SUNDAY AFTERNOON, NOVEMBER 24, 2019, AT 5:00  4,024TH CONCERT Alice Tully Hall, Starr Theater, Adrienne Arsht Stage Home of the Chamber Music Society of Lincoln Center

ANNE-MARIE McDERMOTT, piano IDA KAVAFIAN, violin GARY HOFFMAN, cello JOSE FRANCH-BALLESTER, clarinet

1918: STRAVINSKY’S THE SOLDIER’S TALE

LUDWIG Trio in B-flat major for Clarinet, Cello, and VAN BEETHOVEN Piano, Op. 11 (1797) (1770–1827)  Allegro con brio  Adagio  Tema con variazioni: Allegretto FRANCH-BALLESTER, HOFFMAN, McDERMOTT

IGOR L'Histoire du soldat (The Soldier's Tale), STRAVINSKY Trio Version for Violin, Clarinet, and Piano (1882–1971) (1918, arr. 1919)  The Soldier's March  The Soldier's Violin  A Little Concert  Tango, Waltz, Ragtime  The Devil's Dance KAVAFIAN, FRANCH-BALLESTER, McDERMOTT

INTERMISSION

The Chamber Music Society acknowledges with sincere appreciation Ms. Tali Mahanor’s generous long-term loan of the Hamburg Steinway & Sons model “D” concert grand piano.

PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES. Photographing, sound recording, or videotaping this performance is prohibited. ABOUT TONIGHT'S PROGRAM

Dear Listener, Although The Soldier’s Tale by Stravinsky headlines this concert, you are more than welcome to select your own favorite milestone from among the works FELIX Selected Lieder ohne Worte for Piano, Op. 19b you are about to hear. We admit that it was only by coincidence that these MENDELSSOHN  No. 1 in E major (1830) compositions find themselves as neighbors here, but each could easily have (1809–1847)  No. 2 in A minor (1830) served as one of our 50th anniversary season’s program anchors.  No. 3 in A major, “Jägerlied” (1829) When Beethoven composed his Op. 11 Trio in 1797, the clarinet had just MCDERMOTT come into its own, most notably through the great works of Mozart such as BEDŘICH Trio in G minor for Piano, Violin, and Cello, his quintet, concerto, and “Kegelstatt” trio. But it was left to Beethoven to pair SMETANA Op. 15 (1855) the clarinet with a piano and cello for the first time, a delightful combination (1824–1884) of sonorities and musical personalities which, for some inexplicable reason,  Moderato assai  Allegro, ma non agitato—Alternativo I: Andante— would not re-emerge until the masterful clarinet trio of Johannes Brahms Alternativo II: Maestoso almost a century later. In 1828, Felix Mendelssohn’s sister Fanny mentioned  Finale: Presto that she had received as a birthday present a “Song Without Words” for MCDERMOTT, KAVAFIAN, HOFFMAN solo piano. This first effort (Felix’s invention) was followed by six volumes of eight songs each, which have become beloved staples of the solo pianist’s repertoire. And with Smetana’s Piano Trio of 1855, we have the first masterpiece from the “father” of Czech music, paving the way for the highly personal, Bohemian-flavored works of Dvořák, Suk, and Janáček. But as Stravinsky’s own chamber arrangement of his theater piece is our program title, we must give it a place of pride in this concert. It is indeed representative of Stravinsky’s unparalleled contribution to the art of modern music. His many groundbreaking achievements in compositional technique in the areas of tonality, rhythm, form, and orchestration are matched by his relentless cultural curiosity and inclination to reach out to collaborators in the process of artistic creation. Diaghilev, Picasso, Balanchine, Cocteau— the list goes on and on—were part of Stravinsky’s world. The Soldier’s Tale comes from his so-called “Russian” period, as do his famous (and infamous) creations such as The Firebird, The Rite of Spring, Petrushka, and Renard. Combining visual arts, ballet, theatrical traditions of Commedia dell’arte, and folklore, Stravinsky opened up a wide path filled with possibilities for composers of the future. The story of the hapless soldier and his violin falling victim to the Devil, encapsulated here in this stunning chamber work, is but one tip of the amazing Stravinsky iceberg. Enjoy the performance,

