Incredible Decades July 12–August 3, 2019 WELCOME to MUSIC@MENLO

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CHAMBER MUSIC FESTIVAL AND INSTITUTE The Seventeenth Season: Incredible Decades July 12–August 3, 2019 WELCOME TO MUSIC@MENLO

Dear Friends, Music is indeed a wonder of our world. Although it is rooted in science, music nevertheless has its greatest effect on our emotions. All who participate in music have undoubtedly experienced moments of common curiosity about this art form: how does it work? How did it come to be? Why am I so affected by it? Music@Menlo is eternally driven by these compelling questions. In past seasons, our festival has focused its lens on music from many angles. In the process, all of us—from listeners to performers and the entire festival community—have moved closer to the mysterious core of our art. Relishing the joy of the search, discovery, and enlightenment, we neither expect nor even hope to find the single answer. But classical music’s vast depth and variety continue to provide us with summer after summer of new paths to explore as well as unforgettable experiences along the way. The story of classical music is both long and ongoing. It can be told in part within a single concert or over a whole season of programs. In the coming summer, Music@Menlo will reveal music’s extraordinary evolution in seven chapters, each a program dedicated to an especially rich and con- sequential decade. We’ll experience the ascent of Bach to the commanding throne of the Baroque era; the propulsive career that made Beethoven, during his lifetime, the world’s most famous musician; the artistic maelstrom of the Roaring Twenties; and much more. Joining us for this journey will be Music@Menlo’s signature selection of the most brilliant artists we know, performing in our Concert Programs, Carte Blanche Concerts, and Overture Concert. Our Encounters this season are especially illuminative of our seven Incredible Decades: don’t miss Music@Menlo’s rare opportunity to pair your concert experiences with entertaining, in-depth lec- tures on the music and its surrounding history. A new roster of ever-more-astounding International Program artists waits in the wings to thrill us, as does the vibrant legion of Young Performers, always melting hearts and showing us the bright future of our art form. We are so excited about this summer. The combination of artists, the music and its context, and the incomparable Music@Menlo spirit never ceases to surpass our very high expectations. We hope you’ll be a part of it. Best wishes,

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

Front and back cover art by 2019 season Visual Artist Klari Reis. For more information, see p. 26. Front cover: 150 Piece Hypo, mixed media and epoxy polymer within petri dishes, steel rods Back cover: Artificial Knowing, mixed media and epoxy polymer within a petri dish

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

Welcome 2 Welcome from the Artistic Directors 4 Festival Introduction

Concerts 6 Concert Program and Encounter Series 20 Carte Blanche Concerts 22 Overture Concert 24 P relude Performances and Koret Young Performers Concerts 25 Music@Menlo:Focus 2019–2020 38 Festival Calendar

Discovery and Engagement 22 AudioNotes 22 Music@Menlo LIVE 22 Broadcasting 23 Chamber Music Institute 24 P relude Performances and Koret Young Performers Concerts 24 Café Conversations and Master Classes 33 Music@Menlo Patron Travel

Artists 5 Artist Roster 26 Visual Artist 26 Artist Biographies

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

subscribe at www.musicatmenlo.org | 650-331-0202 3 INCREDIBLE DECADES

4 subscribe at www.musicatmenlo.org | 650-331-0202 From the dawn of the Age of Enlightenment to the present day, the story of Western culture has been told by our greatest artists, writers, and thinkers. So have history’s finest composers, attuned to the zeitgeist of their respective eras, captured the spirit of their times in sound. Music@Menlo’s 2019 season illuminates the evolution of the chamber music tradition over three hundred years by focusing on seven Incredible Decades— each an extraordinary chapter in which history’s most insightful composers chronicled the tectonic shifts in the world around them. Through music illustrating the zenith of Classicism in the 1790s, the 1840s epicenter of Romanticism, the vitality of the fin de siècle, and more, the festival’s seventeenth season celebrates decades that encapsulate the dynamism of both an art form and the cultural winds that have powered its evolution.

ARTISTS Piano Cello Brass Gloria Chien Dmitri Atapine Mark Almond, horn* Gilbert Kalish David Finckel Kevin Rivard, horn Hyeyeon Park David Requiro Voice Juho Pohjonen Keith Robinson Nikolay Borchev, baritone Stephen Prutsman Brook Speltz Gilles Vonsattel Percussion Bass Wu Han Ayano Kataoka Peter Lloyd* Violin Encounter Leaders Escher String Quartet Adam Barnett-Hart Bruce Adolphe Adam Barnett-Hart, violin Aaron Boyd Ara Guzelimian Danbi Um, violin Ivan Chan† Michael Parloff Pierre Lapointe, viola Chad Hoopes R. Larry Todd Brook Speltz, cello Soovin Kim Jessica Lee Schumann Quartet* *Music@Menlo festival debut Kristin Lee Erik Schumann, violin †Guest artist-faculty Arnaud Sussmann Ken Schumann, violin James Thompson* Liisa Randalu, viola Angelo Xiang Yu Mark Schumann, cello Viola Woodwinds Hsin-Yun Huang Tara Helen O’Connor, flute Pierre Lapointe James Austin Smith, oboe Paul Neubauer Hugo Souza, oboe* Richard O’Neill Stephen Taylor, oboe Arnaud Sussmann Romie de Guise-Langlois, clarinet Tommaso Lonquich, clarinet* Peter Kolkay, bassoon

Bottom left: Paolo Uccello (1397–1475). Canonical Clock, 1443, fresco. Scala/Art Resource, NY. Others: iStock

subscribe at www.musicatmenlo.org | 650-331-0202 5 CONCERT PROGRAM I 1710–1720: Bach Ascending

At the hands of Corelli, Vivaldi, Handel, and others, the music of the Baroque era reached new heights of complexity and expressive depth. But by the early eighteenth century, one supreme artist had emerged who would be recognized as history’s greatest composer three centuries later. The summer’s opening program brings together a colorful selection of music composed between 1710 and 1720, setting the stage for Bach’s resplendent First Brandenburg Concerto.

6 subscribe at www.musicatmenlo.org | 650-331-0202 Michael Steinberg Encounter Series CONCERT PROGRAM I The Encounter series, Music@Menlo’s signature multimedia sym- Bach Ascending posia, embodies the festival’s context-rich approach to musical Evaristo Felice Dall’Abaco (1675–1742) discovery and adds dimension and depth to the Music@Menlo Trio Sonata in A Major, op. 3, no. 12 (1712) experience. The 2019 festival season’s four Encounters, led by Georg Philipp Telemann (1681–1767) experts in their fields, connect the unique contributions of each Violin Concerto in a minor, TWV 51: a1 (ca. 1708–1716) of the festival’s Incredible Decades to the evolution of chamber music, providing audiences with context for the season’s seven Arcangelo Corelli (1653–1713) Concert Programs. The Encounter series is named in memory of Concerto Grosso in D Major, op. 6, no. 1 (1714) Michael Steinberg, the eminent musicologist and Music@Menlo George Frideric Handel (1685–1759) guiding light. Suite no. 1 in F Major, HWV 348, from Water Music (1717) Tomaso Albinoni (1671–1751) Double Oboe Concerto in C Major, op. 7, no. 2 (1715) ENCOUNTER I Antonio Vivaldi (1678–1741) Bach Ascending/Beethoven Concerto in g minor for Two Cellos, Strings, and Continuo, Launched, 1710–1800 RV 531 (after 1710) Led by Ara Guzelimian Johann Sebastian Bach (1685–1750) Friday, July 12, 7:30 p.m. | Martin Family Hall, Menlo School Brandenburg Concerto no. 1 in F Major, BWV 1046 (before 1721) Tickets: $52 full price; $25 under age thirty ARTISTS Through such luminaries as Vivaldi, Handel, and Bach, the early James Austin Smith, Hugo Souza, Stephen Taylor, oboes; eighteenth century saw the creation of music of unprecedented Peter Kolkay, bassoon; Mark Almond, Kevin Rivard, horns; splendor and complexity. By the century’s end, a new vanguard Gloria Chien, Hyeyeon Park, Wu Han, harpsichords; of composers—Haydn, Mozart, and Beethoven—had reinvented Adam Barnett-Hart, Aaron Boyd, Soovin Kim, Arnaud Sussmann, music again, fashioning a language at once elegant and power- James Thompson, violins; Pierre Lapointe, Paul Neubauer, violas; fully expressive. Ara Guzelimian, Provost and Dean of the Juilliard Dmitri Atapine, David Finckel, Brook Speltz, cellos; Peter Lloyd, bass School, leads this summer’s first Encounter, focusing on two decades—1710–1720 and 1790–1800—that catalyzed the inno- SATURDAY, JULY 13 vations that, in short order, would forever define the course of 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Western classical music. Tickets: $74/$64/$54 full price; $30/$20/$15 under age thirty Prelude Performance* 3:30 p.m., The Center for Performing Arts at Menlo-Atherton *Prelude Performances feature young artists from the Cham- ber Music Institute. Admission is free. For more information, see pp. 23–24. Fête the Festival 8:30 p.m., following the concert Join the Artistic Directors, festival musicians, and friends on July 13 to toast the season’s first concert at an outdoor catered dinner reception on the Menlo School campus.

Antoine Coysevox (1640–1720). The Allegory of Fame astride Pegasus, (Tickets: $75. Advance purchase required.) 1701–1702, Carrara marble. Place de la Concorde, Paris, France. Photo credit: Timothy McCarthy Archive/Art Resource

subscribe at www.musicatmenlo.org | 650-331-0202 7 CONCERT PROGRAM II 1790–1800: Beethoven Launched Mozart’s death in 1791 marked an abrupt end to one of history’s most incandescent artistic careers. The following year, the twenty-two- year-old Beethoven traveled to Vienna, where, under Haydn’s tutelage, he inherited—and then transformed—the Classical tradition. This dynamic program offers a snapshot of the eighteenth century’s final decade, when Haydn, the elder statesman of the Classical era, gave way to the voice of a new century.

8 subscribe at www.musicatmenlo.org | 650-331-0202 ENCOUNTER I CONCERT PROGRAM II Bach Ascending/Beethoven Beethoven Launched Launched, 1710–1800 Joseph Haydn (1732–1809) Led by Ara Guzelimian Piano Trio in d minor, Hob. XV: 23 (1795) Friday, July 12, 7:30 p.m. | Martin Family Hall, Menlo School Wolfgang Amadeus Mozart (1756–1791) Tickets: $52 full price; $25 under age thirty String Quintet in E-flat Major, K. 614 (1791) Through such luminaries as Vivaldi, Handel, and Bach, the early Ludwig van Beethoven (1770–1827) eighteenth century saw the creation of music of unprecedented Trio in B-flat Major for Clarinet, Cello, and Piano, op. 11 (1797) splendor and complexity. By the century’s end, a new vanguard Ludwig van Beethoven of composers—Haydn, Mozart, and Beethoven—had reinvented Quintet in E-flat Major for Winds and Piano, op. 16 (1796) music again, fashioning a language at once elegant and power- fully expressive. Ara Guzelimian, Provost and Dean of the Juilliard ARTISTS School, leads this summer’s first Encounter, focusing on two Stephen Taylor, oboe; Tommaso Lonquich, clarinet; Peter Kolkay, decades—1710–1720 and 1790–1800—that catalyzed the inno- bassoon; Kevin Rivard, horn; Gilbert Kalish, Wu Han, pianos; vations that, in short order, would forever define the course of Adam Barnett-Hart, Aaron Boyd, Soovin Kim, violins; Western classical music. Pierre Lapointe, Paul Neubauer, violas; David Finckel, Brook Speltz, cellos

WEDNESDAY, JULY 17 7:30 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $74/$64/$54 full price; $30/$20/$15 under age thirty

Photo by Rodrigo Rodriguez on Unsplash

subscribe at www.musicatmenlo.org | 650-331-0202 9 CONCERT PROGRAM III 1820–1830: CLASSICAL TWILIGHT

In their final years, Beethoven and Schubert produced works of unparalleled importance to Western music history. Beethoven’s late works demonstrated such far-reaching vision that the composer himself conceded to his contempo- raries, “They are not for you, but for a later age.” During this same period, Schubert quietly but assuredly created a musical language of new- found expressive intensity. Concert Program III brings together valedictory statements by these two giants, each written a year before the composer’s death: Beethoven’s final string quartet and Schubert’s epic Winterreise.

