MESSAGE FROM THE BOARD PRESIDENT & EXECUTIVE DIRECTOR

his evening, we his evening, we continue our guest welcome the Tconcertmaster series Tstunning violinist with the Avery Fisher Grant- Benjamin Beilman to the winning violinist Benjamin concertmaster chair. Some Beilman. Ben is one of the of you may have heard Ben fastest rising stars of his play during several notable generation, and has become debuts in the Bay Area over familiar to Bay Area audiences in recent seasons the last several years. Just last season, he made his through his appearances as a recitalist, chamber recital debut with San Francisco Performances musician, and soloist with the San Francisco on the heels of his concerto debut with the Symphony. His calendar is filled with dates at San Francisco Symphony. Ben is also familiar many of the most revered orchestras and concert to audiences at Music@Menlo, and continues venues around the world, but it is his deep his deep association with that and many of the commitment to chamber music that caught our great chamber music venues around the United attention at New Century. States, including the Chamber Music Society of Lincoln Center in New York City. While he is highly sought after as a soloist, one of the key pillars of his development as a Ben has created a beautifully balanced program musician has been his many summers spent at the that introduces Rome Prize-winning composer Marlboro Chamber Music Festival in Vermont. Andrew Norman to New Century Audiences, and Overseen by Artistic Director Mitsuko Uchida, features beloved works by Bach, Beethoven and the musical family of Marlboro musicians retreat Stravinsky. Norman’s Gran Turismo, inspired by to this multi-generational enclave in the Green the car racing video game of the same name, won Moutains of Vermont every summer to hone ASCAP’s Leo Kaplan Prize in 2005. Gran Turismo the skill of collaborative music-making. Uchida is a perfect introduction to Norman’s “staggering invited Ben to train at Marlboro at the age of 17, imagination” (Boston Globe), and command and this collaborative spirit is evident in every one of string composition. We know you will enjoy of Ben’s performances. this evening’s performance, which highlights our orchestra’s virtuosity and versatility. I know you will enjoy this program, which surveys a wide range of compositional periods from J.S. We look forward to seeing you as the New Bach to the young Los Angeles-based composer Century Chamber Orchestra’s 2017-18 season Andrew Norman. We are glad you chose to be continues with a tribute to Mozart, featuring the a part of this evening’s festivities, and we look legendary pianist Menahem Pressler playing the forward to seeing you again as we celebrate Mozart beloved Piano Concerto, No. 23 in A Major. Our in January and present Philip Glass’ newest work season closes with the West Coast premiere of for piano and orchestra in May. Philip Glass’s Piano Concerto, No. 3, which was just premiered last month in Boston as the music Best, world celebrates the composer’s 80th birthday. This is a season not-to-be-missed!

See you in January!

Mark Salkind President, Board of Directors

Philip Wilder Executive Director

NEW CENTURY CHAMBER ORCHESTRA 1 THE ORCHESTRA THURSDAY, NOVEMBER 9, 8 PM FIRST CONGREGATIONAL CHURCH, BERKELEY FRIDAY, NOVEMBER 10, 8 PM OSHMAN FAMILY JCC, PALO ALTO VIOLIN I VIOLIN II CELLO SATURDAY, NOVEMBER 11, 8 PM Benjamin Beilman, Candace Guirao, Robin Bonnell, HERBST THEATRE, SAN FRANCISCO Guest Concertmaster Principal Acting Principal SUNDAY, NOVEMBER 12, 3 PM OSHER MARIN JCC, SAN RAFAEL Dawn Harms, Michael Yokas Isaac Melamed Associate Concertmaster Hrabba Atladottir Michelle Djokic Iris Stone Evan Price Eric Gaenslen Karen Shinozaki Sor Jory Fankuchen BENJAMIN BEILMAN LEADS Robin Mayforth BASS VIOLA Anthony Manzo, HEINRICH IGNAZ Battalia Anna Kruger, Principal FRANZ VON BIBER I. Presto I Principal (1644?-1704): II. Die Liederliche Gesellschaft von Cassandra Lynne Richburg Allerley Humor (The dissolute company Jenny Douglass of all types of humour) Elizabeth Prior III. Presto II IV. Der Mars (Mars, God of War) V. Presto III VI. Aria VII. Der Schlacht (The Battle) VIII. Lamento der Verwundten Musquetierer (Lament for the dead Musketeers)

IGOR STRAVINSKY Concerto in D (1882-1971): I. Vivace II. Arioso: Andantino III. Rondo: Allegro

