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Home , Appalachian Journey, Cello sonata, Cello Sonata (Strauss), Enoch Arden (Strauss), Paul Klengel, Robert Hausmann

CAL performAnCes presents

Wednesday, February 26, 2014, 8pm Zellerbach Hall

emanuel Ax, yo-yo ma,

proGrAm

Brahms and Beyond

Johannes Brahms ( 1833–1897) No. 1 for Cello and Piano in E minor, Op. 38 (1862, 1865) Allegro non troppo Allegretto quasi Menuetto Allegro

Brahms Sonata for Cello and Piano in D major, Op. 78 (1879)

(arr. 1897 by P aul Klengel ( 1854–1935 ) from the Sonata No. 1 for and Piano in G m ajor, Op. 78) Vivace ma non troppo Adagio Allegro molto moderato

INTERMISSION

CAL PERFORMANCES CAL performAnCes presents

Brett Dean ( b. 1961) Hommage à Brahms (2013) for piano Engelsflügel 1: Nicht schnell aber fliessend Hafenkneipenmusik: Lebhaft, unruhig Engelsflügel 2: Langsam, zart

Commissioned by Cal Performances; the Los Angeles Philharmonic; Symphony Center Presents, Chicago; and Carnegie Hall.

Brahms So nata No. 2 for Cello and Piano in F major, Op. 99 (1886) Allegro vivace Adagio affettuoso Allegro passionato Allegro molto

This performance is made possible, in part, by Corporate Sponsor U.S. Bank and by Patron Sponsors Gail and Dan Rubinfeld, and Susan Graham Harrison and Michael A. Harrison.

Cal Performances’ #!"$–#!"% season is sponsored by Wells Fargo.

CAL PERFORMANCES proGrAm notes

Johannes Brahms (1833–1897) Since Brahms deleted the proposed Adagio sonata no. 1 for Cello and piano in e minor, from the First , the work has an op. 38 unusual architectural plan: a large sonata- form structure followed by smaller move - Composed in KRPL and KRPO. ments in the style of a minuet and a fugue. “Hardly ever again did Brahms write such a Brahms was based principally in his home - movement as the first,” wrote Walter Neimann town of Hamburg during the decade of the in his study of the , “so rich and fer - 1860s , but he was frequently on tour through - vent in its inspiration, both human and spiri - out and northern Europe as a pianist tual, or such an unalloyed record of intimate and accompanist during those years. Seeking emotion.” The cello announces the move - to broaden the range of his professional activ - ment’s main theme, a melancholy song that ities, he first visited and gave a recital the Brahms (and Bach) scholar Karl Geiringer there in September 1862 and was cordially re - noted was reminiscent of the Contrapunctus ceived. At the end of the year, he learned that III from Bach’s The Art of Fugue . The lyrical he had been passed over as conductor of the nature of the Sonata is reinforced by the sub - Philharmonic Concerts in Hamburg. Miffed at sidiary motive, a melody begun by an arpeg - the rejection by his hometown, he readily ac - gio that turns back upon itself before breaking cepted the offer of the Vienna Singakademie to into a large arch of wordless song. A brighter become its director the following summer and emotion is suggested before the end of the ex - regularly visited thereafter until he settled in position, but the development returns to the the city for good in 1870. introspective melancholy of the opening One of Brahms’s first important contacts in theme. The second theme and then the third Vienna was Dr. Josef Gänsbacher, a teacher of are treated in the development before a full re - at the Conservatory and an adminis - capitulation of the earlier subjects rounds out trator of the Singakademie , through whose in - the form of the movement. fluence he was appointed to the post with that The second movement is a microcosm of the organization. Gänsbacher was also an accom - history of the Austrian popular dance. The plished cellist, and it was for him that Brahms outer sections of its three-part form (A-B-A) undertook his Cello Sonata in E minor in are marked “quasi Menuetto,” and exhibit the 1862. Three movements were written for the polite demeanor associated with that old work in that year, but the Adagio was jetti - dance. The central trio, however, more ani - soned even before Gänsbacher had seen it; it mated in character and more adventurous in was not until three years later that Brahms re - its harmonic peregrinations, is one of the trib - turned to the Sonata and provided it with utes to the Viennese waltz that Brahms em - what now stands as its finale. (The original bedded in a number of his instrumental Adagio may have been reworked as the slow works, and which also inspired the set of movement of the F major Cello Sonata of Waltzes for Piano whose opus number (39) 1886 .) After the work was finished, immediately follows that of this Cello Sonata. Gänsbacher was eager to try it out, but as he The finale is a fugue poured into sonata read through the piece with Brahms he com - form, the sort of generic hybrid that also ab - plained that he was being drowned out by the sorbed much of Beethoven’s interest during his richly voiced piano part. “I can’t even hear last years. The subject, a ribbon of triplets, was myself,” he protested. “You’re lucky,” the cur - probably modeled on the Contrapunctus XIII mudgeonly Brahms bellowed back. When the from Bach’s The Art of Fugue ; the countersub - Sonata was published in 1866, it was the first ject (in eighth notes rather than triplets) is also of Brahms’s duo that he made public, used as the second theme in the sonata struc - though there are known to have been earlier ture. The movement bristles with precisely attempts that the secretive composer de - worked-out in three and four stroyed without a trace. voices, a circumstance requiring a fullness of