10 subscribe at www.musicatmenlo.org | 650-331-0202 ENCOUNTER II CONCERT PROGRAM III Schubert’s Winterreise and Classical Twilight Classical Twilight, 1820–1830 Ludwig van Beethoven (1770–1827) Led by Michael Parloff String Quartet in F Major, op. 135 (1826) Thursday, July 18, 7:30 p.m. | Martin Family Hall, Menlo School Franz Schubert (1797–1828) Tickets: $52 full price; $25 under age thirty Winterreise, op. 89, D. 911 (1827) Winterreise, composed over roughly the final year and a half of ARTISTS Schubert’s life, not only stands as the crowning achievement Nikolay Borchev, baritone; Wu Han, piano; Escher String Quartet: of the composer’s oeuvre of lieder, it ranks among the greatest Adam Barnett-Hart, Danbi Um, violins; Pierre Lapointe, viola; triumphs of the Western canon at large. As a complement to Brook Speltz, cello Concert Program III, returning Encounter Leader Michael Parloff considers this singular masterpiece and its enduring resonance FRIDAY, JULY 19 as well as Schubert’s relationship with Beethoven, the other 7:30 p.m., Stent Family Hall, Menlo School great luminary of the 1820s. Tickets: $84 full price; $35 under age thirty Prelude Performance* Prelude Performance* 5:00 p.m., Stent Family Hall, Menlo School 5:00 p.m., Martin Family Hall, Menlo School

SUNDAY, JULY 21 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $74/$64/$54 full price; $30/$20/$15 under age thirty Prelude Performance* 3:30 p.m., The Center for Performing Arts at Menlo-Atherton *Prelude Performances feature young artists from the Cham- ber Music Institute. Admission is free. For more information, see pp. 23–24.

Caspar David Friedrich (1774–1840). Two Men Contemplating the Moon, ca. 1825–1830, oil on canvas. Metropolitan Museum of Art; public domain

subscribe at www.musicatmenlo.org | 650-331-0202 11 CONCERT PROGRAM IV 1840-1850: ROMANTIC REVOLUTION

By the mid-nineteenth century, the Romantic age had reached its apex. The turbulence of the 1840s, from the conquest of the American West to the European revolutions of 1848, is vividly reflected in the decade’s impassioned music. In the works of Mendelssohn, Schumann, and Chopin—each a quintessential Romantic voice in his artistic maturity—we encounter the era’s unrestrained emotion and blinding virtuosity in full bloom.

12 subscribe at www.musicatmenlo.org | 650-331-0202 ENCOUNTER III CONCERT PROGRAM IV Romantic Revolution/Moscow to Romantic Revolution Montmartre, 1840–1900 Robert Schumann (1810–1856) Led by R. Larry Todd Piano Trio no. 1 in d minor, op. 63 (1847) Wednesday, July 24, 7:30 p.m. | Martin Family Hall, Menlo School Frédéric Chopin (1810–1849) Tickets: $52 full price; $25 under age thirty Cello Sonata in g minor, op. 65 (1845–1846) Celebrated scholar and Mendelssohn biographer R. Larry Todd Felix Mendelssohn (1809–1847) makes his eagerly anticipated return to Music@Menlo to lead String Quintet no. 2 in B-flat Major, op. 87 (1845) this summer’s third Encounter, examining two fertile decades of European chamber music—the 1840s and 1890s. He will ARTISTS focus on the German Romantics Mendelssohn, Schumann, and Juho Pohjonen, piano; Jessica Lee, Angelo Xiang Yu, violins; Brahms and the creative French, Slavic, and Russian responses Hsin-Yun Huang, Arnaud Sussmann, violas; Dmitri Atapine, of Debussy, Josef Suk, and Rachmaninov. Pivoting between the David Requiro, Keith Robinson, cellos middle and end of the nineteenth century, Encounter III explores THURSDAY, JULY 25 the full range of continuities and discontinuities in the rich tradi- 7:30 p.m., Stent Family Hall, Menlo School tion of chamber music. Tickets: $84 full price; $35 under age thirty Prelude Performance* Prelude Performance* 5:00 p.m., Stent Family Hall, Menlo School 5:00 p.m., The Center for Performing Arts at Menlo-Atherton

FRIDAY, JULY 26 7:30 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $74/$64/$54 full price; $30/$20/$15 under age thirty *Prelude Performances feature young artists from the Cham- ber Music Institute. Admission is free. For more information, see pp. 23–24.

Barricades on the Alexanderplatz in Berlin during the Night of March 18 to 19, 1848, ca. 1848, color lithograph. Photo: Knud Petersen, Kunstbibliothek, Staatliche Museen, Berlin, Germany. Photo credit: BPK/Art Resource, NY

subscribe at www.musicatmenlo.org | 650-331-0202 13 CONCERT PROGRAM V 1890–1900: MOSCOW TO MONTMARTRE

As the twentieth century approached, German and Austrian dominance of Western music began to fade, giving way to a galaxy of voices from France, Russia, Bohemia, and beyond. The late music of Brahms, emblematic of German Romanti- cism, serves as an anchor in this program of music that spotlights a cosmopolitan collection of composers of the era.

14 subscribe at www.musicatmenlo.org | 650-331-0202 ENCOUNTER III CONCERT PROGRAM V Romantic Revolution/Moscow to Moscow to Montmartre Montmartre, 1840–1900 Josef Suk (1874–1935) Led by R. Larry Todd Piano Quartet in a minor, op. 1 (1891) Wednesday, July 24, 7:30 p.m. | Martin Family Hall, Menlo School Claude Debussy (1862–1918) Tickets: $52 full price; $25 under age thirty String Quartet in g minor, op. 10 (1893) Celebrated scholar and Mendelssohn biographer R. Larry Todd Johannes Brahms (1833–1897) makes his eagerly anticipated return to Music@Menlo to lead Three Intermezzos for Piano, op. 117 (1892) this summer’s third Encounter, examining two fertile decades Sergei Rachmaninov (1873–1943) of European chamber music—the 1840s and 1890s. He will Suite no. 1 for Two Pianos, op. 5, Fantaisie-tableaux (1893) focus on the German Romantics Mendelssohn, Schumann, and Brahms and the creative French, Slavic, and Russian responses ARTISTS of Debussy, Josef Suk, and Rachmaninov. Pivoting between the Gilbert Kalish, Gilles Vonsattel, Wu Han, pianos; Kristin Lee, violin; middle and end of the nineteenth century, Encounter III explores Hsin-Yun Huang, viola; David Requiro, cello; Schumann Quartet: the full range of continuities and discontinuities in the rich tradi- Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; tion of chamber music. Mark Schumann, cello

Prelude Performance* SATURDAY, JULY 27 5:00 p.m., Stent Family Hall, Menlo School 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $74/$64/$54 full price; $30/$20/$15 under age thirty

Konstantin Yuon (1875–1958). The New Planet, 1921, tempera on cardboard. Tretyakov Gallery, Moscow, Russia. Photo credit: Scala/Art Resource, NY

subscribe at www.musicatmenlo.org | 650-331-0202 15 CONCERT PROGRAM VI 1920–1930: THE ROARING TWENTIES

In 1921, Hitler rose to power, Russian influence expanded in the east, the Miss America pageant was born, and, for the first time, baseball was heard on the radio. The Great Gatsby, F. Scott Fitzgerald’s immortal documentation of the hedo- nistic Jazz Age, was published in 1925. Four years later, Wall Street crashed, bringing a decade of prosperity to an end. These years likewise saw Romanticism’s cinematic legacy come to life in the music of Erich Wolfgang Korngold, while national- ist fervor found voice in Ravel’s Basque rhythms and Bartók’s folk-inspired modernism. Half a world away, a young George Gershwin emerged as an icon of the Roaring Twenties in the United States.

16 subscribe at www.musicatmenlo.org | 650-331-0202 ENCOUNTER IV CONCERT PROGRAM VI The Roaring Twenties/Music at the The Roaring Twenties Millennium, 1920–2000 Sergei Prokofiev (1891–1953) Led by Bruce Adolphe Five Melodies for Violin and Piano, op. 35bis (1925) Tuesday, July 30, 7:30 p.m. | Martin Family Hall, Menlo School Maurice Ravel (1875–1937) Tickets: $52 full price; $25 under age thirty Sonata for Violin and Cello (1920–1922) The first commercial radio appeared in 1920, and by 1929 there Béla Bartók (1881–1945) were twelve million families tuning in daily and going to the String Quartet no. 3 (1927) movies weekly. Some one hundred million phonograph records George Gershwin (1898–1937) were sold in 1927, as jazz took the United States and the world by Lullaby for String Quartet (ca. 1919–1920) storm. Classical composers, too, were listening to jazz and took Erich Wolfgang Korngold (1897–1957) notes, literally. Music in the 1920s saw a fresh fusion of classical Piano Quintet in E Major, op. 15 (1921) and popular styles, yet national traits were still a major factor. Ravel had a crush on the Gershwins’ music but remained French ARTISTS even as he wrote the blues. By the 1990s, the commingling Gloria Chien, Stephen Prutsman, pianos; Chad Hoopes, of classical and popular idioms had become standard fare, Kristin Lee, Arnaud Sussmann, violins; Richard O’Neill, viola; and a new, accessible modern music emerged, particularly in David Requiro, Keith Robinson, cellos; Schumann Quartet: the United States. Composer, writer, educator, and performer Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; extraordinaire Bruce Adolphe closes this summer’s Encounter Mark Schumann, cello series, guiding audiences in an exploration of the Roaring Twen- ties and the dawn of the new millennium. WEDNESDAY, JULY 31 Prelude Performance* 7:30 p.m., The Center for Performing Arts at Menlo-Atherton 5:00 p.m., Stent Family Hall, Menlo School Tickets: $74/$64/$54 full price; $30/$20/$15 under age thirty Prelude Performance* 5:00 p.m., The Center for Performing Arts at Menlo-Atherton

*Prelude Performances feature young artists from the Cham- ber Music Institute. Admission is free. For more information, see pp. 23–24.

Manuel Orazi (1860–1934). Paris by Night, a Dance Club in Montmartre from L’Amour et l’Esprit Gaulois by Edmond Haraucourt, ca. 1925, color engraving. Bridgeman Images

subscribe at www.musicatmenlo.org | 650-331-0202 17 CONCERT PROGRAM VII 1990–2000: MUSIC AT THE MILLENNIUM

A brilliant mosaic of musical voices illuminated the twentieth century’s final decade. Compos- ers had a myriad of influences in their ears, from the world’s folk traditions to rock and roll. While such luminaries as Krzysztof Penderecki helped us process the traumas of the past century, a new generation looked anxiously and eagerly to a dawning horizon. This summer’s final Concert Program presents the uncompromising modernism, yesteryear Romanticism, and forward-looking audacity of music at the turn of the century.

