CHAMBER MUSIC FESTIVAL AND INSTITUTE The Sixteenth Season: Creative Capitals July 13–August 4, 2018 WELCOME TO MUSIC@MENLO

Dear Friends, A city is the embodiment of a civilized society. Throughout history, cities have enticed our most bril- liant, visionary, and restless souls seeking to pursue artistic destinies in stimulating environments. While the Grand Canyon and Niagara Falls are indeed natu- ral wonders, great cities are indisputably among the most significant achievements of humankind, works of in themselves. This season, seven iconic cities serve as our festival’s musical stages: London, Paris, St. Petersburg, Leipzig, Berlin, Budapest, and Vienna. The music that has emanated from these cultural centers largely forms the canon of Western music, comprising an astonishingly diverse repertoire spanning some three hundred years. It is with enormous excitement that we prepare to transport ourselves to these incredible locales, through the music we’ll perform, by listening to AudioNotes, and by attending the three Encounters, which will delve deeply into each city’s history and culture. The vivid contextual background of our seven cit- ies will bring us inside the composers’ worlds, providing us with a deeper, more intuitive understanding of their music. Among the coming festival’s many highlights are four Carte Blanche Concerts, whose repertoire echoes the season theme; an array of returning favorite per- formers as well as Music@Menlo debut artists; an innovative new mini-series combining International Program performers and main-stage artists; the festi- val’s first sculptor as this season’s Visual Artist; and the exciting announcement of a new incarnation of the Winter Series. All of these newsworthy features are accompanied by the festival’s signature components: ear-opening master classes, fascinating Café Conversations, jaw-dropping Prelude Performances, and heartwarming Koret Young Performers Concerts. And then, of course, there are the parties! As our seven cities attracted so many immortal composers, we hope that the very special world of Music@Menlo holds a similar attraction, year after year, for listen- ers of all ages and backgrounds. The gates of our own inspiring city are always open—please come inside!

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 23 Overture Concerts 25 Prelude Performances and Koret Young Performers Concerts 26 Music@Menlo:Focus 2018–2019 38 Festival Calendar

Discovery and Engagement 22 Michael Steinberg Encounter Series 23 AudioNotes 23 Music@Menlo LIVE 23 Broadcasting 24 Chamber Music Institute 25 Prelude Performances and Koret Young Performers Concerts 25 Café Conversations and Master Classes 33 Music@Menlo Patron Travel

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

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Time and again, from fourteenth-century Florence to fin-de-siècle Paris and New York during the Harlem Renaissance, Western civilization’s greatest artistic triumphs have emerged from the fertile ground of thriving metropolises. Fueled by the exchange of ideas and the incubation of great art, leading artists and innovators have gathered, turning these cities into cultural epicenters. Music@Menlo’s 2018 season celebrates seven of Western music’s most flourishing creative capitals—London, Paris, St. Petersburg, Leipzig, Berlin, Budapest, and Vienna. Many of history’s greatest composers have helped to define the spirit of these flagship cities through their music.

ARTISTS Piano Cello Brass Michael Brown Dmitri Atapine Kevin Rivard, horn Gloria Chien Efe Baltacigil* Voice Gilbert Kalish Nicholas Canellakis Lyubov Petrova, soprano* Hyeyeon Park David Finckel Sara Couden, contralto Jon Kimura Parker David Requiro* Kang Wang, tenor* Gilles Vonsattel Keith Robinson Wu Han Encounter Leaders Bass Ara Guzelimian Violin Scott Pingel John R. Hale* Aaron Boyd Calidore Michael Parloff Ivan Chan† Jeffrey Myers, violin Bella Hristova Ryan Meehan, violin *Music@Menlo debut Paul Huang Jeremy Berry, viola †Guest artist-faculty Alexi Kenney* Estelle Choi, cello Kristin Lee Amy Schwartz Moretti* Woodwinds Arnaud Sussmann Demarre McGill, flute Wu Jie Stephanie McNab, flute* Angelo Xiang Yu* Stephen Taylor, oboe Jose Franch-Ballester, clarinet Viola Anthony McGill, clarinet Roberto Díaz Peter Kolkay, bassoon Matthew Lipman Paul Neubauer Richard O’Neill

The Monumental Entrance at the Place de la Concorde, Exposition Universelle, Paris, 1900, lithograph. Private collection/The Stapleton Collection/Bridgeman Images

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For some two hundred years following the death of Henry Purcell, England failed to produce a composer of international merit. The German critic Oscar A. H. Schmitz famously derided the nation as Das Land ohne Musik (“The land without music”). But throughout the eighteenth and nineteenth centuries, England nevertheless remained fertile creative ground; London in particular attracted many of the continent’s greatest composers—from Handel and Mendelssohn to Edvard Grieg—who in turn helped make that city one of the Western world’s musical capitals. Music@Menlo 2018’s opening program cel- ebrates London’s cosmopolitan musical energy, juxtaposing these expatriate masters with two fresh voices of English music’s early twentieth-century renaissance, Benjamin Britten and .

George Frideric Handel (1685–1759) SATURDAY, JULY 14 Concerto Grosso in D Major, op. 6, no. 5, 6:00 p.m., The Center for Performing HWV 323 (1739) at Menlo-Atherton Felix Mendelssohn (1809–1847) Tickets: $72/$62 full price; $30/$20 under Fugue in E-flat Major for String Quartet, age thirty op. 81, no. 4 (1827) Prelude Performance* Ralph Vaughan Williams (1872–1958) 3:30 p.m., The Center for Performing Arts Songs of Travel (1901, 1904) at Menlo-Atherton Benjamin Britten (1913–1976) Suite for Violin and Piano, op. 6 (1934–1935) *Prelude Performances feature young artists from the Chamber Music Institute. Edvard Grieg (1843–1907) Admission is free. For more information, Holberg Suite for Strings, op. 40 (1884, arr. 1885) see pp. 24–25.

Fête the Festival ARTISTS 8:30 p.m., following the concert Kang Wang, tenor; Hyeyeon Park, harpsichord; Join the Artistic Directors, festival musicians, Gloria Chien, Gilbert Kalish, pianos; and friends on July 14 to celebrate the Paul Huang, Amy Schwartz Moretti, season’s first concert at an outdoor catered Arnaud Sussmann, Wu Jie, Angelo Xiang Yu, dinner reception on the Menlo School violins; Roberto Díaz, Matthew Lipman, violas; campus. Dmitri Atapine, Efe Baltacigil, David Finckel, (Tickets: $75. Advance purchase required.) cellos; Scott Pingel, bass

“The Houses of Parliament at Night,” City of Westminster, London, black-and-white photo. Photo credit: HIP/Art Resource, NY

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No city captivates the imagination quite like Paris. For generations, the world’s leading artists, writers, and thinkers—to say nothing of its young lovers and starry-eyed dreamers—have flocked to La Ville Lumière. Her splendor has inspired some of the Western world’s most innovative cinema, elegant cuisine, and irresistible music. Towards the turn of the century, after opera had domi- nated French musical life for decades, Camille Saint-Saëns, César Franck, and others led a resurgence of chamber music. In their wake came some of the twentieth century’s most refreshing musical voices, from Jean Françaix to Francis Poulenc and the enfants terribles of Les Six.

Camille Saint-Saëns (1835–1921) TUESDAY, JULY 17 Piano Trio no. 1 in F Major, op. 18 (1864) 7:30 p.m., The Center for Performing Arts Francis Poulenc (1899–1963) at Menlo-Atherton Sextet for Wind Quintet and Piano, op. 100 Tickets: $72/$62 full price; $30/$20 under (1932–1939) age thirty Jean Françaix (1912–1997) Prelude Performance* String Trio (1933) 5:00 p.m., The Center for Performing Arts César Franck (1822–1890) at Menlo-Atherton Piano Quintet in f minor (1879) *Prelude Performances feature young ARTISTS artists from the Chamber Music Institute. Demarre McGill, flute;Stephen Taylor, oboe; Admission is free. For more information, Jose Franch-Ballester, clarinet; Peter Kolkay, see pp. 24–25. bassoon; Kevin Rivard, horn; Jon Kimura Parker, Wu Han, pianos; Paul Huang, Angelo Xiang Yu, violins; Matthew Lipman, viola; Dmitri Atapine, Efe Baltacigil, cellos

Jean Beraud (1849–1935). Outside the Vaudeville Theatre, Paris, nineteenth century, oil on canvas. Private collection/ Photo © Christie’s Images/Bridgeman Images

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Built in 1703 by Peter the Great to be a cosmopolitan, Western-style metropolis, St. Petersburg emerged over subsequent decades as the center of Russian musical culture. It was in St. Petersburg that Mikhail Glinka, the progenitor of Russia’s classical music tradition, built his career. Glinka’s disciple Mily Balakirev likewise settled in the Russian capital, where he spearheaded the Russian vanguard known as the Mighty Handful. In 1862, Anton Rubinstein founded the St. Petersburg Conservatory, which remains Russian music’s foremost educational institution, producing such towering artists as Anton Arensky and Dmitry Shostakovich, whose works are featured in this program.

Mikhail Glinka (1804–1857) SATURDAY, JULY 21 Trio pathétique in d minor for Clarinet, 6:00 p.m., The Center for Performing Arts Bassoon, and Piano (1832) at Menlo-Atherton Anton Arensky (1861–1906) Tickets: $72/$62 full price; $30/$20 under Quartet no. 2 in a minor for Violin, Viola, age thirty and Two Cellos, op. 35 (1894) Mily Balakirev (1837–1910) Octet for Winds, Strings, and Piano, op. 3 (1855–1856) Dmitry Shostakovich (1906–1975) From Jewish Folk Poetry, op. 79 (1948)

ARTISTS Lyubov Petrova, soprano; Sara Couden, contralto; Kang Wang, tenor; Demarre McGill, flute; Stephen Taylor, oboe; Jose Franch- Ballester, clarinet; Peter Kolkay, bassoon; Kevin Rivard, horn; Michael Brown, Gilbert Kalish, pianos; Aaron Boyd, Arnaud Sussmann, violins; Matthew Lipman, Paul Neubauer, violas; David Finckel, David Requiro, cellos; Scott Pingel, bass

The General Staff Building on Palace Square, St. Petersburg. Photo credit: Albrecht Neumeister, 2016

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When Georg Philipp Telemann turned down the post of Leipzig Music Director and Cantor, the city begrudgingly offered the position to its second choice: Johann Sebastian Bach. Bach’s years in Leipzig produced some of the greatest music ever composed—from the St. Matthew Passion and Mass in b minor to scores of keyboard concerti—thus cementing that city’s place as one of music history’s most important locales. A century later, two of the Romantic era’s greatest composers would likewise call Leipzig home: Felix Mendelssohn, who served as Director of the Leipzig Gewandhaus Orchestra and founded the Leipzig Conservatory, and Robert Schumann, whose mighty Piano Quintet con- cludes this summer’s fourth Concert Program.

Johann Sebastian Bach (1685–1750) WEDNESDAY, JULY 25 Keyboard Concerto in d minor, BWV 1052 7:30 p.m., Stent Family Hall, Menlo School (ca. 1738–1739) Tickets: $82 full price; $35 under age thirty Georg Philipp Telemann (1681–1767) Prelude Performance* Canary Cantata, TWV 20: 37 (1737) 5:00 p.m., Martin Family Hall, Menlo School Felix Mendelssohn (1809–1847) Andante and Variations for Piano, Four THURSDAY, JULY 26 Hands, op. 83a (1844) 7:30 p.m., The Center for Performing Arts Robert Schumann (1810–1856) at Menlo-Atherton Piano Quintet in E-flat Major, op. 44 (1842) Tickets: $72/$62 full price; $30/$20 under age thirty ARTISTS Prelude Performance* Sara Couden, contralto; Gilbert Kalish, 5:00 p.m., The Center for Performing Arts harpsichord; Michael Brown, Hyeyeon Park, at Menlo-Atherton pianos; Aaron Boyd, Alexi Kenney, violins; Matthew Lipman, Paul Neubauer, violas; *Prelude Performances feature young David Requiro, Keith Robinson, cellos; artists from the Chamber Music Institute. Scott Pingel, bass Admission is free. For more information, see pp. 24–25.

