Schumann Quartet Program

Music@Menlo Winter Series

Schumann Quartet ERIK SCHUMANN, KEN SCHUMANN, violins; LIISA RANDALU, viola; MARK SCHUMANN, cello

April 20, 2018 www.musicatmenlo.org

Music@Menlo 2017–2018 Winter Series Schumann Quartet Friday, April 20, 2018, 7:30 p.m.

Schultz Cultural Arts Hall, Oshman Family JCC, Palo Alto

Music@Menlo

About Music@Menlo

Board

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

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

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

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

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

JOSEPH HAYDN (1732–1809) String Quartet in B-flat Major, op. 76, no. 4, Sunrise (1797) Allegro con spirito Adagio Minuetto: Allegro Finale: Allegro, ma non troppo

BÉLA BARTÓK (1881–1945) String Quartet no. 2, op. 17 (1915–1917) Moderato Allegro molto capriccioso Lento

INTERMISSION ROBERT SCHUMANN (1810–1856) String Quartet in F Major, op. 41, no. 2 (1842) Allegro vivace Andante, quasi variazioni Scherzo: Presto Allegro molto vivace Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; Mark Schumann, cello

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

String Quartet in B-flat Major, op. 76, no. 4, Sunrise Composed: Haydn began the Opus 76 set of six quartets—known collectively as the Erdödy Quartets, after Count Joseph Erdödy, who commissioned the works—in 1796 and completed them in the summer of 1797.

Publication: 1799 Dedication: Count Joseph Erdödy Other works from this period: Detailed in the notes below Approximate duration: 22 minutes When Haydn returned to Vienna in 1795 from his second year-and-a-half-long residency in London, the enormous success he had enjoyed in Europe’s most vibrant and cosmopolitan city parlayed itself, back on the continent, into a hero’s welcome home. (According to the composer’s close friend and early biographer Georg August Griesinger, “Haydn often said that he first became famous in Germany owing to his reputation in England.”) With Vienna only four years removed from Mozart’s untimely death in 1791 and the young Beethoven yet to create his first significant works, Haydn reigned during this time as the undisputed heavyweight champion of Western music. His newly elevated status brought with it professional demands of greater social import: oratorios commissioned by wealthy patrons (The Seven Last Words, The Creation, and The Seasons) and choral-orchestral masses for the Esterházy court (the Heiligmesse, Paukenmesse, and others). It also led to the gradual tapering off of Haydn’s instrumental output over the last fourteen years of his life.

PROGRAM NOTES Haydn’s eighty-three quartets. Rarely, if ever, did he equal its luminous spirituality and depth of feeling.” The quartet’s nickname, Sunrise, comes from its opening measures: despite the Allegro con spirito tempo marking, the work begins with a slow, radiant ascent in the first violin above a sustained chord in the lower strings. The viola answers this dawning introduction with a languorous melody, as if reluctant to awaken with the break of day, before Haydn coaxes the music out of its slumber. The second theme is closely related to the first: beneath a held chord in the upper strings, the cello offers a descending mirror image of the opening “sunrise” melody.

In contrast to the gregarious Allegro con spirito comes the meditative second movement, which ranks among the slowest and most deeply felt of Haydn’s Adagios. A simple, salon-esque charm colors the third movement Minuetto; the trio section sets a mildly disorienting folk melody above a rustic drone in the viola and cello. The finale similarly contains a folk-like element: its elegantly buoyant theme is thought to draw from an English folk song which Haydn might have heard while in London. Haydn conjures a fleeting moment of anxiety midway through, but he soon restores the movement’s blithe spirit and decisively so: the coda eggs the players on with markings of Più allegro and Più presto.

—© 2008 Patrick Castillo

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

String Quartet no. 2, op. 17 Composed: 1915–1917

Following his return to Vienna, he would complete only one more orchestral work (the Trumpet Concerto) and one more piano trio (the E-flat Major, Hob. XV: 30—in fact, Haydn’s last work at all for piano), both composed in 1796.

Published: 1920

But Haydn meanwhile found opportunities in the late 1790s to further cultivate a medium which had occupied a significant part of his musical imagination throughout his career: the string quartet. (Indeed, Haydn’s relationship with the string quartet was a mutually beneficial one, as it was his efforts that essentially installed the quartet genre as the spinal column of the modern chamber literature.) These opportunities came to fruition in the six Opus 76 Erdödy Quartets, commissioned in 1796 by Count Joseph Erdödy, and the two Opus 77 Lobkowitz Quartets, composed in 1799 for Prince Franz Joseph Lobkowitz, himself an amateur violinist and avid chamber musician.

