tempest in c minor · the concert you are about to hear is the first we have ever programmed...

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.

SUNDAY AFTERNOON, MAY 6, 2018, AT 5:00 3,835TH CONCERT

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

INON BARNATAN, pianoAUGUSTIN HADELICH, violinMATTHEW LIPMAN, violaCLIVE GREENSMITH, cello

CALIDORE STRING QUARTET JEFFREY MYERS, violin RYAN MEEHAN, violin JEREMY BERRY, viola ESTELLE CHOI, cello

LUDWIG VAN BEETHOVEN

(1770–1827)

JOHANNES BRAHMS

(1833–1897)

GABRIEL FAURÉ

(1845–1924)

Trio in C minor for Piano, Violin, and Cello, Op. 1, No. 3 (1794–95) Allegro con brio Andante cantabile con variazioni Menuetto: Quasi allegro Finale: PrestissimoBARNATAN, HADELICH, GREENSMITH

Quartet in C minor for Strings, Op. 51, No. 1 (1873) Allegro Romanze: Poco adagio Allegretto molto moderato e comodo AllegroMYERS, MEEHAN, BERRY, CHOI

INTERMISSION

Quartet No. 1 in C minor for Piano, Violin, Viola, and Cello, Op. 15 (1876–79) Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro moltoBARNATAN, HADELICH, LIPMAN, GREENSMITH

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

TEMPEST IN C MINOR

www.ChamberMusicSociety.org

ABOUT TONIGHT’S PROGRAMDear Listener,

The concert you are about to hear is the first we have ever programmed intentionally in entirely the same key: C minor. Assuming that now is the time for an explanation, we’ll attempt one.

The first aspect of this idea worth noting is the number of works, throughout music history and in many genres, composed in this special key. They all strikingly bear the same emotional content, whether written in the Baroque era or today. From Bach’s Passacaglia and Fugue, to Beethoven’s Fifth Symphony, to Brahms’s Third Piano Quartet, to Rachmaninov’s Second Piano Concerto, to Shostakovich’s Eighth Quartet, the key of C minor provides a realm within which so many composers have created their most intense and memorable works.

But why C minor? There is no proven reason, only guesses based on instinct. It certainly seems that each key center in music—and there are 24 of them—has its own personality. How and why a composer chooses a key for a work is certainly a question worth asking if given the opportunity. But for now, from a listener’s point of view, it’s obvious to point out that c minor is the dark side of the world’s most accessible and friendly key: C major. Anyone can play a C major scale by walking up to a piano and running one’s finger up and down the white keys. It’s the first orderly thing that a baby does on a piano once past the random banging stage. The note-naming concept of do-re-mi is based on the C major scale. So if C major is arguably humankind’s happiest and most familiar key, then possibly its polar opposite is music’s most traumatic transformation.

In any case, with all the storm and stress on its way to the stage, we are happy and very excited to experience this immersion. Please keep in mind that not every moment of this concert is in C minor! These great works do indeed find their ways through multiple keys, which act as foils for each piece’s defining tonality.

Enjoy the performance,

David Finckel Wu HanARTISTIC DIRECTORS

The Chamber Music Society of Lincoln Center

When I was a student at the Royal Academy of Music, I accidentally formed a piano quartet. I won’t go into the story here, but the result was that for several years I got to really delve deep into the piano quartet repertoire, and perform extensively almost all the major works written for that combination. One of the quartets we played most, and that I loved most, was Fauré’s C minor quartet. We spent countless hours trying to figure out Fauré’s language, a fascinating mix of French and German style that is all his own. The harmonic and rhythmic complexities, the demand for infinite color, and the virtuosic writing for all the instruments are such a joy to sink one’s teeth into, and I’m looking forward to revisiting it tonight, alongside one of my other all-time favorites, the early masterpiece that is Beethoven’s C minor Trio. Buckle up for some stormy weather.

—Inon Barnatan

NOTES ON THE PROGRAM

On his return to Vienna in July 1792 from his first triumph in London, Joseph Haydn stopped at Bonn, where he met a young pianist and composer in the employ of the Electoral court. Ludwig van Beethoven, who had built a local reputation largely as a keyboard virtuoso, told Haydn, then the most famous musician in Europe, that his greatest ambition was to make his mark in the world as a composer, so Haydn encouraged him to move to Vienna and promised to take him as a

student if he did. With the generous help of the Elector Maximilian Franz and Count Ferdinand Waldstein, Beethoven left for the Imperial City in November, and almost immediately began counterpoint lessons with Haydn. Mutual dissatisfaction with the pedagogical relationship sprang up during the ensuing months, however—Haydn was too busy, Beethoven was too bullish—but Beethoven remained eager to have his teacher’s advice. It was for that reason that he invited Haydn to a private concert of his music in the mid-1790s at the Viennese palace of Prince Karl Lichnowsky, who had taken on the young composer as a protégé and given him room, board, encouragement, and entrée to the aristocracy. Beethoven chose to perform three new piano trios for the occasion, works probably sketched in Bonn but completed in Vienna. The trios created a sensation with both Haydn and

LUDWIG VAN BEETHOVEN Born December 16, 1770, in Bonn. Died March 26, 1827, in Vienna.