Friedrich Werner (1690–1778). View of the City of Leipzig from the South East, ca. 1750, colored engraving. Stadtgeschichtliches Museum Leipzig, Germany/Bridgeman Images

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Through the eighteenth and nineteenth centuries, Berlin emerged and then handily secured its status as one of Europe’s most vital cultural centers. It was to Berlin that the aging J. S. Bach traveled in 1747, where King Frederick the Great issued the contrapuntal challenge that yielded Bach’s monumental Musical Offering.Mozart and subsequently appeared at the same court, before Friedrich Wilhelm II; Mozart honored the King of Prussia (and amateur cellist) with his Prussian Quartets, notable for their virtuosic cello parts, while Beethoven composed his first two cello sonatas for the occasion. Concert Program V concludes with the Piano Trio no. 2 in c minor by Mendelssohn, who spent his formative years in the German capital.

Ludwig van Beethoven (1770–1827) SATURDAY, JULY 28 Cello Sonata in F Major, op. 5, no. 1 (1796) 6:00 p.m., The Center for Performing Arts (1756–1791) at Menlo-Atherton String Quartet in D Major, K. 575, Prussian Tickets: $72/$62 full price; $30/$20 under (1789) age thirty Johann Sebastian Bach (1685–1750) Selections from Musical Offering, BWV 1079 SUNDAY, JULY 29 (1747) 6:00 p.m., Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty Felix Mendelssohn (1809–1847) Piano Trio no. 2 in c minor, op. 66 (1845) Prelude Performance* 3:30 p.m., Martin Family Hall, Menlo School ARTISTS Stephanie McNab, flute;Gilles Vonsattel, *Prelude Performances feature young Wu Han, pianos; Arnaud Sussmann, violin; artists from the Chamber Music Institute. David Finckel, David Requiro, cellos; Calidore Admission is free. For more information, String Quartet: Jeffrey Myers, Ryan Meehan, see pp. 24–25. violins; Jeremy Berry, viola; Estelle Choi, cello

Nikolaus Braun (1900–1980). Street Scene in Berlin, 1921, oil on conglomerate. Photo credit: Erich Lessing/Art Resource, NY

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Western composers from Haydn and Mozart to Brahms were irresistibly drawn to the folk music of Central Europe, infusing some of their most popular works with its infectious spirit. With Hungarian music’s own nationalist movement in the early twentieth century, Hungary—and especially its capital, Budapest— assumed even greater importance in the Western classical tradition. Ernő Dohnányi, one of the twentieth century’s most gifted and versatile musicians, was moreover the first elite Hungarian artist who chose to train at the Budapest Academy of Music rather than studying abroad. His countrymen Béla Bartók and Zoltán Kodály—the progenitors of a nationalist Hungarian compositional language—followed suit, establishing Budapest as the epicenter of Hungary’s musical culture. Concert Program VI features the work of these three giants of Hungarian music and their heir apparent, the modernist master György Ligeti.

Zoltán Kodály (1882–1967) TUESDAY, JULY 31 Duo for Violin and Cello, op. 7 (1914) 7:30 p.m., The Center for Performing Arts Béla Bartók (1881–1945) at Menlo-Atherton String Quartet no. 5 (1934) Tickets: $72/$62 full price; $30/$20 under age thirty György Ligeti (1923–2006) Ballad and Dance for Two Violins (1950) Prelude Performance* 5:00 p.m., The Center for Performing Arts Ernő Dohnányi (1877–1960) Sextet in C Major for Winds, Strings, and at Menlo-Atherton Piano, op. 37 (1935) *Prelude Performances feature young ARTISTS artists from the Chamber Music Institute. Anthony McGill, clarinet; Kevin Rivard, horn; Admission is free. For more information, Gilles Vonsattel, piano; Bella Hristova, see pp. 24–25. Wu Jie, violins; Matthew Lipman, viola; Nicholas Canellakis, David Requiro, cellos; Calidore String Quartet: Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, viola; Estelle Choi, cello

“Budapest at Night,” 1936, black-and-white photo. © SZ Photo/Scherl/Bridgeman Images

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The 2018 season’s final Concert Program celebrates Vienna—from the Classical era into the twentieth century, the indisputable capital of the Western musical world. It was in Vienna that the Salzburg-born wunderkind Wolfgang Amadeus Mozart found his place among the pantheon of great artists and where, after Mozart’s death at the age of thirty-five, Beethoven traveled to “receive Mozart’s spirit from Haydn’s hands.” Vienna remained the seat of Western music through the Romantic era in a period bookended by Schubert and Brahms. When, in the twentieth century, the iconoclast Arnold Schoenberg sought to “ensure the supremacy of German music for the next hundred years,” his coterie fittingly became known as the Second Viennese School.

Wolfgang Amadeus Mozart (1756–1791) THURSDAY, AUGUST 2 Andante and Variations in G Major for Piano, 7:30 p.m., Stent Family Hall, Menlo School Four Hands, K. 501 (1786) Tickets: $82 full price; $35 under age thirty (1833–1897) Piano Quintet in f minor, op. 34 (1862) SATURDAY, AUGUST 4 6:00 p.m., The Center for Performing Arts (1797–1828) at Menlo-Atherton Allegro in a minor for Piano, Four Hands, op. 144, D. 947, Lebensstürme (1828) Tickets: $72/$62 full price; $30/$20 under age thirty Arnold Schoenberg (1874–1951) Verklärte Nacht (Transfigured Night) for String Sextet, op. 4 (1899)

ARTISTS Gloria Chien, Gilbert Kalish, Wu Han, pianos; Bella Hristova, Kristin Lee, Arnaud Sussmann, violins; Matthew Lipman, Richard O’Neill, violas; Nicholas Canellakis, David Requiro, cellos

Interior of a Café, twentieth century, watercolor. Historisches Museum der Stadt Wien. De Agostini Picture Library/A. Dagli Orti/Bridgeman Images

subscribe at www.musicatmenlo.org | 650-331-0202 19 Carte Blanche Concerts The 2018 Carte Blanche Concerts, curated by the festival artists themselves, offer an intimate tour of this season’s Creative Capitals.

CARTE BLANCHE CONCERT I CARTE BLANCHE CONCERT II PAUL HUANG, VIOLIN; WU HAN, PIANO CALIDORE STRING QUARTET Sunday, July 15, 6:00 p.m. Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, viola; Stent Family Hall, Menlo School Estelle Choi, cello Tickets: $82 full price; $35 under age thirty Thursday, July 19, 7:30 p.m. The brilliant young violinist Paul Huang returns to Music@Menlo, joining Artistic Codirector Wu Stent Family Hall, Menlo School Han in a program of Romantic violin sonatas. The program begins with Beethoven’s Sonata in G Tickets: $82 full price; $35 under age thirty Major, op. 30, no. 3, a work that finds the composer on the cusp of his celebrated “heroic” style, soon to single-handedly usher music into the Romantic period. The exquisite d minor Sonata of No genre more powerfully emblematizes Vienna’s hallowed chamber music tradition than the Johannes Brahms, Beethoven’s heir apparent, follows. Alongside the works of these guardians of string quartet. Joseph Haydn, the father of the Classical style, turned the string quartet medium the Viennese tradition, the program offers Bartók’s signature Hungarian Folk Tunes and concludes into the lingua franca of Western chamber music. The form was thereafter revolutionized by his with the Parisian esprit of Saint-Saëns’s First Violin Sonata. student Beethoven, whose imposing cycle of sixteen quartets remains the bedrock of the literature today. Quartets by Haydn and Beethoven (the dazzling third Razumovsky Quartet) bookend Carte (1770–1827) Blanche Concert II. At the center of the program are two works by Anton Webern, the Expression- Violin Sonata in G Major, op. 30, no. 3 (1801–1802) ist genius of the Second Viennese School. Johannes Brahms (1833–1897) Joseph Haydn (1732–1809) Violin Sonata in d minor, op. 108 (1886–1888) String Quartet in G Major, op. 54, no. 1, Hob. III: 58 (1788) Béla Bartók (1881–1945) Anton Webern (1883–1945) Hungarian Folk Tunes (arr. Szigeti in 1926 from Bartók’s For Children) Fünf Sätze for String Quartet, op. 5 (1909) Camille Saint-Saëns (1835–1921) Langsamer Satz for String Quartet (1905) Violin Sonata no. 1 in d minor, op. 75 (1885) Ludwig van Beethoven (1770–1827) String Quartet in C Major, op. 59, no. 3, Razumovsky (1806)

20 subscribe at www.musicatmenlo.org | 650-331-0202 CARTE BLANCHE CONCERT III CARTE BLANCHE CONCERT IV DMITRI ATAPINE, CELLO; HYEYEON PARK, PIANO PAUL NEUBAUER, VIOLA; MICHAEL BROWN, PIANO Sunday, July 22, 10:30 a.m. Sunday, July 29, 10:30 a.m. Stent Family Hall, Menlo School Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty Tickets: $82 full price; $35 under age thirty Music@Menlo audience favorites and husband-and-wife duo Dmitri Atapine and Hyeyeon Park Preeminent violist Paul Neubauer and the outstanding young pianist Michael Brown join forces for complement the season’s itinerary with a three-part recital program of some of Western music’s the season’s final Carte Blanche Concert. The program brings together masterworks of the twenti- most relentlessly peripatetic composers. Alongside pieces by such iconic figures as Beethoven and eth-century repertoire for viola and piano, from Dmitry Shostakovich’s powerful Viola Sonata—the Boccherini, the program offers lesser-known gems by the Russian cellist and composer Karl Dav- Russian master’s final composition, completed weeks before his death—to the stunning Romance idoff (who encountered Schumann and Mendelssohn in Leipzig before returning to St. Petersburg), of the English composer Benjamin Dale. The program concludes with a sampling of the delectable John Field (an Irish composer who emigrated to Russia), and others. Carte Blanche Concert III salon music of Georges Boulanger. concludes with Chopin’s dazzling Introduction and Polonaise brillante. Krzysztof Penderecki (Born 1933) PROLOGUE John Field (1782–1837) Cadenza for Solo Viola (1984) Alfred Schnittke (1934–1998) Nocturne no. 5 in B-flat Major for Solo Piano Dmitry Shostakovich (1906–1975) Musica Nostalgica (1992) (1817) Viola Sonata, op. 147 (1975) (1879–1941) PART 1: THE CELLO STORY Ernest Bloch (1880–1959) Cello Sonata (1913–1917) Suite hébraïque (1951) Luigi Boccherini (1743–1805) Cello Sonata in A Major, G. 4 (1772) PART 3: EASTERN EUROPE Benjamin Dale (1885–1943) Romance from Suite for Viola and Piano, op. 2 (1906) Ludwig van Beethoven (1770–1827) Bohuslav Martinů (1890–1959) Seven Variations in E-flat Major on “Bei Variations on a Theme of Rossini (1942) Mana-Zucca (1885–1981) Männern, welche Liebe fühlen” from Zoltán Kodály (1882–1967) Hakinoh (Lament), op. 186 (1956) Mozart’s Die Zauberflöte, WoO 46 (1801) Sonatina for Cello and Piano (1921) Georges Boulanger (1893–1958) Karl Davidoff(1838–1889) Frédéric Chopin (1810–1849) Salon Pieces for Viola and Piano Allegro de concert, op. 11 (1862) Introduction and Polonaise brillante in C Major, op. 3 (1829–1830) PART 2: LONDON’S ORBIT Alfredo Piatti (1822–1901) Please join the artists for a picnic lunch follow- Caprice on a Theme from Pacini’s Niobe for ing the concert. A gourmet boxed lunch may be Solo Cello, op. 22 (1865) reserved with your ticket order for $20.

