Miller Theatre at Columbia University 2012-13 | 24th Season

Bach, Revisited Two x Four Jaime Laredo, violin and conductor , violin Vinay Parameswaran, conductor Curtis Chamber Orchestra

Wednesday, March 13, 8:00 p.m. Miller Theatre at Columbia University 2012-13 | 24th Season

Bach, Revisited Tw o x Fo u r Jaime Laredo, violin and conductor Jennifer Koh, violin Vinay Parameswaran, conductor Curtis Chamber Orchestra

Wednesday, March 13, 8:00 p.m.

Concerto in D minor, BWV 1043 J. S. Bach (1685–1750) Vivace Largo, ma non tanto Allegro Jaime Laredo, violin Jennifer Koh, violin Curtis Chamber Orchestra

Echorus (1995) Philip Glass (b. 1937) Jaime Laredo, violin Jennifer Koh, violin Curtis Chamber Orchestra Vinay Parameswaran, conductor

Seasons Lost (2011) David Ludwig (b. 1972) Winter (unum) Spring (duo) Summer (tertius) Fall (quartus) Jaime Laredo, violin Jennifer Koh, violin Curtis Chamber Orchestra Vinay Parameswaran, conductor

INTERMISSION Miller Theatre at Columbia University 2012-13 | 24th Season

Prince of Clouds (2012) Anna Clyne (b. 1980) Jaime Laredo, violin Jennifer Koh, violin Curtis Chamber Orchestra Vinay Parameswaran, conductor

Serenade for Strings in C Major, Op. 48 Pyotr Ilyich Tchaikovsky Pezzo in forma di sonatina (1840–1893) Valse Élégie Finale (Tema Russo) Curtis Chamber Orchestra Jaime Laredo, conductor

This program runs approximately one hour and 45 minutes, including intermission.

Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is wheelchair accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program

The Two x Four project stems from a humble premise—two violinists performing the work of four composers. However, the project is not intended to focus merely on the performative aspect of music; instead, Two x Four is a celebration of a tremendous col- laboration between violinists Jennifer Koh and Jaime Laredo, a partnership that began when Koh was Laredo’s student at the Curtis Institute of Music in Philadelphia. While Laredo is quick to point out that their relationship has since developed to that of col- leagues, Koh’s reverence for Laredo as a life-long mentor is obvious in the duo’s work.

Preparations for Two x Four began in 2010, when Koh approached composers Anna Clyne and David Ludwig about creating new works for two violins, an instrumentation choice inspired by one the most cherished pieces in Koh’s repertoire: Bach’s double vio- lin concerto (formally, Concerto in D minor, BWV 1043). Koh first performed this piece with Laredo while still a student at Curtis, and since then the piece has stayed with her as a memory of the generous dialogue between student and mentor. In asking Clyne and Ludwig to compose for two violins, the dialogue between Koh and Laredo continues in homage to the tradition of Bach’s double, reinforcing the collaboration that the Two x Four project celebrates.

Over the next year and a half, both Clyne and Ludwig worked with Koh to compose pieces that reflected the special partnership between Koh and Laredo. For Clyne, this meant finding each player’s individual voice within the context of the larger piece, de- constructing the ensemble and rebuilding it through the players’ musical relationship. For Ludwig, connecting to the tradition of the Bach double concerto was a compelling point of departure, allowing him to respond through composition to the relationship portrayed by Bach, and the relationship of the two violinists before him.

Koh encourages listeners to consider the performance tradition represented in the works on the Two x Four program. The two new compositions, Clyne’s Prince of Clouds and Ludwig’s Seasons Lost, both follow in the structural footsteps of Bach, nearly 300 years after the writing of his double violin concerto. The compositional dialogue be- tween past and present resonates throughout tonight’s program, not only in reverence to the spirit of Bach, but as reassurance of his relevancy in the future.

