CHAMBER MUSIC FESTIVAL AND INSTITUTE The Fifteenth-Anniversary Season: The Glorious Violin July 14–August 5, 2017 Welcome to Music@Menlo Dear Friends, In celebration of Music@Menlo’s fifteenth season, we are delighted to once more offer a festival that illuminates the art of in a uniquely engrossing way. This summer, we will focus not on a composer or musical style but rather on an instrument whose evolution in the hands of master makers and immortal composers constitutes one of music’s richest stories: the violin. A miracle of technology that has not required an upgrade for over three hundred years, the violin has been a driving force in the flowering of musical art. After the Cremonese master Antonio Stradivari perfected its design in the early eighteenth century, the violin had a newfound power to sing, dazzle, and entrance that enabled composers to realize their musical dreams. No musical genre is more indebted to the modern violin family than chamber music. Just imagine: without the innovations of Andrea Amati, the leading inventor of the violin family, we would have no Beethoven quartets, Brahms sextets, or Shostakovich trios! From the innovative composer-performers of the Baroque period, through the technical wizards of the Romantic era, to the pioneers of instrumental expression in the twentieth century, Music@Menlo’s 2017 season celebrates the synergies between immortal composers and the great violinists. Seven Concert Programs, augmented by an extraordinary series of five Carte Blanche Concerts, trace and illuminate the in-tandem evolution of violin playing and musical composition. This festival’s programs would not be possible without Music@Menlo’s evolv- ing family of the finest violinists of our time. With a specially selected group of virtuoso violinists tackling the violin repertoire’s most demanding works, we have incomparable performances on the summer horizon. Add to the mixture the exceptional Escher , pianists Orion Weiss and Juho Pohjonen, violists Roberto Díaz and Hsin-Yun Huang, cellists Nicholas Canellakis, Clive Greensmith, and Keith Robinson, and the renowned French hornist Radovan Vlatkovi´c, and we have a festival of truly extraordinary depth and excitement. Furthermore, an unprecedented series of five Encounters, hosted by a diverse cast of Encounter Leaders, illuminates the violin’s history in greater depth than even we thought possible. Please join us for this exhilarating festival, where the violin and its makers, play- ers, and composers are celebrated in all their splendor.

David Finckel and Wu Han Artistic Directors The Martin Family Artistic Directorship

2 subscribe at www.musicatmenlo.org | 650-331-0202 Contents

Welcome 2 Welcome from the Artistic Directors 4 Festival Introduction

Concerts 6 Concert Programs 20 Carte Blanche Concerts 25 Prelude Performances and Koret Young Performers Concerts 26 Music@Menlo Winter Series 2017–2018 38 Festival Calendar

Discovery and Engagement 22 Michael Steinberg Encounter Series 23 AudioNotes 23 Music@Menlo LIVE 23 Music@Menlo Patron Travel 23 Recording and Broadcasting 24 Chamber Music Institute 25 Prelude Performances and Koret Young Performers Concerts 25 Café Conversations and Master Classes

Artists 5 Artist Roster 27 Visual Artist 27 Artist Biographies

Ticket and Patron Information 32 Join Music@Menlo 34 Reserving Your Summer Festival Tickets 34 Summer Festival Subscriber Information 36 The Festival Campus and Performance Venues 37 For Visitors to Our Area 37 Map and Parking 38 Festival Calendar

subscribe at www.musicatmenlo.org | 650-331-0202 3 4 subscribe at www.musicatmenlo.org | 650-331-0202 The Glorious Violin

Music@Menlo’s 2017 season examines the unfolding of music through the lens of the violin, an instrument whose makers, players, and composers shaped the very evolution of music itself. The violin family first appeared in the early sixteenth century (see illustration at left) and is among a handful of tools whose design has remained unchanged for over three cen- turies. After Stradivari perfected the art of violin making in the early eighteenth century, it was the synergy between master composers and virtuoso violinists that drove instrumental music forward.

Beginning in the violin’s earliest days with works of fantastic ingenuity, we will hear music’s unfolding all the way to the present day, when great virtuosi of the violin continue to inspire compositions for an instrument with unrivaled musical possibilities.

ARTISTS Piano Violin Escher String Quartet Gloria Chien Benjamin Beilman Roberto Díaz Adam Barnett-Hart, violin Peter Dugan* Ivan Chan† Hsin-Yun Huang Aaron Boyd, violin Gilbert Kalish Chad Hoopes* Paul Neubauer Pierre Lapointe, viola Hyeyeon Park Bella Hristova* Richard O’Neill Brook Speltz, Juho Pohjonen Paul Huang Cello Brass Yekwon Sunwoo* Soovin Kim Dmitri Atapine Radovan Vlatkovi´c, horn* Orion Weiss* Jessica Lee Nicholas Canellakis Wu Han Sean Lee Encounter Leaders David Finckel Yura Lee Aaron Boyd Clive Greensmith Amy Schwartz Moretti* Fred Child Keith Robinson Arnaud Sussmann Christopher H. Gibbs Danbi Um Bass Ray Iwazumi* Scott Pingel Soovin Kim

*Music@Menlo debut †Guest artist-faculty

Gaudenzio Ferrari (1475–1546). Musical Angels, fresco. Saronno, Italy. Photo credit: Scala/Art Resource, NY

subscribe at www.musicatmenlo.org | 650-331-0202 5 Concert Program I The Path to Bach “One night…I dreamed that I had sold my soul to the Devil…I gave him my violin out of curiosity; but I was amazed to hear him play a sonata so miraculous and beautiful…that it exceeded all flights of imagination.” —Giuseppe Tartini

The 2017 festival journey begins in the generation before J. S. Bach: through the ingenuity of such composer- virtuosi as Carlo Farina, Marco Uccellini, and Pietro Antonio Locatelli, the violin evolved from the modest fiddle of street musicians to the voice of musical nobility. Next to the works of these early innovators, Concert Program I features one of the iconic masterpieces of the instrument’s repertoire, Tartini’s famous Devil’s Trill Sonata. The latter half of the program brings together the Baroque period’s most influential composers—Arcangelo Corelli, Antonio Vivaldi, and Johann Sebastian Bach—whose sea-parting concerti simultaneously crowned a king of instruments and defined a musical era.

Carlo Farina (ca. 1604–1639) Artists Capriccio stravagante (1627) Gloria Chien, Gilbert Kalish, Hyeyeon Park, Wu Han, harpsichords; Adam Barnett-Hart, Aaron Boyd, Marco Uccellini (ca. 1603–1680) Sonata no. 18 for Two Violins from Sonatas, Soovin Kim, Amy Schwartz Moretti, Arnaud Sussmann, Correnti, and Arias, op. 4 (1645) violins; Hsin-Yun Huang, Pierre Lapointe, Amy Schwartz Moretti, ; Dmitri Atapine, Giovanni Battista Vitali (1632–1692) Keith Robinson, Brook Speltz, ; Passagallo primo from Varie partite del passemezo, Scott Pingel, bass ciaccona, capricii, e passagalli for Two Violins and Continuo, op. 7 (1682) Pietro Antonio Locatelli (1695–1764) Saturday, July 15 Concerto in g minor from L’arte del violino, op. 3, 6:00 p.m., The Center for Performing Arts at no. 6 (1733) Menlo-Atherton Tickets: $70/$62 full price; $30/$20 under age thirty Giuseppe Tartini (1692–1770) Sonata in g minor, Devil’s Trill (ca. 1714) Prelude Performance* 3:30 p.m., The Center for Performing Arts at Arcangelo Corelli (1653–1713) Menlo-Atherton Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714) *Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more Antonio Vivaldi (1678–1741) information, see pp. 24–25. Concerto in D Major for Two Violins, Two Cellos, Strings, and Continuo, RV 564 (before 1742) Fête the Festival 8:30 p.m., following the concert Johann Sebastian Bach (1685–1750) Join the Artistic Directors, festival musicians, and Double Violin Concerto in d minor, BWV 1043 (1730–1731) friends on July 15 to celebrate the season’s first concert at an outdoor catered dinner reception at the Menlo Park Arrillaga Family Recreation Center. (Tickets: $65. Advance purchase required.)

The Dream, engraving by James Marshal for the Violin Sonata in g minor, Devil’s Trill, by Giuseppe Tartini (1692–1770). Zenetorteneti Muzeum. © DeAgostini Picture Library/Art Resource, NY

6 subscribe at www.musicatmenlo.org | 650-331-0202 subscribe at www.musicatmenlo.org | 650-331-0202 7 Concert Program II The Classical Style “Though not above ‘borrowing’ some idiomatic traits from Kreutzer, Viotti, and Rode, Beethoven transformed them from mere ‘display’ material to the embellishments of great musical ideas.” —Boris Schwarz

As Haydn and Mozart crystallized the Classical tradition that Beethoven would inherit and transform, the performers of their day likewise developed ever more sophisticated instrumental techniques. Such violinists as Giovanni Battista Viotti and Ignaz Schuppanzigh fueled these great composers’ innovations, empowering them to create music of heretofore unimagined subtlety and complexity. Alongside Haydn, Mozart, and Beethoven, Concert Program II spotlights Viotti, who played a seminal role in defining the instrument’s tradition in England and France, as well as one of his musical heirs, Rodolphe Kreutzer—the dedicatee of Beethoven’s most fiendish violin sonata and a skilled composer in his own right. These performers’ technical prowess inspired music of newfound resplendence from the day’s finest composers in Haydn and Mozart. Beethoven’s audacious creations, in turn, would challenge even Vienna’s most skilled virtuosi, likewise elevating the instrumental tradition to new heights.

Giovanni Battista Viotti (1755–1824) Sunday, July 16 Duetto for Solo Violin (1821) 6:00 p.m., The Center for Performing Arts at Franz Joseph Haydn (1732–1809) Menlo-Atherton Piano Trio in E-flat Major, Hob XV: 29 (1797) Tickets: $70/$62 full price; $30/$20 under age thirty

Wolfgang Amadeus Mozart (1756–1791) Tuesday, July 18 Violin Sonata in A Major, K. 526 (1787) 7:30 p.m., Stent Family Hall, Menlo School Rodolphe Kreutzer (1766–1831) Tickets: $80 full price; $35 under age thirty Étude no. 22 in B-flat Major from Forty-Two Études Prelude Performance* and Caprices for Solo Violin (1796) 5:00 p.m., Martin Family Hall, Menlo School (1770–1827) *Prelude Performances feature young artists from the String Quintet in C Major, op. 29 (1801) Chamber Music Institute. Admission is free. For more information, see pp. 24–25. Artists Gloria Chien, Gilbert Kalish, pianos; Soovin Kim, Amy Schwartz Moretti, Arnaud Sussmann, violins; Hsin-Yun Huang, Pierre Lapointe, violas; David Finckel, Keith Robinson, cellos

Franz Joseph Haydn (1732–1809) rehearsing a string quartet, Wien Museum Karlsplatz, Vienna, Austria. © DeAgostini Picture Library/Art Resource, NY

8 subscribe at www.musicatmenlo.org | 650-331-0202 subscribe at www.musicatmenlo.org | 650-331-0202 9 Concert Program III German Virtuosity “The compositions of the virtuosi are necessary for the instrumental art, because the composer (alone) cannot conceive that such effects are possible unless he has before him a model, a guide…” —Eugène Ysaÿe

Concert Program III continues the festival’s journey from the Classical period into the nineteenth century. The program offers Beethoven’s final violin sonata as its point of departure into the new era—following a nod to the French virtuoso Pierre Rode, another of Viotti’s disciples and the sonata’s dedicatee. In the generation following Beethoven, Louis Spohr would become a standard-bearer for the German violin tradition, introducing expres- sive innovations such as those heard in his Double String Quartet that gave Romanticism its musical soul. The program continues with music by Ferdinand David, Spohr’s prize pupil and muse to the German tradition’s most brilliant medium, Felix Mendelssohn, whose Opus 3 Piano Quartet closes the program.