PLAYBILL proGrAm notes texture from the piano that prompted Daniel enough to accommodate the violin as a part - Gregory Mason to commiserate with the cel - ner. His other two violin sonatas followed list: “When you set a single cello to competing within nine years. The Op. 78 Sonata is a like this with the two hands of an able-bodied voluptuously songful and tenderly expressive pianist, the odds are certainly on the pianist.” testament to this important advance in The cello manages to assert itself in the final Brahms’s creative development, the musical pages, however, and leads through rousing counterpart of his sylvan holiday at stretto statements of the themes to bring the Pörtschach. His faithful friend and corre - Sonata to a close. spondent Elisabeth von Herzogenberg told him that the work “appeals to the affection as Brahms do few other things in the realm of music.” In sonata for Cello and piano in D major, his biography of the composer, Peter Latham op. 78 noted, “Brahms has written nothing more Arranged from the No. K in spacious than these three violin sonatas, in G major, Op. QR, by Paul Klengel (KRON–KSMO) which he never seeks grandeur, and woos rather than compels.” Brahms himself allowed Composed in KRQS and arranged in KRSQ. that the Sonata No. 1 was almost too intimate for the concert hall. The work is one of his Brahms was inspired by his first trip to Italy, in most endearing creations, and it did much to the early months of 1878, to write his glowing dispel the then widely held notion that his and autumnal Piano Concerto in B-flat major. music was academic and emotionally austere. He returned to Goethe’s “land where the lemon “[The Sonata] must have won Brahms almost trees grow” six times thereafter for creative in - more friends than any of his previous compo - spiration and refreshment from the chilling sitions,” judged J. A. Fuller-Maitland. Viennese winters. On his way back to Austria The transcription of the Violin Sonata No. 1 from Italy in May 1879, he stopped in the lovely for cello and piano was done in 1897 by Paul village of Pörtschach on Lake Wörth in Klengel (1854–1935), the German pianist, vi - Carinthia, which he had haunted on his annual olinist, conductor, and composer who studied summer retreat the preceding year. “I only at the Conservatory, held prominent wanted to stay there for a day,” he wrote to his choral conducting positions in Leipzig, friend the surgeon Theodor Billroth, “and then, Stuttgart, and New York, taught at his alma as this one day was so beautiful, for yet another. mater, and arranged many works for the firm But each day was as fine as the last, and so I of Simrock, Brahms’s principal publisher. stayed on. If on your journeys you have inter - The Sonata is, throughout, warm and ingra - rupted your reading to gaze out of the window, tiating, a touching lyrical poem. The main you must have seen how all the mountains theme of the sonata-form first movement, round the lake are white with snow, while the sung immediately by the cello above the trees are covered with delicate green.” Brahms piano’s placid chords, is a gentle melody lightly succumbed to the charms of the Carinthian kissed by the Muse of the Viennese waltz. Its countryside and abandoned all thought of re - opening dotted rhythm (long–short–long) is turning immediately to Vienna—he remained used as a motto that recurs not just in the first in Pörtschach for the entire summer. It was in movement but later as well, a subtle but pow - that halcyon setting that he composed his erful means of unifying the entire work. The Sonata No. 1 for Violin and Piano. subsidiary theme, flowing and hymnal, is Brahms had long been wary of the difficulty structured as a grand, rainbow-shaped phrase. in combining the lyrical nature of the string The Adagio has a certain rhapsodic quality that instruments with the powerful chordal writ - belies its tightly controlled three-part form. ing that he favored for piano, and it was only The piano initiates the principal theme of the with the Klavierstücke , Op. 76, completed in movement, which is soon adorned with little 1878, that he developed a keyboard style lean sighing phrases by the cello. The central sec -