Composed in 1794–95. First CMS performance on April 11, 1976, by

pianist Charles Wadsworth, violinist Kyung Wha Chung, and cellist Robert Sylvester.

Duration: 28 minutes

Trio in C minor for Piano, Violin, and Cello, Op. 1, No. 3


the guests, and quickly became familiar in Vienna through word of mouth and private performances.

The most deeply felt of the Op. 1 Trios, No. 3 in C minor, is the first of Beethoven’s compositions in that impassioned key, which later also found realizations in the Fifth Symphony, Third Piano Concerto, “Pathétique” Sonata, Coriolan Overture, Op. 18, No. 4 String Quartet, and some half-dozen other of his chamber compositions. The main theme of the trio’s first movement is built from two distinct motives: a unison gesture of expressive melodic intervals and a more vigorous phrase of premonitory intensity. Contrast is provided by the lyrical second theme, given in a brighter key by violin and cello in duet above the accompanimental figurations of the keyboard. The development section

elaborates the thematic materials with considerable fervor. The Andante is a set of five variations on a suave melody whose warm lyricism looks forward to some of Schubert’s finest instrumental inspirations. The Menuetto is a mysterious affair, quiet and ruminative for the most part, but given to frequent dynamic outbursts and rhythmic dislocations; the central trio provides bright, dance-like contrast. The sonata-form Finale, one of the young Beethoven’s most masterful movements, juxtaposes brazen tempest and introspective brooding to create a fresco of bold and sharply etched emotions. The movement maintains its tragic countenance throughout, attaining the key of C major only in its closing measures, for which the preceding music has left just enough strength for an enervated whisper. u

Brahms, while not as breathtakingly precocious as Mozart, Mendelssohn, or Schubert, got a reasonably early start on his musical career. He had produced several piano works (including two large sonatas) and a goodly number of songs by the age of 19. In 1853, when Brahms was only 20, Robert Schumann wrote the famous article for Neue Zeitschrift

für Musik, his first contribution to that journal in a decade, hailing Brahms as the savior of German music, the rightful heir to the mantle of Beethoven, “a genius ... a young man over whose cradle Graces and Heroes stood watch.” Brahms was enormously proud of Schumann’s advocacy, and he displayed the journal with great joy to his friends and family when he returned to his humble Hamburg neighborhood after visiting Schumann in Düsseldorf. But there was the other side of Schumann’s assessment as well, that which placed an immense burden on the young Brahms’s shoulders.

Brahms was acutely aware of the deeply rooted traditions of German music extending back not just to

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

Completed in 1873. Premiered on December 11, 1873, in

Vienna by the Hellmesberger Quartet. Tonight is the first CMS performance of

this piece. Duration: 32 minutes

Quartet in C minor for Strings, Op. 51, No. 1


Beethoven, but even beyond him to Bach and Schütz and Lassus. His knowledge of Bach was so thorough, for example, that he was asked to join the editorial board of the first complete edition of the works of that Baroque master. Brahms knew that, having been heralded by Schumann, his compositions, especially those in the tradition-laden genres of the symphony and quartet, would have to measure up to the standards set by his forebears. At first, he doubted he was even able to write such works, feeling that Beethoven had nearly expended all the potential of those forms, leaving nothing for future generations. “You have no idea,” Brahms lamented, “how it feels to hear behind you the tramp of a giant like Beethoven.” As early as 1854, Brahms had begun tinkering with sketches for a symphony, but it was 22 years (!) before he was finally willing to release his C minor Symphony for performance. Schumann testified in his Neue Zeitschrift article that his protégé was also working on string quartets at that same early date, though Brahms released no works in that form until the two quartets of Op. 51 appeared 20 years later, in 1873. Brahms, who had a distinct taste for hyperbole, told friends that he had composed and burned 20 quartets before being satisfied with one; scholars estimate that he jettisoned at least a dozen.

As with the First Symphony, colleagues pestered Brahms for years to let them have a string quartet from his pen. In 1865, the violinist and faithful champion of his music, Joseph Joachim, asked, “Is your String Quartet in C minor finished yet; if so, can you let us have it for a concert on December 18th?” Brahms did not reply. (There is no way to tell if that C minor quartet became Op. 51, No. 1.) Four years later, Clara Schumann reported that Brahms showed