18 subscribe at www.musicatmenlo.org | 650-331-0202 ENCOUNTER IV CONCERT PROGRAM VII The Roaring Twenties/Music at the Music at the Millennium Millennium, 1920–2000 John Adams (Born 1947) Led by Bruce Adolphe Road Movies for Violin and Piano (1995) Tuesday, July 30, 7:30 p.m. | Martin Family Hall, Menlo School Bright Sheng (Born 1955) Tickets: $52 full price; $25 under age thirty Concertino for Clarinet and String Quartet (1994) The first commercial radio appeared in 1920, and by 1929 there Krzysztof Penderecki (Born 1933) were twelve million families tuning in daily and going to the String Trio (1990–1991) movies weekly. Some one hundred million phonograph records Mark O’Connor (Born 1961) were sold in 1927, as jazz took the United States and the world by F. C.’s Jig for Violin and Viola (1992–1993) storm. Classical composers, too, were listening to jazz and took Bruce Adolphe (Born 1955) notes, literally. Music in the 1920s saw a fresh fusion of classical Couple (1998) and popular styles, yet national traits were still a major factor. Steven Mackey (Born 1956) Ravel had a crush on the Gershwins’ music but remained French Micro-Concerto (1999) even as he wrote the blues. By the 1990s, the commingling of classical and popular idioms had become standard fare, ARTISTS and a new, accessible modern music emerged, particularly in Tara Helen O’Connor, flute; Romie de Guise-Langlois, clarinet; the United States. Composer, writer, educator, and performer Gloria Chien, Hyeyeon Park, Wu Han, pianos; Chad Hoopes, extraordinaire Bruce Adolphe closes this summer’s Encounter Soovin Kim, Kristin Lee, Arnaud Sussmann, violins; series, guiding audiences in an exploration of the Roaring Twen- Paul Neubauer, Richard O’Neill, violas; David Finckel, ties and the dawn of the new millennium. David Requiro, Keith Robinson, cellos; Ayano Kataoka, percussion Prelude Performance* 5:00 p.m., Stent Family Hall, Menlo School SATURDAY, AUGUST 3 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $74/$64/$54 full price; $30/$20/$15 under age thirty

The Hubble Space Telescope, photographed by an astronaut from the Space Shuttle Atlantis in 2009

subscribe at www.musicatmenlo.org | 650-331-0202 19 Carte Blanche Concerts The 2019 Carte Blanche Concerts, curated by the festival artists themselves, offer a colorful journey through masterworks composed across centuries and continents.

CARTE BLANCHE CONCERT I CARTE BLANCHE CONCERT II Soovin Kim, violin; Gloria Chien, piano Juho Pohjonen, piano Sunday, July 14, 6:00 p.m. Prelude Performance* Saturday, July 20, 6:00 p.m. Stent Family Hall, Menlo School 3:30 p.m., Martin Family Hall, Menlo School Stent Family Hall, Menlo School Tickets: $84 full price; $35 under age thirty Tickets: $84 full price; $35 under age thirty The husband-and-wife duo of violinist Soovin Kim and pianist Gloria Chien opens the 2019 season’s Nine years after making his Music@Menlo debut with a sensational solo recital, pianist Juho Pohjonen Carte Blanche Concerts with a richly varied, multicultural program of music composed between offers another Carte Blanche Concert, juxtaposing two visionaries of keyboard music from their 1910 and 1930. Following Ravel’s blues-inflected Violin Sonata, the program offers music by Bartók respective eras: Jean-Philippe Rameau, France’s preeminent composer of the eighteenth century, and and Ives, the patriarchs of the modern musical traditions of Hungary and the United States. The the Russian iconoclast Aleksandr Scriabin. concert concludes with the enchanting Nocturne and Tarantella by the celebrated Polish composer Jean-Philippe Rameau (1683–1764) Karol Szymanowski. Nouvelles suites de pièces de clavecin (New Suites of Harpsichord Pieces) (ca. 1729–1730) Maurice Ravel (1875–1937) Aleksandr Scriabin (1871–1915) Violin Sonata no. 2 (1923–1927) Piano Sonata no. 6, op. 62 (1911–1912) Béla Bartók (1881–1945) Aleksandr Scriabin Violin Sonata no. 2 (1922) Piano Sonata no. 8, op. 66 (1912–1913) Charles Ives (1874–1954) Aleksandr Scriabin Violin Sonata no. 2 (ca. 1914–1917) Piano Sonata no. 10, op. 70 (1912–1913) Anton Webern (1883–1945) Four Pieces for Violin and Piano, op. 7 (1910, 1914) Karol Szymanowski (1882–1937) Nocturne and Tarantella for Violin and Piano, op. 28 (1915)

20 subscribe at www.musicatmenlo.org | 650-331-0202 CARTE BLANCHE CONCERT III CARTE BLANCHE CONCERT IV Schumann Quartet Tara Helen O’Connor, flute; Sunday, July 28, 6:00 p.m. Prelude Performance* Stephen Prutsman, piano Stent Family Hall, Menlo School 3:30 p.m., Martin Family Hall, Menlo School Tickets: $84 full price; $35 under age thirty Thursday, August 1, 7:30 p.m. Martin Family Hall, Menlo School The Schumann Quartet makes its festival debut with a thoughtful survey of the string quartet literature. Tickets: $74 full price; $30 under age thirty The program brings together music from a diverse spectrum of voices and spans German Romanti- cism, early modernism, and American minimalism. This mosaic of musical styles is held together by The season’s final Carte Blanche Concert features flutist Tara Helen O’Connor and pianist and the timeless music of J. S. Bach, via Mozart’s arrangements of fugues from The Well-Tempered Clavier. composer Stephen Prutsman in an enchanting selection of music spanning nearly three centuries. Beginning with Bach’s Sonata in g minor for Flute and Keyboard, the program traverses the Roman- Johann Sebastian Bach (1685–1750) Dmitry Shostakovich (1906–1975) tic era via Schubert and Fauré and arrives in the twenty-first century with music by Belinda Reynolds Fugue in E-flat Major from The Well- Two Pieces for String Quartet (1931) and the West Coast premiere of Prutsman’s own Voyage to the Moon. Tempered Clavier (Book II), BWV 876 (ca. Johann Sebastian Bach Johann Sebastian Bach (1685–1750) 1740; arr. Mozart in 1782 as Fugue no. 2, K. 405) Fugue in d minor from The Well-Tempered Sonata in g minor for Flute and Keyboard, BWV 1020 (before 1735; attributed to C. P. E. Bach) Felix Mendelssohn (1809–1847) Clavier (Book II), BWV 875 (ca. 1740; arr. Belinda Reynolds (Born 1967) Capriccio in e minor for String Quartet, Mozart in 1782 as Fugue no. 4, K. 405) Share for Alto Flute and Piano (2003) op. 81, no. 3 (1843) Anton Webern (1883–1945) Franz Schubert (1797–1828) Johann Sebastian Bach Six Bagatelles for String Quartet, op. 9 (1911, Introduction and Variations on Trockne Blumen for Flute and Piano, op. 160, D. 802 (1824) Fugue in c minor from The Well-Tempered 1913) Gabriel Fauré (1845–1924) Clavier (Book II), BWV 871 (ca. 1740; arr. Johann Sebastian Bach Fantaisie for Flute and Piano, op. 79 (1898) Mozart in 1782 as Fugue no. 1, K. 405) Fugue in E Major from The Well-Tempered Philip Glass (Born 1937) Clavier (Book II), BWV 878 (ca. 1740; arr. Walter Gieseking (1895–1956) String Quartet no. 2, Company (1983) Mozart in 1782 as Fugue no. 3, K. 405) Sonatine for Flute and Piano (1935) Johann Sebastian Bach Leoš Janáček (1854–1928) Stephen Prutsman (Born 1960) Fugue in D Major from The Well-Tempered String Quartet no. 2, Intimate Letters (1928) Voyage to the Moon for Flutes, Piano, and Silent Film (2019) (West Coast premiere) Clavier (Book II), BWV 874 (ca. 1740; arr. Mozart in 1782 as Fugue no. 5, K. 405) *Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 23–24. Schumann Quartet: Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; Mark Schumann, cello

subscribe at www.musicatmenlo.org | 650-331-0202 21 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’ perspectives. 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 at www.musicatmenlo.org. They are also available for digital download and streaming through iTunes, Amazon, Classical Overture Concert Archives, and Spotify.

® In 2018, Music@Menlo inaugurated the Overture Concerts, in Friday, August 2, 7:30 p.m. American Public Media which the International Program artists collaborated with fes- The Center for Performing Arts at Menlo-Atherton American Public Media® is tival main-stage artists for the first time. This season, all eleven Tickets: $34 full price; $15 under age thirty the leading producer of spectacular International Program performers will be joined classical music programming Ludwig van Beethoven (1770–1827) by violinist Soovin Kim, violist Richard O’Neill, and cellist Keith for public radio. This summer, Piano Trio in G Major, op. 1, no. 2 (1794–1795) Robinson for a thrilling performance at the Center for Performing Music@Menlo is proud to welcome American Public Media® Arts at Menlo-Atherton. Johannes Brahms (1833–1897) once again as the festival’s exclusive broadcast partner. Perfor- String Sextet no. 2 in G Major, op. 36 (1864–1865) mances from the festival will air nationwide on the American This concert functions as an “overture” to the future of chamber César Franck (1822–1890) Public Media® radio program Performance Today®, the largest music: world-renowned festival artists will share their knowledge, Piano Quintet in f minor (1879) daily classical music program in the United States, which airs experience, and traditions with the burgeoning International Pro- on 260 stations and reaches more than one million people gram musicians as they perform together, bringing the freshest Featuring Soovin Kim, violin; Richard O’Neill, viola; and each week, and via Classical 24®, a live classical music service perspectives to these events. The artists will collectively bridge Keith Robinson, cello; with musicians from the Chamber broadcast on 250 stations and distributed by Public Radio the gap between the traditions of the past, the master perform- Music Institute’s International Program. International. Hosts and producers from American Public ers of today, and the flourishing of the art form in the future. Media® have participated in the festival as event moderators Please join us to experience the fruits of their collaboration and and educators. Go online to www.YourClassical.org for archived to witness a glimpse of the bright future of chamber music. performances, photos, and interviews.

22 subscribe at www.musicatmenlo.org | 650-331-0202 Chamber Music Institute

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

subscribe at www.musicatmenlo.org | 650-331-0202 23 Café Conversations and Master Classes Beginning on July 15, each weekday throughout the festival, Music@Menlo offers midday events including the popular Café Prelude Performances and Conversations and master classes. Café Conversations feature select festival artists discussing a variety of topics related to music Koret Young Performers Concerts and the arts. These forums showcase the wide-ranging expertise and imagination of our artists and provide further insights into their The festival’s preconcert and afternoon Prelude Performances and Koret Young Performers Concerts showcase the extraordinary young 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 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 13, 3:30 pm., Menlo-Atherton* Saturday, July 20, 1:00 p.m., Menlo-Atherton* appreciation of the concert experience. Sunday, July 14, 3:30 p.m., Martin Family Hall Saturday, July 27, 1:00 p.m., Menlo-Atherton* Each weekday of the festival season features a Café Conversa- Tuesday, July 16, 5:00 p.m., Stent Family Hall Saturday, August 3, 1:00 p.m., Menlo-Atherton* tion or master class at 11:45 a.m. on the Menlo School campus. Thursday, July 18, 5:00 p.m., Stent Family Hall In response to the popularity of these events, a ticket is required Reservations are not required. During the festival season, Friday, July 19, 5:00 p.m., Martin Family Hall for all Prelude Performances and Koret Young Performers Con- please consult your festival program book or visit our website at www.musicatmenlo.org for a detailed schedule of master Sunday, July 21, 3:30 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 online classes and Café Conversation topics. Tuesday, July 23, 5:00 p.m., Martin Family Hall at www.musicatmenlo.org starting at 9:00 a.m. on the day of the Wednesday, July 24, 5:00 p.m., Stent Family Hall event. Seating is by general admission. Members of the Compos- Thursday, July 25, 5:00 p.m., Menlo-Atherton* ers Circle ($1,000) and above enjoy Advance Ticketing for one Sunday, July 28, 3:30 p.m., Martin Family Hall Prelude Performance or Koret Young Performers Concert of their Open Coachings Tuesday, July 30, 5:00 p.m., Stent Family Hall choice. Members of the Composers Circle at the $10,000 level Music@Menlo invites you to experience the Chamber Music Wednesday, July 31, 5:00 p.m., Menlo-Atherton* and above enjoy Advance Ticketing for all Prelude Performances Institute by observing select coachings on the Menlo School and Koret Young Performers Concerts. For reserved seating campus, Monday through Friday from July 15 through August 2. opportunities, please see Premium Seating information on p. 34. Daily coaching schedules can be found at the festival Welcome *The Center for Performing Arts at Menlo-Atherton Center.