Pierre Rode (1774–1830) Thursday, July 20 Caprice no. 3 in G Major from Vingt-quatre caprices 7:30 p.m., Stent Family Hall, Menlo School en forme d’études for Solo Violin (ca. 1815) Tickets: $80 full price; $35 under age thirty Ludwig van Beethoven (1770–1827) Prelude Performance* Violin Sonata no. 10 in G Major, op. 96 (1812) 5:00 p.m., Martin Family Hall, Menlo School Louis Spohr (1784–1859) *Prelude Performances feature young artists from the Double String Quartet no. 1 in d minor, op. 65 Chamber Music Institute. Admission is free. For more (1823) information, see pp. 24–25. Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, Saturday, July 22 op. 9, no. 3 (1839) 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Felix Mendelssohn (1809–1847) Tickets: $70/$62 full price; $30/$20 under age thirty Piano Quartet no. 3 in b minor, op. 3 (1825)

Artists Juho Pohjonen, Wu Han, pianos; Adam Barnett-Hart, Aaron Boyd, Soovin Kim, Jessica Lee, Sean Lee, Arnaud Sussmann, violins; Roberto Díaz, Pierre Lapointe, violas; Dmitri Atapine, Keith Robinson, Brook Speltz, cellos

Statue of Felix Mendelssohn near Thomaskirche, Leipzig. Photo credit: Albrecht Neumeister, 2009

10 subscribe at www.musicatmenlo.org | 650-331-0202 subscribe at www.musicatmenlo.org | 650-331-0202 11 Concert Program IV In Joachim’s Orbit “Joachim was the crown of the evening…he played with such poetry, such perfection, with so much soul in every note…Never before did I receive such an unforgettable impression from a virtuoso.” —Clara Schumann

The sheer brilliance of Mendelssohn’s musical achievements would inspire an emerging generation of Romantics. considered him “the first musician of the day…He plays with everything…with such ease, deli- cacy, and art, with such mastery throughout.” An equal mastery would bless Schumann’s disciple , whose catalogue of chamber music stands without peer in their generation. A catalyst to the artistic triumphs of these and other composers, the violinist Joseph Joachim equally towers as one of German Romanticism’s most consequential figures. A protégé of Mendelssohn’s, Joachim would come to personify the German school of violin playing and served as muse to Schumann and Brahms in the creation of their greatest works for violin. Concert Program IV surrounds Joachim with signature works by these composers, culminating in Brahms’s poetic Horn Trio.

Felix Mendelssohn (1809–1847) Sunday, July 23 Lied ohne Worte (Song without Words) in D Major 6:00 p.m., The Center for Performing Arts at for Cello and Piano, op. 109 (1845) Menlo-Atherton Robert Schumann (1810–1856) Tickets: $70/$62 full price; $30/$20 under age thirty Adagio and Allegro in A-flat Major for Horn and Piano, op. 70 (1849) Monday, July 24 7:30 p.m., Stent Family Hall, Menlo School Robert Schumann Tickets: $80 full price; $35 under age thirty Piano Trio no. 3 in g minor, op. 110 (1851) Prelude Performance* Joseph Joachim (1831–1907) 5:00 p.m., Martin Family Hall, Menlo School Romance, op. 2, no. 1 (ca. 1850) *Prelude Performances feature young artists from the Johannes Brahms (1833–1897) Chamber Music Institute. Admission is free. For more Horn Trio in E-flat Major, op. 40 (1865) information, see pp. 24–25.

Artists Radovan Vlatkovi´c, horn; Gloria Chien, Gilbert Kalish, Juho Pohjonen, pianos; Paul Huang, Yura Lee, violins; Keith Robinson, cello

Johann Martin von Rohden (1778–1868). Capriccio View of the Ruins of Heidelberg Castle, oil on canvas. Private collection/Photo © Christie’s Images/Bridgeman Images

12 subscribe at www.musicatmenlo.org | 650-331-0202 subscribe at www.musicatmenlo.org | 650-331-0202 13 Concert Program V French Luminaries “To play the violin is rather easy, it is even banal…But to feel, to palpitate, to make vibrate—not the instrument but the soul of the instrument…that power cannot be acquired, it is a gift of God!” —Eugène Ysaÿe

As violinists from the Baroque period throughout the nineteenth century nurtured Germany’s violin tradition, generations of French virtuosi likewise cultivated a distinct national style. Concert Program V begins with the Sonata in e minor for Two Violins by Jean-Marie Leclair, the first great violinist of the French school, who came to be celebrated as “the French Corelli.” Over a century later, the Belgian violinist, composer, and conductor Eugène Ysaÿe, who combined Joachim’s intellect with Paganini’s flair, would set listeners aflame with his intrepid approach to the instrument. In addition to composing his own masterpieces, Ysaÿe served as inspiration through his brilliant playing for composers from César Franck and Gabriel Fauré to Claude Debussy.

Jean-Marie Leclair (1697–1764) Friday, July 28 Sonata in e minor for Two Violins, op. 3, no. 5 7:30 p.m., Stent Family Hall, Menlo School (1730) Tickets: $80 full price; $35 under age thirty Eugène Ysaÿe (1858–1931) Prelude Performance* Rêve d’enfant (A Child’s Dream), op. 14 5:00 p.m., The Center for Performing Arts at (ca. 1895–1900) Menlo-Atherton César Franck (1822–1890) *Prelude Performances feature young artists from the Violin Sonata in A Major (1886) Chamber Music Institute. Admission is free. For more Claude Debussy (1862–1918) information, see pp. 24–25. Petite suite for Piano, Four Hands (1886–1889) Saturday, July 29 Gabriel Fauré (1845–1924) 6:00 p.m., The Center for Performing Arts at Piano Quartet no. 1 in c minor, op. 15 (1876–1879, Menlo-Atherton rev. 1883) Tickets: $70/$62 full price; $30/$20 under age thirty

Artists Gilbert Kalish, Hyeyeon Park, Orion Weiss, Wu Han, pianos; Chad Hoopes, Arnaud Sussmann, violins; Paul Neubauer, viola; Clive Greensmith, cello

Henri Le Sidaner (1862–1939). Sunday, 1898, oil on canvas. Musée de la Chartreuse, Douai, France. Photo credit: Erich Lessing/Art Resource, NY

14 subscribe at www.musicatmenlo.org | 650-331-0202 subscribe at www.musicatmenlo.org | 650-331-0202 15 Concert Program VI The Age of Expression “Technique is decidedly not the main essential of the concert violinist’s equipment. Sincerity and personality are the main essentials.” —Fritz Kreisler

The generation of virtuosi that emerged in the early twentieth century, headed by the preternaturally gifted Fritz Kreisler, charted new frontiers in the violin’s expressive potential. As the art of the violin was reimagined, so inevita- bly was the music written for it, as composers created music expressly for the soulful practitioners of the new style. Concert Program VI features music by Borodin, Respighi, Ysaÿe, and even Kreisler himself—works that illustrate the age of expression’s transformative effect on how composers would forever approach the instrument.

Alexander Borodin (1833–1887) Wednesday, August 2 String Quartet no. 2 in D Major (1881) 7:30 p.m., The Center for Performing Arts at Ottorino Respighi (1879–1936) Menlo-Atherton Violin Sonata in b minor (1917) Tickets: $70/$62 full price; $30/$20 under age thirty Eugène Ysaÿe (1858–1931) Prelude Performance* Sonata in e minor for Solo Violin, op. 27, no. 4 5:00 p.m., The Center for Performing Arts at (1924) Menlo-Atherton Fritz Kreisler (1875–1962) *Prelude Performances feature young artists from the String Quartet in a minor (1919) Chamber Music Institute. Admission is free. For more information, see pp. 24–25. Artists Orion Weiss, piano; Benjamin Beilman, Paul Huang, Danbi Um, violins; Paul Neubauer, viola; Nicholas Canellakis, Clive Greensmith, cellos

Photo of Fritz Kreisler from the personal collection of William Primrose held at the Primrose International Viola Archive, Brigham Young University, Provo, Utah

16 subscribe at www.musicatmenlo.org | 650-331-0202 subscribe at www.musicatmenlo.org | 650-331-0202 17 Concert Program VII National Flavors “There is no top. There are always further heights to reach.” —Jascha Heifetz

Music@Menlo’s 2017 festival season finale offers a colorful survey of violin playing across the Western world. The vitality of modern Bohemia is heard in Martinu˚’s ingenious duo, while the visceral influence of the great Rus- sian school of string playing is evident in Shostakovich’s Prelude and Scherzo for String Octet, completed while the composer was still a teenager. Composer Erno˝ Dohnányi drew from his native Hungary’s folk traditions in his Ruralia hungarica, while American composer John Corigliano’s Red Violin Caprices glorify the instrument with a distinctly modern voice. The program concludes with the thrilling String Octet by the Romanian composer, violinist, pianist, and conductor George Enescu.

Bohuslav Martinu˚ (1890–1959) Artists Duo no. 1 for Violin and Cello (1927) Hyeyeon Park, piano; Bella Hristova, Soovin Kim, John Corigliano (Born 1938) Arnaud Sussmann, Danbi Um, violins; Paul Neubauer, Red Violin Caprices (1999) Richard O’Neill, violas; Dmitri Atapine, Nicholas Canellakis, David Finckel, Erno˝ Dohnányi (1877–1960) Clive Greensmith, cellos Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op. 32c (1924) Saturday, August 5 Dmitry Shostakovich (1906–1975) 6:00 p.m., The Center for Performing Arts at Prelude and Scherzo for String Octet, op. 11 Menlo-Atherton (1924–1925) Tickets: $70/$62 full price; $30/$20 under age thirty George Enescu (1881–1955) String Octet in C Major, op. 7 (1900)

A boy in a Gypsy orchestra playing in Budapest, Hungary, 1930s, black and white photo. United Archives/Nolte/Bridgeman Images

18 subscribe at www.musicatmenlo.org | 650-331-0202 subscribe at www.musicatmenlo.org | 650-331-0202 19 Carte Blanche Concerts

Music@Menlo’s 2017 Carte Blanche series celebrates today’s art of string playing at its finest, in the hands of the festival’s incomparable performers.

Carte Blanche Concert I Carte Blanche Concert II Paganini’s Incomparable Quartet Connections Caprices Escher String Quartet: Adam Barnett-Hart, Sean Lee, violin; Peter Dugan, piano Aaron Boyd, violins; Pierre Lapointe, viola; Friday, July 21, 7:30 p.m. Brook Speltz, cello Stent Family Hall, Menlo School Sunday, July 23, 10:30 a.m. Tickets: $80 full price; $35 under age thirty Stent Family Hall, Menlo School To this day, Paganini’s Twenty-Four Caprices represent the Mount Everest Tickets: $80 full price; $35 under age thirty of violin technique. Violinist Sean Lee, in a rarely encountered feat As Mozart responded to the quartets of Haydn with his own master- of virtuosity, performs the entire cycle of Paganini’s caprices, with pieces, so did Dvorˇák challenge the high standard set by Brahms with Music@Menlo debut pianist Peter Dugan offering the beautiful string quartets of quintessential Bohemian spirit. The Escher String accompaniments composed by none other than Robert Schumann. Quartet brings its dual mastery of style and technique to a program juxtaposing several immortal composers, each at the apex of his cham- Niccolò Paganini (1782–1840) ber music achievement. Twenty-Four Caprices for Solo Violin, op. 1 (ca. 1805) (piano accompaniment by Robert Schumann) (1756–1791) String Quartet in B-flat Major, K. 458, The Hunt (1784) Johannes Brahms (1833–1897) String Quartet no. 3 in B-flat Major, op. 67 (1875) Franz Joseph Haydn (1732–1809) String Quartet in G Major, op. 76, no. 1, Hob. III: 75 (ca. 1797) Antonín Dvorˇák (1841–1904) String Quartet no. 13 in G Major, op. 106 (1895)

Please join the Escher String Quartet for a picnic lunch following the concert. A gourmet boxed lunch may be reserved with your ticket order for $18.

