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. FRIDAY EVENING, FEBRUARY 9, 2018, AT 7:30 3,792ND CONCERT Alice Tully Hall, Starr Theater, Adrienne Arsht Stage Home of The Chamber Music Society of Lincoln Center ALESSIO BAX, piano BENJAMIN BEILMAN, violin ANI KAVAFIAN, violin KRISTIN LEE, violin PAUL NEUBAUER, viola DAVID REQUIRO, cello CÉSAR FRANCK (1822–1890) FRANCK FRANCK Prélude, choral, et fugue for Piano (1884) BAX Sonata in A major for Violin and Piano (1886) Allegretto ben moderato Allegro Recitativo—Fantasia Allegretto poco mosso BEILMAN, BAX INTERMISSION Quintet in F minor for Piano, Two Violins, Viola, and Cello (1879) Molto moderato quasi lento—Allegro Lento, con molto sentimento Allegro non troppo, ma con fuoco BAX, KAVAFIAN, LEE, NEUBAUER, REQUIRO PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES. Photographing, sound recording, or videotaping this performance is prohibited. THE ALLURING MUSIC OF FRANCK
Transcript
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.
FRIDAY EVENING, FEBRUARY 9, 2018, AT 7:30 3,792ND CONCERT
Alice Tully Hall, Starr Theater, Adrienne Arsht StageHome of The Chamber Music Society of Lincoln Center
Sonata in A major for Violin and Piano (1886) Allegretto ben moderato Allegro Recitativo—Fantasia Allegretto poco mossoBEILMAN, BAX
INTERMISSION
Quintet in F minor for Piano, Two Violins, Viola, and Cello (1879) Molto moderato quasi lento—Allegro Lento, con molto sentimento Allegro non troppo, ma con fuocoBAX, KAVAFIAN, LEE, NEUBAUER, REQUIRO
PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES.Photographing, sound recording, or videotaping this performance is prohibited.
THE ALLURING MUSIC OF FRANCK
www.ChamberMusicSociety.org
David Finckel Wu HanARTISTIC DIRECTORS
Dear Listener,
Today you are attending a concert of historic significance for CMS: its first-ever all-Franck program. In researching the history of Franck performances here we found something of what we expected, which is not uncommon: Franck’s famous, and only, piano quintet, which closes the concert, has been performed here far more often than even his iconic violin and piano sonata. In fact, for one of us, it was part of our very first concert at CMS, on December 11, 1982, with Charles Wadsworth partnering the Emerson Quartet on its debut performance as the first resident quartet of the Society. Today is our first hearing of the Prélude, choral, et fugue. And we have still not yet heard even one of Franck’s four piano trios, which were praised and performed by Franz Liszt. We’ll get to them.
César Franck, born in Liège in what is now Belgium, moved to Paris to study music at a young age, and needed to change to French citizenship for admission to the conservatory. Having endured a rocky career and tumultuous family life (he literally walked away from home at age 24), he nevertheless was a diligent student who showed great gifts, especially at the organ and in improvisation. After the age of 25, his career began to slowly turn in a positive direction, although his compositions were often met with sharply divided opinions. About the works on our concert, however, there was no shortage of praise during Franck’s life, and the violinist Eugène Ysaÿe, for whom the sonata was composed as a wedding present, toured with it for the rest of his career, making it one of the most popular classical compositions of the day.
Franck’s rare but extraordinary chamber works beg the opportunity to be digested as fully as the rest of our repertoire, and the immersion we offer today will be a unique, first-time experience for us all. We look forward to reveling in Franck’s dignified, yet sensuous musical language, through works that are as carefully crafted as Bach, as forward-looking as Wagner, and as exciting as Liszt—all heroes of Franck.