CAL PERFORMANCES proGrAm notes tion is more animated, and recalls the dotted , Los Angeles Philharmonic, BBC rhythm of the previous movement’s main Proms, Lucerne Festival, Cologne Phil- theme; the principal theme returns in the harmonie, BBC Symphony, Melbourne cello’s double stops to round out the move - Symphony, and Sydney Symphony, and re - ment. Brahms wove two songs from his Op. 59 ceived such notable awards as the Paul Lowin collection for voice and piano (1873) into the Orchestral Prize from the Australian Music finale: Regenlied (“Rain Song”—this work is Centre (2013), Society of sometimes referred to as the “Rain” Sonata) Lincoln Center’s Elise L. Stoeger Prize for his and Nachklang (“Reminiscence”). The move - contributions to chamber music (2011), ment is in rondo form, and, in its scherzando Grawemeyer Award from the University of quality, recalls the finale of the B-flat major Louisville for his The Lost Art of Piano Concerto, written just a year before. Letter Writing (2009), Australian National Most of the movement (whose main theme be - Music Award (2000, 2005), and an honorary gins with the familiar dotted rhythm) is doctorate from Griffith University in Brisbane. couched in a romantic minor key (it turns Dean has written extensively for orchestra with brighter during one episode for a return of the and without soloists (he has performed his theme from the second movement, played in 2005 Concerto in London, Los Angeles, double stops), but moves into a luminous Sydney, Lyon, Hamburg, Amsterdam, Dresden, major tonality for the coda. Stockholm, and Melbourne), chamber ensem - bles, chorus, solo voice, film, and radio. His Brett Dean (b. 1961) debut opera, Bliss , based on a novel by two- hommage à Brahms time Booker Prize winner Peter Carey, was crit - ically acclaimed on its première in Melbourne Composed in LJKM. Premièred on February LO, in 2010 and has since been staged in Sydney, LJKN, at the Walt Disney Concert Hall in Los Edinburgh, and Hamburg. Angeles by Emanuel Ax. In 2009, Canadian-British pianist and Bach specialist Angela Hewitt requested “short new Composer, violist, and conductor Brett Dean, piano pieces that are either Bach transcrip - one of Australia’s most acclaimed musicians, tions or pieces directly inspired by Bach” from was born in Brisbane in 1961 and studied at the several prominent for a “Bach Queensland Conservatorium before moving to Book” she was then assembling. Brett Dean Germany in 1984 to become a violist in the responded with an Hommage à Bach that he Philharmonic. After serving in that dis - said “also serves as the opening movement for tinguished ensemble for 16 years and begin - a planned set of piano etudes I’m currently ning to compose in 1988, Dean returned to working on entitled The Homage Etudes all Australia in 1990 to work as a freelance musi - of which pay their respects to different c,o m - cian. He established his reputation as a com - positional approaches to the keyboard across poser when his concerto, Ariel’s Music , the ages, ranging from Bach, via Janáček and won the UNESCO International Rostrum of Scriabin, to the Australian composer Richard Composers Award in 1995. Dean has since Meale, who died in 2009.” The ongoing set so been Artistic Director of the Australian far includes tributes to Bach, Janáček ( 2010 ), National Academy of Music in Melbourne the Hungarian composer György Kurtág (2006–2010), served residencies with the (2011), and the Hommage à Brahms , com - Melbourne Symphony Orchestra (2002–2003), posed in 2013 for Emanuel Ax on a commis - Cheltenham Festival (2002, 2009, 2010), sion from Cal Performances, Symphony Stuttgart Radio Symphony Orchestra (2007– Center Presents (Chicago), the Los Angeles 2008), Trondheim Chamber Music Festival Philharmonic Association, and Carnegie Hall. (2011), and Royal Stockholm Philharmonic The score is inscribed, “…for Manny, in ad - Orchestra (2011), fulfilled commissions from miration.” The Hommage à Brahms consists of the Berlin Philharmonic, Concertgebouw three short movements— Engelsflügel K

