Emerson and Calidore String Quartet

Emerson String Quartet Eugene Drucker / Philip Setzer / Violin Lawrence Dutton / /

Calidore String Quartet Jeffrey Myers / Violin Ryan Meehan / Violin Jeremy Berry / Viola Estelle Choi / Cello

Thursday Evening, October 5, 2017 at 7:30 Rackham Auditorium Ann Arbor

Ninth Performance of the 139th Annual Season 55th Annual Chamber Arts Series PROGRAM

Richard Strauss Capriccio, Op. 85 (excerpt)

String Sextet

Calidore String Quartet, Mr. Dutton, Mr. Watkins

Anton Bruckner String Quintet in F Major, WAB 112 (excerpt)

Adagio

Emerson String Quartet, Mr. Berry

Dmitri Shostakovich Two Pieces for String Octet, Op. 11

Prelude: Adagio Scherzo: Allegro molto

Calidore String Quartet, Emerson String Quartet

Intermission

Felix Mendelssohn Octet in E-flat Major, Op. 20

Allegro moderato con fuoco Andante This evening’s performance is made possible by endowed support from the Ilene H. Forsyth Chamber Scherzo: Allegro leggierissimo Arts Endowment Fund, which supports an annual UMS Chamber Arts performance in perpetuity. Presto Media partnership is provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Emerson String Quartet appears by arrangement with IMG Artists. Emerson String Quartet, Calidore String Quartet The Calidore String Quartet appears by arrangement with Opus 3 Artists. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited.

3 CAPRICCIO, OP. 85 (EXCERPT) (1941–42)­­­ hands of Strauss’s official librettist, music of that period. At the same Joseph Gregor, however, the opera time, Strauss remained faithful to his Richard Strauss did not progress to the composer’s own post-Romantic idiom, which no Born June 11, 1864 in Munich, Germany satisfaction and was temporarily one handled more beautifully or more Died September 8, 1949 in Garmisch-Partenkirchen set aside in favor of other projects. convincingly than he. Eventually, Strauss returned to the UMS premiere: Moscow Virtuosi conducted by Vladimir Spivakov; idea with Krauss’s help; in 1941–42, February 1996 in Rackham Auditorium. the composer, then in his late seventies, completed what would Snapshots of History…In 1942: remain the last of his 15 operas. In · The movie Casablanca premieres in the final version, incidentally, almost · 13-year-old Anne Frank makes the first entry in her diary nothing of Casti’s story was retained, · The majority of Japanese Americans are forcibly relocated to internment beyond the fact that there were a poet camps and a composer onstage. Capriccio begins with a prelude scored, most unusually in opera, as a An opera about the relationship poet Olivier, tipping the balance, ever string sextet. The inclusion of a piece between music and words in opera? so slightly, in the direction of Strauss’s of in a stage work has On the face of it, this sounds like a own art form. its own symbolic meaning. As the first sure recipe for disaster; yet in Richard Strauss wrote the libretto of the scene of the opera makes clear, this Strauss’s hands, what started out opera himself, in collaboration with music is being played, as a work by as a treatise on music and drama the conductor Clemens Krauss. Flamand, to entertain the Countess became a living piece of music and They were inspired by an 18th- and her guests, including the Theater drama in its own right. In Capriccio, century original by Giovanni Battista Director, who sleeps through the the characters spend a lot of time Casti, set to music by Antonio whole performance. The sextet discussing what is more important in Salieri and performed as a double represents “absolute” music, without opera, the music or the words. But the bill with Mozart’s Impresario (Der words or program, which doesn’t discussion is not entirely academic, Schauspieldirektor) in 1786. Casti’s interest the man of the theater, as the protagonist, a beautiful young libretto, titled Prima la musica e poi although the sensitive Countess is Countess, is wooed by a Poet and a le parole (First the music, and then deeply moved by it. Composer, and could really use some the words) was brought to Strauss’s The parts of the six string help from art theory in deciding which attention by the famous writer Stefan instruments in the prelude are woven man to choose. Don’t expect a definite Zweig, who had come across it at together in a rich polyphonic tapestry answer to the dilemma, though. the British Library in London. Zweig, that anticipates Strauss’s masterpiece With inimitable elegance and grace, who had been Strauss’s operatic from 1945, Metamorphosen for 23 solo Strauss leaves the issue open at the collaborator after the death of Hugo strings. The sextet is on a smaller end of the opera. Still, if one listens von Hofmannsthal in 1929, was barred scale, yet equally intriguing in its carefully to the music and reads from working with the composer juxtaposition of distant chords and between the lines of the libretto, one after the rise of the Nazis to power. its combination of broad cantabile may get the impression that after Nevertheless, he was willing to (singing) melodies with more all is said and done, the Countess’s help out from behind the scenes by tempestuous episodes. The action feelings about the composer Flamand suggesting subjects and placing of the opera takes place in a château may be just a few Fahrenheit degrees them at the disposal of librettists near Paris around 1775 (well before warmer than her friendship with the who were not blacklisted. In the the French Revolution), and the music contains numerous allusions to the