Enjoy the performance,
ABOUT TONIGHT’S PROGRAM
The Chamber Music Society of Lincoln Center
NOTES ON THE PROGRAM
César Franck, the serious and self-effacing artist who came to be venerated as France’s greatest church musician, started his career in the hurly-burly realm of the touring virtuoso. His father, Nicholas-Joseph, divined the boy’s talent early, and entered him in the Royal Conservatory in the family’s hometown of Liège, Belgium with the hope of spawning a child prodigy who would secure fame and fortune. César blazed through his studies and won a first prize in singing when he was nine and another one for piano at age 12. That same year, Nicholas-Joseph, who forced his son to practice incessantly and to compose some morceaux for his recitals, showed off his budding virtuoso on a tour around the country, including a performance in Brussels in the presence of Leopold I, King of the Belgians. Father Franck soon determined that his son’s quickly burgeoning skills could not be sufficiently nurtured in provincial Liège, and he moved his entire clan to Paris in 1835 so that the lad could be enrolled at the Conservatoire. César gave his first recital in the city on November 17. Much to Nicholas-Joseph’s chagrin, the event garnered little public notice and it was not until Franck appeared again, in
February 1837, that he received formal press reviews. Though his father cajoled him for the next decade to pursue his concert career, Franck came to realize that he was fit neither constitutionally nor musically to follow such a course, and soon after his marriage to a soubrette from the Comédie Française in 1848, he simply abandoned chez Papa when the rest of the family was out for a walk one afternoon. He never gave another thought to the rigorous life of the traveling virtuoso.
After his distasteful experience with the piano as a youth, it is hardly surprising that Franck did not compose again for the instrument until 1884, when he wrote the cyclical triptych Prelude, Chorale, and Fugue; three years later, he created a sequel for it with the Prelude, Aria, and Finale. While its title indicates its indebtedness to the keyboard works of Johann Sebastian Bach, the Prelude, Chorale, and Fugue is very much music of Late Romantic provenance, rich in harmony, powerful in expression, and masterful in formal integration. The Prelude, filled, like its Baroque namesake, with sweeping figurations and improvisatory-sounding passages, is at once religiously mystical and viscerally emotional, the meeting of sacred and profane that Franck mediates in his finest music. The Chorale, with its somber melody and its downward striding bass line, touches the essence of tragedy. An anticipatory passage leads to the Fugue, which begins in the expected manner but evolves into a free contrapuntal fantasy on its thematic components (as
CÉSAR FRANCK Born December 10, 1822 in Liège, Belgium. Died November 8, 1890 in Paris.
Composed in 1884. Tonight is the first CMS performance of
this piece. Duration: 20 minutes
Prélude, choral, et fugue for Piano
www.ChamberMusicSociety.org
do many of Bach’s fugues). The majestic formal cycle of the work is closed when the figurations of the Prelude and the
striding Chorale melody are threaded through the counterpoint of the closing pages. u
Franck first considered writing a violin sonata in 1859, when he offered to compose such a piece for Cosima von Bülow (née Liszt, later Wagner) in appreciation for some kind things she had said about his vocal music. He was, however, just then thoroughly absorbed with his new position as organist at Sainte-Clotilde, and was unable to compose anything that year except a short organ piece and a hymn. (His application to his duties had its reward—he occupied the prestigious post at Sainte-Clotilde until his death 31 years later.) No evidence of any work on the proposed sonata for Cosima has ever come to light, and it was not until 20 years later that he first entered the realm of chamber music with his Piano Quintet of 1879. Franck’s next foray into the chamber genres came seven years after the quintet with his Sonata for Violin and Piano, which was composed as a wedding gift for his friend and Belgian compatriot, the dazzling virtuoso Eugène Ysaÿe, who had been living in Paris since 1883 and befriending most of the leading French musicians; Ysaÿe first played the
piece privately at the wedding ceremony on September 28, 1886. (Chausson and Debussy also composed pieces for Ysaÿe.) In tailoring the sonata to the warm lyricism for which Ysaÿe’s violin playing was known, Franck created a work that won immediate and enduring approval, and which was instrumental in spreading the appreciation for his music beyond his formerly limited coterie of students and local devotees. The formal premiere, given by Ysaÿe and pianist Léontine Bordes-Pène at the Musée moderne de peinture in Brussels on December 16, 1886, was an extraordinary event, of which Franck’s pupil Vincent d’Indy left the following account: “It was already growing dark as the sonata began. After the first Allegretto, the players could hardly read their music. Unfortunately, museum regulations forbade any artificial light whatever in rooms containing paintings; the mere striking of a match would have been an offense. The audience was about to be asked to leave but, brimful of enthusiasm, they refused to budge. At this point, Ysaÿe struck his music stand with his bow, demanding, ‘Let’s go on!’ Then, wonder of wonders, amid darkness that now rendered them virtually invisible, the two artists played the last three movements from memory with a fire and passion the more astonishing in that there was a total lack of the usual visible externals that enhance a concert performance. Music, wondrous and alone, held sovereign sway in the
CÉSAR FRANCK
Composed in 1886. Premiered on December 16, 1886, in
Brussels by violinist Eugène Ysaÿe and pianist Léontine Bordes-Pène.