PLAYBILL proGrAm notes

(“Angel Wings 1”), Hafenkneipenmusik lakes of the Salzkammergut, east of Salzburg, (“Harbor Pub Music”), and Engelsflügel L — but in 1886 his friend Joseph Widmann, a that Dean indicated could be performed as a poet and librettist of considerable distinction, set but “were conceived as interludes to be convinced Brahms to join him in the ancient played between Johannes Brahms’s four final Swiss town of Thun, 25 kilometers south of piano pieces, Op. 119 (1893): Intermezzi in B Bern in the foothills of the Bernese Alps. minor, E minor, and C major and Rhapsody Brahms rented a flower-laden villa on the in E-flat major.” shore of Lake Thun in the nearby hamlet of Dean writes that “ Hommage à Brahms pays Hofstetten and settled in for a long, comfort - homage not only to Brahms the composer but able summer. The periods away from Vienna also to aspects of his biography. With these were not merely times of relaxation for pieces, I drew particular inspiration from ac - Brahms, however, but were actually working companying textures and figurations as found holidays. Some of his greatest scores (Violin in the duo sonatas and Lieder . Seeing a duo Concerto; Second, Third, and Fourth Sym - recital of Emanuel Ax and Frank Peter phonies; Piano Concerto No. 2; Haydn Zimmermann performing the three Brahms Variations ; Tragic Overture ; and many others) violin sonatas in Dresden in 2013 was espe - had largely been realized at his various sum - cially stimulating. Taking into account aspects mer retreats in earlier years. The three sum - of Brahms’s personal life, and specifically the mers that he spent at Thun (1886–1888) were long and complicated relationship he had with equally productive: the Violin Sonatas Nos. 2 Clara Schumann, these pieces come from the and 3, C minor Piano Trio, Second Cello idea of a line or part that is absent—the Sonata, Gypsy Songs , Choral Songs (Op. 104), person not by his side. Although it is there - Lieder of Op. 105–07, and fore music that emerges out of a supportive were all written there. Brahms composed the rather than a leading musical role, ultimately Second Cello Sonata, Op. 99, in Hofstetten the movements take on lives of their own, thus during the summer of 1886; he gave the work shining a different harmonic and emotional an informal reading at Widmann’s house light on Brahms’s poignantly melancholic (along with the new Violin Sonata No. 2 and Op. 119 pieces.” the C minor Trio) before returning to Vienna The title Engelsflügel of the first and third in the fall. The Sonata’s formal première was movements may refer to their wide-ranging given on November 14, 1886, in Vienna by arpeggiated figurations, one of Brahms’s Robert Hausmann, cellist in the most characteristic keyboard devices, while led by the composer’s longtime friend and Hafenkneipenmusik recalls the teenage Brahms musical ally, violinist . playing piano in the rough waterfront bars of The F major Cello Sonata, like many of the his native Hamburg. works from Brahms’s fullest maturity, is suf - fused with an autumnal glow that speaks of Brahms the composer’s satisfaction with his life at that sonata no. 2 for Cello and piano in f major, time. “That Brahms was very happy in op. 99 Hofstetten is evident from the works he com - posed there,” wrote William Murdoch. “He Composed in KRRP. Premièred on November KN, had finished his Fourth Symphony, and had KRRP, in Vienna by cellist Robert Hausmann led its première [on October 25, 1885, in and the composer as pianist. Meiningen]. He was everywhere acclaimed, and his fame was worldwide. He had no more For many years, Brahms followed the sensible obstacles to overcome, and his works from practice of the Viennese gentry by abandon - now onward give that impression of security ing the city when the weather got hot. He and certainty that can only be the outcome spent many happy summers in the hills and of a contented mind and a knowledge of

