ORION WEISS, piano ERIN KEEFE, violin PAUL NEUBAUER, …I stood a thousand times. Leaning on my staff, I looked down into the valley. I followed my sheep With my dog at my side. I

The Chamber Music Society of Lincoln Center is grateful to Sally and Stephen Clement for their generosity in making this evening’s post-concert reception with the artists possible.

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, JULY 15, 2018, AT 5:00 3,845TH CONCERT

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

ORION WEISS, pianoERIN KEEFE, violinPAUL NEUBAUER, violaDAVID REQUIRO, celloSOOYUN KIM, flute

WOLFGANG AMADEUS MOZART

(1756–1791)

CARL MARIA VON WEBER

(1786–1826)

FRANZ SCHUBERT(1797–1828)

Quartet in C major for Flute, Violin, Viola, and Cello, K. 285b (published 1788) Allegro Thema con variazioni: AndantinoKIM, KEEFE, NEUBAUER, REQUIRO

Trio in G minor for Flute, Cello, and Piano, Op. 63 (1818–19) Allegro moderato Scherzo: Allegro vivace Shepherd's Lament: Andante espressivo Finale: AllegroKIM, REQUIRO, WEISS

INTERMISSION

Trio No. 1 in B-flat major for Piano, Violin, and Cello, D. 898, Op. 99 (1827) Allegro moderato Andante un poco mosso Scherzo: Allegro Rondo: Allegro vivaceWEISS, KEEFE, REQUIRO

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

www.ChamberMusicSociety.org

ABOUT TONIGHT’S PROGRAMDear Listener,

Welcome to Summer Evenings and thank you for joining us. How is your summer going? This is indeed our opportunity to check in with all of you who are with us during the winter months, and to greet those who may be hearing the Chamber Music Society for the first time. We can’t imagine a better way to do both than to offer a selection of chamber music’s most tantalizing, enjoyable classics.

For this July mini-festival we have programmed eight composers over three concerts. Only Mozart repeats himself, but how differently: his delightful quartet for strings and flute is contrasted by his dark and masterful G minor Quintet. A summer without Haydn would be unthinkable, so his Op. 50 quartet, nicknamed “The Dream,” opens a program closed by Dvořák’s glowing string sextet. Two immortal piano trios—Schubert’s standard-setting first and Brahms’s triumphant second—represent the genre definitively. Beethoven’s groundbreaking first string trio is followed by the young Mendelssohn’s fiery F minor Piano Quartet, and Weber’s bucolic flute trio paints a picture of life in the hills, its third movement titled “The Shepherd’s Lament.”

The word “classic” describes anything which is not only of first quality and serves as a model for its type, but also—especially in the arts—refers to creations which have become time-honored. Musical classics are works that sustain themselves, like eternal flames. They can never be extinguished, and burn freshly into the future, lighting our lives with their undying relevance. Hearing them played with the passion and skill we promise you recharges the power cells of the spirit. Music could truly serve no higher purpose.

Enjoy the performances,

David Finckel Wu HanARTISTIC DIRECTORS

The Chamber Music Society of Lincoln Center

Quartet in C major for Flute, Violin, Viola, and Cello, K. 285b

NOTES ON THE PROGRAM

The Quartet in C major, one of four flute quartets generally attributed to Mozart, has a curious history. In winter 1777–78, Mozart visited Mannheim to try to get a job at the court of the elector. He failed. While there, however, he received a commission from an amateur flutist named Ferdinand Dejean, a rich doctor for the Dutch East Indian Company. Dejean asked for three flute concertos and an unknown number of flute quartets. Mozart worked on the pieces until he left Mannheim in February 1778, when he told his father in a letter that he had completed three quartets. It was long thought that the three flute quartets were those in D major (K. 285), G major (K. 285a), and this one. However, as he received less than half the original fee and he tended to tell his demanding father what he wanted to hear, it’s more likely that Mozart was exaggerating and he only completed one or two quartets. Manuscript evidence only exists for the first quartet, K. 285 in D major. It is unknown whether the other two were composed for Dejean.