First CMS performance on April 11, 1976, by violinist Kyung Wha Chung and pianist Charles Wadsworth.
Duration: 28 minutes
Sonata in A major for Violin and Piano
The Chamber Music Society of Lincoln Center
blackness of night. The miracle will never be forgotten by those present.”
The sonata excited the enthusiasm not only of musicians, but also inspired other artists to capture its essence in their particular media. Under the work’s influence, the sculptor Victor Rousseau created a statue titled Ecstasy, in which two figures reach upwards in thankfulness for the divine music issuing from the heavens. Camille Mauclair’s novel The City of Light contains a vivid description of Ysaÿe and Chausson performing the sonata in Rodin’s studio. The most famous literary passage prompted by Franck’s sonata, however, appears in the first volume of Marcel Proust’s Remembrance of Things Past. Of the interplay of the instruments at the work’s beginning, Proust wrote, “At first, the piano complained alone, like a bird deserted by its mate; the violin heard and answered it, as from a neighboring tree. It was as at the first beginning of the world, as if there were not yet but these twain upon the earth, or rather in this world closed against all the rest, so fashioned by the logic of its creator that in it there should never be any but themselves, the world of this sonata.”
The quality of verdant lyricism that dominates Franck’s sonata is broken only by the anticipatory music of the second movement and the heroic passion that erupts near the end of the finale. The work opens in a mood of twilit tenderness with a main theme built largely from rising and falling thirds, an intervallic germ from which later thematic material is derived to help unify the overall structure of the sonata. The piano alone plays the second theme, a broad melody given above an arpeggiated accompaniment never shared with the violin. The movement’s short central section, hardly a true development at all, consists only of a modified version of the main theme
played in dialogue between violin and piano. The recapitulation of the principal and secondary subjects (dolcissima ... semper dolcissima ... molto dolcissima—“sweetly ... always sweetly ... very sweetly,” cautions the score repeatedly) rounds out the form of the lovely opening movement. The quick-tempo second movement fulfills the function of a scherzo in the sonata, though its music is more in the nature of an impetuous intermezzo. Two strains alternate to produce the movement’s form. One (“scherzo”) is anxious and unsettled, though it is more troubled than tragic; the other (“trio”) is subdued and rhapsodic. They are disposed in a pattern that yields a fine balance of styles and emotions: scherzo—trio—scherzo—trio—scherzo. The third movement (Recitativo—Fantasia) begins with a cyclical reference to the third-based germ motive that opened the sonata. The violin’s long winding line in the Recitativo section is succeeded by the Grecian purity of the following Fantasia, one of the most chaste and moving passages in the entire instrumental duet literature. The main theme of the finale is so richly lyrical that its rigorous treatment as a precise canon at the octave is charming rather than pedantic. When the piano and violin do eventually take off on their own paths, it is so that
In tailoring the sonata to the warm lyricism for which Ysaÿe’s violin playing was known, Franck created a work that won immediate and enduring approval
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the keyboard may recall the chaste melody of the preceding Fantasia. Other reminiscences are woven into the movement—a hint of the third-based germ motive in one episode, another phrase from the Fantasia—which unfolds
as a free rondo around the reiterations of its main theme in a variety of keys. The sonata is brought to a stirring climax by a grand motive that strides across the closing measures in heroic step-wise motion. u
At the concert of the Société Nationale de Musique in Paris on December 14, 1878, César Franck’s Piano Trio, Op. 2 was given its first performance in France—36 years after it was composed. Franck had not written another piece of chamber music since the trio of 1842, but its enthusiastic Parisian reception encouraged his many students, disciples, and admirers to urge him to take up the chamber forms again. Franck accepted their advice, and he settled on a quintet for piano and strings, a genre then in vogue in Paris because of recent such works by Alexis de Castillon, Félicien David, and George Onslow, as well as the continuing popularity of the piano quintets by Schumann and Brahms. Franck worked on the score throughout 1879 (buoyed in part by another successful performance of the trio on January 25), and completed the piece shortly before its premiere at the Société Nationale concert on January 17, 1880.
