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Home , Camilla Wicks, Clara Haskil, David Soyer, Double variation, Fritz Scheel, Wolfgang Sawallisch

27 Season 2012-2013

Sunday, October 28, at 3:00 The Orchestra 28th Season of Concerts—Perelman Theater Mozart Duo No. 1 in G major, K. 423, for violin and viola I. Allegro II. Adagio III. : Allegro William Polk Violin Marvin Moon Viola

Dvorˇák String Quintet in E-flat major, Op. 97 I. Allegro non tanto II. Allegro vivo III. Larghetto IV. Finale: Allegro giusto Kimberly Fisher Violin William Polk Violin Marvin Moon Viola Choong-Jin Chang Viola John Koen Cello

Intermission

Brahms Piano Quartet No. 1 in G minor, Op. 25 I. Allegro II. : Allegro ma non troppo III. Andante con moto IV. Rondo alla zingarese: Presto Cynthia Raim Piano (Guest) Paul Arnold Violin Kerri Ryan Viola Yumi Kendall Cello

This program runs approximately 2 hours. 228 Story Title The Jessica Griffin

Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. an extraordinary history of Center, Penn’s Landing, artistic leaders in its 112 and other venues. The The ensemble maintains seasons, including music Philadelphia Orchestra an important Philadelphia directors , Carl Association also continues tradition of presenting Pohlig, , to own the Academy of educational programs for , Riccardo Music—a National Historic students of all ages. Today Muti, , Landmark—as it has since the Orchestra executes a and , 1957. myriad of education and and , who community partnership Through concerts, served as chief conductor programs serving nearly tours, residencies, from 2008 to 2012. With 50,000 annually, including presentations, and the 2012-13 season, its Neighborhood Concert recordings, the Orchestra Yannick Nézet-Séguin Series, Sound All Around is a global ambassador becomes the eighth music and Family Concerts, and for Philadelphia and for director of The Philadelphia eZseatU. the United States. Having Orchestra. Named music been the first American For more information on director designate in 2010, orchestra to perform in The Philadelphia Orchestra, Nézet-Séguin brings a China, in 1973 at the please visit www.philorch.org. vision that extends beyond request of President Nixon, symphonic music into the today The Philadelphia

29 The Music Duo No. 1 in G major, K. 423, for violin and viola

Wolfgang Amadè Mozart Mozart’s early years in were heady ones, and in Born in , addition to musical successes he was also fortunate to January 27, 1756 win the hand of Constanze Weber—actually his second Died in Vienna, choice after her sister, Aloysia, who rejected him for December 5, 1791 another man. The couple was married in August of 1782, and the following summer Mozart took his new wife back to his Salzburg home to introduce her to his family, in particular to his father, Leopold. Mozart was by this time persona non grata in his hometown, having clashed with the notorious Archbishop Colloredo, who had ultimately disinherited him from the court. But his father was still in the Archbishop’s service, so Mozart felt obliged to play nice with the court. According to legend, while he was in Salzburg Mozart visited a family friend and former colleague, Michael , Joseph’s younger brother, who was also in the Archbishop’s service. Haydn had fallen ill, having completed only four of a set of six duos for violin and viola the Archbishop had commissioned. Colloredo wanted the duos immediately and threatened to cut off Haydn’s salary if he did not complete the commission. So in a spirit of friendship and collegiality—“with undeniable pleasure,” as Mozart himself wrote—the young composer agreed to write two duos of his own creation, which were included anonymously in the set and passed off as Haydn’s compositions. This generous act made such an impression that it was passed down in the memoirs of two of Michael Haydn’s students, sources most scholars consider quite reliable. “Thus, if we wish,” comments Maynard Solomon wryly in his 1995 Mozart biography, “we can imagine Mozart’s amusement at the thought of the archbishop unwittingly enjoying the music of his former concertmaster.” Mozart would have delighted in the knowledge, as many have noted, that the Archbishop would not have known the difference between Haydn’s works and his. The subterfuge did not remain a secret for long, although it is not clear whether the Archbishop ever learned of it. As early as 1788 the Wiener Zeitung advertised the six duos for sale, in copies by Johann Traeg, with the two composers correctly identified. “At Joh. Traeg’s the 30

