Britten Thematic Catalogue Jonathan Manton Britten-Pears Foundation.
CHAMBER MUSIC FESTIVAL AND INSTITUTE · renaissance, Benjamin Britten and Ralph Vaughan Williams....
Transcript of CHAMBER MUSIC FESTIVAL AND INSTITUTE · renaissance, Benjamin Britten and Ralph Vaughan Williams....
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Dear Friends,
A city is the embodiment of a civilized society.
Throughout history, cities have enticed our most bril-
liant, visionary, and restless souls seeking to pursue
artistic destinies in stimulating environments. While
the Grand Canyon and Niagara Falls are indeed natu-
ral wonders, great cities are indisputably among the
most significant achievements of humankind, works of art in themselves.
This season, seven iconic cities serve as our festival’s musical stages: London,
Paris, St. Petersburg, Leipzig, Berlin, Budapest, and Vienna. The music that has
emanated from these cultural centers largely forms the canon of Western music,
comprising an astonishingly diverse repertoire spanning some three hundred
years. It is with enormous excitement that we prepare to transport ourselves
to these incredible locales, through the music we’ll perform, by listening to
AudioNotes, and by attending the three Encounters, which will delve deeply into
each city’s history and culture. The vivid contextual background of our seven cit-
ies will bring us inside the composers’ worlds, providing us with a deeper, more
intuitive understanding of their music.
Among the coming festival’s many highlights are four Carte Blanche Concerts,
whose repertoire echoes the season theme; an array of returning favorite per-
formers as well as Music@Menlo debut artists; an innovative new mini-series
combining International Program performers and main-stage artists; the festi-
val’s first sculptor as this season’s Visual Artist; and the exciting announcement
of a new incarnation of the Winter Series. All of these newsworthy features
are accompanied by the festival’s signature components: ear-opening master
classes, fascinating Café Conversations, jaw-dropping Prelude Performances, and
heartwarming Koret Young Performers Concerts. And then, of course, there are
the parties!
As our seven cities attracted so many immortal composers, we hope that the very
special world of Music@Menlo holds a similar attraction, year after year, for listen-
ers of all ages and backgrounds. The gates of our own inspiring city are always
open—please come inside!
David Finckel and Wu Han
Artistic Directors
The Martin Family Artistic Directorship
WELCOME TO MUSIC@MENLO
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Contents
Welcome
2 Welcome from the Artistic Directors
4 Festival Introduction
Concerts
6 Concert Programs
20 Carte Blanche Concerts
23 Overture Concerts
25 Prelude Performances and
Koret Young Performers Concerts
26 Music@Menlo:Focus 2018–2019
38 Festival Calendar
Discovery and Engagement
22 Michael Steinberg Encounter Series
23 AudioNotes
23 Music@Menlo LIVE
23 Broadcasting
24 Chamber Music Institute
25 Prelude Performances and
Koret Young Performers Concerts
25 Café Conversations and Master Classes
33 Music@Menlo Patron Travel
Artists
5 Artist Roster
27 Visual Artist
27 Artist Biographies
Ticket and Patron Information
32 Join Music@Menlo
34 Reserving Your Summer Festival Tickets
34 Summer Festival Subscriber Information
36 The Festival Campus and Performance Venues
37 For Visitors to Our Area
37 Map and Parking
38 Festival Calendar
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Time and again, from fourteenth-century Florence to fin-de-siècle Paris and New York during the Harlem Renaissance, Western civilization’s greatest artistic triumphs have emerged from the fertile ground of thriving metropolises. Fueled by the exchange of ideas and the incubation of great art, leading artists and innovators have gathered, turning these cities into cultural epicenters. Music@Menlo’s 2018 season celebrates seven of Western music’s most flourishing creative capitals—London, Paris, St. Petersburg, Leipzig, Berlin, Budapest, and Vienna. Many of history’s greatest composers have helped to define the spirit of these flagship cities through their music.