The event produced one of the most extraordinary scenes in the annals of French music, when Camille Saint-Saëns, founder of the Société Nationale, pianist in the premiere, and recipient of the work’s dedication, stormed off the stage at the end of the performance, pointedly leaving behind the score that the composer had presented to him. Saint-Saëns was incensed, it seems, by the music’s intense, almost febrile passion, a quality that the premiere audience acclaimed but from which the fastidious Camille surmised illicit motivations. César Franck, exemplary church organist, author of high-minded compositions, head of a well-ordered family life with his wife and children—the purported Pater Seraphicus of French music—was rumored to have been inspired to write the quintet by his feelings for a student almost half his age, a young female composer named Augusta Holmès. Holmès, in her early 30s when Franck composed his quintet, was born in Paris of Irish parents, and displayed considerable talents as a poet, singer, and all-round musician. Even Saint-Saëns claimed that “we are all of us in love with her,” and dedicated to her his symphonic tone poem Rouet d’Omphale (Omphale’s Spinning Wheel). Vincent d’Indy, Franck’s devoted pupil and eventual biographer, said, “I am completely infatuated with the beautiful Augusta!” Franck also
CÉSAR FRANCK
Composed in 1879. Premiered on January 17, 1880, in Paris
by pianist Camille Saint-Saëns and the Marsick Quartet.
First CMS performance on April 9, 1972, by pianist André Watts, violinists Ani Kavafian and Jaime Laredo, violist Walter Trampler, and cellist Leslie Parnas.
Duration: 35 minutes
Quintet in F minor for Piano, Two Violins, Viola, and Cello
The Chamber Music Society of Lincoln Center
seems not to have been immune to her apparently irresistible charms. In speaking with one of the composer’s students, someone once claimed that Franck was a mystic and received the reply, “A mystic? Go ask Augusta Holmès.” The bitter condemnation that Félicité Franck heaped upon her husband’s Piano Quintet indicates that she was angry at more than just the musical content of the piece. Even the worldly Franz Liszt, a long-time champion of Franck’s music, thought that the
quintet’s vehement expression may have overstepped the bounds of proper chamber music. It may (or may not) be significant that Franck’s next composition was a beatific cantata on the Biblical story of Rebecca; Félicité applauded the work’s decorum and reserve.
The quintet’s opening movement is a large, thematically rich sonata form that draws much of its material from the two starkly contrasted motives presented in the introduction: a dramatically impassioned descending line in the violin
AUGUSTA HOLMÈSComposer Augusta Holmès (1847–1903) is most famous for inspiring
Franck’s Piano Quintet and studying with him, but she had a distinguished
career independent of her teacher. Despite being unable to attend the
Paris Conservatoire, she pursued private studies with Franck, and managed
to flourish in the male-dominated Paris music scene. She was a prolific
composer, writing four operas, 12 symphonic tone poems, a handful of
other orchestral and chamber works, plus over 130 songs. The high point of
her career was a gigantic performance at the 1889 Paris World’s Fair of the
French nationalist piece Ode triomphale for soloists, chorus, and orchestra
that required over 1,000 performers. Rollo Myers described the scene as
unfolding “on a huge stage, with elaborate scenery, Gobelin tapestries,
special lighting, and a background of flags and banners, in front of which
marched and sang a huge chorus…”
Her growing fame led to a production at the
Paris Opéra, an honor that Franck himself never
achieved. Her 1895 opera La montagne noir
(The Black Mountain), on a libretto written by the
composer, had a typical-for-the-time plot in which
a Turkish woman seduces a Montenegrin soldier.
Unfortunately, it was a critical flop and only
ran to 13 performances. Though she continued
composing, her career didn’t fully recover in her
eight remaining years. She ended her days in
Paris, and is best remembered for her songs. Augusta Holmès
and a humble piano reply in sad, rocking rhythms. These two ideas are repeated in juxtaposition to lead without pause to the main body of the movement, whose principal subject is derived from the introduction’s descending motive. A wealth of complementary themes follows, most lyrical, many with a restlessness that provides the music’s dominant emotional personality of yearning tinged with inchoate tragedy.
The emotional temperature of the quintet drops somewhat for the Lento, whose main theme is presented by the violin in disjunct phrases floated upon a pulsing piano accompaniment. The movement’s subsidiary subject is given in dialogue between the first violin and cello with a smooth, wide-ranging counterpoint provided by the piano.
A faint echo of a theme from the first movement provides a sense of cyclical unity. A brief development section and a condensed recapitulation complete the movement.