4 5 STRING QUINTET IN F MAJOR, WAB 112 (EXCERPT) (1879) TWO PIECES FOR STRING OCTET, OP. 11 (1924–25)

Anton Bruckner Born September 4, 1824 in Ansfelden, Austria Born September 25, 1906 in Saint Petersburg, Russia Died October 11, 1896 in Vienna Died August 9, 1975 in Moscow

UMS premiere: This piece has never been performed on a UMS concert. UMS premiere: This piece has never been performed on a UMS concert.

Snapshots of History…In 1879: Snapshots of History…In 1925: · The University Musical Society is founded in Ann Arbor and the Michigan · The Chrysler Corporation is founded Wolverines compete in their first season of intercollegiate football · Mount Rushmore National Memorial is dedicated in South Dakota · Thomas Edison applies for the patent for his incandescent light bulb · Adolf Hitler publishes Volume I of Mein Kampf · Canadian engineer Sandford Fleming proposes the concept of worldwide Standard Time “He made a sour face and expressed idea (only briefly interrupted by a the hope that, when I turn 30, I will no mysterious slow passage) goes on a It was between his Fifth and Sixth highly-advanced tonal language in longer write such wild music.” This is breath-taking journey through some Symphonies that Anton Bruckner which distant keys may be juxtaposed how 19-year-old Dmitri Shostakovich fantastic imaginary scenery. The composed the only major chamber in startlingly novel ways. His mastery related to his friend, pianist Lev journey ends rather abruptly, with the work of his mature years. Those who of imitative counterpoint is also amply Oborin, what Maximilian Steinberg, music stopping dead in its tracks, just call the String Quintet a “symphony in evidence, as is his predilection his professor of composition at the after the excitement has reached its in disguise” may be exaggerating, for great dynamic contrasts and Leningrad Conservatory, had said highest point. yet there are many moments in the mighty fortissimo climaxes followed about the Two Pieces for String piece where the composer was by sudden retreats into pianissimo. Octet. Composed around the same clearly thinking in orchestral terms. Like Bruckner’s great symphonic time as the First Symphony, which In Bruckner’s lifetime, the Quintet slow movements, the “Adagio” of the made Shostakovich internationally was more successful than many of String Quintet covers an enormous famous, these two short works are the symphonies; it was published ground from intense introspection to certainly wild enough. The young immediately and it even inspired powerful dramatic outbursts before it composer positively relished being Bruckner’s great rival Brahms to concludes in a whisper. “naughty,” piling up unusual harmonic compose his own first string quintet, and rhythmic irregularities that in the same key of F Major no less were bound to upset his teacher (Op. 88), just a few years later. but appealed to an artistic audience Of this grandiose four-movement in the young Soviet Union that was work, we shall hear the “Adagio” hungry for innovation. The “Prelude” tonight — a movement that originally begins with a solemn but completely stood in second place but was later unpredictable adagio section and switched with the scherzo, which continues with faster music, intensely preceded it in the published score. chromatic and filled with nervous The “Adagio” opens with a quietly energy. There are bits of imitative meandering, hymn-like melody counterpoint and some virtuosic riffs — or rather a highly idiosyncratic for the first violin before the opening combination of melodic phrases that adagio returns. The “Scherzo” evolve in an utterly unpredictable ratchets up the dissonance level manner. Bruckner was famous for his even higher as a vigorous rhythmic