The Quartet in C major was published in 1788, a decade after Mozart’s commission from Dejean. It is now believed that the final version was put together by the publisher, Heinrich Philipp Carl Bossler of Speyer. The first movement only contains ten measures known to be composed by Mozart, so the rest of the movement may have been written by an unknown composer/arranger hired by Bossler. The second movement is an arrangement of a set of variations from Mozart’s Serenade for 13 Instruments, K. 361, “Gran Partita.” (Composition dates for both pieces are not definite, so it is unknown which came first.) Musicologist Stanley Sadie summarized the most likely scenario, “The piece was apparently assembled, using some Mozart material—perhaps including the beginning of a third Dejean quartet that was never completed—by an opportunist hack working for a none-too-scrupulous publisher.” Interestingly Mozart never disavowed the quartet, though it was published during his lifetime, and he presumably knew about

WOLFGANG AMADEUS MOZART Born January 27, 1756, in Salzburg. Died December 5, 1791, in Vienna.

Published in 1788.

SOMETHING TO KNOW: Mozart may not have written this entire piece. It appears that an unethical publisher took existing music by Mozart and filled it out with newly composed material.

SOMETHING TO LISTEN FOR: The second (and final) movement is a set of variations that has some beautifully contemplative passages before ending with an impish little dance.

First CMS performance on March 7, 1971, by flutist Paula Robison, violinist Charles Treger, violist Walter Trampler, and cellist Leslie Parnas.

Duration: 16 minutes


it, so it is possible that he authorized this unusual work.

The first movement, at roughly half the length of the second, feels like a self-contained introduction. It is true chamber music, not a virtuoso

vehicle for the flute, and features some beautiful interplay between the flute and violin. The variations in the second movement range from virtuosic to rhythmic to contemplative, and end with a cheeky dance in triple time. u

Trio in G minor for Flute, Cello, and Piano, Op. 63

Carl Maria von Weber led a multi-faceted career. He started out as a piano virtuoso and wrote a number of solo works and concertos for his instrument. He later worked as a conductor and directed opera companies in Prague and then Dresden. He also wrote works for winds, especially clarinet, and a handful of chamber pieces. In addition to his music activities, he was a prolific writer, though he had trouble finishing what he started. His many writing projects included an autobiographical sketch, an unfinished novel, various critical essays on aesthetic issues of the day, and numerous performance notes on operas his companies presented. In the final five years of his life, cut short at age 40 by tuberculosis, he premiered three major operas that ensured his fame across Europe. The first, Der Freischütz, was so influential

that it came to be known as the first German Romantic opera.

The G minor Trio is one of Weber’s later instrumental works, and it has an early Romantic sound—a little dark and full of color. The reason he wrote it is unknown, but it was dedicated to a friend, Prague physician Philipp Jungh, so it may have been intended for friends to play privately. Composition of the first, second, and last movements were recorded in Weber’s diary during the 1818–19 season. The third-movement Shepherd's Lament is missing from the diary, and may have been composed a few years earlier during Weber’s time as director of the Prague opera (1813–16). The work was completed on July 25, 1819, at Weber’s summer home near Dresden.

Unlike his contemporary Beethoven, Weber wasn’t particularly economical with his themes. He could generate new melodies quickly and easily. The

CARL MARIA VON WEBER Born December 18, 1786, in Eutin. Died June 5, 1826, in London.

Composed in 1818–19.

SOMETHING TO KNOW: Weber was known mainly as an opera composer. This trio was composed while he was working on Der Freischütz (The Marksman), which became an international hit and ushered in the age of German Romantic opera.

SOMETHING TO LISTEN FOR: The third movement, Shepherd’s Lament, was probably composed a few years before the rest of the trio and was inspired by a poem by Goethe.

First CMS performance on December 17, 1971, by flutist Paula Robison, cellist Leslie Parnas, and pianist Richard Goode.



SCHÄFERS KLAGELIED SHEPHERD’S LAMENT

Da droben auf jenem Berge,Da steh' ich tausendmalAn meinem Stabe gebogenUnd schaue hinab in das Tal.

Dann folg' ich der weidenden Herde,Mein Hündchen bewahret mir sie.Ich bin herunter gekommenUnd weiß doch selber nicht wie.

Da stehet von schönen BlumenDie ganze Wiese so voll.Ich breche sie, ohne zu wissen,Wem ich sie geben soll.

Und Regen, Sturm und GewitterVerpaß' ich unter dem Baum.Die Türe dort bleibet verschlossenDoch alles ist leider ein Traum.

Es stehet ein RegenbogenWohl über jenem Haus!Sie aber ist weggezogen,Und weit in das Land hinaus.

Hinaus in das Land und weiter,Vielleicht gar über die See.Vorüber, ihr Schafe, vorüber!Dem Schäfer ist gar so weh.