JOHANN SEBASTIAN BACH Violin Concerto in E major, BV 1042 (1685-1950): I. Allegro II. Adagio III. Allegro assai

Benjamin Beilman, solo violin

INTERMISSION

ANDREW NORMAN Gran Turismo (b. 1979): For Eight Virtuoso Violinists

LUDWIG VAN BEETHOVEN String Quartet #11 in F minor, Op. 95, “Serioso” (1770-1827): (Arranged for String Orchestra by Gustav Mahler) I. Allegro con brio II. Allegretto ma non troppo III. Allegro assai vivace ma serioso IV. Larghetto espressivo; Allegretto agitato; Allegro

New Century’s 2017-2018 Season is made possible by the generous ongoing support of Gordon P. and Ann G. Getty.

Benjamin Beilman’s appearance is made possible by Alan Benaroya. NEW CENTURY CHAMBER ORCHESTRA 3 PROGRAM NOTES PROGRAM NOTES

BATTALIA (“THE BATTLE,” 1673) Basel. Within a few years, Sacher, the founding VIOLIN CONCERTO IN The second-movement Adagio is based upon a BY HEINRICH IGNAZ FRANZ BIBER music director of the Basel Chamber Orchestra, six-measure bass theme that keeps returning, emerged as one of the world’s most important E MAJOR, BWV 1042 albeit not without variations, throughout the (Wartenberg [now Stráž pod Ralskem, champions of new music. His commissions BY JOHANN SEBASTIAN BACH movement. Against this ground theme, the Czech Republic], 1644 – Salzburg, 1704) gave the world such masterpieces as Bartók’s (Eisenach, 1685 – Leipzig, 1750) solo violin sings a long and sinuous cantabile One of the most outstanding violinists of his Music for Strings, Percussion and Celesta and that is one of the most moving melodies Bach Richard Strauss’s Metamorphosen, to name but Always eager to learn about the newest in music, ever wrote. time, Heinrich Ignaz Franz Biber was also a Bach discovered the Italian concerto style quite composer of startling originality. He was one of two. Stravinsky wrote two works for Sacher: the present Concerto and A Sermon, a Narrative and early in his career. He was 26 years old and In the third-movement Allegro assai, the light- the first composers to write for unaccompanied employed as an organist in Weimar in 1711 violin (decades before Bach), and one of the a Prayer (1963). footed ritornello theme is always neatly separated when Vivaldi’s first concertos were published from the solo episodes, unlike what we saw first to employ unconventional violin tunings in Amsterdam. Bach’s response to these new (scordatura). The present “battle scene,” written Stravinsky had left Europe in 1939 and settled in the first movement. Each of the three solos in the United States, living for many years in concertos was enthusiastic. He transcribed a total contributes something special: minor mode, in Salzburg where Biber spent most of his career, of nine concertos from Vivaldi’s publications also abounds in unusual techniques such as Southern California. By war’s end, he was eager double stops, or rhythmic variation and minor to renew his European contacts, and Sacher gave for keyboard (organ or harpsichord). But he mode. Towards the end, Bach repeated the jump col legno playing (hitting the string with the did more than that: he composed a great many wood of the bow), left-hand pizzicatos, or him his first European commission in more than from G-sharp minor to E major heard in the a decade. Stravinsky started working on the original works in which he applied concerto form first movement, creating a conspicuous motivic placing a sheet of paper between the strings and in innovative and highly personal ways. the fingerboard of the double bass to produce a piece even before mailing his letter of acceptance link between the two fast movements. It is only special sound effect. to Switzerland. one of many forward-looking moves in the The bulk of Bach’s instrumental music was work, proving that Bach was far from being the written between 1717 and 1723, when he was The full title of the piece translates as The Dissolute The brief Concerto in D (also known as the Basel conservative he is sometimes made out to be. Concerto) employs motoric rhythms inspired by Capellmeister to Leopold, ruling Prince of the Revelries of the Musketeers; Mars, the Battle and the tiny German state of Anhalt-Cöthen. The Prince Lament of the Wounded, All Imitated by Arias and the Baroque era, melodic fragments alluding to Romanticism, and a sophisticated handling loved instrumental music and was a competent GRAN TURISMO FOR EIGHT Dedicated to Bacchus. The humorous work is in viola da gamba player. While in Leopold’s service, eight brief