Approximate duration: 26 minutes

The Quartet in B-flat Major, op. 76, no. 4, like its five siblings, demonstrates Haydn’s mature, fully crystallized quartet-writing style. Author Melvin Berger contends, “In the view of many, Opus 76 Number 4 is the finest among 4 Music@Menlo

Other works from this period: Detailed in the notes below Béla Bartók became obsessed with the folk music of his native Hungary during the early years of the twentieth century. He and his friend and composer colleague Zoltán Kodály trooped the hinterlands with, at first, pen and paper and, later, a primitive phonograph to record the indigenous songs and dances, which differed substantially from the four-square melodies that had been passed off for decades as authentic folk tunes. What they found was music whose rhythms exhibited an invigorating irregularity, whose modes eschewed conformity to the commonly accepted scale patterns in favor of a dizzying variety of pitch organizations, and whose method of performance allowed for inflections and expressions that not only enhanced the basic song but also displayed the individuality of the singer. www.musicatmenlo.org 5

PROGRAM NOTES

PROGRAM NOTES

With the dedication of a religious zealot, Bartók spent forty years collecting, transcribing, and codifying Central European and North African folk songs, always mindful that these ages-old but fragile remnants of evolving cultures might vanish forever before he could preserve them.

largely occupied with tightly reasoned permutations of the principal theme.

The recapitulation reprises the earlier material, though the second theme is truncated to just a brief reminiscence, with the balance of the movement devoted to a developmental coda grown from the main subject.

Bartók’s own music absorbed the impact of his research, and by the time of the First World War, the influence of folk idioms on the rhythms, melodies, and moods of his works had become pervasive. “The question is, what are the ways in which peasant music is taken over and becomes transmuted into modern music?” he asked in a 1920 article:

The Allegro that occupies the center of the quartet bears the immediate imprint of folk music: its form is a chain of continuous sections arranged as a loose rondo, like a peasant dance with a returning refrain; its rhythm is ferocious (the Allegro barbaro was composed only four years before, and the Romanian Folk Dances of 1915 include a Stamping Dance); its melodic material is contained within a limited range and circles around a few central pitches; and its phrasing consists of small repeated units. The movement ends with an extraordinary coda that plays a quiet transformation of the main theme at such a breakneck pace that the music becomes a buzzing murmur.

We may, for instance, take over a peasant melody unchanged or only slightly varied, write an accompaniment to it and possibly some opening and concluding phrases. This kind of work would show a certain analogy to Bach’s treatment of chorales...Another method by which peasant music becomes transmuted into modern music is the following: The composer does not make use of a real peasant melody but invents his own imitation of such melodies...There is yet a third way in which the influence of peasant music can be traced in a composer’s work. Neither peasant melodies nor imitations of peasant melodies can be found in his music, but it is pervaded by the atmosphere of peasant music.

The String Quartet no. 2 is among the earliest examples of this last method of incorporating folk influences into concert music. It was composed in the Budapest suburb of Rákoskeresztúr between 1915 and 1917, during the years of World War I when Bartók largely withdrew from public concert life. Unable to travel to continue his research in folk music, he spent much of that time organizing the mountain of information on the subject that he had collected during the previous decade and composed little. His only important original works of that time were the ballet The Wooden Prince and the Second Quartet, but the quartet marked a significant advance in his creative language through its permeation by subtilized folk idioms. “The whole direction of Bartók’s later writing might be deduced from this one work,” wrote Halsey Stevens in his biography of the composer. The second was the first of Bartók’s six quartets to be recorded (in 1925 by the Amar Quartet, with Paul Hindemith as violist) and has probably enjoyed more performances than any other composition in the set.