Over on the mountain,I stood a thousand times.Leaning on my staff,I looked down into the valley.

I followed my sheepWith my dog at my side.I wandered down to the valley,And I don’t know how.

The whole meadow is fullOf beautiful flowers.I gather them, but I don’t knowWho to give them to.

A tree gives me shelterFrom rain, storms, and thunder.The door over there is closed,Unfortunately all is a dream.

There is a rainbowOver that house.But she is there no longer;She has gone far away.

She travelled over the land,And maybe even over the sea,Move on, my sheep, move on,The shepherd is in great pain.

first movement is an impassioned early Romantic sonata form that gives moving solo passages to all three instruments. The second-movement Scherzo is a short burst of energy that compares and contrasts its main theme, a triple-time

thundering fanfare, with a music box-like second theme. The Shepherd’s Lament is a simple 6/8 tune that is varied and embellished until it ends in a darker place than it began. The final movement is a sprightly jaunt to the finish. u

—Johann Wolfgang von Goethe


Trio No. 1 in B-flat major for Piano, Violin, and Cello, D. 898, Op. 99

During his short lifetime Schubert was famous for his songs, piano duets, and other music for amateurs to perform at home. His symphonies, chamber music, and other music for professionals went largely unknown and unperformed. Only about half his mature chamber music was publicly premiered in his lifetime. He received three performances on the concert series run by violinist Ignaz Schuppanzigh, an influential figure in 1820s Vienna. Schuppanzigh's critically acclaimed series was one of the most prestigious avenues for chamber music, and he had a close working relationship with Beethoven, the most famous composer of the day. Schuppanzigh premiered Schubert’s String Quartet in A minor, Op. 29, “Rosamunde” in 1824. Schubert was so thrilled with the performance that he dedicated the published quartet to the violinist. The enthusiastic sentiment wasn't mutual, however, as Schuppanzigh didn’t program anything else by Schubert for three years. It seems he wasn’t entirely convinced of Schubert’s talent. In early 1826 Schuppanzigh's quartet rehearsed Schubert’s Quartet in D minor,

D. 810, “Death and the Maiden” and he reportedly told the composer, “this is no good… stick to your songs!” Whatever he may have thought of the quartets, Schuppanzigh later decided to give Schubert’s other chamber music a chance. He programmed two additional works in 1827: the Octet, D. 803, and the B-flat major Piano Trio.

There is no record of the composition of the B-flat major Trio. Since it premiered at the end of the year, it was probably written in summer or fall 1827, presumably before Schubert began composing its companion, the E-flat major Trio, in November. The second trio ended up having a more privileged place in Schubert’s last year. It premiered on an all-Schubert concert that the composer planned for the one-year anniversary of Beethoven’s death. Schuppanzigh once again performed. Schubert submitted the piece for publication and it came out around the time of his death in November 1828. The E-flat major Trio remained well known and was a favorite of Robert Schumann. The B-flat major Trio was largely forgotten about, however, until its publication in

FRANZ SCHUBERT Born January 31, 1797, in Vienna. Died November 19, 1828, in Vienna.

Composed in 1827.

SOMETHING TO KNOW: Schubert wrote a lot of music that was rediscovered after his death. This trio was composed around the same time as Schubert’s other piano trio, in E-flat major but, unlike that one, wasn’t published in his lifetime.

SOMETHING TO LISTEN FOR: The first movement has a great moment after the development where the theme returns in a series of “wrong” keys before finally returning to B-flat major.

Premiered on December 23, 1827, in Vienna led by violinist Ignaz Schuppanzigh.

First CMS performance on April 18, 1975, by pianist André Watts, violinist Jaime Laredo, and cellist Leslie Parnas.



1836. When it was released, Schumann wrote a review where he compared it to “the famous one” in E-flat, declaring “A glance at Schubert’s trio [in B-flat] and all miserable human commotion vanishes, and the world shines in new splendor.”

By the time he wrote the B-flat major Trio, Schubert had been suffering from syphilis for four years. He had been in and out of the hospital, and he knew his life was likely to be greatly shortened by the disease. Still, the trio doesn’t dwell on Schubert’s troubles. It is bold, clever, and upbeat. The two themes of the first movement are very different—the first introduces the piece with a bold sweeping motion while the second is lyrical, almost lullaby-like. They return in order in the development section before Schubert cleverly brings back the first theme in a series of “wrong” keys before the piano quietly returns the

melody to the tonic key. For the second movement, Schubert originally wrote a different piece that was later published as the Notturno, D. 897. He replaced it with a slow movement in ABA form with some beautiful harmonic color in the last section. The third movement is a Scherzo with staccato repeating notes simultaneous with energetic descending chromatic figures. The final movement is a fully worked out rondo form that slowly and tunefully builds up to an exciting finish. u

Laura Keller is the Editorial Manager at the Chamber Music Society.