An agitated figure in the violins ushers in the finale’s principal theme, a tragic-heroic motive in leaping rhythms first stated in its full form by unison strings. The second theme, derived from a motive heard in the Lento, is played by the piano against a rustling string background. After the development, which is based largely on the main theme, and the recapitulation, the quintet ends with a triumphant coda whose broad theme is a transformation of a motive used in both earlier movements, thus unifying the form of the entire work. u
WANDERLUSTSUNDAY, FEBRUARY 11, 2018, 5:00 PM ALICE TULLY HALL
In a single program, music transports us from the brilliant sun and vivid colors of Turina’s Spain to the majestic fjords and icy winds of Grieg’s Norway. Dvořák’s String Quintet, Op. 77, brings us to our final destination—the lush forests and vibrant folklore of Bohemia.
THROUGH THE GREAT WARTUESDAY, FEBRUARY 20, 2018, 7:30 PM ALICE TULLY HALL
The deeply felt perspectives of Hungarian, French, and English composers merge in a unified, transnational condemnation of war and a yearning for peace.
UPCOMING CONCERTS AT CMS
The Chamber Music Society of Lincoln Center
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 including three concerts at the famed Teatro Colón in Buenos Aires. 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 and a former member of Chamber Music Society Two, he resides in New York City with his wife, pianist Lucille Chung, and their daughter.
BENJAMIN BEILMAN American violinist Benjamin Beilman has won praise for his passionate performances and deep rich tone, which the New York Times described as “muscular with a glint of violence.” In 2016 Warner Classics released his debut recital CD. Highlights this season include his return to the Philadelphia Orchestra, both at home and on tour at Carnegie Hall; a ten-city tour of Australia; his debut with Jaap van Zweden and the Dallas Symphony; and the world premiere of a new concerto written for him by Edmund
Finnis with the London Contemporary Orchestra. He also returns to Europe to play with the London Chamber Orchestra at Cadogan Hall, and for recitals at the Louvre, Wigmore Hall, the Verbier Festival, and Aix-en-Provence Festival. The recipient of the prestigious 2014 Borletti-Buitoni Trust Fellowship, a 2012 Avery Fisher Career Grant, and a 2012 London Music Masters Award, he won First Prize in the 2010 Young Concert Artists International Auditions, YCA’s Helen Armstrong Violin Fellowship, a People’s Choice Award, and was named First Prize winner of the 2010 Montréal International Musical Competition. Mr. Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian, and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy. He plays the “Engleman” Stradivarius from 1709 generously on loan from the Nippon Music Foundation.
ABOUT THE ARTISTS
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ANI KAVAFIAN Violinist Ani Kavafian continues to enjoy a busy career as a chamber musician, soloist, and teacher. A full professor at Yale, she has taught at the Mannes and Manhattan schools of music, Queens College, McGill, and Stony Brook universities. As a soloist, she has appeared with the New York Philharmonic, the Philadelphia and Cleveland orchestras, and the Los Angeles and Saint Paul chamber orchestras. With her sister, Ida, she performs around the country in recitals. This past year, the duo
performed in Armenia with the Armenian Philharmonic. 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 North America, 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. She was a winner of the Young Concert Artist International auditions and now serves as president of its Alumni Association. 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 has been a guest concertmaster of the Seattle Symphony and The New Haven Symphony Orchestra, with which she has been a frequent soloist. Her instrument is the 1736 “Muir-McKenzie” Stradivarius.
KRISTIN LEE Recipient of a 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and Astral Artists’ 2010 National Auditions, Kristin Lee is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. She has appeared with top orchestras such as The Philadelphia Orchestra, St. Louis Symphony, New Jersey Symphony, St. Paul Chamber Orchestra, the Ural Philharmonic
of Russia, the Korean Broadcasting Symphony, and in recital on many of the world’s finest stages including Carnegie Hall, David Geffen Hall, Kennedy Center, Kimmel Center, Phillips Collection, Metropolitan Museum of Art, Louvre Museum, Korea’s Kumho Art Gallery, and the Ravinia Festival. An accomplished chamber musician, she has appeared with Camerata Pacifica, Music@Menlo, La Jolla Festival, Medellín Festicámara of Colombia, the El Sistema Chamber Music festival of Venezuela, and the Sarasota Music Festival. She is the concertmaster of the Metropolis Ensemble, with which she premiered Vivian Fung’s Violin Concerto, written for her, which appears on Fung’s CD Dreamscapes (Naxos) and won the 2013 Juno Award. Born in Seoul, Ms. Lee moved to the US to study under Sonja Foster and soon after entered The Juilliard School’s Pre-College. She holds a master’s degree from The Juilliard School under Itzhak Perlman. A former member of CMS Two, she is a member of the faculty of the Aaron Copland School of Music at Queens College and the co-founder and artistic director of Emerald City Music in Seattle.