David Finckel Wu Han ARTISTIC DIRECTORS PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES. Photographing, sound recording, or videotaping this performance is prohibited. to the traditions and taste established Love”), which had been unveiled at the NOTES ON THE PROGRAM by Haydn and Mozart. Such a work is Hoftheater in October 1797. Fortunately for us, Stravinsky was once in desperate need of funds but was also the Trio for Clarinet, Cello, and Piano, The trio’s opening sonata-form extremely generous. The first situation produced the original theatrical version Op. 11, composed in 1797. Beethoven’s movement begins with a bold, striding of L’Histoire du soldat and the second produced the reduced trio version you disciple Carl Czerny simply said, without phrase presented in unison as the first specification, that the trio was written of several motives comprising the hear tonight, arranged as a gift for the man who made possible the premiere of for “a clarinetist,” now known to be main theme group. The complementary the original work. Having performed both versions many times, I can’t imagine Joseph Bähr, a virtuoso then attached themes are introduced following life without either one. There is nothing like the original work fully staged, but it’s to the musical establishment of the two loud chords, a silence, and an not always possible to put on such a large-scale production and the smaller, trio Prussian court chapel at Potsdam. The unexpected harmonic diversion. The version brings the piece to so many more people while retaining the amazing Clarinet Trio was intended to please movement’s development section is flavor of the original. One of my very fondest memories of the original work is the the drawing-room sensibilities of the largely concerned with the striding long CMS tour and recording I did with the master, Wynton Marsalis. We paired Viennese public and at Bähr’s request, motive of the main theme. The Adagio Beethoven based the last movement is based on a melody of Mozartian the Stravinsky with Wynton’s own work for the same instrumentation, “A Fiddler’s on a well-known tune ("Pria ch'io tenderness first sung by the cello Tale.” It was one of the highlights of my musical life. The trio version also brings l'impegno"—“Before I go to work”) before being shared with the clarinet. back wonderful memories, as it was one of the repertoire staples of my group from Joseph Weigl’s popular comic The finale is a set of nine variations on TASHI in the 1970s. I remember counting in a panic as hard as I could when I first opera L’Amor marinaro (“The Corsair in Weigl’s melody. u learned it! I’ll still be counting hard tonight, but hopefully in less of a panic… I hope you all enjoy this masterpiece, as well as the rest of this wonderful program. —Ida Kavafi an I'D LIKE A SNACK! Trio in B-fl at major for Clarinet, Cello, and Piano, Beethoven’s Clarinet Trio is occasionally given the nickname “Gassenhauer,” or “Street Song,” because the composer based the third, theme-and-variation Op. 11 movement on a popular tune. He took the theme from a comic opera by Joseph Weigl, L’amor marinaro, which tells the tale of a pirate romance. The  First CMS performance on November 21, chosen song, “Pria ch’io l’impegno” (“Before I go to work”), is sung by choir  Born December 16, 1770, in Bonn. 1971, by clarinetist Gervase de Peyer, cellist master Cisolfautte (That’s Ci-Sol-Fa-Te, Italian solfege syllables) in response Leslie Parnas, and pianist Richard Goode.  Died March 26, 1827, in Vienna. to a request from two other main characters that he sing them out of a tricky  Duration: 21 minutes Composed in 1797. situation. Cisolfautte is willing to oblige, but only after he’s eaten, and he warns of the dangers of performing on an empty stomach: SOMETHING TO KNOW: Beethoven wrote this piece for Viennese clarinetist Joseph Bähr, who requested that the composer use a popular tune by Joseph Weigl Before I undertake in the last movement of the trio. this daunting task SOMETHING TO LISTEN FOR: In the fi nal variation of the third movement, I’d like a snack. Beethoven sets Weigl’s theme in an imitative canon between the clarinet and cello that leads to a piano cadenza and a syncopated closing jig. You must understand what I am like, Beethoven first made his reputation as a fame as a composer began to flourish. if on the highest, pianist after arriving in Vienna in 1792, a Some of the compositions from the sharp notes, flamboyant young musician of untamed years immediately following show his my empty stomach spirit particularly noted for the power eagerness to stretch the boundaries should return… and invention of his improvisations. of the conventional forms and modes Translation of “Pria ch’io l’impegno” It was with the premieres of his first of expression, but most of his music by Nicky Swett © 2019  Joseph Weigl by Joseph Kriehuber two piano concertos in 1795 that his of the 1790s still pays eager obeisance NBS

www.ChamberMusicSociety.org The Chamber Music Society of Lincoln Center plays. The Devil, disguised as an old reappears, the Soldier fiddles him into L’Histoire du soldat (The Soldier’s Tale), Trio Version man with a butterfly net, persuades the contortions, and the Soldier and the for Violin, Clarinet, and Piano Soldier to trade his fiddle for a magic Princess drag him into the wings. The book. He invites the Soldier to spend Devil swears vengeance. Some years three days with him, when he will show after their marriage, the Soldier wants to IGOR STRAVINSKY  Premiered on November 8, 1919, in him how to earn immense wealth from visit his village. The Narrator counsels him  Born June 17, 1882, in Oranienbaum, Lausanne. the book. Arriving at his village after not to seek the lost joy of his youth, now near St. Petersburg.  First CMS performance on April 11, their encounter, the Soldier discovers that he has found wedded happiness in  Died April 6, 1971, in City. 1976, by violinist Kyung Wha Chung, clarinetist Gervase de Peyer, and that not three days but three years have a new home with the Princess. Refusing Composed in 1918; arranged pianist Charles Wadsworth. passed. He tries to console himself with the advice, the Soldier sets out. When he for trio in 1919.  Duration: 15 minutes the wealth obtained through the book, crosses the frontier, however, he again but can find no peace, and wanders into falls under the mastery of the Devil, SOMETHING TO KNOW: The Soldier’s Tale follows the story of a soldier returning another kingdom. The Princess of the who takes his violin and leads him away, from war who sells his violin, and with it his soul, to the devil. land is ill and the King has promised her powerless to resist. SOMETHING TO LISTEN FOR: In The Soldier’s Violin, the Soldier sits by a stream hand in marriage to anyone who can cure In 1919, Stravinsky arranged a and warms up on some double stops. At the end of this movement, the violinist her. The Soldier determines to try. The concert suite from The Soldier’s Tale clumsily slips across the strings in surprise, marking the entrance of the Devil. Devil appears, playing the Soldier’s violin. for violin, clarinet, and piano, which The Soldier challenges him to a game was first performed in Lausanne After soaring to international fame in tour Switzerland. Ramuz, not being a of cards. The Soldier loses his wealth on November 8, 1919. The suite for 1910 with The Firebird, Igor Stravinsky dramatist, suggested that he write a to the Devil, whose power over him is trio includes The Soldier’s March, became a citizen of the world, living story which could be presented on stage thus ended. When the Devil collapses, The Soldier’s Violin, A Little Concert in Switzerland during the autumn and as a kind of acted narration, something the Soldier reclaims his violin and plays (accompaniment to the card-playing winter months, returning to Russia for “to be read, played, and danced.” It was the Princess back to health. She dances scene), the three dances: Tango, Waltz, the summers, and descending on Paris agreed that Stravinsky’s music would a tango, a waltz, and a rag. The Devil Ragtime, and The Devil’s Dance. u to oversee the productions of Petrushka, be an accompaniment to the action, The Rite of Spring, and The Nightingale. arranged so that it could be performed With the outbreak of the First World either on stage or independently in War in 1914, however, his travel was concert. For a subject, they settled on a Selected Lieder ohne Worte for Piano, Op. 19b restricted and he settled full-time in story from a collection of Russian tales Switzerland, near Lausanne, where compiled by Alexander Afanasiev that he remained until moving to France in concerned, according to Stravinsky, “a 1920. Among his closest friends during Soldier who tricks the Devil into drinking FELIX MENDELSSOHN Composed in 1829–30. the war was Ernest Ansermet, then too much vodka. He then gives the  Born February 3, 1809, in Hamburg.  This evening is the first CMS performance of these Lieder ohne Worte. conductor of the symphony concerts Devil a handful of shot to eat, assuring  Died November 4, 1847, in Leipzig.  Duration: 8 minutes in Geneva and founder (in 1918) of the him it is caviar, and the Devil greedily Orchestre de la Suisse Romande in that swallows it and dies.” Stravinsky and SOMETHING TO KNOW: Over the course of his life, Mendelssohn published city, who introduced him to the Swiss Ramuz incorporated other episodes from dozens of these short piano pieces, most of which were intended for home novelist and poet Charles Ferdinand Afanasiev’s stories into their scenario, consumption and could be learned and enjoyed by pianists of varying skill levels. Ramuz late in 1915. Stravinsky invited notably one that featured a “Soldier who SOMETHING TO LISTEN FOR: Op. 19b, No. 3 has received the occasional subtitle Ramuz to help prepare French versions deserts and the wily Devil who infallibly of “Hunting Song” for the open, horn-like harmonies of the opening measures and of the Russian texts for Reynard and Les comes to claim his soul.” A Narrator the triumphant character heard throughout. Noces and the partnership went so well would tell the following Soldier’s that they agreed to undertake a new Tale while performers portraying the Mendelssohn seems to have been Song, Duetto, Spring Song—and later collaboration in 1917. Given the difficulty characters danced and mimed to the first to call a piano piece a “Song music lovers tacked on many more of of theater production during the war, Stravinsky’s music: Without Words,” indicating both this less relevance, but he seems to have they realized that only a small company A Soldier, granted ten days leave, music’s small scale and its essential been wary of too much specificity in could be assembled, perhaps one that marches home to his village. He rests lyricism. He gave evocative titles to a attaching words to music. When asked in could play in almost any hall and easily along the way, takes out his fiddle, and few—Venetian Gondola Song, Spinning 1842 by Marc André Souchay, a relative

