alessio bax, piano ani kavafian, violin yura lee, · any of our pieces today, ... for violin and...

This concert is made possible, in part, by The Florence Gould Foundation.

The Chamber Music Society acknowledges with sincere appreciation Ms. Tali Mahanor’s generous long-term loan of the Hamburg Steinway & Sons model “D” concert grand piano.

Scherzo, WoO 2, from “F-A-E” Sonata for Violin and Piano (1853) KAVAFIAN, BAX

Quartet No. 2 in G minor for Piano, Violin, Viola, and Cello, Op. 45 (1885–86) Allegro molto moderato Allegro molto Adagio non troppo Allegro moltoBAX, KAVAFIAN, LEE, WATKINS

INTERMISSION

Quartet No. 2 in A major for Piano, Violin, Viola, and Cello, Op. 26 (1861) Allegro non troppo Poco adagio Scherzo: Poco allegro Finale: AllegroBAX, KAVAFIAN, LEE, WATKINS

SUNDAY AFTERNOON, JANUARY 29, 2017 AT 5:00 3,660TH CONCERT

Alice Tully Hall, Starr Theater, Adrienne Arsht StageHome of The Chamber Music Society of Lincoln Center

JOHANNES BRAHMS

(1833–1897)

GABRIEL FAURÉ

(1845–1924)

BRAHMS

PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES.Photographing, sound recording, or videotaping this performance is prohibited.

ALESSIO BAX, pianoANI KAVAFIAN, violinYURA LEE, violaPAUL WATKINS, cello

www.ChamberMusicSociety.org

David Finckel Wu HanARTISTIC DIRECTORS

ABOUT TONIGHT’S PROGRAMDear Listener,

Johannes Brahms and Gabriel Fauré were born 12 years apart into entirely different cultures, yet the art of music was marching fast forward in ways that would deeply affect how music was composed, performed, and heard. The last titans of the Classical age, Beethoven and Schubert, had died barely a generation before; the winds of Romanticism were blowing from Europe all the way to Russia and America; and the revolutions of 1848 would spur fervent nationalism whose spirit found its way into the arts fully in the second half of the century. It was an exciting time to be an artist, filled with possibilities as one looked both forwards and backwards.

Fauré is often referred to as the link between late German Romanticism and the new aesthetic ushered in by Debussy, leading to the modern age. One can certainly hear that in today’s program: while Brahms creates power from iron-fisted chords and trumpeting melodies, from the very beginning of Fauré’s piano quartet we experience a virtual shower of notes that fill the hall and reverberate right through us. Fauré’s beautiful slow movement—haunting, mystical, and distant—is nothing like the Adagio of Brahms’s Quartet, which is nobly nostalgic in a straightforward way.

We also paired these works not only to enjoy their parallel greatness, but to experience another phenomenon of the chamber music repertoire: works whose power and scale are far larger than the ensemble performing. Any of our pieces today, including the F-A-E Scherzo for Violin and Piano that opens the concert, could easily have been conceived for a full orchestra. Simply try what we often advise chamber music students to do: imagine these pieces as symphonies, assigning various instruments to both melodies and accompaniments. We promise it won’t be long before the sounds of timpani, French horns, and oboes emerge, as we remember that our two composers were also master orchestrators.

Enjoy the concert,

The Chamber Music Society of Lincoln Center

Scherzo, WoO 2, from “F-A-E” Sonata for Violin and Piano

In April 1853, the 19-year-old Johannes Brahms set out from his native Hamburg for a concert tour of Germany with the Hungarian violinist Eduard Reményi. The following month in Hanover they met the violinist Joseph Joachim, whom Brahms had heard give an inspiring performance of the Beethoven Concerto five years earlier in Hamburg. Brahms was at first

somewhat shy in the presence of the celebrated virtuoso, but the two men warmed to each other when the young composer began to play some of his recent music at the piano. The following summer, Brahms and Joachim spent eight weeks at Göttingen, discussing music, studying scores, playing chamber works together, and setting the foundation for a creative friendship that would last for almost half a century. Joachim learned of Brahms’ desire to take a walking tour through the Rhine Valley, and he arranged a joint recital to raise enough money to finance the trip. Along with the proceeds of the performance, Joachim gave Brahms

JOHANNES BRAHMS Born May 7, 1833, in Hamburg. Died April 3, 1897, in Vienna.

Composed in 1853. First CMS performance on January 14, 1997. Duration: 6 minutes

I believe I can speak for my colleagues when I say that the four of us have been looking forward to playing tonight’s program for more than a year. I am always surprised by the fact that the Fauré C minor Piano Quartet is heard much more frequently than tonight’s G minor. There is at least as much beauty and instrumental virtuosity in this work. The soaring opening movement, the impish scherzo, the peaceful slow movement, and the exciting finale, all should convince our audience that this is Fauré at his best. Likewise, performing the Brahms A major Piano Quartet on tonight’s program is a huge treat for us. There is perhaps nothing written that’s more exquisite than the slow movement of this incredible piece and the finale has just as much spirit as the last movement of Brahms’ more frequently programed G minor quartet. One could not wish for a more luscious or more transcendent group of works on one program. From the declamatory opening of Brahms’ Scherzo for Violin and Piano through the sublime Fauré G minor Piano Quartet, and finally to the magnificent Brahms A major Piano Quartet, we feel like kids that have been given the key to a musical candy store!