Kodály said that the three strongly profiled movements of the Second Quartet represent: “1. A quiet life; 2. Joy; and 3. Sorrow.” The sonata form of the opening movement is worked out with Bartók’s characteristic rigor. The main theme, given by the first violin, begins with a quick leap upward followed by a long note and a phrase descending through chromatically inflected melodic leadings. The other instruments are drawn into the discussion of this subject and lead directly to the second theme, a melody in smoother motion in which is imbedded a little turn figure in triplet rhythm. The development section is 6 Music@Menlo

The finale is bleak and sorrowful, music of intense expression that may reflect the grief of the time of its composition. Though the movement seems to unfold freely, pausing occasionally for a thoughtful breath, it is carefully generated from a small cache of melodic gestures: tiny, two-note motives, given by the second violin, that use the small leaps of a third (in its conflicting minor and major versions) and a fourth; a brief arching phrase, posited by the first violin, that recalls the principal theme of the first movement; and a falling figure of two short notes followed by a longer note. “For profundity of thought, imaginative power, logic of structure, diversity of formal details, and enlargement of the technical scope,” wrote Mosco Carner, “Bartók’s quartets stand unrivaled in the field of modern chamber music.”

—© 2017 Dr. Richard E. Rodda

ROBERT SCHUMANN (Born June 8, 1810, Zwickau, Germany; died July 29, 1856, Endenich, near Bonn)

String Quartet in F Major, op. 41, no. 2 Composed: 1842 Publication: 1848 Other works from this period: Symphony no. 1 in B-flat Major, op. 38, Spring (1841); Five Songs, op. 40 (1840); Piano Quintet in E-flat Major, op. 44 (1842); Piano Quartet in E-flat Major, op. 44 (1842) Approximate duration: 22 minutes Schumann first considered writing a string quartet as early as 1838—“The thought gives me pleasure,” he told his future wife, the superb pianist Clara Wieck. He made two attempts the following year (“I can assure you they’re as good as Haydn’s” was his hyperbolic description of his sketches to his www.musicatmenlo.org 7

PROGRAM NOTES fiancée), but he was dissatisfied with them and apparently destroyed the manuscripts. Invitations to perform in Bremen and Hamburg, cities eager to hear Clara’s piano playing and Robert’s new B-flat Symphony, enabled them to tour together in February 1842 (at no little emotional expense, however, since it meant being separated for some time from their first child, Marie, born the previous September 1st), but rather than traveling with her to Copenhagen, Robert went home to Leipzig, immersing himself in the study of the quartets of Mozart, Haydn, and Beethoven in April and May. On June 4th, he began the furious activity that yielded his only three string quartets.

As a surprise for Clara’s twenty-third birthday, Schumann arranged a private performance of all three quartets on September 13th at the home of Ferdinand David, the Gewandhaus Orchestra’s Concertmaster, for whom Felix Mendelssohn was to write his Violin Concerto two years later. “My respect for Robert’s genius, for his intellect, altogether for the whole composer, grows with each work,” wrote Clara, who once admitted not caring much for the genre of the string quartet until her husband had contributed to the form.

“Here everything is new and at the same time lucid, finely worked out, and always in quartet idiom.”

THANK YOUPROGRAM – ANNUALNOTES FUND

shifted away from the meter’s strong beats; the central trio, so rhythmically regular that it allows for a virtual “oom-pah” accompaniment, alternates a broad phrase with skittering scales.

The finale follows a compact sonata form, with a bounding main theme and a subsidiary subject comprising a smoothly rising scale and a reference to the final song of Beethoven’s An die ferne Geliebte (To the Distant Beloved), Schumann’s token of affection to Clara. The development section is largely given over to permutations of this last motive before an animated scalar passage leads to the recapitulation of the earlier materials. A fast and bracing coda closes the quartet.

—© 2017 Dr. Richard E. Rodda

The sonata-form opening movement of the F Major Quartet is based almost entirely on the verdant main theme sung by the first violin at the outset; the only motivic diversion comes near the end of the exposition, where a smooth but fragmentary idea is touched upon by the upper strings. The movement’s development section is testament to Schumann’s growing mastery not just of manipulating themes for dramatic expressive effect but also of writing idiomatically for the intimate musical democracy of the chamber ensemble.

Schumann titled the second movement, somewhat curiously, Andante, quasi variazioni—“Moderately, resembling variations.” Conventional variations refer to an ancient and straightforward form in which the structure and essential harmonic underpinning of a theme presented at the outset are preserved in the ensuing sections. Schumann’s theme here is songful and prolix, and he worked four variations upon it—lyrical with ribbons of scales for accompaniment; flowing and animated, with a pizzicato background in the viola and cello; subdued and shadowy; and playful and in a new meter—that use increasingly shorter versions of the melody and also vary its harmonic content. The original theme is then repeated note for note before the movement closes with a supple coda that recalls the second variation. Quasi variazioni therefore seems exactly the right description for this inventive formal hybrid, which observes the spirit if not the letter of the old form and places it within a larger ternary structure: A (theme) – B (variations) – A (repeated theme and coda).