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The Encounter series, Music@Menlo’s ENCOUNTER I ENCOUNTER II ENCOUNTER III signature multimedia symposia, LONDON, PARIS, AND LEIPZIG AND BERLIN BUDAPEST AND VIENNA embodies the festival’s context-rich ST. PETERSBURG Led by Ara Guzelimian Led by John R. Hale approach to musical discovery and Led by Michael Parloff Friday, July 20, 7:30 p.m. Friday, July 27, 7:30 p.m. adds dimension and depth to the Martin Family Hall, Menlo School Friday, July 13, 7:30 p.m. Martin Family Hall, Menlo School Music@Menlo experience. The 2018 Tickets: $52 full price; $25 under age thirty Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty festival season’s three Encounters, Tickets: $52 full price; $25 under age thirty Leipzig catalyzed arguably the greatest cor- One reigned for two centuries as the led by experts in their fields, offer undisputed capital of Western music, nour- While London, Paris, and St. Petersburg have pus in Western music history, as J. S. Bach’s ishing composers from Haydn, Mozart, and immersive visits to the cultural historically shared numerous cross-cultural music directorship in that city produced Beethoven to Schoenberg, Webern, and Berg. centers at the heart of the festival, connections—from the inevitable cultural the St. Matthew Passion, Mass in b minor, and The other rose to prominence on a national- providing audiences with context exchange across the English Channel to Italian sheaves of chamber and orchestral works ist wave fueled by the groundbreaking work opera’s equal seduction of English and Russian that remain vital to the repertoire. Bach’s for the season’s seven Concert of Bartók, Kodály, and others. Despite their audiences—each city has nurtured a distinct greatest champion in the following century, Programs and four Carte Blanche close proximity and cultural kinship, Vienna musical identity. London, the capital of the Felix Mendelssohn, added to Leipzig’s proud and Budapest and their musical histories offer Concerts. The Encounter series country once derided as “the land without musical tradition, establishing a conserva- a tale of two cities, separated by tradition and is named in memory of Michael music,” today rivals Paris as one of Western tory and building its orchestra into one of aesthetic. Scholar John R. Hale makes his Steinberg, the eminent musicologist music’s quintessential locales. Once a musical the world’s finest. Meanwhile, one hundred miles to the north, a succession of Prussian Music@Menlo debut, leading the season’s final and Music@Menlo guiding light. desert, St. Petersburg similarly rose over Encounter—an engrossing exploration of these generations to have tremendous cultural monarchs received the likes of Bach, Mozart, two enchanting Central European capitals. influence. Returning Encounter Leader Michael and Beethoven, fueling Berlin’s rise to equal Parloff opens the 2018 season, guiding audi- cultural significance. For this summer’s second Encounter, Ara Guzelimian charts the ascen- ences on a tour of these three intriguing Prelude Performance* dancy of Germany’s twin musical epicenters. cosmopolises. 5:00 p.m., Stent Family Hall, Menlo School

Prelude Performance* 5:00 p.m., The Center for Performing Arts *Prelude Performances feature young artists at Menlo-Atherton from the Chamber Music Institute. Admission is free. For more information, see pp. 24–25.

Charles F. Borup. “Piccadilly Circus, London, at Night,” black- Bach portrait, Thomaskirche, Leipzig, photo. © Bednorz “Schoenbrunn Palace in Vienna,” 1936, black-and-white photo. and-white photo. From Penrose’s Pictorial Annual 1908–1909, Images/Bridgeman Images © SZ Photo/Scherl/Bridgeman Images An Illustrated Review of the Graphic Arts, volume 14, edited by William Gamble and published by A. W. Penrose, London, 1908–1909. Photo credit: HIP/Art Resource, NY

22 subscribe at www.musicatmenlo.org | 650-331-0202 AudioNotes AudioNotes, available as downloadable MP3s, are Music@Menlo’s innovative series of preconcert listener guides intended to provide greater insight into the music as well as the performers’ perspec- tives. AudioNotes—provided free of charge—offer cultural and historical context highlighted by musical examples and interviews with festival artists. Each AudioNotes recording enhances the concert experience by giving listeners an informed perspective in advance of the performance and provides the foundation for a rich and rewarding musical journey.

Music@Menlo LIVE Music@Menlo LIVE, the festival’s exclusive recording label, has been praised as “the most ambitious recording project of any classical music festival in the world” (San Jose Mercury News) and its recordings have been hailed as “without question the best CDs I have ever heard” (Positive Feedback Online). Pro- duced by Grammy Award-winning engineer Da-Hong Seetoo using state-of-the-art recording technology, Music@Menlo LIVE releases feature select concert recordings representing Music@Menlo’s signature thematic programming. Music@Menlo LIVE recordings are available for sale throughout the season at festival concert venues and online Overture Concerts at www.musicatmenlo.org. They are also available for digital Music@Menlo is excited to inaugurate the Overture Concerts, in which the International Program artists collaborate with festival download and streaming through iTunes, Amazon.com, main-stage artists for the first time. Two performances in Stent Family Hall will include all eleven spectacular International Program Classical Archives, and Spotify. performers, who will be joined by pianist Wu Han, violinist Arnaud Sussmann, violist Matthew Lipman, and the Calidore String Quartet.

These concerts function as an “overture” to the future of chamber music: world-renowned festival artists will share their knowledge, ® experience, and traditions with the burgeoning International Program musicians as they perform together, bringing the freshest American Public Media perspectives to these events. The artists will collectively bridge the gap between the traditions of the past, the master performers of American Public Media® is the today, and the flourishing of the art form in the future. Please join us to experience the fruits of their collaboration and to witness a leading producer of classical glimpse of the bright future of chamber music. music programming for public radio. This summer, Music@Menlo is proud to welcome American Public Media® once again as Tuesday, July 24, 7:30 p.m. Wednesday, August 1, 7:30 p.m. the festival’s exclusive broadcast partner. Performances from Stent Family Hall, Menlo School Stent Family Hall, Menlo School the festival will air nationwide on the American Public Media® Joseph Haydn (1732–1809) Wolfgang Amadeus Mozart (1756–1791) radio program Performance Today®, the largest daily classical Piano Trio in C Major, Hob. XV: 27 (1797) Piano Quartet in g minor, K. 478 (1785) music program in the , which airs on 260 stations Antonín Dvořák (1841–1904) Felix Mendelssohn (1809–1847) and reaches more than one million people each week, and via ® Piano Quintet in A Major, op. 81, B. 155 (1877) String Octet in E-flat Major, op. 20 (1825) Classical 24 , a live classical music service broadcast on 250 stations and distributed by Public Radio International. Hosts Featuring Arnaud Sussmann, violin, and Wu Han, piano, with Featuring Matthew Lipman, viola, and the Calidore String and producers from American Public Media® have participated musicians from the Chamber Music Institute’s International Quartet: Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, in the festival as event moderators and educators. Go online to Program. viola; and Estelle Choi, cello, with musicians from the Chamber www.YourClassical.org for archived performances, photos, and Music Institute’s International Program. interviews.

Tickets: $32. Young Patrons Society members receive two complimentary tickets, and Young Patrons Leadership Circle members receive four complimentary tickets to either Overture performance.

subscribe at www.musicatmenlo.org | 650-331-0202 23 Music@Menlo’s Chamber Music Institute has become one to the public—offers listeners opportunities to witness the fos- Chamber Music of the top-tier summer programs in the world for string play- tering of great traditions and the exchange of ideas between ers and pianists. The Institute brings together exceptionally today’s most accomplished artists and classical music’s next Institute talented young musicians and a world-class roster of per- generation. forming artists for an intensive three-week training program, The Chamber Music Institute and its International Program and David Finckel and Wu Han consisting of the International Program for preprofessional Young Performers Program participants are supported by con- ARTISTIC DIRECTORS artists (ages eighteen to twenty-nine) and the Young Perform- tributions to the Ann S. Bowers Young Artist Fund. ers Program for pre- and early-conservatory-level students Gloria Chien (ages nine to eighteen). These extraordinary young artists are Music@Menlo is thrilled to announce the launch of the selected from top preparatory and conservatory programs Overture Concerts, a unique addition to the festival’s musical INSTITUTE DIRECTOR across the United States and abroad. Students work closely offerings. During the 2018 festival, audiences will have two Gilbert Kalish with the festival’s artist-faculty in coachings, master classes, not-to-be-missed opportunities to hear the extraordinary and various other educational activities. Highlights include the young artists of the Chamber Music Institute’s International DIRECTOR, INTERNATIONAL PROGRAM immensely popular Prelude Performances and Koret Young Program perform alongside select main-stage Music@Menlo festival artists. More information on these exciting new con- Arnaud Sussmann Performers Concerts featuring the Institute’s aspiring young artists. The Chamber Music Institute’s series of master classes, certs is available on p. 23. ASSOC. DIRECTOR, INTERNATIONAL PROGRAM Café Conversations, and performances—always free and open

24 subscribe at www.musicatmenlo.org | 650-331-0202 Café Conversations and Master Classes Beginning on July 16, each weekday throughout the festival, Music@Menlo offers midday events including the popular Café Conversations and master classes. Café Conversations feature Prelude Performances and select festival artists discussing a variety of topics related to music and the arts. These forums showcase the wide-ranging expertise Koret Young Performers Concerts and imagination of our artists and provide further insights into The festival’s preconcert and afternoon Prelude Performances and Koret Young Performers Concerts showcase the extraordinary young their remarkable careers and musical experiences. artists of the Chamber Music Institute and are an integral part of Music@Menlo’s educational mission. These inspiring concerts have become Master classes offer opportunities to witness members of the some of the season’s most anticipated events. Experience these young artists performing great works from the chamber music repertoire. artist-faculty impart their knowledge, art, and expertise to the For both series, free tickets are required and may be reserved in advance on the day of the concert. next generation of performers. In master classes, Chamber Music Institute participants are coached in preparation for their Prelude Performance Schedule Koret Young Performers Concert Schedule Prelude Performances and Koret Young Performers Concerts. The insights gained from observing the nuanced process of Featuring the Institute’s International Program artists. Featuring the students of the Young Performers Program. preparing a piece of music for performance deepen audiences’ Saturday, July 14, 3:30 p.m., Menlo-Atherton* Saturday, July 21, 1:00 p.m., Menlo-Atherton* appreciation of the concert experience. Sunday, July 15, 3:30 p.m., Martin Family Hall Saturday, July 28, 1:00 p.m., Menlo-Atherton* Each weekday of the festival season features a Café Conversa- Tuesday, July 17, 5:00 p.m., Menlo-Atherton* Saturday, August 4, 1:00 p.m., Menlo-Atherton* tion or master class at 11:45 a.m. on the Menlo School campus. Wednesday, July 18, 5:00 p.m., Martin Family Hall In response to the popularity of these events, a ticket is required Reservations are not required. During the festival season, please consult your festival program book or visit our website Thursday, July 19, 5:00 p.m., Martin Family Hall for all Prelude Performances and Koret Young Performers Con- at www.musicatmenlo.org for a detailed schedule of master Friday, July 20, 5:00 p.m., Menlo-Atherton* certs. Free tickets can be requested at will call beginning one hour prior to the start of each concert or reserved in advance classes and Café Conversation topics. Sunday, July 22, 3:30 p.m., Martin Family Hall online at www.musicatmenlo.org starting at 9:00 a.m. on the Wednesday, July 25, 5:00 p.m., Martin Family Hall day of the event. Seating is by general admission. Members of Thursday, July 26, 5:00 p.m., Menlo-Atherton* the Bach Circle ($1,000) and above enjoy Advance Ticketing for Open Coachings Friday, July 27, 5:00 p.m., Stent Family Hall one Prelude Performance or Koret Young Performers Concert Music@Menlo invites you to experience the Chamber Music Sunday, July 29, 3:30 p.m., Martin Family Hall of their choice. Members of the Beethoven Circle ($10,000) and Institute by observing select coachings on the Menlo School Tuesday, July 31, 5:00 p.m., Menlo-Atherton* above enjoy Advance Ticketing for all Prelude Performances and campus, Monday through Friday from July 16 through August 3. Koret Young Performers Concerts. For reserved seating oppor- Friday, August 3, 5:00 p.m., Menlo-Atherton* Daily coaching schedules can be found at the festival Welcome tunities, please see Premium Seating information on p. 34. Center. *The Center for Performing Arts at Menlo-Atherton