—Ani Kavafian

NOTES ON THE PROGRAM


as a parting gift several letters of introduction, including one to Robert and Clara Schumann in Düsseldorf.

On the last day of September 1853, Brahms met the Schumanns for the first time. “Here is one of those who comes as if sent straight from God,” Clara recorded in her diary. Brahms was introduced around town, and among those he befriended was the young composer and conductor Albert Dietrich, a favorite student of Schumann and a frequent visitor to his home. Joachim was scheduled for an appearance in Düsseldorf at the end of October to give the premiere of Schumann’s Fantasy for Violin and Orchestra (Op. 131) as part of the Music Festival of the Lower Rhine, with the composer conducting. As a surprise for the violinist, Schumann, Dietrich, and Brahms each agreed to contribute to a sonata for violin and piano, and then challenge Joachim to guess the respective authors. Dietrich was assigned the opening movement, Schumann volunteered an intermezzo and finale, and Brahms offered to supply the scherzo. They dubbed the project

the “F-A-E” Sonata, after the phrase that Joachim had taken as his motto: Frei aber einsam (Free but alone). The music was finished quickly, assembled into a performing edition, and inscribed with a reversed-initial dedication: “In Expectation of the Arrival of an honored and beloved Friend.” Joachim was delighted with the gift, played the entire sonata through immediately with Clara at the keyboard, and correctly announced each movement’s composer without a moment of hesitation. He kept the score for the rest of his life, and only in 1906, a year before his death, did he finally allow Brahms’ Scherzo to be published.

Brahms’ Scherzo (“good fun,” according to William Murdoch in his study of Brahms) follows the traditional three-part scherzo form, with a rather stormy C minor paragraph at the beginning and end surrounding a more lyrical central trio. Though written when Brahms was still very young, the music bears his characteristic qualities: rich harmonic vocabulary, insistent rhythmic vitality, a sure sense of motivic growth, and full textures. u

Quartet No. 2 in G minor for Piano, Violin, Viola, and Cello, Op. 45

It was in 1883 while Fauré was revising the score of the C minor Piano Quartet, composed in 1876 for the fledgling

Société Nationale de Musique, that he seems to have become interested in providing it with a sequel. No documentary evidence exists concerning the gestation of the Piano Quartet No. 2 in G minor, though the work was apparently Fauré’s principal creative occupation during 1885 and 1886. The first definitive date that can be attached to the quartet is that of its premiere—January 22, 1887 at the Société Nationale by violinist Guillaume Rémy, violist Louis van Waefelghem, and cellist Jules Delsart, with the composer

GABRIEL FAURÉ Born May 12, 1845, in Pamiers, Ariège, France. Died November 4, 1924, in Paris.

Composed 1885–86. Premiered on January 22, 1887, in Paris

by violinist Guillaume Rémy, violist Louis van Waefelghem, and cellist Jules Delsart, with the composer as pianist.

First CMS performance on December 3, 1972. Duration: 34 minutes


himself as pianist. The score of the G minor Quartet was published later that year with a dedication to the eminent German pianist and conductor Hans von Bülow, who had said some nice things about Fauré’s music in a recent open letter to the Parisian conductor, violinist, and impresario Édouard Colonne.

The Piano Quartet No. 2 opens with a sweeping unison string theme of almost symphonic breadth whose initial gesture—a heroic octave leap—is followed by a series of short, tightly compressed motivic cells. The piano’s repetition of the main theme leads to the introduction of the quiet, lyrical

Q&A WITH ALESSIO BAX

Who do you turn to for advice?

I have a wonderful in-house advisor—that’s Lucille Chung, my wife. We’ve

known each other for 17 years now. We know each other musically and

personally so well. We know our goals and what we want to do and she’s a

fantastic pianist. I’m very lucky to turn to her for any kind of advice, especially

musically, it’s always an extra pair of ears.

What is your favorite CMS memory?

I have so many wonderful CMS memories, from the day of my audition to my

first performance at Alice Tully Hall. Musically, I have to say that something that

always comes up in my mind is a performance of a piece that was very close to

me for most of my life—Rachmaninov’s Trio in D minor with Elmar Oliveira and

Paul Watkins at Alice Tully Hall. We had played it on a runout concert the day

before so we felt quite prepared. There’s this beautiful moment at the end of

the piece—it ends with nothing, quiet, diminuendo, pianissimo with a sustained

note from the piano and cello. There was a silence of about 15 seconds which

is really a great testament to what a wonderful, intense audience CMS has. At

that time it felt like an eternity but somehow just right.

Alessio Bax was

featured in the

March 2014 CMS

Artist Profile. To

watch the entire

video profile, visit

the Watch and

Listen section of

the CMS website.


Quartet No. 2 in A major for Piano, Violin, Viola, and Cello, Op. 26

Finished compositions did not come easily for Brahms, and he made numerous attempts to satisfy himself

with a chamber piece before he allowed the publication of his Piano Trio, Op. 8 in 1854. (He destroyed at least three earlier efforts in that form.) The following year, he turned to writing quartets for piano, violin, viola, and cello, a genre whose only precedents were the two by Mozart and a single specimen by Schumann. Work on the quartets did not go smoothly, however, and he laid one (in C minor, eventually Op. 60) aside for

JOHANNES BRAHMS

Composed in 1861. Premiered on November 29, 1862, in

Vienna by the composer as pianist and members of the Hellmesberger Quartet.

