrick Castillo * Deceased

Jo & John De Luca Delia Ehrlich Mike & Allyson Ely Scott & Carolyn Feamster Suzanne Field & Nicholas Smith David Finckel & Wu Han Joan & Allan Fisch Earl & Joy Fry Betsy & David Fryberger Karen & Ned Gilhuly Laura & Peter Haas Adele M. Hayutin Kris Klint Margy & Art Lim, in memory of Myrna Robinson, Don DeJongh, and Pat Blankenburg Mary Lorey Carol & Mac MacCorkle Lawrence Markosian & Deborah Baldwin Gladys & Larry Marks Drs. Michael & Jane Marmor/Marmor Foundation Brian P. McCune Carol & Doug Melamed Nancy & DuBose Montgomery George* & Holde Muller Music@Menlo Chamber Music Institute Faculty Members, 2010–2012 Linda & Stuart Nelson, in honor of David Finckel & Wu Han Rebecca & John Nelson Shela & Kumar Patel Anne Peck Bill & Paula Powar Robert & Diane Reid Laurose & Burton Richter Barry & Janet Robbins Annie E. Rohan Barry Rosenbaum & Eriko Matsumoto Gordon Russell & Dr. Bettina McAdoo Bill & Joan Silver Jim & Mary Smith Abe & Marian Sofaer Edward & Kathy Sweeney Vivian Sweeney Ellen & Mike Turbow Joe & Anne Welsh Peter & Georgia Windhorst Elizabeth Wright Frank Yang

$100–$999 Anonymous (3) Matthew & Marcia Allen Alan & Corinne Barkin Millie & Paul Berg Mark Berger & Candace DeLeo Melanie Bieder & Dave Wills John & Lu Bingham Bill Blankenburg Jocelyn & Jerome Blum Joan Brodovsky Marda Buchholz Louise Carlson & Richard Larrabee Malkah & Donald* Carothers Hazel Cheilek Dr. Denise Chevalier Sandra & Chris Chong Robert & Ann Chun Alison Clark Betsy & Nick* Clinch Neal & Janet Coberly Norm & Susan Colb Jacqueline M. & Robert H. Cowden Anne Dauer Gordon & Carolyn Davidson Miriam DeJongh Edma Dumanian Leonard & Margaret Edwards Thomas & Ellen Ehrlich Alan M. Eisner Sherrie & Wallace* Epstein Maria & George Erdi Michael Feldman Tom & Nancy Fiene Bruce & Marilyn Fogel Lawrence & Leah Friedman Lulu & Larry Frye, in honor of Eff & Patty Martin Rose Green Edie & Gabe Groner Jerome Guillen Helen & Gary Harmon Elsa & Raymond Heald Erin L. Hurson Melissa Johnson Andrea G. Julian Meredith Kaplan Dr. Ronald & Tobye Kaye Yeuen Kim & Tony Lee Susan & Knud Knudsen Hilda Korner

Mimi & Alex Kugushev Daniel Lazare Joan & Philip Leighton Lois & Paul Levine Raymond Linkerman & Carol Eisenberg Drs. John & Penny Loeb David E. Lorey, in memory of Jim Lorey Susie MacLean Frank Mainzer & Lonnie Zwerin Robert March & Lisa Lawrence Valerie J. Marshall Sally Mentzer, in memory of Myrna Robinson and Lois Crozier Hogle Ellen Mezzera Bill Miller & Ida Houby, in memory of Lois Miller Thomas & Cassandra Moore Peter & Liz Neumann Neela Patel Lynn & Oliver Pieron David & Virginia Pollard Ann Ratcliffe Hana Rosenbaum Sid & Susan Rosenberg Elizabeth Salzer Birgit & Daniel Schettler Elaine & Thomas Schneider Gerry & Coco Schoenwald Nancy G. Schrier Armand A. Schwartz Jr. Steven E. Shladover Judy & Lee Shulman Edgar Simons Alice Sklar Betty Swanson Barbara Tam Golda Tatz Isaac Thompson Jana & Mark Tuschman Jack & Margrit Vanderryn Dr. George & Bay Westlake Sallie & Jay Whaley Lyn & Greg Wilbur Bryant & Daphne Wong Ronald & Alice Wong

Gifts under $100 Anonymous (3) Susan Berman Veronica Breuer

www.musicatmenlo.org

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THANK YOU – ANNUAL FUND FUND MUSIC@MENLO Marjorie Cassingham Constance Crawford David Fox & Kathy Wosika Sandra Gifford Andrew Goldstein Laura Green Barbara Gullion & Franck Avril Jennifer Hartzell & Donn R. Martin Margaret Harvey Mark Heising Abe Klein Hiroko Komatsu Amy Laden Marcia Lowell Leonhardt Carol & Harry Louchheim Ben Mathes James E. McKeown Janet McLaughlin Michael Mizrahi, in honor of Ann Bowers Merla Murdock

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Joan Norton Rossannah & Alan Reeves Shirley Reith Nancy & Norm Rossen Ed & Linda Selden Helena & John Shackleton Charlotte Siegel Alice Smith Denali St. Amand Misa & Tatsuyuki Takada Margaret Wunderlich Chris Ziegler

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

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

THANKUP YOU ANNUAL FUND COMING AT –MUSIC@MENLO

Winter Series 2017–2018 CHAMBER MUSIC SOCIETY OF LINCOLN CENTER Brahms and Dvořák Friday, January 19, 2018, 7:30 p.m.

The Center for Performing Arts at Menlo-Atherton Tickets: $52/$47 full price; $25/$20 under age thirty Dvořák and Brahms drew inspiration from each other, and Dvořák turned to Brahms’s Gypsy-inspired Hungarian Dances for his Slavonic Dances, featured on this uplifting program alongside Brahms’s c minor Piano Trio and Dvořák’s Piano Quintet in A Major. Featured pianist Wu Han is Artistic Codirector of the Chamber Music Society of Lincoln Center and Music@Menlo.

Joining her for this program are some of the most exciting young artists on the CMS roster: pianist Michael Brown, violinists Paul Huang and Chad Hoopes, violist Matthew Lipman, and cellist Dmitri Atapine.

SCHUMANN QUARTET Haydn, Bartók, and Schumann Friday, April 20, 2018, 7:30 p.m.

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

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

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