ARTISTS
PianoMichael Brown
Gloria Chien
Gilbert Kalish
Hyeyeon Park
Jon Kimura Parker
Gilles Vonsattel
Wu Han
ViolinAaron Boyd
Ivan Chan†
Bella Hristova
Paul Huang
Alexi Kenney*
Kristin Lee
Amy Schwartz Moretti*
Arnaud Sussmann
Wu Jie
Angelo Xiang Yu*
ViolaRoberto Díaz
Matthew Lipman
Paul Neubauer
Richard O’Neill
CelloDmitri Atapine
Efe Baltacigil*
Nicholas Canellakis
David Finckel
David Requiro*
Keith Robinson
BassScott Pingel
Calidore String QuartetJeffrey Myers, violin
Ryan Meehan, violin
Jeremy Berry, viola
Estelle Choi, cello
WoodwindsDemarre McGill, flute
Stephanie McNab, flute*
Stephen Taylor, oboe
Jose Franch-Ballester, clarinet
Anthony McGill, clarinet
Peter Kolkay, bassoon
BrassKevin Rivard, horn
VoiceLyubov Petrova, soprano*
Sara Couden, contralto
Kang Wang, tenor*
Encounter LeadersAra Guzelimian
John R. Hale*
Michael Parloff
*Music@Menlo debut†Guest artist-faculty
The Monumental Entrance at the Place de la Concorde, Exposition Universelle, Paris, 1900, lithograph. Private collection/The Stapleton Collection/Bridgeman Images
CREATIVE CAPITALS
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“The Houses of Parliament at Night,” City of Westminster, London, black-and-white photo. Photo credit: HIP/Art Resource, NY
For some two hundred years following the death of Henry Purcell, England failed to produce a composer of international merit. The German critic Oscar A. H. Schmitz famously derided the nation as Das Land ohne Musik (“The land without music”). But throughout the eighteenth and nineteenth centuries, England nevertheless remained fertile creative ground; London in particular attracted many of the continent’s greatest composers—from Handel and Mendelssohn to Edvard Grieg—who in turn helped make that city one of the Western world’s musical capitals. Music@Menlo 2018’s opening program cel-ebrates London’s cosmopolitan musical energy, juxtaposing these expatriate masters with two fresh voices of English music’s early twentieth-century renaissance, Benjamin Britten and Ralph Vaughan Williams.
CONCERT PROGRAM I
LONDON
George Frideric Handel (1685–1759)Concerto Grosso in D Major, op. 6, no. 5,
HWV 323 (1739)
Felix Mendelssohn (1809–1847)Fugue in E-flat Major for String Quartet,
op. 81, no. 4 (1827)
Ralph Vaughan Williams (1872–1958)Songs of Travel (1901, 1904)
Benjamin Britten (1913–1976)Suite for Violin and Piano, op. 6 (1934–1935)
Edvard Grieg (1843–1907)Holberg Suite for Strings, op. 40 (1884,
arr. 1885)
ARTISTSKang Wang, tenor; Hyeyeon Park, harpsichord;
Gloria Chien, Gilbert Kalish, pianos;
Paul Huang, Amy Schwartz Moretti,
Arnaud Sussmann, Wu Jie, Angelo Xiang Yu,
violins; Roberto Díaz, Matthew Lipman, violas;
Dmitri Atapine, Efe Baltacigil, David Finckel,
cellos; Scott Pingel, bass
SATURDAY, JULY 146:00 p.m., The Center for Performing Arts
at Menlo-Atherton
Tickets: $72/$62 full price; $30/$20 under
age thirty
Prelude Performance* 3:30 p.m., The Center for Performing Arts
at Menlo-Atherton
* Prelude Performances feature young
artists from the Chamber Music Institute.
Admission is free. For more information,
see pp. 24–25.
Fête the Festival8:30 p.m., following the concert
Join the Artistic Directors, festival musicians,
and friends on July 14 to celebrate the
season’s first concert at an outdoor catered
dinner reception on the Menlo School
campus.
(Tickets: $75. Advance purchase required.)
