Thursday, April 4, 2019 at 8:00PM | Richardson Auditorium in Alexander Hall Pre-concert talk by Professor Emeritus Scott Burnham at 7:00 PM

TAKÁCS STRING QUARTET

Edward Dusinberre Violin Harumi Rhodes Violin Geraldine Walther Viola András Fejér Cello with Marc-André Hamelin John Feeney Bass

FRANZ String Quartet in G Major, Op. 76, No. 1, Hob.III:75 (1797) Allegro con spirito Adagio sostenuto (1732–1809) Minuet. Presto—Trio Finale. Allegro ma non troppo

DMITRI String Quartet No. 4 in D Major, Op. 83 (1949) SHOSTAKOVICH Allegretto (1906–1975) Andantino Allegretto (attacca) Allegretto

INTERMISSION

FRANZ Quintet for Piano and Strings in A Major, D. 667 “Trout” (1819?) SCHUBERT Allegro vivace (1797–1828) Andante Scherzo: Presto Andantino—Allegretto Allegro giusto About the Program About the Program By Lucy Caplan © 2019

FRANZ JOSEPH HAYDN (1732–1809) movement, which atypically begins in g (1906–1975) the first violin soars sorrowfully over the String Quartet in G Major, Op. 76, minor, the players search frenetically for String Quartet No. 4 in D Major, Op. 83 ensemble before retreating into silence, No. 1, Hob.III:75 (1797) a path back to major-key sunlight. When (1949) might suggest a voice prevented from they finally find it, they relax for a few speaking truth to power. The scherzo- Haydn was at the top of his game when moments of gracious song before the If Haydn’s Op. 76, No. 1 quartet is the like third movement skitters from player he wrote the six quartets that comprise piece draws to a close with three more product of an exceedingly comfortable to player, punctuated by sharp pizzicati his Op. 76. At 65 years of age, he was G-major chords, a satisfying echo of the environment, Shostakovich’s Quartet No. that may evoke an ominously militaristic comfortably supported by the patronage gesture with which it began. 4 originates from a place of immense march. And the lengthy fourth movement of the Esterházy Court. Fresh off a precariousness and danger. As a highly might be meant to evoke Jewish folk glorious trip to the Great Britain, he had Haydn is often characterized as the visible public figure in Stalin’s Soviet music, which Shostakovich is reputed ascended to the position of Europe’s “father of the string quartet,” the first in Union, Shostakovich knew well that to have characterized as follows: “it can most highly esteemed composer. With a linear progression of composers who failure to appease the dictator could appear to be happy while it is tragic. It’s few external responsibilities, he was in developed and refined the genre over have catastrophic results. In 1936, he almost always laughter through tears.” an ideal position to accept a commission the ensuing centuries. But that narrative had been shaken by the infamously from the Hungarian count Joseph Erdody is too simple. For one thing, Haydn was threatening Pravda review of his opera Or maybe not. Perhaps the quartet is and devote his attention once more to a not only unusually talented, but also Lady Macbeth of the Mtsensk District. In not a collection of hidden meanings, a genre that had fascinated him throughout unusually privileged: his exceptionally 1948, his fears were compounded when trail of clues for the listener to decode. his life: the string quartet. secure circumstances allowed him a the government issued what became As musicologist Richard Taruskin has degree of artistic latitude unavailable known as the Historic Decree, an official argued, the inclusion of such subtly From the three confident chords at its to most. For another, his compositions statement that denounced “formalism” subversive material would itself have outset, the quartet conveys self-assured were not the only ones to influence and banned an array of musical works, been unacceptably risky given the expertise. The cello offers a buoyant future composers; the many musical including several of Shostakovich’s volatile circumstances under which the theme and passes it to the viola with influences that crowded the turn-of- symphonies. It is unsurprising that on the composer lived and worked. Attempts congenial cheer, launching a movement the-nineteenth-century soundscape far heels of that event, Shostakovich focused to figure out the “true” meaning of of conversational interplay among the exceed those composers and works that primarily upon more anodyne genres, Shostakovich’s music, then, are in some four members of the ensemble. The are well-remembered today. Perhaps producing works of ultrapatriotic music ways a necessarily futile endeavor. That second movement, like many of its instead of considering Haydn as a father and film scores that seemed designed murkiness is only increased by the fact counterparts in Haydn’s late quartets, figure, a better metaphorical model to placate rather than provoke. that ostensibly autobiographical sources is the expressive crux of the work. The for understanding his lasting influence published after the composer’s death, movement navigates a vast emotional would be the string quartet itself—and The Quartet No. 4 dates from this period including the influential book Testimony topography—pathos, serenity, joy—at especially a quartet as delightfully (although it was not performed until 1953, (from which the above comments about a luxuriously slow pace. Featuring conversational as this one. We might months after Stalin’s death). Perhaps the Jewish music are taken), have since a melodic line of almost impossibly imagine his voice as one among several, music conveys some of the composer’s been discredited. Absent authoritative lengthy phrases, it has the suspended- working collaboratively to expand and pervasive uncertainty and anxiety. It could evidence, it is helpful to consider a in-time character of an operatic aria. revise the genre’s meaning as it entered be said that the first movement, which phrase from the author Julian Barnes’ The third movement buzzes with energy, a new century. truncates abruptly after just a few minutes, recent novel about Shostakovich’s life. In ricocheting from loud to soft, devious to symbolizes repression at the hands of a Barnes’ telling, the composer suggests elegant, rude to charming. In the final tyrant. The second movement, in which that music, “if it is strong and true and