subscribe at www.musicatmenlo.org | 650-331-0202 25 SHAKESPEARE AND GOETHE FOLK TALES WITH HYEYEON PARK WITH ARNAUD SUSSMANN To open the 2018–2019 Music@Menlo:Focus residencies, This program was built around a unique and rather unusual Music@Menlo is proud to present Shakespeare and Goethe—a instrumentation for string trio—two violins and a viola—seldom magical exploration of literary allusions in music. As the cul- heard in a full chamber music program. Featuring staples of the mination of this residency, an all-star cast of five artists will repertoire, Antonín Dvořák’s magnificent Miniatures and Terzetto join forces on November 9 in St. Bede’s Church to bring to and Zoltán Kodály’s delightfully folksy Serenade, the program Music@Menlo is delighted to announce our new life timeless literature-inspired masterpieces by Beethoven, also offers rarely performed music by Belgian composer and off-season initiative—Music@Menlo:Focus. Mendelssohn, Schubert, Liszt, and Brahms. This must-see per- violinist Eugène Ysaÿe and Russian composer Sergei Taneyev. The formance and its associated events will shine new light on the richness and variety in the music will surprise and delight you, as A reimagining of our Winter Series, this new venture dramatic impact that Macbeth, A Midsummer Night’s Dream, will the project’s intimate educational style. Violist extraordinaire will offer listeners opportunities to experience the Faust, and Werther had on the inventiveness and imagination of and festival favorite Paul Neubauer will be joined onstage by vir- festival’s signature chamber music programming some of the greatest chamber music authors of all time. tuoso violinists Pamela Frank and Arnaud Sussmann. and immersive educational content during the year Behind the Music Behind the Music in a bold, brand-new form. Thursday, November 8, 2018, 7:30 p.m. Thursday, May 2, 2019, 7:30 p.m. Martin Family Hall, Menlo School Martin Family Hall, Menlo School For the inaugural season, two popular Music@Menlo Tickets: $30 full price; $15 under age thirty Tickets: $30 full price; $15 under age thirty artists each will curate multiday residencies. Please Concert Program Concert Program join us this November and in May 2019 to witness Friday, November 9, 2018, 7:30 p.m. Friday, May 3, 2019, 7:30 p.m. Guest Curators Hyeyeon Park and Arnaud Sussmann St. Bede’s Episcopal Church, Menlo Park St. Bede’s Episcopal Church, Menlo Park as they launch Music@Menlo:Focus, featuring out- Tickets: $52/$47 full price; $25/$20 under age thirty Tickets: $52/$47 full price; $25/$20 under age thirty reach and intellectually captivating “Behind the Ludwig van Beethoven (1770–1827) Antonín Dvořák (1841–1904) Music” events and culminating in two enthralling Piano Trio in D Major, op. 70, no. 1, Ghost (1808) Miniatures for Two Violins and Viola, op. 75a (1887) performances in a new concert venue, St. Bede’s Felix Mendelssohn (1809–1847) Eugène Ysaÿe (1858–1931) Episcopal Church in Menlo Park. Nocturne and Scherzo from A Midsummer Night’s Dream for Le Londres in a minor for Two Violins and Viola (ca. 1914–1916) Piano, Four Hands, op. 61 (1843) Zoltán Kodály (1882–1967) Franz Schubert (1797–1828) Serenade for Two Violins and Viola, op. 12 (1919–1920) Gretchen am Spinnrade and Erlkönig (arr. Liszt, 1837–1838) Sergei Taneyev (1856–1915) Johannes Brahms (1833–1897) Trio in D Major for Two Violins and Viola, op. 21 (1907) Piano Quartet no. 3 in c minor, op. 60 (1855–1856, 1874) Antonín Dvořák Terzetto in C Major for Two Violins and Viola, op. 74 (1887) ARTISTS Hyeyeon Park, Jon Kimura Parker, pianos; Cho-Liang Lin, violin; ARTISTS Matthew Lipman, viola; David Finckel, cello Pamela Frank, Arnaud Sussmann, violins; Paul Neubauer, viola

26 subscribe at www.musicatmenlo.org | 650-331-0202 Visual Artist: Artistic Directors: Gonzalo Fonseca David Finckel and Wu Han The Martin Family Artistic Directorship Gonzalo Fonseca (1922–1997) understood as a microcosmic Music@Menlo founding Artistic Directors cellist and performing under its auspices worldwide. way to engage civilization and weave together past and future. Inte- David Finckel and pianist Wu Han rank among Their wide-ranging musical innovations include grating the forms that he encountered in his extensive travel, Fonseca the most esteemed and influential classical the launch of ArtistLed (www.artistled.com), resisted the narrower tracks of mid-twentieth-century Modernist musicians in the world today. Recipients of classical music’s first musician-directed and sculpture and instead dedicated himself to expanding its landscape. Musical America’s Musicians of the Year award, Internet-based recording company, whose He carved his stones himself, without the aid of assistants, and often they bring unmatched talent, energy, imagi- catalogue of nineteen albums has won wide- worked with found stone. Uruguayan-born, he divided the majority nation, and dedication to their multifaceted spread critical acclaim. In 2011, David Finckel of his life between Manhattan and a hilltop studio among the quar- endeavors as concert performers, recording and Wu Han were named Artistic Directors of ries and stone-working communities in Northern Tuscany. Gonzalo artists, educators, artistic administrators, and Chamber Music Today, an annual festival held Fonseca produced hundreds of paintings and drawings and executed cultural entrepreneurs. In high demand as indi- in Seoul, South Korea, and since 2013, they a number of monumental public works. A documentary focused on viduals and as a duo, they appear each season have led the Finckel-Wu Han Chamber Music Fonseca, titled Membra Disjecta: Gonzalo Fonseca and the Heart of Stone, comes out in 2018. For at a host of the most prestigious venues and Studio at the Aspen Music Festival and School. further information, visit www.gonzalofonseca.com. concert series across the United States and In these capacities, as well as through a multi- around the world. tude of other educational initiatives, they have achieved universal renown for their passionate Since 2004, David Finckel and Wu Han have commitment to nurturing the careers of count- together held the prestigious position of Artistic less young artists. David Finckel and Wu Han Cover: Nero, 1984, limestone. Photo by EPW Studio/Maris Bottom: Gonzalo Fonseca with Great Jones Street, 1994. Photo by Director of the Chamber Music Society of reside in . For more information, Hutchinson Ovak Arslanian Lincoln Center, the world’s largest presenter Top: Tabatinga, 1984, limestone. Photo by EPW Studio/Maris Back cover: La trucha de Maria, 1985, Persian travertine. Photo by please visit www.davidfinckelandwuhan.com. Hutchinson EPW Studio/Maris Hutchinson and producer of chamber music, programming

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

Described as a cellist whose “playing is highly Symphony for the 2017–2019 seasons, he has been commis- Deemed one of the Superior Pianists of the Year impressive throughout” (Strad), Dmitri Atapine has sioned to write a new symphony. For more information, please (Boston Globe), Gloria Chien is founding Artistic appeared at leading venues around the world. He visit michaelbrownmusic.com. Director of String Theory, a chamber music series in has performed with the Chamber Music Society of Chattanooga, Tennessee, and was appointed Direc- Lincoln Center, where he is a member of the CMS The Calidore String Quartet’s “deep reserves of tor of the Chamber Music Institute at Music@Menlo Two program, and is a frequent guest at festivals including virtuosity and irrepressible dramatic instinct” (New in 2010. A Steinway Artist, she has recorded for Chandos Records Music@Menlo, Chamber Music Northwest, La Musica Sarasota, the York Times) have won the ensemble accolades and released a CD with clarinetist Anthony McGill in 2010. Gloria Pacific Music Festival, Aldeburgh, and Aix-en-Provence. Professor across the globe and firmly established it as one of Chien is an Artist-in-Residence at Lee University in Tennessee and of cello at the University of Nevada, Reno, and Artistic Director of the finest chamber music ensembles performing is an Artist of the Chamber Music Society of Lincoln Center. Apex Concerts, Dmitri Atapine holds a doctoral degree from the today. The quartet regularly performs in the most prestigious Yale School of Music, where he studied with Aldo Parisot. venues throughout North America, Europe, and Asia such as Sara Couden, contralto, is so excited to be returning Carnegie Hall, Lincoln Center (as members of the Chamber Music to Music@Menlo. Highlights from this past season Turkish cellist Efe Baltacigil recently made his debut Society of Lincoln Center’s CMS Two program), Wigmore Hall, the include Brahms’s Alto Rhapsody at the Staunton with the Berlin Philharmonic and Sir Simon Rattle Konzerthaus Berlin, and Seoul’s Kumho Arts Hall, as well as at many Music Festival, Petr Eben’s Loveless Songs for Voice alongside his brother, Fora. He also performed significant festivals, including Verbier, Ravinia, Mostly Mozart, and Viola, performed with Kim Kashkashian at the Tchaikovsky’s Rococo Variations with the Seattle Music@Menlo, Rheingau, East Neuk, and Festspiele Mecklenburg- Marlboro Music Festival, Third Lady in a concert of highlights from Symphony, after which the Seattle Times lauded his Vorpommern. In addition to winning the M-Prize International The Magic Flute with the Los Angeles Philharmonic, the role of “sublimely natural, so easily virtuosic, phenomenal, effortless Chamber Music Competition and the Borletti-Buitoni Trust Albine in the Metropolitan Opera’s fall production of Thaïs, soloist musicianship.” Recent appearances as soloist include Brahms’s Fellowship, the Calidore String Quartet has won Grand Prizes in in Schoenberg’s version of Das Lied von der Erde with the New Double Concerto with violinist David Coucheron and the Norwe- virtually all the major U.S. chamber music competitions, including York chamber group Cantata Profana, soloist in Beethoven’s gian Radio Orchestra and Richard Strauss’s Don Quixote with the the Fischoff, Coleman, Chesapeake, and Yellow Springs chamber Symphony no. 9 with the Tucson, Charleston, Charlotte, and San Seattle Symphony. A member of the East Coast Chamber music competitions, and the ARD International and Hamburg Francisco Symphonies, and a program of Bach cantatas through Orchestra, he was Associate Principal Cellist of the Philadelphia International competitions. the Philadelphia Chamber Music Society. Orchestra until 2011 and is currently Principal Cellist of the Seattle Symphony. Hailed by the New Yorker as a “superb young soloist,” A violist of international reputation, Roberto Díaz is Nicholas Canellakis has become one of the most President and CEO of the Curtis Institute of Music. As Violinist Aaron Boyd enjoys a versatile career as sought-after and innovative cellists of his generation. a teacher of viola at Curtis and former Principal Violist soloist, chamber musician, lecturer, teacher, and Canellakis recently made his Carnegie Hall concerto of the Philadelphia Orchestra, Díaz has already had a recording artist and concertizes throughout the debut, performing with the American Symphony significant impact on American musical life, and he United States, Europe, Russia, and Asia. He appears Orchestra in Isaac Stern Auditorium. He is an Artist of the Chamber continues to do so in his dual roles as performer and educator. He regularly as an Artist of the Chamber Music Society Music Society of Lincoln Center, with which he performs regularly has appeared as an orchestral soloist and recitalist in major cities of Lincoln Center and has participated in the Marl- in Alice Tully Hall and on tour. He is also a regular guest artist at around the globe and has worked with many of the leading con- boro, Music@Menlo, La Jolla, Bridgehampton, and Prussia Cove many of the world’s leading music festivals, including Santa Fe, La ductors and composers of our time. A celebrated chamber artist festivals. Previously on the violin faculties of Columbia University Jolla, Music@Menlo, Ravinia, Bridgehampton, Mecklenburg, Hong and recitalist, Roberto Díaz is a member of the Díaz Trio and and the University of Arizona, Aaron Boyd now serves as Director Kong, Moab, and Saratoga Springs. performs frequently on tour in programs featuring Curtis students. of Chamber Music and Professor of Practice in Violin at the Mead- ows School of the Arts at Southern Methodist University in Dallas, The Cleveland Plain Dealer asserted that violinist Multiple award–winning Spanish clarinetist Texas. Ivan Chan’s “…tonal sweetness is matched by impec- Jose Franch-Ballester (FrAHnk Bai-yess-TAIR) has cable taste, purposeful energy, and an unerring performed to great acclaim in venues across the Pianist-composer Michael Brown has been hailed sense of phrasing.” A member of the Miami String United States and abroad. He appears regularly by as “one of the leading Quartet from 1995 to 2010, Chan is currently Associ- with the Chamber Music Society of Lincoln Cen- figures in the current renaissance of performer- ate Professor of Chamber Music, Violin, and Viola at the Hong ter, serves as Principal Clarinet of ’s Camerata composers.” Winner of a 2015 Avery Fisher Career Kong Academy for Performing Arts. As a visiting artist, he has Pacifica, and founded Jose Franch-Ballester i amics (and Grant, he appears regularly with the Seattle, Albany, taught at the Curtis Institute of Music, the Juilliard School, New friends), an organization that presents concerts in his native Maryland, New Haven, and Erie Symphony Orchestras and with England Conservatory, Ravinia’s Steans Institute, Morningside Music Valencia, Spain. Franch-Ballester has commissioned, pre- the Chamber Music Society of Lincoln Center. He was selected by Bridge, and Beijing Central Conservatory. In 2018, Chan will be on miered, and performed works by numerous contemporary pianist András Schiff to perform across the United States and faculty at Music@Menlo and the Kent Blossom Music Festival. composers. Also a dedicated music educator, he serves as Europe. As Composer-in-Residence for the New Haven Assistant Professor of Clarinet and Chamber Music at the