20 subscribe at www.musicatmenlo.org | 650-331-0202 Carte Blanche Concert III Carte Blanche Concert IV Carte Blanche Concert V Violin Universe Romantic Voices A Tribute to Fritz Kreisler Yura Lee, violin Danbi Um, violin; Orion Weiss, piano; Benjamin Beilman, violin; Yekwon Sunwoo, piano Wednesday, July 26, 7:30 p.m. with Paul Huang, violin Thursday, August 3, 7:30 p.m. Stent Family Hall, Menlo School Sunday, July 30, 6:00 p.m. Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty Stent Family Hall, Menlo School Tickets: $80 full price; $35 under age thirty Violinist Yura Lee performs an astounding array of works for solo violin, Tickets: $80 full price; $35 under age thirty The charismatic violinist Benjamin Beilman has long been a disciple of the ranging from the adventurous musical experiments of the pre-Baroque Violinist Danbi Um embodies the tradition of the great Romantic style, incomparable art of the great Viennese master Fritz Kreisler. Beilman’s era to examples of the most infectiously appealing folk styles of violin her natural vocal expression coupled with virtuosic technique. Partnered extraordinary celebration of Kreisler’s art features pianist Yekwon playing heard today. Concluding with Bach’s monumental Chaconne, this by pianist Orion Weiss, making his Music@Menlo debut, she offers a Sunwoo, making his Music@Menlo debut, and includes music that program is a one-of-a-kind celebration of the violin’s endless potential program of music she holds closest to her heart, a stunning variety of inspired Kreisler as both a performer and a composer as well as a host and timeless popularity. both favorites and delightful discoveries. of Kreisler’s most famous and beloved works.

Heinrich Ignaz Franz von Biber (1644–1704) Ernest Bloch (1880–1959) Fritz Kreisler (1875–1962) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Violin Sonata no. 2, Poème mystique (1924) Praeludium and Allegro (1910) Mystery Sonatas (ca. 1674–1676) Aucassin and Nicolette (1917) George Enescu (1881–1955) Bluegrass Fiddling (To be announced from the stage) Violin Sonata no. 3 in a minor, op. 25, Dans le caractère populaire Johann Sebastian Bach (1685–1750) Eugène Ysaÿe (1858–1931) roumain (In Romanian Folk Character) (1926) Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720) Sonata in G Major for Solo Violin, op. 27, no. 5 (1924) Erich Wolfgang Korngold (1897–1957) Arcangelo Corelli (1653–1713) George Enescu (1881–1955) Four Pieces from the Incidental Music to Shakespeare’s Much Ado Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700) Ménétrier (Fiddler) from Impressions d’enfance, op. 28 (1940) about Nothing, op. 11 (1918–1919) Giovanni Battista Viotti (1755–1824) Henrich Wilhelm Ernst (1814–1865) Jeno˝ Hubay (1858–1937) Violin Concerto no. 22 in a minor (arr. Kreisler) (ca. 1793–1794) Grand Caprice on Schubert’s Der Erlkönig for Solo Violin, op. 26 (1854) Scènes de la csárda no. 3, op. 18, Maros vize (The River Maros) Fritz Kreisler (ca. 1882–1883) Norwegian Fiddling (To be announced from the stage) La gitana (1917) Johann Sebastian Bach (1685–1750) Fritz Kreisler (1875–1962) Lotus Land (after Cyril Scott’s Opus 47 Number 1) (1922) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720) Midnight Bells (after Richard Heuberger’s Midnight Bells from The Tambourin chinois, op. 3 (1910) Opera Ball) (1923) Nikolay Rimsky-Korsakov (1844–1908) Ernest Bloch Hymn to the Sun from The Golden Cockerel (arr. Kreisler) (1919) Avodah (1929) Fritz Kreisler Joseph Achron (1886–1943) Viennese Rhapsodic Fantasietta (1941–1942) Hebrew Dance, op. 35, no. 1 (1913) Pablo de Sarasate (1844–1908) Navarra (Spanish Dance) for Two Violins and Piano, op. 33 (1889)

subscribe at www.musicatmenlo.org | 650-331-0202 21 Michael Steinberg Encounter Series The Encounter series, Music@Menlo’s signature multimedia symposia, embod- ies the festival’s context-rich Encounter I Encounter II approach to musical discovery, From the Birth of the Violin to J. S. Bach The Emergence of the Classical Tradition adding dimension, depth, and the Glory of Cremona and context for the season’s in Musical Style and Performance Led by Aaron Boyd seven Concert Programs and Led by Christopher H. Gibbs five Carte Blanche Concerts. Friday, July 14, 7:30 p.m. Sunday, July 16, 3:00 p.m. Martin Family Hall, Menlo School The 2017 festival season’s five Martin Family Hall, Menlo School Tickets: $48 full price; $20 under age thirty Tickets: $48 full price; $20 under age thirty Encounters, each led by experts in their fields, explore With antecedents shared by numerous cultures reaching back to human- This summer’s second Encounter explores the concurrent advance- the intriguing history of the violin, beginning with the kind’s earliest and most primitive music, the modern violin appeared in a ment of performance practice, compositional innovation, and Viennese instrument’s earliest makers, performers, and com- sleepy Northern Italian town in the mid-sixteenth century, creating one of musical culture during the Classical and early Romantic eras. Scholar posers and continuing all the way to the present day. the great miracles of Western art. In the opening Encounter of the summer, Christopher H. Gibbs returns to Music@Menlo to lead audiences in an The Encounter series is named in memory of Michael Escher String Quartet violinist Aaron Boyd traces the violin’s history from overview of the emergence of the Classical style at the hands of Haydn, Steinberg, the eminent musicologist and Music@Menlo its hazy origins to its apogee at the hands of Antonio Stradivari, Antonio Mozart, and Beethoven—also revealing the astounding contributions of Vivaldi, and J. S. Bach, examining the creative synergy between the instru- guiding light. violinist Ignaz Schuppanzigh, a friend and colleague of Beethoven’s, to ment’s earliest performers and composers. the musical life of Vienna.

Encounter III Encounter IV Encounter V The Devil’s Violinist: Niccolò Paganini Towards the Age of Expression The Violin Today Led by Soovin Kim Led by Ray Iwazumi Led by Fred Child Wednesday, July 19, 7:30 p.m. Thursday, July 27, 7:30 p.m. Tuesday, August 1, 7:30 p.m. Martin Family Hall, Menlo School Martin Family Hall, Menlo School Martin Family Hall, Menlo School Tickets: $48 full price; $20 under age thirty Tickets: $48 full price; $20 under age thirty Tickets: $48 full price; $20 under age thirty Niccolò Paganini, a near-mythic figure whose fiendish abilities left listen- A generation of virtuosi in the second half of the nineteenth century, led Fred Child, popular host of the American Public Media® radio program ers, performers, and composers equally awestruck, raised the technical by Wieniawski and Vieuxtemps, opened the eyes and ears of the public Performance Today®, moderates the summer’s final Encounter, featuring standard of violin playing to stratospheric heights. This summer’s third to a new realm of expressive potential and artistic projection for the an elite panel of Music@Menlo violinists and the incomparable violin Encounter, led by violin virtuoso Soovin Kim, will delve into Paganini’s violin. Transcendental technique in the service of art then reached its maker Samuel Zygmuntowicz. This in-depth discussion of modern violin intriguing life and work, ultimately revealing how Paganini’s magnificent height with the great Belgian violinist Eugène Ysaÿe, who inspired a new making, performance, and pedagogy will include violinists who have legacy has endured throughout history and thrives to this day through generation of virtuosi led by Kreisler, Elman, Heifetz, and many others. studied with the greatest virtuosi of our time, with lineage dating all the his astonishing compositions. At this summer’s fourth Encounter, violinist and Juilliard School professor way back to Joseph Joachim, providing a uniquely engrossing opportunity Ray Iwazumi explores the flowering of expression of the violin during this to hear the perspectives of today’s finest performers—pointing directly Please see page 23 for image captions. consequential period in Western music history. toward the future of the majestic violin tradition.

22 subscribe at www.musicatmenlo.org | 650-331-0202 Recording and Broadcasting Recording Producer Six-time Grammy Award-winning recording producer Da-Hong Seetoo returns to Music@Menlo for a fifteenth consecutive season to record the festival concerts for release on the Music@Menlo LIVE label. A Curtis Institute– and Juilliard School–trained violinist, Da-Hong Seetoo has emerged Music@Menlo Travel as one of a handful of elite audio engineers, using his own custom- designed microphones, monitor speakers, and computer software. Music@Menlo invites you to join festival artists and patrons on specially curated musical journeys around the world. With local experts, festival His recent clients include the Borromeo, Escher, Emerson, Miró, and artists, and distinguished lecturers, Music@Menlo’s travel programs offer Tokyo String Quartets; the Beaux Arts Trio; pianists Daniel Barenboim, patrons incomparable insider access to some of the most significant Yefim Bronfman, Derek Han, and Christopher O’Riley; violinist Gil Sha- historical and cultural landmarks while they enjoy a musical listening ham; cellist Truls Mørk; the Chamber Music Society of Lincoln Center; experience like no other. This fall, Music@Menlo travels to northern Italy, the Chicago Symphony Orchestra under David Zinman; the Evergreen the epicenter of violin evolution, for a once-in-a-lifetime musical explora- Symphony (Taipei, Taiwan); the New York Philharmonic under Lorin tion featuring Music@Menlo Artistic Directors Wu Han and David Finckel Maazel; the ProMusica Chamber Orchestra (Columbus, Ohio); the Royal and other favorite festival artists. Philharmonic Orchestra under Carlos Miguel Prieto; the Singapore Sym- phony Orchestra; and David Finckel and Wu Han for the ArtistLed label. If you are interested in learning more about Music@Menlo’s travel His recording with the for Deutsche Gram- programs, please contact Edward Sweeney at (650) 330-2138 or mophon, Intimate Letters, garnered the 2010 Grammy Award for Best iStock [email protected]. Chamber Music Performance.

AudioNotes Music@Menlo LIVE Photo by Victor Grigas American Public Media® AudioNotes are Music@Menlo’s innovative series of preconcert listener Music@Menlo LIVE, the festival’s exclusive recording label, has been praised American Public Media® is the leading guides intended to provide greater insight into the music as well as the as “the most ambitious recording project of any classical music festival in producer of classical music program- performers’ perspectives prior to the concert experience. AudioNotes— the world” (San Jose Mercury News) and its recordings have been hailed ming for public radio. This summer, provided free of charge—offer cultural and historical context highlighted as “without question the best CDs I have ever heard” (Positive Feedback Music@Menlo is proud to welcome by musical examples and interviews with festival artists. Each Online). Produced by Grammy Award-winning engineer Da-Hong Seetoo American Public Media® once again as the festival’s exclusive broadcast AudioNotes recording enhances the concert experience by giving listen- using state-of-the-art recording technology, Music@Menlo LIVE releases partner. Performances from the festival will air nationwide on the ers an informed perspective in advance of the performance and provides feature select concert recordings representing Music@Menlo’s signature American Public Media® radio program Performance Today®, the largest the foundation for a rich and rewarding musical journey. thematic programming. daily classical music program in the United States, which airs on 260 AudioNotes are available on CD or as downloadable MP3s. Music@Menlo LIVE recordings are available for sale throughout the season stations and reaches more than one million people each week, and via See order form for details. at festival concert venues and online at www.musicatmenlo.org. They Classical 24®, a live classical music service broadcast on 250 stations and are also available for digital download and streaming through iTunes, distributed by Public Radio International. Fred Child, host of Performance Amazon.com, Classical Archives, and Spotify. Today®, will lead the festival’s final Encounter this summer. Go online to www.YourClassical.org for archived performances, photos, Encounter image captions, from I to V: Anonymous. Fiddlestick versus Broomstick, 1831. Paganini standing on a chair with a fiddle in Plaque in memory of the work of Johann Sebastian Bach in Köthen. Inscription: Joh. Seb. Bach one hand and bow in the other. Around the table sit John Key (Lord Mayor of London), Henry and interviews. created imperishable works of art here in the years 1717–1723 But be worth it. Photo: Ralf Lotys, Brougham, Charles (Earl) Grey, and Lord John Russell. The freedom of the city was presented to https://commons.wikimedia.org/wiki/File:2008-01_K%C3%B6then_(Anhalt)_23.jpg Lord John Russell at the Mansion House on July 9, 1831; Paganini was invited to play a concerto Concert hall in the Razumovsky Palace, Vienna, Austria, site of the first performance of the Eugène Ysaÿe in Russia, 1883, by W. Wysochi. Bibliothèque royale de Belgique Razumovsky Quartets by Ludwig van Beethoven, nineteenth century. Photo credit: Erich Lessing/ Samuel Zygmuntowicz shapes a violin arch in his Brooklyn, New York, studio. Photo credit: Lilian Art Resource, NY Finckel, 2016

subscribe at www.musicatmenlo.org | 650-331-0202 23 Chamber Music Institute David Finckel and Wu Han Artistic Directors Gloria Chien Institute Director Gilbert Kalish International Program Director