following music is to be had at the price indicated: Six Duetti for violin and viola. The first four are by M. Haydn, the fifth and sixth by Mozart. 5 fl. 30 kr.” These duos, in G major and B-flat, are among a mere smattering of chamber works written during this period in Mozart’s life, which was taken up chiefly with opera and a series of successful public concerts in Vienna. Yet they stand out as extraordinary examples of the rich possibilities available to just two string instruments— “masterpieces of implied harmony,” as scholar Robert W. Gutman has called them, which is to say Mozart has managed to fill in, using the barest of means, an entire harmonic fabric normally requiring three or four instruments. The viola was Mozart’s favorite stringed instrument, and accordingly violin and viola are equal partners in these duos. The challenge was not only to make the harmonic (vertical) texture sound fuller, which he achieved in part through double-stops, using more than one string at a time, but also to impress with the horizontal dimension of its counterpoint. The G-major Duo is a contrapuntal marvel given the limitations imposed by the instrumentation. Mozart presents the partners in frequent imitation and even uses canonic techniques; at other points the two exchange their parts, which entails the crossing of voices. The opening Allegro, in , abounds in intense virtuoso display. In the lyrical Adagio Mozart is able to suggest a rich harmony by breaking up chords and, as H.C. Robbins Landon observes, uses a slower tempo than he usually did, one associated with Michael Haydn. For the final Rondo: Allegro Mozart calls upon a favorite theme, based on a Swabian folksong that he used in other pieces, and provides a delightful conclusion to this remarkable piece. —Paul J. Horsley/Christopher H. Gibbs 31 The Music String Quartet in E-flat major, Op. 97

Antonín Dvorˇák Antonín Dvorˇák was born in a small Bohemian village to Born in Nelahozeves, a non-musical family, but his talents were so evident—he Bohemia, September 8, played organ at church while still a little boy, and picked 1841 up violin and viola by ear—that even his parents knew Died in Prague, May 1, something special was afoot. They sent him to Prague at 1904 age 12, where he studied at the National Conservatory. After graduation he became a violinist for the Czech National Orchestra under the direction of Bedrˇich Smetana, whose opera The Bartered Bride and orchestral suite Má vlast had at last given Czech music a classical voice. Dvorˇák’s composition career stalled for a rather long time. Almost nothing he wrote before the age of 30 survives. In fact he went unnoticed as a composer until 1873, when his choral work Hymnus won a prize adjudicated by the great German composer and Europe’s most powerful music critic, Eduard Hanslick. Beyond giving Dvorˇák the award, Brahms and Hanslick recognized a talent that had the potential to raise Czech music to the next level of importance and sophistication. With Brahms’s help, Dvorˇák’s music was published by the prestigious house of Simrock, and with Hanslick’s praise in his pocket he began to get healthy commissions. The remainder of Dvorˇák’s career consisted of one triumph after another, as he became known around the globe. England became so enthusiastic for the composer’s music that Cambridge University awarded him an honorary doctorate in 1891. He was invited to America, where he served from 1892 to 1895 as director of the National Conservatory of Music in . During his first year in New York Dvorˇák produced the “New World” Symphony, arguably his best-known work. Then came an incredible outpouring of chamber music in an unlikely place: Spillville, Iowa. Spillville was home to a large Czech immigrant community, including two of the composer’s cousins. Dvorˇák spent the summer of 1893 there, writing three chamber scores back-to-back: the string quartet dubbed the “American”: a sonatina for violin and piano; and the present work for two violins, two violas, and cello, a string quintet also sometimes referred to as the “American.” Upon his return to New York Dvorˇák composed his famous Cello Concerto, a close second 32