The B-flat major Trio doesn't dwell on Schubert’s troubles. It is bold, clever, and upbeat.

RUSSIAN INSPIRATIONTUESDAY, OCTOBER 16, 2018, 7:30 PM ALICE TULLY HALL

As a prelude to this season’s Winter Festival, Russian Panorama, CMS presents an eclectic and surprising array of works by composers who influenced the country’s spectacular musical evolution.

QUARTET VARIATIONSSUNDAY, OCTOBER 21, 2018, 5:00 PM ALICE TULLY HALL

In a program revealing the ensemble’s abundant possibilities, the fabled Emerson String Quartet is joined by the formidable pianist Shai Wosner.

UPCOMING CONCERTS AT CMS


ABOUT THE ARTISTSERIN KEEFE Concertmaster of the Minnesota Orchestra, American violinist Erin Keefe has established a reputation as a compelling artist who combines exhilarating temperament and fierce integrity. Winner of a 2006 Avery Fisher Career Grant as well as the 2009 Pro Musicis International Award, she took the Grand Prizes in the Valsesia Music International Violin Competition (Italy), the Torun International Violin Competition (Poland), the Schadt Competition, and the Corpus Christi International String

Competition. She has been featured on Live From Lincoln Center three times with CMS, performing works by Brahms, Schoenberg, Bach, and Corelli. Her recording credits include Schoenberg’s Second String Quartet with Ida Kavafian, Paul Neubauer, Fred Sherry, and Jennifer Welch-Babidge for Robert Craft and the Naxos Label, and recordings of works by Dvořák with David Finckel and Wu Han for the CMS Studio Recordings label. In 2010, she released her first solo CD, recorded with pianist Anna Polonsky. Her festival appearances have included the Marlboro Music Festival, Music@Menlo, Music from Angel Fire, Ravinia, and the Seattle, OK Mozart, Mimir, Bravo! Vail Valley, Music in the Vineyards, and Bridgehampton Chamber Music festivals. A former member of CMS Two, Ms. Keefe earned a master’s degree from The Juilliard School and a bachelor’s degree from The Curtis Institute of Music. Her teachers included Ronald Copes, Ida Kavafian, Arnold Steinhardt, and Philip Setzer.

SOOYUN KIM Praised as “a rare virtuoso of the flute” by Libération, Sooyun Kim has established herself as one of the rare flute soloists in the classical music scene. Since her concerto debut with the Seoul Philharmonic Orchestra at age ten, she has enjoyed a flourishing career performing with orchestras including the Bavarian Radio, Munich Philharmonic, Munich Chamber, and Boston Pops orchestras. She has been presented in recital series in Budapest’s Liszt Hall, Millennium Stage at the Kennedy Center,

Sibelius Academy in Helsinki, and Kobe’s Bunka Hall. Her European debut recital at the Louvre was streamed live on medici.tv. A winner of the Georg Solti Foundation Career Grant, she has received numerous international awards and prizes including the third prize at the ARD International Flute Competition. Her summer appearances include the Music@Menlo, Spoleto USA, Yellow Barn, Rockport, Olympic, and Tanglewood festivals. She has collaborated with many artists, dancers, and museums around the world such as Sol Lewitt and Glassmuseet Ebeltoft in Denmark. She choreographed and performed in dance works for Chamber Music Northwest and the Tivoli Dance Troupes. Last season, she collaborated with the New York Theater Ballet in conjunction with the Isabella Stewart Gardner Museum. A former member of CMS Two, she studied at the New England Conservatory under the tutelage of Paula Robison. In addition to her musical training, she studied Baroque dance with Melinda Sullivan. Ms. Kim plays a rare 18-carat gold flute specially made for her by Verne Q. Powell Flutes.