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pure enough to drown out the noise of making music with friends—feelings fourth movement—the promised set of of , this is surely the work time, is transformed into the whisper all too often obscured amid the ritual variations on Schubert’s song—begins with which to do so.” Wilson’s words of history.” The quartet’s whispers, as formality of the concert hall. simply, then increases in harmonic and no doubt allude to the work’s enduring ambiguous and ambivalent as they might textural complexity, allowing each musician popularity, but they also speak to the sound, can speak for themselves. It is highly appropriate that the “Trout” to take a turn at the lovely melody in the emotional timbre of the scene captured Quintet inspired this joyous scene. Like the process. A vibrant finale closes out the in the documentary. Schubert’s quintet musicians featured in the documentary, work with abundant charm and grace. exemplifies the feelings that chamber (1797–1828) Schubert was young—just 22—when he music makes possible, the way it can Quintet for Piano and Strings in A Major, composed the piece. During a relaxing The music critic Conrad Wilson once become an experience of collective joy D. 667 “Trout” (1819?) summer spent in the country town of wrote of the “Trout” Quintet that “If you for performers and listeners alike. Steyr, west of Vienna, he met a wealthy wish to introduce somebody to the world Viewers of the delightful 1969 documentary merchant and amateur cellist, Sylvester The Trout are treated to a rare sight: Paumgartner, who commissioned the piece. we get to watch five rising-star, Paumgartner both specified the unusual twentysomething musicians simply instrumentation and requested that the have fun. Just before they go onstage work incorporate a set of variations on to perform Schubert’s “Trout” Quintet Schubert’s 1817 song “Die Forelle” (“The in London, cellist Jacqueline du Pré and Trout”). Over its five movements, the violinist giggle and swap quintet maintains a wonderfully amiable LET’S PRINCETON UNIVERSITY STUDENTS: instruments; Perlman and conductor atmosphere, the musical equivalent of a YOU’RE INVITED! (playing bass) join forces to midsummer day when the sun still shines The Student Ambassadors of Princeton play one violin in a hilarious rendition of well into the evening. A first movement PARTY! University Concerts want to get to know YOU! Mendelssohn’s Violin Concerto; in sonata form is expansive and carefree, and violinist Pinchas while the second has a songlike cast. COME TO A STUDENT MEET UP. Zukerman laugh at their antics. In these If the third movement hints briefly at a Tonight at intermission, join other students pre-performance moments, we are able storm on the horizon, the sun comes out downstairs in the Richardson Lounge for an to witness the pleasure and silliness of again during its elegant trio section. The internoshin’. Meet other like-minded students who love music and share your thoughts about the concert over free snacks.

FOR PRINCETON UNIVERSITY STUDENTS ONLY. A TIMELESS CLASSIC… Visit Schubert’s “Trout” Quintet was first performed on princetonuniversityconcerts.org/for-students for more information and to join the student the series in 1909 by the Kneisel String Quartet and email list. friends, and has remained a PUC favorite for over a century as one of the most popular selections in our “favorite pieces of chamber music” audience survey.