to the “New World” Symphony for popularity and without doubt the most widely performed cello concerto ever written. It’s safe to say that without Dvorˇák’s output during the three years he spent in America, his reputation would be considerably diminished. What sparked such stellar creativity? Excitement at being in a new land has been suggested as the cause, as has its opposite—homesickness conveyed in passionate sonic love-letters to the faraway native land. Certainly a synergy of the two prompted the composer to look backward but with a refreshed musical mind. Old gestures took on new sheen; old forms were reinvigorated. This shows in the Quintet in E-flat major, Op. 97. The work is Dvorˇák’s first notable essay using the traditional string quintet instrumentation. His very first work was an Op. 1 for two violins, two violas, and cello, but it lay in the composer’s desk throughout his life, unpublished until long after his death. He wrote a second quintet and scored it for string quartet and double bass, which entered the repertoire immediately and became its only work thus scored. With his Op. 97 Dvorˇák at last addressed successfully the genre earlier embraced by Mozart, Mendelssohn, and his good friend Brahms. The work is in four movements. The first, indicated Allegro non tanto, begins with a deceptively folk-like motif. The second viola introduces it, an eight-note bit of melody that starts and ends on the dominant tone of B-flat. After some comments from the other strings, the cello reiterates the motif, again underlining the B-flat before the sonata-allegro movement formal commences. This focus on the dominant, or fifth step of the scale, will continue throughout the movement and much of the rest of the Quintet. Emphasis on the dominant, as opposed to the “home” note of the key (in this case, E-flat), puts the composer in a position to explore more easily the farthest reaches of tonal relationships. A typical journey starting from E-flat would lead most likely to B-flat. But one from B-flat might go almost anywhere. The second movement is in the startlingly distant key of B major, as far from E-flat as one might imagine. Marked Allegro vivo, in cut time, it is a furiant, or Czech folk dance that frequently shifts accents for a slightly syncopated effect. A trio, or middle section, in B minor features a plaintive song from the first viola. The return of the A section is no mere repeat, but presents the material fully transformed, with the rhythmic accents now sharper and more emphatic. 33

The heart of the Quintet is the Larghetto, one of Dvorˇák’s great slow movements—sweeping in its range of expression and perfect in its realization of form. Two subjects are presented and then developed side-by-side in what is called “double variation” form. The first brief subject is in A-flat minor and the other in A-flat major; each variation first varies the minor and then turns to the major. The accumulated effect is of an addictive emotional see-sawing that at last relaxes, somewhat regretfully, into A-flat major. The finale is a rapidly unfolding seven-part rondo marked Allegro giusto. The A subject is an insistent dotted- rhythm melody. The B section is a madcap dance of triplets, and the lyrical middle C section takes us back to the key of B major, which now seems not so distant after all. The ending pages are a furious whirl of notes; at the very end, the violins climb chromatically up to the final E-flats in a surprisingly dissonant moment that concludes this astonishing score. —Kenneth LaFave 34 The Music Piano Quartet No. 1 in G minor, Op. 25