First CMS performance on April 1, 1973. Duration: 47 minutes

second subject by the viola. A brief reference to the main theme serves as the transition to the exposition’s third melody, a smoothly arching strain presented by cello and viola in octaves. The development section concerns itself first with permutations of the main theme and then with the arching theme before a sonorous unison return of the principal subject marks the beginning of the recapitulation. The viola again gets to sing its lyrical subsidiary theme, but the arching melody is omitted in favor of the anxious coda based on the main theme that brings the movement to a dying close.

The scherzo, according to Jean-Michel Nectoux in his study of Fauré, “casts a spell in its headlong career through a night illuminated by mysterious flashes: we are reminded of Schubert’s Erl King, Berlioz’s Faust, and Franck’s Accursed Huntsman.” The movement, possessed of a kind of demonic force that is rare in Fauré’s writing, is formed around the alternation of two contrasting themes: the first is an agitated, rhythmically unsettled piano melody of scale steps given against a background of plucked strings; the other is a smooth string

motive derived from the opening movement’s second theme.

Fauré gave the following explanation of the twilight mood and meditative serenity of the Adagio: “In the slow movement of my Second Quartet, I recalled a peal of bells we used to hear of an evening drifting over to Montgauzy [near Foix, in southwest France, where he lived as a boy] from a village called Cadirac whenever the wind blew from the west.”

The finale, thematically rich and somewhat prolix, resumes the impassioned energy of the opening movement. A main theme of aggressive triplet rhythms is announced by the strings above a restless piano accompaniment. Other complementary thematic ideas follow: a lyrical but syncopated strain in the piano; a piano subject in hammered chords (the formal second theme); and a smooth, expressive melody in long notes in the viola and cello. The development section is based largely on the opening triplet motive. The exposition’s four themes are heard again in the recapitulation before a brilliant coda in the sun-bright key of G major brings the quartet to its victorious conclusion. u


almost 20 years, and tinkered with the other two for the next half-dozen years in Hamburg and at his part-time post as music director for the court Lippe-Detmold, midway between Frankfurt and Hamburg.

Brahms was principally based in Hamburg during those years, usually staying with his parents, but in 1860, when he was 27 and eager to find the quiet and privacy to work on his compositions, he rented spacious rooms (“a quite charming flat with a garden,” he said) in the suburb of Hamm from one Frau Dr. Elisabeth Rössing, a neighbor of two members of the local women’s choir he was then directing. Hamm was to be his home for the next two years, and there he completed the Variations on a Theme of Schumann for Piano Duet (Op. 23), Handel Variations (Op. 24), and Piano Quartets in G minor (Op. 25) and A major (Op. 26). Brahms dedicated the A major Quartet to his hospitable landlady.

According to Ivor Keys in his study of Brahms’s chamber music, “The first movement of the Op. 26 Quartet is so lyrical, that there are very few bars without hummable melodic content.” The main theme, initiated by the piano alone, provides the two motives from which the movement is largely spun: a gently insistent triplet figuration whose top notes alternate between two adjacent neighboring tones; and a smoothly flowing eighth-note phrase that springs out of a brief pause. The strings join together to echo the piano’s phrases, establishing a dichotomy of keyboard and strings that holds throughout much of the work. The expressive intensity of the transition, heightened by unison string writing, quiets for the formal

second theme, an expansive piano melody grown from the earlier flowing phrase. A chromatically descending motive and a strain with dotted rhythms provide the exposition’s closing material. All of the principal themes figure in the harmonically adventurous development section. The events of the exposition are recounted, with appropriate adjustments as to key, in the recapitulation.

The Adagio is one of Brahms’s most luxuriantly beautiful inspirations, an homage in both its transcendent Romantic spirit and specific elements of its technique to his mentor and champion, Robert Schumann, who died in 1856, just before Brahms began sketching this work. An arching melody serves as the principal theme and formal reference point of this chamber-music nocturne, in which two intervening episodes, each introduced by sweeping arpeggios from the piano, provide structural balance and emotional contrast. The third movement is an ample and amiable affair, more gentle in demeanor than the designation Scherzo commonly suggests; the central minor-mode trio is built of sterner stuff. The vigorous Finale is a spacious sonata form with a slight Gypsy tint whose abundance of themes Brahms juxtaposed and wove together with mastery of mood and structure. u

© 2017 Dr. Richard E. Rodda

"The first movement of the Op. 26 Quartet is so lyrical, that there are very few bars without hummable melodic content.”


ALESSIO BAX Pianist Alessio Bax—a First Prize winner at the Leeds and Hamamatsu International Piano Competitions and a 2009 Avery Fisher Career Grant recipient—has appeared as soloist with more than 100 orchestras worldwide, including the London Philharmonic, Houston Symphony, Japan’s NHK Symphony, the St. Petersburg Philharmonic, and the City of Birmingham Symphony Orchestra. Recent highlights include a Minnesota Orchestra debut under Andrew Litton; a return to Bravo! Vail

with the Dallas Symphony and Jaap van Zweden; performances with London’s Southbank Sinfonia and Vladimir Ashkenazy; and a recital tour of South America. Among his festival appearances are England’s International Piano Series and the Aldeburgh and Bath festivals, Switzerland’s Verbier Festival, the Risør Festival in Norway, Germany’s Ruhr Klavier-Festival and Beethovenfest, the U.S.’s Music@Menlo and Santa Fe Chamber Music Festival, and Italy’s Incontri in Terra di Siena Festival, where he was recently appointed Artistic Director for a three-year term. Mr. Bax’s acclaimed discography includes a Mussorgsky and Scriabin solo disc; Lullabies for Mila, a collection dedicated to his baby daughter; Beethoven’s “Hammerklavier” and “Moonlight” Sonatas (Gramophone “Editor’s Choice”); and Bax & Chung, featuring Stravinsky’s four-hand Pétrouchka. At age 14, he graduated with top honors from the conservatory of Bari, his hometown in Italy. A Steinway artist, he resides in New York City with his wife, pianist Lucille Chung, and their daughter.