sections. After a spirited introduction of the string instruments that wouldn’t have VIRTUOSO VIOLINISTS (2007) been possible before the 20th century—all in Bach composed the two extant violin concertos BY ANDREW NORMAN we hear the singing of the drunken soldiers: each and the Double Concerto, plus a few more works man sings a different song in a different key, Stravinsky’s own inimitable manner. All three (b. Grand Rapids, MI, 1979) movements are based, in one way or another, that survived only in the keyboard arrangements resulting in a fabulous cacophony that was quite the composer made of them in later years. unheard of in the 17th century. Then—after a on alternating half-steps. The first movement Andrew Norman made headlines in 2015 short interlude—Mars, the god of war, makes his continually hovers between major and minor, when the opera Hopscotch, which he had with numerous rhythmic and melodic surprises From Vivaldi, Bach took over the three- co-written, took over much of eastern and central entrance to the sound of a solo violin with the movement layout, the use of orchestral ritornellos percussive accompaniment of a solo bass. In the that break the regular patterns as soon as Los Angeles, being performed in many different they have been established. Later, the tempo (recurrent themes) in the outer movements locations across town. Norman, a longtime battle itself, the gunshots are imitated by the loud and expansive melodies in the slow one; yet plucked notes of the basses. Finally, the wounded slows down for a middle section with languid resident of L.A., was one of six composers harmonies and expressive syncopations, followed Bach’s concertos are significantly longer, involved in the project and wrote the final scene; soldiers sing their sad song in a slow movement and the orchestra’s role goes beyond mere emphasizing chromatic motion: the extensive by a more energetic transition. After a series of as he told New Yorker music critic Alex Ross in startling chords played by solo violas and cellos, accompaniment. In the E-major concerto, it an interview, the duration of the excerpt varied use of half-steps is typical of laments of all kinds, will even play parts of the ritornello while the including those that are more serious than the both earlier sections are recapitulated. with the time it took to get from point A to point soloist is engaged in virtuosic figurations. By B and thus depended very much on city traffic. present one, which is really a tribute to Bacchus, splitting off and varying the first three notes of the god of wine. The harmonics of the first cello and four double basses serve as a bridge to the second-movement his ritornello theme and by combining it with The idea of getting from point A to point B— “Arioso,” which spins a romantic, and ever other materials, Bach was in fact doing motivic motion in general—has long been a central factor CONCERTO IN D FOR STRING sweeter, singing line from a simple alternation development of the sort that would later become in Norman’s music, which has been described ORCHESTRA (1946) of two pitches. The final “Rondo” unfolds over one of the hallmarks of Classical sonata form. In by Ross as “finely structured” and “furiously BY IGOR STRAVINSKY a constant background of agitated tremolos, the first solo entrance, the soloist takes over the churning.” These characteristics are amply (Oranienbaum, nr. St. Petersburg, 1882 – where this whirling and buzzing activity plays the first measure of the ritornello, and the orchestra, evident in Gran Turismo, a ten-minute work New York, 1971) role of the rondo theme, contrasting with those simultaneously, plays the second measure of the for eight violins dedicated to the students of moments where that activity briefly stops. same! Another memorable moment occurs near Robert Lipsett, a renowned violin teacher in Los Stravinsky first collaborated with the Swiss the end of the movement, where the solo violin Angeles. The idea of being constantly on the go conductor Paul Sacher (1906-99) in 1930, plays two measures of Adagio in G-sharp minor, is contained already in the title, as well as in the when he played the solo part of his Capriccio for followed by an abrupt and quite audible jump motto, taken from Filippo Tommaso Marinetti’s Piano and Orchestra under Sacher’s direction in (without modulation) back to E major for the Futurist Manifesto (1909): final ritornello. It is an effect Bach used in several of his concertos.