www.ChamberMusicSociety.org The Chamber Music Society of Lincoln Center of his wife in Lübeck, about his opinion be put into words, but too definite.... The Kateřina Kolářová, then 16, a childhood concerning the suggestive qualities word remains ambiguous; but in music, acquaintance and also a fine pianist, of music, he sent a now-famous reply: we understand each other perfectly.” and followed her to Prague when she It was to commemorate “People usually complain that music is Had Mendelssohn appended a title moved there with her family in 1843. the death of his young so ambiguous; that they are doubtful to the ruminative, gently rippling Op. 19b, The following year Smetana found daughter Bedřiška, and as to what they should think when they No. 1 in E major it might well have been employment as music tutor to the Prague hear it, whereas everyone understands “Nocturne.” household of Count Leopold Thun, a post to help assuage his grief, words. For me, it is just the reverse. It is Op. 19b, No. 2 in A minor is wistful he held until 1847, when he left to try his that Smetana composed the words that seem so ambiguous, so and gently flowing and sweetly luck as a concert pianist. He planned indefinite, so open to misunderstanding melancholic. a tour of Bohemia, but the opening his G minor Piano Trio. in comparison with real music, which fills The third number of Op. 19b in A concert, in Pilzen, proved such a financial one’s soul with a thousand better things major is a bracing “hunting” piece, with disaster that he abandoned both the to her illness. Only Zofie survived her than words. To me, the music I love does galloping rhythms, horns calls, and project and the idea of becoming a parents. It was to commemorate the not express thoughts too indefinite to incessant motion. u concertizing virtuoso. death of Bedřiška, and to help assuage In 1848, Smetana opened a school his grief, that Smetana composed his HEAR MORE MENDELSSOHN: Check out Episode 11 of The Phenomenal 50, a free in Prague that met the demand for G minor Piano Trio. He expressed the podcast featuring landmark performances from 50 years of CMS concerts. Available instruction in the graceful art of depth of his emotion in the epitaph on for download on Apple Podcasts, Google Podcasts, Spotify, and on the CMS website. piano playing then expected of every Bedřiška’s grave: “Here lies our child, cultivated young lady and found gifted by God in spirit and heart; in her sufficient success to marry Kateřina on were embodied all her grieving father’s August 27, 1849. His family expanded most beautiful hopes and her mother’s Trio in G minor for Piano, Violin, and Cello, Op. 15 rapidly with the births of three greatest happiness. Her departure to daughters: Bedřiška (born January the world of angels has taken away 1851, named after her father); Gabriela everything from us, forever.” (February 1852); and Zofie (May 1853). The trio’s opening movement is BEDŘICH SMETANA  Premiered in December 1855 in Prague. The composer found much joy in dominated in its mood by the dramatic  Born March 2, 1824, in Litomyšl, Bohemia.  First CMS performance on February 15, his young brood and he was deeply and tragic main theme, first given in the  Died May 12, 1884, in Prague. 1974, by pianist Charles Wadsworth, violinist Oscar Shumsky, and cellist wounded by the death of Gabriela in stark tones of the unaccompanied violin. Composed in 1855. Lynn Harrell. 1854 and by the unmistakable signs The cello enters with a countermelody  Duration: 28 minutes of the tuberculosis that increasingly and the piano with a harmonic affected his wife. The cruelest blow, foundation; a vehement discussion of SOMETHING TO KNOW: Smetana wrote this trio in memory of his daughter however, came in September of the the main subject by all the participants Bedřiška, who died of scarlet fever at the age of four. following year, when Bedřiška, his ensues. The mood brightens quickly SOMETHING TO LISTEN FOR: The composer breaks from the rapid polyrhythmic first-born and his favorite child, died for the presentation of the contrasting texture that occupies most of the Finale for a funeral march toward the end of the of scarlet fever at the age of four-and- second subject, a warmly lyrical melody movement. a-half. Bedřiška had shown an early initiated by the cello. A dynamic third aptitude for music, carrying melodies theme, faster in tempo, climaxes the Smetana’s father, a master brewer in the school to devote himself to his calling. in a clear and true voice, inventing exposition and leads directly to the Czech town of Litomyšl, a hundred miles Papa Smetana was incensed by his son’s dances that matched the patterns of development section, a stormy passage north of Vienna, sought to move his son decision and he threatened to make a the piano pieces her father played, and of heightened expression based largely up the social and economic ladder with farmer out of him, but Bedřich’s Uncle picking out on the keyboard tunes she on the main theme. A piano cadenza of a proper education, first at two local Josef, a teacher at the Premonstratensian had heard. Her death nearly prostrated musical fragments, perhaps a mirror of schools and, from 1839, at the Classical School in Pilzen, took him under his Smetana. Not even the birth of another the composer’s broken heart, serves Grammar School in Prague. Bedřich, tutelage. In Pilzen, Smetana won local daughter, Kateřina, in October, did much as the bridge to the recapitulation however, was absorbed not with the fame as a talented composer (of polkas to staunch his grief. Tragedy continued and the return of the earlier themes. A academic curriculum in Prague but with and other piano pieces in the popular to fill Smetana’s life—little Kateřina did headlong rush of impassioned phrases the study of music as a pianist, violinist, vein), a gifted pianist, and an organizer not live to see her first birthday and in closes the movement. The intensity of and would-be composer and he quit the of concerts. He fell in love there with April 1859, his wife finally succumbed emotion Smetana sought to capture