her two quartet movements, which may (or may not) have ended up in Op. 51. Later in 1869, the composer’s publisher, Fritz Simrock, also pressed him to supply a quartet. Brahms replied, “I am sorry, but I must ask you to be patient. I realize more and more how difficult it is to master virtuoso technique when one is not especially adapted for it.... It took Mozart a lot of trouble to compose six lovely [‘Haydn’] quartets, so I will try my hardest to turn out a couple fairly well done.” It was not until a summer holiday in 1873 at Tutzing, south of Munich, that Brahms put these works into their final shape after having had them played several times for him by the Joseph Walter Quartet at the Munich home of the conductor Hermann Levi. In August, he came to terms with Simrock for their publication, and instructed that they be dedicated to his close friend, the physician, amateur violinist, and frequent chamber music partner of the composer, Dr. Theodor Billroth. Brahms was 40 when the Hellmesberger Quartet premiered his String Quartet No. 1 on December 11, 1873 in Vienna—exactly 20 years after Schumann had hailed him as the successor of Beethoven. Brahms’s Third Quartet, the Op. 67 in B-flat major, followed a year later. He thereafter never broached the genre again.

Brahms’s penchant for weaving seamless sonata forms is exercised in the opening movement. The main theme, built from an agitated, rising, dotted-rhythm motive, is presented immediately by the first violin. Dramatic pauses and

“You have no idea,” Brahms lamented, “how it feels to hear behind you the tramp of a giant like Beethoven.”


an increasing line of tension lead to the second theme, announced by a leaping, repetitive figure in the viola and afterbeats in the violins. The rest of the movement grows from the working-out and formal balancing of these principal thematic materials to create music that Walter Niemann found to be filled with “iron energy and gloomy defiance.” The Romanze, introspective and lyrical, is one of Brahms’s most daring adventures in rhythmic superimposition. The movement is in sonatina form (sonata without a development section), and begins with a tender theme in dotted-rhythm motion. The complementary subject introduces triplet figurations that are often emphasized, in the curious way that

a properly placed silence can elicit as strong a response as a sound, by omitting the first note of the pattern. The return of the themes in the recapitulation is treated so that the duple and triple divisions are combined, creating a movement that is at once languid and unsettled. In place of the expected scherzo, Brahms inserted a movement in the nature of an intermezzo whose central section mimics the style of the popular Austrian Ländler. The finale returns the tragic mood of the first movement. Its principal subject hints at the themes of both the opening Allegro and the Romanze, and launches a movement that is complex in its formal realization and austere in its emotional milieu. u

In 1872, Gabriel Fauré was introduced to the Viardot family by his teacher and mentor, Camille Saint-Saëns. The Viardots were among Europe’s most prominent 19th-century musical families: Pauline, head of the clan, was one of the day’s leading mezzo-sopranos; her daughter Louise enjoyed a successful career as a singer, teacher, and composer in Russia and Germany; her son, Paul, was a noted violinist and conductor. Fauré, then organist at St.-Sulpice and composer

of a growing number of finely crafted songs and choral works, became friendly with the Viardots, and he conceived a special fondness for Pauline’s younger daughter, Marianne. Love blossomed sufficiently during the following years that their engagement was announced in July 1877—only to be suddenly broken off in October. Fauré was deeply wounded by the affair and never revealed the exact cause of the falling out, except to say in later years that “perhaps it was not a bad thing for me. The Viardot family might have deflected me from my proper path.” The path the Viardots would have preferred for the budding composer would have led, of course, through the opera house, but Fauré’s genius lay not in the large public forms of opera and symphony but in the intimate genres of song and chamber music. By the time his first important chamber work, the Sonata No. 1 for Violin and Piano,

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

Composed 1876–79. Premiered on February 14, 1880, in Paris. First CMS performance on March 21, 1970,

by pianist Jeanne-Marie Darré, violinist Charles Treger, violist Uri Mayer, and cellist Leslie Parnas.

Duration: 30 minutes

Quartet No. 1 in C minor for Piano, Violin, Viola, and Cello, Op. 15


was received with enthusiasm at its premiere in Paris on January 27, 1877, he was already well advanced on his next instrumental composition—the Piano Quartet in C minor. This gestating work confirmed the creative direction Fauré chose to follow, so the collapse of his engagement to Marianne may have been occasioned as much by fundamental and apparently irreconcilable differences in

artistic philosophy as by any breach of romantic sentiment.

The creation of the Piano Quartet No. 1, begun in the summer of 1876 but not completed until 1879, wrapped around this affair of the heart; the finale was thoroughly revised four years later. A remarkable achievement in instrumental color, formal clarity, harmonic sophistication, and melodic richness, the

FAURÉ AND GERMAN MUSICTRANSCRIBED EXCERPT FROM BRUCE ADOLPHE’S INSIDE CHAMBER MUSIC LECTURE ON FEBRUARY 28, 2018

“A big difference between French musicianship and German musicianship in the

19th century and maybe early 20th century was that German music was much more

tied to function—what does that chord mean and why is it there? In French, it was

more surface—it’s a nice color. It makes perfect sense. It fits with the food and

the clothes and the philosophy and everything else. Orchestration, too. A German

composer in the 18th and 19th century will give a line to an oboe because it’s a new

line—it’s a new melody. And then it goes to the horn to introduce a new section

or a change of key or introduce a new idea. In French music it goes to the oboe

because it sounds nice, you know? This was a huge difference between them.