Program notes by Katherine Bergstrom after a video interview with Jennifer Koh and Jaime Laredo About the Artists

Performing for over five decades for audi- to Triple Doubles, an album with Sharon ences across the globe, Jaime Laredo has Robinson and the Vermont Symphony excelled in the multiple roles of soloist, which includes three double concerto conductor, recitalist, pedagogue, and premieres by , Richard Dan- chamber musician. Since his stunning ielpour, and David Ludwig (Bridge, 2011). orchestral debut at the age of eleven with Mr. Laredo’s stewardships of the annual the San Francisco Symphony, he has won New York String Orchestra Seminar at the admiration and respect of audiences, and the International Violin critics and fellow musicians with his Competition of Indianapolis have become passionate and polished performances. beloved educational pillars of the string That debut inspired one critic to write: “In community. 2012 marked the beginning the 1920s it was Yehudi Menuhin; in the of his tenure at The Cleveland Institute 1930s it was ; and last night of Music. He concurrently holds direc- it was Jaime Laredo.” His education and tor posts with the Vermont Symphony development were greatly influenced by Orchestra, the Chamber Music at the Y his teachers Josef Gingold and Ivan Gala- series in New York, and the Linton Cham- mian, as well as by private coaching with ber Music Series in Cincinnati. eminent masters Pablo Casals and George Szell. At the age of seventeen, Jaime Lar- Jennifer Koh is recognized for her edo won the prestigious Queen Elisabeth intense, commanding performances, of Belgium Competition, launching his delivered with dazzling virtuosity and rise to international prominence. In the technical assurance. She is dedicated to 2012-2013 season, Mr. Laredo tours as performing the violin repertoire of all conductor, soloist, and as a member of eras from traditional to contemporary, the award-winning Kalichstein-Laredo- believing that the past and present form a Robinson Trio. Mr. Laredo has recorded continuum. A model example of how Ms. close to one hundred discs, including a Koh is realizing her mission to present Grammy Award-winning disc of Brahms music without boundaries is her Bach Piano Quartets with , Isaac and Beyond project, a series of three Stern, and Yo-Yo Ma. His numerous recitals that explore the history of the solo recordings range from the complete Bach violin repertoire from Bach’s six Sonatas Sonatas with (CBS/RCA) and Partitas to modern day composers including newly commissioned works. Mariinsky Theatre Orchestra, and the Ms. Koh launched Bach and Beyond in Orquestra Sinfonica do Estado de Sao 2009 in commemoration of the 325th Paulo in Brazil. Ms. Koh brings the anniversary of Bach’s birth, and has same sense of adventure and brilliant since performed the recitals worldwide. musicianship to her recordings as she Also commemorating the centennial of does to her live performances. Her most Lutoslawski’s birth in 2013, this season recent recording, released by Cedille in Ms. Koh performed the composer’s Chain October 2012, features works from her II with the and first Bach and Beyond recital and was the Oberlin Symphony Orchestra, and she chosen by The New York Times as one will play the same work with London’s of the best CDs of 2012. Other recent Philharmonia Orchestra this spring. After releases include Rhapsodic Musings: performing Bach’s Sonatas and Partitas 21st Century Works for Solo Violin and as part of her Bach and Beyond series as a Grammy-nominated album featuring well as separately in concerts, Ms. Koh ’s String Poetic also undertook the challenge of performing released by Cedille. Ms. Koh is the all six works in a single concert — a feat winner of the International Tchaikovsky long considered the ultimate test of a Competition in Moscow, the Concert violinist’s command of their instrument. Artists Guild Competition, and an Avery She has performed the complete cycle at Fisher Career Grant. She has a Bachelor Miller Theatre, at the Castleton Festival of Arts degree in English literature from in Virginia, the Rockport Chamber Oberlin College. Music Festival in Massachusetts, and this season in Houston. Two x Four will San Francisco Bay Area native Vinay be performed this season with the IRIS Parameswaran entered the Curtis Orchestra, Chicago Symphony Orchestra, Institute of Music in 2009 and studies Vermont Symphony Orchestra, and the with Otto-Werner Mueller, distinguished Curtis Chamber Orchestra on tour in conducting pedagogue. In 2012–13, Mr. New York, Philadelphia, and Washington Parameswaran will conduct The Magic D.C. Ms. Koh has been heard with leading Flute with the Curtis Opera Theatre and, orchestras around the world including the as part of the Two x Four project, the New York and Los Angeles Philharmonics, Vermont Symphony with distinguished Cleveland and Philadelphia Orchestras, violinists Jamie Laredo and Jennifer Koh. and the Baltimore, Chicago, Cincinnati, He also leads Two x Four concerts at the Detroit, Houston, New World, Montreal, Perelman Theater, Kennedy Center, and and National Symphonies. Abroad she has Miller Theatre. In the summer of 2011, appeared with the Czech Philharmonic, Mr. Parameswaran participated in the BBC London and Scottish Symphonies, Cabrillo Festival of Contemporary Music’s Helsinki Philharmonic, Lahti Symphony, Conductors Institute, headed by Marin Alsop and Gustav Meier. In May 2012, he Barber to current stars Juan Diego Flórez, served as the cover conductor for Rob- Alan Gilbert, , Jennifer ert Spano during the Curtis Symphony Higdon, , Lang Lang, and Orchestra’s residency at the Dresden Time for Three. Music Festival, and for Miguel Harth- Bedoya at the Fort Worth Symphony. In Curtis Chamber Orchestra the 2011–12 season, Mr. Parameswaran Nigel Armstrong, violin made his Curtis Opera Theatre debut Brendon Elliott, violin conducting a double-bill of works by Luosha Fang, violin Davies and Handel. He also led the Curtis Abigail Fayette, violin Symphony Orchestra twice at Verizon Piotr Filochowski, violin Hall in works by Barber, Danielpour, and Gergana Haralampieva, violin Ludwig. Mr. Parameswaran served as Hannah Ji, violin the assistant conductor of Curtis Opera Nadir Khashimov, violin Theatre productions of Les Mamelles de Eunice Kim, violin Tirésias, The Cunning Little Vixen, and Richard Lin, violin Elegy for Young Lovers. He made his Ken- Laura Park, violin nedy Center debut in 2011 with the Curtis Katya Poplyansky, violin 20/21 ensemble. Prior to entering Curtis, Emma Steele, violin Mr. Parameswaran majored in music and Alexandra Switala, violin political science at Brown University, Lifan Zhu, violin where he graduated with honors in 2009. Ye Jin Kim, viola Daniel Hanul Lee, viola The Curtis Institute of Music educates and trains exceptionally gifted young Ren Martin-Doike, viola musicians for careers as performing Yoshihiko Nakano, viola artists on the highest professional level. Hyeri Shin, viola One of the world’s leading conservatories, Sang Hyun Mary Yong (‘10), viola Curtis is highly selective and provides Oliver Aldort, cello full-tuition scholarships to all of its 160 Youna Choi, cello students. In this intimate environment, Will Chow, cello students receive personalized attention Timotheos Petrin, cello from a celebrated faculty. A busy schedule Timothy Dilenschneider, double bass of performances is at the heart of Curtis’s Nathan Paer, double bass distinctive “learn by doing” approach. Caroline Robinson, harpsichord This philosophy has produced an im- pressive number of notable artists since the school’s founding in 1924, from such legends as Leonard Bernstein and Samuel