www.ChamberMusicSociety.org The Chamber Music Society of Lincoln Center in this work left no place for a calming figurations. A melancholy but broadly slow movement, so the center of the lyrical melody from the strings adds ABOUT THE ARTISTS trio is occupied by haunted scherzo- pathos and formal balance. After a return JOSE FRANCH-BALLESTER ish music in the style of a polka. Two of the opening subject, the melancholy  Clarinetist Jose Franch-Ballester is a captivating performer interludes of brighter demeanor and string theme is heard with piquantly of “poetic eloquence” (New York Sun) and “technical wizardry” slower tempo—one consistently songful, chromatic counterpoint from the piano. (New York Times). He plays regularly at the Bridgehampton the other by turns hopefully majestic The final chapter of the work begins with LISA-MARIE MAZZUCCO Chamber Music Festival, Chamber Music Northwest, the and worrisomely sad—provide contrast. a somber funeral march, but the mood Saratoga Chamber Music Festival, the Skaneateles Festival, The Finale, in free rondo form, takes as changes from tragedy to acceptance Camerata Pacifica, and Music from Angel Fire. He has also its main theme a piano subject whose and even victory with the major-key appeared at the Usedomer Musikfestival in Germany, the Verbier agitation is heightened by the conflict transformation of the movement’s Festival in Switzerland, the Cartagena Festival Internacional between duple and triple rhythmic principal themes. u de Música in Colombia, and the Young Concert Artists Festival in Tokyo, Japan. As a soloist, he has appeared with the Orchestra of St. Luke’s, the BBC Concert Orchestra, the Santa Barbara Orchestra, and numerous Spanish orchestras. Winner of the 2004 © 2019 Dr. Richard E. Rodda Young Concert Artists International Auditions, he was presented in debut recitals in New York and in Washington, DC at the Kennedy Center. In 2008, he won a coveted Avery Fisher Career Grant. He was awarded the Cannes Midem Prize, which aims to introduce artists to the classical recording industry. With the Chamber Music Society, he has recorded Bartók’s Contrasts on the Deutsche Grammophon label. Born in Moncofa, Spain into a family of clarinetists and Zarzuela singers, Mr. Franch-Ballester graduated from the Joaquín Rodrigo Music Conservatory. He earned a bachelor’s degree from the Curtis Institute of Music, where he studied with Donald Montanaro and Pamela Frank. He is a former member of CMS’s Bowers Program.

GARY HOFFMAN  Gary Hoffman is one of the outstanding cellists of our time, combining instrumental mastery, great beauty of sound, and a poetic sensibility. He gained international renown upon his

WILLIAM BEAUCARDET victory as the first North American to win the Rostropovich UPCOMING CONCERTS International Competition in Paris in 1986. He has appeared AT CMS with the Chicago, London, Montréal, Toronto, San Francisco, Baltimore, and National symphony orchestras as well as the 1741: BACH'S GOLDBERG VARIATIONS English, Moscow, and Los Angeles chamber orchestras, the TUESDAY, DECEMBER 3, 7:30 PM  ALICE TULLY HALL Orchestre National de France, the Orchestre de la Suisse Romande, the Netherlands Pianist Jeffrey Kahane performs and gives remarks on Bach's transcendent and Rotterdam philharmonics, the for the Blossom Festival, and "Goldberg" Variations. The Orchestra. He has collaborated with such celebrated conductors as André Previn, Charles Dutoit, Mstislav Rostropovich, Pinchas Zukerman, Andrew Davis, MASTER CLASS WITH JEFFREY KAHANE Herbert Blomstedt, Kent Nagano, and Jesús López-Cobos. He performs in major WEDNESDAY, DECEMBER 4, 11:00 AM  DANIEL & JOANNA S. ROSE STUDIO recital and chamber music series throughout the world, as well as at such prestigious Jeffrey Kahane leads a chamber music master class with talented students. festivals as Ravinia, Marlboro, Aspen, Bath, Evian, Helsinki, Verbier, Mostly Mozart, This event will be streamed live at www.ChamberMusicSociety.org/WatchLive Schleswig-Holstein, Stresa, Festival International de Colmar, and Festival de Toulon. He is a frequent guest of string quartets including the Emerson, Tokyo, Borromeo, 1713: CORELLI'S CHRISTMAS CONCERTO Brentano, and Ysaÿe. In 2011, Mr. Hoffman was appointed Maître en Résidence for SUNDAY, DECEMBER 8, 5:00 PM  ALICE TULLY HALL cello at the prestigious Chapelle de Musique Reine Elisabeth in Brussels. He has a TUESDAY, DECEMBER 10, 7:30 PM  ALICE TULLY HALL new release of Elgar’s Cello Concerto and Bloch’s Schelomo on the La Dolce Volta A varied collection of Baroque masterpieces including Vivaldi's Winter and label with Orchestre de Liège and Christian Arming. He performs on a 1662 Nicolò Corelli's beloved "Christmas Concerto." Amati cello, the “ex-.”