“Now, Fauré was actually on the fence about this. He was a little critical. He once

wrote in a letter that he was in Italy and went to a concert where they played three

Beethoven symphonies in one evening, and when it was over he said it made

him ashamed of so many French composers who only write coloristic music.

The substance in the Beethoven was so deep and so profound. So many of his

colleagues—not himself—just used color—it’s just beautiful textures, but where’s

the music? That was his criticism.

“Aaron Copland wrote a little article about Fauré

and he coined the phrase 'the French Brahms.' What

he meant was he concentrated on instrumental

and chamber music and that his music had a kind

of depth of thought, rhythmic complexity, and

chromaticism that reminded him of Brahms.”

Bruce Adolphe gives eight Inside Chamber Music lectures each season. They are live streamed and over 40 past lectures are available in the Watch and Listen section of the CMS website.

Bruce Adolphe

Bruce Adolphe


© 2018 Dr. Richard E. Rodda

quartet has been Fauré’s most popular chamber creation since its premiere. The composition opens with a modally inflected melody in dotted rhythms for unison strings that provides much of the movement’s thematic material. Wide-ranging piano arpeggios lead to the complementary subject, a descending stair-step theme of brighter countenance. The development section is a masterful working-out of the main subject that climaxes with a brief but stormy passage of rising scales to provide the gateway to the recapitulation of the principal themes. A gentle coda closes the movement. The Scherzo is music of ethereal delicacy, while the central trio is spun from a lyrical string theme in chordal texture balanced upon airy piano arpeggios. The Adagio, the emotional core of the quartet, may

reflect Fauré’s personal grief during the time of the work’s composition. It follows a broad three-part form (A–B–A) based on two motives derived from an ascending scale: the first (A) is halting and fragmentary; the other (B) is flowing and expansive. The sonata-form finale begins with a theme that recalls both the Adagio in its rising scalar contour and the first movement in its dotted rhythms. The lyrical second theme, introduced by the viola, provides contrast. The development, grown almost entirely from the second theme, reaches an impassioned climax before subsiding for the recapitulation. The C minor Piano Quartet, one of the masterworks of the French chamber repertory, ends with a brilliant coda. u

ABOUT THE ARTISTSINON BARNATAN “One of the most admired pianists of his generation” (New York Times), Israeli pianist Inon Barnatan is celebrated for his poetic sensibility, musical intelligence, and consummate artistry. He is the recipient of both a 2009 Avery Fisher Career Grant and Lincoln Center’s 2015 Martin E. Segal Award, and he recently served as the inaugural artist-in-association of the New York Philharmonic. Beginning in 2019, he will be the new music director of the La Jolla Music Society Summerfest. After recent debuts with the

Leipzig Gewandhaus Orchestra, Hong Kong Philharmonic, and Chicago, Baltimore, and Seattle symphonies, he opened the season with the Los Angeles Philharmonic, and made debuts with both the London and Helsinki philharmonic orchestras. This season he returns to New York’s 92nd Street Y and London’s Wigmore Hall and Southbank Centre, and makes Carnegie Hall appearances with soprano Renée Fleming and his regular duo partner, cellist Alisa Weilerstein. A sought-after chamber musician, he is a former member of Chamber Music Society Two. His critically acclaimed discography includes recordings of Schubert’s solo piano works, as well as Darknesse Visible, which the New York Times named one of its “Best of 2012” recordings. His most recent album release is a live recording of Messiaen’s 90-minute masterpiece Des canyons aux étoiles (From the Canyons to the Stars) at the Santa Fe Chamber Music Festival. His 2015 Decca Classics release, Rachmaninov & Chopin: Cello Sonatas with Alisa Weilerstein, earned rave reviews on both sides of the Atlantic.