4 | Princeton University Concerts princetonuniversityconcerts.org | 5 About the Artists About the Artists pianist Garrick Ohlssohn will culminate Muzsikás, and in 2010 they collaborated in a recording for Hyperion of the Elgar with the Colorado Shakespeare Festival and Amy Beach piano quintets. The latest and David Lawrence Morse on a drama Takács CD, to be released in the summer project that explored the composition of 2019, features Dohnányi’s two piano of Beethoven’s last quartets. Aspects of quintets and his second string quartet, the quartet’s interests and history are with pianist Marc-André Hamelin. explored in Edward Dusinberre’s book, Beethoven for a Later Age: The Journey of In 2014 the Takács became the first a String Quartet, which takes the reader string quartet to win the Wigmore Hall inside the life of a string quartet, melding Medal. The Medal, inaugurated in 2007, music history and memoir as it explores recognizes major international artists the circumstances surrounding the who have a strong association with the composition of Beethoven’s quartets. Hall. Recipients so far include pianist Sir András Schiff, singer Thomas Quasthoff, The Takács records for Hyperion Records, pianist Menahem Pressler and singer and their releases for that label include Dame Felicity Lott. In 2012, Gramophone string quartets by Haydn, Schubert, announced that the Takács was the Janácek, Smetana, Debussy, and Britten, Takács String Quartet only string quartet to be inducted into as well as piano quintets by Franck its first Hall of Fame, along with such and Shostakovich (with Marc-André legendary artists as violinist Jascha Hamelin), and viola quintets by Brahms Heifetz, conductor (with Lawrence Power). For their CDs This concert marks the Takács Quartet’s 21st appearance on the Princeton and mezzo-soprano Dame . on the Decca/London label, the Quartet University Concerts series. The ensemble also won the 2011 Award has won three Gramophone Awards, a for Chamber Music and Song presented Grammy Award, three Japanese Record The Takács Quartet, now entering its forty-fourth season, is renowned by the Royal Philharmonic Society in Academy Awards, Disc of the Year at the for the vitality of its interpretations. At the same time, though, there is an London. inaugural BBC Music Magazine Awards, uncompromising attention to detail. Based in Boulder at the University of and Ensemble Album of the Year at the Colorado, Edward Dusinberre, Harumi Rhodes (violins), Geraldine Walther Princeton audiences will remember that Classical Brits. (viola) and András Fejér (cello) perform eighty concerts a year worldwide. the Takács Quartet performed Philip Roth’s Everyman program with actress The members of the Takács Quartet During the 2018-19 season the ensemble will continue its four annual Meryl Streep in 2014. The program was are Christoffersen Faculty Fellows at concerts as Associate Artists at London’s Wigmore Hall. In August 2018, the conceived in close collaboration with the University of Colorado Boulder. The Quartet appeared at the Edinburgh, Snape Proms, Menton and Rheingau Philip Roth. The Quartet is known for Quartet has helped to develop a string Festivals. Other European venues later in the season include Berlin, such innovative programming. They first program with a special emphasis on Cologne, Baden-Baden, Bilbao and the Bath Mozartfest. The Quartet will performed Everyman at in chamber music, where students work perform extensively in the United States, including two concerts at New 2007 with the late actor Philip Seymour in a nurturing environment designed to York City’s Lincoln Center, and at the University of Chicago, and Berkeley. Hoffman. They have toured 14 cities help them develop their artistry. Through In addition to today’s concert, the quartet performed Schubert’s sublime with the poet Robert Pinsky, collaborate the university, two of the quartet’s string quintet on the Performances Up Close series in the fall. A tour with regularly with the Hungarian Folk group members benefit from the generous