About the Artists London-born Anna Clyne is a composer ing and warping,” has been recently per- of acoustic and electro-acoustic mu- formed with both the BBC Symphony and sic. Her work, described as “dazzlingly BBC Concert Orchestra, as well as at the inventive” by Time Out New York, often Cabrillo Festival, the National Symphony includes collaborations with cutting edge Orchestra, and the Los Angeles Philhar- choreographers, visual artists, filmmak- monic. She has received numerous acco- ers, and musicians. Currently the Chicago lades, including a Charles Ives Fellowship Symphony’s Mead Composer-in-Resi- from the American Academy of Arts and dence through the 2013–14 season, the Letters, eight consecutive ASCAP Plus orchestra has performed several of her Awards, and a Clutterbuck award from works, including the premiere of Night the University of Edinburgh. Additionally, Ferry in 2012 under the baton of Ric- she has received honors from Meet the cardo Muti. An avid advocate for music Composer, the American Music Center, education, Clyne teaches composition the Foundation for Contemporary Arts, workshops for local young composers and the Jerome Foundation. Clyne was and incarcerated youths as part of this a finalist for the ASCAP Morton Gould residency, and served as the Director of Composer Award, and was nominated for the New York Youth Symphony’s award- a 2010 British Composer Award. In 2012, winning program for young composers Tzadik Records released a full album of “Making Score” from 2008 to 2010. Clyne her music, titled Blue Moth, showcasing was also a guest composer at the 2011 a diverse range of her instrumental and Mizzou New Music Summer Festival. Her ensemble with tape pieces, including work has been championed by some of Roulette, fits + starts, and Steelworks. Her the world’s finest conductors, including music is published exclusively by Boosey Marin Alsop, Pablo Heras-Casado, George & Hawkes. Manahan, Jeffrey Milarsky, Riccardo Muti, Leonard Slatkin, Alan Pierson, David Ludwig’s music has been per- Andre de Ridder, Esa-Pekka Salonen, formed internationally by leading and Osmo Vänskä. Recent commissions musicians in some of the world’s most include the Chicago Symphony Orches- prestigious locations. His music has tra, Los Angeles Philharmonic, Carnegie been described as “arresting, dramati- Hall, Houston Ballet, London Sinfonietta, cally hued...” (The New York Times) and Southbank Centre, ETHEL, Bang on a “supercharged with electrical energy and Can, Metropolis Ensemble, American raw emotion” (Fanfare), and the Phila- Composers Orchestra, and the Los Ange- delphia Inquirer said that it “promises to les Chamber Orchestra. Clyne’s <