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No city captivates the imagination quite like Paris. For generations, the world’s leading artists, writers, and thinkers—to say nothing of its young lovers and starry-eyed dreamers—have flocked to La Ville Lumière. Her splendor has inspired some of the Western world’s most innovative cinema, elegant cuisine, and irresistible music. Towards the turn of the century, after opera had domi-nated French musical life for decades, Camille Saint-Saëns, César Franck, and others led a resurgence of chamber music. In their wake came some of the twentieth century’s most refreshing musical voices, from Jean Françaix to Francis Poulenc and the enfants terribles of Les Six.
CONCERT PROGRAM II
PARIS
Camille Saint-Saëns (1835–1921)Piano Trio no. 1 in F Major, op. 18 (1864)
Francis Poulenc (1899–1963)Sextet for Wind Quintet and Piano, op. 100
(1932–1939)
Jean Françaix (1912–1997)String Trio (1933)
César Franck (1822–1890)Piano Quintet in f minor (1879)
ARTISTSDemarre McGill, flute; Stephen Taylor, oboe;
Jose Franch-Ballester, clarinet; Peter Kolkay,
bassoon; Kevin Rivard, horn; Jon Kimura Parker,
Wu Han, pianos; Paul Huang, Angelo Xiang Yu,
violins; Matthew Lipman, viola; Dmitri Atapine,
Efe Baltacigil, cellos
TUESDAY, JULY 177:30 p.m., The Center for Performing Arts
at Menlo-Atherton
Tickets: $72/$62 full price; $30/$20 under
age thirty
Prelude Performance* 5:00 p.m., The Center for Performing Arts
at Menlo-Atherton
* Prelude Performances feature young
artists from the Chamber Music Institute.
Admission is free. For more information,
see pp. 24–25.
Jean Beraud (1849–1935). Outside the Vaudeville Theatre, Paris, nineteenth century, oil on canvas. Private collection/Photo © Christie’s Images/Bridgeman Images
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Built in 1703 by Peter the Great to be a cosmopolitan, Western-style metropolis, St. Petersburg emerged over subsequent decades as the center of Russian musical culture. It was in St. Petersburg that Mikhail Glinka, the progenitor of Russia’s classical music tradition, built his career. Glinka’s disciple Mily Balakirev likewise settled in the Russian capital, where he spearheaded the Russian vanguard known as the Mighty Handful. In 1862, Anton Rubinstein founded the St. Petersburg Conservatory, which remains Russian music’s foremost educational institution, producing such towering artists as Anton Arensky and Dmitry Shostakovich, whose works are featured in this program.
CONCERT PROGRAM III
ST. PETERSBURG
Mikhail Glinka (1804–1857)Trio pathétique in d minor for Clarinet,
Bassoon, and Piano (1832)
Anton Arensky (1861–1906)Quartet no. 2 in a minor for Violin, Viola,
and Two Cellos, op. 35 (1894)
Mily Balakirev (1837–1910)Octet for Winds, Strings, and Piano, op. 3
(1855–1856)
Dmitry Shostakovich (1906–1975)From Jewish Folk Poetry, op. 79 (1948)
ARTISTSLyubov Petrova, soprano; Sara Couden,
contralto; Kang Wang, tenor; Demarre McGill,
flute; Stephen Taylor, oboe; Jose Franch-
Ballester, clarinet; Peter Kolkay, bassoon;
Kevin Rivard, horn; Michael Brown,
Gilbert Kalish, pianos; Aaron Boyd,
Arnaud Sussmann, violins; Matthew Lipman,
Paul Neubauer, violas; David Finckel,
David Requiro, cellos; Scott Pingel, bass
SATURDAY, JULY 216:00 p.m., The Center for Performing Arts
at Menlo-Atherton
Tickets: $72/$62 full price; $30/$20 under
age thirty
The General Staff Building on Palace Square, St. Petersburg. Photo credit: Albrecht Neumeister, 2016
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When Georg Philipp Telemann turned down the post of Leipzig Music Director and Cantor, the city begrudgingly offered the position to its second choice: Johann Sebastian Bach. Bach’s years in Leipzig produced some of the greatest music ever composed—from the St. Matthew Passion and Mass in b minor to scores of keyboard concerti—thus cementing that city’s place as one of music history’s most important locales. A century later, two of the Romantic era’s greatest composers would likewise call Leipzig home: Felix Mendelssohn, who served as Director of the Leipzig Gewandhaus Orchestra and founded the Leipzig Conservatory, and Robert Schumann, whose mighty Piano Quintet con-cludes this summer’s fourth Concert Program.