24 subscribe at www.musicatmenlo.org | 650-331-0202 Art under a Tombstone The Soul of the Americas with Gloria Chien and Soovin Kim with Michael Brown and Nicholas Canellakis It is hard to believe that Tchaikovsky’s wondrous ballet music The Soul of the Americas celebrates the rich tapestry of musical was being written only decades before the events of the influences across North and South America, featuring the works Russian Revolution of 1917. The subsequent horrific chapter of of seven iconic composers. Aaron Copland’s El Salón México and Russian political history radically altered the course of one of the George Gershwin’s Cuban Overture were directly inspired by their great musical and literary cultures of the world. This residency travels to those respective countries. Leonard Bernstein was an explores Russia’s transformation and the period of Soviet repres- ardent champion of Latin American music, including the music sion through the music of Tchaikovsky and Shostakovich, poems of Brazilian Heitor Villa-Lobos and Argentinian Alberto Ginastera. of Aleksandr Blok, and life stories of Alexander Solzhenitsyn, as Osvaldo Golijov settled in the United States but his music draws on told by his son, pianist and conductor Ignat Solzhenitsyn. his Argentinian roots. Samuel Barber was enamored with diverse musical styles, as seen through his nostalgic Souvenirs. Curated by Michael Brown and Nicholas Canellakis, who are joined by Orion Weiss and Ian David Rosenbaum, this program features unique combinations of piano, cello, and percussion and will take listeners on a sizzling journey through both hemispheres.

BEHIND THE MUSIC BEHIND THE MUSIC Thursday, November 7, 2019, 7:30 p.m. Thursday, May 7, 2020, 7:30 p.m. Martin Family Hall, Menlo School Martin Family Hall, Menlo School Tickets: $30 full price; $15 under age thirty Tickets: $30 full price; $15 under age thirty CONCERT PROGRAM CONCERT PROGRAM Friday, November 8, 2019, 7:30 p.m. Friday, May 8, 2020, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park St. Bede’s Episcopal Church, Menlo Park Tickets: $55/$45 full price; $25/$20 under age thirty Tickets: $55/$45 full price; $25/$20 under age thirty

Dmitry Shostakovich (1906–1975) Aaron Copland (1900–1990) Piano Trio no. 1 in c minor, op. 8 (1923) El Salón México for Solo Piano (1932–1936; arr. Bernstein, 1941) Dmitry Shostakovich Leonard Bernstein (1918–1990) Seven Romances on Poems of Aleksandr Blok for Soprano, Three Meditations from Mass (version for piano, cello, and The Music@Menlo:Focus Residencies offer lis- Piano, Violin, and Cello, op. 127 (1967) percussion) (1978) teners opportunities to experience the festival’s Pyotr Ilyich Tchaikovsky (1840–1893) Samuel Barber (1910–1981) Piano Trio in a minor, op. 50 (1881–1882) Souvenirs for Piano, Four Hands, op. 28 (1951–1952) signature chamber music programming and immersive educational content during the year in Osvaldo Golijov (Born 1960) ARTISTS Mariel for Cello and Marimba (1999) a bold, brand-new form. This season, four popular Hyunah Yu, soprano; Gloria Chien, Ignat Solzhenitsyn, pianos; Heitor Villa-Lobos (1887–1959) Soovin Kim, violin; David Finckel, cello Music@Menlo artists will curate two multiday Divagação for Cello, Piano, and Drum (1946) residencies. Please join Guest Curators Gloria Heitor Villa-Lobos Chien and Soovin Kim this November and Michael A maré encheu from Guia prático for Solo Piano (1932) Brown and Nicholas Canellakis in May 2020 for O Polichinelo from A prole do bebê for Solo Piano (1918) two thrilling Music@Menlo:Focus Residencies, Alberto Ginastera (1916–1983) each featuring outreach and an intellectually Pampeana no. 2, Rhapsody for Cello and Piano, op. 21 (1950) captivating Behind the Music event and culminating George Gershwin (1898–1937) in an enthralling performance in St. Bede’s Cuban Overture for Piano, Four Hands, and Percussion (1932; Episcopal Church in Menlo Park. four hands version arr. Gershwin, 1933) ARTISTS Michael Brown, Orion Weiss, pianos; Nicholas Canellakis, cello; Ian David Rosenbaum, percussion

subscribe at www.musicatmenlo.org | 650-331-0202 25 Artistic Directors: David Finckel and Wu Han The Martin Family Artistic Directorship

Music@Menlo founding Artistic Directors cel- performing under its auspices worldwide. Their list David Finckel and pianist Wu Han rank wide-ranging musical innovations include the among the most esteemed and influential launch of ArtistLed (www.artistled.com), classical Visual Artist: Klari Reis classical musicians in the world today. Recipi- music’s first musician-directed and Internet- ents of Musical America’s Musicians of the based recording company, whose catalogue San Francisco artist Klari Reis grew up in the Menlo Park area down Year award, they bring unmatched energy, of twenty albums has won widespread critical the road from her concert pianist grandmother Kató Mendelssohn imagination, and integrity to their multifaceted acclaim. In 2011, David Finckel and Wu Han Reis (born January 29, 1919; died August 15, 2017). As a descendant endeavors as concert performers, artistic direc- were named Artistic Directors of Chamber of the famous composer, she found that music and creativity tors, recording artists, educators, and cultural Music Today, an annual festival held in Seoul, seemed to come naturally. Reis uses reflective epoxy polymer to entrepreneurs. In high demand as individuals South Korea, and from 2013 to 2018, they led depict microscopic images. The effect is hopeful, almost playful, and as a duo, they appear each season at a the Finckel-Wu Han Chamber Music Studio at belying the serious nature of the subject matter. Her petri-dish host of the most prestigious venues and con- the Aspen Music Festival and School. In these installations are supported by steel rods and sit at varying degrees cert series across the United States and around capacities, as well as through a multitude of of distance from the wall, evoking depth and motion. Working with the world. other educational initiatives, they have received biotech companies in the San Francisco Bay Area, Reis uses organic universal praise for their passionate commitment cellular imagery and natural reactions to explore our complex rela- Since 2004, David Finckel and Wu Han have to nurturing the artistic growth of countless tionship with today’s biotech industry. To learn more, visit www.klariart.com. together held the prestigious position of Artistic Director of the Chamber Music Society of Lin- young artists. David Finckel and Wu Han reside coln Center, the world’s largest presenter and in New York City. For more information, please producer of chamber music, programming and visit www.davidfinckelandwuhan.com. Top: Berry Bowl, mixed media and epoxy polymer within a petri dish

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

Composer and lecturer Bruce Adolphe’s music is performed by Yo-Yo Ma, Itzhak Violinist Aaron Boyd enjoys a varied career as a soloist, chamber musician, lecturer, Perlman, Joshua Bell, Daniel Hope, Fabio Luisi, the Brentano String Quartet, Wash- teacher, and recording artist and concertizes throughout the United States, Europe, ington National Opera, the Metropolitan Opera Guild, and sixty orchestras Russia, and Asia. He appears regularly as a Season Artist of the Chamber Music worldwide. Known to millions of Americans from his weekly public radio broadcast, Society of Lincoln Center and has participated in the Marlboro, Music@Menlo, La Piano Puzzler, Bruce Adolphe has been Resident Lecturer and Director of the Meet Jolla, Bridgehampton, Prussia Cove, and Aspen festivals. Previously on the violin the Music! family concerts at the Chamber Music Society of Lincoln Center since faculties of Columbia University and the University of Arizona, Aaron Boyd now 1992. He is also Composer-in-Residence at the Brain and Creativity Institute and serves as Director of Chamber Music and Professor of Practice in Violin at the Mead- Artistic Director of Off the Hook Arts in Colorado. He is the author of three books, ows School of the Arts at Southern Methodist University in Dallas, Texas. including The Mind’s Ear: Exercises for Improving the Musical Imagination. The Cleveland Plain Dealer asserted that violinist Ivan Chan “…is a musician-leader Mark Almond joined the San Francisco Opera Orchestra as Coprincipal French Horn of prodigious gifts…his tonal sweetness is matched by impeccable taste, purpose- in 2016. While studying medicine at Cambridge and Oxford Universities, he became ful energy, and an unerring sense of phrasing.” Bronze medalist of the Fourth Principal Horn of the European Union Youth Orchestra, performed in the finals of the Quadrennial International Violin Competition of Indianapolis and first violinist of BBC Young Musician of the Year competition, won the silver medal of the Shell London the Miami String Quartet from 1995 to 2010, Chan is currently Associate Professor Symphony Orchestra Scholarship, performed with the London Symphony Orchestra, of Music at the Hong Kong Academy for Performing Arts. As a visiting artist, he has and was appointed Third Horn with the Philharmonia Orchestra of London. He has taught at the Curtis Institute of Music, the Juilliard School, New England Conserva- since played Guest Principal with numerous ensembles including the Los Angeles tory, Ravinia’s Steans Institute, the New York String Orchestra Seminar, Morningside Philharmonic, the Philharmonia Orchestra, the City of Birmingham Symphony Orches- Music Bridge, and Beijing Central Conservatory. In the summer of 2019, Chan will tra, and the Royal Philharmonic Orchestra. He is an experienced pulmonologist and continue his teaching roles at the Music@Menlo Chamber Music Institute and internal medicine physician and has a Ph.D. in immunology and virology. Kent/Blossom Music Festival.

Described as a cellist whose “playing is highly impressive throughout” (Strad), Deemed one of the Superior Pianists of the Year (Boston Globe), Gloria Chien is Dmitri Atapine has appeared at leading venues around the world. He regularly founding Artistic Director of String Theory, a chamber music series in Chatta- performs with the Chamber Music Society of Lincoln Center and is a frequent nooga, Tennessee, and was appointed Director of the Chamber Music Institute at guest at festivals including Music@Menlo, Chamber Music Northwest, and La Music@Menlo in 2010. A Steinway Artist, she has recorded for Chandos Records Musica in Sarasota, among others. He has released multiple recordings, among and released a CD with clarinetist Anthony McGill in 2010. A former member of the them a world premiere of works by Lowell Liebermann. Professor of cello at the Bowers Program (formerly known as CMS Two), Gloria Chien is an Artist-in- University of Nevada, Reno, and Artistic Director of Apex Concerts and Ribadesella Residence at Lee University in Tennessee and is an Artist of the Chamber Chamber Music Festival, Dmitri Atapine holds a doctoral degree from the Yale Music Society of Lincoln Center. School of Music, where he studied with Aldo Parisot. Clarinetist Romie de Guise-Langlois has appeared as soloist with the Houston American violinist Adam Barnett-Hart has attracted worldwide attention for his Symphony, the Guanajuato Symphony Orchestra, and Ensemble ACJW and at Fes- sensitive musicianship and inspired artistry. As the founding first violinist of the tival Mozaic and Banff Centre for Arts and Creativity. An avid chamber musician, Escher String Quartet, he has performed in many of the most prestigious venues she has performed with Musicians from Marlboro and at the Chamber Music Soci- and festivals around the world including Alice Tully Hall and Carnegie Hall in New ety of Lincoln Center, the Philadelphia and Boston Chamber Music Societies, and York, the Kennedy Center, the Ravinia and Caramoor Festivals, Wigmore Hall, the Chamber Music Northwest, among others. She has performed for Orpheus Cham- Louvre, and the Concertgebouw. As a soloist, Barnett-Hart made his debut perform- ber Orchestra, the Orchestra of St. Luke’s, NOVUS NY, and the Knights Chamber ing the Brahms Concerto in Alice Tully Hall with the Juilliard Symphony in 2002. He Orchestra. A native of Montreal, Romie de Guise-Langlois earned degrees from studied with Pinchas Zukerman and Joel Smirnoff. McGill University and the Yale School of Music. She is an alumna of Ensemble Con- nect, CMS Two, and Astral Artists and is currently Assistant Professor of Clarinet at Russian baritone Nikolay Borchev started his career as a Principal at the Bavarian State UMass Amherst. Opera at a very young age and then was a member at the Vienna State Opera for two seasons. With both companies, he has been singing all the main roles of his Fach, such as Papageno/Die Zauberflöte, Guglielmo/Così fan tutte, and Figaro/Il barbiere di Siviglia. Meanwhile, he is a sought-after singer, performing his widespread repertoire in guest engagements throughout Europe, including at Covent Garden in London, the Cologne Opera, La Monnaie in Brussels, the Munich State Opera, and the Amsterdam Concertge- bouw as well as in Utrecht and with the Moscow Philharmonic Society. subscribe at www.musicatmenlo.org | 650-331-0202 27 Festival Artist Biographies