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CALIDORE QUARTET Estelle Choi, cello; Jeffrey Myers, violin; Jeremy Berry, viola; Ryan Meehan, violin The Calidore String Quartet’s “deep reserves of virtuosity and irrepressible dramatic instinct” (New York Times) and “balance of intellect and expression” (Los Angeles Times) have won it accolades across the globe. The Calidore String Quartet—violinists Jeffrey Myers and Ryan Meehan, violist Jeremy Berry, and cellist Estelle Choi—made international headlines as the winner of the $100,000 Grand Prize of the 2016 and inaugural M-Prize International Chamber Music Competition, the largest prize for chamber music in the world. Also in 2016, the quartet became the first North American ensemble to win the Borletti-Buitoni Trust Fellowship and was named BBC Radio 3 New Generation Artists, an honor that brings with it recordings, international radio broadcasts, and appearances in Britain’s most prominent venues and festivals. Most recently the Calidore was honored with a 2017 Lincoln Center Emerging Artist Award. This season continues the Calidore’s three-year residency with the Chamber Music Society of Lincoln Center’s CMS Two program. Highlights of the 2017–18 season include debuts at the Kennedy Center and in Boston, Philadelphia, Paris, Brussels, Cologne, and Barcelona, as well as returns to Wigmore Hall and the Verbier Festival. As protégés of the Emerson Quartet, the Calidore will perform a joint program with the Emersons at the Ravinia Festival as well as series in Portland, Ann Arbor, and Southern California. The Calidore String Quartet regularly performs in the most prestigious venues throughout North America, Europe, and Asia such as Carnegie Hall, Lincoln Center, Wigmore Hall, Berlin Konzerthaus, Seoul’s Kumho Arts Hall, and at many significant festivals, including Verbier, Ravinia, Mostly Mozart, Music@Menlo, Rheingau, East Neuk, and Festspiele Mecklenburg-Vorpommern. In addition to winning the M-Prize, the quartet has won grand prizes in virtually all the major US chamber music competitions, including the Fischoff, Coleman, Chesapeake, and Yellow Springs competitions, and captured top prizes at the 2012 ARD Munich International String Quartet Competition and Hamburg International Chamber Music Competition. The Calidore String Quartet has released three commercial recordings, the most recent of which features quartets by Tchaikovsky and Mendelssohn recorded live in

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concert at the 2016 Music@Menlo festival. The ensemble’s other recordings include a debut album of quartets by Mendelssohn and Haydn and an album on the French label Editions Hortus, with music commemorating the World War I centennial. Since 2016 the Calidore has served as visiting guest artists at the University of Delaware. Formed in 2010 at the Colburn School of Music, the quartet has studied with the Emerson Quartet, David Finckel, Andre Roy, Arnold Steinhardt, Günther Pichler, Gerhard Schulz, Guillaume Sutre, Gabor Takacs-Nagy, Paul Coletti, Ronald Leonard, Clive Greensmith, Martin Beaver, and the Quatuor Ebène. Using an amalgamation of “California” and “doré” (French for “golden”), the ensemble’s name represents a reverence for the diversity of culture and the strong support it received from its home, Los Angeles, California, the “golden state.”

CLIVE GREENSMITH Clive Greensmith has a distinguished career as soloist, chamber musician, and teacher. From 1999 until 2013 he was a member of the world-renowned Tokyo String Quartet, giving over one hundred performances each year in the most prestigious international venues, including New York’s Carnegie Hall, Sydney Opera House, London’s Southbank Centre, Paris Châtelet, Berlin Philharmonie, Vienna Musikverein, and Suntory Hall in Tokyo. As a soloist, he has performed with the London

Symphony Orchestra, Royal Philharmonic Orchestra, Seoul Philharmonic, and the RAI Orchestra of Rome. In North America he has performed at the Aspen Music Festival, Marlboro Music Festival, La Jolla Summerfest, Santa Fe Chamber Music Festival, the Ravinia Festival, the Salzburg Festival in Austria, Edinburgh Festival in Scotland, Pacific Music Festival in Japan, and the Hong Kong Arts Festival. During a career spanning over 25 years, Mr. Greensmith has built up a catalogue of landmark recordings, most notably the complete Beethoven string quartet cycle for Harmonia Mundi with the Tokyo String Quartet. Mr. Greensmith studied at the Royal Northern College of Music in England with American cellist Donald McCall. He continued his studies at the Cologne Musikhochschule in Germany with Boris Pergamenschikow. After his 15-year residency with the Tokyo String Quartet at Yale University, he was appointed Co-Director of Chamber Music and Professor of Cello at the Colburn School in Los Angeles in 2014. Mr. Greensmith is a founding member of the Montrose Trio with pianist Jon Kimura Parker and violinist Martin Beaver.

AUGUSTIN HADELICH This season violinist Augustin Hadelich will return to the Boston Symphony, playing the Ligeti Concerto with Thomas Adès on the podium. The performance will feature the U.S. premiere of Adès’s new cadenza for the concerto. Additional highlights include appearances with the symphony orchestras of Atlanta, Detroit, Houston, Oregon, Pittsburgh, San Francisco, Seattle, St. Louis, and Utah, and performances with the Polish National Radio Orchestra, Lahti Symphony, Munich Chamber

Orchestra, Royal Scottish National Orchestra, The Hallé Orchestra, and the Orquesta


Sinfónica de Castilla y León. Recent festival appearances include his 2016 debut at the BBC Proms, return engagements with the Boston Symphony at Tanglewood and the Cleveland Orchestra at Blossom, as well as appearances at Aspen, Bravo! Vail, Chautauqua, Grand Teton, Marlboro, Rheingau, and Sun Valley. Among recent international appearances are the Concertgebouw Orchestra Amsterdam, Danish National Orchestra, Hong Kong Philharmonic, Munich Philharmonic, NHK Symphony/Tokyo, Norwegian Radio Orchestra, Seoul Philharmonic, and the radio orchestras of Cologne and Frankfurt. Gold medalist at the 2006 International Violin Competition of Indianapolis, Mr. Hadelich has received numerous other distinctions including Lincoln Center’s Martin E. Segal Award, the inaugural Warner Music Prize, and a 2016 Grammy Award for his recording of Dutilleux’s violin concerto, L’arbre des songes, with the Seattle Symphony under Ludovic Morlot (Seattle Symphony MEDIA). His next release will be a disc of the complete Paganini caprices for Warner Classics. He plays the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.