28 subscribe at www.musicatmenlo.org | 650-331-0202 University of British Columbia in Vancouver, Canada. Jose White Nights Festival debut with the Mariinsky Orchestra under Recipient of a 2015 Avery Fisher Career Grant and Franch-Ballester is represented in the Americas by Sciolino Valery Gergiev, as well as many other engagements here and a top-prize winner of the 2012 Walter W. Naum- Artist Management, www.samnyc.us. abroad. In the summer of 2018, he appears at various U.S. burg Competition and the Astral Artists’ 2010 summer festivals and makes his recital debut at the Lucerne National Auditions, Kristin Lee is a violinist of Ara Guzelimian has served as Provost and Dean Festival. He continues his association with the Chamber Music remarkable versatility and impeccable technique of the Juilliard School since August 2006, where Society of Lincoln Center throughout the season and returns who enjoys a vibrant career as a soloist, recitalist, chamber he works closely with the President in overseeing to Camerata Pacifica as its Principal Artist. He won the 2011 musician, and educator. Lee has appeared as soloist with top the faculty, curriculum, and artistic planning of Young Concert Artists International Auditions. Paul Huang orchestras such as the Philadelphia Orchestra, St. Louis Sym- the distinguished performing arts conservatory in plays the Guarneri del Gesù Cremona 1742 ex-Wieniawski phony, New Jersey Symphony, St. Paul Chamber Orchestra, all three of its divisions—dance, drama, and music. Previously, violin, on loan through the Stradivari Society. Ural Philharmonic of Russia, and Korean Broadcasting Sym- he was Senior Director and Artistic Advisor of Carnegie Hall, phony. An accomplished chamber musician, she is an Artist of Artistic Administrator of the Aspen Music Festival and School in Pianist Gilbert Kalish’s profound influence on the the Chamber Music Society of Lincoln Center and has Colorado, Artistic Director of the Ojai Festival in California, and musical community as a performer, educator, and appeared at festivals such as Music@Menlo, La Jolla Summer- Artistic Administrator of the Los Angeles Philharmonic. He recording artist has established him as a major Fest, Medellín Festicámara of Colombia, the El Sistema currently serves on the Music Visiting Committee of the figure in American music making. He was pianist Chamber Music Festival of Venezuela, and the Sarasota Music Morgan Library and Museum in New York City and is an of the Boston Symphony Chamber Players for Festival, among others. She is a faculty member of the Aaron Artistic Consultant for the Marlboro Music Festival and thirty years, was a founding member of the Contemporary Copland School of Music at Queens College and the School in Vermont. Chamber Ensemble, and is an Artist of the Chamber Music cofounder and Artistic Director of Emerald City Music in Seat- Society of Lincoln Center. Kalish is Distinguished Professor and tle, Washington. John R. Hale is an archaeologist at the University Head of Performance Activities at Stony Brook University. He of Louisville, with degrees in archaeology from was previously a faculty member and Chair of the Faculty at Winner of a 2015 Avery Fisher Career Grant, Yale and Cambridge. Hale’s fieldwork ranges from the Tanglewood Music Center. Kalish received the American American violist Matthew Lipman has performed the Delphic Oracle in to a Paleo-Christian Composers Forum’s Champion of New Music Award in 2017. as soloist with the Minnesota, Illinois Philhar- church in Portugal. Underwater investigations monic, Grand Rapids Symphony, Wisconsin include ancient shipwrecks at Caesarea Maritima in Israel and The recipient of a 2016 Avery Fisher Career Chamber, and Juilliard Orchestras and given submerged Maya ruins in Guatemala. His discoveries have been Grant, violinist Alexi Kenney has been named “a recitals at the Greene Space in New York City and the Phillips published in Antiquity and Scientific American, and his book on talent to watch” (New York Times). His win at Collection in Washington, D.C. His recording of Mozart’s the ancient Athenian navy, Lords of the Sea, was published by the 2013 Concert Artists Guild Competition at Sinfonia concertante with Sir Neville Marriner and the Academy Viking Penguin. Fascinated by music from an early age, John the age of nineteen led to a critically acclaimed of St. Martin in the Fields topped the classical charts last year, Hale also joined an interdisciplinary team that reconstructed and Carnegie Hall debut recital at Weill Hall. High- and he has been profiled by PBS and NPR and the Strad and performed on an ancient Greek salpinx, or trumpet. lights of Kenney’s 2017–2018 season include debuts with the BBC Music magazines. This year he will release a solo debut Detroit, Columbus, California, and Amarillo Symphonies and album on Cedille Records. A Teaching Assistant at Juilliard, In violinist Bella Hristova’s 2017–2018 season, recitals with pianist Renana Gutman on Carnegie Hall’s Dis- Matthew Lipman performs on a 1700 Goffriller viola on loan she performs Beethoven’s ten sonatas for piano tinctive Debuts series and at the Phillips Collection in through the RBP Foundation. and violin in a recital tour of New Zealand with Washington, D.C., Lee University in Tennessee, and the Green Michael Houstoun, performs chamber music, and Music Center at Sonoma State University in California. He joins Considered among the top solo, chamber, and appears as soloist with orchestras nationwide. the Chamber Music Society of Lincoln Center’s CMS Two pro- orchestral musicians today, Anthony McGill is Her extensive festival appearances include Chamber Music gram beginning in the 2018–2019 season. now in his fourth season as Principal Clarinet of Northwest and the Marlboro Music Festival. Her noteworthy the New York Philharmonic, having previously recording Bella Unaccompanied was released on A. W. Tone- Bassoonist Peter Kolkay is the recipient of an been Principal Clarinet of the Metropolitan Opera gold Records, and her awards include a 2013 Avery Fisher Avery Fisher Career Grant and First Prize winner Orchestra and Associate Principal of the Cincinnati Symphony. Career Grant and First Prize in the 2009 Young Concert Artists of the Concert Artists Guild Competition. An Art- Performances as recitalist, chamber musician, and soloist with International Auditions. She attended the Curtis Institute of ist of the Chamber Music Society of Lincoln orchestras throughout the United States, Europe, Asia, and Music, where she worked with Ida Kavafian and Steven Tenen- Center, Kolkay is also Associate Professor of Bas- South Africa consistently receive rave reviews. As an educator, bom. Bella Hristova plays a 1655 Nicolò Amati violin. soon at the Blair School of Music at Vanderbilt University, McGill is on the faculties of the Juilliard School, the Curtis where he was a Chancellor’s Faculty Fellow from 2015 to 2017. Institute of Music, the Peabody Conservatory, Manhattan The recipient of a 2015 Avery Fisher Career Grant Upcoming highlights include the premiere of a work for bas- School of Music, and the Bard College Conservatory. A native and a 2017 Lincoln Center Award for Emerging soon and string quartet by Mark-Anthony Turnage. Peter of Chicago, Anthony McGill attended the Curtis Institute of Artists, Taiwanese-American violinist Paul Huang Kolkay studied with Frank Morelli, John Hunt, Jean Barr, and Music and is the recipient of an Avery Fisher Career Grant as is quickly gaining attention for his eloquent music Monte Perkins. Born in Naperville, Illinois, he now calls down- well as the first Sphinx Medal of Excellence. making. The 2017–2018 season sees Huang’s town Nashville, Tennessee, home.

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

Demarre McGill, Principal Flute of the Seattle Sym- orchestras including the New York, Los Angeles, and Helsinki Phil- Keiko Parker, Lee Kum-Sing, Marek Jablonski, and Adele Marcus. phony, is an internationally recognized recitalist and harmonics; the National, St. Louis, Detroit, Dallas, San Francisco, He is an Officer of the Order of Canada. chamber and orchestral musician. He has appeared and Bournemouth Symphonies; and the Santa Cecilia, English Jon Kimura Parker holds the Kathleen G. Henschel Piano Chair as soloist with the orchestras of Philadelphia, Pitts- Chamber, and Orchestras. He has premiered in honor of Wu Han for 2018. burgh, Dallas, and Baltimore and most recently viola concerti by Bartók (revised version of his Viola Concerto), served as Acting Principal Flute of the Metropolitan Opera Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Principal Flutist of the Metropolitan Opera Orchestra. Winner of an Avery Fisher Career Grant, McGill has Penderecki, Picker, Suter, and Tower and recorded for Decca, Orchestra from 1977 until his retirement in 2008, participated in chamber music festivals around the globe and, Deutsche Grammophon, RCA Red Seal, and Sony Classical. Michael Parloff is the founder and Artistic along with clarinetist Anthony McGill and pianist Michael McHale, Director of Parlance Chamber Concerts in Ridge- founded the McGill/McHale Trio. A native of Chicago, Demarre An Emmy Award winner, two-time Grammy nomi- wood, New Jersey. As a lecturer, conductor, and McGill received degrees from both the Curtis Institute of Music nee, and Avery Fisher Career Grant recipient, teacher, he has appeared at major concert venues, festivals, and Juilliard and is Visiting Assistant Professor of Flute at the Uni- violist Richard O’Neill has appeared as soloist with and conservatories in the United States and abroad, including versity of Cincinnati College-Conservatory of Music. the London and Los Angeles Philharmonics and the Chamber Music Society of Lincoln Center, Music@Menlo, the BBC Symphony with Andrew Davis, Vladimir the Juilliard School, Yale University, and Tanglewood. He is Stephanie McNab has been the Piccolo Chair of the Jurowski, and Yannick Nézet-Séguin. He is a Universal/Deutsche also a frequent lecturer for the French cruise line Ponant. San Francisco Opera Orchestra since 2002. In addi- Grammophon recording artist, and his albums have sold over Michael Parloff has been a faculty member at Manhattan tion, she frequently performs as a guest artist with 200,000 copies. An Artist of the Chamber Music Society of School of Music since 1985. the San Francisco Symphony, San Francisco Ballet, Lincoln Center, he has introduced thousands to chamber music and the St. Louis Symphony. Former orchestral in South Korea through his chamber music initiative, DITTO. Opera News hails Lyubov Petrova as a “soprano of appointments include the Buffalo Philharmonic, New Mexico Elliott Carter, John Harbison, and Huang Ruo have dedicated ravishing, changeable beauty, blazing high notes, Symphony, and Long Beach (California) Symphony. McNab has works to him. The first violist to receive the Artist Diploma from and magnetic stage presence.” In the 2017–2018 been a featured soloist with the Los Angeles Philharmonic, at the Juilliard, he was honored with a Proclamation from the New season, she sings her first performances of Freia in Carmel Bach Festival, and in recital at Cal Tech’s Dabney Hall. A York City Council. He runs marathons for charity. Das Rheingold with both the London Philharmonic native of Los Angeles, she studied under Sheridon Stokes at UCLA and the Odense Symphony Orchestra, in addition to returning to and subsequently worked with Anne Zentner, Mark Sparks, and Selected as an Artist of the Year by the Seoul Arts the Metropolitan Opera for its productions of Le nozze di Figaro Kazuo Tokito. Center, Hyeyeon Park has been described as a pia- and Così fan tutte. Petrova made her Metropolitan Opera debut nist “with power, precision, and tremendous glee” as Zerbinetta in Ariadne auf Naxos and has since returned for Recognized as a deeply expressive artist and (Gramophone). She is a prizewinner of numerous numerous other roles. Last season, she sang her first perfor- known for her musical career of broad versatility, international competitions, including Oberlin, mances of Tatyana in Eugene Onegin with Florida Grand Opera, violinist Amy Schwartz Moretti is Director of the Ettlingen, Hugo Kauder, Maria Canals, Prix Amadèo, and Corpus Sophie in Der Rosenkavalier at the Bolshoi Theatre in Moscow, McDuffie Center for Strings at Mercer University’s Christi, and her performances have been broadcast on KBS and and Sofya in Prokofiev’s Semyon Kotko with Vladimir Jurowski Townsend School of Music and former Concert- EBS television (Korea) and RAI3 (), WQXR (New York), WFMT conducting the Radio Filharmonisch Orkest at the master of the Oregon Symphony and Florida Orchestra. She is a (Chicago), WBJC (Baltimore), and WETA (Washington, D.C.) radio. Concertgebouw. member of the internationally acclaimed Ehnes String Quartet, She is Artistic Director of Apex Concerts (Nevada) and a professor curates the Fabian Concert Series in Macon, Georgia, and main- of piano at the University of Nevada, Reno. Her first solo CD, Scott Pingel’s career has included serving as the tains an active performing schedule of solo, chamber, and Klavier 1853, has been released on the Blue Griffin label. San Francisco Symphony’s Principal Bass for thir- concertmaster appearances. Through the generous efforts of Hyeyeon Park holds the Alan and Corinne Barkin Piano Chair teen years, in addition to positions such as the Stradivari Society of Chicago, she plays the 1744 G. B. Gua- for 2018. Principal Bass of the Charleston Symphony dagnini violin. Born in Wisconsin and raised in North Carolina Orchestra and Guest Principal with the National and California, Moretti lives in Georgia with her husband and Pianist Jon Kimura Parker recently appeared as Arts Centre Orchestra in Canada, among others. As a chamber two sons, enjoying all aspects of motherhood, especially Satur- soloist with the orchestras of Chicago and Phila- musician, he can be heard in venues around the country with day soccer matches. delphia and at Carnegie Hall and the Kennedy groups such as the Chamber Music Society of Lincoln Center Center. He is a founding member of the Montrose and on radio programs including NPR’s Performance Today. Violist Paul Neubauer’s exceptional musicality and Trio and founded Off the Score with legendary Formerly active as a jazz musician, Pingel performed in clubs effortless playing led the New York Times to call him Police drummer Stewart Copeland. Professor of piano at Rice from New York to . He was previously a tenured “a master musician.” Appointed Principal Violist of the University, Artistic Advisor of the Orcas Island Chamber Music Associate Professor of Music at the University of Michigan and is New York Philharmonic at age twenty-one, he has Festival, and Artistic Director of the Honens International Piano currently a faculty member of the San Francisco Conservatory appeared as soloist with over one hundred Competition, Jon Kimura Parker studied with Edward Parker, of Music.