The members of the Escher String Quartet serve as Season Artists of the Chamber Pianist Gilbert Kalish’s profound influence on the musical community as a per- Music Society of Lincoln Center and have made a distinctive impression throughout former, educator, and recording artist has established him as a major figure in Europe, performing at venues such as the Amsterdam Concertgebouw, the Berlin American music making. He was pianist of the Boston Symphony Chamber Players Konzerthaus, London’s Kings Place, the Tel Aviv Museum of Art, the Slovenian Phil- for thirty years, was a founding member of the Contemporary Chamber Ensemble, harmonic Hall, the Auditorium du Louvre, and Les Grands Interprètes series in and is an Artist of the Chamber Music Society of Lincoln Center. Kalish is Distin- Geneva. Last season, the quartet toured with CMS to China. The current season guished Professor and Head of Performance Activities at Stony Brook University. He sees another extensive European tour, including debuts at Musik- und Kunstfreunde was previously a faculty member and Chair of the Faculty at the Tanglewood Music Heidelberg, deSingel Antwerp, Budapest’s Kamara.hu Festival, and Bath Mozartfest. Center. Kalish received the American Composers Forum’s Champion of New Music Alongside its growing success in Europe, the Escher continues to flourish in its Award in 2017. home country, performing at Alice Tully Hall in New York, the Kennedy Center in Washington, D.C., Chamber Music San Francisco, and the Ravinia, Caramoor, and Percussionist Ayano Kataoka is known for her brilliant and dynamic technique as Music@Menlo festivals. The Escher String Quartet is currently String Quartet-in- well as the unique elegance and artistry she brings to her performances. She is Residence at Southern Methodist University in Dallas, Texas, and Tuesday Musical in Associate Professor of Percussion at the University of Massachusetts Amherst Akron, Ohio. and has been a Season Artist of the Chamber Music Society of Lincoln Center since 2006, when she was chosen as the first percussionist for the society’s presti- Ara Guzelimian has served since August 2006 as Provost and Dean of the Juilliard gious Bowers Program (formerly known as CMS Two). She has collaborated with School, where he works closely with the President in overseeing the faculty, curricu- many outstanding artists, including cellist Yo-Yo Ma, pianists Emanuel Ax and lum, and artistic planning of the distinguished performing arts conservatory in all three Gilbert Kalish, soprano Dawn Upshaw, violinist Ani Kavafian, and clarinetist of its divisions—dance, drama, and music. Previously, he was Senior Director and Artis- David Shifrin. tic Advisor of Carnegie Hall, Artistic Administrator of the Aspen Music Festival and School in Colorado, Artistic Director of the Ojai Festival in California, and Artistic Violinist Soovin Kim enjoys a broad musical career, regularly performing Bach sona- Administrator of the Los Angeles Philharmonic. He is an Artistic Consultant for the tas and Paganini caprices for solo violin, sonatas for violin and piano ranging from Marlboro Music Festival and School in Vermont and has taught recently at Banff Cen- Beethoven to Ives, Mozart and Haydn concerti and symphonies as a conductor, and tre for Arts and Creativity in Canada. world-premiere works almost every season. Among his many commercial recordings are his acclaimed disc of Paganini’s Twenty-Four Caprices and a two-disc set of Acclaimed by critics worldwide for his exceptional talent and magnificent tone, Bach’s complete solo violin works to be released in 2019. When he was twenty years American violinist Chad Hoopes has been appearing with numerous ensembles old, Soovin Kim received First Prize at the Paganini International Violin Competition. throughout the world since winning First Prize at the Young Artist Division of the He is the founder and Coartistic Director of the Lake Champlain Chamber Music Yehudi Menuhin International Violin Competition. He has performed with major Festival in Burlington, Vermont, and is on the faculty of New England Conservatory. orchestras such as the Philadelphia Orchestra, San Francisco Symphony, Orchestre de Paris, Queensland Symphony Orchestra, Konzerthausorchester Berlin, Vancouver Bassoonist Peter Kolkay is a recipient of a 2004 Avery Fisher Career Grant and won Symphony Orchestra, and Orchestre Philharmonique de Monte-Carlo and has made First Prize at the Concert Artists Guild International Competition in 2002. An Artist of acclaimed recital debuts at the Kennedy Center, Lincoln Center, the Louvre in Paris, the Chamber Music Society of Lincoln Center, Kolkay is also Associate Professor of and the Tonhalle in Zürich, among others. He performs regularly with the prestigious Bassoon at the Blair School of Music at Vanderbilt University. He has commissioned Chamber Music Society of Lincoln Center. and premiered solo and chamber works by composers such as Mark-Anthony Turnage, Joan Tower, and Elliott Carter. A native of Naperville, Illinois, Peter Kolkay Highlights of violist Hsin-Yun Huang’s 2017–2018 season included performances as studied at Lawrence University, the Eastman School of Music, and Yale. He calls the soloist under the batons of David Robertson, Osmo Vänskä, Xian Zhang, and Maxi- Melrose neighborhood of Nashville, Tennessee, home. miano Valdés in Beijing, Taipei, and Bogotá. She is also the first solo violist to be presented in the National Centre for the Performing Arts in Beijing and was featured Pierre Lapointe is the violist of the Escher String Quartet, founding the group in 2005 as a faculty member with Yo-Yo Ma and his new initiative in Guangzhou. In addition with violinists Adam Barnett-Hart and Wu Jie and cellist Andrew Janss. In 2012, Lapointe to winning the gold medal in the 1988 Lionel Tertis International Viola Competition, completed a thesis on Zemlinsky’s Second Quartet to earn a doctorate from Manhattan Hsin-Yun Huang was the top-prize winner in the ARD International Competition in School of Music and finished almost simultaneously a recording project of all four Zem- Munich in 1993. She received degrees from the Juilliard School and the Curtis Insti- linsky string quartets on the Naxos label. Before devoting himself entirely to the viola, tute of Music and now serves on the faculties of both schools. Pierre Lapointe played the violin and studied composition. His main teachers were Yaëla Hertz Berkson, Calvin Sieb, and Lawrence Dutton. Since 2015, he has been teaching chamber music at Southern Methodist University in Dallas, Texas.

28 subscribe at www.musicatmenlo.org | 650-331-0202 Violinist Jessica Lee, Grand Prize winner of the 2005 Concert Artists Guild Interna- The recipient of an Avery Fisher Career Grant, a two-time Grammy nominee, and the tional Competition and Assistant Concertmaster of the Cleveland Orchestra, has first wind player chosen to participate in the Bowers Program (formerly CMS Two), performed around the world as soloist with the Pilsen Philharmonic, Gangnam Sym- flutist Tara Helen O’Connor is a Season Artist of the Chamber Music Society of phony, and Malaysia Festival Orchestra, as well as the Houston, Grand Rapids, Lincoln Center. A Wm. S. Haynes flute artist, O’Connor regularly participates at the Richmond, and Modesto Symphonies. As a recitalist, she has performed at the Santa Fe Chamber Music Festival, Music@Menlo, Spoleto Festival USA, Chamber Rudolfinum in Prague, Weill Hall at Carnegie Hall, and the Phillips Collection and the Music Northwest, Music from Angel Fire, Banff Centre, Rockport Music, Bay Cham- Kennedy Center in Washington, D.C. A longtime member of the Johannes String ber Concerts, the Great Mountains Music Festival, and the Bravo! Vail Valley Music Quartet and the Chamber Music Society of Lincoln Center’s Bowers Program (for- Festival. She has recorded for Deutsche Grammophon, EMI Classics, Koch Interna- merly CMS Two), Jessica Lee has appeared at the Bridgehampton, Santa Fe, Seoul tional, CMS Studio Recordings with the Chamber Music Society of Lincoln Center, Spring, Olympic, and Music@Menlo festivals. and Bridge Records.

An Avery Fisher Career Grant recipient and a top-prize winner of the Walter W. An Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Naumburg Competition, Kristin Lee is a violinist of remarkable versatility and Grant recipient, violist Richard O’Neill has appeared as soloist with the London impeccable technique. Lee has soloed with the Philadelphia Orchestra, St. Louis and Los Angeles Philharmonics and the BBC Symphony with Andrew Davis, Vladi- Symphony, and St. Paul Chamber Orchestra and has performed at Carnegie Hall, mir Jurowski, and Yannick Nézet-Séguin. He is a Universal/Deutsche Grammophon Avery Fisher Hall, and the Kennedy Center. She is an Artist of the Chamber Music recording artist, and his albums have sold over 200,000 copies. An Artist of the Society of Lincoln Center and the Artistic Director of Emerald City Music. Kristin Lee Chamber Music Society of Lincoln Center, he has introduced thousands to cham- holds a master’s degree from the Juilliard School, where she studied with Itzhak Perl- ber music in South Korea through his chamber music initiative, DITTO. Lera man and Donald Weilerstein and taught as Perlman’s assistant as a Starling Fellow. Auerbach, Elliott Carter, John Harbison, and Huang Ruo have dedicated works to him. The first violist to receive the Artist Diploma from Juilliard, he was honored A native of Philadelphia, bassist Peter Lloyd is a graduate of the Curtis Institute of with a Proclamation from the New York City Council. He runs marathons for charity. Music. He joined the Philadelphia Orchestra during his final year at Curtis, performing there for more than eight seasons before becoming Principal Bass of the Selected as an Artist of the Year by the Seoul Arts Center, Hyeyeon Park has been Minnesota Orchestra, a position he held from 1986 to 2007. As a chamber musician, described as a pianist “with power, precision, and tremendous glee” (Gramophone). he has performed with the Guarneri String Quartet, Jamie Laredo at the 92nd Street She is a prizewinner of numerous international competitions, including Oberlin, Y, and the Chamber Music Society of Lincoln Center and at the Marlboro Music Fes- Ettlingen, Hugo Kauder, Maria Canals, Prix Amadèo, and Corpus Christi, and her tival, among many others. Peter Lloyd is Professor of Double Bass and Chamber performances have been broadcast on KBS and EBS television (Korea) and RAI3 Music at the Colburn Conservatory. (Italy), WQXR (New York), WFMT (Chicago), WBJC (Baltimore), and WETA (Washing- ton, D.C.) radio. She is Artistic Director of Apex Concerts (Nevada) and a professor of Praised by reviewers for his “passion, sumptuous tone, magical finesse, and dazzling piano at the University of Nevada, Reno. Her first solo CD recording, Klavier 1853, virtuosity,” Italian-born Tommaso Lonquich is solo clarinetist with Ensemble Midt- has been released on the Blue Griffin label. Vest in Denmark and an Artist of the Chamber Music Society of Lincoln Center. He has appeared on the world’s most prestigious stages, partnering with Ani and Ida Principal Flutist of the Metropolitan Opera Orchestra from 1977 until his retirement in Kavafian, Gilles Vonsattel, Gilbert Kalish, Nicolas Dautricourt, Yura Lee, Charles Nei- 2008, Michael Parloff is the founder and Artistic Director of Parlance Chamber dich, David Shifrin, and the Danish String Quartet. He is Artistic Codirector of Concerts in Ridgewood, New Jersey. As a lecturer, conductor, and teacher, he has Kantoratelier, a vibrant cultural space in Florence, and has given master classes at appeared at major concert venues, festivals, and conservatories in the United States the Juilliard School, Manhattan School of Music, and SUNY Purchase, among others. and abroad, including the Chamber Music Society of Lincoln Center, Music@Menlo, the Juilliard School, Yale University, and Tanglewood. He is also a frequent lecturer Violist Paul Neubauer’s exceptional musicality and effortless playing led the New for the French cruise line Ponant. Michael Parloff has been a faculty member at Man- York Times to call him “a master musician.” In 2018 he made his Chicago Symphony hattan School of Music since 1985. subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the U.S. premiere of the newly discov- ered Impromptu for Viola and Piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia was released on Signum Records, and his recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos.