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PAUL NEUBAUER Violist Paul Neubauer’s exceptional musicality and effortless playing led the New York Times to call him “a master musician.” In 2018 he made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the U.S. premiere of the newly discovered Impromptu for viola and piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern

Sinfonia was released on Signum Records, and his recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos. Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the New York, Los Angeles, and Helsinki philharmonics; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth symphonies; and Santa Cecilia, English Chamber, and Beethovenhalle orchestras. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower and has been featured on CBS’s Sunday Morning, A Prairie Home Companion, and in Strad, Strings, and People magazines. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical. Mr. Neubauer is the artistic director of the Mostly Music series in New Jersey and is on the faculty of The Juilliard School and Mannes College as well as a visiting professor at DePaul University.

DAVID REQUIRO First Prize winner of the 2008 Naumburg International Violoncello Competition, David Requiro (pronounced re-KEER-oh) is recognized as one of today’s finest American cellists. After winning First Prize in both the Washington International and Irving M. Klein International String Competitions, he captured a top prize at the Gaspar Cassadó International Violoncello Competition in Hachioji, Japan, coupled with the prize for the best performances of works by Cassadó. He has appeared as

soloist with the Tokyo Philharmonic, National Symphony Orchestra, Seattle Symphony, and numerous orchestras across North America. His Carnegie Hall debut recital at Weill Hall was followed by a critically acclaimed San Francisco Performances recital at the Herbst Theatre. Soon after making his Kennedy Center debut, he completed the cycle of Beethoven’s cello sonatas at the Phillips Collection in Washington, D.C. He has performed with the Chamber Music Society of Lincoln Center, Seattle Chamber Music Society, Jupiter Symphony Chamber Players, and is a founding member of the Baumer String Quartet. The Chamber Music Society recently appointed him to its CMS Two residency beginning in the 2018–19 season. In 2015 Mr. Requiro joined the faculty of the University of Colorado Boulder as an assistant professor. He has previously served as artist-in-residence at the University of Puget Sound and guest lecturer at the University of Michigan. His teachers have included Milly Rosner, Bonnie Hampton, Mark Churchill, Michel Strauss, and Richard Aaron.

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ORION WEISS One of the most sought-after soloists in his generation of young American musicians, the pianist Orion Weiss has performed with the major American orchestras, including the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, and New York Philharmonic. His deeply felt and exceptionally crafted performances go far beyond his technical mastery and have won him worldwide acclaim. His 2018–19 season begins at the Lucerne Festival and ends with

the Minnesota Orchestra, with performances in between for the Denver Friends of Chamber Music, the University of Iowa, the Chamber Music Society of Lincoln Center, the Albany Symphony, the Kennedy Center’s Fortas Series, the 92nd Street Y, and the Broad Stage. In 2017–18 he performed Beethoven’s Triple Concerto with the Saint Paul Chamber Orchestra, toured with James Ehnes, and soloed with 12 orchestras around the United States. Other highlights of recent seasons include his third performance with the Chicago Symphony, a North American tour with the world-famous Salzburg Marionette Theater in a performance of Debussy’s La Boîte à Joujoux, the release of his recording of Christopher Rouse’s Seeing, and recordings of the complete Gershwin works for piano and orchestra with his longtime collaborators the Buffalo Philharmonic and JoAnn Falletta. Named the Classical Recording Foundation’s Young Artist of the Year in 2010, Mr. Weiss made his debut with the Boston Symphony Orchestra at Tanglewood in 2011 as a last-minute replacement for Leon Fleisher. In 2004, he graduated from The Juilliard School, where he studied with Emanuel Ax.

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The Chamber Music Society of Lincoln Center www.ChamberMusicSociety.org

TRAVEL WITH CMS

FOR ITINERARY, PRICE, AND REGISTRATION INFORMATION, CALL 212-875-5782

WWW.CHAMBERMUSICSOCIETY.ORG/TRAVEL

This fall join David Finckel and Wu Han on a deluxe visit to two of the great cities of the world—and brilliant music capitals—London and Paris. David, Wu Han and other Chamber Music Society musicians will perform privately at four remarkable venues.

LONDON AND PARISSeptember 16 – 25, 2018Concerts performed by CMS Artists led by David Finckel and Wu Han

SEVILLE AND GRANADAApril 5 – April 13, 2019Concerts performed by CMS Artists led by Wu Han

Stretching from the peaks of the Sierra Morena to the Mediterranean and Atlantic coasts, Andalucía is viewed by many as Spain’s most varied, fascinating and interesting region.