CONCERT PROGRAM IV
LEIPZIG
Johann Sebastian Bach (1685–1750)Keyboard Concerto in d minor, BWV 1052
(ca. 1738–1739)
Georg Philipp Telemann (1681–1767)Canary Cantata, TWV 20: 37 (1737)
Felix Mendelssohn (1809–1847) Andante and Variations for Piano, Four
Hands, op. 83a (1844)
Robert Schumann (1810–1856) Piano Quintet in E-flat Major, op. 44 (1842)
ARTISTSSara Couden, contralto; Gilbert Kalish,
harpsichord; Michael Brown, Hyeyeon Park,
pianos; Aaron Boyd, Alexi Kenney, violins;
Matthew Lipman, Paul Neubauer, violas;
David Requiro, Keith Robinson, cellos;
Scott Pingel, bass
WEDNESDAY, JULY 257:30 p.m., Stent Family Hall, Menlo School
Tickets: $82 full price; $35 under age thirty
Prelude Performance* 5:00 p.m., Martin Family Hall, Menlo School
THURSDAY, JULY 267:30 p.m., The Center for Performing Arts
at Menlo-Atherton
Tickets: $72/$62 full price; $30/$20 under
age thirty
Prelude Performance* 5:00 p.m., The Center for Performing Arts
at Menlo-Atherton
* Prelude Performances feature young
artists from the Chamber Music Institute.
Admission is free. For more information,
see pp. 24–25.
Friedrich Werner (1690–1778). View of the City of Leipzig from the South East, ca. 1750, colored engraving.Stadtgeschichtliches Museum Leipzig, Germany/Bridgeman Images
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Through the eighteenth and nineteenth centuries, Berlin emerged and then handily secured its status as one of Europe’s most vital cultural centers. It was to Berlin that the aging J. S. Bach traveled in 1747, where King Frederick the Great issued the contrapuntal challenge that yielded Bach’s monumental Musical Offering. Mozart and Beethoven subsequently appeared at the same court, before Friedrich Wilhelm II; Mozart honored the King of Prussia (and amateur cellist) with his Prussian Quartets, notable for their virtuosic cello parts, while Beethoven composed his first two cello sonatas for the occasion. Concert Program V concludes with the Piano Trio no. 2 in c minor by Mendelssohn, who spent his formative years in the German capital.
CONCERT PROGRAM V
BERLIN
Ludwig van Beethoven (1770–1827)Cello Sonata in F Major, op. 5, no. 1 (1796)
Wolfgang Amadeus Mozart (1756–1791)String Quartet in D Major, K. 575, Prussian
(1789)
Johann Sebastian Bach (1685–1750)Selections from Musical Offering, BWV 1079
(1747)
Felix Mendelssohn (1809–1847) Piano Trio no. 2 in c minor, op. 66 (1845)
ARTISTSStephanie McNab, flute; Gilles Vonsattel,
Wu Han, pianos; Arnaud Sussmann, violin;
David Finckel, David Requiro, cellos; Calidore
String Quartet: Jeffrey Myers, Ryan Meehan,
violins; Jeremy Berry, viola; Estelle Choi, cello
SATURDAY, JULY 286:00 p.m., The Center for Performing Arts
at Menlo-Atherton
Tickets: $72/$62 full price; $30/$20 under
age thirty
SUNDAY, JULY 296:00 p.m., Stent Family Hall, Menlo School
Tickets: $82 full price; $35 under age thirty
Prelude Performance* 3:30 p.m., Martin Family Hall, Menlo School
* Prelude Performances feature young
artists from the Chamber Music Institute.
Admission is free. For more information,
see pp. 24–25.