6 7 HEROES ON SPEED-DIAL without his persistent and sometime This is the early 1970s, so I’m really promise and desire, and we want to do by Doyle Armbrust merciless provocations during dating myself. Shumsky was a mentor everything we can to push them and “Who was your teacher?” It’s one lessons, the doors he opened, or the to all of us. He’s one of the primary support their career. This is not a large of those inescapable questions empathetic and collegial martinis at reasons the Emerson Quartet exists! pool we’re talking about — you have to every professional musician is asked his home — just talking about life — I We looked up to him. We wanted to have something special to be out there regularly, in addition to, “How much would not be the musician I am today. play like that. performing. It’s never been exactly did your instrument cost?,” “How old Mentorship is essential, and as it You can be a teacher and not a easy (laughs). There have been plenty were you when you started playing?,” turns out, not the easiest concept to mentor. I think you can only mentor of people that have tried, and I know and “Are you sure that’s going to fit in define. I made calls to violist Lawrence when you have people that want we’ve been very fortunate, but nobody the overhead compartment?” Dutton of the Emerson Quartet and something very much and have really knows how you make it. If it were The more revealing query is, “Who violinist Ryan Meehan of the Calidore the talent to try and follow in your simple, everyone would be doing it. is/was your mentor?” Quartet, to try and tease out what footsteps. A mentor is more than a pedagogue makes this relationship so vital in this DA: These opportunities don’t just who spends an hour a week crazy show-business of the string DA: When I think of my mentor, I think materialize. You’ve gotten that admonishing you for johnny-come- quartet. of someone for whom the distance person’s attention because you’re lately intonation or taser-style vibrato. that exists in a teaching relationship doing the work. They are that favorited contact you LAWRENCE DUTTON narrows — something that becomes keep on speed dial and don’t think (EMERSON) personal. Also, someone who created LD: Right. Peter Mennin [then twice before ringing at 11pm to post- DA: What drew me to your concert opportunities that I wouldn’t have President of Juilliard], Alice Tully, Bobby mortem a particularly messy break-up. was one word from the UMS concert otherwise had access to because I Mann [Juilliard Quartet], David Soyer Figuratively, or maybe-this-actually- blurb: “mentor.” It’s a word that has showed my own motivation. [], Felix Galimir, Walter happened-in-real-life-to-definitely- always resonated for me. What is the Trampler — they were all big friends positively-not-me. difference between a teacher and a LD: I would say that’s true. We’ve and fans, and we had that kind of Mentors are proxy-parents, they mentor? worked with the Calidore Quartet for relationship. are sometimes cautionary tales, several years now and they’ve had they are facilitators that materialize LD: I think you have to look at the unbelievable success. That’s their DA: When did you realize that Calidore opportunities that a young musician context of our role in the history of doing, not ours, but we’ve done our was the kind of group we’re talking may never have had access to, string quartets. Mentoring has been best to help them, for instance by about — one you wanted to mentor? regardless of talent. This business is a part of that process for a very long inviting them to play with us, as we’re not a meritocracy, and while diligence time. You could look at the Guarneri doing at UMS. LD: When we first heard them, we and perseverance are necessities, Quartet, and their mentors were, of were like, “Wow, they have real not all worthy talents make the course, the . For us, DA: Is it the kind of thing where a personality and something to say cut without the shepherding and our mentors were the Juilliard Quartet, mentee texts you out of the blue to ask about the music!” They were already generosity of a mentor. mainly. It happens because it needs to about something other than how to distinguishing themselves. During my undergrad years, I was happen. play a high ‘F’ in a ? stagnating with a teacher with whom, A mentor can be a teacher too. It’s DA: When it comes down to musical as a first-generation musician, I didn’t a combination of the two. There’s no LD: Without question. We’re happy to mentorship, how do you make room for have the knowledge or worldview to question about that. give our perspective and experience, your mentee’s own vision for a piece of know to leave. As luck would have it, Probably one of the most important because that’s what we have. music? another university snatched him up mentors to the Emerson Quartet was and violist luminary Donald McInnes , who Gene and Phil DA: In terms of taking on that more LD: On the level of Calidore, I find was flown in every other week from studied with. I did everything I could hands-on approach, is that something myself thinking, “I wouldn’t do it that the University of Southern California to be in his presence, like playing in a you feel internally compelled to do? way myself, but that is really working.” to cover the transition. There is not small chamber orchestra that he was There’s no end to interpretation, a shred of doubt in my mind that conducting, or going to his recitals. LD: It’s the natural order of things. otherwise there would only be one These groups are showing immense string quartet out there!