Music@Menlo’s Chamber Music Institute has become one of the top-tier summer programs in the world for string players and pianists. The Institute brings together exceptionally talented young musicians and a world-class roster of performing artists for an intensive three- week training program, consisting of the International Program for preprofessional artists (ages eighteen to twenty-nine) and the Young Performers Program for pre- and early-conservatory-level students (ages nine to eighteen). These extraordinary young artists are selected from top preparatory and conservatory programs across the United States and abroad. Students work closely with the festival’s artist- faculty in coachings, master classes, and various other educational activities. Highlights include the immensely popular Prelude Perfor- mances and Koret Young Performers Concerts featuring the Institute’s aspiring young artists. The Chamber Music Institute’s series of master classes and performances—always free and open to the public—offers listeners an opportunity to witness the fostering of great traditions and the exchange of ideas between today’s most accomplished artists and classical music’s next generation. The Chamber Music Institute and its International Program and Young Performers Program participants are supported by contributions to the Ann S. Bowers Young Artist Fund.

24 subscribe at www.musicatmenlo.org | 650-331-0202 Café Conversations and Master Classes Beginning on July 17, each weekday throughout the festival, Music@Menlo Prelude Performances and offers midday events including the popular Café Conversations and master classes. Café Conversations feature select festival artists dis- Koret Young Performers Concerts cussing a variety of topics related to music and the arts. These forums The festival’s preconcert and afternoon Prelude Performances and Koret Young Performers Concerts showcase the extraordinary young artists showcase the wide-ranging expertise, generosity, and imagination of of the Chamber Music Institute and are an integral part of Music@Menlo’s educational mission. These inspiring concerts have become some of the our artists and provide further insight into their remarkable careers and season’s most anticipated events. Experience these young artists performing great music from the chamber music repertoire. musical experiences. For both series, free tickets are required and may be reserved in advance on the day of the concert. Master classes offer an opportunity to witness members of the artist-faculty impart their knowledge, art, and expertise to the next Prelude Performance Schedule Koret Young Performers Concert Schedule generation of performers. In master classes, Chamber Music Institute participants are coached in preparation for their Prelude Performances Featuring the Institute’s International Program artists. Featuring the students of the Young Performers Program. and Koret Young Performers Concerts. The insight gained from observ- Saturday, July 15, 3:30 p.m., Menlo-Atherton* Saturday, July 22, 1:00 p.m., Menlo-Atherton* ing the nuanced process of preparing a piece of music for performance Tuesday, July 18, 5:00 p.m., Martin Family Hall Saturday, July 29, 1:00 p.m., Menlo-Atherton* deepens audiences’ appreciation of the concert experience. Wednesday, July 19, 5:00 p.m., Stent Family Hall Saturday, August 5, 1:00 p.m., Menlo-Atherton* Each weekday of the festival season features a Café Conversation or Thursday, July 20, 5:00 p.m., Martin Family Hall master class at 11:45 a.m. on the Menlo School campus. Reservations Friday, July 21, 5:00 p.m., Menlo-Atherton* In response to the popularity of these events, a ticket is required for all are not necessary or available for these midday events, which are free and open to the public. During the festival season, please consult your Monday, July 24, 5:00 p.m., Martin Family Hall Prelude Performances and Koret Young Performers Concerts. Free tickets festival program book or visit our website at www.musicatmenlo.org for a Wednesday, July 26, 5:00 p.m., Martin Family Hall can be requested at will call beginning one hour prior to the start of each concert or reserved in advance online at www.musicatmenlo.org starting detailed schedule of master classes and Café Conversation topics. Thursday, July 27, 5:00 p.m., Stent Family Hall at 9:00 a.m. on the day of the event. Seating is by general admission. Mem- Friday, July 28, 5:00 p.m., Menlo-Atherton* bers of the Bach Circle ($1,000) and above enjoy Advance Ticketing for one Sunday, July 30, 3:30 p.m., Martin Family Hall Prelude Performance or Koret Young Performers Concert of their choice. Open Coachings Tuesday, August 1, 5:00 p.m., Stent Family Hall Members of the Beethoven Circle ($10,000) and above enjoy Advance Monday through Friday from July 17 through August 4, Music@Menlo Wednesday, August 2, 5:00 p.m., Menlo-Atherton* Ticketing for all Prelude Performances and Koret Young Performers Con- invites you to experience the Chamber Music Institute by observing Friday, August 4, 5:00 p.m., Menlo-Atherton* certs. For reserved seating opportunities, please see Premium Seating coachings or watching a master class or Café Conversation on the information on p. 32. Menlo School campus. Daily schedules of open coachings can be found *The Center for Performing Arts at Menlo-Atherton at the Festival Welcome Center. subscribe at www.musicatmenlo.org | 650-331-0202 25 Music@Menlo Winter Series 2017–2018 Music@Menlo’s Winter Series offers listeners the opportunity to experience the festival’s signature chamber music programming throughout the year.

Montrose Trio The Chamber Music Society Schumann Quartet Shostakovich, Beethoven, and Brahms of Lincoln Center Haydn, Bartók, and Schumann Sunday, November 12, 2017, 6:00 p.m. Brahms and Dvorˇák Friday, April 20, 2018, 7:30 p.m. The Center for Performing Arts at Menlo-Atherton Friday, January 19, 2018, 7:30 p.m. Location TBD Tickets: $52/$47 full price; $25/$20 under age thirty Location TBD Tickets: $52/$47 full price; $25/$20 under age thirty Virtuoso pianist Jon Kimura Parker and former Tokyo String Quartet mem- Tickets: $52/$47 full price; $25/$20 under age thirty Music@Menlo’s 2017–2018 Winter Series culminates in a dramatically bers Martin Beaver and Clive Greensmith open the 2017–2018 Winter Series, This riveting program juxtaposes two musical giants of Romanticism: varied program performed by the sensational Schumann Quartet in its performing a program of Shostakovich, Beethoven, and Brahms that offers Antonín Dvorˇák and Johannes Brahms. Contemporaries and friends, Music@Menlo debut. The Schumann Quartet, composed of three charis- a rare opportunity to revel in the youthful yet unmistakably refined crafts- Dvorˇák and Brahms drew inspiration from each other, and it was to matic brothers named Schumann and the stunning violist Liisa Randalu, manship of these composers’ very first forays into composing for piano trio. Brahms’s Gypsy-inspired Hungarian Dances that Dvorˇák turned for his own enjoys a thriving career in Europe and through its recent engagements on Offering Beginning with Shostakovich’s beguiling Piano Trio no. 1 in c minor followed Slavonic Dances, which has been a sure-fire hit with audiences ever since our shores is off to the start of an equally vibrant U.S. presence. delights for music lovers of all tastes, the program opens with Haydn’s by Beethoven’s simply joyful Opus 1 Number 1 Trio, the program concludes its premiere. Brahms’s c minor Piano Trio—a work of searing intensity and Sunrise Quartet and is followed by Bartók’s String Quartet no. 2, written with Brahms’s own First Piano Trio in B Major in an enchanting survey of epic proportions—is featured before intermission, while Dvorˇák’s Piano by the composer in seclusion outside of Budapest during the First World some of the earliest works of the composers’ extensive oeuvres. Quintet in A Major, one of the finest piano quintets in the repertoire, War. The program closes with Robert Schumann’s deeply expressive Dmitry Shostakovich (1906–1975) brings the program to a thrilling close. Joining Chamber Music Society of String Quartet in F Major, which was published along with two additional Piano Trio no. 1 in c minor, op. 8 (1923) Lincoln Center and Music@Menlo Artistic Codirector pianist Wu Han for string quartets as the composer’s Opus 41. this program is a cohort of some of the most exciting young artists on the Ludwig van Beethoven (1770–1827) distinguished CMS roster: pianist Michael Brown, violinists Paul Huang and Piano Trio in E-flat Major, op. 1, no. 1 (1794) Franz Joseph Haydn (1732–1809) Chad Hoopes, violist Matthew Lipman, and cellist Dmitri Atapine. String Quartet in B-flat Major, op. 76, no. 4, Sunrise (1797) Johannes Brahms (1833–1897) Piano Trio no. 1 in B Major, op. 8 (1854, rev. 1889) Antonín Dvorˇák (1841–1904) Béla Bartók (1881–1945) Selected Slavonic Dances for Piano, Four Hands (1878, 1886) String Quartet no. 2, op. 17 (1914–1917) ARTISTS Johannes Brahms (1833–1897) Robert Schumann (1810–1856) Jon Kimura Parker, piano; Martin Beaver, violin; Clive Greensmith, cello Piano Trio no. 3 in c minor, op. 101 (1886) String Quartet in F Major, op. 41, no. 2 (1842) Johannes Brahms Selected Hungarian Dances for Piano, Four Hands (1868, 1880) ARTISTS Order your Winter Series tickets when you Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; place your order for summer festival tickets. Antonín Dvorˇák Mark Schumann, cello Piano Quintet in A Major, op. 81, B. 155 (1887) Become a Winter Series Subscriber and save $15 on the three-concert series, plus get a 10 percent discount on Music@Menlo merchandise. ARTISTS Winter Series tickets will be mailed in late August, after the festival. Michael Brown, Wu Han, pianos; Chad Hoopes, Paul Huang, violins; Matthew Lipman, viola; Dmitri Atapine, cello

26 subscribe at www.musicatmenlo.org | 650-331-0202 Visual Artist: In Hand: Enrico Giannini Skill and Artistry in the Italian Tradition A documentary exhibition by Lilian Finckel