About the Artists About Miller Theatre

Miller Theatre at Columbia University is the leading presenter of new music in New York City and one of the most vital forces nationwide for innovative programming. In part- nership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events in dance, contemporary and early music, jazz, opera, and per- formance. Founded in 1988 with funding from John Goelet, Brooke Astor, and the Kathryn Bache Miller Fund, Miller Theatre has built a reputation for attracting new and diverse audiences to the performing arts and expanding public knowledge of contemporary music.

Miller Theatre Board of Advisors Columbia University School of the Arts Mary Sharp Cronson Carol Becker Dean of Faculty Stephanie French Jana Hart Wright Dean of Academic Administration Margo Viscusi Mr. and Mrs. George Votis Columbia University Trustees Cecille Wasserman William V. Campbell Chair I. Peter Wolff Mark E. Kingdon Vice Chair Philip Milstein Vice Chair Miller Theatre Staff Esta Stecher Vice Chair Melissa Smey Executive Director Richard E. Witten Vice Chair Charlotte Levitt Associate Director of Marketing and Outreach Rolando T. Acosta Beth Silvestrini Associate Director of Artistic and Production Administration Armen A Avanessians Brenna St. George Jones Director of Production Lee C. Bollinger President of the University Masi Asare Manager, Institutional and Foundation Relations A’Lelia Bundles Susan Abbott Business Manager José A. Cabranes Denise Blostein Audience Services Manager Lisa Carnoy Vanessa Poggioli Production Coordinator Kenneth Forde Rebecca Popp Marketing and Communications Associate Noam Gottesman Rhiannon McClintock Executive Assistant Joseph A. Greenaway, Jr. James Harden Aleba & Co. Public Relations Ann F. Kaplan The Heads of State Graphic Design Jonathan Lavine Gerry Lenfest Paul J. Maddon Vikram Pandit Michael B. Rothfeld Jonathan D. Schiller

Steinway is the official piano of Miller Theatre Kyriakos Tsakopoulos Faye Wattleton

About Miller Theatre Thanks to Our Donors Miller Theatre acknowledges with deep appreciation and gratitude the following organizations, individuals, and government agencies whose extraordinary support makes our programming possible.