Nikolaus Braun (1900–1980). Street Scene in Berlin, 1921, oil on conglomerate. Photo credit: Erich Lessing/Art Resource, NY
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Western composers from Haydn and Mozart to Brahms were irresistibly drawn to the folk music of Central Europe, infusing some of their most popular works with its infectious spirit. With Hungarian music’s own nationalist movement in the early twentieth century, Hungary—and especially its capital, Budapest—assumed even greater importance in the Western classical tradition. Ernő Dohnányi, one of the twentieth century’s most gifted and versatile musicians, was moreover the first elite Hungarian artist who chose to train at the Budapest Academy of Music rather than studying abroad. His countrymen Béla Bartók and Zoltán Kodály—the progenitors of a nationalist Hungarian compositional language—followed suit, establishing Budapest as the epicenter of Hungary’s musical culture. Concert Program VI features the work of these three giants of Hungarian music and their heir apparent, the modernist master György Ligeti.
CONCERT PROGRAM VI
BUDAPEST
Zoltán Kodály (1882–1967)Duo for Violin and Cello, op. 7 (1914)
Béla Bartók (1881–1945)String Quartet no. 5 (1934)
György Ligeti (1923–2006) Ballad and Dance for Two Violins (1950)
Ernő Dohnányi (1877–1960)Sextet in C Major for Winds, Strings, and
Piano, op. 37 (1935)
ARTISTSAnthony McGill, clarinet; Kevin Rivard, horn;
Gilles Vonsattel, piano; Bella Hristova,
Wu Jie, violins; Matthew Lipman, viola;
Nicholas Canellakis, David Requiro, cellos;
Calidore String Quartet: Jeffrey Myers,
Ryan Meehan, violins; Jeremy Berry, viola;
Estelle Choi, cello
TUESDAY, JULY 317:30 p.m., The Center for Performing Arts
at Menlo-Atherton
Tickets: $72/$62 full price; $30/$20 under
age thirty
Prelude Performance* 5:00 p.m., The Center for Performing Arts
at Menlo-Atherton
* Prelude Performances feature young
artists from the Chamber Music Institute.
Admission is free. For more information,
see pp. 24–25.
“Budapest at Night,” 1936, black-and-white photo. © SZ Photo/Scherl/Bridgeman Images
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The 2018 season’s final Concert Program celebrates Vienna—from the Classical era into the twentieth century, the indisputable capital of the Western musical world. It was in Vienna that the Salzburg-born wunderkind Wolfgang Amadeus Mozart found his place among the pantheon of great artists and where, after Mozart’s death at the age of thirty-five, Beethoven traveled to “receive Mozart’s spirit from Haydn’s hands.” Vienna remained the seat of Western music through the Romantic era in a period bookended by Schubert and Brahms. When, in the twentieth century, the iconoclast Arnold Schoenberg sought to “ensure the supremacy of German music for the next hundred years,” his coterie fittingly became known as the Second Viennese School.
CONCERT PROGRAM VII
VIENNA
Wolfgang Amadeus Mozart (1756–1791)Andante and Variations in G Major for Piano,
Four Hands, K. 501 (1786)
Johannes Brahms (1833–1897)Piano Quintet in f minor, op. 34 (1862)
Franz Schubert (1797–1828)Allegro in a minor for Piano, Four Hands,
op. 144, D. 947, Lebensstürme (1828)
Arnold Schoenberg (1874–1951)Verklärte Nacht (Transfigured Night) for
String Sextet, op. 4 (1899)
ARTISTSGloria Chien, Gilbert Kalish, Wu Han, pianos;
Bella Hristova, Kristin Lee, Arnaud Sussmann,
violins; Matthew Lipman, Richard O’Neill,
violas; Nicholas Canellakis, David Requiro,
cellos
THURSDAY, AUGUST 27:30 p.m., Stent Family Hall, Menlo School
Tickets: $82 full price; $35 under age thirty
SATURDAY, AUGUST 46:00 p.m., The Center for Performing Arts
at Menlo-Atherton
Tickets: $72/$62 full price; $30/$20 under
age thirty
Interior of a Café, twentieth century, watercolor.Historisches Museum der Stadt Wien. De Agostini Picture Library/A. Dagli Orti/Bridgeman Images
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Carte Blanche Concerts
CARTE BLANCHE CONCERT I
PAUL HUANG, VIOLIN; WU HAN, PIANOSunday, July 15, 6:00 p.m. Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty
The brilliant young violinist Paul Huang returns to Music@Menlo, joining Artistic Codirector Wu
Han in a program of Romantic violin sonatas. The program begins with Beethoven’s Sonata in G
Major, op. 30, no. 3, a work that finds the composer on the cusp of his celebrated “heroic” style,
soon to single-handedly usher music into the Romantic period. The exquisite d minor Sonata of
Johannes Brahms, Beethoven’s heir apparent, follows. Alongside the works of these guardians of
the Viennese tradition, the program offers Bartók’s signature Hungarian Folk Tunes and concludes
with the Parisian esprit of Saint-Saëns’s First Violin Sonata.