30 subscribe at www.musicatmenlo.org | 650-331-0202 First Prize winner of the 2008 Naumburg Interna- audio engineers, using his own custom-designed microphones, Vail Valley, Chamber Music Northwest, La Roque d’Anthéron, tional Violoncello Competition, David Requiro monitor speakers, and computer software. His recent clients Music@Menlo, the Lucerne Festival, and Spoleto USA. As an (pronounced re-KEER-oh) is recognized as one of include the Borromeo, Escher, Emerson, Miró, and Tokyo String Artist of the Chamber Music Society of Lincoln Center, Gilles today’s finest cellists. Requiro has appeared as Quartets; the Beaux Arts Trio; pianists Daniel Barenboim, Yefim Vonsattel regularly performs at Alice Tully Hall and on tour soloist with the Tokyo Philharmonic, National Bronfman, Derek Han, and Christopher O’Riley; violinist Gil Sha- throughout the United States and internationally. Symphony Orchestra, Seattle Symphony, and numerous orches- ham; cellist Truls Mørk; the Chamber Music Society of Lincoln tras across North America. He has performed with the Chamber Center; the Chicago Symphony Orchestra under David Zinman; In the 2017–2018 season, Australian-Chinese Music Society of Lincoln Center, Seattle Chamber Music Society, the Evergreen Symphony (Taipei, Taiwan); the New York Philhar- tenor Kang Wang will sing Mitrane in Semiramide and Jupiter Symphony Chamber Players and is a founding monic under Lorin Maazel; the ProMusica Chamber Orchestra at the Metropolitan Opera as well as cover Arturo member of the Baumer String Quartet. The Chamber Music (Columbus, Ohio); the Royal Philharmonic Orchestra under Car- in Lucia di Lammermoor and the tenor solo in Society of Lincoln Center appointed him to its prestigious CMS los Miguel Prieto; the Singapore Symphony Orchestra; and Verdi’s Requiem, after a successful role and Two residency program beginning in 2018. David Requiro has David Finckel and Wu Han for the ArtistLed label. house debut last season as Narraboth in Strauss’s Salome. He been Assistant Professor of Cello at the University of Colorado will sing Rossini’s Stabat Mater with the London Philharmonic Boulder since 2015. Winner of a 2009 Avery Fisher Career Grant, vio- and Mendelssohn’s Elijah with the San Antonio Symphony and David Requiro holds the Kathleen G. Henschel Cello Chair in linist Arnaud Sussmann debuted in the 2016–2017 will present a solo recital at the National Conservatory of Mos- honor of David Finckel for 2018. season with the Vancouver Symphony, Pacific cow. Upcoming engagements include Alfredo in La traviata for Symphony, and Alabama Symphony, among other his Welsh National Opera debut and Rodolfo in La bohème at Known for his “delicious quality of tone,” orchestras. He has appeared previously with the Austin Lyric Opera. He is a third-year member of the Linde- Kevin Rivard, Coprincipal Horn of the San Fran- American Symphony Orchestra, Stamford Symphony, Chatta- mann Young Artist Development Program of the Metropolitan cisco Opera Orchestra and Principal Horn of the nooga Symphony, Minnesota Sinfonia, Jerusalem Symphony, Opera. San Francisco Ballet Orchestra, has performed and Paris Chamber Orchestra. A dedicated chamber musician, with Orpheus Chamber Orchestra, the Metropoli- he has been affiliated with the Chamber Music Society of Lin- Violinist Wu Jie has garnered unprecedented tan Opera Orchestra, the Philadelphia Orchestra, and the coln Center since 2006 and regularly appears with it in New international success as both a chamber and solo Chamber Music Society of Lincoln Center, among others. His York and on tour. Born in Strasbourg, France, and based now in musician. She cofounded the Escher String awards include Grand Prize at the Concours International New York City, Arnaud Sussmann trained at the Conservatoire Quartet in 2005 and played with that ensemble d’Interprétation Musicale in Paris, the International Horn Com- de Paris and the Juilliard School with Boris Garlitsky and Itzhak until 2012. From 2013 to 2016, Wu Jie taught petition of America, and the Farkas Horn Competition. Kevin Perlman. many violin and viola students in Manhattan School of Music’s Rivard has participated in the Sarasota Music Festival, the Precollege Division, and many of her students are now in pres- Norfolk Chamber Music Festival, the Verbier Festival, and Stephen Taylor, one of the most sought-after tigious schools such as the Curtis Institute of Music, Yale, and the Santa Fe Opera. oboists in the country, holds the Mrs. John D. the Cleveland Institute of Music. Her main teachers include Rockefeller III Solo Oboe Chair at the Chamber Pinchas Zukerman, Patinka Kopec, Eleonora Turovsky, Lei Fang, Cellist Keith Robinson is a founding member of Music Society of Lincoln Center. He is a soloist and Robert Mann. In 2012, Wu Jie married Escher String the Miami String Quartet and has been active as a with the New York Woodwind Quintet, Orchestra Quartet violist Pierre Lapointe and they now have a lovely son chamber musician, recitalist, and soloist since his of St. Luke’s, St. Luke’s Chamber Ensemble, the American Com- named Arthur. graduation from the Curtis Institute of Music. His posers Orchestra, the New England Bach Festival Orchestra, and most recent recording, released on Blue Griffin Speculum Musicae and is Coprincipal Oboist of Orpheus Cham- Winner of the prestigious Yehudi Menuhin Interna- Records with pianist Donna Lee, features Mendelssohn’s com- ber Orchestra. His regular festival appearances include Spoleto, tional Violin Competition, violinist Angelo Xiang Yu plete works for cello and piano. As a member of the Miami Aldeburgh, Caramoor, Bravo! Vail Valley, Music from Angel Fire, has won the enthusiastic response of audiences String Quartet, he has recorded for the BMG, CRI, Musical Heri- Norfolk, Santa Fe, Aspen, and Chamber Music Northwest. worldwide for his astonishing technique, exquisite tage Society, and Pyramid recording labels, was a member of Trained at the Juilliard School, Stephen Taylor is a member of its tone, and exceptional maturity. His recent and the Chamber Music Society of Lincoln Center’s CMS Two pro- faculty as well as those of the Yale School of Music and Manhat- upcoming engagements include concerto performances with gram, and won the Concert Artists Guild, London String Quartet, tan School of Music. the Pittsburgh, Toronto, Vancouver, Colorado, North Carolina, and Fischoff chamber music competitions. He plays a Carlo Alabama, Charlotte, and Houston symphonies and a tour with Tononi cello made in Venice and dated 1725. Swiss-born American pianist Gilles Vonsattel is the New Zealand Symphony throughout the country. He has the recipient of an Avery Fisher Career Grant and performed in world-renowned venues such as the Konzerthaus Six-time Grammy Award-winning recording pro- the Andrew Wolf Chamber Music Award and win- Berlin, the Louvre Auditorium, Beijing’s National Centre for the ducer Da-Hong Seetoo returns to Music@Menlo ner of the Naumburg and Geneva competitions. Performing Arts, Singapore’s Victoria Theatre and Concert Hall, for a sixteenth consecutive season to record the He has appeared with the Munich Philharmonic, the Oslo Opera House, Auckland Town Hall, Hall, and festival concerts for release on the Music@Menlo Orchestre Symphonique de Montréal, Boston Symphony, and Boston Symphony Hall. Yu currently performs on a 1729 Stradi- LIVE label. A Curtis Institute– and Juilliard School– San Francisco Symphony and performed recitals and chamber varius violin generously on loan from an anonymous donor. trained violinist, Seetoo has emerged as one of a handful of elite music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo!

subscribe at www.musicatmenlo.org | 650-331-0202 31 Support the music you love with a gift to Music@Menlo today! Did you know that ticket sales make up only 15 percent of Music@Menlo’s budget?

Gifts to the Annual Fund Gifts to the Music@Menlo Fund Music@Menlo is a program of Menlo School, a registered Gifts to the Annual Fund support the critical daily operations of The Music@Menlo Fund, initially funded by the Tenth-Anniversary 501(c)3 educational institution. the festival and Chamber Music Institute and are acknowledged Campaign, holds board-designated funds to support long-term For more information on supporting Music@Menlo, please through membership benefits. financial health and special projects. Please contact us to learn contact Lee Ramsey, Development Director, at 650-330-2133 Sponsor a Student with a Gift to the Ann S. Bowers more about making a special gift or pledge to the Fund. or [email protected]. Young Artist Fund Volunteer Play a critical role in the lives of these extraordinary young Volunteers provide critical support to the festival, including musicians by enabling the life-changing experience of studying ushering and hosting artists or seasonal staff members in their at Music@Menlo’s Chamber Music Institute. Sponsors enjoy homes. the same benefits as contributors to the Annual Fund as well as special opportunities to get to know their student. Please con- Ways to Give tact us to learn how to become a Sponsor. Gifts of Cash: Gifts may be made at www.musicatmenlo.org or by phone at 650-330-2030 or may be mailed to Music@Menlo Planned Giving through the Isaac Stern Circle at 50 Valparaiso Avenue, Atherton, CA 94027. Include Music@Menlo in your estate plans to leave a lasting leg- Gifts of Securities: A gift of appreciated stock may offer acy of music. Please speak with us about your specific interests valuable tax benefits. Please contact your financial advisor for and talk with your estate planning advisor to learn more. more information. Young Patrons Society Pledges: Gifts may be pledged and paid in increments Patrons under forty are invited to join the Young Patrons Society comfortable for you. in its inaugural year. Members enjoy complimentary Overture Employer Matching Gifts: Employer matching gifts are a great Concert tickets and invitations to special receptions. Please visit way to double or triple your impact! Many companies match our website to learn more about the Young Patrons Society. gifts for retirees as well as current employees. Contact your employer’s human resources department to find out more.