www.ChamberMusicSociety.org The Chamber Music Society of Lincoln Center IDA KAVAFIAN  Violinist/violist Ida Kavafian just recently retired after 35 ABOUT THE successful years as artistic director of Music from Angel Fire, the renowned festival in New Mexico. She leaves a legacy of CHAMBER MUSIC SOCIETY over 40 world premieres commissioned by the festival. Her close The Chamber Music Society of Lincoln Center (CMS) is known for setting the CHRISTIAN STEINER association with the Curtis Institute continues with her large benchmark for chamber music worldwide. Whether at its home in Alice Tully Hall and superb class, the endowment of her faculty chair by former at Lincoln Center, on leading stages throughout North America, or at prestigious Curtis Board President Baroness Nina von Maltzahn, and the venues in Europe and Asia, CMS brings together the very best international artists awarding of the Lindback Foundation Award for Distinguished from an ever-expanding roster of more than 120 artists per season. Many of its Teaching, which is presented in recognition of outstanding service in stimulating superior performances are live streamed on the CMS website, broadcast on radio and guiding Curtis students. In addition to her solo engagements, she continues to and television, or made available as digital albums and CDs. CMS also fosters and perform with her piano quartet, OPUS ONE, and Trio Valtorna. Co-founder of those supports the careers of young artists through The Bowers Program, which provides ensembles as well as Tashi and the Bravo! Vail Valley Music Festival (which she ran ongoing performance opportunities to highly gifted young instrumentalists and ensembles. As CMS celebrates its 50th anniversary season in 2019–20, its commitment for ten years), she has toured and recorded with the Guarneri, Orion, Shanghai, and to artistic excellence and to serving the art of chamber music is stronger than ever. American string quartets; as a member of the Beaux Arts Trio for six years; and with such artists as Chick Corea, Mark O’Connor, and Wynton Marsalis. A graduate of The , where she studied with Oscar Shumsky, she was presented in Directors and Founders

her debut by Young Concert Artists. Ms. Kavafian and her husband, violist Steven Elinor L. Hoover, Chair James P. O'Shaughnessy GLOBAL COUNCIL Tenenbom, have also found success outside of music in the breeding, training, and Robert Hoglund, Vice Chair Richard T. Prins Brett Bachman Herbert S. Schlosser Julie Ballard showing of champion Vizsla dogs, including the 2003 Number One Vizsla All Systems Peter W. Keegan, Vice Chair Tatiana Pouschine, Treasurer Charles S. Schreger Howard Dillon Suzanne E. Vaucher Carole G. Donlin in the United States and the 2007 National Champion. She has performed with the Paul B. Gridley, Secretary Susan S. Wallach John Fouhey Chamber Music Society since 1973. Nasrin Abdolali Alan G. Weiler Rita Hauser Sally Dayton Clement Jarvis Wilcox Linda Keen Beth B. Cohen Kathe G. Williamson Judy Kosloff Mike McKool Joseph M. Cohen DIRECTORS EMERITI Joyce B. Cowin Sassona Norton ANNE-MARIE McDERMOTT Anne Coffin Seth Novatt Linda S. Daines Peter Frelinghuysen  Peter Duchin Morris Rossabi For over 25 years Anne-Marie McDermott has played (1941–2018) Susan Schuur Judy Evnin Marit Gruson concertos, recitals, and chamber music in hundreds of Jennifer P.A. Garrett Trine Sorensen Charles H. Hamilton Shannon Wu cities throughout the United States, Europe, and Asia. She William B. Ginsberg Harry P. Kamen Phyllis Grann Paul C. Lambert FOUNDERS also serves as artistic director of the Bravo! Vail Music and Walter L. Harris Donaldson C. Pillsbury Miss Alice Tully MATTEO TRISOLINI Ocean Reef Music festivals, as well as Curator for Chamber Philip K. Howard (1940–2008) William Schuman Priscilla F. Kauff Dr. Annette U. Rickel Charles Wadsworth, Music for the Mainly Mozart Festival in San Diego. Recent Vicki Kellogg William G. Selden Founding Artistic Director Helen Brown Levine Andrea W. Walton performance highlights include appearances with the Colorado John L. Lindsey Symphony, Florida Orchestra, San Antonio Symphony, New World Symphony, Louisiana Philharmonic, Tucson Symphony, Mexico National Administration Symphony, and Taipei Symphony. She also returned to play Mozart with the Chamber Orchestra Vienna-Berlin at the Bravo! Vail Festival. She has performed with leading David Finckel and Wu Han, Artistic Directors  Suzanne Davidson, Executive Director

orchestras including the , Minnesota Orchestra, ADMINISTRATION DEVELOPMENT MARKETING/SUBSCRIPTIONS/ Symphony, Columbus Symphony, Seattle Symphony, National Symphony, and Michael Solomon, Director of Marie-Louise Stegall, Director of PUBLIC RELATIONS Administration Development Emily Graff, Director of Houston Symphony. Her recordings include the complete Prokofiev piano sonatas, Greg Rossi, Controller Fred Murdock, Associate Director, Marketing and Communications Mert Sucaz, Executive and Special Events and Young Patrons Trent Casey, Director of Digital Content Bach’s English Suites and partitas (Editor’s Choice, Gramophone), Gershwin’s Development Assistant Elana Grossman, Assistant Director, Melissa Muscato, Assistant Director, Institutional Giving Marketing and Digital Content complete works for piano and orchestra with the Dallas Symphony (Editor’s Choice, ARTISTIC PLANNING & PRODUCTION Joe Hsu, Development Officer, Natalie Dixon, Assistant Director of Gramophone), and, most recently, the Haydn piano sonatas and concertos with the Beth Helgeson, Director of Operations and Research Audience and Ticketing Services Artistic Planning and Administration Julia Marshella, Development Officer, Kate Merlino, Public Relations Manager Odense Philharmonic in Denmark. She tours each season with the Chamber Music Kari Fitterer, Director of Individual Giving Sara Norton, Marketing Associate Artistic Planning and Touring Taylor Peterson, Campaign Manager Jesse Limbacher, Audience and Society, as a member of the piano quartet OPUS ONE, with violinist Nadja Salerno- Laura Keller, Editorial Manager Morgan Hayes, Development Ticketing Services Associate Sonnenberg, and as part of a trio with her sisters Kerry and Maureen McDermott. She Nicky Swett, Temporary Editorial Associate Joshua Mullin, Digital Content Manager Assistant studied at the School of Music, has been awarded the Mortimer Levitt Sarissa Michaud, Production Manager EDUCATION Joel Schimek, Audience and Yumi Tamashiro, Operations Manager Bruce Adolphe, Resident Lecturer and Ticketing Services Assistant Career Development Award for Women and an Avery Fisher Career Grant, and won Schuyler Tracy, Touring Coordinator Director of Family Concerts Arianna de la Cruz, Artistic and Matthew Tommasini, Director of the Young Concert Artists auditions. Administrative Assistant Education