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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.” This season he will appear in recital and with orchestras in the U.S. and Asia including his Chicago Symphony subscription debut with Riccardo Muti performing Mozart’s Sinfonia Concertante with violinist Robert Chen. His recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia, a work he premiered with the St. Paul Chamber, Los
Angeles Chamber, and Idyllwild Arts orchestras and the Chautauqua Symphony, will be released on Signum Records. 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, and in 2016 he released a solo album of music recorded at Music@Menlo. Mr. Neubauer was recently appointed artistic director of the Mostly Music series in New Jersey and is on the faculty of The Juilliard School and Mannes College.
DAVID REQUIRO First Prize winner of the 2008 Naumburg International Violoncello Competition, David Requiro 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 also 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 September 2018. Mr. Requiro’s teachers have included Milly Rosner, Bonnie Hampton, Mark Churchill, Michel Strauss, and Richard Aaron. In 2015, he joined the faculty of the University of Colorado Boulder as assistant professor. He has previously served as artist-in-residence at the University of Puget Sound and guest lecturer at the University of Michigan.
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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 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
David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive Director
ADMINISTRATIONKeith Kriha, Administrative DirectorMartin Barr, ControllerSusan Mandel, 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
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
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 Chamber Music Society of Lincoln Center
James P. O'Shaughnessy, ChairmanElinor L. Hoover, Chairman ElectElizabeth W. Smith, Vice ChairmanRobert Hoglund, TreasurerPeter W. Keegan, Secretary
Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinLinda S. DainesPeter DuchinPeter Frelinghuysen William B. GinsbergPhyllis GrannPaul B. GridleyWalter L. HarrisPhilip K. HowardPriscilla F. KauffVicki KelloggJeehyun Kim
Helen Brown LevineJohn L. LindseyTatiana PouschineRichard PrinsDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserDavid SimonJoost F. ThesselingSuzanne E. VaucherAlan G. WeilerJarvis WilcoxKathe G. Williamson
DIRECTORS EMERITIAnne CoffinMarit GrusonCharles H. HamiltonHarry P. KamenPaul C. LambertDonaldson C. Pillsbury (1940–2008)
William G. SeldenAndrea W. Walton
GLOBAL COUNCILHoward DillonJohn FouheyCharles H. HamiltonRita HauserJudy KosloffMike McKoolSeth NovattJoumana RizkMorris RossabiSusan SchuurTrine SorensenShannon Wu
FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth,
KALICHSTEIN-LAREDO-ROBINSON TRIO Joseph Kalichstein, piano Jaime Laredo, violin Sharon Robinson, cello
SITKOVETSKY TRIO Wu Qian, piano Alexander Sitkovetsky, violin Isang Enders, cello
* designates a CMS Two Artist
www.ChamberMusicSociety.org
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 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. HauserElinor and Andrew Hoover
Jane 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'ShaughnessyBlanchette Hooker Rockefeller Fund
The 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)The Achelis and Bodman FoundationAnonymous (2)Ronald AbramsonEstate of Marilyn Apelson Jonathan Brezin and Linda KeenColburn FoundationCon EdisonThe Gladys Krieble Delmas FoundationJon Dickinson and Marlene BurnsHoward Dillon and Nell Dillon-ErmersThe Lehoczky Escobar Family David Finckel and Wu HanJohn and Marianne Fouhey
Sidney 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. KauffVicki and Chris KelloggJeehyun KimDouglas 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 Wallach
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 CoxRobert and Karen DesjardinsValerie 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 FoundationC.L.C. Kramer FoundationJonathan E. LehmanHelen Brown LevineLeon Levy FoundationJane and Mary MartinezMr. and Mrs. H. Roemer McPhee,
in memory of Catherine G. Curran