NEW CENTURY CHAMBER ORCHESTRA 4 NEW CENTURY CHAMBER ORCHESTRA 5 PROGRAM NOTES ARTISTIC PARTNER

We declare that the splendor of the world has melody followed by a fugue, and has an open Gramophone Magazine’s “top choice of all been enriched by a new beauty: the beauty of ending leading directly into the scherzo. The available recordings.” And his recording of Max speed...A roaring motor car that seems to run latter is based on a single motif consisting of a Richter’s Vivaldi Recomposed, which reached on machine gun fire is more beautiful than the scale, heard both in descending and ascending No. 1 in over 22 countries is, with 130,000 Victory of Samothrace. forms. The slow movement’s D major is repeated copies sold, one of the most successful classical in the quiet and expressive Trio, which moves in recordings of recent times. In February 2016 The opening section has “Pedal to the Metal, equal long notes with accompanying flourishes Deutsche Grammophon released Hope’s 10th with excessive energy” for a tempo marking, and in the first violin. The finale proceeds from an album for the Yellow Label: My Tribute to that is only the start. A lively motion of sixteenth- introductory “Larghetto espressivo” through a Yehudi Menuhin. It is a deeply personal tribute notes is traded back and forth among the eight passionate “Allegretto agitato” to the extremely to Hope’s mentor, who would have celebrated violins, and although there are some slower fast coda, in which the tonality suddenly changes his centenary on April 22, 2016 and with whom sections (including two “interruptions” in free from F minor to F major and the “serioso” Hope performed over 60 times, including in meter), the rhythmic momentum is kept up to character gives way to cheerfulness, even humor, Menuhin’s final appearance on March 7, 1999. the end and even goes into “overdrive,” before for the few remaining measures. the violinists are told to “floor it” and play “as Hope was raised in London and studied the fast as possible.” The sequence of events in this last movement, violin with Zakhar Bron. The youngest ever from slow introduction to passionate fast DANIEL HOPE member of the Beaux Arts Trio during its final six movement with an even faster, major-mode ARTISTIC PARTNER seasons, today Hope performs at all the world’s STRING QUARTET IN coda, turns out to be identical to what happens greatest halls and festivals: from Carnegie Hall to F MINOR, OP. 95 (1810) in Beethoven’s Egmont Overture, written the New Century Chamber Orchestra is proud the Concertgebouw Amsterdam, from Salzburg BY LUDWIG VAN BEETHOVEN same year. It may have been this parallel that gave to welcome British violinist Daniel Hope as to Schleswig-Holstein, from Aspen to the BBC (Bonn, 1770 – Vienna, 1827) Mahler the idea of putting copies of the quartet Artistic Partner in the 2017-2018 season. Hope Proms and Tanglewood. He has worked with parts on each of the string stands in the Vienna has toured the world as a virtuoso soloist for 25 conductors including Kurt Masur, Kent Nagano ARRANGED FOR STRING ORCHESTRA Philharmonic and offering an orchestral rendition years and is celebrated for his musical versatility and Christian Thielemann, as well as with the (1899) BY GUSTAV MAHLER of the work. The idea met with almost as much as well as his dedication to humanitarian causes. world’s greatest symphony orchestras including (Kalischt [now Kalištˇe, Czech Republic], 1860 – hostility as did Mahler’s own symphonies. Winner of the 2015 European Cultural Prize for Boston, Chicago, Paris, London, Los Angeles and Vienna, 1911) Mahler knew in advance that audiences would Music, whose previous recipients include Daniel Tokyo. Devoted to contemporary music, Hope not take kindly to this mixing of musical media, Barenboim, Plácido Domingo and the Berlin has commissioned over thirty works, enjoying The F-minor Quartet (or “Quartetto serioso,” which he had attempted previously in Hamburg, Philharmonic Orchestra, Hope appears as soloist close contact with composers such as Alfred as Beethoven himself called it) was his last string when he performed the variation movement from with the world’s major orchestras and conductors, Schnittke, Toru Takemitsu, Harrison Birtwistle, quartet before the magnificent set of late quartets Schubert’s Death and the Maiden Quartet in this also directing many ensembles from the violin. Sofia Gubaidulina, György Kurtág, Peter written in the last years of his life. It sums up, way, only to be raked over the coals by the critics. In addition to serving as New Century’s artistic Maxwell-Davies and Mark-Anthony Turnage. in extremely concise form, most of the qualities The reception of the Beethoven arrangement partner, Hope has been an exclusive Deutsche of Beethoven’s “heroic” period. Robust force, in Vienna was even worse, with some audience Grammophon artist since 2007 and serves as Daniel Hope has penned four bestselling books melodic poignancy, formal concentration, abrupt members booing loudly. Yet Mahler defended his Music Director of the Zurich Chamber Orchestra published in Germany; he contributes regularly key changes, and an irresistible rhythmic drive procedure by pointing out that performances in and Associate Artistic Director of the Savannah to the Wall Street Journal and has written scripts are among the features that make Beethoven’s large concert halls required a larger sound. Music Festival. for collaborative performances with the actors music unique, from the “Eroica” onwards. Klaus Maria Brandauer and Mia Farrow. In Of course, Mahler did not change a single note in Daniel Hope is one of the world’s most prolific Germany he presents a weekly radio show for the All four movements of the quartet are built of the music. He used the double basses, playing an classical recording artists, with over 25 albums to WDR3 Channel. melodic gestures of an astonishing simplicity octave lower than the cellos, with discrimination, his name. His recordings have won the Deutsche to the point of bluntness. The unison figure and dispensed with them altogether in the second Schallplattenpreis, the Diapason d’Or of the Year, He plays the 1742 “ex-Lipi´nski” Guarneri del that opens the piece—repeated, in typical movement. He only introduced a few octave the Edison Classical Award, the Prix Caecilia, six Gesù, placed generously at his disposal by an Beethovenian fashion, a half-step higher—is only transpositions and a few other minor alterations. ECHO-Klassik Awards and numerous Grammy anonymous family from Germany. He lives with one of many examples. That dramatic gesture It was an interesting musical experiment, but nominations. His album of Mendelssohn’s his family in Berlin. sets the stage for a first movement of uncommon only one critic, the redoubtable Eduard Hanslick, Violin Concerto and Octet with the Chamber www.danielhope.com emotional intensity. The second movement is greeted it with approval. Hanslick declared that Orchestra of Europe was named one of the he was not about to “refuse for pedantic reasons best of the year by the New York Times. His in D major, a key very distant from the original www.facebook.com/daniel.hope.page F minor; Beethoven never chose a more remote a new impression, an unusual pleasure”—a recording of Alban Berg’s Concerto was voted key relationship between movements than he did pleasure that many listeners have been able to here. Starting with a mysterious, unaccompanied share over the years. scale, the movement continues with a lyrical –Peter Laki