Johannes Brahms Although Brahms’s chamber music for all-string ensembles Born in Hamburg, May 7, will always have its partisans, something special happens 1833 when a piano enters the picture. (“Total eclipse,” some Died in Vienna, April 3, string players would say.) Unlike his predecessors Mozart, 1897 Beethoven, and Schubert, Brahms played no instrument other than the piano, and this instrument speaks with a highly personal voice in his music, whether in concerto, song, or chamber work. With a little attention to balance in rehearsal, the piano needn’t be an overbearing presence in the chamber music, despite Brahms’s always two-fisted writing for it. Nevertheless, in the early chamber works at least, one senses the process of a young composer beginning with his own instrument and expanding his sonic horizons to include others, with symphonies and piano concertos as the ultimate destination. The two piano quartets, Op. 25 in G minor and Op. 26 in A major, exemplify this spreading of wings, both in what is expressed and in the means of expression. By the time of their composition, 1861-62, Brahms’s abandonment of Sturm und Drang in favor of rededication to study of the Classical masters had produced the String Sextet in B-flat major, Op. 18, and several sets of variations for piano, culminating in the masterful Handel Variations, Op. 24. (Brahms’s other Piano Quartet, Op. 60 in C minor, begun in 1855 but not finished till 1875, is a curious hybrid of flaming youth and sober middle age.) The piano quartet, invented by Mozart and quickly abandoned by him as unsalable, suited Brahms’s expressive needs at this point, and he must have taken satisfaction in composing two works in this genre that are as contrasted a pair as his First and Second symphonies would later be. The A-major Quartet is a lush and leisurely river delta of musical ideas, spreading its channels to Schubertian “heavenly length,” while the G minor, though also inclined to prolixity (at least by comparison with Brahms’s taut later works), burns with Beethovenesque fire. The example of Mozart must also have been on Brahms’s mind as he embarked on the G-minor Quartet; he begins the first movement (Allegro) with its most important motif in bare octaves, just as Mozart did in his Piano Quartet in the same key, K. 478. The movement’s somber, tense 35 mood also recalls that piece and other Mozart works in G minor. Brahms’s economical way of composing, however, has more in common with Beethoven; the entire movement is built on a few twisty motifs of four notes each. A second theme, beginning like the main motif but then moving up chromatically, adds melodic and harmonic interest. A four-note motif in rapid 16th notes begins as an accompaniment figure but broadens into a striding, optimistic tune that sounds like Mendelssohn with muscles. In the recapitulation, which stays close to the tonic G minor, this tune receives more delicate, melancholy, Chopinesque treatment. Brahms changed the second movement’s title from Scherzo to Intermezzo (Allegro, ma non troppo), perhaps because this hushed, anxious music in C minor lacked the willfulness and athleticism associated with his other scherzos. As a shadow of the brooding first movement, however, it is just right: The obsessive tapping of the cello, the sighing phrases in the other strings (turned pallid by the muted violin), and the subtly shifting rhythmic patterns all whisper of a world out of balance. The music’s graceful emergence into C major provides a ray of hope, and the contrapuntal, almost fugato Trio, marked Animato, is in a jolly A-flat major; but the gaiety has a nervous undertone with still more rhythmic dislocations and harmonic instability, and it eventually dwindles into a return of the fearful Intermezzo. The movement closes enigmatically with a fleeting C major reminiscence of the Trio. There is an unusual parallelism in form between the two middle movements of this piece: each is in three sections, A-B-A, with a middle section pitched a third lower and marked Animato. The main theme of the Andante con moto, with its smooth quarter notes and chromatically- rising phrases, recalls themes from the first movement, but here the mood is fervent and hymnlike. As the chromaticism intensifies and triplets begin to throb, the hymn changes into a desperate appeal. In such circumstances, the cantering interlude in C major seems a veritable Teutonic knight in shining armor, riding to the rescue. Returning in varied form, the main theme now seems suffused with gratitude and tenderness. In the ballet, it often happens that when evil has been vanquished and the plot brought to a happy ending, the entire cast of characters sits back to enjoy the divertissements, an entertainment of short, exotic dances. In this Quartet, the slow movement is the happy ending and the finale is the divertissements. How else to explain 36

a serious and suspenseful chamber work that ends with a wild gypsy farrago (Rondo alla zingarese: Presto) straight out of a Budapest night club? One could note the derivation of this rondo’s main theme from that of the first movement, or the frequent use of imitative counterpoint to heighten the excitement, or the resemblance between this movement’s episodic structure and the popular style of Strauss’s waltzes or Brahms’s own Hungarian Dances. Or one could forget all that and just enjoy the show. —David Wright

Program notes © 2012. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association, Paul J. Horsley, Kenneth LaFave, and/or David Wright. 37 Musical Terms