www.ChamberMusicSociety.org The Chamber Music Society of Lincoln Center Mr. and Mrs. Joseph W. Donner Fern Budow and Bob Reiss Dr. and Mrs. Larry DiFabrizio Helen W. DuBois Charles and Barbara Burger Paul and Frances Elston ANNUAL FUND Dr. Egidio Farone Jeff and Susan Campbell Allyson and Michael Ely Contributors to the Annual Fund and Spring Gala provide vital support for the Chamber Music Society’s Allan and Carol Carlton Mr. Stephen M. Foster Mr. Ronald Feiman & Dr. Hilary Ronner Dale C. Christensen, Jr. Dorothy and Herbert Fox wide ranging artistic, educational, and digital outreach programs. We gratefully acknowledge the following Dr. and Mrs. Fabius N. Fox Judith G. Churchill Mr. David B. Freedlander individuals, foundations, corporations, and government agencies for their generous gifts. We also thank Mr. Andrew C. Freedman and Betty Cohen Lisa A. Genova, in honor of Ms. Arlie Sulka Thomas E. Engel, Esq. Suzanne and Robert Hoglund those donors who support the Chamber Music Society through the Lincoln Center Corporate Fund. Stephen and Helen Freidus Mr. Arthur Ferguson Robert M. Ginsberg Family Foundation Freudenberg Arts Foundation Margaret and Howard Fluhr Sharon Gurwitz CHAMPIONS CIRCLE ($100,000 and above) Diana G. Friedman Burton M. Freeman John R. Hall Cynthia Friedman Kris and Kathy Heinzelman Ann S. Bowers Rita E. and Gustave Hauser The New York Community Trust Joan and Jeremy Frost Mr. Peter P. Gates Mr. and Mrs. James R. Houghton Carmel Cultural Endowment for The Hearst Foundation Stavros Niarchos Foundation Egon R. Gerard Rosalind and Eugene J. Glaser Thomas Frederick Jambois the Arts Estate of Andrea J. Klepetar-Fallek The Fan Fox and Leslie R. Samuels Mr. and Mrs. James Gillen Dr. Judith J. Warren and Frederick and Ivy Kushner Jerome L. Greene Foundation Lincoln Center Corporate Fund Foundation, Inc. John and Rita Hirsch Dr. Harold K. Goldstein Jane and John Loose Marion Goldin Charitable Gift Fund Mr. and Mrs. Philip Howard Alberta Grossman, in honor of Cordelia Manning Janet Yaseen and the Lawrence K. Grossman Lynne and Burt Manning LEADERSHIP ($50,000 and above) Honorable Bruce M. Kaplan, Judith Heimer Adam W.R. McKee Janet Yaseen Foundation Dr. and Mrs. Wylie C. Hembree Ina Meibach American Express William B. and Inger G. Ginsberg New York State Council on the Arts Bill and Jo Kurth Jagoda, in honor of The David Minkin Foundation Thomas Brener and Inbal Dr. and Mrs. Victor Grann Mr. and Mrs. James P. O'Shaughnessy Steven Kaplan and David Finckel and Wu Han Dot and Rick Nelson Segev-Brener Mr. and Mrs. Paul B. Gridley Blanchette Hooker Rockefeller Fund Shari Melamed-Kaplan Al Kamen Sheila and Sara Perkins Fund The Chisholm Foundation Irving Harris Foundation Ellen Schiff Paul Katcher Dr. Felisa B. Kaplan Kalman and Linda Post Sally D. and Stephen M. Clement, III Elinor and Andrew Hoover Susan S. and Kenneth L. Wallach Ed and Rosann Kaz Stephen and Belinda Kaye Lorna Power Thomas C. King Joan R. Rall Joyce B. Cowin Jane and Peter Keegan Foundation Mr. and Mrs. Hans Kilian Chloë A. Kramer Dr. and Mrs. Eugene S. Krauss Arthur and Susan Rebell Howard Gilman Foundation National Endowment for the Arts Elaine and Alan Weiler Edith Kubicek Mr. David Ritter Jill and Peter Kraus Richard and Evalyn Lambert Dr. Robert Silver GUARANTORS ($25,000 to $49,999) Shelly Lazarus Dr. Donald M. Levine Esther Simon Charitable Trust Estate of Anitra Christoffel-Pell MetLife Foundation Pearl F. Staller Harriet and William Lembeck Walter F. and Phyllis Loeb Family Fund Anthony R. Sokolowski Joseph M. Cohen New York City Department of William R. Stensrud and Edward S. Loh, M.D. of the Jewish Communal Fund Anne G. K. Solomon Cultural Affairs Suzanne E. Vaucher Dr. and Mrs. Michael N. Margolies Kenneth Logan Ms. Claudia Spies Linda S. Daines Thomas Mahoney and Emily Chien, Andrea and Lubert Stryer Jenny and Johnsie Garrett New York Presbyterian Hospital Steven R. Swartz Sheila Avrin McLean and David McLean In Honor of Paul and Linda Gridley Mr. David P. Stuhr Gail and Walter Harris Marnie S. Pillsbury in honor of Joost and Maureen Thesseling Dr. Ned and Francoise Marcus Ms. Jane V. Talcott Mr. and Mrs. Leigh Miller Frank and Helen Hermann Foundation Donaldson C. Pillsbury Tiger Baron Foundation Ilse Melamid Patsy and Jeff Tarr Martin and Lucille Murray Robert and Suzanne Hoglund Richard T. Prins and Connie Steensma Mr. and Mrs. Jarvis Wilcox Merrick Family Fund Thomas Vecchione Dr. Annette U. Rickel Kathe and Edwin Williamson The Honorable Frank and Edwin Mevlensteen Jane Wait Harry P. Kamen Elizabeth Newman Dr. Beth B. and Mr. Jeffrey Cohen Shannon Wu and Joseph Kahn Alan and Alice Model Tricia and Philip Winterer Vicki and Chris Kellogg Brian and Erin Pastuszenski Linda and Bill Musser Frank Wolf Judy and Alan Kosloff Charles S. Schreger Charles B. Ragland Elizabeth W. Smith Suzanne and Kresimir Penavic ALLEGRO FRIENDS Bruce and Suzie Kovner Susan B. Plum Mr. Roy Raved and Dr. Roberta Leff Mark and Pat Rochkind ($600 to $999) Jane Reisen and Melvyn Bergstein Joseph and Paulette Rose Anonymous BENEFACTORS ($10,000 to $24,999) Ellen and Ken Roman Dede and Michael Rothenberg Sophia Ackerly and Janis Buchanan Anonymous Robert and Karen Desjardins Jonathan E. Lehman Mr. and Mrs. Joseph Rosen David and Sheila Rothman Mrs. Margherita S. Frankel Nasrin Abdolali Howard Dillon and Nell Dillon-Ermers Philip and Cheryl Milstein The Alfred and Jane Ross Foundation Drs. Eslee Samberg and Eric Marcus Mr. and Mrs. Jeffrey Friedman Dr. Sander M. Abend and Ms. Carole G. Donlin Sassona Norton and Ron Filler Mary Ellen and James Rudolph Robert Wertheimer and Dorothy F. Glass Dr. Carol Lindemann Abend The Lehoczky Escobar Family Mr. Seth Novatt and Delia and Mark Schulte Lynn Schackman Barry Waldorf and Stanley Gotlin Ronald D. Abramson Judy and Tony Evnin Ms. Priscilla Natkins Sari and Bob Schneider Abner S. Greene David and Lucinda Schultz Delia and Mark Schulte Ms. Kaori Kitao Mr. James A. Attwood and David Finckel and Wu Han Scully Peretsman Foundation Peter and Sharon Schuur Ms. Leslie K. Williams Dr. Sherry Barron-Seabrook and Peter Kroll Judi Flom Farzad and Neda Rastegar Michael W. Schwartz Mr. David Seabrook Barbara and Raymond LeFebvre Brett Bachman and Elisbeth Challener John and Marianne Fouhey Gilbert Scharf Family Foundation Carol and Richard Seltzer The Susan Stein Shiva Foundation Kathy Mele William and Julie Ballard Sidney E. Frank Foundation Judith and Herbert Schlosser Dr. Michael C. Singer Jill S. Slater Merrill Family Fund The Jack Benny Family Foundation Ann and Gordon Getty Foundation Mrs. Robert Schuur Gary So, in honor of Sooyun Kim Judith and Morton Sloan Deborah Mintz, In Memory of Diane Smook and Robert Peduzzi Nancy Rosenthal Jonathan Brezin and Linda Keen Francis Goelet Charitable Lead Trusts The Shubert Foundation Annaliese Soros Betsy Cohn, in honor of Michael Jacobson and Trine Sorensen Barbaralee Diamonstein-Spielvogel Mark Morrow & Jeff Chaddock The Marc Haas Foundation Margaret Ewing Stern, M.D. and Hon. Carl Spielvogel Gil and Anne Rose Family Fund Suzanne Davidson Leo Hindery and Patti Wheeler The Speyer Family Foundation Colburn Foundation Leo J. Tick Warren and Susan Stern Joshua M. Rubins and Christopher Hughes and Sean Eldridge Joe and Becky Stockwell Deborah F. Stiles Jan C. Grossman Con Edison Laurie M. Tisch Illumination Fund Frederick L. Jacobson Virginia B. Toulmin Foundation Mr. Joe Valenza & Ms. Patricia Frost Alan and Jacqueline Stuart Lisa and Jonathan Sack Nathalie and Marshall Cox Priscilla F. Kauff Mrs. Andrea W. Walton Margo and Anthony Viscusi Michael and Judith Thoyer Monique and Robert Schweich Carlos Tome and Theresa Kim Richard and Barbara Debs Marsha and Henry Laufer Earl Weiner Sally Wardwell Charles R. Steinberg and The Gladys Krieble Delmas Foundation Herb and Liz Tulchin Judith Lambert Steinberg Patricia and Lawrence Weinbach Gertje Utley Sherman Taishoff Larry Wexler and Walter Brown PLATINUM PATRONS Mr. and Mrs. H. Roemer McPhee in GOLD PATRONS Mr. and Mrs. Salvatore Vacca Susan Porter Tall ($5,000 to $9,999) memory of Catherine G. Curran ($2,500 to $4,999) Deborah and David Winston, in honor Marei von Saher Mr. and Mrs. George Wade Morgan Stanley of David Finckel and Wu Han Jill and Roger Witten Alden Warner and Peter Reed Anonymous (2) Anonymous Noreen and Ned Zimmerman Gro V. and Jeffrey S. Wood Murat Beyazit Anju Narula Elaine and Hirschel Abelson Cecil and Gilda Wray YOUNG PATRONS Janine Brown and Alex Simmons, Jr. Linda and Stuart Nelson SILVER PATRONS ($500 to $2,500) Barbara A. Pelson Dr. and Mrs. David H. Abramson Mr. and Mrs. John D. Coffin ($1,500 to $2,499) PRESTO FRIENDS Anonymous Kenneth and Helen Cowin in honor of Mr. and Mrs. Howard Phipps, Jr. Ronnie and Lawrence D. Ackman ($1,000 to $1,499) Eva Popper Ms. Hope Aldrich Anonymous (2) Jordan C. Agee Joyce Cowin and Tom Vecchione Anonymous (5) David F. Caracta Tatiana Pouschine American Friends of Wigmore Hall Alan Agle The Dana Foundation Harry E. Allan Michael and Nancy Aboff Louis Chiappetta Ernst & Young Amanda Reed and Frances Wood Mrs. Joan Amron Richard J. Reiss Jr. Lawrence H. Appel Edward Ackerman Jamie Brooke Forseth Mrs. Barbara M. Erskine James H. Applegate Dr. Anna Balas American Chai Trust Susanna Goldfinger Irvine and Elizabeth Flinn Christine Rona Thomas A. and Georgina T. Russo Argos Fund of the Community Betsy Shack Barbanell Sarah L. Avins Lawrence Greenfield The Frelinghuysen Foundation Foundation of New Jersey Mr. and Mrs. William G. Bardel Susan Baker and Michael Lynch Robert J. Haley Naava and Sanford Grossman Family Fund Sydney and Stanley S. Shuman Scott Asen Caryl Hudson Baron Susan Beckerman Jane Kang Marlene Hess and James D. Zirin, William Benedict and Mark and Glynn Snow Family John and Darcy Beyer Lawrence B. Benenson Yoshiaki David Ko in loving memory of Mr. and Mrs. T.G. Berk Dorothy Sprague Matt Laponte Donaldson C. Pillsbury Foundation Julia Rea Bianchi Lynn G. Straus Don and Karen Berry Susan V. Beresford Brian P. Lei The Hite Foundation Constantin R. Boden Adele Bildersee Maurice S. and Linda G. Binkow Liana and Joseph Lim Kenneth Johnson and Julia Tobey Enzo Viscusi Ruby Vogelfanger Ernie and Rita Bogen Dr. Beverly Hyman and Dr. Thomas Bock and Shoshana Litt Alfred and Sally Jones Marilyn and Robert Cohen Dr. Lawrence Birnbach Mrs. Shelley Bock Lucy Lu and Mark Franks Leon Levy Foundation Gary Wasserman Alex and Audrey Weintrob The Aaron Copland Fund for Music Ellen Beth Bogolub Veronica Bulgari Zack and Katy Maggio Helen Brown Levine Judith Boies and Robert Christman Gail and Milton Cooper Katie Nojima Jane and Mary Martinez Paul and Judy Weislogel Robert J. Cubitto and Ellen R. Nadler Neil Westreich Ann and Paul Brandow Ana Daniel Jason Nong Suzanne Davidson Eric Braverman and Neil Brown Florence A. Davis Andrew Poffel Pierre and Ellen de Vegh