Ludwig van Beethoven (1770–1827)Violin Sonata in G Major, op. 30, no. 3 (1801–1802)
Johannes Brahms (1833–1897)Violin Sonata in d minor, op. 108 (1886–1888)
Béla Bartók (1881–1945)Hungarian Folk Tunes (arr. Szigeti in 1926 from Bartók’s For Children)
Camille Saint-Saëns (1835–1921)Violin Sonata no. 1 in d minor, op. 75 (1885)
CARTE BLANCHE CONCERT II
CALIDORE STRING QUARTET Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, viola; Estelle Choi, celloThursday, July 19, 7:30 p.m. Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty
No genre more powerfully emblematizes Vienna’s hallowed chamber music tradition than the
string quartet. Joseph Haydn, the father of the Classical style, turned the string quartet medium
into the lingua franca of Western chamber music. The form was thereafter revolutionized by his
student Beethoven, whose imposing cycle of sixteen quartets remains the bedrock of the literature
today. Quartets by Haydn and Beethoven (the dazzling third Razumovsky Quartet) bookend Carte
Blanche Concert II. At the center of the program are two works by Anton Webern, the Expression-
ist genius of the Second Viennese School.
Joseph Haydn (1732–1809)String Quartet in G Major, op. 54, no. 1, Hob. III: 58 (1788)
Anton Webern (1883–1945)Fünf Sätze for String Quartet, op. 5 (1909)
Langsamer Satz for String Quartet (1905)
Ludwig van Beethoven (1770–1827)String Quartet in C Major, op. 59, no. 3, Razumovsky (1806)
The 2018 Carte Blanche Concerts, curated by the festival artists themselves, offer an intimate tour of this season’s Creative Capitals.
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CARTE BLANCHE CONCERT III
DMITRI ATAPINE, CELLO; HYEYEON PARK, PIANOSunday, July 22, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty
Music@Menlo audience favorites and husband-and-wife duo Dmitri Atapine and Hyeyeon Park
complement the season’s itinerary with a three-part recital program of some of Western music’s
most relentlessly peripatetic composers. Alongside pieces by such iconic figures as Beethoven and
Boccherini, the program offers lesser-known gems by the Russian cellist and composer Karl Dav-
idoff (who encountered Schumann and Mendelssohn in Leipzig before returning to St. Petersburg),
John Field (an Irish composer who emigrated to Russia), and others. Carte Blanche Concert III
concludes with Chopin’s dazzling Introduction and Polonaise brillante.
CARTE BLANCHE CONCERT IV
PAUL NEUBAUER, VIOLA; MICHAEL BROWN, PIANOSunday, July 29, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty
Preeminent violist Paul Neubauer and the outstanding young pianist Michael Brown join forces for
the season’s final Carte Blanche Concert. The program brings together masterworks of the twenti-
eth-century repertoire for viola and piano, from Dmitry Shostakovich’s powerful Viola Sonata—the
Russian master’s final composition, completed weeks before his death—to the stunning Romance
of the English composer Benjamin Dale. The program concludes with a sampling of the delectable
salon music of Georges Boulanger.