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

Your gift to Music@Menlo will:

• Subsidize each and every event produced during our summer festival • Underwrite free community programming, including: –– Prelude Performances –– Koret Young Performers Concerts –– Master classes –– Café Conversations –– Open coaching sessions • Provide a world-class educational experience for forty young and emerging artists in our Chamber Music Institute • Fund year-round chamber music activities, including: –– Music@Menlo:Focus residency concerts –– Classroom and community outreach during our Winter Residency program Music@Menlo Travel Only Members of Music@Menlo enjoy special September 16–25, 2018: London & Paris benefits and VIP access. Join one of our Music@Menlo invites you to embark on a specially curated membership circles today! musical journey. With festival artists, expert guides, and dis- Performers Circle ($100–$999) tinguished lecturers, Music@Menlo’s travel program offers our Welcome to the Music@Menlo community! patrons incomparable insider access to significant historical and cultural landmarks and musical experiences like no other. Composers Circle ($1,000–$24,999) This fall, Music@Menlo will journey to two of the Creative Enjoy special events with festival artists and the Artistic Direc- Capitals presented in the 2018 festival: London and Paris. With tors, advance reservations for the Chamber Music Institute Artistic Directors David Finckel and Wu Han and other festival performances, and VIP ticketing. artists, we will explore the extraordinary musical and cultural Patrons Circle ($25,000+) legacies of these two great cities. Members of the Patrons Circle play a vital role in the support of If you are interested in learning more about Music@Menlo’s Music@Menlo and are recognized through the Season Dedica- travel program, please contact Lee Ramsey at 650-330-2133 tion, as well as intimate opportunities to engage with festival or [email protected]. artists and the annual Patrons Circle Season Announcement event. For a complete listing of donor levels and details of the benefits included, please visit www.musicatmenlo.org/membership or contact Lee Ramsey, Development Director, at 650-330-2133 or [email protected].

subscribe at www.musicatmenlo.org | 650-331-0202 33 Reserving Your Summer Festival Tickets Ways to Order 2018 Summer Festival Subscriptions Mail: Music@Menlo Tickets Become a Music@Menlo Summer Festival Subscriber and enjoy 50 Valparaiso Avenue exclusive benefits, personalized services, and special savings throughout the entire festival. Subscriber benefits include the Atherton, CA 94027 following: Phone: 650-331-0202 • Priority ticketing: Get your order filled before non-Subscribers Fax: 650-330-2016 for improved seats and access to concerts that sell out quickly. Order by April 17 for Subscriber priority ticketing. Online: www.musicatmenlo.org • Special savings: Receive a 5 percent or a 10 percent discount on your order and all additional ticket purchases throughout Music@Menlo Box Office Hours the festival. Before July 9: • Free ticket exchanges: Easily exchange your tickets for the Monday–Friday, 10:00 a.m.–4:00 p.m. 2018 summer festival free of charge. July 9–August 4: Daily, 9:00 a.m.–4:00 p.m. Subscription Levels: Choose Your Own Get the Best Seats! Festival Mini Subscription (4–5 Events*) Support • Save 5 percent on your ticket order and subsequent festival Members of the Bach Circle ($1,000) and above receive VIP ticket purchases. priority ticketing—VIP ticket orders are filled first, ensuring ticket availability for the most popular concerts and securing Festival Full Subscription (6+ Events*) • Save 10 percent on your ticket order and subsequent festival priority seats, based on giving level. Bach Members and above ticket purchases. also receive Advance Ticketing for one Prelude Performance or Koret Young Performers Concert of their choice. Members of Immersion Subscription (All Events**) the Haydn Circle ($2,500) and above receive Premium Seating • Save 10 percent on your ticket order and subsequent festival reservations for the best seats in the hall. The number of Pre- ticket purchases. mium Seating reservations is dependent on giving level. Order • Receive a 10 percent discount on Music@Menlo merchandise. by April 2 for VIP priority ticketing . • Receive the complete set of recordings of 2018 Music@Menlo Subscribe LIVE when it is released later in the year. Summer Festival Subscribers receive Subscriber priority ticket- Subscriber Fees ing with a purchase of four or more paid events. Subscriber A $10-per-order handling fee applies to each original order. orders are filled immediately after VIP priority orders and before Subscribers pay no handling fees on ticket exchanges single-ticket orders. Order by April 17 for Subscriber priority throughout the 2018 summer festival. Subsequent new ticket ticketing. purchases (not exchanges) will incur the standard $6-per-order handling fee. Order Early Single-ticket orders are filled in the order they are received, * Concert Programs, Carte Blanche Concerts, Encounters, and Overture after the VIP and Subscriber priority ticketing windows have Concerts closed. Order early to get the best seats and to get tickets to ** All Concert Programs and Encounters concerts that sell out quickly!

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

More Ticketing Information reserved-seating events, seats are assigned on a best-available a performance for a ticket credit (to be used within the same basis at the time the order is filled. Seating is by general admission season), an immediate exchange, or a tax-deductible dona- Members of the Bach Circle and Above for all free events, including Prelude Performances, Koret Young tion. Ticket exchanges are subject to a $3-per-ticket fee, which (contributors of $1,000 or more to the 2018 Annual Fund) Performers Concerts, Café Conversations, and master classes. is waived for Summer Festival Subscribers and Members of Your VIP priority ticket order (placed by April 2) will be filled Premium Seating is available for Haydn Circle ($2,500) and above the Bach Circle ($1,000) and above. There is never a fee to before all other ticket orders (priority based on giving level). For Members for Prelude Performances and Koret Young Performers donate your ticket. Proof of the return must be provided. All your first summer festival ticket order, pay festival Subscriber or Concerts. programs and artists are subject to change without notice. non-Subscriber handling fees ($10 handling fee for subscrip- Tickets cannot be exchanged, credited, or donated on the day tions or a $6 handling fee for single-ticket orders). Then, enjoy Discounted Tickets for Those under Age Thirty of the event. We cannot refund tickets, except in the case of a Music@Menlo is committed to making tickets available at a greatly waived handling fees for all additional ticket purchases or canceled event. exchanges throughout the 2018 summer festival. reduced rate for audience members under the age of thirty. Prices vary by event and venue. Proof of age may be required. Ticket Reservations for Prelude Performances and Premium Seating and Advance Ticketing Koret Young Performers Concerts Premium Seating allows Members of the Haydn Circle ($2,500) Single-Ticket Orders Online ticket reservations are available for Prelude and above to upgrade some of their tickets to include assigned A $6 handling fee applies to any order of three or fewer Performances and Koret Young Performers Concerts and can seating reflecting their preferences. Premium Seating can be concerts or Encounters. A $3-per-ticket handling fee applies to be made at www.musicatmenlo.org or by calling the ticketing applied to any paid event and/or Prelude Performances and exchanges. line on the day of the event starting at 9:00 a.m. Free tickets can Koret Young Performers Concerts. Members of the Bach Circle Receiving Your Summer Festival Tickets also be requested in person at will call beginning one hour prior ($1,000) and above enjoy Advance Ticketing for one Prelude Tickets will be mailed beginning in mid-June. For ticket orders to the start of each concert. Ticket reservations are general Performance or Koret Young Performers Concert of their placed after that, tickets will be mailed within approximately five admission. choice. Members of the Beethoven Circle ($10,000) and above business days. For ticket orders placed fewer than seven days enjoy Advance Ticketing for all Prelude Performances and Koret Accessibility prior to a performance, tickets will be held at will call. Young Performers Concerts. Accessible seating is available at each venue and can be For more information about Advance Ticketing or Premium Will Call and Ticket Services at the Venue ordered online, by phone, or by mail. If ordering online or by Seating, please visit www.musicatmenlo.org/membership or Will call and on-site ticket services at each venue open one hour mail, please indicate that accessible seating is required. For contact Lee Ramsey at [email protected] or 650-330-2133. before the start of any ticketed event. Tickets for all Music@Menlo questions about accessibility, please contact patron services. paid events may be ordered at on-site ticket services. Seating Policies Questions Seating is reserved for all paid ticketed events: Encounters, Ticket Returns, Exchanges, and Donations For questions about tickets or your order, please call patron Overtures, Concert Programs, and Carte Blanche Concerts. We welcome ticket returns for a credit, exchange, or donation. services at 650-331-0202, email [email protected], or Starting in 2018, seating will be reserved for Encounters. For You may return your ticket up to twenty-four hours prior to visit www.musicatmenlo.org.

subscribe at www.musicatmenlo.org | 650-331-0202 35 Stent Family Hall

Martin Family Hall

The Center for Performing Arts at Menlo-Atherton

Performance Venues In 2018, Music@Menlo offers audiences the chance to hear great chamber music in three unique concert spaces: Stent Family Hall, on the Menlo School campus, is, in the words of one festival artist, “one of the world’s most exquisite chamber music spaces.” The hall’s elegant Spieker Ballroom, with seating for The Festival Campus and Performance Venues 148 guests, provides a listening experience in the intimate setting Music@Menlo’s Home: Menlo School for which chamber music was intended. Martin Family Hall, Menlo School’s versatile 220-seat multi- Menlo School is one of the nation’s leading independent college- During the school year, Music@Menlo supports Menlo School’s media facility, offers up-close enjoyment from every seat for preparatory schools and has been the home of Music@Menlo commitment to instilling creative-thinking skills in all of its Encounters (see p. 22), select Prelude Performances (see since its inaugural season in 2003. The Menlo School campus students. Music@Menlo’s annual Winter Residency brings clas- pp. 24–25), master classes, and Café Conversations (see p. 25). is host to many of the festival concerts, the Encounter series, sical music into the Menlo School classrooms with a series of The Center for Performing Arts at Menlo-Atherton, open since and Music@Menlo’s Chamber Music Institute. The school’s special performances, discussions, and classroom presenta- 2009, is the Peninsula’s first state-of-the-art concert hall, acousti- classrooms offer an ideal setting for rehearsals and coachings, tions designed to introduce Menlo School students to a broad cally ideal for chamber music. With an architectural design inspired while Martin Family Hall and Stent Family Hall’s Spieker Ballroom selection of chamber music masterpieces, all in the context of by the neighboring oak tree grove and an intimate interior, the 492- provide intimate settings for music as well as for Café Conversa- curricula ranging from American literature to foreign language seat hall is located in close proximity to downtown Menlo Park on tions, master classes, and other Institute activities. studies. the campus of Menlo-Atherton High School. Menlo School’s commitment to learning and its welcoming Reserved Seating—Seating for paid events at the Center for atmosphere and beautiful grounds make it the ideal envi- Festival Welcome Center Performing Arts at Menlo-Atherton, Stent Family Hall, and Martin ronment for audiences, Institute students, and the festival’s Music@Menlo’s Welcome Center is open daily throughout Family Hall is reserved. Seating for all free events, including Prelude artist-faculty to share ideas and realize Music@Menlo’s educa- the festival. The Welcome Center serves as a place for artists, Performances and Koret Young Performers Concerts, is by general tional mission, which serves festival audiences, Menlo School students, audience members, and festival guests to connect admission. Venue seating maps and more information on reserved students, and the next generation of chamber musicians. during the festival. Visitors to the Welcome Center can purchase concert tickets and get information about the festival’s many seating can be found on the order form, and directions to the ven- offerings and events. ues appear on the opposite page.