ANI KAVAFIAN Violinist Ani Kavafian is enjoying a busy career as a chamber musician, recitalist, and soloist with orchestras. She is also in great demand as a teacher, having taught at the Mannes and Manhattan schools of music, Queens College, McGill, and Stony Brook universities. In 2006 she was appointed full professor in the practice of violin at Yale. She conducts master classes around the country and was a guest lecturer and performer at Indiana University in November 2016. As a soloist, she has appeared

with the New York Philharmonic, the Philadelphia and Cleveland orchestras, as well as the Los Angeles and Saint Paul chamber orchestras. With her sister, Ida, she appears around the country in recital and as soloists with orchestras. For over 25 years, she was co-artistic director of the Mostly Music series in New Jersey. She has performed with the Chamber Music Society since 1972 and continues to tour the United States, Canada, Europe, and Asia with CMS. Ms. Kavafian was a 1979 recipient of the Avery Fisher Prize, and has appeared at the White House on three occasions. Her recordings include Bach’s six sonatas with Kenneth Cooper on the Kleos Classics label, Mozart sonatas with pianist Jorge Federico Osorio on the Artek label, and Todd Machover’s concerto Forever and Ever with the Boston Modern Orchestra. Ms. Kavafian is concertmaster of the New Haven Symphony Orchestra and performs Bruch’s G minor Violin Concerto with the orchestra this year. Her instrument is the 1736 “Muir-McKenzie” Stradivarius.

ABOUT THE ARTISTS

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YURA LEE Violinist/violist Yura Lee is a multi-faceted musician, as soloist and as a chamber musician, and one of the very few that is equally virtuosic in both violin and viola. She has performed with major orchestras including those of New York, Chicago, Baltimore, Cleveland, San Francisco, and Los Angeles. She has given recitals in London’s Wigmore Hall, Vienna’s Musikverein, Salzburg’s Mozarteum, Brussels’ Palais des Beaux-Arts, and the Concertgebouw in Amsterdam. At

age 12, she became the youngest artist ever to receive the Debut Artist of the Year prize at the Performance Today awards given by National Public Radio. She is a recipient of the 2007 Avery Fisher Career Grant, and the first prizewinner of the 2013 ARD Competition. She has received numerous other international prizes, including top prizes in the Mozart, Indianapolis, Hannover, Kreisler, Bashmet, and Paganini competitions. Her CD Mozart in Paris with Reinhard Goebel and the Bayerische Kammerphilharmonie received the prestigious Diapason d’Or Award. As a chamber musician, she regularly takes part in the festivals of Marlboro, Salzburg, Verbier, and Caramoor. Her main teachers included Dorothy DeLay, Hyo Kang, Miriam Fried, Paul Biss, Thomas Riebl, Ana Chumachenko, and Nobuko Imai. A former member of Chamber Music Society Two, Ms. Lee is on the violin and viola faculty at the Mason Gross School of the Arts at Rutgers University. She divides her time between New York City and Portland, Oregon.

PAUL WATKINS Paul Watkins enjoys a remarkably varied and distinguished career as soloist, chamber musician, and conductor. Recent highlights as concerto soloist include performances with the Colorado Symphony, Gewandhausorchester Leipzig, Hong Kong Philharmonic, and BBC symphony orchestras, as well as the premiere of a new concerto written especially for him by Mark-Anthony Turnage, concerto appearances with the European Union Youth Orchestra under Bernard Haitink, and

with the BBC National Orchestra of Wales in the premiere of Huw Watkins’ cello concerto at the BBC Proms. A dedicated chamber musician, he was a member of the Nash Ensemble from 1997 to 2013, and joined the Emerson String Quartet in 2013. He is a regular participant at international festivals and chamber music series, and regularly performs with the world’s most eminent musicians. In 2014, he was appointed the artistic director of the Great Lakes Chamber Music Festival. A Grammy-nominated conductor, he became the first-ever music director of the English Chamber Orchestra in 2009, and also served as principal guest conductor of the Ulster Orchestra from 2009 to 2012. Since winning the 2002 Leeds Conducting Competition, he has conducted all the major British orchestras, the Royal Flemish Philharmonic, Swedish and Vienna chamber orchestras, Prague Symphony, Ensemble Orchestral de Paris, Netherlands Radio Chamber Philharmonic, Melbourne Symphony, and the Queensland and Tokyo Metropolitan symphony orchestras. Mr. Watkins records exclusively for Chandos Records, and plays a cello made by Domenico Montagnana and Matteo Goffriller in Venice, c. 1730.