Enrico Giannini was born into a long-standing family Artistic Directors: tradition of artistic book- binding in Florence, Italy. David Finckel and Wu Han Lilian Finckel is a New Under the watchful eyes of York–based artist working The Martin Family Artistic Directorship his father and grandfather, in photography, ceramics, Music@Menlo founding Artistic Directors cellist under its auspices worldwide. Their wide-ranging he began as an apprentice and mixed media. Her work David Finckel and pianist Wu Han rank among the musical innovations include the launch of ArtistLed in the Giannini workshop is documentary in nature, most esteemed and influential classical musicians (www.artistled.com), classical music’s first musician- when he was just eleven and her multidisciplinary in the world today. Recipients of Musical America’s directed and Internet-based recording company, years old. In the 1960s, he started experimenting with practice moves through the Musicians of the Year award, they bring unmatched whose catalogue of nineteen albums has won wide- new techniques of marbleizing paper and researched archival lens. In Hand is an talent, energy, imagination, and dedication to their spread critical acclaim. In 2011, David Finckel and alternative materials for new products. His paper exhibition she developed in multifaceted endeavors as concert performers, Wu Han were named Artistic Directors of Chamber designs and artistic bookbindings have been 2016 and 2017; it seeks to draw parallels between two recording artists, educators, artistic administrators, Music Today, an annual festival held in Seoul, South displayed in shows in the United States, Japan, artistic masters, bookbinder and paper designer Enrico and cultural entrepreneurs. In high demand as individ- Korea, and since 2013, they have led the Finckel-Wu and Italy, and he has taught several generations of Giannini and violin maker Samuel Zygmuntowicz, uals and as a duo, they appear each season at a host Han Chamber Music Studio at the Aspen Music students. He still creates new designs in his studio in revealing the intricate dexterities of each historic of the most prestigious venues and concert series Festival and School. In these capacities, as well as Florence and collaborates with his daughter, Maria, craft. Lilian Finckel graduated from Barnard College, across the United States and around the world. through a multitude of other educational initia- who runs the family business, Giulio Giannini e Figlio, Columbia University with a degree in art history and tives, they have achieved universal renown for their in Piazza dei Pitti in Florence. Since 2004, David Finckel and Wu Han have visual arts in 2016. together held the prestigious position of Artistic passionate commitment to nurturing the careers Music@Menlo’s Visual Artist is generously supported Upper photo: Samuel Zygmuntowicz carving a cello scroll: a design Director of the Chamber Music Society of Lincoln of countless young artists. David Finckel and Wu by Libby and Craig Heimark. based on old geometrical proportions, with a practical purpose. Photo Han reside in New York City. For more information, credit: Lilian Finckel, 2016 Center, the world’s largest presenter and producer please visit www.davidfinckelandwuhan.com. Front cover, back cover, and upper left: marbled paper by Enrico Giannini Lower photo: Enrico Giannini in his studio in Florence, Italy. Photo of chamber music, programming and performing credit: Lilian Finckel, 2017

subscribe at www.musicatmenlo.org | 650-331-0202 27 Festival Artist Biographies

Acclaimed as a “splendid, elegant cellist,” Dmitri Atapine has appeared on some of the world’s The Cleveland Plain Dealer asserted that violinist Ivan Chan’s “…tonal sweetness is matched foremost stages and is a frequent guest at festivals around the globe. A member of the Cham- by impeccable taste, purposeful energy, and an unerring sense of phrasing.” A member of the ber Music Society of Lincoln Center’s CMS Two, he has also garnered top prizes at the Carlos Miami String Quartet from 1995 to 2010, Chan is currently Senior Lecturer in String Chamber Prieto, Plowman, and Premio Vittorio Gui competitions. Atapine is the Artistic Director of the Music at the Hong Kong Academy for Performing Arts. As a visiting artist, he has taught at Argenta Concert Series and is a professor at the University of Nevada, Reno. He holds a doc- the Curtis Institute of Music, the Juilliard School, New England Conservatory, Ravinia’s Steans torate from the Yale School of Music, where he studied with Aldo Parisot. Institute, Morningside Music Bridge, and Beijing’s Central Conservatory. In 2017, Chan will be on faculty at Music@Menlo, the Meadowmount School of Music, and the Kent/Blossom Music Festival.

American violinist Adam Barnett-Hart has attracted worldwide attention for his sensitive Deemed one of the Superior Pianists of the Year (Boston Globe), Gloria Chien is founding musicianship and inspired artistry. As the founding first violinist of the Escher String Quartet, Artistic Director of String Theory, a chamber music series in Chattanooga, Tennessee, and was he has performed in many of the most prestigious venues and festivals around the world appointed Director of the Chamber Music Institute at Music@Menlo in 2010. A Steinway Artist, including Alice Tully Hall and Carnegie Hall in New York, the Kennedy Center, the Ravinia and she has recorded for Chandos Records and released a CD with clarinetist Anthony McGill in Caramoor Festivals, Wigmore Hall, the Louvre, and the . As a soloist, Barnett- 2010. Gloria Chien is an Artist-in-Residence at Lee University in Tennessee and is an Artist of Hart made his debut performing the Brahms Concerto in Alice Tully Hall with the Juilliard the Chamber Music Society of Lincoln Center. Symphony in 2002. He studied with Pinchas Zukerman and Joel Smirnoff.

In the 2016–2017 season, violinist Benjamin Beilman performs as soloist with the Phila- Fred Child is the host of the American Public Media® radio program Performance Today®, the most delphia Orchestra and the Chicago Symphony, as well as with the symphony orchestras of listened-to classical music radio show in America. Child is also the commentator and announcer Detroit, San Diego, Atlanta, and Grand Rapids. Making recital debuts in San Francisco and for Live from Lincoln Center on PBS, the only live performing arts series on television. He was Vancouver this season, he also frequently performs at chamber music festivals, including cohost of Carnegie Live, a three-year series of national broadcasts from America’s premier concert Music@Menlo, Music from Angel Fire, and Chamber Music Northwest, as well as the Bridge- venue, and has hosted numerous other live national broadcasts, including significant events from hampton, Marlboro, Santa Fe, Seattle, and Sedona Chamber Music Festivals. Beilman is the New York, Los Angeles, London, and Boston, as well as the Aspen Music Festival. Fred Child also recipient of the prestigious Borletti-Buitoni Trust Fellowship for 2014, a 2012 Avery Fisher hosted NPR’s Creators at Carnegie, a program with wide-ranging performers in concert, and was Career Grant, and a 2012 London Music Masters Award. previously Music Director and Director of Cultural Programming at WNYC in New York.

Violinist Aaron Boyd enjoys a versatile career as a soloist, chamber musician, and recording art- A violist of international reputation, Roberto Díaz is President and CEO of the Curtis Institute ist and concertizes throughout the United States, Europe, Russia, and Asia. As a violinist of the of Music. As a teacher of viola at Curtis and former Principal Violist of the Philadelphia Orches- Escher String Quartet, Boyd was a recipient of the 2013 Avery Fisher Career Grant and appears tra, Díaz has already had a significant impact on American musical life and continues to do so regularly as an Artist of the Chamber Music Society of Lincoln Center. He has participated in his dual roles as performer and educator. He has appeared as an orchestral soloist and recit- in the Marlboro, La Jolla, Bridgehampton, and Prussia Cove festivals. Previously on the violin alist in major cities around the globe and has worked with many of the leading conductors and faculty of Columbia University and the University of Arizona, Aaron Boyd now lives in New York composers of our time. A celebrated chamber artist and recitalist, Roberto Díaz is a member of with his family. He plays the “ex-Stopak” Matteo Goffriller violin, made in Venice in 1700. the Díaz Trio and performs frequently on tour in programs featuring Curtis students.

Hailed as a “superb young soloist” (New Yorker), Nicholas Canellakis has become one of Pianist Peter Dugan, hailed by the Washington Post as a “formidable soloist,” makes his debut the most sought-after and innovative cellists of his generation. Canellakis recently made his this season with the San Francisco Symphony under the baton of Michael Tilson Thomas. Carnegie Hall concerto debut with the American Symphony Orchestra and is an Artist of the Dugan recently gave his Weill Hall debut recital with baritone John Brancy, presented by Chamber Music Society of Lincoln Center, with which he performs regularly in Alice Tully Hall Carnegie Hall. A sought-after crossover artist, he has performed in duos and trios with art- and on tour throughout the United States and abroad. He has participated in many of the ists ranging from Itzhak Perlman and Joshua Bell to Jesse Colin Young and Glenn Close. Peter world’s leading music festivals, including Santa Fe, La Jolla, Music@Menlo, Ravinia, Verbier, Dugan holds master and bachelor of music degrees from the Juilliard School, where he studied Mecklenburg, Bridgehampton, Moab, Sarasota, and Aspen. He is a graduate of the Curtis under Matti Raekallio and currently serves on the piano faculty of the Evening Division. Institute of Music and New England Conservatory and is on faculty at the Brooklyn College Conservatory of Music.

28 subscribe at www.musicatmenlo.org | 650-331-0202 The Escher String Quartet is an Artist of the Chamber Music Society of Lincoln Center and Violist Hsin-Yun Huang has been a soloist with the Berlin Radio Orchestra, the Tokyo Phil- has made a distinctive impression throughout Europe, with recent debuts at the Amsterdam harmonic, Zagreb Soloists, and the London Sinfonia, among many others, and she performs Concertgebouw, the Berlin Konzerthaus, London’s Kings Place, the Slovenian Philharmonic Hall, regularly at festivals including Marlboro, Spoleto, Rome, and Santa Fe. She was a member of and the Auditorium du Louvre. Alongside its growing European profile, the Escher continues to the Borromeo String Quartet from 1994 to 2000. A native of Taiwan, Huang first came to flourish in its home country, performing at Alice Tully Hall in New York, the Kennedy Center international attention as the gold medalist and youngest competitor in the 1988 Lionel Tertis in Washington, D.C., and the Ravinia and Caramoor festivals. The Escher String Quartet is cur- International Viola Competition. She received degrees from the Curtis Institute of Music and rently the String Quartet-in-Residence at Southern Methodist University in Dallas, Texas. the Juilliard School and currently serves on the faculty of both schools.

Christopher H. Gibbs is the James H. Ottaway Jr. Professor of Music at Bard College, Coartis- Taiwanese-American violinist Paul Huang’s recent and upcoming engagements include debuts with tic Director of the Bard Music Festival, and Executive Editor of the Musical Quarterly. He edited the Houston, Pacific, and Omaha Symphonies, the Santa Barbara Chamber Orchestra, and the Loui- The Cambridge Companion to Schubert, coedited Franz Liszt and His World and siana and Seoul Philharmonics, as well as return engagements with the Detroit, Alabama, and Bilbao and His World, and is the author of The Life of Schubert. He is the coauthor, with Richard Symphonies and the national symphonies of Mexico and Taiwan. The recipient of a prestigious Avery Taruskin, of The Oxford History of Western Music, College Edition. Since 2000, he has written Fisher Career Grant in 2015, Huang has performed recitals at Lincoln Center, the Kennedy Center, the program notes for the Philadelphia Orchestra. the Phillips Collection, the Gardner Museum, the Seoul Arts Center in Korea, and the Louvre in Paris.

Paul Huang holds the He plays the Guarneri del Gesù Cremona 1742 “ex-Wieniawski” violin, on loan through the Stradivari Marilyn and Boris Wolper Violin Chair in honor of Society, and is a member of the Chamber Music Society of Lincoln Center’s CMS Two. Philip Setzer for 2017. Cellist Clive Greensmith joined the Tokyo String Quartet in 1999 and has performed with Violinist and lecturer Ray Iwazumi is widely respected as both an expert on the Franco- the quartet at the most prestigious venues and concert series across the globe. As a soloist, he Belgian violin school and a performer of uncommon musicianship and integrity. Iwazumi has appeared with the London Symphony Orchestra, the Royal Philharmonic, the Seoul Phil- shares his expertise through lectures and lecture-performances and has published several harmonic, and the RAI Orchestra of Rome, among others. Greensmith has performed at the articles, particularly about the solo sonatas of Ysaÿe, in the Strad, MLA Notes, and other publi- Marlboro Music Festival, the Salzburg Festival, the Edinburgh Festival, the Pacific Music Festi- cations. He has catalogued the rare materials related to Ysaÿe at the Juilliard School, is active val, the Sarasota Music Festival, and Music@Menlo. He is a founding member of the Montrose as an editor and music research consultant, and is on the faculty at the Juilliard School. He has

Clive Greensmith holds Trio with pianist Jon Kimura Parker and violinist Martin Beaver, and he is currently Professor of edited the Scherzo-Tarantella of Wieniawski and the Vieuxtemps Violin Concerto in a minor the Kathleen G. Henschel Cello Chair in honor of Cello and Codirector of Chamber Music at the Colburn School. for G. Henle Verlag. http://www.rayiwazumi.com. David Finckel for 2017. Described by the New York Times as “[an] impressive…prodigiously talented [musician with] Pianist Gilbert Kalish’s profound influence on the musical community as a performer, educa- enormous stamina and [a] brilliant, zippy sound,” twenty-two-year-old American violinist Chad tor, and recording artist has established him as a major figure in American music making. He Hoopes appears regularly in concert halls throughout the world. In the 2015–2016 season, he was was pianist of the Boston Symphony Chamber Players for thirty years, was a founding member the Munich Symphony Orchestra’s first Artist-in-Residence. Recent debuts include the Philadelphia of the Contemporary Chamber Ensemble, and is an Artist of the Chamber Music Society of Orchestra, National Symphony Orchestra, Konzerthausorchester Berlin, and Orchestre de Paris. Lincoln Center. Kalish is Distinguished Professor and Head of Performance Activities at Stony In spring 2016, Hoopes made his London debut at the Royal Festival Hall with the National Youth Brook University. He was previously a faculty member and Chair of the Faculty at the Tangle- Orchestra of Great Britain and conductor Kristjan Järvi. His debut CD with the MDR Leipzig Radio wood Music Center. Kalish received the American Composers Forum’s Champion of New Music Symphony Orchestra (Mendelssohn and Adams concerti) was released in spring 2014. Award in 2017.