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loan of instruments from the Drake Marc-André Hamelin made his Princeton He was a distinguished member of the a first prize from the German Record Instrument Foundation. The members University Concerts debut in recital jury of the 15th Van Cliburn International Critics’ Association. The Hamelin études of the Takács are on the faculty at the in 2015. Piano Competition in 2017 where each are published by Edition Peters. Born Music Academy of the West in Santa of the 30 competitors in the preliminary in Montreal, Marc-André Hamelin is Barbara, where they run an intensive Pianist Marc-André Hamelin is known round performed Hamelin’s Toccata on the recipient of a lifetime achievement summer string quartet seminar, and worldwide for performances of established L’Homme armé which marked the first time award from the German Record Critics’ Visiting Fellows at the Guildhall School repertoire, as well as for his intrepid the composer of the commissioned work Association. He is an Officer of the Order of Music. exploration of the rarities of the 19th, was also a member of the jury. Although of Canada, a Chevalier de l’Ordre National 20th, and 21st centuries – in concert primarily a performer, Mr. Hamelin has du Québec, and a member of the Royal The Takács Quartet was formed in 1975 and on disc. The current season includes composed music throughout his career; Society of Canada. at the Academy in Budapest Mr. Hamelin’s return to Carnegie Hall the majority of his works are published by Gabor Takács-Nagy, Károly Schranz, for a recital on the Keyboard Virtuoso by Edition Peters. Gabor Ormai and András Fejér, while Series plus recitals in Montreal, Seattle, This concert marks John Feeney’s all four were students. It first received Berlin, Florence, Salzburg, Wigmore Hall, Mr. Hamelin records exclusively for Princeton University Concerts debut. international attention in 1977, winning Istanbul, among others. In repertoire Hyperion Records. His most recent releases First Prize and the Critics’ Prize at the from Haydn and Mozart to Ravel and are a disc of Schubert’s in John Feeney is principal double bass of International String Quartet Competition Rachmaninoff, Hamelin appears with B-Flat Major and Four Impromptus, a Orchestra of St. Luke’s and the period in Evian, France. The Quartet also won thePolina BBC Scottish Leschenko Symphony Orchestra, Piano landmark disc of Stravinsky’s The Rite instrument groups American Classical the Gold Medal at the 1978 Portsmouth the Los Angeles, Stuttgart, and Moscow of Spring and Concerto for Two Orchestra, Sinfonia New York, and Opera and Bordeaux Competitions and First State Philharmonics, the Vancouver, with Leif Ove Andsnes, Morton Feldman’s Lafayette in Washington, D.C. This May Prizes at the Budapest International Cincinnati, and Oregon Symphonies, For Bunita Marcus, Medtner’s Piano he will play principal bass with Boston’s String Quartet Competition in 1978 and and tours in Europe with the Amsterdam Concerto No. 2, and Rachmaninoff’s Handel and Haydn Society. He has also the Bratislava Competition in 1981. The Sinfonietta. No. 3 with the London performed as a guest bassist with the Quartet made its North American debut Philharmonic Orchestra and Vladimir Vienna Philharmonic. A chamber musician tour in 1982. After several changes of With orchestra, he debuted at the Jurowski. His Hyperion discography of and soloist of international renown, he personnel, the most recent addition is Orchestre de Paris with Alan Gilbert over 60 recordings includes concertos and is a frequent guest with the Smithsonian second violinist Harumi Rhodes, following conducting the Ravel Concerto for the Left works for solo piano by such composers Chamber Players, Four Nations Ensemble, Károly Schranz’s retirement in April 2018. Hand; played the Schoenberg Concerto as Alkan, Godowsky, and Medtner, as well and Artek. He won first prize in the Concert In 2001 the Takács Quartet was awarded with the Rundfunk-Sinfonieorchester as brilliantly received performances of Artists Guild and Zimmerman-Mingus the Order of Merit of the Knight’s Cross Berlin in the opening weeks of Vladimir Brahms, Chopin, Liszt, Schumann, and International Competitions and was a of the Republic of Hungary, and in March Jurowski’s inaugural season; Stravinsky Shostakovich. medalist-prizewinner in the Geneva 2011 each member of the Quartet was with the Seattle Symphony and Ludovic and Isle of Man Competitions. He gave awarded the Order of Merit Commander’s Morlot; Haydn with Osmo Vänskä and He was honored with the 2014 ECHO the 2010 world premiere performance Cross by the President of the Republic the Minnesota Orchestra; Mozart with Klassik Instrumentalist of Year (Piano) of Domenico Dragonetti’s Concerto in D of Hungary. Nicholas McGegan conducting the and Disc of the Year by Diapason Magazine with the American Classical Orchestra. ; the two Brahms and Classica Magazine for his three- In 2009 he founded the DNA Quintet, concerti with the Moscow Philharmonic; disc set of Busoni: Late Piano Music recording and publishing the premieres and the Brahms D-minor concerto with and an album of his own compositions, of chamber music by Dragonetti. Andrew Manze conducting the Royal Hamelin: Études, which received a 2010 Liverpool Philharmonic. Grammy nomination (his ninth) and

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Glimpses of a Remarkable History: Princeton University Concerts over the Past 125 Years By Professor Emeritus Scott Burnham, © 2018

Imagine Princeton in 1894, the year Princeton Borough began governing itself as an entity fully independent from Princeton Township. And now imagine the Old Princeton Inn, a building that stood where Borough Hall stands today. At half past three on a Monday afternoon in late October, a group of music enthusiasts gathered there to enjoy a concert performance by the renowned Kneisel Quartet. They concluded with a piece of new music, namely Antonin Dvorak’s most recent string quartet, the so-called “American” quartet, which the Kneisel players had premiered in Boston some months earlier and which was one of the fruits of Dvorak’s extended stay in America.