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David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive Director

ADMINISTRATIONKeith Kriha, Administrative DirectorMartin Barr, ControllerErik Rego, Executive and Development Assistant

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The Chamber Music Society of Lincoln Center (CMS) is known for the extraordinary quality of its performances, its inspired programming, and for setting the benchmark for chamber music worldwide: no other chamber music organization does more to promote, to educate, and to foster a love of and appreciation for the art form. Whether at its home in Alice Tully Hall at Lincoln Center, on leading stages throughout North America, or at prestigious venues in Europe and Asia, CMS brings together the very best international artists from an ever-expanding roster of more than 150 artists per season, to provide audiences with the kind of exhilarating concert experiences that have led to critics calling CMS “an exploding star in the musical firmament” (The Wall Street Journal). Many of these extraordinary performances are livestreamed, broadcast on radio and television, or made available on CD and DVD, reaching thousands of listeners around the globe each season.

Education remains at the heart of CMS’ mission. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, CMS has created multi-faceted education and audience development programs to bring chamber music to people from a wide range of backgrounds, ages, and levels of musical knowledge. CMS also believes in fostering and supporting the careers of young artists through the CMS Two program, which provides ongoing performance opportunities to a select number of highly gifted young instrumentalists and ensembles. As this venerable institution approaches its 50th anniversary season in 2020, its commitment to artistic excellence and to serving the art of chamber music, in everything that it does, is stronger than ever.

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CMS’s Winter Festival presents three portraits of the musical, intellectual, and human phenomenon FELIX MENDELSSOHN, in the company of composers who were his idols, his friends, and his inspirations.

Featuring the music of Bach, Mozart, Beethoven, Schubert, Chopin, and Schumann

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James P. O’Shaughnessy, ChairmanElinor L. Hoover, Vice ChairmanElizabeth W. Smith, Vice ChairmanRobert Hoglund, TreasurerPeter W. Keegan, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinPeter DuchinPeter Frelinghuysen

(Chairman 2004–2014)William B. GinsbergPhyllis GrannPaul B. GridleyNaava GrossmanWalter L. HarrisPhilip K. HowardHarry P. KamenPriscilla F. Kauff

Helen Brown LevineJohn L. LindseyTatiana PouschineDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserDavid SimonJoost F. ThesselingAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinAnthony C. GoochMarit GrusonCharles H. HamiltonPaul C. LambertDonaldson C. Pillsbury (1940–2008)William G. SeldenAndrea W. Walton

GLOBAL COUNCILJon DickinsonHoward DillonJohn FouheyCharles H. HamiltonRita HauserVicki KelloggJeehyun KimDouglas M. LibbyMike McKoolSeth NovattJoumana RizkSusan SchuurSuzanne E. VaucherShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth,

Founding Artistic Director

Directors and Founders

Artists of the 2016–17 SeasonMichelle Areyzaga, sopranoTony Arnold, sopranoJulia Bullock, sopranoLeah Crocetto, sopranoLisette Oropesa, sopranoJoshua Hopkins, baritoneRandall Scarlata, baritoneInon Barnatan, pianoAlessio Bax, pianoMichael Brown, piano*Gloria Chien, pianoJeffrey Kahane, pianoGilbert Kalish, pianoAnne-Marie McDermott, pianoJean-Frédéric Neuburger, pianoJon Kimura Parker, pianoJuho Pohjonen, pianoThomas Sauer, pianoGilles Vonsattel, pianoHuw Watkins, pianoOrion Weiss, pianoShai Wosner, pianoWu Han, pianoWu Qian, piano*Jiayan Sun, harpsichordKenneth Weiss, harpsichordPaul Jacobs, organBenjamin Beilman, violinNicolas Dautricourt, violinYing Fu, violinChad Hoopes, violin*Bella Hristova, violinPaul Huang, violin*Ani Kavafian, violinIda Kavafian, violinErin Keefe, violinKristin Lee, violinSean Lee, violinYura Lee, violin/violaCho-Liang Lin, violinElmar Oliveira, violinMarc Rovetti, violinAlexander Sitkovetsky, violinArnaud Sussmann, violinKyoko Takezawa, violinDanbi Um, violin*Misha Amory, violaChe-Yen Chen, violaRoberto Díaz, violaMark Holloway, violaHsin-Yun Huang, violaKirsten Johnson, viola

Matthew Lipman, viola*Paul Neubauer, violaRichard O’Neill, violaRichard Aaron, celloDmitri Atapine, cello*Carter Brey, celloNicholas Canellakis, celloColin Carr, celloAndrés Díaz, celloRafael Figueroa, celloDavid Finckel, celloJerry Grossman, celloGary Hoffman, celloJakob Koranyi, celloSumire Kudo, celloMihai Marica, celloDaniel McDonough, celloDaniel Müller-Schott, celloHai-Ye Ni, celloDavid Requiro, celloKeith Robinson, celloJan Vogler, celloPaul Watkins, celloAlisa Weilerstein, celloJoseph Conyers, double bassAnthony Manzo, double bassScott Pingel, double bassWu Man, pipaWilliam Anderson, mandolinAvi Avital, mandolinOren Fader, guitarJason Vieaux, guitarElizabeth Hainen, harpSooyun Kim, fluteTara Helen O’Connor, fluteRandall Ellis, oboeJames Austin Smith, oboeStephen Taylor, oboeRomie de Guise-Langlois, clarinetAlexander Fiterstein, clarinetJose Franch-Ballester, clarinetTommaso Lonquich, clarinet*Anthony McGill, clarinetDavid Shifrin, clarinetMarc Goldberg, bassoonPeter Kolkay, bassoonDavid Jolley, hornEric Reed, hornKevin Rivard, hornStewart Rose, hornGábor Boldoczki, trumpetDavid Washburn, trumpet