8 9 DA: Does mentorship need to be turn to for extra-musical help, whether DA: So paint the picture for me, how DA: What does that rehearsal process nimble, given how different the that be business or personal. Teaching did this all get started? look like, with the octet? There are business is now from when Emerson is the exchange of musical ideas. The decisions to be made and you’re was coming up? Emersons have certainly been both RM: We were at the Colburn School rehearsing with people that have been to us. They really treat us like they do and we said, we’re leaving here next around the block for four decades. LD: It’s challenging for us to even each other. There’s never the feeling year and we’re not sure what we’re comprehend how it’s changed. I think that we’re the students and they’re the doing. Five days later we got a call from RM: I think what has kept them going that young quartets today have to teachers, which is really inspiring for the head of , for 40 years is that they are always reinvent themselves to accommodate us. We’ve had many meals with them saying [former Emerson cellist] David thinking about the repertoire, even if the needs of what’s out there. Think on the road, which have been some Finckel had recommended us for a rehearsal time is limited. They will find about the fact that it wasn’t until the of my favorite memories of my life, position studying with the Emersons some small way to reinvent it. Guarneri Quartet in 1965 that a string actually. I mean, here are these people and teaching the undergrads. We quartet could make a living without that I worshipped on recordings and were dumbfounded! To be mentored DA: And you feel like you, Ryan, can die a residency. Emerson came on the on stage for so many years…and now by the Emersons? We had to say yes. on a hill for your preferred tempo in the scene at the start of the digital age, I’m riding home with them in the car. We hadn’t met them as a group yet, fourth movement of the Mendelssohn and we got on the CD bandwagon. It’s That’s mentorship. but I remember that summer I went to Octet, without bringing the wrath of a very short history, and we lose that Aspen [Music Festival] to visit, and I God down upon yourself? perspective. There were guys in the DA: Do you ever find yourself sending a went backstage after their concert and Cleveland Orchestra that were driving late-night text to one of them, like, “Oh said, “Hi, I’m Ryan.” They said “Nice RM: I’m pretty vocal in our own cabs in the 1950s. crap this thing just happened, what do to meet you.” Then I said, “I’m in the rehearsals, but with the Emerson — I I do?” Calidore Quartet and we’re looking don’t know — they listen on another DA: Calidore has really rocketed into forward to meeting you in the fall,” and level. Their wealth of experience a prominent place in the chamber RM: We’re all very comfortable then all of them immediately gave me rehearsing with each other and other music world. As a mentor, is there any reaching out to any of them. For a big hug, and it felt like we’d known collaborators allows you to not have cautionary advice that you find yourself instance, we know we’ll always get each other a long time. to speak too much. You just show your offering them? an extremely thoughtful and thorough intent and they get it…without words. response from Gene to the most DA: One of the things that fascinates LD: Well, yeah. Our career was not a seemingly mundane question we might me about mentorship is that there is, DA: Let’s finish with something grand. skyrocket — it took a while. We only ask. Larry and Paul — actually all of by necessity, a generation gap. The What is that golden nugget piece of got to Europe in 1983. It was another them — have this insanely humorous game is different now than it was for advice you envision handing down to a four years before we signed with side. Phil really considers teaching as the Emerson Quartet. How do you see group you mentor in the future? Deutsche Grammophon. It was a important as performing, and he will them navigating those differences process, and there is no way to escape be the one that will help us focus in on when they offer advice? RM: Two things. From a musical point that. You’re in it for the long term. what we need to consider next in of view, I think you need to know how a piece. RM: Some things are the same. Certain to give quick, efficient criticism and RYAN MEEHAN (CALIDORE) etiquette, like that you should be the analysis. That goes hand-in-hand with DA: For you, what is the delineation DA: What’s an example of something last people to leave the post-concert the most important thing, which is that, between a teacher and a mentor? non-musical that you’ve asked these reception. whatever your opinion, it is secondary guys about? to getting along and treating your RM: I guess they can go hand-in- DA: Also, don’t be a jerk. colleagues with respect — which the hand, and I think a teacher is almost RM: Everything from the business, like, Emersons personify. always a mentor…at least all the music “Should we have a publicist?” Even RM: Yeah. People don’t want to work teachers I’ve had. Mentorship is about these concerts that we’re playing with with jerks. All these insider tips that the bigger picture — goals, advice, them — that was their idea and we are relevant to a performing ensemble and wisdom. They’re someone you can were like, “Oh my God, I can’t believe today are ones they can impart to us, you would do that for us!” regardless of their generation.