Winner of the 2013 Avery Fisher Career Grant, violinist Bella Hristova received First Prize in the 2009 Young Concert Artists International Auditions and the 2007 Michael Hill Interna- tional Violin Competition. As a soloist, she has performed alongside Pinchas Zukerman and the Orchestra of St. Luke’s at Lincoln Center and with the New York String Orchestra under Jaime Laredo at Carnegie Hall. She has been a featured performer at Australia’s Musica Viva, Music@Menlo, Music from Angel Fire, Chamber Music Northwest, the Santa Fe Chamber Music Festival, and the Marlboro Music Festival. Her most recent projects include her recording Bella Unaccompanied and the commission of Second String Force from Joan Tower.

subscribe at www.musicatmenlo.org | 650-331-0202 29 Festival Artist Biographies

Violinist Soovin Kim is an exciting player who has built on the early successes of his prize- Known for her music career of broad versatility, violinist Amy Schwartz Moretti is Director of winning years to emerge as a mature and communicative artist. Kim enjoys a broad musical the McDuffie Center for Strings, the Caroline Paul King Chair in Strings at the Mercer University career, performing repertoire such as Bach sonatas and Paganini caprices for solo violin and Townsend School of Music, and former Concertmaster of the Oregon Symphony and Florida Mozart and Vivaldi concerti without conductor, as well as Romantic concerti, sonatas for violin Orchestra. She is a member of the Ehnes String Quartet and maintains an active performing and piano ranging from Beethoven to Ives, and world-premiere works almost every season. schedule of solo, chamber, and concertmaster activities. In addition to her recordings and For two months each year, he performs as the first violinist of the Johannes String Quartet. international performances, she curates the Fabian Concert Series in Macon, Georgia. Through Soovin Kim is the founder and Artistic Director of the Lake Champlain Chamber Music Festival the generous efforts of the Stradivari Society, she plays the 1744 G. B. Guadagnini violin (LCCMF) in Burlington, Vermont, and serves on the faculty of New England Conservatory. known as the “Canadian.”

Canadian violist Pierre Lapointe is a member of the Escher String Quartet. He earned a Violist Paul Neubauer’s exceptional musicality and effortless playing led the New York Times to doctoral degree from Manhattan School of Music in 2012 for his dissertation on Zemlinsky’s call him “a master musician.” Appointed Principal Violist of the New York Philharmonic at age Second String Quartet. His main teachers were Yaela Hertz Berkson, Calvin Sieb, Paul Yar- twenty-one, he has appeared as soloist with over one hundred orchestras including the New York, brough, and Lawrence Dutton. Since 2010, Pierre Lapointe has played on a viola ingeniously Los Angeles, and Helsinki Philharmonics; the National, St. Louis, Detroit, Dallas, San Francisco, designed and made by Christophe Landon. and Bournemouth Symphonies; and the Santa Cecilia, English Chamber, and Beethovenhalle Orchestras. He has premiered viola concerti by Bartók (the revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower and recorded for Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical.

Violinist Jessica Lee, Grand Prize winner of the 2005 Concert Artists Guild International Competi- An Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Grant recipient, violist tion and Assistant Concertmaster of the Cleveland Orchestra, has performed around the world Richard O’Neill has appeared as soloist with the London and Los Angeles Philharmonics and the as soloist with the Pilsen Philharmonic, Gangnam Symphony, and Malaysia Festival Orchestra, as BBC Symphony with Andrew Davis, Vladimir Jurowski, and Yannick Nézet-Séguin. He is a Universal/ well as the Houston, Grand Rapids, Richmond, and Modesto Symphonies. As a recitalist, she has Deutsche Grammophon recording artist, and his albums have sold over 200,000 copies. An Artist of performed at the Rudolfinum in Prague, Weill Hall at Carnegie Hall, and the Phillips Collection and the Chamber Music Society of Lincoln Center, he has introduced thousands to chamber music in South the Kennedy Center in Washington, D.C. A longtime member of the Johannes String Quartet and Korea through his chamber music initiative, DITTO. Elliott Carter, John Harbison, and Huang Ruo have the Chamber Music Society of Lincoln Center’s CMS Two, Jessica Lee has appeared at the Bridge- dedicated works to him. The first violist to receive the Artist Diploma from Juilliard, Richard O’Neill hampton, Santa Fe, Seoul Spring, Olympic, and Music@Menlo festivals. was honored with a Proclamation from the New York City Council. He runs marathons for charity.

Violinist Sean Lee has attracted audiences around the world with his lively performances of A prizewinner at numerous international competitions including Oberlin, Ettlingen, Hugo the classics. A recipient of the 2016 Avery Fisher Career Grant, Lee is one of only a few violin- Kauder, Prix Amadèo, Premio Vittorio Gui, Plowman, and Corpus Christi, pianist Hyeyeon Park ists who perform Niccolò Paganini’s Twenty-Four Caprices in concert, and his YouTube series, has been presented at the Dame Myra Hess Recital Series, Trinity Wall Street, Bargemusic, Paganini POV, continues to draw attention for its insight for aspiring young violinists. An Artist and the Phillips Collection, among others. Selected as a 2012 Artist of the Year by the Seoul of the Chamber Music Society of Lincoln Center, Lee currently teaches at the Juilliard School’s Arts Center, Park has appeared as a soloist and chamber musician on major concert stages, Pre-College Division as well as the Perlman Music Program, where he was also a student. He performing with orchestras such as the Seoul Philharmonic, Seoul Symphony, KNUA Chamber performs on a violin originally made for violinist Ruggiero Ricci in 1999 by David Bague. Orchestra, Incheon Philharmonic, and Gangnam Symphony, to name a few. Hyeyeon Park is currently a professor of piano at the University of Nevada, Reno.

Violinist Yura Lee has appeared as a soloist with many major orchestras, including the New York Philharmonic, Chicago Symphony, Baltimore Symphony, Cleveland Orchestra, Detroit Symphony, San Francisco Symphony, Los Angeles Philharmonic, Monte Carlo Philharmonic, Hong Kong Philharmonic, and Tokyo Philharmonic, to name a few. As a chamber musician, Lee regularly takes part in the Marlboro, Salzburg, Verbier, La Jolla SummerFest, Seattle, Caramoor, Ravinia, Kronberg, and Aspen music festivals, among many others. She teaches both violin and viola at the Mason Gross School of the Arts at Rutgers University and divides her time between New York City and Berlin.

30 subscribe at www.musicatmenlo.org | 650-331-0202 Scott Pingel’s career has included serving as the San Francisco Symphony’s Principal Bass Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann debuts in the for twelve years, in addition to positions such as Principal Bass of the Charleston Symphony 2016–2017 season with the Vancouver Symphony, Pacific Symphony, and Alabama Symphony, Orchestra and Guest Principal with the National Arts Centre Orchestra in Canada, among among other orchestras. He has appeared previously with the American Symphony Orchestra, others. As a chamber musician, he can be heard in venues around the country with groups Stamford Symphony, Chattanooga Symphony, Minnesota Sinfonia, Jerusalem Symphony, and such as the Chamber Music Society of Lincoln Center and on radio programs including NPR’s Paris Chamber Orchestra. A dedicated chamber musician, he has been affiliated with the Cham- Performance Today®. Formerly active as a jazz musician, Pingel performed in clubs from New ber Music Society of Lincoln Center since 2006 and regularly appears with it in New York and York to . He was previously a tenured Associate Professor of Music at the University on tour. Born in Strasbourg, France, and based now in New York City, Arnaud Sussmann trained of Michigan and is currently a faculty member of the San Francisco Conservatory of Music. at the Conservatoire de Paris and the Juilliard School with Boris Garlitsky and Itzhak Perlman.

Celebrated as one of Finland’s most outstanding pianists, Juho Pohjonen is widely praised for his Violinist Danbi Um has appeared as soloist with the Israel Symphony, Vermont Symphony, Herzliya stellar musicianship and distinctive interpretations of a broad range of repertoire from Bach to Chamber Orchestra, Auckland Philharmonic, and Dartmouth Symphony and in venues such as Alice Salonen. He has appeared with the Los Angeles Philharmonic, the San Francisco, Danish National, Tully Hall, the Harris Theater, the Kennedy Center, the Perelman Theater at the Kimmel Center, the Isa- Finnish Radio, and Swedish Radio Symphonies, the Scottish Chamber Orchestra, and the Lahti bella Stewart Gardner Museum, Kumho Art Hall, the Tel Aviv Museum of Art, Saratoga Springs, and Symphony, with which he toured Japan. Pohjonen has been presented on recital series in Car- Bennett Gordon Hall at the Ravinia Festival, as well as for the Seattle Chamber Music Society. She is a negie’s Zankel Hall and at the Kennedy Center and in Vancouver, San Francisco, and Detroit. Season winner of Astral Artists’ 2015 National Auditions, a prizewinner in the Menuhin and Michael Hill Inter- highlights include his Vancouver Symphony debut, his third invitation to the Atlanta Symphony national Competitions, and a member of the Chamber Music Society of Lincoln Center’s CMS Two. Orchestra, and chamber programs at Lincoln Center’s Alice Tully Hall and the Library of Congress. She has performed at festivals such as Marlboro, Ravinia, Music@Menlo, Yellow Barn, and Caramoor.

Cellist Keith Robinson is a founding member of the Miami String Quartet and has been active One of the leading instrumentalists of his generation, French hornist Radovan Vlatkovi´c has as a chamber musician, recitalist, and soloist since his graduation from the Curtis Institute of traveled the globe performing extensively as a soloist and popularizing the horn as a recording Music. His most recent recording, released on Blue Griffin Records with pianist Donna Lee, artist. He has played with the best orchestras around the world and was the Artistic Director features Mendelssohn’s complete works for cello and piano. As a member of the Miami String of the September Chamber Music Festival in Maribor, Slovenia. Vlatkovi´c played first perfor- Quartet, he has recorded for the BMG, CRI, Musical Heritage Society, and Pyramid recording mances of works by Elliott Carter, Sofia Gubaidulina, and Heinz Holliger, and most recently labels, was a member of the Chamber Music Society of Lincoln Center’s CMS Two, and won the he premiered the Horn Concerto written for him by Krzysztof Penderecki. His extensive Concert Artists Guild, London String Quartet, and Fischoff Chamber Music competitions. He recordings have been awarded prestigious prizes. In 2014, Vlatkovi´c received an Honorary plays a Carlo Tononi cello made in Venice and dated 1725. Membership of the Royal Academy of Music (Hon RAM).