www.ChamberMusicSociety.org The Chamber Music Society of Lincoln Center Eren Erdemgil Sahin and Erdem Sahin Joanne Castellani and Chloë A. Kramer Shu-Ping Shen Michael Andriaccio Harriet and William Lembeck James Austin Smith Robert J. Cubitto and Ellen R. Nadler Helen Brown Levine Andrea Vogel Jon Dickinson and Marlene Burns Seth Novatt and Priscilla Natkins Jonathan Wang Howard Dillon and Eva Popper Mr. Nick Williams and Nell Dillon-Ermers Carol Shoshkes Reiss Ms. Maria Doerfler Ms. Carlotta Eisen Martin Riskin Eric Wong, in honor of Sooyun Kim Mitzi Filson Mrs. Robert Schuur Rebecca Wui and Raymond Ko Mr. Stuart M. Fischman Mr. and Mrs. Joseph E. Stockwell, Jr. Matthew Zullo Mr. and Mrs. Arthur Giron Kenny Tan Ms. Dalia Carmel Goldstein Suzanne E. Vaucher and ALICE TULLY CIRCLE Paul B. Gridley William R. Stensrud (Planned Giving) Mrs. Mary Scott Guest Ruby Vogelfanger Aimee B. Anderson Warren Ilchman Sally Wardwell Leon and Joan Ashner Frederick L. Jacobson Alan G. Weiler Mrs. Marguerite S. Bedell Thomas Jambois Janet and Peter White Eliane Bukantz Harry P. Kamen John S. Wilson Michael and Esther Bushell Hans and Donna Kilian Roger and Jill Witten Dr. Thomas C. King