GENERAL TERMS by Ludwig von Köchel by a coda. The exposition Canon: A device whereby Octave: The interval is the introduction of an extended melody, stated between any two notes the musical ideas, which in one part, is imitated that are seven diatonic are then “developed.” In strictly and in its entirety in (non-chromatic) scale the recapitulation, the one or more other parts degrees apart exposition is repeated with Chromatic: Relating to Op.: Abbreviation for opus, modifications. tones foreign to a given a term used to indicate Sturm und Drang: key (scale) or chord the chronological position Literally “storm and stress.” Counterpoint: A of a composition within a A movement throughout term that describes composer’s output the arts that reached its the combination of Recapitulation: See highpoint in the 1770s, simultaneously sounding sonata form whose aims were to musical lines Rondo: A form frequently frighten, stun, or overcome Dissonance: A used in symphonies and with emotion. combination of two or more concertos for the final Syncopation: A shift of tones requiring resolution movement. It consists rhythmic emphasis off the Dominant: The fifth of a main section that beat degree of the major or alternates with a variety of Tonic: The keynote of a minor scale, the triad built contrasting sections (A-B- scale upon that degree, or the A-C-A etc.). Trio: See scherzo key that has this triad as Scherzo: Literally “a its tonic joke.” Usually the third THE SPEED OF MUSIC Fugue: A piece of music movement of symphonies (Tempo) in which a short melody and quartets that was Adagio: Leisurely, slow is stated by one voice introduced by Beethoven Alla zingarese: In the and then imitated by the to replace the minuet. The gypsy style other voices in succession, scherzo is followed by a Allegro: Bright, fast reappearing throughout gentler section called a trio, Andante: Walking speed the entire piece in all the after which the scherzo is Animato: Lively, animated voices at different places repeated. Its characteristics Con moto: With motion Intermezzo: A) A short are a rapid tempo in triple Giusto: Exact, strict movement connecting time, vigorous rhythm, and Larghetto: A slow tempo the main divisions of a humorous contrasts. Presto: Very fast symphony. B) The name Sonata form: The form in Vivo: Lively, intense given to an independent which the first movements TEMPO MODIFIERS piece, often solo piano, that (and sometimes others) Ma non troppo: But not is predominantly lyrical in of symphonies are usually too much character. cast. The sections are Non tanto: Not much K.: Abbreviation for Köchel, exposition, development, the chronological list of all and recapitulation, the the works of Mozart made last sometimes followed 38 Soloists Paul Arnold Paul Arnold, violin, joined The Philadelphia Orchestra in 1983. Previously he was principal second violin of the Rochester Philharmonic, with which he made numerous solo appearances. A native of New York, he graduated from the Eastman School in Rochester. He has appeared as a recitalist and chamber musician with Yefim Bronfman, , Tan Dun, Christoph Eschenbach, Keith Jarrett, Truls Mørk, Gil Shaham, and the Emerson Quartet. Mr. Arnold gives master classes around the country. An active lecturer on musical subjects, he has also has given numerous pre-concert talks for The Philadelphia Orchestra. He currently serves as music director of the Philadelphia Museum of Art’s Philadelphia Orchestra Connection Series. He is a founding member of both the Society Hill Quintet and the Dalihapa Ensemble. Choong-Jin Chang, a native of Seoul, joined The Philadelphia Orchestra as associate principal viola in 1994 and became principal viola in 2006. He made his performance debut as a 12-year-old violinist with the Seoul Philharmonic as winner of the grand prize in Korea’s Yook Young National Competition. At 13 he moved to the U.S. to attend the . He subsequently studied at the Esther Boyer College of Music of Temple University and at the Curtis Institute, from which he received degrees in violin and viola. His primary teachers were Jascha Brodsky and Joseph de Pasquale. Mr. Chang made his solo debut recital at Carnegie Hall in 2007. He is a founding member of the Johannes Quartet and is a respected teacher on both violin and viola, currently serving on the faculties of Rutgers University’s Mason Gross School of the Arts and Temple Music Prep. Kimberly Fisher joined The Philadelphia Orchestra in 1992 and became principal second violin in 2000. She has been soloist with many U.S. and Canadian orchestras and has twice been awarded Canada Council grants. In 1997 Ms. Fisher co-founded the Strings International Music Festival. The Festival, in residency at Bryn Mawr College, annually impacts the lives of more than 225 young musicians from around the world. She also founded the Fund, a non-profit scholarship program dedicated to mentoring young musicians through performance, responsibility, and social cause. Ms. Fisher began violin studies at age three. She joined the Victoria Symphony as their youngest member at age 16. Continuing her studies, she moved to Philadelphia to attend the Curtis Institute, where she studied with Yumi Ninomiya Scott. 39 Soloists Rosalie O’Connor Yumi Kendall joined The Philadelphia Orchestra in 2004 as assistant principal cello after graduating from the Curtis Institute, where she studied with David Soyer and Peter Wiley (she is acting associate principal cello for the 2012- 13 season). She previously served as principal cello of the Haddonfield Symphony (now the Symphony in C). Ms. Kendall began studying the cello at age five, made her recital debut at age seven, and in 1998 made her orchestral solo debut with the National Symphony. She has participated in the Tanglewood Institute, Music from Angel Fire, the Verbier and Marlboro festivals, the Taos School of Music, and the Kingston Chamber Music Festival. She is also a member of the Dryden String Quartet. Ms. Kendall won first place in the Friday Morning Music Club Competition and the National Symphony Young Soloists’ Competition. John Koen, cello, has been a member of The Philadelphia Orchestra since 1990 (he is acting assistant principal for the 2012‑13 season). A member of the Mondrian Ensemble and the Network for New Music, he has also performed with 1807 & Friends. He has appeared as soloist with the New Symphony Orchestra of Sofia, Bulgaria, and he also appears regularly as a soloist with the Lansdowne Symphony, of which he is principal cello. He was a nominee for the 1998 Gay/Lesbian American Music Awards for his performance of Robert Maggio’s Winter Toccata on the recording Seven Mad Gods. Mr. Koen graduated from Curtis following studies with David Soyer and Peter Wiley, and with Orlando Cole at the New School of Music. In 1988 Mr. Koen performed in the Schleswig-Holstein Music Festival Orchestra as solo cellist on European tours with Christoph Eschenbach, Leonard Bernstein, and . William Polk, violin, joined The Philadelphia Orchestra in 2007. He previously served as associate principal second violin of the Minnesota Orchestra and prior to that, he was guest principal second violin of the Saint Paul Chamber Orchestra. Mr. Polk has also performed as an orchestral musician with the San Francisco and Saint Louis symphonies and has participated as a chamber musician in the Mainly Mozart Summer Festival in San Diego and the Bach Dancing and Dynamite Society in Madison, Wisconsin. Mr. Polk and his wife, Kerri Ryan, now assistant principal viola of The Philadelphia Orchestra, founded and performed with the Minneapolis Quartet from 2002 to 2007, winning a McKnight Artist Fellowship in 2006. Mr. Polk attended Louisiana State University and the University of Minnesota, and his teachers have included Sally O’Reilly and Camilla Wicks. 40 Soloists