That inaugural concert was organized by the “Ladies Musical Committee,” founded in 1894 by Philena Fobes Fine. Mrs. Fine was a remarkable spirit who persuaded the community to rally round and underwrite this new venture, which in its early years presented about six concerts annually. She was the first in a long line of such spirits: to an extraordinary degree, the history of Princeton University Concerts is a history of determined women making wonderful things happen. The initial committee was all women, and the driving forces for supporting and managing the concert series throughout the entire history of Princeton University Concerts have been mostly women, exclusively so for the first fifty years. Mrs. William F. Magie became chair of the

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committee after Mrs. Fine’s death in 1928 that number to about $52,000, and the Princeton Society of Musical Amateurs lifelong enthusiast of classical music. (in an interesting parallel, her husband, committee established a fund in Mrs. with Welch; the group still exists today. William F. Magie, had succeeded Mrs. Fine’s memory, stating that the monies One of the most memorable nights Fine’s husband, Henry B. Fine, in the role had “been raised for the purpose of Among the many highlights during Mrs. of Mrs. Pollock’s reign was almost of Princeton University’s Dean of Faculty securing for Princeton audiences better Magie’s tenure was the historic 1937 a disaster, because Spanish singer back in 1912). And for a fifteen-year span music than they could otherwise afford.” appearance of American singer Marian Victoria de los Ángeles had to cancel at during the 20s and 30s, Mrs. Williamson The name of the committee changed to Anderson, who sang four sets of arias nearly the last minute. Pollock quickly U. Vreeland did much of the heavy lifting, Princeton University Concerts Committee and Lieder and then concluded with a obtained the services of Russian soprano organizing the concerts, choosing the at this time as well, but its constitution stirring set of spirituals. Also notable Galina Vishnevskaya, who happened to artists, and managing the finances. insisted that “at least a majority of the were several concerts by the Trapp Family be the wife of ; he members shall be women” (this wording Singers in the early 1940s. Highlights played the piano for her in an electrifying Had you been around in the 1920s, was not altered until 1977!). In accordance of Mrs. Bryan’s early years as concert performance. you would have caught the Princeton with the name change, the University manager include performances by the debut of violinist in March became increasingly involved throughout recently formed Bach Aria Group, founded After Mrs. Pollock retired, Nate Randall of 1920; or heard , then the 1930s and 40s. Nominations to the and directed by Princeton legend William took over in 1988. Randall broadened the lauded as the world’s greatest cellist, committee had forthwith to be approved H. Scheide. purview of Princeton University Concerts, play Bach in 1922; or heard 23-year-old by the President of Princeton University introducing programs of jazz music and play five encores after (the President at the time was John Grier When Mrs. Bryan retired in 1964, she world music. He also oversaw the 100th his concert on April 7, 1924; or attended Hibben, husband of Mrs. Jenny Hibben); was replaced by Mrs. Maida Pollock, anniversary season of the series, and the historic concert in 1925 that featured the university Controller’s Office soon who greatly professionalized the entire assisted with the inauguration of the Polish pianist, composer and statesman began keeping the books; and in 1946 operation, bringing it up to speed in ways Richardson Chamber Players, along with Ignaz Paderewski in a program including President Harold Dodds authorized that are still in effect today. A force of their Founding Director, Michael Pratt. Beethoven’s “Waldstein” Sonata and Liszt’s payment for the building of a stage set nature, Mrs. Pollock ran the Princeton Hungarian Rhapsody. Not to mention a that would enable the chamber concerts University Orchestra as well, and was also Our current Concert Director, Marna steady array of orchestral performances to move to McCarter Theater, where the very involved with the Princeton Friends Seltzer, came to Princeton in 2010. by the New York Philharmonic, the orchestral concerts and showcase recitals of Music. Due to the greatly increased Recognized by Musical America in 2017 Philadelphia Orchestra, and the Boston were already happening. expense of hiring symphony orchestras, as one of their “30 Movers and Shapers,” Symphony Orchestra. the concert series stopped programming Seltzer’s many audience-friendly When Mrs. Magie resigned in 1944, orchestras in 1975 and began focusing innovations have clearly established A turning point for the Ladies Musical Professor Roy Dickinson Welch took over exclusively on chamber music. In a Princeton University Concerts at the Committee came in 1929, marking a new as head of the committee. Welch was also recent interview, Pollock asserted that forefront of the future of classical music. and crucial stage in its relationship with the father of the Music Department, which her most cherished goal was to get a These include new ways to interact with Princeton University. The first move was began in 1934 as a subsection of the Art worthy concert hall for chamber music the musical artists, such as live music to stabilize and augment the committee’s and Archaeology department. A dozen up and running at the university, and in meditation sessions, late-night chamber finances. Mrs. Fine had led the concert years later, in 1946, Music became an the 20th year of her 22-year tenure, her jams, and “Performances Up Close” that series for over thirty years at the time official university department, housed in efforts were finally rewarded. Richardson feature onstage seating. In introducing of her death. During those years, she Clio Hall. In that same year, Welch hired Auditorium became the concert hall it is these additional ways to get involved in had managed to raise about $35,000 Mrs. Katharine (Kit) Bryan as concert today in 1984, thanks to a donation from music, Marna Seltzer continues to honor to support the concerts. In 1929, Mrs. manager. They had collaborated before: David A. Richardson ‘66, in memory of the original and sustaining intention Jenny Hibben and others helped increase in 1935, Mrs. Bryan co-founded the his father David B. Richardson ’33, a of Philena Fobes Fine: that Princeton