Christopher Froh, percussionAndy Harnsberger, percussionAyano Kataoka, percussionIan David Rosenbaum, percussionMilan Turkovic, conductor

CALIDORE STRING QUARTET* Jeffrey Myers, violin Ryan Meehan, violin Jeremy Berry, viola Estelle Choi, cello

DANISH QUARTET Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

ESCHER STRING QUARTET Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello

EMERSON STRING QUARTET Eugene Drucker, violin Philip Setzer, violin Lawrence Dutton, viola Paul Watkins, cello

ORION STRING QUARTET Daniel Phillips, violin Todd Phillips, violin Steven Tenenbom, viola Timothy Eddy, cello

SCHUMANN QUARTET* Erik Schumann, violin Ken Schumann, violin Liisa Randalu, viola Mark Schumann, cello

SHANGHAI QUARTET Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello

ST. LAWRENCE STRING QUARTET Geoff Nuttall, violin Owen Dalby, violin Lesley Robertson, viola Christopher Costanza, cello

* designates a CMS Two Artist


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ANNUAL FUND

LEADERSHIP GIFTS ($50,000 and above)The Chisholm FoundationJoseph M. CohenHoward Gilman FoundationWilliam and Inger G. GinsbergDr. and Mrs. Victor GrannEugene and Emily GrantMr. and Mrs. Paul B. Gridley

Rita E. and Gustave M. HauserElinor and Andrew HooverJane and Peter KeeganLincoln Center Corporate FundNational Endowment for the ArtsMr. and Mrs. James P. O’ShaughnessyBlanchette Hooker Rockefeller Fund

The Fan Fox & Leslie R. Samuels Foundation, Inc.

Elizabeth W. SmithThe Alice Tully FoundationThe Helen F. Whitaker Fund

GUARANTORS ($25,000 TO $49,999)Ann Bowers, in honor of Dmitri AtapineJoyce B. CowinJudy and Tony EvninSidney E. Frank FoundationNaava and Sanford GrossmanThe Hamilton FoundationGail and Walter HarrisFrank and Helen Hermann FoundationHarry P. KamenAndrea Klepetar-Fallek

Bruce and Suzie KovnerRobert B. Menschel/Vital Projects FundMetLife FoundationNew York City Department of Cultural AffairsNew York State Council on the ArtsTatiana PouschineDr. Annette U. RickelDr. Richard SacklerThe Morris and Alma Schapiro Fund

Judith and Herbert SchlosserDavid SimonMr. and Mrs. Erwin StallerJoost and Maureen ThesselingTiger Baron FoundationElaine and Alan WeilerMr. and Mrs. Jarvis WilcoxKathe and Edwin Williamson

BENEFACTORS ($10,000 to $24,999)Anonymous The Achelis and Bodman FoundationsRonald AbramsonMr. James A. Attwood and

Ms. Leslie K. WilliamsJonathan Brezin and Linda KeenSally D. and Stephen M. Clement, IIIColburn FoundationThe Gladys Krieble Delmas FoundationJon Dickinson and Marlene BurnsHoward Dillon and Nell Dillon-ErmersMr. and Mrs. Robert S. Erskine, Jr.The Lehoczky Escobar Family David Finckel and Wu Han

John and Marianne FouheyMr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Florence Gould FoundationJerome L. Greene FoundationIrving Harris FoundationRobert and Suzanne HoglundMr. and Mrs. Philip K. HowardPriscilla F. KauffVicki and Chris KelloggJeehyun KimC.L.C. Kramer FoundationDouglas M. Libby

Millbrook Vineyards & WinerySamuel I. Newhouse FoundationMr. Seth Novatt and Ms. Priscilla NatkinsMarnie S. PillsburyKhalil Rizk FundSandra Priest RoseDr. Beth Sackler and Mr. Jeffrey CohenMrs. Robert SchuurSeth Sprague Educational and

Charitable FoundationWilliam R. Stensrud and

Suzanne E. VaucherJoe and Becky StockwellShannon Wu and Joseph Kahn

GOLD PATRONS ($2,500 to $4,999)Anonymous (2)Nasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichJoan AmronAxe-Houghton FoundationAmerican Chai TrustConstantin R. Boden

The Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerSuzanne DavidsonCarole DonlinHelen W. DuBoisJoan DyerDr. and Mrs. Fabius N. FoxMrs. Beatrice FrankDiana G. Friedman

Egon R. GerardMarion GoldinFlorence A. Davis and Anthony C. GoochFrederick L. JacobsonMichael Jacobson and Trine SorensenKenneth Johnson and Julia TobeyAlfred and Sally JonesPaul KatcherEd and Rosann Kaz

PLATINUM PATRONS ($5,000 to $9,999)Mr. and Mrs. Stanley BrezenoffMr. and Mrs. John D. CoffinCon EdisonNathalie and Marshall CoxRobert and Karen DesjardinsValerie and Charles DikerJohn and Jody EastmanMr. Lawrence N. Field and

Ms. Rivka SeidenMr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationAdriaan Fuchs