NEW CENTURY CHAMBER ORCHESTRA 6 NEW CENTURY CHAMBER ORCHESTRA 7 HISTORY GUEST CONCERTMASTER

NEW CENTURY CHAMBER ORCHESTRA organization’s history. In addition to touring by Elizabeth Ogonek as soloist on the Chicago efforts, New Century’s national footprint has Symphony’s new music series, and returned to The New Century Chamber Orchestra, one of also continued to grow with a rapidly increasing the San Francisco Symphony with Juraj Valˇcuha. only a handful of conductorless ensembles in the national radio presence. The ensemble has been He performed with the symphony orchestras of Detroit, San Diego, Atlanta, and Grand Rapids, world, was founded in 1992. The 19-member broadcast over 30 times on American Public as well as making recital debuts in San Francisco string ensemble includes San Francisco Bay Area Media’s Performance Today, with each broadcast heard on 260 radio stations across the country. and Vancouver. In Europe, Mr. Beilman has musicians and those who travel from across the performed with many of the major orchestras U.S. and Europe to perform together. Musical including the London Philharmonic, Frankfurt decisions are made collaboratively, resulting The orchestra has released seven compact discs. The most recent, From A to Z: 21st Century Radio Symphony and Zurich Tonhalle, and in an enhanced level of commitment from the in 16-17 made his debut with the Rotterdam musicians to concerts of remarkable precision, Concertos, is a compilation of four of New Century’s live world premiere performances of its Philharmonic and Krzysztof Urba´nski, the City passion, and power. In the 2017-2018 season, of Birmingham Symphony and Vassily Sinaisky, newly commissioned works by William Bolcom, British violinist Daniel Hope takes the role and the Orchestre National de Capitole de of Artistic Partner and concertmaster for the Ellen Taaffe Zwilich, Clarice Assad and Michael Toulouse and Rafael Payare. He also appeared in ensemble, bringing new vibrancy and leadership Daugherty. The recording was released in May recital on a ten-city tour of Australia, including to the orchestra. Hope is preceded by previous 2014 on the NSS Music label. debut appearances in Sydney and Melbourne. music directors Nadja Salerno-Sonnenberg BENJAMIN BEILMAN Two additional albums were released on the In recent seasons, Mr. Beilman has appeared in (2008-2017), Krista Bennion Feeney (1999- GUEST CONCERTMASTER NSS Music label, LIVE: Barber, Strauss, Mahler, subscription with the Philadelphia Orchestra, and 2006) and Stuart Canin (1992-1999). released in November 2010, and Together, Benjamin Beilman is recognized as one of the returned to play with them at the Bravo! Vail Valley released in August 2009. The Orchestra’s first fastest rising stars of his generation, winning Festival, and Saratoga. He also made his recital In addition to performing classic pieces of praise both for his passionate performances and concert DVD, On Our Way, was released in May debuts at the Berlin Philharmonie, and at Carnegie chamber orchestra repertoire, New Century deep rich tone which the Washington Post called 2012, and weaves together documentary footage Hall, in a program that included the premiere of commissions important new works, breathes “mightily impressive,” and The New York Times a new work by David Ludwig commissioned for new life into rarely heard jewels of the past, and and a live tour concert from a February 2011 described as “muscular with a glint of violence.” performance at the Broad Stage in Santa Monica. him by Carnegie Hall. Further recital appearances performs world premieres. Through the Featured The Times also praised his “handsome technique, include performances at the Verbier Festival, Composer program, the orchestra commissions The DVD was filmed by Paola di Florio, director burnished sound, and quiet confidence which of the 