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University Concerts should reflect the in the day, Mrs. Fine, Mrs. Magie and THANK YOU! values of our community as a whole. As Mrs. Vreeland often entertained artists We are deeply grateful for all of the support Alec Tsuo & Xiaoman Chen we have received and thank all of our donors Helmut & Caroline Weymar such, it enjoys pride of place as perhaps after the concert; as an early history and volunteers. Susan Wilson the finest ongoing town/gown affiliation of the Concerts Committee put it: “the Inkyung & Insu Yi in Princeton. artists came to think of Princeton people The list below acknowledges gifts of $100 or more, received between April 1, 2018 and as their friends.” That holds true now Beethoven ($100-249) March 15, 2019. If you see an error, or would Sigmund Amster The history of Princeton University more than ever, for our visiting artists like to make a change in your listing, please Rita Z. Asch Concerts has been remarkably consistent regularly declare that they love playing contact the Concert Office at 609-258-2800. Gisella Berry for these past 125 years. Passionate, in Richardson Auditorium, they love Karen I. Blu Brahms ($500+) John H. Burkhalter III committed women (and a few men) have the way they are treated by Marna and Carolyn Ainslie Theodore Chase, Jr. presented the premier musical artists her staff, and they love all of you, who John & Leigh Constable Bartlett Elliot Cohen of their age, from fiery 20-somethings so demonstrably value the experience Douglas Blair & Ann Reichelderfer Radu Constantinescu Scott Burnham & Dawna Lemaire John Madison Cooper taking the concert world by storm to of music, who take in and give back Angela Creager Julia Denny larger-than-life stars who can captivate the brilliant energy of their cherished Melanie & John Clarke Joanne Elliott us merely by taking the stage. An exalted performances. Doug DeVincens Arthur C. Eschenlauer Anne & Klaus Florey Mort Gasner lineup of the world’s finest string quartets Lor & Michael Gehret Roe Goodman has always maintained pride of place in “Music offers infinite capacity for infinite Hinda Greenberg Nancy Greenspan & John Ricklefs the series, from the Kneisel Quartet in self-renewal.” This is what Music Stan & Adria Katz Lilian Grosz Norman & Nancy Klath Judith Guder the first decades through the Budapest Department founder Roy Dickinson Gail E. Kohn Henry Halpern Quartet in the 1930s to the Takács, Welch fervently believed, and this is Andrew Moravcsik & Anne-Marie Slaughter Aline Haynes Brentano, and Jerusalem Quartets what Princeton University Concerts will Reba Orszag Pei Ying Hsiang Don Michael Randel Janet Joshua today. A special relationship has always continue to offer us, one unforgettable Runestone Family Foundation Judith Klotz endured between all these musical artists concert after another. Marue Walizer Richard Kraeuter and their Princeton presenters. Back Ralph & Joan Widner Phyllis Lehrer Mitsuru Yasuhara Lydia Lenaghan Marsha Levin-Rojer Mendelssohn ($250-499) Celia Lidz Victor & Beth Brombert Daniel Lister Chris Coucill & Liz Fillo Edward Martinsen Ellis & Phyllis Finger Ruth & Bernie Miller SUPPORT US Brandon C. Gaines Elizabeth Morgan & Steven Lestition Patricia Graham Armando Orozco Supporting Princeton University Concerts is critical to our future. Ticket sales Russell & Helene Kulsrud Elaine Pascu cover less than half of the cost of presenting the very best in world-class music. Harold Kuskin Suzanne & Charles Rebick Paul Rorem & Kate Skrebutenas Remaining funds come, in part, from our generous endowment, left to PUC by the Melissa Lane & Andrew Lovett Maurice D. Lee, Jr. Naomi Rose Ladies’ Musical Committee in 1929. We remain eternally grateful for the support of Marsha Levin-Rojer Stephen T. Schreiber the Philena Fobes Fine Memorial Fund and the Jesse Peabody Frothingham Fund. Anya & Andrew Littauer Inez & Richard Scribner Donald Mills Laura Sinderbrand Other support comes from donors like you. We are grateful to the individuals whose Jacqueline Mislow Alice Small Ellen Morehouse Elly Stein support at all levels ensures that the musical performance remains a vital part of Claire H. Thomas Princeton, the community, and the region. Lucy Anne S. Newman Harriet Rubenstein Andros Thomson Anne & Mitch Seltzer Anne M. VanLent If you wish to make a donation to Princeton University Concerts, please call us Marcia Snowden Rhoda Wagman at 609-258-2800, visit princetonuniversityconcerts.org, or send a check payable to Kurt & Judit Stenn Ariana Wittke Princeton University Concerts to: Princeton University Concerts, Woolworth Center, William Stowe & Karin Trainer Princeton, NJ 08544. Jeanette Tregoe