MATTHEW LIPMAN The recipient of a prestigious 2015 Avery Fisher Career Grant, American violist Matthew Lipman has been hailed by the New York Times for his “rich tone and elegant phrasing.” In demand as a soloist, he has recently performed concertos with the Minnesota, Illinois Philharmonic, Grand Rapids Symphony, Wisconsin Chamber, Juilliard, Ars Viva Symphony, Montgomery Symphony, and Innsbrook and Eggenfelden Festival orchestras and recitals at the WQXR Greene Space

in New York City and the Phillips Collection in Washington, DC. Highlights this season include a debut solo album on Cedille Records and performances of the Telemann Viola Concerto in Alice Tully Hall. Mr. Lipman’s recording of Mozart’s Sinfonia Concertante with violinist Rachel Barton Pine and the Academy of St Martin in the Fields with Sir Neville Marriner reached No. 2 on the Billboard classical charts. He was the only violist featured on WFMT Chicago’s list of 30 Under 30 top classical musicians and has been profiled by The Strad and BBC Music magazines. He performs internationally as a member of Chamber Music Society Two, and at the Music@Menlo, Marlboro, Bad Kissingen, Malaga, and Ravinia festivals. A top prizewinner of the Primrose and Tertis International Viola Competitions, he received his bachelor’s and master’s degrees from The Juilliard School, where he continues to serve as teaching assistant to Heidi Castleman, and is mentored by Tabea Zimmermann in Kronberg, Germany. A native of Chicago, Mr. Lipman performs on a 1700 Matteo Goffriller viola loaned through the generous efforts of the RBP Foundation.

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Directors and Founders

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. 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 130 artists per season. Many of these superior performances are live streamed on the CMS website, broadcast on radio and television, or made available on CD and DVD. As CMS approaches its 50th anniversary season in 2020, its commitment to artistic excellence and to serving the art of chamber music is stronger than ever.

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Trent Casey, Director of Digital Content

Desmond Porbeni, Associate Director, Audience and Customer Services

Marlisa Monroe, Public Relations Manager

Melissa Muscato, Marketing Content Manager

Natalie Dixon, Audience and Customer Services Associate

Sara Ricci, Marketing AssistantBrett Solomon, Subscription and

Ticketing Services Assistant

Administration


THE INSIDE CHAMBER MUSIC PODCAST

AVAILABLE ON ITUNES AND GOOGLE PLAY

Join Bruce Adolphe, the Chamber Music Society of Lincoln Center's Resident Lecturer, for investigations and insights into chamber music masterworks. Inside Chamber Music lectures are beloved by regulars and a revelation

accessibility, and brilliance.

A new episode, carefully selected from the recording archive, is released every two weeks.


Contributors to the Annual Fund provide vital support for the Chamber Music Society's wide-ranging artistic and educational programs. We gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their generous gifts. We also thank those donors who support the Chamber Music Society through the Lincoln Center Corporate Fund.

ANNUAL FUND

LEADERSHIP GIFTS ($50,000 and above)The Achelis and Bodman FoundationThe Chisholm FoundationHoward Gilman FoundationWilliam and Inger G. GinsbergDr. and Mrs. Victor GrannEugene and Emily GrantJerome L. Greene FoundationMr. and Mrs. Paul B. GridleyRita E. and Gustave M. Hauser

Elinor and Andrew HooverJane and Peter KeeganSusan Carmel LehrmanLincoln Center Corporate FundNational Endowment for the ArtsNew York State Council on the ArtsStavros Niarchos FoundationThe New York Community TrustMr. and Mrs. James P. O'Shaughnessy

Blanchette Hooker Rockefeller FundThe Fan Fox and Leslie R. Samuels

Foundation, Inc.Ellen Schiff Elizabeth W. SmithThe Alice Tully FoundationElaine and Alan WeilerThe Helen F. Whitaker Fund

GUARANTORS ($25,000 to $49,999)Ann Bowers,

in honor of Dmitri AtapineThomas Brener and Inbal Segev-BrenerSally D. and Stephen M. Clement, IIIJoseph M. CohenJoyce B. CowinLinda S. DainesEstate of Anthony C. GoochGail and Walter HarrisFrank and Helen Hermann FoundationRobert and Suzanne Hoglund

Harry P. KamenEstate of Peter L. KennardAndrea Klepetar-FallekBruce and Suzie KovnerMetLife FoundationRichard Prins and Connie SteensmaNew York City Department of