10 11 OCTET IN E-FLAT MAJOR, OP. 20 (1825) In all four movements, Classical gestures are similarly magnified and expanded upon. The second Born February 3, 1809 in Hamburg, Germany movement, in c minor, begins and Died November 4, 1847 in Leipzig ends in a gentle pianissimo, evoking a nocturnal mood, but there are UMS premiere: Stratford Festival Orchestra of Canada with violinist and some extremely powerful emotional director Oscar Shumsky; July 1967 at the Fair Lane Festival in Dearborn. outbursts in between. The third movement is the first in a long line Snapshots of History…In 1825: of light-footed “fairy” scherzos by · The US House of Representatives elects John Quincy Adams as President Mendelssohn, a type of movement after no presidential candidate receives a majority of electoral votes to which the composer frequently · The Erie Canal opens returned in later years. This time, · The Stockton and Darlington Railway, the world’s first modern railway, however, he used a modified sonata opens in England form, so, the movement is a scherzo only in character and not in terms of its structure (among other things, it lacks Mendelssohn wrote his Octet in observed and more strongly emphasized a contrasting trio or middle section). 1825, the same year Beethoven than is usual in pieces of this character. In the concluding “Presto,” finally, composed his String Quartet in B-flat Mendelssohn pulled out all the stops. Major (Op. 130) with its original last Yet there were really no other “pieces He wrote a brilliant fugue, as a bow movement, the Great Fugue. At 55, of this character” of which to speak. to the music of the Baroque which Beethoven was nearing the end of his True, Louis Spohr, a composer who he had already begun to study and career; the 16-year-old Mendelssohn was counted among the greatest at which would play such an important was just starting his. Much ink has the time, had written some works role in his later life. The quote from been spilled over who was “modern” for eight string players, but those Handel’s Messiah (“And He shall reign and who was “conservative,” who was were double quartets, conceived as for ever and ever”) cannot be missed. “Classical” and who was “Romantic.” dialogs between two separate groups. But there is also plenty of playfulness Mendelssohn never tried to explode Mendelssohn, on the other hand, in the movement, along with some Classical forms the way Beethoven treated his eight players as a single, harmonic surprises that would did in his late quartets, which broke integrated unit, which was a quite have made Handel — and probably the conventions at every turn. Yet different story. Beethoven, too — raise his eyebrows the younger composer infused those As for the young prodigy’s in disbelief mixed with admiration. traditional forms with a new energy melodic style, one need only in ways that were absolutely unheard compare the Octet’s opening with Program notes by Peter Laki. of. He also invented a whole new the “sunrise” theme at the beginning genre with his Octet, which calls for of Haydn’s String Quartet in B-flat what can be considered either a large Major, Op. 76, No. 4, which has a chamber group or a small orchestra. comparable melodic shape. Haydn’s Mendelssohn noted in his manuscript: theme is to Mendelssohn’s what a sunrise would be to a solar flare. This Octet must be played by all The Octet opens with a true stroke instruments in symphonic orchestral of genius, and the continuation is in style. Pianos and fortes must be strictly every way worthy of those exceptional first measures.