The cellist of the Escher String Quartet, Los Angeles native Brook Speltz has performed as a One of the most sought-after soloists in his generation, American pianist Orion Weiss has per- soloist, chamber musician, and recitalist throughout the United States, Canada, Latin America, formed with many of the major American orchestras, including the Chicago Symphony, Boston Europe, and Asia. Since winning First Prize in the Ima Hogg Competition, he has performed as Symphony, Los Angeles Philharmonic, and New York Philharmonic. Also an enthusiastic chamber a soloist with the Houston Symphony, Colorado Music Festival Orchestra, and International musician, Weiss performs regularly with his wife, pianist Anna Polonsky, violinists James Ehnes and Contemporary Ensemble, among others, and is a regular performer at England’s IMS Prussia Arnaud Sussmann, and cellist Julie Albers, as well as ensembles including the Pacifica Quartet. He Cove and on tour with Musicians from Marlboro. Based in New York City, Speltz tours and has appeared across the United States at Lincoln Center, the Ravinia Festival, the Sheldon Concert performs with ensembles such as SHUFFLE Concert and the East Coast Chamber Orchestra Orion Weiss holds the Hall, the Seattle Chamber Music Festival, La Jolla SummerFest, Chamber Music Northwest, the Bard Kathleen G. Henschel and on the Omega Ensemble Series. Piano Chair in honor of Music Festival, the Bridgehampton Chamber Music Festival, the Kennedy Center, and Spivey Hall. Wu Han for 2017. Pianist Yekwon Sunwoo won the 2015 International German Piano Award Competition Brooklyn-based violin maker Samuel Zygmuntowicz was already a prizewinning sculptor in Frankfurt and the 2014 Vendome Competition at the Verbier Festival, among others. He before he began his instrument-making studies at age thirteen. His violins have won the high- has performed as a soloist with numerous international orchestras such as the Baltimore est honors including double gold medals for violin tone and workmanship. Since 1985, he has Symphony Orchestra and the Houston Symphony Orchestra. He has given recitals at Carnegie made commissioned instruments for such performers as Cho-Liang Lin, Joshua Bell, Maxim Hall, Hamarikyu Asahi Hall in Tokyo, Wigmore Hall in London, and the Salle Cortot and Radio Vengerov, Yo-Yo Ma, Leila Josefowicz, David Finckel, and the Emerson String Quartet. He is also France in Paris. Recently, he has performed at the Französische Friedrichstadtkirche in Berlin, an acoustics researcher and Creative Director of Strad3D.org, with a team of scientists, violin Alte Oper in Frankfurt, Theater Bonn, and Kursaal Bad Cannstatt in Stuttgart. makers, and musicians. The quest is to move past myths to understand what a violin does and not just what it looks like or costs.

subscribe at www.musicatmenlo.org | 650-331-0202 31 Music@Menlo Membership Become a Member by making a contribution to Music@Menlo’s Annual Fund.

In addition to the benefits at your membership level, you will enjoy the benefits associated with all previous levels. Performers Circle Paganini ($100–$249) Members enjoy: • CODA, Music@Menlo’s donors-only e-newsletter – enjoy behind-the- scenes stories, special offers, and engaging musical content curated just for you Haydn ($2,500–$4,999) Members enjoy: • Receiving the festival brochure in advance of the general public Patrons Circle • Premium Seating – upgrade any two tickets of your choice to include Esterházy ($25,000–$49,999) Members enjoy: • Recognition as a supporter in the festival program book assigned seating reflecting your preferences • Premium Seating – upgrade a total of twelve tickets Joachim ($250–$499) Members enjoy: • The Haydn Circle Dinner Party – mingle with festival musicians and • Season Dedication – enjoy recognition on a special dedication poster • A 10 percent discount on Music@Menlo merchandise friends at this casual post-concert dinner party at the concert hall during the season and in the festival program book Caruso ($500–$999) Members enjoy: • Two complimentary beverage passes to use at a performance during • The Patrons Circle Season Announcement – join the Artistic Directors • The Caruso Coffee – savor a late-morning breakfast and panel discus- the festival sion during the festival on an intriguing musical topic for an exclusive, private in-home concert and dinner in the spring Mozart ($5,000–$9,999) Members enjoy: where the next festival theme is unveiled • Premium Seating – upgrade a total of four tickets Composers Circle • The Patrons Circle Dinner Party – fine wine, exquisite food, and an inti- • Mozart at Midday – enjoy the company of friends and musicians at a Bach ($1,000–$2,499) Members enjoy: mate, private home setting are hallmarks of this post-concert dinner delightful afternoon reception during the festival • Concierge Services – order tickets first during a special early access with the Artistic Directors, festival artists, and Institute faculty • A Mozart Circle Dinner Party – get to know the Artistic Directors and period, utilize no-fee exchanges, and receive dedicated assistance Carnegie ($50,000–$99,999) Members enjoy: musicians at one of our private post-concert dinner parties through a donors-only phone line throughout the year • Premium Seating – upgrade a total of sixteen tickets • Prelude/KYPC Advance Ticketing – skip the line and reserve up to four Beethoven ($10,000–$24,999) Members enjoy: • Customized benefits and recognition • Premium Seating – upgrade a total of eight tickets general-admission tickets to one Chamber Music Institute performance Medici ($100,000+) Members enjoy: • Prelude/KYPC Advance Ticketing – reserve up to four general-admission of your choice at least one day prior to the performance • Premium, reserved seating for you and your guests at all events seats for every Chamber Music Institute performance (reserve at least one • The Festival Season Preview – learn about the season to come in advance • The opportunity to host a private concert in your home with festival day in advance) of the general public at this private spring performance and reception artists and your friends • The Bach BBQ – join festival artists, Institute participants, and friends • Concert Dedication – in recognition of your generosity, a summer festi- at this popular mid-summer festival event val performance will be dedicated to you • The Music@Menlo Calendar – enjoy stunning festival photos and keep • The Beethoven Circle Dinner Party – savor delectable food and drink track of Music@Menlo events with this limited-edition calendar avail- while mingling with the Artistic Directors, festival musicians, and Insti- able in the spring tute faculty at this elegant patron-hosted post-concert dinner

32 subscribe at www.musicatmenlo.org | 650-331-0202 Supporting Music@Menlo Gifts to the Annual Fund Gifts to the Annual Fund support the critical daily operations of the festi- val and are acknowledged through membership benefits. Sponsor a Student with a Gift to the Ann S. Bowers Young Artist Fund Sponsorships provide essential support for the talented young musi- cians who participate in Music@Menlo’s Chamber Music Institute. Sponsors nourish the future of classical music by enabling students to come to Music@Menlo to experience an inspiring and rigorous learning environment with a world-class roster of artist-faculty members and an exceptional student-faculty ratio. Sponsors also play a critical role in the lives of these extraordinary young artists by helping them realize their lifelong personal and professional ambitions. Sponsorships are available for International Program participants ($15,000) and Young Performers ($7,500), and partial sponsorships are also welcome. Spon- sors enjoy the same benefits as contributors to the Annual Fund as well as special opportunities to get to know their student. Please contact us to learn how to become a Sponsor. Gifts to the Music@Menlo Fund Initially funded by the Tenth-Anniversary Campaign, the Music@Menlo Fund holds board-designated funds to support long-term financial health and for special projects. Please contact us to learn more about making a special gift or pledge to the Music@Menlo Fund and to learn about special recognition opportunities. Ways to Give Gifts of Cash: Gifts may be made online at www.musicatmenlo.org or by phone at 650-330-2030 or may be mailed to Music@Menlo at 50 Valparaiso Avenue, Atherton, CA 94027. Pledges: Gifts may be pledged and paid in increments comfortable for you. Please contact us for more information. Employer Matching Gifts: Many companies match donations by their employees and retirees. Contact your employer’s human resources department to find out more. As a program of Menlo School, Music@Menlo is an eligible 501(c)(3) educational institution. Isaac Stern Circle: Planned commitments and charitable trusts and annuities help champion the future of chamber music. Please speak with us about your specific interests and talk with your estate planning advi- sor to learn more. Gifts of Securities: A gift of appreciated stock may offer valuable tax benefits. Please contact your financial advisor for more information. To learn more, please call Taylor Smith at 650-330-2030 or email [email protected].

subscribe at www.musicatmenlo.org | 650-331-0202 33 Reserving Your Summer Festival Tickets Ways to Order 2017 Summer Festival Mail: Music@Menlo Tickets Subscription Offerings 50 Valparaiso Avenue Become a Music@Menlo Summer Festival Subscriber and enjoy exclusive Atherton, CA 94027 benefits, personalized services, and special savings throughout the entire festival. Phone: 650-331-0202 Your Subscriber discount extends to all additional ticket purchases you Fax: 650-330-2016 make throughout the 2017 summer season! Subscribers also enjoy free Online: www.musicatmenlo.org ticket exchanges for the 2017 summer season. Subscriber benefits include the following: Music@Menlo box office hours: • Special savings: Receive a 5 percent or a 10 percent discount on all your ticket purchases throughout the festival. Before July 10: Monday–Friday, 10:00 a.m.–4:00 p.m. • Priority ticketing: Get your order filled before non-Subscribers for improved seats and access to concerts that sell out quickly. July 10–August 5: • Free ticket exchanges: Easily exchange your tickets within the same Daily, 9:00 a.m.–4:00 p.m. season free of charge. Choose-Your-Own Summer Festival Mini Subscription Save 5 percent on your summer festival ticket order and subsequent Get the Best Seats! ticket purchases throughout the summer festival when you purchase any Support combination of four or five ticketed festival concerts or Encounters, and Members of the Bach Circle ($1,000) and above receive Advance Ticket- receive the above benefits. ing for one Prelude Performance or Koret Young Performers Concert of Choose-Your-Own Summer Festival Full Subscription your choice and VIP priority ticketing—VIP ticket orders are filled first, Save 10 percent on your summer festival ticket order and subsequent ensuring ticket availability for the most popular concerts and securing ticket purchases throughout the summer festival when you purchase any priority seats, based on giving level. Members of the Haydn Circle combination of six or more ticketed festival concerts or Encounters, and ($2,500) and above also receive Premium Seating reservations for the receive the above benefits. best seats in the hall. Order by April 18 for priority ticketing. Summer Festival Immersion Subscription Subscribe Immerse yourself in the music for the complete Music@Menlo experience! Summer Festival Subscribers receive Subscriber priority ticketing. Sub- Purchase tickets to all summer festival Concert Programs and Encounters and scriber orders are filled immediately after VIP priority orders and before receive the above benefits, a 10 percent discount on your tickets through- single-ticket orders. Order by May 2 for Subscriber priority ticketing. (To out the summer, a 10 percent discount on Music@Menlo merchandise, and learn more, see the description on this page.) a complimentary boxed set of the 2017 Music@Menlo LIVE CDs when they Order Early are released later in the year. Single-ticket orders are filled in the order they are received, after Bach Circle and above Member and Subscriber priority ticketing windows have closed. Order early to get the best seats in our reserved-seating venues and to get tickets to concerts that sell out quickly!

34 subscribe at www.musicatmenlo.org | 650-331-0202 Reserving Your Summer Festival Tickets