Cultural AffairsDr. Annette U. RickelDr. Beth Sackler and Mr. Jeffrey CohenJudith and Herbert Schlosser

David SimonMr. and Mrs. Erwin StallerWilliam R. Stensrud and

Suzanne E. VaucherJoost and Maureen ThesselingTiger Baron FoundationMr. and Mrs. Jarvis WilcoxKathe and Edwin WilliamsonShannon Wu and Joseph Kahn

BENEFACTORS ($10,000 to $24,999)Anonymous (2)Ronald AbramsonEstate of Marilyn Apelson Jonathan Brezin and Linda KeenColburn FoundationCon EdisonThe Gladys Krieble Delmas FoundationRobert and Karen DesjardinsHoward Dillon and Nell Dillon-ErmersThe Lehoczky Escobar Family David Finckel and Wu HanJohn and Marianne FouheySidney E. Frank Foundation

Mr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Hamilton Generation FundIrving Harris FoundationMichael Jacobson and Trine SorensenPriscilla F. KauffVicki and Chris KelloggJeehyun KimHelen Brown LevineDouglas M. LibbyMillbrook Vineyards & WineryMr. Seth Novatt and Ms. Priscilla Natkins

Marnie S. PillsburyTatiana PouschineDr. and Mrs. Richard T. RosenkranzMrs. Robert SchuurFred and Robin SeegalSeth Sprague Educational and

Charitable FoundationJoe and Becky StockwellCarlos Tome and Theresa KimSusan and Kenneth WallachMrs. Andrea W. Walton

PLATINUM PATRONS ($5,000 to $9,999)Anonymous (2)Mr. James A. Attwood and

Ms. Leslie K. WilliamsWilliam and Julie Ballard Murat BeyazitJoan BennyNathalie and Marshall CoxValerie and Charles DikerCarole DonlinJohn and Jody EastmanMrs. Barbara M. ErskineMr. Lawrence N. Field and Ms. Rivka Seiden

Mr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationMarlene Hess and James D. Zirin, in loving

memory of Donaldson C. PillsburyThe Hite FoundationAlfred and Sally JonesC.L.C. Kramer FoundationJonathan E. LehmanLeon Levy FoundationDr. and Mrs. Michael N. MargoliesJane and Mary MartinezMr. and Mrs. H. Roemer McPhee,

in memory of Catherine G. CurranThe Robert and Joyce Menschel

Family Foundation Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperThomas A. and Georgina T. Russo

Family FundMartin and Ruby VogelfangerPaul and Judy WeislogelNeil Westreich

Artistic Directors Circle

Patrons

GOLD PATRONS ($2,500 to $4,999)AnonymousNasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichAmerican Friends of Wigmore HallJoan AmronJames H. ApplegateAxe-Houghton FoundationLawrence B. BenensonAmerican Chai TrustConstantin R. BodenMr. and Mrs. John D. Coffin

Jill Haden CooperThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerVirginia Davies and Willard TaylorSuzanne DavidsonMr. and Mrs. Joseph W. Donner Helen W. DuBoisRachel and Melvin EpsteinJudy and Tony EvninDr. and Mrs. Fabius N. FoxMrs. Beatrice FrankFreudenberg ArtsDiana G. Friedman

Egon R. GerardEdda and James GillenFrederick L. JacobsonKenneth Johnson and Julia TobeyPaul KatcherEd and Rosann KazMr. and Mrs. Hans KilianMr. and Mrs. Robert W. KleinschmidtJudy and Alan KosloffChloë A. KramerHenry and Marsha LauferHarriet and William LembeckJennifer Manocherian


Ned and Francoise MarcusMr. and Mrs. Leigh MillerMartin and Lucille Murray Sassona Norton and Ron FillerMr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda Schultz

Peter and Sharon SchuurMichael W. SchwartzCarol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. SingerDiane Smook and Robert PeduzziGary So, in honor of Sooyun KimSally Wardwell

Patricia and Lawrence WeinbachAlex and Audrey WeintrobLarry Wexler and Walter BrownJanet Yaseen and the

Honorable Bruce M. KaplanSandra and Franklin ZieveNoreen and Ned Zimmerman

YOUNG PATRONS* ($500+)Jordan C. AgeeRaoul Boisset Samuel Coffin and Tobie CornejoJamie ForsethRobert J. HaleyYoshiaki David KoLiana and Joseph Lim

Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason NongEren Erdemgil Sahin and Erdem Sahin

Shu-Ping ShenJonathan U.R. Smith Erin SolanoMr. Nick Williams and Ms. Maria DoerflerRebecca Wui and Raymond Ko