CAL PERFORMANCES proGrAm notes mastery. Sadness and heartfelt emotion we subject is smoother in contour and gentler in shall find, but no longer that yearning after expression; the agitated closing motive is urged the unattainable that so often pervaded his on by strong repeated figurations. The devel - earlier works.” opment section is woven from all three The first edition of the F major Sonata, pub - themes, though its character is largely domi - lished by Simrock in 1887, noted that the piece nated by the restless that opened the is “for Piano and Violoncello,” an indication of movement. A full recapitulation and a coda the complete integration of the participants based on the main theme provide formal that marks Brahms’s greatest instrumental balance for the movement. The second move - works. The Sonata is in four expansive move - ment, “among the finest of the master’s ments (, in his 1853 article adagios ” according to William Murdoch, heralding the arrival of Brahms on the follows a leisurely three-part form (A-B-A): German musical scene, referred to his cham - the outer sections begin with a broad piano ber compositions as “veiled sympho nies”), theme buoyed upon resonant notes whose expressive characters Florence May, the in the cello; the central episode is more ani - English pianist who studied with Brahms in mated and somewhat melancholy. The third the 1870s and eventually became his biogra - movement is a scherzo whose impassioned pher, summarized thus: “the first broad and mood is balanced by the sweetly flowing trio energetic; the second touching; the third pas - at its center. The finale-rondo, generally light - sionate; the fourth vivacious.” Three ideas weight in character, is given emotional sub - comprise the first movement’s exposition: the stance by the darkly colored passage that cello’s main theme, anticipatory in its leaping occupies its middle region. motion and snapping rhythms, is supported by the piano’s restless tremolos; the arching sec ond © LJKN Dr. Richard E. Rodda

PLAYBILL ABoUt the ArtIsts

Muhly, Brett Dean, and Anders Hillborg all producing works linked to Brahms and commissioned jointly by Cal Performances, the Los Angeles Philharmonic, the Chicago Symphony, and Carnegie Hall, with the par - ticipation of collaborators Anne Sophie von Otter and Yo-Yo Ma. To conclude the season, Mr. Ax travels to Hong Kong and Australia for a complete cycle of Beethoven concertos with incoming chief conductor David Robert- son in Sydney and with Sir Andrew Davis in Melbourne. In conjunction with Mr. Ax’s multiple weeks as Artist in Residence with the New York Philharmonic during th e 2012–2013 season, Sony Classical released his latest recital disc of works from Haydn to Schumann to Copland re - o