April 5 – 13, 2019


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

ADMINISTRATIONKeith Kriha, Administrative DirectorMartin Barr, ControllerJosh Davidoff, Executive and

Development Assistant

ARTISTIC PLANNING & PRODUCTIONBeth Helgeson, Director of

Artistic Planning and AdministrationKari Fitterer, Director of

Artistic Planning and TouringJen Augello, Operations ManagerLaura Keller, Editorial ManagerSarissa Michaud, Production

ManagerGrace Parisi, Education and

Operations ManagerBrent Ness, Touring Coordinator

DEVELOPMENTSharon Griffin, Director of

DevelopmentFred Murdock, Associate Director,

Special Events and Young PatronsJanet Barnhart, Manager of

Institutional GivingJoe Hsu, Manager, Development

Operations and ResearchJulia Marshella, Manager of

Individual Giving, PatronsErik Rego, Manager of

Individual Giving, Friends

EDUCATIONBruce Adolphe, Resident Lecturer and

Director of Family ConcertsDerek Balcom, Director of Education

MARKETING/SUBSCRIPTIONS/ PUBLIC RELATIONS

Emily Holum, Director of Marketing and Communications

Trent Casey, Director of Digital Content

Desmond Porbeni, Associate Director, Audience and Customer Services

Melissa Muscato, Assistant Director, Marketing and Digital Content

Natalie Dixon, Manager, Audience and Customer Services

Sara Norton, Marketing AssociateTaylor Peterson, Marketing and

Development Intern

Administration

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 130 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's 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.

ABOUT THE CHAMBER MUSIC SOCIETY


Elinor L. Hoover, ChairRobert Hoglund, Vice ChairJoost F. Thesseling, Vice Chair Peter W. Keegan, SecretaryPaul B. Gridley, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinLinda S. DainesPeter DuchinJennifer P.A. GarrettWilliam B. GinsbergPhyllis GrannWalter L. HarrisPhilip K. HowardPriscilla F. KauffVicki KelloggJeehyun KimHelen Brown LevineJohn L. LindseyJames P. O'Shaughnessy

Tatiana PouschineRichard PrinsDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserDavid SimonSuzanne E. VaucherSusan S. WallachAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinPeter Frelinghuysen (1941–2018) Marit GrusonCharles H. HamiltonHarry P. KamenPaul C. LambertDonaldson C. Pillsbury (1940–2008)William G. SeldenAndrea W. Walton

GLOBAL COUNCILHoward DillonCarole G. Donlin John FouheyCharles H. HamiltonRita HauserJudy KosloffMike McKoolSassona NortonSeth NovattMorris RossabiSusan SchuurTrine SorensenShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth,

Founding Artistic Director

Directors and Founders

Artists of the 2018–19 SeasonTony Arnold, sopranoMané Galoyan, sopranoJoélle Harvey, sopranoJennifer Johnson Cano, mezzo-sopranoSara Couden, altoArseny Yakovlev, tenorNikolay Borchev, baritoneRandall Scarlata, baritoneYunpeng Wang, baritoneRyan Speedo Green, bass-baritoneInon Barnatan, pianoAlessio Bax, pianoMichael Brown, pianoGloria Chien, pianoLucille Chung, pianoLise de la Salle, piano*Gilbert Kalish, pianoHenry Kramer, pianoAnne-Marie McDermott, pianoPedja Muzijevic, pianoJon Kimura Parker, pianoJuho Pohjonen, pianoStephen Prutsman, pianoGilles Vonsattel, pianoOrion Weiss, pianoShai Wosner, pianoWu Han, pianoWu Qian, pianoPaolo Bordignon, harpsichordKenneth Weiss, harpsichordBenjamin Beilman, violinNicolas Dautricourt, violinFrancisco Fullana, violin*Chad Hoopes, violinDaniel Hope, violinBella Hristova, violinPaul Huang, violinAni Kavafian, violinIda Kavafian, violinErin Keefe, violinAlexi Kenney, violin*Kristin Lee, violinSean Lee, violinYura Lee, violin/violaCho-Liang Lin, violinDaniel Phillips, violinPhilip Setzer, violin