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Planned gifts made to Princeton University Concerts carry on the vision of an extraordinary group of ladies who founded the series. We are grateful to the individuals below who will continue this legacy and will help shape the series’ future for years to come. To inquire about planned giving opportunities, or if you have already included Princeton University Concerts in your plans, please contact Marna Seltzer in the Princeton University Concert Office at 609-258-2800.

John H. Burkhalter III Lor & Michael Gehret Thomas & Trudy Jacoby

We are deeply grateful for all of the support we receive from our staff and volunteers.

Princeton University Concerts 2018–2019­ Student Ambassadors of Princeton University Concerts Marna Seltzer Director Sérgio Martins De Iudicibus ‘20 Co-Chair John Burkhalter Tim Ruszala ‘20 Subscription Manager Co-Chair Kerry Heimann Operations & Patron Services Manager Campus Venue Services Olga Kalantarov-Hautin Nick Robinson Graphic Designer Director Dasha Koltunyuk Kathleen Coughlin Assistant Director, Marketing & Outreach Manager Performing Arts Services Deborah Rhoades James Allington Accounts Manager Audio Engineer Anne Cutrona 2018–2019 Princeton University Theater Operations Technician Concerts Committee Matthew Halbert Theater Operations Technician Michael Gehret Chair Scott Burnham Lindsay Hanson Gabriel Crouch Artist Services Manager Ellis Finger Mary Kemler Christine Gage Assistant Director, Client Resources Brandon C. Gaines Bryan Logan Production Manager, Wendy Heller Performing Arts Services John Hoffmeyer ‘19 Sharon Maselli Gail E. Kohn Audience Services Manager Dorothea von Moltke Don Michael Randel Bill Pierce Marcia Snowden Theater Operations Technician William Stowe James Taylor Marue Walizer Systems and Support Manager

Presenting the world’s leading classical Department of Music for its partnership in and musicians at Princeton University since 1894, support of this vision. For more information Princeton University Concerts aims to enrich about the Department and its vibrant student the lives of the widest possible audience. and faculty led programming, please visit We are grateful to Wendy Heller, Chair and music.princeton.edu. Scheide Professor of Music History, and the