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

An ardent exponent of Scandinavian music, pianist Juho Pohjonen performs widely Cellist Keith Robinson is a founding member of the Miami String Quartet and has in Europe, Asia, and North America with symphony orchestras and chamber ensem- been active as a chamber musician, recitalist, and soloist since his graduation from bles and in recital. During the 2018–2019 season, he appears as soloist with the the Curtis Institute of Music. His most recent recording, released on Blue Griffin Nashville, Pacific, Bay Atlantic, and Duluth Superior symphony orchestras. He enjoys Records with pianist Donna Lee, features Mendelssohn’s complete works for cello an ongoing association with the Chamber Music Society of Lincoln Center and is an and piano. As a member of the Miami String Quartet, he has recorded for the BMG, alumnus of the Bowers Program (formerly CMS Two). Other highlights this season CRI, Musical Heritage Society, and Pyramid recording labels, was a member of the include his recital debut at the 92nd Street Y in New York, a European tour in Febru- Chamber Music Society of Lincoln Center’s CMS Two (now the Bowers Program), ary, and concerts in Toronto and Alicante, Spain. His recent recordings include and won the Concert Artists Guild, London String Quartet, and Fischoff chamber Romantic repertoire with cellist Inbal Segev on Avie Records and works in honor of music competitions. He plays a Carlo Tononi cello made in Venice and dated 1725. Finland’s centennial as pianist of the Sibelius Trio on Yarlung Records. Juho Pohjonen holds the Alan and Corinne Barkin Piano Chair for 2019. Lauded as “personal and profound” (BBC Music Magazine), “among the best quartets in the world” (Süddeutsche Zeitung), and “one of the most exciting string Active as a classical and jazz pianist and composer, Stephen Prutsman began per- quartets of the present day” (Fono Forum), the Schumann Quartet is having an forming in his teens with several art rock bands and was a regular on a nationally exciting season highlighted by its three-year residency at the Chamber Music Soci- syndicated gospel television show. A medal winner at the International Tchaikovsky ety of Lincoln Center in New York City, which began back in December 2016. Competition in Moscow and the Queen Elisabeth Competition in Brussels in the 1990s, Furthermore, the quartet will go on tour in Israel and twice in the United States, give he has served as Artistic Partner with the St. Paul Chamber Orchestra and Artistic Direc- guest performances at festivals in Germany, Austria, France, the Netherlands, and tor of the Cartagena International Music Festival. He is also a composer and arranger, Bulgaria, and perform concerts in London, Amsterdam, Vienna, Hamburg, and Ber- and his music has been performed by leading classical and popular artists, including lin. The quartet’s current album, Intermezzo, has been hailed enthusiastically both at the Kronos and St. Lawrence quartets, Tom Waits, Leon Fleisher, Dawn Upshaw, and the home and abroad and is celebrated as a worthy successor to its award-winning Silk Road Ensemble. Passionate about the plight of the developmentally disabled, Landscapes album. Among other prizes, the latter received the Jahrespreis der Stephen Prutsman cofounded the nonprofit organization Autism Fun Bay Area. Deutschen Schallplattenkritik and five Diapasons and was selected as Editor’s Stephen Prutsman holds the Kathleen G. Henschel Piano Chair in honor of Wu Han Choice by BBC Music Magazine. for 2019. Six-time Grammy Award-winning recording producer Da-Hong Seetoo returns to First Prize winner of the 2008 Naumburg International Violoncello Competition, Music@Menlo for a seventeenth consecutive season to record the festival concerts David Requiro (pronounced re-KEER-oh) is recognized as one of today’s finest cel- for release on the Music@Menlo LIVE label. A Curtis Institute– and Juilliard School– lists. Requiro has appeared as soloist with the Tokyo Philharmonic, National trained violinist, Seetoo has emerged as one of a handful of elite audio engineers, Symphony Orchestra, Seattle Symphony, and numerous orchestras across North using his own custom-designed microphones, monitor speakers, and computer America. He has performed with the Chamber Music Society of Lincoln Center, software. His recent clients include the Borromeo, Escher, Emerson, Miró, and Tokyo Seattle Chamber Music Society, and Jupiter Symphony Chamber Players and is a String Quartets; the Beaux Arts Trio; pianists Daniel Barenboim, Yefim Bronfman, founding member of the Baumer String Quartet. The Chamber Music Society of Derek Han, and Christopher O’Riley; violinist Gil Shaham; cellist Truls Mørk; the Lincoln Center appointed him to its prestigious Bowers Program (formerly CMS Two) Chamber Music Society of Lincoln Center; the Chicago Symphony Orchestra under beginning in the 2018–2019 season. David Requiro has been Assistant Professor of David Zinman; the Evergreen Symphony (Taipei, Taiwan); the New York Philharmonic Cello at the University of Colorado Boulder since 2015. under Lorin Maazel; the ProMusica Chamber Orchestra (Columbus, Ohio); the Royal Philharmonic Orchestra under Carlos Miguel Prieto; the Singapore Symphony Known for his “delicious quality of tone,” Kevin Rivard, Coprincipal Horn of the San Orchestra; and David Finckel and Wu Han for the ArtistLed label. Francisco Opera Orchestra and Principal Horn of the San Francisco Ballet Orchestra, has performed with Orpheus Chamber Orchestra, the Metropolitan Opera Orchestra, Praised for his “virtuosic,” “dazzling,” and “brilliant” performances (New York Times) the Philadelphia Orchestra, and the Chamber Music Society of Lincoln Center, among and his “bold, keen sound” (New Yorker), oboist James Austin Smith performs new others. His awards include Grand Prize at the Concours International d’Interprétation and old music across the United States and around the world. Smith is an Artist of Musicale in Paris, the International Horn Competition of America, and the Farkas Horn the Chamber Music Society of Lincoln Center and a member of the International Competition. Kevin Rivard has participated in the Sarasota Music Festival, Norfolk Contemporary Ensemble (ICE), Decoda, and the Poulenc Trio, as well as Artistic Chamber Music Festival, Verbier Festival, and Santa Fe Opera. Director of Tertulia, a chamber music series that takes place in restaurants in New York City and San Francisco. He is a member of the faculties of Stony Brook Univer- sity and Manhattan School of Music. Find him @jaustinsmith on Instagram.

30 subscribe at www.musicatmenlo.org | 650-331-0202 Brazilian oboist Hugo Souza is the Acting Oboe Professor at Escola de Música da Violinist James Thompson is currently an Artist Diploma candidate at the Cleveland UFRN in Natal, Brazil. As an avid double-reed educator and performer, he cofounded Institute of Music working with Jaime Laredo, having studied previously with William the Brazilian Double Reed Society in 2016, which strives to further the professional Preucil and Paul Kantor. Thompson regularly performs for top-tier chamber music and artistic careers of its associates by promoting activities such as competitions, festivals around the country, including Music@Menlo, the Perlman Music Program, conferences, and research. As a performer, he has participated in the Orfeu faculty and the Taos School of Music. Alongside his performance career, James Thompson chamber music series at UFRN, which offered free chamber music concerts to the is forming a strong reputation as a private instructor and chamber music coach. He public. He is also a founding member of Trio InVentus and a D.M.A. candidate at the views his work with young people as an immensely important aspect of his calling Eastman School of Music in the studio of Dr. Richard Killmer. as a musician and is grateful to have the opportunity to share with everyone the joy he has found making music. The cellist of the Escher String Quartet, Los Angeles native Brook Speltz has performed as a soloist, chamber musician, and recitalist throughout the United States, R. Larry Todd is Arts & Sciences Professor at Duke University. His books include Canada, Latin America, Europe, and Asia. Since winning First Prize in the Ima Hogg Mendelssohn: A Life in Music, “likely to be the standard biography for a long time to Competition, he has performed as a soloist with the Houston Symphony, Colorado come” (New York Review of Books), and Fanny Hensel: The Other Mendelssohn, Music Festival Orchestra, and International Contemporary Ensemble, among others, which received the ASCAP Slonimsky Award. A fellow of the Guggenheim Founda- and is a regular performer at England’s IMS Prussia Cove and on tour with Musicians tion and National Humanities Center, he edits the Master Musicians Series (Oxford from Marlboro. Based in New York City, Speltz tours and performs with ensembles University Press). With Nancy Green, Todd has issued the complete cello/piano such as SHUFFLE Concert and the East Coast Chamber Orchestra and on the works of the Mendelssohns for JRI Recordings. Among his recent projects are the Omega Ensemble series. books Discovering Music (OUP) and, with Marc Moskovitz, Beethoven’s Cello: Five Brook Speltz holds the Kathleen G. Henschel Cello Chair in honor of David Revolutionary Sonatas and Their World (Boydell & Brewer) and, with Nancy Green, Finckel for 2019. the video Exploring Beethoven’s Cello Sonatas, available on YouTube.

Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann recently Swiss-born American pianist Gilles Vonsattel is the recipient of an Avery Fisher made his solo debut with the Mariinsky Theatre Orchestra (under Valery Gergiev), Career Grant and the Andrew Wolf Chamber Music Award and winner of the Naum- Vancouver Symphony, Pacific Symphony, and Alabama Symphony, among others. burg and Geneva competitions. He has appeared with the Munich Philharmonic, He has appeared previously with the American Symphony Orchestra, Stamford Orchestre Symphonique de Montréal, Boston Symphony, and San Francisco Sym- Symphony, Chattanooga Symphony, Minnesota Sinfonia, Jerusalem Symphony, and phony and performed recitals and chamber music at Ravinia, Tokyo’s Musashino Paris Chamber Orchestra. A dedicated chamber musician, he has been affiliated Hall, Wigmore Hall, Bravo! Vail Valley, Chamber Music Northwest, La Roque with the Chamber Music Society of Lincoln Center since 2006 and regularly d’Anthéron, Music@Menlo, the Lucerne Festival, and Spoleto USA. As an Artist of the appears with it in New York and on tour. Born in Strasbourg, France, and based now Chamber Music Society of Lincoln Center, Gilles Vonsattel regularly performs at in New York City, Arnaud Sussmann trained at the Conservatoire de Paris and the Alice Tully Hall and on tour throughout the United States and internationally. Juilliard School with Boris Garlitsky and Itzhak Perlman. Winner of the prestigious Yehudi Menuhin International Violin Competition in 2010, Stephen Taylor holds the Mrs. John D. Rockefeller Solo Oboe Chair with the Cham- violinist Angelo Xiang Yu has received consistent critical acclaim and enthusiastic ber Music Society of Lincoln Center and is Principal Oboist of the Orchestra of St. audience response worldwide for his astonishing technique and exceptional musi- Luke’s, St. Luke’s Chamber Ensemble, American Composers Orchestra, the New cal maturity. In March 2017, he was chosen to participate in the Chamber Music England Bach Festival, and Orpheus Chamber Orchestra. His regular festival Society of Lincoln Center’s Bowers Program (formerly CMS Two). In North America, appearances include Caramoor, Sebago-Long Lake, Music from Angel Fire, his recent and upcoming orchestral engagements include appearances with the Music@Menlo, Norfolk, Santa Fe, Aspen, and Chamber Music Northwest. Stephen orchestras of Pittsburgh, Toronto, Vancouver, and Houston. Also an active recitalist Taylor has been awarded a Performer’s Grant from the Fromm Foundation at Har- and chamber musician, he has appeared in recital in Berlin, Paris, Beijing, Singapore, vard University and is on the faculties of the Yale School of Music and Manhattan Shanghai, Auckland, Chicago, Pittsburgh, and Boston and has performed at the School of Music. Obsessed with buoyancy, he spends as much time as possible on world’s leading summer music festivals, including the Verbier and Bergen Festivals. his old wooden boats in Maine.