More Ticketing Information Discounted Tickets for Those under Age Thirty $3-per-ticket fee. There is never a fee to donate your ticket. Proof of Music@Menlo is committed to making tickets available at a greatly the return must be provided by returning the original tickets or tearing Members of the Bach Circle and Above reduced rate for audience members under the age of thirty. Prices vary by them in half and sending an image of the torn tickets by fax, scan, or (contributors of $1,000 or more to the 2017 Annual Fund) event and venue and are listed on the order form. Proof of age is required. digital photograph. We cannot refund tickets, except in the case of a Your priority ticket order (placed by April 18) will be filled before all other canceled event. All programs and artists are subject to change without Seating for Paid Events ticket orders (based on giving level; see p. 32 for more information). For notice. your first summer festival ticket order, pay festival Subscriber or non- Seating is reserved for all Concert Programs and Carte Blanche Concerts in Subscriber handling fees, as noted below. Then, enjoy waived handling Stent Family Hall and the Center for Performing Arts at Menlo-Atherton. Ticket Reservations for Prelude Performances and Koret fees for all additional ticket purchases or exchanges throughout the 2017 Seating is by general admission for all Encounters and all free events, Young Performers Concerts summer festival. including Prelude Performances, Koret Young Performers Concerts, Café Online ticket reservations are available for Prelude Performances and Koret Conversations, and master classes. For reserved-seating events, seats are Young Performers Concerts and can be made at www.musicatmenlo.org on Summer Festival Subscribers assigned on a best-available basis at the time the order is filled. Priority the day of the event starting at 9:00 a.m. Free tickets can also be requested (purchasing tickets to four or more ticketed summer festival concerts or orders placed by April 18 for Bach Circle and above Members and by May 2 in person at will call beginning one hour prior to the start of each concert. Encounters) for Subscribers are filled according to giving level and Subscriber status. See Members of the Bach Circle ($1,000) and above enjoy Advance Ticketing Receive a 5 percent (Summer Festival Mini Subscribers) or a 10 percent p. 32 for information about Premium Seating for Haydn Circle ($2,500) and for one Prelude Performance or Koret Young Performers Concert of their (Summer Festival Full Subscribers/Immersion Subscribers) discount on above Members. choice. Members of the Beethoven Circle ($10,000) and above enjoy all ticket purchases throughout the 2017 summer festival and have your Advance Ticketing for all Prelude Performances and Koret Young Performers Receiving Your Summer Festival Tickets advance order (placed by May 2) filled before non-Subscriber orders (see Concerts. Ticket reservations are general admission. For reserved seats, Tickets will be mailed beginning in mid-June. For ticket orders placed after p. 34 for more information). A $10-per-order handling fee applies to Members of the Haydn Circle ($2,500) and above may use their Premium that, tickets will be mailed within approximately five business days. For each original order. Subscribers pay no handling fees on ticket exchanges Seating reservations (see p. 32 for donor benefit information). throughout the 2017 summer festival. Subsequent new ticket purchases ticket orders placed fewer than seven days prior to a performance, tickets (not exchanges) will incur the standard $6-per-order handling fee. will be held at will call. (For Winter Series tickets, see p. 26.) Will Call and Ticket Services at the Venue Will call and on-site ticket services at each venue open one hour before Ticket Returns, Exchanges, and Donations Summer Festival Non-Subscribers/Single-Ticket Orders the start of any ticketed event. Tickets for all Music@Menlo paid events We welcome ticket returns for a credit, exchange, or donation. You A $6 handling fee applies to any order of three or fewer concerts or may be ordered at on-site ticket services. Encounters (including the Winter Series, see p. 26). A $3-per-ticket han- may return your ticket up to twenty-four hours prior to a performance dling fee applies to exchanges. for a ticket credit (to be used within the same season), an immedi- Questions ate exchange, or a tax-deductible donation. Ticket exchanges are For questions about tickets or your order, please call patron services complimentary for Summer Festival Subscribers and Members of the at 650-331-0202, email [email protected], or visit Bach Circle ($1,000) and above. All other exchanges are subject to a www.musicatmenlo.org.

subscribe at www.musicatmenlo.org | 650-331-0202 35 The Festival Campus and Performance Venues Music@Menlo’s Home: Menlo School Menlo School is one of the nation’s leading independent college- During the school year, Music@Menlo supports Menlo School’s commit- Performance Venues preparatory schools and has been the home of Music@Menlo since its ment to instilling creative-thinking skills in all of its students. Music@Menlo’s inaugural season in 2003. The Menlo School campus is host to many of annual Winter Residency brings classical music into the Menlo School In 2017, Music@Menlo offers audiences the chance to hear great cham- the festival concerts, the Encounter series, and Music@Menlo’s Chamber classrooms with a series of special performances, discussions, and classroom ber music in three unique concert spaces: Music Institute. The school’s classrooms offer an ideal setting for rehears- presentations designed to introduce Menlo School students to a broad Stent Family Hall, on the Menlo School campus, is, in the words of one als and coachings, while Martin Family Hall and Stent Family Hall’s selection of chamber music masterpieces, all in the context of curricula festival artist, “one of the world’s most exquisite chamber music spaces.” The Spieker Ballroom provide intimate settings for music as well as for Café ranging from American literature to foreign language studies. hall’s elegant Spieker Ballroom, with seating for 148 guests, provides a listen- Conversations, master classes, and other Institute activities. Festival Welcome Center ing experience in the intimate setting for which chamber music was intended. Menlo School’s commitment to learning and its welcoming atmosphere Martin Family Hall, Menlo School’s versatile 220-seat multimedia facil- Music@Menlo’s Welcome Center is open daily throughout the festival. and beautiful grounds make it the ideal environment for audiences, ity, offers up-close enjoyment from every seat for Encounters (see p. 22), The Welcome Center serves as a place for artists, students, audience Institute students, and the festival’s artist-faculty to share ideas and select Prelude Performances (see pp. 24–25), master classes, and Café members, and festival guests to connect during the festival. Visitors to realize Music@Menlo’s educational mission, which serves festival audi- Conversations (see p. 25). the Welcome Center can purchase concert tickets and get information ences, Menlo School students, and the next generation of chamber about the festival’s many offerings and events. The Center for Performing Arts at Menlo-Atherton, open since 2009, is musicians. the Peninsula’s first state-of-the-art concert hall, acoustically ideal for cham- ber music. With an architectural design inspired by the neighboring oak tree grove and an intimate interior, the 492-seat hall is located in close proximity to downtown Menlo Park on the campus of Menlo-Atherton High School. Reserved Seating—Seating for paid concerts at the Center for Performing Arts at Menlo-Atherton and Stent Family Hall is reserved. Seating in Martin Family Hall and for all free events, including Prelude Performances and Koret Young Performers Concerts, is by general admission. Venue seating maps and more information on reserved seating can be found on the order form, and directions to the venues appear on the opposite page.

Stent Family Hall

Martin Family Hall

The Center for Performing Arts at Menlo-Atherton

36 subscribe at www.musicatmenlo.org | 650-331-0202

THE CENTER FOR PERFORMING ARTS AT MENLO-ATHERTON Caltrain 2

Ringwood Ave Willow Rd.

1 Ravenswood ATHERTON PALO ALTO

Cowper St.

MENLO PARK

MAP NOT DRAWN TO SCALE

1. Menlo School: 50 Valparaiso Ave., Atherton Accommodations: Comfortable and welcoming hotels are available For Visitors to Our Area 2. The Center for Performing Arts at Menlo-Atherton: in a variety of price ranges in Menlo Park and Palo Alto. Visit Location: Atherton and Menlo Park are situated adjacent to each other on 555 Middlefield Road, Atherton www.musicatmenlo.org for more information and useful links the San Francisco Peninsula, midway between San Francisco and San Jose. to area websites. PHOTO CREDITS Getting here: The San Francisco Bay Area is served by three international Music@Menlo photographs (pp. 2–3, 24, 25, 32–37): Carlin Ma. Travel programs (p. 23): iStock. David Finckel and Wu Han (p. 27): Lisa-Marie Mazzucco. Escher String Quartet (pp. 20, 29): Sophie Zhai. Yura Lee (pp. 21, airports: San Francisco, San Jose, and Oakland. Atherton and Menlo Park Directions and Parking 30): Giorgia Bertazzi. Danbi Um (p. 21): Ah-Hyun Cho. Orion Weiss (pp. 21, 31): Jacob Blickenstaff. Benjamin are within forty-five minutes of each. Caltrain services Menlo Park and Beilman (pp. 21, 28): Giorgia Bertazzi. Yekwon Sunwoo (p. 21): Bonsook Koo. Michael Steinberg (p. 22): Menlo School, Stent Family Hall, and Martin Family Hall all are Tristan Cook. Montrose Trio (p. 26): Jerry Zolynsky. Artists of the Chamber Music Society of Lincoln Center nearby Palo Alto for a direct link to San Francisco. located at 50 Valparaiso Avenue in Atherton, between El Camino Real (p. 26): Tristan Cook. Schumann Quartet (p. 26): Kaupo Kikkas. Enrico Giannini (p. 27): Cy DeCosse. Dmitri Atapine (p. 28): Do Hyung Kim. Adam Barnett-Hart, Gloria Chien (p. 28): Lisa-Marie Mazzucco. Aaron Boyd Weather: In July and August, it almost never rains on the Peninsula. Days and Alameda de las Pulgas, at the Atherton/Menlo Park border. Parking is (p. 28): Carlin Ma. Nicholas Canellakis (p. 28): Sophie Zhai. Ivan Chan (p. 28): Zheng Yang. Fred Child (p. 28): American Public Media. Roberto Díaz (p. 28): Alisa Garin. Peter Dugan (p. 28): Gerard Collett. Christopher are dry and warm, frequently in the low eighties, and evenings can be plentiful and free on the school’s campus. H. Gibbs (p. 29): John Galayda. Clive Greensmith (p. 29): Philip Pirolo. Chad Hoopes, Bella Hristova (p. 29): Lisa-Marie Mazzucco. Hsin-Yun Huang (p. 29): Lin Li. Paul Huang (p. 29): Marco Borggreve. Ray Iwazumi cool, sometimes in the high fifties. The Center for Performing Arts at Menlo-Atherton is located on (p. 29): Damiano Rosa. Gilbert Kalish (p. 29): Anneliese Varaldieve. Soovin Kim (p. 30): Woo-Ryong Chai. Pierre Lapointe (p. 30): Lisa-Marie Mazzucco. Jessica Lee (p. 30): Jodi Buren. Sean Lee (p. 30): Eric Ryan Shopping and dining: The towns of Menlo Park and Palo Alto offer the campus of Menlo-Atherton High School at 555 Middlefield Road in Anderson. Amy Schwartz Moretti (p. 30): Angela Morris. Paul Neubauer (p. 30): Bernard Mindich. Richard tree-lined streets featuring distinctive boutiques, shops, and outstanding Atherton, near the intersection of Middlefield Road and Ravenswood O’Neill (p. 30): CREDIA. Hyeyeon Park (p. 30): D. H. Kim. Scott Pingel (p. 31): Matthew Washburn. Juho Pohjonen (p. 31): J. Henry Fair. Keith Robinson (p. 31): Tara McMullen. Brook Speltz (p. 31): Maia Cabeza. eateries serving cuisine to suit any taste. Also nearby, the Stanford Shop- Avenue. Parking is free. Yekwon Sunwoo (p. 31): Taeuk Kang. Arnaud Sussmann (p. 31): Matt Dine. Danbi Um (p. 31): Vanessa Briceno. Radovan Vlatkovic´ (p. 31): Branko Hrkacˇ. Samuel Zygmuntowicz (p. 31): Isaiah Tanenbaum. ping Center in Palo Alto is an upscale open-air mall. Art direction and design: Nick Stone, www.nickstonedesign.com

subscribe at www.musicatmenlo.org | 650-331-0202 37

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ate Free July 16 July 17 July 23 July 24 July Saturday, Saturday, Sunday, Monday, Wednesday, 19 July Thursday, 20 July Friday, Saturday, Sunday, Monday, Tuesday, Thursday, 27 July July 15 July 21 July 22 July 25 July Tuesday, Tuesday, July 14 July 18 July Friday, Friday, Wednesday, Wednesday, 26 July D Music@Menlo Calendar

38 subscribe at www.musicatmenlo.org | 650-331-0202

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and the many individuals and organizations that share the festival’s vision. the festival’s that share individuals and organizations and the many

ersations are offered at 11:45 a.m. on the campus of Menlo School. These events are free and open to the public. Please consult your festival program book or visit program festival Please consult your and open to the public. free are events These on the campus of Menlo School. at 11:45 a.m. offered are ersations

ate ach weekday of the festival, beginning on July 17, features either a master class with the Chamber Music Institute’s young artists or a Café Conversation. Master classes and artists young or a Café Conversation. either a master class with the Chamber Music Institute’s features 17, on July beginning of the festival, ach weekday E July 30 July 31 July Saturday, Saturday, Sunday, Monday, Wednesday, 2 August Thursday, 3 August Friday, July 29 July 4 August Tuesday, Tuesday, July 28 July 1 August Friday, Friday, Saturday, Saturday, August 5 August D * Café Conv not necessary or available). are topics (reservations a detailed schedule of master classes and Café Conversation season for the festival during www.musicatmenlo.org Special ThanksSpecial Funds, Foundation Koret Foundation, the Margulf by support provided Additional Foundation. Hewlett and Flora the William from grant a leadership Music@Menlo is made possible by Trust, U.S.

subscribe at www.musicatmenlo.org | 650-331-0202 39 Nonprofit Org. U.S. Postage FIFTEENTH ANNIVERSARY PAID Menlo Park, CA Menlo School Permit No. 149 50 Valparaiso Avenue Atherton, California 94027 www.musicatmenlo.org (650) 331-0202