The third movement may well be Schumann’s tribute to the mercurial scherzi of his friend Felix Mendelssohn, to whom he dedicated his string quartets.

The outer sections of the three-part form are nimble and delightfully deceptive in their rhythm, with the melodic shape and harmonic changes frequently 8 Music@Menlo

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ABOUT THE ARTISTS SCHUMANN QUARTET

Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; Mark Schumann, cello

ABOUT THE ARTISTS The three brothers Mark, Erik, and Ken Schumann have been playing together since their earliest childhood. In 2012, they were joined by violist Liisa Randalu, who was born in the Estonian capital, Tallinn, and grew up in Karlsruhe, Germany.

The four musicians enjoy the way they communicate without words: how a single look suffices to convey how a particular member wants to play a particular passage. Although the individual personalities clearly manifest themselves, a common space arises in every musical work in a process of spiritual metamorphosis.

CD releases, study with the Alban Berg Quartet, a residency of many years at the Robert-Schumann-Saal in Düsseldorf, winning the prestigious Concours de Bordeaux along with other awards, various teachers and musical partners—it is always tempting to speculate on what factors have led to many people viewing the Schumann Quartet as one of the best in the world. But the four musicians themselves regard these stages more as encounters, as a confirmation of the path they have taken. They feel that their musical development over the past two years represents a quantum leap. Ken Schumann, the middle of the three Schumann brothers, asserts, “We really want to take things to extremes, to see how far the excitement and our spontaneity as a group take us.”

The Schumann Quartet has reached a stage where anything is possible, because it has dispensed with certainties. This state also has consequences for audiences, which have to be prepared for all eventualities from one concert to the next. “A work really develops only in a live performance,” the musicians explain. “That is the ‘real thing,’ because we ourselves never know what will happen. On the stage, all imitation disappears, and you automatically become honest with yourself. Then you can create a bond with the audience—communicate with it in music.”

This live situation will gain an added energy in the near future: a highlight of the 2017/18 season is its three-year residency at the Chamber Music Society of Lincoln Center in New York City, which began in December 2016. The quartet will tour the United States and give performances at festivals in South America, Italy, and Switzerland, as well as at Mozart Week in Salzburg and the Mozartfest in Würzburg. It will also perform concerts in London, Hamburg, Berlin, Amsterdam, Florence, and Paris. Its current album, Landscapes, in which the quartet traces its own roots by combining works of Haydn, Bartók, Takemitsu, and Pärt, has been hailed enthusiastically both at home in Germany and abroad, among other things receiving five Diapasons and being selected as Editor’s Choice by BBC Music Magazine. The Schumann Quartet was already accorded the 2016 Newcomer Award at the BBC Music Magazine Awards in London for its previous CD, Mozart, Ives, Verdi.

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THANK YOU – ANNUAL FUND

Music@Menlo is grateful to the following individuals and organizations, whose support of the Annual Fund makes the Institute, Festival, and Winter Series possible.

Medici Circle ($100,000+) Ann S. Bowers Chandler B. & Oliver A. Evans The William and Flora Hewlett Foundation The Martin Family Foundation

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

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

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

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Melanie & Ron Wilensky Peter & Georgia Windhorst Marilyn Wolper

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

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

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

Bill & Joan Silver Dalia Sirkin Mary & Jim Smith In memory of Michael Steinberg Mrs. Lena Tailo Ellen & Mike Turbow Margrit & Jack Vanderryn

Caruso Circle ($500–$999) Anonymous (3) Carl Baum & Annie McFadden Janice Boelke Michael Brady Anne Dauer Miriam DeJongh Jo & John De Luca Thomas & Ellen Ehrlich Joan & Allan Fisch Shelley Floyd & Albert Loshkajian Jim Hagan, in memory of Linda J. Hagan Jennifer Hartzell & Donn R. Martin Elsa & Raymond Heald David Heintz Terri Lahey & Steve Smith Dr. Leon Lipson & Susan Berman Drs. John & Penny Loeb Rudolf & Page Loeser Harvey Lynch John Maulbetsch Brian P. McCune William & Muriel McGee Janice & Jeff Pettit Michelle & Laurent Philonenko David & Virginia Pollard Robert & Adelle Rosenzweig Ed & Linda Selden Art & Sharon Small Peggy & Art Stauffer Peter Straus & Katie Gardella Betty Swanson David & Mary Alice Thornton Ian & Julia Wall Sallie & Jay Whaley, in honor of David Lorey