The Robert and Joyce Menschel Family Foundation
Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperThomas A. and Georgina T. Russo
Family FundLynn G. StrausMartin 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. Benenson
American Chai TrustConstantin R. BodenMr. and Mrs. John D. CoffinThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerVirginia Davies and Willard TaylorSuzanne DavidsonJoseph and Pamela DonnerHelen W. DuBoisJudy and Tony Evnin
Dr. and Mrs. Fabius N. FoxMrs. Beatrice FrankFreudenberg ArtsDiana G. FriedmanFrederick L. JacobsonKenneth Johnson and Julia TobeyAlfred and Sally JonesPaul KatcherEd and Rosann KazMr. and Mrs. Hans Kilian
The Chamber Music Society of Lincoln Center
Mr. and Mrs. Robert W. KleinschmidtJudy and Alan KosloffChloë A. KramerHarriet and William LembeckJennifer ManocherianDr. and Mrs. Michael N. MargoliesSassona Norton and Ron FillerMr. and Mrs. Joseph Rosen
The Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda SchultzPeter and Sharon SchuurMichael W. SchwartzCarol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. Singer
Gary So, in honor of Sooyun KimMrs. Andrea W. WaltonSally WardwellPatricia and Lawrence WeinbachLarry Wexler and Walter BrownJanet Yaseen and the
Honorable Bruce M. KaplanNoreen and Ned Zimmerman
YOUNG PATRONS* ($500+)Jordan C. AgeeRaoul Boisset Jamie ForsethRobert J. HaleyYoshiaki David KoLiana and Joseph Lim
Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason Nong
Nikolay Pakhomov and Aneta SzpyrkaEren Erdemgil Sahin and Erdem SahinShu-Ping ShenErin 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. AppelBrett Bachman and Elisbeth ChallenerDr. Anna BalasBetsy Shack BarbanellMr. 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 FoundationJoan DyerThomas E. Engel, Esq.Mr. Arthur FergusonHoward and Margaret FluhrMr. Andrew C. Freedman and
Ms. Arlie SulkaMr. and Mrs. Burton M. FreemanEdda and James Gillen
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. KraussRichard and Evalyn LambertCraig Leiby and Thomas ValentinoDr. Donald M. LevineJames Liell Walter F. and Phyllis Loeb Family Fund
of the Jewish Communal FundDr. Edward S. LohNed and Francoise MarcusCarlene and Anders MaxwellEileen E. McGann Ilse MelamidMerrick Family FundMr. and Mrs. Leigh MillerBernice 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 SloanDiane Smook and Robert PeduzziAnnaliese SorosDr. Margaret Ewing SternDeborah F. StilesAlan and Jaqueline StuartSusan Porter TallJoseph C. TaylorErik and Cornelia ThomsenLeo J. TickSalvatore 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 WintererGilda and Cecil Wray, Jr.
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 ElyMr. Stephen M. FosterKris and Kathy HeinzelmanDr. and Mrs. Wylie C. HembreeMr. and Mrs. James R. HoughtonThomas Frederick JamboisThe David Minkin Foundation
Dot and Rick NelsonChristine PishkoMimi Poser James B. RanckMs. Kathee RebernakMs. Linda C. RoseMr. David RosnerCharles S. Schreger Monique and Robert SchweichMr. and Mrs. William G. Selden
Robert A. SilverEsther Simon Charitable TrustBarbaralee Diamonstein-Spielvogel and
Ambassador Carl SpielvogelAndrea and Lubert StryerMs. Jane V. TalcottHerb and Liz TulchinJill and Roger WittenFrank Wolf
Anonymous (2)Mrs. Albert Pomeroy BedellBrian Carey and Valerie TomaselliDorothy and Herbert FoxMrs. Margherita S. FrankelDorothy F. GlassMiriam GoldfineAbner S. GreeneSharon GurwitzEvan and Florence JanovicPete KlostermanPeter Kroll
Peter and Edith KubicekLinda LarkinLeeds Family FoundationBarbara and Raymond LeFebvreMr. Stanley E. LoebLinda and Tom Marshella, in memory
of Donald F. HumphreyMerrill Family FundDr. and Mrs. Richard R. NelsonMs. Jessie Hunter PriceAmanda ReedLisa and Jonathan Sack
Diana and John SidtisAnthony R. SokolowskiMr. and Mrs. Myron Stein,
in honor of Joe CohenDr. Charles and Mrs. Judith
Lambert SteinbergMr. David P. StuhrSherman TaishoffMr. and Mrs. George WadeWillinphila FoundationGro V. and Jeffrey S. Wood
*as of January 31, 2018
Friends
*For more information, call (212) 875-5216 or visit chambermusicsociety.org/yp
www.ChamberMusicSociety.org
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 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.
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