c flecting their different uses of the “variation” u z z

a concept. In the spring, he joined that orchestra M

e on their European tour conducted by Alan r a M

Gilbert. He returned to the in Los a s i

L Angeles, St. Louis, Atlanta, Detroit, Wash ington, and Pittsburgh, where he is a beloved regular. Born in Lvov, Poland, emanuel Ax moved to Highlights of the 2011–2012 season in - Winnipeg, Canada, with his family when he cluded return visits to the symphonies of was a young boy. His studies at the Juilliard Boston, Houston, Toronto, Philadelphia, School were supported by the sponsorship of Pittsburgh, Detroit, Cincinnati; the New York the Epstein Scholarship Program of the Boys and Los Angeles philharmonics; and the San Clubs of America, and he subsequently Francisco Symphony, with whom he collabo - won the Young Concert Artists Award. rated in the “American Mavericks” festival Additionally, he attended Columbia University, presented in San Francisco, Ann Arbor, and at where he majored in French. Mr. Ax captured Carnegie Hall. As curator and participant with public attention in 1974 when he won the first the Chicago Symphony for “Keys to the City,” International Piano a two-week spring residency, he performed Competition in Tel Aviv. In 1975, he won the multiple roles as leader and collaborator in a Michaels Award of Young Concert Artists, fol - festival celebrating the many varied facets of lowed four years later by the coveted Avery the piano. Fisher Prize. Mr. Ax has been an exclusive Sony Classical Mr. Ax’s 2013–2014 season began with ap - recording artist since 1987. His re cent releases pearances at the Barbican Centre and Lincoln include Mendelssohn trios with Mr. Ma and Center with the London Symphony Orchestra , Strauss’s nar - conducted by Bernard Haitink, as well as col - rated by Patrick Stewart, and discs of two- laborations with the Royal Concertgebouw piano music by Brahms and Rachmaninoff Orchestra and Mariss Jansons in Amsterdam, with Yefim Bronfman. Mr. Ax received Bucharest, China, and Japan during their Grammy Awards for the second and third vol - worldwide centenary celebrations. The second umes of his cycle of Haydn’s piano sonatas. He half of the season sees the realization of a proj - has also made a series of Grammy-winning ect inspired by Brahms, which includes new recordings with Mr. Ma of the Beethoven and pieces from composers Missy Mazzoli, Nico Brahms sonatas for cello and piano. His other

CAL PERFORMANCES ABoUt the ArtIsts recordings include the concertos of Liszt and Schoenberg, three solo Brahms , an of tangos by Ástor Piazzolla, and the première recording of John Adams’s Century Rolls with the Cleveland Orchestra for Nonesuch. In the 2004–2005 season Mr. Ax also contributed to an International Emmy Award-winning BBC documentary com - memorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In recent years, Mr. Ax has turned his atten - tion toward the music of 20th-century c om - posers, premièring works by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner. Mr. Ax is also devoted to chamber music, and has g r worked regularly with such artists as Young e b n e

Uck Kim, Cho-Liang Lin, Mr. Ma, Edgar s o R

Meyer, Peter Serkin, Jaime Laredo, and the d d o late . T Mr. Ax resides in New York City with his yo-yo ma ’s multifaceted career is testament to wife, pianist Yoko Nozaki. They have two chil - his continual search for new ways to commu - dren together, Joseph and Sarah. He is a nicate with audiences, and to his personal de - Fellow of the American Academy of Arts and sire for artistic growth and renewal. Whether Sciences and holds honorary doctorates of performing new or familiar works from the music from Yale and Columbia universities. cello repertoire, coming together with col - Mr. Ax is managed exclu sively by Opus 3 leagues for chamber music, or exploring cul - Artists, 470 Park Avenue South, New York, tures and musical forms outside the Western New York 10016, www.opus3artis ts.com. He classical tradition, Mr. Ma strives to find con - plays the Steinway piano. For more informa - nections that stimulate the imagination. tion, please visit www.emanuelax.com. One of Mr. Ma’s goals is the exploration of music as a means of communication and as a vehicle for the migrations of ideas across a range of cultures throughout the world. Expanding upon thi s interest, in 1998, Mr. Ma established the Silk Road Project, a nonprofit arts and educational organization. Under his artistic direction, the Silk Road Project pres - ents performances by the acclaimed Silk Road Ensemble, engages in cross-cultural exchanges and residencies, leads workshops for students, and partners with leading cultural institutions to create educational materials and programs. The Project’s ongoing affiliation with Harvard University has made it possible to broaden and enhance educational program - ming. In the 2013–2014 school year, with on - going partnerships with arts and educational organizations in New York City, it continues to