THANK YOU – ANNUAL FUND

Joachim Circle ($250–$499)

Paganini Circle ($100–$249)

Anonymous Enrico & Jane Bernasconi Clinton Blount & Margo Crabtree Julie & Ellis Brenner Ruth Brill Alison Campbell Renee Chevalier Robert & Ann Chun Christine & Frank Currie Mary Dahlquist Ann & John Dizikes Earl & Barbara Douglass Philip & Jean Eastman Leonard & Margaret Edwards Lynn Ellington Bruce & Marilyn Fogel Neil & Ruth Foley S. Robert & Sarah W. Freedman Lawrence & Leah Friedman Gladys R. Garabedian, in memory of Russell Tincher Marianne Gerson Gerry H. Goldsholle & Myra K. Levenson Ulrich Herberg Margaret & Michael Herzen David & Jane Hibbard Clarice & Dale Horelick Andrea G. Julian Betty & Jim Kasson Nina Kulgein Joan & Philip Leighton Michael & Vicki Link Robert March & Lisa Lawrence Carol Masinter Frances & John Morse George Burton Norall Joan Norton Amir & Nicole Rubin Benn & Eva Sah Phyllis & Jeffrey Scargle Susan Schendel Sheila Sternberg Barbara Tam Elizabeth Trueman & Raymond Perrault Dr. George & Bay Westlake Lyn & Greg Wilbur Jane Fowler Wyman

Anonymous (3) Matthew & Marcia Allen Clay & Nancy Bavor Donna Bestock Frederick & Alice Bethke Melanie Bieder & Dave Wills Miriam Blatt Arnold & Barbara Bloom Catherine Bolger Mark Boslet Carol Bradley, in memory of Michael Bradley Laurel Brobst Julie Buckley Joanne & Peter Carey J. Anne Carlson Dr. Denise Chevalier Jacqueline M. & Robert H. Cowden Constance Crawford Jean & Duncan Davidson Robert & Loretta Dorsett Edma Dumanian Phil Egan Alan M. Eisner Jan Epstein Edward & Linda Ericson Tom & Nancy Fiene Diane & Harry Greenberg, in honor of Michèle & Larry Corash Edie & Gabe Groner Claes Gustafsson Andrea Harris Mary Ann Hayward Marc Henderson & Sue Swezey Freda Hofland & Les Thompson Petya Hristova Laurie Hunter & Jonathan MacQuitty Honar & Hillard Huntington Diana & Walter Jaye Susan & Knud Knudsen Betsy Koester Hilda Korner William & Lucille Lee Gwen Leonard Jean Bernard & Elisabeth Le Pecq Henry & Jane Lesser Marjorie Lin Joanna & Laurie Liston Frank Mainzer & Lonnie Zwerin, in honor of Sue Gould Lisa Marsh Kirk McKenzie

* Deceased

James McKeown Sally Mentzer, in memory of Myrna Robinson and Lois Crozier Hogle Thomas & Cassandra Moore Dena Mossar & Paul Goldstein James & Barbara Newton Monika & Raul Perez Joyce & Allen Phipps Patricia Porter & Stephen Browning Beverly Radin & Larry Breed Dorothy Saxe, in honor of Gladys Monroy Marks Damon Schechter Charlotte Scheithauer Lorraine & Gerard Seelig Kenneth Seeman, M.D. Dr. George W. Simmonds & Garnet L. Spielman Clinton & Sharon Snyder Ethan Mickey Spiegel Laura Sternberg Madeleine Stovel Jocelyn Swisher Daphne & Stuart Wells Darlene & Charles Whitney Bryant & Daphne Wong Kathy Wong Weldon & Carol Wong Shirley Yfantis