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 less than 15 percent of Music@Menlo’s budget?

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

32 subscribe at www.musicatmenlo.org | 650-331-0202 Music@Menlo Membership

Become a Member by making a Only Members of Music@Menlo enjoy special Music@Menlo Travel contribution to the Annual Fund benefits and VIP access. Join one of our October 27–November 4, 2019: membership circles today! Florence, Italy Your gift to Music@Menlo will: Performers Circle ($100–$999) Music@Menlo invites you to embark on a specially curated • Subsidize each and every event produced during our summer Welcome to the Music@Menlo community! journey. With festival artists, expert guides, and distinguished festival lecturers, Music@Menlo’s travel program offers our patrons Composers Circle ($1,000–$24,999) • Underwrite free community programming, including: incomparable insider access to significant historical and cul- Enjoy special events with festival artists and the Artistic Directors, tural landmarks and musical experiences like no other. This fall, –– Prelude Performances advance reservations for the Chamber Music Institute perfor- Music@Menlo will travel to Florence, the heart of Italy’s Tuscany –– Koret Young Performers Concerts mances, and VIP ticketing. region and the birthplace of the Italian Renaissance, for an –– Master classes Patrons Circle ($25,000+) adventure in music, art, and food. In the company of musicians, we will explore this extraordinary city that boasts more art trea- –– Café Conversations Members of the Patrons Circle play a vital role in the support of sures than any other city in the Western world. –– Open coaching sessions Music@Menlo and are recognized through the Season Dedica- • Provide a world-class educational experience for forty young tion as well as intimate opportunities to engage with festival If you are interested in learning more about Music@Menlo’s and emerging artists in our Chamber Music Institute artists and the annual Patrons Circle Season Announcement travel program, please contact Edward Sweeney at 650-330- 2030 or [email protected]. • Fund year-round chamber music activities, including: event. –– Music@Menlo:Focus Residencies For a complete listing of donor levels and details of the benefits included, please visit www.musicatmenlo.org/membership –– Classroom and community outreach during our annual or contact Edward Sweeney at 650-330-2030 or Winter Residency [email protected].

subscribe at www.musicatmenlo.org | 650-331-0202 33 Reserving Your Summer Festival Tickets

Get the Best Seats! 2019 Summer Festival Subscriptions Subscription Levels: Choose Your Own Support Become a Music@Menlo Summer Festival Subscriber and enjoy Festival Mini Subscription (4–5 Events*) Members of the Composers Circle at the $1,000 level and exclusive benefits, personalized service, and special savings • Save 5 percent on your ticket order and subsequent festival above receive VIP priority ticketing—VIP ticket orders are filled throughout the entire festival. Subscriber benefits include the ticket purchases. following: first, ensuring ticket availability for the most popular concerts and Festival Full Subscription (6+ Events*) securing priority seats, based on giving level. Composers Circle • P riority ticketing: Get your order filled before non-Subscribers • Save 10 percent on your ticket order and subsequent festival and above Members also receive Advance Ticketing for one for improved seats and access to concerts that sell out quickly. ticket purchases. Prelude Performance or Koret Young Performers Concert of their Order by March 12 for Subscriber priority ticketing. choice. Order by February 25 for VIP priority ticketing. • S pecial savings: Receive a 5 percent or a 10 percent discount Immersion Subscription (All Events**) • Save 10 percent on your ticket order and subsequent festival Members of the Composers Circle at the $2,500 level and on your order and all additional ticket purchases throughout ticket purchases. above receive Premium Seating reservations for the best seats in the festival. the hall (see next page for more details). The number of Premium • F ree ticket exchanges: Easily exchange your tickets within the • Receive a 10 percent discount on Music@Menlo merchandise. Seating reservations is dependent on giving level. Order by Febru- 2019 summer festival free of charge. • R eceive the complete set of recordings of 2019 Music@Menlo ary 25 for VIP priority ticketing. LIVE when it is released later in the year. Subscribe Ways to Order Subscriber Fees A $10-per-order handling fee applies to each original order. Sub- Summer Festival Subscribers receive Subscriber priority ticketing Mail: Music@Menlo Tickets scribers pay no handling fees on ticket exchanges throughout with a purchase of four or more paid events. Subscriber orders 50 Valparaiso Avenue, Atherton, CA 94027 are filled immediately after VIP priority orders and before single- the 2019 summer festival. Subsequent new ticket purchases (not Phone: 650-331-0202 ticket orders. Order by March 12 for Subscriber priority ticketing. exchanges) will incur the standard $6-per-order handling fee. Fax: 650-330-2016 * Concert Programs, Carte Blanche Concerts, Encounters, and Overture Order Early Online: www.musicatmenlo.org Concert Single-ticket orders are filled in the order they are received, after ** All Concert Programs and Encounters the VIP and Subscriber priority ticketing windows have closed. MUSIC@MENLO BOX OFFICE HOURS Before July 8: Monday–Friday, 10:00 a.m.–4:00 p.m. Order early to get the best seats and to get tickets to concerts that sell out quickly! July 8–August 3: Daily, 9:00 a.m.–4:00 p.m.

34 subscribe at www.musicatmenlo.org | 650-331-0202 More Ticketing Information Members of the Composers Circle and Above (contributors of $1,000 or more to the 2019 Annual Fund) Your VIP priority ticket order (placed by February 25) will be filled before all other ticket orders (priority based on giving level). For your first summer festival ticket order, pay Subscriber or non-Subscriber handling fees ($10 for subscriptions or $6 for single- ticket orders). Then, enjoy waived handling fees for all additional ticket purchases or exchanges throughout the 2019 summer festival. Premium Seating and Advance Ticketing Premium Seating allows Members of the Composers Circle at the $2,500 level and above to upgrade some of their tickets to include assigned seating reflecting their preferences. Premium Seating can be applied to any paid event and/or Prelude Performances and Koret Young Performers Concerts. Members of the Compos- ers Circle ($1,000) and above enjoy Advance Ticketing for one Prelude Performance or Koret Young Performers Concert of their choice. Members of the Composers Circle at the $10,000 level and above enjoy Advance Ticketing for all Prelude Performances and Koret Young Performers Concerts. For more information about Advance Ticketing or Premium Seat- ing, please visit www.musicatmenlo.org/membership or contact Taylor Smith at 650-330-2136 or [email protected]. Seating Policies Seating is reserved for all paid ticketed events: Encounters, Overture Concert, Concert Programs, and Carte Blanche Concerts. All paid events are reserved seating, and seats are assigned on a best- available basis at the time the order is filled. Seating is by general admission for all free events, including Prelude Performances, Koret Young Performers Concerts, Café Conversations, and master Will Call and Ticket Services at the Venue Ticket Reservations for Prelude Performances Will call and on-site ticket services at each venue open one hour classes. Premium Seating is available for Composers Circle Mem- and Koret Young Performers Concerts before the start of any ticketed event. Tickets for all Music@Menlo bers at the $2,500 level and above for Prelude Performances and Online ticket reservations are available for Prelude Performances paid events may be ordered at on-site ticket services. Koret Young Performers Concerts. and Koret Young Performers Concerts and can be made at Ticket Returns, Exchanges, and Donations www.musicatmenlo.org or by calling the ticketing line on the Discounted Tickets for Those under Age Thirty day of the event starting at 9:00 a.m. Free tickets can also be We welcome ticket returns for a credit, exchange, or donation. Music@Menlo is committed to making tickets available at a greatly requested in person at will call beginning one hour prior to the You may return your ticket up to twenty-four hours prior to a reduced rate for audience members under the age of thirty. Prices start of each concert. Ticket reservations are general admission. performance for a ticket credit (to be used within the same vary by event and venue. Proof of age may be required. season), an immediate exchange, or a tax-deductible donation. Accessibility Single-Ticket Orders Ticket exchanges are subject to a $3-per-ticket fee, which is Accessible seating is available at each venue and can be A $6 handling fee applies to any order of three or fewer concerts waived for Summer Festival Subscribers and Members of the ordered online, by phone, or by mail. If ordering online or by or Encounters. A $3-per-ticket handling fee applies to exchanges. Composers Circle ($1,000) and above. There is never a fee to mail, please indicate that accessible seating is required. For donate your ticket. Proof of the return must be provided. All Receiving Your Summer Festival Tickets questions about accessibility, please contact Patron Services. programs and artists are subject to change without notice. Tickets will be mailed beginning in mid-June. For ticket orders Tickets cannot be exchanged, credited, or donated on the Questions placed after that, tickets will be mailed within approximately five day of the event. We cannot refund tickets, except in the case For questions about tickets or your order, please call Patron Ser- business days. For ticket orders placed fewer than seven days of a canceled event. vices at 650-331-0202, email [email protected], or visit prior to a performance, tickets will be held at will call. 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 2019, 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 148 The Festival Campus and Performance Venues guests, provides a listening experience in the intimate setting for Music@Menlo’s Home: Menlo School which chamber music was intended. Martin Family Hall, Menlo School’s versatile 220-seat multimedia Menlo School is one of the nation’s leading independent college- During the school year, Music@Menlo supports Menlo School’s facility, offers up-close enjoyment from every seat for Encounters preparatory schools and has been the home of Music@Menlo commitment to instilling creative-thinking skills in all of its students. (see pp. 7–19), select Prelude Performances (see pp. 23–24), mas- since its inaugural season in 2003. The Menlo School campus is Music@Menlo’s annual Winter Residency brings classical music ter classes, and Café Conversations (see p. 24). host to many of the festival concerts, the Encounter series, and into the Menlo School classrooms with a series of special perfor- Music@Menlo’s Chamber Music Institute. The school’s class- mances, discussions, and classroom presentations designed to The Center for Performing Arts at Menlo-Atherton, open since rooms offer an ideal setting for rehearsals and coachings, while introduce Menlo School students to a broad selection of chamber 2009, is the Peninsula’s first state-of-the-art concert hall, acousti- Martin Family Hall and Stent Family Hall’s Spieker Ballroom pro- music masterpieces, all in the context of curricula ranging from cally ideal for chamber music. With an architectural design inspired vide intimate settings for music as well as for Café Conversations, American literature to foreign language studies. by the neighboring oak tree grove and an intimate interior, the 495- master classes, and other Institute activities. seat hall is located in close proximity to downtown Menlo Park on Festival Welcome Center the campus of Menlo-Atherton High School. Menlo School’s commitment to learning and its welcoming Music@Menlo’s Welcome Center is open daily throughout atmosphere and beautiful grounds make it the ideal environ- Reserved Seating—Seating for paid events at the Center for the festival. The Welcome Center serves as a place for artists, ment for audiences, Institute students, and the festival’s Performing Arts at Menlo-Atherton, Stent Family Hall, and Martin students, audience members, and festival guests to connect artist-faculty to share ideas and realize Music@Menlo’s educa- Family Hall is reserved. Seating for all free events, including Pre- during the festival. Visitors to the Welcome Center can purchase tional mission, which serves festival audiences, Menlo School lude Performances and Koret Young Performers Concerts, is by concert tickets and get information about the festival’s many students, and the next generation of chamber musicians. general admission. Venue seating maps and more information on offerings and events. reserved seating can be found on the order form, and directions to the venues appear on the opposite page.