Mr. Robert GoldfarbMr. and Mrs. Allan D. GoodridgeMarlene Hess and James D. Zirin, in loving

memory of Donaldson C. PillsburyThe Hite FoundationPaul C. LambertJonathan E. LehmanHelen Brown LevineLeon Levy FoundationJennifer ManocherianJane and Mary MartinezMr. and Mrs. H. Roemer McPhee

in memory of Catherine G. Curran

Mitsui & Co. (U.S.A.), Inc.Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperCharles S. SchregerDr. and Mrs. Ralph H. SpekenLynn G. StrausMartin and Ruby VogelfangerSusan and Kenneth WallachMrs. Andrea W. WaltonNeil Westreich

Artistic Directors Circle

Patrons


Mr. and Mrs. Hans KilianMr. and Mrs. Robert W. KleinschmidtJudy and Alan KosloffChloë KramerDr. and Mrs. Michael N. MargoliesMr. and Mrs. Leigh MillerThe David Minkin FoundationSassona Norton and Ron Filler

The Ostling FamilyRichard Prins and Connie SteensmaRichard and Carole RifkindMr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphMichael W. SchwartzCarol and Richard Seltzer

The Susan Stein Shiva FoundationEsther Simon Charitable TrustErik and Cornelia ThomsenSally WardwellPaul and Judy WeislogelLarry Wexler and Walter BrownNoreen and Ned Zimmerman

YOUNG PATRONS* ($500+)Jordan C. AgeeJamie ForsethRobert J. HaleyDr. Daniela Jodorkovsky

Jason JonesLucy Lu and Mark FranksMr. Edwin MeulensteenKatie Nojima

Jason NongShu-Ping ShenMr. Nick Williams and

Ms. Maria Doerfler

SILVER PATRONS ($1,500 to $2,499)AnonymousAlan AgleHarry E. AllanMr. and Mrs. Winthrop J. AllegaertJames H. ApplegateBrett Bachman and Elisbeth ChallnerDavid R. Baker and Lois A. GaetaDr. Anna BalasBetsy and Robert BarbanellRichard L. BaylesLawrence B. BenensonMurat BeyazitAdele BilderseeJudith Boies and Robert ChristmanSusan S. BraddockAnn and Paul BrandowThomas Brener and Inbal Segev-BrenerCharles and Barbara BurgerAllan and Carol CarltonDale C. Christensen, Jr.Marilyn and Robert CohenAlan and Betsy Cohn FoundationTheodore Cohn Linda S. DainesMr. and Mrs. Thomas E. EngelMr. Arthur FegusonHoward and Margaret FluhrMr. Andrew C. Freedman and

Ms. Arlie Sulka

Mr. and Mrs. Burton M. FreemanMr. and Mrs. John F. GeerEdda and James GillenJudith HeimerDr. Beverly Hyman and

Dr. Lawrence BirnbachBill and Jo Kurth JagodaDr. Felisa B. KaplanKeiko and Steven B. Kaplan, in honor

of Paul HuangWilliam S. KeatingEdward W. KersonDr. Thomas C. KingShiou Der Wann KossakCraig Leiby and Thomas ValentinoHarriet and William LembeckDr. Donald M. LevineRobert Losada, Jr.Ned and Francoise MarcusJane A. MartinezBernice H. MitchellAlan and Alice ModelJessica NagleBarbara A. PelsonCharles B. RaglandMr. Roy Raved and Dr. Roberta LeffCarroll and Ted ReidDr. Hilary Ronner and Mr. Ronald FeimanJoseph and Paulette Rose

Diana and Michael RothenbergDavid and Sheila RothmanRobert and Margaret RothschildArlene Lidsky Salomon and

Chester B. SalomonSari and Bob SchneiderDavid and Lucinda SchultzDavid Seabrook and

Sherry Barron-SeabrookDr. Michael C. SingerJill S. SlaterAnnaliese SorosDr. Margaret Ewing SternDeborah StilesSusan Porter TallJoseph C. TaylorDr. and Mrs. Alex TraykovskiSalvatore and Diane VaccaMr. and Mrs. Joseph ValenzaDr. Judith J. Warren and

Dr. Harold K. GoldsteinAlex and Audrey WeintrobRobert Wertheimer and Lynn SchackmanJohn S. WilsonGilda and Cecil Wray, Jr.Janet Yaseen and the

Honorable Bruce M. Kaplan

PRESTO ($1,000 to $1,499)

ALLEGRO ($600 to $999)

Anonymous (4)Bialkin Family FoundationMaurice and Linda Binkow Philanthropic

Fund of the United Jewish FoundationAllyson and Michael ElyThe Gordon FoundationDr. and Mrs. Wylie C. HembreeMr. and Mrs. James R. HoughtonOffice of Cultural Affairs,

Consulate of Israel in New YorkDr. and Mrs. Eugene S. KraussIvy Kushner, in honor of

David Finckel and Wu HanMargaret and Oscar Lewisohn

Walter F. and Phyllis Loeb Family Fund of the Jewish Communal Fund

Edward S. Loh, M.D.Katherine MeleMerrick Family FundDeborah Mintz,

in memory of Nancy RosenthalDot and Rick NelsonThe Honorable Paula J. Omansky and

Mr. Mordecai RosenfeldChristine PishkoMr. David Rockefeller, Sr.Sandra Priest RoseMichael Sawyer

Peter and Sharon SchuurThe Honorable and Mrs.