12 13 ARTISTS with the Chamber Music Society of Lincoln As a passionate supporter of music Center Two for the 2016–2019 seasons. In education, the Calidore String Quartet The Emerson String Quartet has amassed appeared as a special guest for Schubert’s fall 2016, the Quartet was named Visiting is deeply committed to mentoring and an unparalleled list of achievements over Quintet in C Major. In April, the Quartet Guest Artists at the University of Delaware educating young musicians, students, four decades: more than 30 acclaimed released its latest album, Chaconnes and and will serve as Visiting Artists-in- and audiences. From 2014–16 the recordings, nine Grammy Awards (including Fantasias: Music of Britten and Purcell, the Residence at the University of Michigan Calidore served as artists-in-residence at two for “Best Classical Album”), three first release on Universal Music Classics’ School of Music, Theatre & Dance. The Stony Brook University. The Quartet has Gramophone Awards, the Avery Fisher new US classical record label, Decca Gold. Calidore String Quartet regularly performs conducted master classes and residencies Prize, Musical America’s “Ensemble of the Formed in 1976 and based in New York throughout North America, Europe, and Asia at Princeton, Stanford, the University of Year,” and collaborations with many of the City, the Emerson was one of the first and has debuted in such prestigious venues Michigan, UCLA, and Mercer University greatest artists of our time. quartets whose violinists alternated in the as Carnegie Hall, Wigmore Hall, Lincoln as well as at Chamber Music Connection The arrival of Paul Watkins in 2013 has first chair position. The Emerson Quartet, Center, Seoul’s Kumho Arts Hall, Schneider in Columbus, Ohio. The Calidore was had a profound effect on the Emerson which took its name from the American Concerts (NYC), and at many significant previously on the faculty of the Ed and Mari Quartet. Mr. Watkins, a distinguished poet and philosopher Ralph Waldo festivals including Verbier, Ravinia, Mostly Edelman Chamber Music Institute at the soloist, award-winning conductor, and Emerson, is Quartet-in-Residence at Stony Mozart, Rheingau, East Neuk, and Festspiele Colburn School. devoted chamber musician, joined the Brook University. In spring 2016, full-time Mecklenburg-Vorpommern. Using an amalgamation of “California” ensemble in its 37th season, and his Stony Brook faculty members Philip Setzer In addition to winning the M-Prize, the and “doré” (French for “golden”), the dedication and enthusiasm have infused and Lawrence Dutton received the honor Calidore String Quartet won grand prizes ensemble’s name represents a reverence the Quartet with a warm, rich tone and a of Distinguished Professor, and part-time in virtually all the major US chamber music for the diversity of culture and the strong palpable joy in the collaborative process. faculty members Eugene Drucker and Paul competitions, including the Fischoff, support it received from its home of origin The reconfigured group has been praised Watkins were awarded the title of Honorary Coleman, Chesapeake, and Yellow Springs — Los Angeles, California — the “golden by critics and fans alike around the world. Distinguished Professor. In January competitions, and captured top prizes state.” The Calidore String Quartet aims to The 2016–17 season marked the Emerson 2015, the Quartet received the Richard at the 2012 ARD Munich International present performances that share the passion Quartet’s 40th anniversary, and highlights J. Bogomolny National Service Award, String Quartet Competition and Hamburg and joy of the string quartet chamber music of the milestone year reflected all aspects Chamber Music America’s highest honor, International Chamber Music Competition. repertoire. For more information about of the Quartet’s venerable artistry with in recognition of its significant and lasting As protégés of the Emerson Quartet, the the Calidore String Quartet, please visit high-profile projects and collaborations, contribution to the chamber music field. Calidore String Quartet was featured in a www.calidorestringquartet.com and commissions, and recordings. Universal performance of Mendelssohn’s Octet with www.facebook.com/calidorequartet. Music Group reissued their entire Deutsche The Calidore String Quartet, one of the the Emerson Quartet presented by the Grammophon discography in a 52-CD boxed most acclaimed and sought-after chamber Chamber Music Society of set. After recent engagements together ensembles of their generation, has been to commemorate the Emerson’s 40th at the Kennedy Center and Tanglewood, heralded as “the epitome of confidence anniversary season. illustrious soprano Renée Fleming joined and finesse” Gramophone( ), and “a miracle the Emerson at Walt Disney Concert Hall, of unified thought” La( Presse, Montreal). performing works by Alban Berg and The Quartet made international headlines Egon Wellesz from their first collaborative as the Grand Prize winner of the 2016 and recording, released by Decca in fall 2015. inaugural M-Prize International Chamber UMS ARCHIVES The Chamber Music Society of Lincoln Music Competition, the largest prize for Center programmed celebratory concerts chamber music in the world. Other major This evening’s performance marks the Emerson String Quartet’s 17th at Alice Tully Hall, the Calidore Quartet highlights of 2016 include being named a performance under UMS auspices, following the Quartet’s UMS debut in March teamed up with the Emerson for the BBC Next Generation Artist for the 2016–18 1989 at Rackham Auditorium. The Emerson Quartet most recently appeared at Mendelssohn Octet, and the Emerson gave seasons and becoming the first North UMS in September 2014 at Rackham Auditorium. The Calidore String Quartet the New York premiere of Mark-Anthony American ensemble to win the Borletti- makes its second UMS appearance this evening, following its UMS debut as Turnage’s Shroud (co-commissioned by Buitoni Trust Fellowship. Additionally, the winners of the inaugural M-Prize Chamber Arts competition in February 2017 at CMS). Former Emerson cellist Quartet begins a three-year residency Rackham Auditorium.

15 THIS EVENING’S VICTOR FOR UMS:

Ilene H. Forsyth Chamber Arts Endowment Fund

Supporter of this evening’s performance by the Emerson String Quartet and the Calidore String Quartet.

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Tickets available at www.ums.org.

ON THE EDUCATION HORIZON…

10/13 Post-Performance Q&A: Théâtre de la Ville’s State of Siege (Power Center, 121 Fletcher Street) Must have a ticket to the 10/13 performance to attend.

10/20 Post-Performance Q&A: Ragamala Dance Company (Power Center, 121 Fletcher Street) Must have a ticket to the 10/20 performance to attend.

Educational events are free and open to the public unless otherwise noted.