1999 Academy Award-nominated film Heidelberg Spring Festival, Louvre, Tonhalle composers to write new works, with the goals showed why he has come so far so fast.” Following Zürich, Wigmore Hall, and Festpiele Mecklenburg- . of expanding chamber orchestra repertoire and Speaking in Strings his First Prize win at the Montreal Competition, Vorpommern. Mr. Beilman has also previously providing audiences with a deeper understanding the Strad described his performance of the performed with Tonhalle Orchester Zürich and Other recordings include a 1996 collaborative of today’s living composers. The orchestra Sibelius Violin Concerto as “pure poetry.” Sir Neville Marriner, l’Orchestre Métropolitain project with Kent Nagano and Berkeley provides insight into the breadth of the Featured de Montréal and Yannick Nézet-Séguin, and the Symphony Orchestra featuring the work of Highlights of Mr. Beilman’s 2017-18 season Composer’s work by performing a variety of Malaysian Philharmonic and Hans Graf. 20th century Swiss composer Frank Martin, and include an appearance as Guest Concertmaster of pieces by the composer throughout the season. Written With the Heart’s Blood, a 1997 Grammy New Century Chamber Orchestra, and performances Mr. Beilman has received several prestigious awards with the Houston Symphony, Oregon Symphony, including a Borletti-Buitoni Trust Fellowship, Beyond regular season concerts in the San Award finalist, both on the New Albion label. In 1998 the orchestra recorded and released North Carolina Symphony, Indianapolis Symphony, an Avery Fisher Career Grant and a London Francisco Bay Area, New Century has toured and Orchestra St. Luke’s. In recital, he will works of Argentine composers Alberto Williams Music Masters Award. In 2010 he won the First nationally, with 2011 performances in the premiere a new work written for him by Frederic Prize in the Young Concert Artists International Midwest, East Coast, and Southern California and Alberto Ginastera on the d’Note label, and, Rzewski and commissioned by Music Accord, in 2004, the orchestra recorded and released Auditions, and as First Prize Winner of the 2010 garnered record-breaking audiences and national presented by Boston Celebrity Series and Shriver Montréal International Musical Competition and critical acclaim. In January and February Oculus, a CD of Kurt Rohde’s compositions Hall, and on tour throughout the US in the on the Mondovibe label. All of the recordings winner of the People’s Choice Award, Beilman 2013, New Century followed with a highly 17-18 and 18-19 seasons. Abroad, Mr. Beilman recorded Prokofiev’s complete sonatas for violin have been distributed both in the United States successful eight-state national tour, the largest will make his Australian concerto debut with the on the Analekta label in 2011. In 2016 he and most ambitious artistic undertaking in the and internationally. Sydney Symphony where he will perform Jennifer released his first disc for Warner Classics titled Higdon’s Concerto, and debuts with the Scottish Spectrum, featuring works by Stravinsky, Janacek Chamber Orchestra and Trondheim Symphony. He and Schubert. will also perform the European premiere of Frederic Rzewski’s new work at the Heidelberg Spring Mr. Beilman studied with Almita and Roland Vamos Festival, and return to the Wigmore Hall in recital. at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, In the 16-17 season, Mr. Beilman returned to the and Christian Tetzlaff at the Kronberg Academy. Philadelphia Orchestra performing Prokofiev’s Violin Concerto No. 1 with Yannick Nézet-Séguin Mr. Beilman plays the “Engleman” Stradivarius in subscription, and on tour with the orchestra from 1709 generously on loan from the Nippon at Carnegie Hall. He also premiered a new work Music Foundation.

NEW CENTURY CHAMBER ORCHESTRA 8 NEW CENTURY CHAMBER ORCHESTRA 9