$25,000 and above Francis Goelet Charitable Lead Trusts National Endowment for the Arts

$10,000 - $24,999 The Aaron Copland Fund for Music Fritz Reiner Center for Contemporary Music Ernst Von Siemens Music Foundation Mary Sharp Cronson at Columbia University Craig Silverstein The Gladys Krieble Delmas Foundation The Fan Fox and Leslie R. Samuels Foundation Anthony and Margo Viscusi New York City Department of Cultural Affairs The Evelyn Sharp Foundation New York State Council on the Arts

$5,000 - $9,999 The Amphion Foundation Ann and Gordon Getty Foundation Cecille Wasserman Ralph M. Cestone Foundation CLC Kramer Foundation Anonymous The Cheswatyr Foundation Gerry H. F. Lenfest

$1,000 - $4,999 Richard Anderson Thomas and Christine Griesa Linda Nochlin Mary Duke Biddle Foundation Charles Hack and Angella Hearn Roland and Jeanine Plottel Paul Carter Karen Hagberg and Mark Jackson Annaliese Soros Consulate General of Sweden in New York Donella and David Held Virgil Thomson Foundation Hester Diamond and Ralph Kaminsky* Mexican Cultural Institute of New York Marcella Tarozzi Goldsmith Philip Mindlin *In memoriam

$500 - $999 Oliver Allen Mark Kempson and Janet Greenberg Karlan and Gary Sick Mercedes Armillas Roger Lehecka J. P. Sullivan Rima Ayas Paul Maddon Cia Toscanini Claude Ghez Peter Pohly The Marian M. Warden Fund of the Gordon and Mary Gould Mark Ptashne Foundation for Enhancing Communities Carol Avery Haber/ Christopher Rothko Elke Weber and Eric Johnson Haber Family Charitable Fund Ruth and James Sharp Kathryn Yatrakis H3 Hardy Collaboration Architecture Timothy Shepard and Andra Georges Anonymous

$100 - $499 James and Gail Addiss Carol Eisenberg Michael Minard Edward Albee Peter and Joan Faber Jack Murchie Argento Chamber Ensemble Julie Farr Maury Newburger Marilyn Aron Stephanie French Susan Newman Arno Austin June Goldberg Mary Pinkowitz Roger Bagnall Lauren and Jack Gorman Miriam Pollett Barbara Batcheler Robert Gunhouse Trevor Rainford Michelle Becker Maureen Gupta Carol Robbins Elaine Bernstein James Hanbury Eliisa Salmi-Saslaw Alexandra Bowie Barbara and Gerald Harris James Schamus Adam and Eileen Boxer Bernard Hoffer Carol O. Selle Susan Boynton Frank Immler and Andrew Tunnick Anita Shapolsky Louise Bozorth L. Wilson Kidd, Jr. Fran Snyder and David Voremberg James Buckley Sandra Kincaid Gilbert Spitzer and Janet Glaser Spitzer Moshe Burstein Stephen and Bonita Kramer Gayatri Spivak Gerard Bushell Barbara and Kenneth Leish Peter Strauss Dino Capone Arthur S. Leonard Jim Strawhorn Charlotte Catto Peter Lincoln Richard Tucker Mike Coble Stephen Leventis Janet Waterhouse Gregory Cokorinos Richard H. Levy and Lorraine Gallard C. Dennis and Ila Weiss Herbert Cohen and Daniel Cook Sarah Lowengard Robert Zipf Astrid Delafield Anthony and Caroline Lukaszewski Anonymous Kristine DelFausse Gerard Lynch and Karen Marisak R. H. Rackstraw Downes Marc Maltz Upcoming Events

Thursday, April 4, 8:00 p.m. COMPOSER PORTRAITS Rebecca Saunders Either/Or Richard Carrick, conductor

Saturday, April 6, 8:00 p.m. EARLY MUSIC The Age of Indulgence Les Délices

Thursday, April 18, 8:00 p.m. COMPOSER PORTRAITS Oliver Knussen Ensemble Signal Brad Lubman, conductor Rachel Calloway, mezzo-soprano Jamie Jordan, soprano Courtney Orlando, violin

Tuesday, April 23, 6:00 p.m. POP-UP CONCERTS New Music by Laura Kaminsky Ensemble ∏ Cassatt String Quartet

Saturday, April 27, 8:00 p.m. BACH, REVISITED The Baroque Vanguard Ensemble Signal Kristian Bezuidenhout, harpsichord Brad Lubman, conductor

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