For information about making a gift to CMS, please call 212-875-5782. THE CHAMBER MUSIC SOCIETY ENDOWMENT The Chamber Music Society gratefully recognizes those individuals, foundations, and corporations whose estate gifts and exceptional support of the Endowment Fund ensure a firm financial base for the Chamber Music Society's continued artistic excellence. For information about gifts to the Endowment Fund, please contact Executive Director Suzanne Davidson at (212) 875-5779. Anonymous Mrs. William Rodman Fay Mrs. John D. Rockefeller 3rd Lila Acheson Wallace Flute Chair Marion Goldin Charitable Gift Fund Daniel and Joanna S. Rose Ann S. Bowers, The Bowers Program The Hamilton Foundation Estate of Anita Salisbury Mrs. John D. Rockefeller III Estate of Mrs. Adriel Harris Fan Fox & Leslie R. Samuels Oboe Chair Estate of Evelyn Harris Foundation Charles E. Culpeper Clarinet Chair The Hearst Fund The Herbert J. Seligmann Fan Fox & Leslie R. Samuels Heineman Foundation Charitable Trust Violin Chair Mr. and Mrs. Peter S. Heller Arlene Stern Trust Mrs. William Rodman Fay Viola Chair Helen Huntington Hull Fund Estate of Arlette B. Stern Alice Tully and Edward R. Wardwell Estate of Katherine M. Hurd Estate of Ruth C. Stern Piano Chair Alice Ilchman Fund Elise L. Stoeger Prize for Estate of Robert C. Ackart Anonymous Contemporary Music, Estate of Marilyn Apelson Warren Ilchman bequest of Milan Stoeger Mrs. Salvador J. Assael Estate of Peter L. Kennard Estate of Frank E. Taplin, Jr. Estate of Katharine Bidwell Estate of Jane W. Kitselman Mrs. Frederick L. Townley The Bydale Foundation Estate of Andrea J. Klepetar-Fallek Miss Alice Tully Estate of Norma Chazen Estate of Charles Hamilton Newman Lila Acheson Wallace Estate of Anitra Christoffel-Pell Estate of Emiko Okawa Lelia and Edward Wardwell John & Margaret Cook Fund Mr. and Mrs. Howard Phipps, Jr. The Helen F. Whitaker Fund Estate of Content Peckham Cowan Donaldson C. Pillsbury Fund Estate of Richard S. Zeisler Charles E. Culpeper Foundation Eva Popper, in memory of Henry S. Ziegler Estate of Catherine G. Curran Gideon Strauss

The Chamber Music Society wishes to express its deepest gratitude for The Daniel and Joanna S. Rose Studio, which was made possible by a generous gift from the donors for whom the studio is named. The Chamber Music Society's performances on American Public Media's Performance Today program are sponsored by MetLife Foundation. CMS extends special thanks to Arnold & Porter for its great generosity and expertise in acting as pro bono Counsel. CMS gratefully recognizes Shirley Young for her generous service as International Advisor. CMS wishes to thank Covington & Burling for acting as pro bono Media Counsel. This season is supported by public funds from the National Endowment for the Arts; the New York City Department of Cultural Affairs, in partnership with the City Council; and the New York State Council on the Arts, with the support of Governor Andrew M. Cuomo and the New York State Legislature.

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