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Harold & Jennifer Brock Hughes Gilda & Harold Itskovitz Kristin Anne Jackson Aran Johnson William Kamin Mike Keating Dr. Jean Kirsch Suzanne Koppett Mira Kosenko David Krevor Virginia Larsen Marlene Levenson Jennifer Lezin In memory of Norman Lezin Marina Makarenko Sheila Mandel Loy Martin Janet McLaughlin Shirley-Lee Mhatre Dr. Judy Michele Mohr Merla Murdock Mr. Seiji Naiki Leonard Norwitz Lee & Louise Patch Jonathan Phillips John Stephen Prusynski Gerry & Coco Schoenwald Joan & Paul Segall Basil Shikin Sally W. Smith Erin Stanton Alois Joseph Strnad David & Jean Struthers Ann Sun Peng Tu Lucy & Henry Ullman Ed Vincent Richard Waltonsmith William Welch Linda Wilson Stephen Wolf Brenda Woodson Kana Yamada Kris Yenney

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ABOUT THE ARTISTS THANK YOU – MUSIC@MENLO FUND

ABOUT THANK THE YOU ARTISTS – ANNUAL FUND Community Foundations and Donor-Advised Funds The Fidelity Charitable Gift Fund The Goldman Sachs Philanthropy Fund The Jewish Community Federation and Endowment Fund The Marin Community Foundation Schwab Charitable Fund The Silicon Valley Community Foundation

In-Kind Contributions Amici’s East Coast Pizzeria, Menlo Park Avanti Pizza Fresh Pasta, Menlo Park Costco, Foster City Costco, Redwood City Cream, Palo Alto Dehoff’s Key Market, Redwood City

Delucchi’s Market & Delicatessen, Redwood City Grocery Outlet Bargain Market, Redwood City Kara’s Cupcakes, Palo Alto Mardini’s Gourmet Deli The Milk Pail Market Numi Tea Oren’s Hummus Shop Paradise Flowers & Gifts Robert’s Market Safeway, Foster City Safeway, Sequoia Station, Redwood City Safeway, Sharon Park Road, Menlo Park Starbucks, California Avenue, Palo Alto Starbucks, El Camino Real, Menlo Park Starbucks, El Camino Real, Palo Alto Starbucks, Marsh Road, Redwood City Starbucks, Middlefield Road, Palo Alto Starbucks, Santa Cruz Avenue, Menlo Park

Starbucks, Sharon Park Drive, Menlo Park Starbucks, Woodside Road, Redwood City Subway, Menlo Park Subway, Woodside Road, Redwood City Target, Redwood City The Willows Market Woodside Bakery and Cafe

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

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

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

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

Music@Menlo is grateful to the following individuals and organizations for their contributions to the Music@Menlo Fund through bequests and planned gifts, the Tenth-Anniversary Campaign, and other designated contributions.

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

$10,000–$99,999 Anonymous Darren H. Bechtel Jim & Mical Brenzel Iris & Paul Brest Terri Bullock Michèle & Larry Corash Karen & Rick DeGolia The David B. and Edward C. Goodstein Foundation Sue & Bill Gould

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Libby & Craig Heimark Kathleen G. Henschel Leslie Hsu & Rick Lenon Michael J. Hunt & Joanie Banks-Hunt The Kaz Foundation, in memory of Steve Scharbach Jeehyun Kim Hugh Martin William F. Meehan III Betsy Morgenthaler Dr. Condoleezza Rice The Shrader-Suriyapa Family In memory of Michael Steinberg Marcia & Hap Wagner Melanie & Ronald Wilensky Marilyn & Boris* Wolper

$1,000–$9,999 Anonymous (3) Judy & Doug Adams Eileen & Joel Birnbaum Kathleen & Dan Brenzel

Dr. & Mrs. Melvin C. Britton Sherry Keller Brown Chris Byrne Patrick Castillo Jo & John De Luca Delia Ehrlich Mike & Allyson Ely Scott & Carolyn Feamster Suzanne Field & Nicholas Smith David Finckel & Wu Han Joan & Allan Fisch Earl & Joy Fry Betsy & David Fryberger Karen & Ned Gilhuly Laura & Peter Haas Adele M. Hayutin Kris Klint Margy & Art Lim, in memory of Myrna Robinson, Don DeJongh, and Pat Blankenburg Mary Lorey Carol & Mac MacCorkle Lawrence Markosian & Deborah Baldwin Gladys & Larry Marks