Cynthia Raim, piano, was unanimously chosen first prize winner of the International Piano Competition; she has also won the Pro Musicis Award and the first Distinguished Artist Award from the Musical Fund Society of Philadelphia. She has appeared as soloist with leading orchestras in Detroit, Minneapolis, Pittsburgh, New Orleans, Prague, Hamburg, Lausanne, and Vienna and has participated in such music festivals as Marlboro, Ravinia, Tanglewood, Grand Teton, Bard, Mostly Mozart, Santa Fe, Luzern, and Montreux. She has also appeared frequently in recital with Benita Valente, David Soyer, Arnold Steinhardt, Samuel Rhodes, and the Guarneri String Quartet. A native of Detroit, Ms. Raim was the youngest soloist ever to perform a complete concerto with the Detroit Symphony. She graduated from the Curtis Institute, where she studied with and Mieczyslaw Horszowski. William Schrickel Assistant Principal Viola Kerri Ryan became a member of The Philadelphia Orchestra in 2007. She came to Philadelphia from the Minnesota Orchestra, where she was assistant principal viola for seven seasons. Following her graduation from the Curtis Institute of Music in 1998, she served as associate concertmaster of the Charleston Symphony. Ms. Ryan and her husband, Philadelphia Orchestra violinist William Polk, are founding members of the award-winning Minneapolis Quartet. In Philadelphia, while pursuing a violin performance degree at Curtis, she began studying viola with Karen Tuttle. Ms. Ryan also studied at the Cleveland Institute of Music as a member of its Young Artist Program. Her violin teachers include Lee Snyder, Jascha Brodsky, Rafael Druian, and Arnold Steinhardt. 41 November The Philadelphia Orchestra Jessica Griffin

Chamber Music Concert with Members of The Philadelphia Orchestra

Join us in the intimate setting of Perelman Theater, where the virtuosity of each musician shines.

Sunday, November 18 3 PM

Luba Agranovsky Piano (Guest) Robert Cafaro Cello Miyo Curnow Violin Elina Kalendareva Violin Robert Kesselman Double Bass Dmitri Levin Violin Kathryn Picht Read Cello Kerri Ryan Viola

Milhaud String Quintet No. 2, Op. 316 Debussy String Quartet in G minor, Op. 10 Rachmaninoff Trio élégiaque in D minor, Op. 9, for violin, cello, and piano

Through a wide range of ensembles and musical styles, encounter the Orchestra’s musicians as individuals, with their unique talents and musical personalities. Order your tickets for the next Chamber Music Concert today!

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