Stephen M. SchwebelMonique and Robert SchweichMr. and Mrs. William G. SeldenRobert A. SilverJeff and Helene SlocumBarbaralee Diamonstein-Spielvogel and

Ambassador Carl SpielvogelAlan and Jaqueline StuartMs. Jane V. TalcottHerb and Liz TulchinTricia and Philip WintererFrank Wolf

Anonymous (2)Mrs. Albert Pomeroy BedellMr. and Mrs. T. G. BerkAmanda and David BowkerBrian Carey and Valerie TomaselliDorothy and Herbert FoxMrs. Margherita S. FrankelMs. Jane GilMiriam GoldfineGordon Gould

Abner S. GreeneEvan and Florence JanovicMs. Frances KazanPatricia Kopec Selman and Jay E. SelmanPeter KrollMr. Stanley E. LoebAmanda ReedMr. David RosnerPeter and Laraine RothenbergLisa and Jonathan Sack

Diana and John SidtisSteven Skoler and Sandra HorbachMorton J. and Judith SloanMr. and Mrs. Myron Stein,

in honor of Joe CohenAndrea and Lubert StryerMr. David P. StuhrMr. and Mrs. George WadeWillinphila FoundationGro V. and Jeffrey S. Wood

Friends

*For more information, call (212) 875-5216 or visit chambermusicsociety.org/yp


The Chamber Music Society wishes to express its deepest gratitude for The Daniel and Joanna S. Rose Studio, which was made possible by a

generous gift from the donors for whom the studio is named.

CMS is grateful to JoAnn and Steve Month for their generous contribution of a Steinway & Sons model “D” concert grand piano.

The Chamber Music Society’s performances on American Public Media’s Performance Today program are sponsored by MetLife Foundation.

CMS extends special thanks to Kaye Scholer for its great generosity and expertise in acting as pro bono Counsel.

CMS gratefully recognizes Shirley Young for her generous service as International Advisor.

CMS wishes to thank Covington & Burling for acting as pro bono Media Counsel.

This season is supported by public funds from the National Endowment for the Arts, the New York City Department of Cultural Affairs, in partnership with the City Council,

and the New York State Council on the Arts.

From the Chamber Music Society’s first season in 1969–70, support for this special institution has come from those who share a love of chamber music and a vision for the Society’s future.

While celebrating our 47th Anniversary Season this year we pay tribute to the distinguished artists who have graced our stages in thousands of performances. Some of you were here in our beloved Alice Tully Hall when the Chamber Music Society’s first notes were played. Many more of you are loyal subscribers and donors who, like our very first audience, are deeply passionate about this intimate art form and are dedicated to our continued success.

Those first steps 48 years ago were bold and ambitious. Please join your fellow chamber music enthusiasts in supporting CMS by calling the Membership Office at (212) 875-5782, or by donating online at www.ChamberMusicSociety.org/support. Thank you for helping us to continue to pursue our important mission, and for enabling the Chamber Music Society to continue to present the finest performances that this art form has to offer.

The Chamber Music Society gratefully recognizes those individuals, foundations, and corporations whose estate gifts and exceptional support of the Endowment Fund ensure a firm financial base for the Chamber Music Society’s continued artistic excellence. For information about gifts to the Endowment Fund, please contact Executive Director Suzanne Davidson at (212) 875-5779.

MAKE A DIFFERENCE

THE CHAMBER MUSIC SOCIETY ENDOWMENT

Lila Acheson Wallace Flute ChairMrs. John D. Rockefeller IIIOboe ChairCharles E. Culpeper Clarinet ChairFan Fox & Leslie R. SamuelsViolin ChairMrs. William Rodman Fay Viola ChairAlice Tully and Edward R.

Wardwell Piano ChairEstate of Robert C. AckartEstate of Marilyn ApelsonMrs. Salvador J. AssaelEstate of Katharine BidwellThe Bydale FoundationEstate of Norma ChazenJohn & Margaret Cook FundEstate of Content Peckham CowanCharles E. Culpeper FoundationEstate of Catherine G. Curran

Mrs. William Rodman FayThe Hamilton FoundationEstate of Mrs. Adriel HarrisEstate of Evelyn HarrisThe Hearst FundHeineman FoundationMr. and Mrs. Peter S. HellerHelen Huntington Hull FundEstate of Katherine M. HurdAlice Ilchman Fund

Anonymous Warren Ilchman

Estate of Jane W. KitselmanEstate of Charles Hamilton

NewmanMr. and Mrs. Howard Phipps, Jr.Donaldson C. Pillsbury FundEva Popper, in memory of Gideon StraussMrs. John D. Rockefeller 3rd

Daniel and Joanna S. RoseEstate of Anita SalisburyFan Fox & Leslie R. Samuels

FoundationThe Herbert J. Seligmann

Charitable TrustArlene Stern TrustEstate of Arlette B. SternEstate of Ruth C. SternElise L. Stoeger Prize for

Contemporary Music, bequest of Milan Stoeger

Estate of Frank E. Taplin, Jr.Mrs. Frederick L. TownleyMiss Alice TullyLila Acheson WallaceLelia and Edward WardwellThe Helen F. Whitaker FundEstate of Richard S. ZeislerHenry S. Ziegler

alessio bax, piano ani kavafian, violin yura lee, · any of our pieces today, ... for violin and...

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