Alexander Sitkovetsky, violinArnaud Sussmann, violinDanbi Um, violinAngelo Xiang Yu, violin*Misha Amory, violaMark Holloway, violaHsin-Yun Huang, violaMatthew Lipman, violaPaul Neubauer, violaRichard O’Neill, violaDmitri Atapine, celloEfe Baltacigil, celloNicholas Canellakis, celloTimothy Eddy, celloDavid Finckel, celloClive Greensmith, celloJakob Koranyi, celloMihai Marica, celloDavid Requiro, cello*Keith Robinson, celloInbal Segev, celloNicholas Tzavaras, celloPaul Watkins, celloTimothy Cobb, double bassJoseph Conyers, double bassXavier Foley, double bass*Anthony Manzo, double bassDavid Starobin, guitarBridget Kibbey, harpSooyun Kim, fluteTara Helen O’Connor, fluteAdam Walker, flute*Ransom Wilson, fluteRandall Ellis, oboeJames Austin Smith, oboeStephen Taylor, oboeRomie de Guise-Langlois, clarinetTommaso Lonquich, clarinetSebastian Manz, clarinet*Anthony McGill, clarinetRicardo Morales, clarinetDavid Shifrin, clarinetMarc Goldberg, bassoonPeter Kolkay, bassoonDaniel Matsukawa, bassoonDavid Byrd-Marrow, hornDavid Jolley, horn

Jennifer Montone, hornEric Reed, hornStewart Rose, hornBrandon Ridenour, trumpetDavid Washburn, trumpetVictor Caccese, percussionDaniel Druckman, percussionAyano Kataoka, percussionEduardo Leandro, percussionIan David Rosenbaum, percussion

BORODIN QUARTET Ruben Aharonian, violin Sergei Lomovsky, violin Igor Naidin, viola Vladimir Balshin, cello

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

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

ESCHER STRING QUARTET Adam Barnett-Hart, violin Danbi Um, violin Pierre Lapointe, viola Brook Speltz, 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

*designates a CMS Two Artist


GOLD PATRONS ($2,500 to $4,999)Anonymous (3)Nasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichAmerican Friends of Wigmore HallJoan AmronJames H. ApplegateAxe-Houghton FoundationBrett Bachman and Elisbeth ChallenerLawrence B. BenensonAmerican Chai TrustConstantin R. Boden

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 EvninMr. Lawrence N. Field Dr. and Mrs. Fabius N. FoxMrs. Beatrice FrankDiana G. Friedman

Egon R. GerardEdda and James GillenMr. and Mrs. Philip HowardFrederick L. JacobsonKenneth Johnson and Julia TobeyPaul KatcherEd and Rosann KazChloë A. KramerHenry and Marsha LauferHarriet and William LembeckDr. Edward S. LohJennifer ManocherianNed and Francoise Marcus

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 FoundationSusan Elizabeth Carmel The Chisholm FoundationJoyce B. CowinHoward Gilman FoundationDr. and Mrs. Victor GrannEugene and Emily GrantJerome L. Greene FoundationMr. and Mrs. Paul B. Gridley

Rita E. and Gustave M. HauserElinor and Andrew HooverJane and Peter KeeganLincoln 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 Alexi KenneyThomas Brener and Inbal Segev-BrenerSally D. and Stephen M. Clement, IIIJoseph M. CohenLinda S. DainesJenny and Johnsie GarrettWilliam and Inger G. GinsbergGail and Walter HarrisFrank and Helen Hermann Foundation

Robert and Suzanne HoglundVicki and Chris KelloggAndrea Klepetar-FallekBruce and Suzie KovnerMetLife FoundationRichard Prins and Connie SteensmaNew York City Department of Cultural AffairsDr. Annette U. RickelDr. Beth Sackler and Mr. Jeffrey Cohen

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 AbramsonJonathan Brezin and Linda KeenColburn FoundationCon EdisonThe Gladys Krieble Delmas FoundationRobert and Karen DesjardinsHoward Dillon and Nell Dillon-ErmersCarole DonlinThe Lehoczky Escobar Family David Finckel and Wu Han

John and Marianne FouheySidney E. Frank FoundationMr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Hamilton Generation FundIrving Harris FoundationMichael Jacobson and Trine SorensenPriscilla F. KauffJeehyun KimJudy and Alan Kosloff

Helen Brown LevineMr. Seth Novatt and Ms. Priscilla NatkinsMarnie S. PillsburyTatiana PouschineJudith and Herbert SchlosserMrs. Robert SchuurJoe and Becky StockwellCarlos Tome and Theresa KimVirginia B. Toulmin FoundationSusan and Kenneth WallachMrs. Andrea W. Walton

PLATINUM PATRONS ($5,000 to $9,999)Anonymous (2)William and Julie Ballard Murat BeyazitThe Jack Benny Family FoundationMr. and Mrs. John D. CoffinNathalie and Marshall CoxValerie and Charles DikerMrs. Barbara M. ErskineMr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationNaava and Sanford Grossman