PLAYBILL ABoUt the ArtIsts expand Silk Road Connect , a multidisciplinary recent recordings include Mendelssohn trios educational initiative for middle-school stu - with Emanuel Ax and Itzhak Perlman. His dents in the city’s public schools. Developing most recent album, , new music is also a central undertaking of the with , Chris Thile, and Stuart Silk Road Project, which has been involved in Duncan, receiv ed the 2013 Grammy for Best commissioning and performing more than 60 Folk Album. Across this full range of releases, new musical and multimedia works from com - Mr. Ma remains one of the bestselling record - posers and arrangers around the world. ing artists in the classical field. All of his recent As the Chicago Symphony Orchestra’s albums have quickly entered the Billboard Judson and Joyce Green Creative Consultant, chart of classical bestsellers, remaining in the Mr. Ma is partnering with Maestro Riccardo Top 15 for extended periods, often with as Muti to provide collaborative musical leader - many as four titles simultaneously on the list. ship and guidance on innovative program de - In fall 2009, Sony Classical released a box set of velopment for the Institute for Learning, over 90 albums to commemorate Mr. Ma’s 30 Access, and Training at the Chicago Symphony years as a Sony recording artist. Orchestra, and for Chicago Symphony artistic Yo-Yo Ma was born in 1955 to Chinese par - initiatives. Mr. Ma’s work focuses on the trans - ents living in Paris. He began to study th e cello formative power music can have in individuals’ with his father at age four and soon came with lives, and on increasing the number and vari - his family to New York, where he spent most of ety of opportunities audiences have to experi - his formative years. Later, his principal teacher ence music in their communities. Mr. Ma and was Leonard Rose at the Juilliard School. He has the Institute have created the Citizen Musician received numerous awards, including the Avery Initiative, a movement that calls on all musi - Fisher Prize (1978), the Prize cians, music lovers, music teachers and insti - (1999), the National Medal of the Arts (2001), tutions to use the art form to gulfs the Dan David Prize (2006), the Sonning Prize between people and to create and inspire a (2006), the World Economic Forum’s Crystal sense of community. The website www.citi - Award (2008), the Presidential Medal of zenmusician.org features stories of Citizen Freedom (2010), the Polar Music Prize (2012), Musician activity across the globe. and the Vilcek Prize in Contemporary Music Mr. Ma is also widely recognized for his (2013). In 2011, Mr. Ma was recognized as a strong commitment to educational programs Kennedy Center Honoree. Appo inted a that bring the world into the classroom and the CultureConnect Ambassador by the U.S. classroom into the world. While touring, he Department of State in 2002, Mr. Ma has met takes time whenever possible to conduct mas - with, trained, and mentored thousands of stu - ter classes as well as more informal programs dents worldwide in such countries as Lithuania, for students—musicians and nonmusicians Korea, Lebanon, Azerbaijan, and China. Mr. Ma alike. He has also reached young audiences serves as a U.N. Messenger of Peace and as a through appearances on Arthur , Mister Rogers’ member of the President’s Committee on the Neighborhood , and Sesame Street . Arts & the Humanities. He has performed for Mr. Ma’s discography of o ver 90 albums (in - eight American presidents, most recently at the cluding more than 17 Grammy Award- invitation of President Obama on the occasion winners) reflects his wide- ranging interests. He of the 56th Inaugural Ceremony. has made several successful recordings that Mr. Ma and his wife have two children. He defy categorization, among them Hush with plays two instruments, a 1733 Montagnana Bobby McFerrin, and cello from Venice and the 1712 Davidoff Appalachian Journey with Mark O’Connor and . Edgar Meyer and two Grammy-winning trib - Mr. Ma is managed exclusively by Opus 3 utes to the music of Brazil, Obrigado Brazil and Artists, 470 Park Avenue South, New York, Obrigado Brazil: Live in Concert . Mr. Ma’s New York 10016, www.opus3artists.com.

CAL PERFORMANCES