Drs. Michael & Jane Marmor/Marmor Foundation Brian P. McCune Carol & Doug Melamed Nancy & DuBose Montgomery George* & Holde Muller Music@Menlo Chamber Music Institute Faculty Members, 2010–2012 Linda & Stuart Nelson, in honor of David Finckel & Wu Han 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 * Deceased

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

* Deceased

Maria & George Erdi Michael Feldman Tom & Nancy Fiene Bruce & Marilyn Fogel Lawrence & Leah Friedman Lulu & Larry Frye, in honor of Eff & Patty Martin Rose Green Edie & Gabe Groner Jerome Guillen Helen & Gary Harmon Elsa & Raymond Heald Erin L. Hurson Melissa Johnson Andrea G. Julian Meredith Kaplan Dr. Ronald & Tobye Kaye Yeuen Kim & Tony Lee Susan & Knud Knudsen Hilda Korner Mimi & Alex Kugushev Daniel Lazare Joan & Philip Leighton Lois & Paul Levine Raymond Linkerman & Carol Eisenberg Drs. John & Penny Loeb David E. Lorey, in memory of Jim Lorey Susie MacLean Frank Mainzer & Lonnie Zwerin Robert March & Lisa Lawrence Valerie J. Marshall Sally Mentzer, in memory of Myrna Robinson and Lois Crozier Hogle Ellen Mezzera Bill Miller & Ida Houby, in memory of Lois Miller Thomas & Cassandra Moore Peter & Liz Neumann Neela Patel Lynn & Oliver Pieron David & Virginia Pollard Ann Ratcliffe

Hana Rosenbaum Sid & Susan Rosenberg Elizabeth Salzer Birgit & Daniel Schettler Elaine & Thomas Schneider Gerry & Coco Schoenwald Nancy G. Schrier Armand A. Schwartz Jr. Steven E. Shladover Judy & Lee Shulman Edgar Simons Alice Sklar Betty Swanson Barbara Tam Golda Tatz Isaac Thompson Jana & Mark Tuschman Jack & Margrit Vanderryn Dr. George & Bay Westlake Sallie & Jay Whaley Lyn & Greg Wilbur Bryant & Daphne Wong Ronald & Alice Wong

Gifts under $100 Anonymous (3) Susan Berman Veronica Breuer Marjorie Cassingham Constance Crawford David Fox & Kathy Wosika Sandra Gifford Andrew Goldstein Laura Green Barbara Gullion & Franck Avril Jennifer Hartzell & Donn R. Martin Margaret Harvey Mark Heising Abe Klein Hiroko Komatsu Amy Laden Marcia Lowell Leonhardt Carol & Harry Louchheim Ben Mathes James E. McKeown

Janet McLaughlin Michael Mizrahi, in honor of Ann Bowers Merla Murdock Joan Norton Rossannah & Alan Reeves Shirley Reith Nancy & Norm Rossen Ed & Linda Selden Helena & John Shackleton Charlotte Siegel Alice Smith Denali St. Amand Misa & Tatsuyuki Takada Margaret Wunderlich Chris Ziegler

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

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

www.musicatmenlo.org 15

The Sixteenth festival: Creative Capitals!

This summer, we are delighted to invite you to join us on a tour of some of Western classical music’s Creative Capitals from July 13 through August 4.

From fourteenth-century Florence to fin-de-siècle Paris, Western civilization’s greatest artistic triumphs have emerged from thriving metropolises.

Music@Menlo’s 2018 festival celebrates seven of these flourishing artistic capitals—London, Paris, St. Petersburg, Leipzig, Berlin, Budapest, and Vienna.

With forty-six internationally renowned artists featured and an ambitious three weeks of concerts and events, Creative Capitals will be a thrilling exploration of chamber music masterpieces from around the world.

Tickets: www.musicatmenlo.org / 650-331-0202 Join Us for a Musical Tour of Two Cities!

Music@Menlo invites you to embark on a specially curated musical journey this fall. With festival artists and expert guides, this travel program offers patrons insider access to significant cultural landmarks and musical experiences like no other. This year, we will journey to two extraordinary destinations: London and Paris. Along with Artistic Directors David Finckel and Wu Han and other festival artists, we will explore the fascinating musical legacies of these two great cities. Please contact Lee Ramsey, Development Director, at lee@musicatmenlo.org or 650-330-2133 if you are interested in learning more.

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