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

THE CENTER FOR PERFORMING ARTS AT MENLO-ATHERTON Caltrain

Ringwood Ave Willow Rd. 2

Ravenswood

ATHERTON 1 PALO ALTO

Cowper St.

MENLO PARK

ST. BEDE’S EPISCOPAL CHURCH

MAP NOT DRAWN TO SCALE

nearby, the Stanford Shopping Center in Palo Alto is an upscale PHOTO CREDITS For Visitors to Our Area Music@Menlo photographs (pp. 2–3, 23–25, and 32–37): Carlin Ma. Travel programs (p. 33): open-air mall. iStock Photo. David Finckel and Wu Han (pp. 2 and 27): Lisa-Marie Mazzucco. Paul Huang Location: Atherton and Menlo Park are situated adjacent to each (p. 20): Marco Borggreve. Wu Han (p. 20): Lisa-Marie Mazzucco. Calidore String Quartet (p. 20): other on the San Francisco Peninsula, midway between San Accommodations: Comfortable and welcoming hotels are Michael Hershkowitz. Dmitri Atapine and Hyeyeon Park (p. 21): Heather Woodson-Gammon. Paul Neubauer (p. 21): Tristan Cook. Michael Brown (p. 21): Jamie Beck. Arnaud Sussmann and Francisco and San Jose. available in a variety of price ranges in Menlo Park and Palo Alto. Hyeyeon Park (p. 26): Carlin Ma. Hyeyeon Park (p. 26): courtesy of the University of Nevada, Reno. Visit www.musicatmenlo.org for more information and useful Jon Kimura Parker (p. 26): Tara McMullen. Cho-Liang Lin (p. 26): Sophie Zhai. Matthew Lipman Getting here: The San Francisco Bay Area is served by three (p. 26): Jiyang Chen. David Finckel (p. 26): Lisa-Marie Mazzucco. Arnaud Sussmann (pp. 26 and links to area websites. 31): Matt Dine. Pamela Frank (p. 26): Nicolas Lieber. Paul Neubauer (pp. 26 and 31): Tristan Cook. international airports: San Francisco, San Jose, and Oakland. Gonzalo Fonseca (p. 27): Ovak Arslanian. Dmitri Atapine (p. 28): Do Hyung Kim. Efe Baltacigil (p. 28): Christian Steiner. Aaron Boyd (p. 28): Carlin Ma. Michael Brown (p. 28): Neda Navaee. Atherton and Menlo Park are within forty-five minutes of each. Calidore String Quartet, Nicholas Canellakis (p. 28): Sophie Zhai. Ivan Chan (p. 28): Zheng Yang. Directions and Parking Gloria Chien (p. 28): Lisa-Marie Mazzucco. Sara Couden (p. 28): Dario Acosta. Roberto Díaz Caltrain services Menlo Park and nearby Palo Alto for a direct (p. 28): Alisa Garin. Jose Franch-Ballester (p. 28): Ashleigh Taylor Photography. Ara Guzelimian Menlo School, Stent Family Hall, and Martin Family Hall all are (p. 29): Rosalie O’Connor. John R. Hale (p. 29): Joan Vandertoll. Bella Hristova (p. 29): Lisa-Marie link to San Francisco. Mazzucco. Paul Huang (p. 29): Marco Borggreve. Gilbert Kalish (p. 29): Anneliese Varaldieve. located at 50 Valparaiso Avenue in Atherton, between El Camino Alexi Kenney (p. 29): Yang Bao. Peter Kolkay (p. 29): Jim McGuire. Kristin Lee (p. 29): Sophie Zhai. Weather: In July and August, it almost never rains on the Penin- Real and Alameda de las Pulgas, at the Atherton/Menlo Park Matthew Lipman (p. 29): Jiyang Chen. Anthony McGill (p. 29): David Finlayson. Demarre McGill (p. 30): Teresa Berg. Stephanie McNab (p. 30): Norbert Brein-Kozakewycz. Amy Schwartz Moretti sula. Days are dry and warm, frequently in the low eighties, and border. Parking is plentiful and free on the school’s campus. (p. 30): Angela Morris. Paul Neubauer (p. 30): Tristan Cook. Richard O’Neill (p. 30): CREDIA. evenings can be cool, sometimes in the high fifties. Hyeyeon Park (p. 30): D. H. Kim. Jon Kimura Parker (p. 30): Shayne Gray. Michael Parloff The Center for Performing Arts at Menlo-Atherton is (p. 30): Elizabeth Veneskey. Lyubov Petrova (p. 30): Ronnie Nelson. Scott Pingel (p. 30): Matthew Washburn. David Requiro (p. 31): Brian Hatton. Kevin Rivard (p. 31): Chris Hardy. Keith Robinson Shopping and dining: The towns of Menlo Park and Palo Alto located on the campus of Menlo-Atherton High School at (p. 31): Tara McMullen. Da-Hong Seetoo, Stephen Taylor (p. 31): Christian Steiner. Gilles Vonsattel (p. 31): Marco Borggreve. Wu Jie (p. 31): Tristan Cook. Angelo Xiang Yu (p. 31): Kate Lemmon. offer tree-lined streets featuring distinctive boutiques, shops, 555 Middlefield Road in Atherton, near the intersection of Art direction and design: Nick Stone, www.nickstonedesign.com and outstanding eateries serving cuisine to suit any taste. Also Middlefield Road and Ravenswood Avenue. Parking is free.

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: Dmitri Atapine and : Dmitri Atapine

: Calidore String Quartet String : Calidore : Paul Huang and Wu Han : Paul Huang and Wu

: Leipzig and Berlin, : London, Paris, and St. Petersburg, : London, Paris, and St. ogram IV: Leipzig ogram IV: ogram IV: Leipzig ogram IV: ogram I: London ogram I: Petersburg St. ogram III: ogram II: Paris ogram II: e Concert I The Center for Performing Arts at Menlo-Atherton Menlo-Atherton Arts at Performing The Center for ($72/$62) Concert Pr led by Michael Parloff Hall ($52) Martin Family Concert Pr Menlo-Atherton Arts at Performing The Center for ($72/$62) Fête the Festival Concert Pr Hyeyeon Park Hall ($82) Stent Family Picnic Lunch ($20) Overtur Hall ($32) Stent Family Concert Pr Hall ($82) Stent Family Encounter I Menlo School campus ($75) Carte Blanche Concert I Hall ($82) Stent Family Concert Pr Menlo-Atherton Arts at Performing The Center for ($72/$62) Carte Blanche Concert II Hall ($82) Stent Family Encounter II led by Ara Guzelimian Hall ($52) Martin Family Menlo-Atherton Arts at Performing The Center for ($72/$62) Carte Blanche Concert III July 13–August 4, 2018 July 13–August 4,

7:30 p.m 6:00 p.m. 8:30 p.m. 6:00 p.m. 7:30 p.m. 7:30 p.m. 7:30 p.m. 6:00 p.m. 7:30 p.m. 7:30 p.m. 7:30 p.m. 10:30 a.m. Paid Events

PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE

fé Conversation* fé Conversation* fé Conversation* fé Conversation* fé Conversation* fé Conversation* fé Conversation* fé Conversation* fé Conversation* elude Performance elude Performance elude Performance elude Performance elude Performance elude Performance elude Performance elude Performance elude Performance oret Young Performers Concert Young oret The Center for Performing Arts at Menlo-Atherton Arts at Performing The Center for Menlo-Atherton Arts at Performing The Center for Master Class/Ca Master Class/Ca Master Class/Ca Pr Master Class/Ca Pr Menlo-Atherton Arts at Performing The Center for Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Pr Pr Hall Martin Family Master Class/Ca Hall Martin Family Master Class/Ca Hall Martin Family Pr Menlo-Atherton Arts at Performing The Center for Hall Martin Family Pr Hall Martin Family Hall Martin Family Pr Hall Martin Family Master Class/Ca Hall Martin Family Pr Menlo-Atherton Arts at Performing The Center for Pr Hall Martin Family Master Class/Ca Master Class/Ca K

Menlo Calendar

@ 11:45 a.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 5:00 p.m. 5:00 p.m. 3:30 p.m. 11:45 a.m. 11:45 a.m. 3:30 p.m. 3:30 p.m. 11:45 a.m. 5:00 p.m. 5:00 p.m. 5:00 p.m. 5:00 p.m. 11:45 a.m. 11:45 a.m. 1:00 p.m.

Wednesday, Wednesday, July 25 Thursday, July 26 Monday, Monday, July 23 Tuesday, Tuesday, July 24 July 15 July 22 Sunday, Sunday, Monday, July 16 Friday, Sunday, July 20 Tuesday, Tuesday, July 17 July 13 Friday, Friday, Saturday, July 14 Wednesday, Wednesday, July 18 Thursday, July 19 Saturday, July 21 Date Events Free Music

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ProPiano is the official provider provider is the official ProPiano grand Steinway Hamburg of pianos to Music @ Menlo 2018.

:

: Budapest and Vienna, ogram V: Berlin ogram V: Berlin ogram V: Budapest ogram VI: Vienna ogram VII: ogram VII: Vienna ogram VII: e Concert II Encounter III led by John R. Hale Hall ($52) Martin Family Concert Pr Menlo-Atherton Arts at Performing The Center for ($72/$62) Carte Blanche Concert IV Paul Neubauer and Michael Brown Hall ($82) Stent Family Concert Pr Hall ($82) Stent Family Concert Pr Concert Pr The Center for Performing Arts at Menlo-Atherton Menlo-Atherton Arts at Performing The Center for ($72/$62) Overtur Hall ($32) Stent Family Concert Pr Hall ($82) Stent Family Menlo-Atherton Arts at Performing The Center for ($72/$62)

7:30 p.m. 6:00 p.m. 10:30 a.m. 6:00 p.m. 7:30 p.m. 6:00 p.m. 7:30 p.m. 7:30 p.m. Paid Events

The Margulf Foundation Margulf The PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE PAGE 25 PAGE 25 PAGE 25 PAGE 25 PAGE

Since 1962 Since 4 0 8 . 8 67. 3233

Open for tasting on Monte Ridge Bello www.ridgewine.com traditionally-made wines Saturday & Sunday, 11 - 5 11 & Sunday, Saturday overlooking the peninsula from California’s finest old vines VINEYARDS RIDGE

fé Conversation* fé Conversation* fé Conversation* fé Conversation* fé Conversation* fé Conversation* elude Performance elude Performance elude Performance elude Performance oret Young Performers Concert Young oret oret Young Performers Concert Young oret Master Class/Ca Pr K Menlo-Atherton Arts at Performing The Center for Pr Master Class/Ca Master Class/Ca Pr Menlo-Atherton Arts at Performing The Center for Menlo-Atherton Arts at Performing The Center for K Menlo-Atherton Arts at Performing The Center for Martin Family Hall Martin Family Hall Stent Family Hall Martin Family Hall Martin Family Hall Martin Family Master Class/Ca Hall Martin Family Master Class/Ca Hall Martin Family Master Class/Ca Hall Martin Family Final Pr

1:00 p.m. 11:45 a.m. 5:00 p.m. 11:45 a.m. 5:00 p.m. 1:00 p.m. 3:30 p.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 5:00 p.m. 11:45 a.m. Free Events Free

Friday, Friday, Saturday, August 4 July 27 Tuesday, Tuesday, July 31 July 29 Saturday, Saturday, July 28 Sunday, Monday, July 30 Wednesday, Wednesday, August 1 Thursday, August 2 Friday, Friday, August 3 Date *Each weekday of the festival, beginning on July 16, features either a master class with the Chamber Music Institute’s young artists or a Café Conversation. Master classes and Conversation. either a master class with the Chamber Music Institute’s young artists or Café features beginning on July 16, the festival, of *Each weekday book or visit festival program and open to the public. Please consult your free of Menlo School. These events are at 11:45 a.m. on the campus offered are Conversations Café not required). are topics (reservations Conversation master classes and Café a detailed schedule of season for during the festival www.musicatmenlo.org Special Thanks Special the Margulf Funds, Foundation by Koret Additional support provided the William and Flora Hewlett Foundation. Music @ Menlo is made possible by a leadership grant from vision. the festival’s share that and the many individuals organizations Trust, U.S. Foundation,

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