Krzysztof Penderecki (Born 1933)Cadenza for Solo Viola (1984)
Dmitry Shostakovich (1906–1975)Viola Sonata, op. 147 (1975)
Ernest Bloch (1880–1959)Suite hébraïque (1951)
Benjamin Dale (1885–1943)Romance from Suite for Viola and Piano, op. 2 (1906)
Mana-Zucca (1885–1981) Hakinoh (Lament), op. 186 (1956)
Georges Boulanger (1893–1958)Salon Pieces for Viola and Piano
PROLOGUEAlfred Schnittke (1934–1998)
Musica Nostalgica (1992)
PART 1: THE CELLO STORYLuigi Boccherini (1743–1805)
Cello Sonata in A Major, G. 4 (1772)
Ludwig van Beethoven (1770–1827)Seven Variations in E-flat Major on “Bei
Männern, welche Liebe fühlen” from Mozart’s Die Zauberflöte, WoO 46 (1801)
Karl Davidoff (1838–1889)Allegro de concert, op. 11 (1862)
PART 2: LONDON’S ORBITAlfredo Piatti (1822–1901)
Caprice on a Theme from Pacini’s Niobe for Solo Cello, op. 22 (1865)
John Field (1782–1837)Nocturne no. 5 in B-flat Major for Solo Piano
(1817)
Frank Bridge (1879–1941)Cello Sonata (1913–1917)
PART 3: EASTERN EUROPEBohuslav Martinů (1890–1959)
Variations on a Theme of Rossini (1942)
Zoltán Kodály (1882–1967)Sonatina for Cello and Piano (1921)
Frédéric Chopin (1810–1849)Introduction and Polonaise brillante in C Major,
op. 3 (1829–1830)
Please join the artists for a picnic lunch follow-
ing the concert. A gourmet boxed lunch may be
reserved with your ticket order for $20.
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Michael Steinberg
Encounter SeriesThe Encounter series, Music@Menlo’s signature multimedia symposia, embodies the festival’s context-rich approach to musical discovery and adds dimension and depth to the Music@Menlo experience. The 2018 festival season’s three Encounters, led by experts in their fields, offer immersive visits to the cultural centers at the heart of the festival, providing audiences with context for the season’s seven Concert Programs and four Carte Blanche Concerts. The Encounter series is named in memory of Michael Steinberg, the eminent musicologist and Music@Menlo guiding light.
ENCOUNTER I
LONDON, PARIS, AND ST. PETERSBURG Led by Michael ParloffFriday, July 13, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty
While London, Paris, and St. Petersburg have
historically shared numerous cross-cultural
connections—from the inevitable cultural
exchange across the English Channel to Italian
opera’s equal seduction of English and Russian
audiences—each city has nurtured a distinct
musical identity. London, the capital of the
country once derided as “the land without
music,” today rivals Paris as one of Western
music’s quintessential locales. Once a musical
desert, St. Petersburg similarly rose over
generations to have tremendous cultural
influence. Returning Encounter Leader Michael
Parloff opens the 2018 season, guiding audi-
ences on a tour of these three intriguing
cosmopolises.
ENCOUNTER II
LEIPZIG AND BERLIN Led by Ara GuzelimianFriday, July 20, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty
Leipzig catalyzed arguably the greatest cor-
pus in Western music history, as J. S. Bach’s
music directorship in that city produced
the St. Matthew Passion, Mass in b minor, and
sheaves of chamber and orchestral works
that remain vital to the repertoire. Bach’s
greatest champion in the following century,
Felix Mendelssohn, added to Leipzig’s proud
musical tradition, establishing a conserva-
tory and building its orchestra into one of
the world’s finest. Meanwhile, one hundred
miles to the north, a succession of Prussian
monarchs received the likes of Bach, Mozart,
and Beethoven, fueling Berlin’s rise to equal
cultural significance. For this summer’s second
Encounter, Ara Guzelimian charts the ascen-
dancy of Germany’s twin musical epicenters.
Prelude Performance* 5:00 p.m., The Center for Performing Arts
at Menlo-Atherton
ENCOUNTER III
BUDAPEST AND VIENNA Led by John R. HaleFriday, July 27, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty
One reigned for two centuries as the
undisputed capital of Western music, nour-
ishing composers from Haydn, Mozart, and
Beethoven to Schoenberg, Webern, and Berg.