SILVER PATRONS ($1,500 to $2,499)Anonymous (5)Alan AgleHarry E. AllanLawrence H. AppelBrett Bachman and Elisbeth ChallenerDr. Anna BalasBetsy Shack BarbanellLillian BarbashMr. and Mrs. William G. BardelCaryl Hudson BaronRichard L. BaylesMr. and Mrs. T. G. BerkAdele BilderseeJudith Boies and Robert ChristmanCahill Cossu Noh and RobinsonCharles and Barbara BurgerJeff and Susan CampbellAllan and Carol CarltonDale C. Christensen, Jr.Judith G. ChurchillBetty CohenMarilyn and Robert CohenMr. Mark Cohen, in memory of May LazerAlan and Betsy Cohn FoundationJon Dickinson and Marlene BurnsJoan DyerThomas E. Engel, Esq.Mr. Arthur FergusonHoward and Margaret FluhrMr. Andrew C. Freedman and

Ms. Arlie SulkaMr. and Mrs. Burton M. Freeman

Rosalind and Eugene J. GlaserJudith HeimerCharles and Nancy HoppinDr. Beverly Hyman and

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

in honor of Paul HuangStephen and Belinda Kaye Thomas C. KingPatricia Kopec Selman and Jay E. SelmanDr. and Mrs. Eugene S. KraussEdith KubicekRichard and Evalyn LambertCraig Leiby and Thomas ValentinoDr. Donald M. LevineFran LevineJames Liell Walter F. and Phyllis Loeb Family Fund

of the Jewish Communal FundDr. Edward S. LohCarlene and Anders MaxwellEileen E. McGann Sheila Avrin McLean and David McLeanIlse MelamidMerrick Family FundBernice H. MitchellAlan and Alice ModelAlex PagelBarbara A. PelsonCharles B. Ragland

Mr. Roy Raved and Dr. Roberta LeffDr. Hilary Ronner and Mr. Ronald FeimanJoseph and Paulette RoseDiana and Michael RothenbergMarie von SaherDavid and Sheila RothmanSari and Bob SchneiderDelia and Mark SchulteMr. David Seabrook and

Dr. Sherry Barron-SeabrookJill S. SlaterMorton J. and Judith SloanAnnaliese SorosDr. Margaret Ewing SternDeborah F. StilesAlan and Jaqueline StuartJoseph C. TaylorErik and Cornelia ThomsenJudith and Michael Thoyer Leo J. TickSalvatore and Diane VaccaMr. and Mrs. Joseph ValenzaPierre and Ellen de VeghDr. Judith J. Warren and

Dr. Harold K. GoldsteinRobert Wertheimer and Lynn SchackmanTricia and Philip WintererGro V. and Jeffrey S. Wood Cecil and Gilda Wray

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

ALLEGRO ($600 to $999)

Anonymous (7)Bialkin Family FoundationMaurice and Linda Binkow Philanthropic

Fund of the United Jewish FoundationAnn S. ColeColleen F. ConwayAllyson and Michael ElyMr. Stephen M. FosterKris and Kathy HeinzelmanDr. and Mrs. Wylie C. HembreeAlice Henkin Mr. and Mrs. James R. Houghton

Thomas Frederick JamboisPatricia Lynn LambrechtLeeds Family FoundationThe David Minkin FoundationAnju Narula Dot and Rick NelsonChristine PishkoMimi Poser James B. RanckMs. Kathee RebernakMs. Linda C. RoseMr. David Rosner

Charles S. Schreger Monique and Robert SchweichDiana and John SidtisDr. Robert SilverEsther Simon Charitable TrustBarbaralee Diamonstein-Spielvogel and

Ambassador Carl SpielvogelAndrea and Lubert StryerMs. Jane V. TalcottHerb and Liz TulchinJill and Roger WittenFrank Wolf

Sophia Ackerly and Janis BuchananMrs. Albert Pomeroy BedellBrian Carey and Valerie TomaselliDorothy and Herbert FoxMrs. Margherita S. FrankelDorothy F. GlassMiriam GoldfineAbner S. GreeneSharon GurwitzEvan and Florence JanovicPete Klosterman

Peter KrollBarbara and Raymond LeFebvreMr. Stanley E. LoebJane and John Loose Thomas Mahoney and Emily Chien,

in honor of Paul and Linda Gridley Linda and Tom Marshella, in memory

of Donald F. HumphreyDr. and Mrs. Richard R. NelsonLisa and Jonathan SackAnthony R. Sokolowski

Mr. and Mrs. Myron Stein, in honor of Joe Cohen

Dr. Charles and Mrs. Judith Lambert Steinberg

Mr. David P. StuhrSherman TaishoffSusan Porter TallMr. and Mrs. George Wade

*as of April 25, 2018

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 Arnold & Porter 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.

CMS is grateful to Holland & Knight LLP for its generosity in acting as pro bono international counsel.

This season is supported by public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State

Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council.

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 48th 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 III

Oboe ChairEstate of Anitra Christoffel-Pell Charles 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 Peter L. Kennard 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

tempest in c minor · the concert you are about to hear is the first we have ever programmed...

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