Marlene Hess and James D. Zirin, in loving memory of Donaldson C. Pillsbury

The Hite FoundationAlfred and Sally JonesMr. and Mrs. Hans KilianC.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. Curran

The Robert and Joyce Menschel Family Foundation

Achim and Colette Moeller Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperThomas A. and Georgina T. Russo

Family FundLynn StravsMartin and Ruby VogelfangerPaul and Judy WeislogelNeil Westreich

Artistic Directors Circle

Patrons


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

ALLEGRO ($600 to $999)

Anonymous (7)Richard L. BaylesMaurice S. and Linda G. Binkow

Philanthropic FundAnn S. ColeColleen F. ConwayAllyson and Michael ElyMr. Stephen M. FosterDorothy and Herbert FoxKris and Kathy HeinzelmanAlice HenkinMr. and Mrs. James R. Houghton

Thomas Frederick JamboisPatricia Lynn Lambrecht Leeds Family FoundationThe David Minkin FoundationLinda Musser Anju Narula Dot and Rick NelsonMimi PoserMs. Kathee RebernakMr. David RitterMs. Linda C. Rose

Mr. David RosnerCharles S. SchregerDiana and John SidtisDr. Robert SilverEsther Simon Charitable TrustBarbaralee Diamonstein-Spielvogel and

Hon. Carl SpielvogelAndrea and Lubert StryerMs. Jane V. TalcottJill and Roger WittenFrank Wolf

Sophia Ackerly and Janis BuchananMrs. Albert Pomeroy BedellBrian Carey and Valerie TomaselliMrs. Margherita S. FrankelDorothy F. GlassAbner S. GreeneSharon GurwitzEvan and Florence JanovicPete KlostermanPeter KrollBarbara and Raymond LeFebvre

Mr. Stanley E. LoebJane and John LooseThomas Mahoney and Emily Chien,

in honor of Paul and Linda GridleyLinda and Thomas Marshella,

in memory of Donald F. HumphreyMerrill Family FundDr. and Mrs. Richard R. NelsonLisa and Jonathan SackMonique and Robert SchweichAnthony 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 July 3, 2018)

Friends

YOUNG PATRONS* ($500+)Jordan C. AgeeRaoul Boisset Samuel Coffin and Tobie CornejoJamie ForsethSusanna GoldfingerRobert J. HaleyYoshiaki David Ko

Liana and Joseph Lim Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason Nong

Eren Erdemgil Sahin and Erdem SahinShu-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 (4)Alan AgleHarry E. AllanLawrence H. AppelDr. Anna BalasBetsy Shack BarbanellLillian BarbashMr. and Mrs. William G. BardelCaryl Hudson BaronMr. and Mrs. T. G. BerkDon and Karen Berry Adele 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 LazerBetsy Cohn, in honor of Suzanne DavidsonJon 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. FreemanRosalind and Eugene J. Glaser

Judith HeimerDr. and Mrs. Wylie C. HembreeCharles and Nancy HoppinDr. Beverly Hyman and

Dr. Lawrence BirnbachBill and Jo Kurth Jagoda, in honor of

David Finckel and Wu HanDr. 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 FundCarlene 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 LeffMark and Pat RochkindDr. 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. SlaterJudith and Morton SloanAnnaliese SorosDr. Margaret Ewing SternDeborah F. StilesAlan and Jaqueline StuartJoseph C. TaylorErik and Cornelia ThomsenJudith and Michael Thoyer Leo J. TickHerb and Liz TulchinSalvatore and Diane VaccaMr. and Mrs. Joseph ValenzaPierre and Ellen de VeghDr. Judith J. Warren and

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

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

Mr. and Mrs. Leigh MillerMartin and Lucille Murray Sassona Norton and Ron FillerSusan B. Plum Mr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda Schultz

Peter and Sharon SchuurMichael W. SchwartzFred and Robin SeegalCarol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. SingerDiane Smook and Robert PeduzziGary So, in honor of Sooyun Kim

Sally WardwellPatricia and Lawrence WeinbachLarry Wexler and Walter BrownJanet Yaseen and the

Honorable Bruce M. KaplanSandra and Franklin ZieveNoreen and Ned Zimmerman


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 49th 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 49 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

Documents

ORION WEISS, piano ERIN KEEFE, violin PAUL NEUBAUER, …I stood a thousand times. Leaning on my staff, I looked down into the valley. I followed my sheep With my dog at my side. I