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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

For Visitors to Our Area nearby, the Stanford Shopping Center in Palo Alto is an upscale PHOTO CREDITS open-air mall. Music@Menlo photographs (pp. 2–3, 22–24, and 32–37): Geoff Sheil. Travel program (p. 33): Location: Atherton and Menlo Park are situated adjacent to each Aleksandr Ozerov. David Finckel and Wu Han (pp. 2 and 26): Lisa-Marie Mazzucco. Soovin Accommodations: Comfortable and welcoming hotels are Kim and Gloria Chien (p. 20): Frédéric Silberman. Juho Pohjonen (p. 20): Marco Borggreve. other on the San Francisco Peninsula, midway between San Fran- Schumann Quartet (pp. 21 and 30): Kaupo Kikkas. Tara Helen O’Connor (p. 21): Lisa-Marie cisco and San Jose. available in a variety of price ranges in Menlo Park and Palo Alto. Mazzucco. Stephen Prutsman (p. 21): Loic Nicolas. Soovin Kim and Gloria Chien (p. 25): Tom Visit www.musicatmenlo.org for more information and useful Emerson. Nicholas Canellakis and Michael Brown (p. 25): Sophie Zhai. Bruce Adolphe (p. 27): Getting here: The San Francisco Bay Area is served by three Barbara Luisi. Mark Almond (p. 27): Mark Drury. Dmitri Atapine (p. 27): Do Hyung Kim. Adam links to area websites. Barnett-Hart (p. 27): Lisa-Marie Mazzucco. Nikolay Borchev (p. 27): Nina Ai-Artyan. Aaron Boyd international airports: San Francisco, San Jose, and Oakland. (p. 27): Carlin Ma. Ivan Chan (p. 27): Zheng Yang. Gloria Chien (p. 27): Lisa-Marie Mazzucco. Romie de Guise-Langlois (p. 27): Claire McAdams. Escher String Quartet (p. 28): Sarah Skinner. Ara Atherton and Menlo Park are within forty-five minutes of each. Directions and Parking Guzelimian (p. 28): Rosalie O’Connor. Chad Hoopes (p. 28): Lisa-Marie Mazzucco. Hsin-Yun Huang Caltrain services Menlo Park and nearby Palo Alto for a direct link (p. 28): Lin Li. Gilbert Kalish (p. 28): Anneliese Varaldieve. Ayano Kataoka (p. 28): Aestheticize Menlo School, Stent Family Hall, and Martin Family Hall all are Media. Soovin Kim (p. 28): Lisa-Marie Mazzucco. Peter Kolkay (p. 28): Jim McGuire. Pierre Lapointe to San Francisco. (p. 28): Lisa-Marie Mazzucco. Jessica Lee (p. 29): Jodi Buren. Kristin Lee (p. 29): Arthur Moeller. located at 50 Valparaiso Avenue in Atherton, between El Camino Peter Lloyd (p. 29): Phillip Pirolo. Tommaso Lonquich (p. 29): Anna Grudinina. Paul Neubauer Weather: In July and August, it almost never rains on the Penin- Real and Alameda de las Pulgas, at the Atherton/Menlo Park bor- (p. 29): Bernard Mindich. Tara Helen O’Connor (p. 29): Lisa-Marie Mazzucco. Richard O’Neill (p. 29): CREDIA. Hyeyeon Park (p. 29): Do Hyung Kim. Michael Parloff (p. 29): Elizabeth Veneskey. sula. Days are dry and warm, frequently in the low eighties, and der. Parking is plentiful and free on the school’s campus. Juho Pohjonen (p. 30): J. Henry Fair. Stephen Prutsman (p. 30): Loic Nicolas. David Requiro (p. 30): evenings can be cool, sometimes in the high fifties. Brian Hatton. Kevin Rivard (p. 30): Chris Hardy. Keith Robinson (p. 30): Tara McMullen. Da-Hong The Center for Performing Arts at Menlo-Atherton is located Seetoo (p. 30): Christian Steiner. James Austin Smith (p. 30): Riehan Bakkes. Hugo Souza (p. 31): Shopping and dining: The towns of Menlo Park and Palo Alto Michelle Martorelle. Brook Speltz (p. 31): Maia Cabeza. Arnaud Sussmann (p. 31): Matt Dine. James on the campus of Menlo-Atherton High School at 555 Middle- Thompson (p. 31): Carlin Ma. R. Larry Todd (p. 31): Les Todd, Duke University Photography. Gilles offer tree-lined streets featuring distinctive boutiques, shops, field Road in Atherton, near the intersection of Middlefield Road Vonsattel (p. 31): Marco Borggreve. Angelo Xiang Yu (p. 31): Kate Lemmon. and outstanding eateries serving cuisine to suit any taste. Also and Ravenswood Avenue. Parking is free. Art direction and design: Nick Stone, www.nickstonedesign.com

subscribe at www.musicatmenlo.org | 650-331-0202 37 Music@Menlo Calendar July 12–August 3, 2019

Special Thanks FRIDAY, JULY 12 SATURDAY, JULY 13 Music@Menlo is made possible by a leadership grant from the William and Flora Hewlett Foundation. Additional support provided by Koret Foundation Funds, the Margulf Foundation, U.S. Trust, and the many individuals and organizations that share the festival’s vision. 7:30 p.m. 3:30 p.m. ENCOUNTER I: BACH PRELUDE PERFORMANCE† ASCENDING/BEETHOVEN The Center for Performing LAUNCHED, 1710–1800, Arts at Menlo-Atherton LED BY ARA GUZELIMIAN PAGE 24 Martin Family Hall ($52) The Margulf Foundation PAGE 7 6:00 p.m. CONCERT PROGRAM I: 1710–1720: BACH ASCENDING ProPiano is the official provider The Center for Performing of Steinway Hamburg grand Arts at Menlo-Atherton pianos to Music@Menlo 2019. ($74/$64/$54) PAGE 6

8:30 p.m. FÊTE THE FESTIVAL Menlo School campus RIDGEVINEYARDS ($75) Since 1962 traditionally-made wines PAGE 7 from California’s finest old vines

on Monte Bello Ridge overlooking the peninsula

Open for tasting SUNDAY, JULY 14 MONDAY, JULYSaturday & 15 Sunday, 11 - 5 TUESDAY, JULY 16 WEDNESDAY, JULY 17 THURSDAY, JULY 18 FRIDAY, JULY 19 SATURDAY, JULY 20 4 0 8 . 8 67. 3233 www.ridgewine.com 3:30 p.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 1:00 p.m. PRELUDE PERFORMANCE† MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ KORET YOUNG Martin Family Hall CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† PERFORMERS CONCERT† PAGE 24 Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Hall The Center for Performing PAGE 24 PAGE 24 PAGE 24 PAGE 24 PAGE 24 Arts at Menlo-Atherton 6:00 p.m. PAGE 24 CARTE BLANCHE 5:00 p.m. 7:30 p.m. 5:00 p.m. 5:00 p.m. CONCERT I: SOOVIN KIM PRELUDE PERFORMANCE† CONCERT PROGRAM II: PRELUDE PERFORMANCE† PRELUDE PERFORMANCE† 6:00 p.m. AND GLORIA CHIEN Stent Family Hall 1790–1800: BEETHOVEN Stent Family Hall Martin Family Hall CARTE BLANCHE Stent Family Hall ($84) PAGE 24 LAUNCHED PAGE 24 PAGE 24 CONCERT II: PAGE 20 The Center for Performing JUHO POHJONEN Arts at Menlo-Atherton 7:30 p.m. 7:30 p.m. Stent Family Hall ($84) ($74/$64/$54) ENCOUNTER II: CONCERT PROGRAM III: PAGE 20 PAGE 8 SCHUBERT’S WINTER- 1820–1830: CLASSICAL REISE AND CLASSICAL TWILIGHT TWILIGHT, 1820–1830, Stent Family Hall ($84) LED BY MICHAEL PARLOFF PAGE 10 Martin Family Hall ($52) PAGE 11

38 subscribe at www.musicatmenlo.org | 650-331-0202 SUNDAY, JULY 21 MONDAY, JULY 22 TUESDAY, JULY 23 WEDNESDAY, JULY 24 THURSDAY, JULY 25 FRIDAY, JULY 26 SATURDAY, JULY 27

3:30 p.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 1:00 p.m. PRELUDE PERFORMANCE† MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ KORET YOUNG The Center for Performing CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† PERFORMERS CONCERT† Arts at Menlo-Atherton Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Hall The Center for Performing PAGE 24 PAGE 24 PAGE 24 PAGE 24 PAGE 24 PAGE 24 Arts at Menlo-Atherton PAGE 24 6:00 p.m. 5:00 p.m. 5:00 p.m. 5:00 p.m 7:30 p.m. CONCERT PROGRAM III: PRELUDE PERFORMANCE† PRELUDE PERFORMANCE† PRELUDE PERFORMANCE† CONCERT PROGRAM IV: 6:00 p.m. 1820–1830: CLASSICAL Martin Family Hall Stent Family Hall The Center for Performing 1840–1850: ROMANTIC CONCERT PROGRAM V: TWILIGHT PAGE 24 PAGE 24 Arts at Menlo-Atherton REVOLUTION 1890–1900: MOSCOW TO The Center for Performing PAGE 24 The Center for Performing MONTMARTRE Arts at Menlo-Atherton 7:30 p.m. Arts at Menlo-Atherton The Center for Performing ($74/$64/$54) ENCOUNTER III: 7:30 p.m. ($74/$64/$54) Arts at Menlo-Atherton PAGE 10 ROMANTIC REVOLUTION/ CONCERT PROGRAM IV: PAGE 12 ($74/$64/$54) MOSCOW TO 1840–1850: ROMANTIC PAGE 14 MONTMARTRE, REVOLUTION 1840–1900, Stent Family Hall ($84) LED BY R. LARRY TODD PAGE 12 Martin Family Hall ($52) PAGE 13

SUNDAY, JULY 28 MONDAY, JULY 29 TUESDAY, JULY 30 WEDNESDAY, JULY 31 THURSDAY, AUGUST 1 FRIDAY, AUGUST 2 SATURDAY, AUGUST 3

3:30 p.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 11:45 a.m. 1:00 p.m. PRELUDE PERFORMANCE† MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ MASTER CLASS/ KORET YOUNG Martin Family Hall CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† CAFÉ CONVERSATION*† PERFORMERS CONCERT† PAGE 24 Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Hall Martin Family Hall The Center for Performing PAGE 24 PAGE 24 PAGE 24 PAGE 24 PAGE 24 Arts at Menlo-Atherton 6:00 p.m. PAGE 24 CARTE BLANCHE 5:00 p.m. 5:00 p.m. 7:30 p.m. 7:30 p.m. CONCERT III: SCHUMANN PRELUDE PERFORMANCE† PRELUDE PERFORMANCE† CARTE BLANCHE OVERTURE CONCERT 6:00 p.m. QUARTET Stent Family Hall The Center for Performing CONCERT IV: TARA HELEN The Center for Performing CONCERT PROGRAM VII: Stent Family Hall ($84) PAGE 24 Arts at Menlo-Atherton O’CONNOR AND Arts at Menlo-Atherton 1990–2000: MUSIC AT PAGE 21 PAGE 24 STEPHEN PRUTSMAN ($34) THE MILLENNIUM 7:30 Martin Family Hall ($74) PAGE 22 The Center for Performing ENCOUNTER IV: 7:30 p.m. PAGE 21 Arts at Menlo-Atherton THE ROARING TWENTIES/ CONCERT PROGRAM VI: ($74/$64/$54) MUSIC AT THE 1920–1930: THE ROARING PAGE 18 MILLENNIUM, 1920–2000, TWENTIES LED BY BRUCE ADOLPHE The Center for Performing Martin Family Hall ($52) Arts at Menlo-Atherton PAGE 17 ($74/$64/$54) PAGE 16

* Each weekday of the festival, beginning on July 15, features either a master class with the Chamber Music Institute’s young artists or a Café Conversation. Master classes and Café Conversations are offered at 11:45 a.m. on the campus of Menlo School. These events are free and open to the public. Please consult your festival program book or visit www.musicatmenlo.org during the festival season for a detailed schedule of master classes and Café Conversation topics (reservations are not required). †All events without ticket prices listed are free and open to the public. For information about attending free events, see p. 24.

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