The other rose to prominence on a national-
ist wave fueled by the groundbreaking work
of Bartók, Kodály, and others. Despite their
close proximity and cultural kinship, Vienna
and Budapest and their musical histories offer
a tale of two cities, separated by tradition and
aesthetic. Scholar John R. Hale makes his
Music@Menlo debut, leading the season’s final
Encounter—an engrossing exploration of these
two enchanting Central European capitals.
Prelude Performance* 5:00 p.m., Stent Family Hall, Menlo School
* Prelude Performances feature young artists
from the Chamber Music Institute. Admission
is free. For more information, see pp. 24–25.
Charles F. Borup. “Piccadilly Circus, London, at Night,” black-and-white photo. From Penrose’s Pictorial Annual 1908–1909, An Illustrated Review of the Graphic Arts, volume 14, edited by William Gamble and published by A. W. Penrose, London, 1908–1909. Photo credit: HIP/Art Resource, NY
Bach portrait, Thomaskirche, Leipzig, photo. © Bednorz Images/Bridgeman Images
“Schoenbrunn Palace in Vienna,” 1936, black-and-white photo. © SZ Photo/Scherl/Bridgeman Images
23subscribe at www.musicatmenlo.org | 650-331-0202
AudioNotes AudioNotes, available as downloadable MP3s, are Music@Menlo’s
innovative series of preconcert listener guides intended to provide
greater insight into the music as well as the performers’ perspec-
tives. AudioNotes—provided free of charge—offer cultural and
historical context highlighted by musical examples and interviews
with festival artists. Each AudioNotes recording enhances the
concert experience by giving listeners an informed perspective
in advance of the performance and provides the foundation for a
rich and rewarding musical journey.
Music@Menlo LIVE Music@Menlo LIVE, the festival’s exclusive recording label, has
been praised as “the most ambitious recording project of any
classical music festival in the world” (San Jose Mercury News)
and its recordings have been hailed as “without question the
best CDs I have ever heard” (Positive Feedback Online). Pro-
duced by Grammy Award-winning engineer Da-Hong Seetoo
using state-of-the-art recording technology, Music@Menlo
LIVE releases feature select concert recordings representing
Music@Menlo’s signature thematic programming.
Music@Menlo LIVE recordings are available for sale
throughout the season at festival concert venues and online
at www.musicatmenlo.org. They are also available for digital
download and streaming through iTunes, Amazon.com,
Classical Archives, and Spotify.
American Public Media®
American Public Media® is the
leading producer of classical
music programming for public
radio. This summer, Music@Menlo
is proud to welcome American Public Media® once again as
the festival’s exclusive broadcast partner. Performances from
the festival will air nationwide on the American Public Media®
radio program Performance Today®, the largest daily classical
music program in the United States, which airs on 260 stations
and reaches more than one million people each week, and via
Classical 24®, a live classical music service broadcast on 250
stations and distributed by Public Radio International. Hosts
and producers from American Public Media® have participated
in the festival as event moderators and educators. Go online to
www.YourClassical.org for archived performances, photos, and
interviews.
Overture ConcertsMusic@Menlo is excited to inaugurate the Overture Concerts, in which the International Program artists collaborate with festival
main-stage artists for the first time. Two performances in Stent Family Hall will include all eleven spectacular International Program
performers, who will be joined by pianist Wu Han, violinist Arnaud Sussmann, violist Matthew Lipman, and the Calidore String Quartet.
These concerts function as an “overture” to the future of chamber music: world-renowned festival artists will share their knowledge,
experience, and traditions with the burgeoning International Program musicians as they perform together, bringing the freshest
perspectives to these events. The artists will collectively bridge the gap between the traditions of the past, the master performers of
today, and the flourishing of the art form in the future. Please join us to experience the fruits of their collaboration and to witness a
glimpse of the bright future of chamber music.
Tuesday, July 24, 7:30 p.m. Stent Family Hall, Menlo School
Joseph Haydn (1732–1809)Piano Trio in C Major, Hob. XV: 27 (1797)
Antonín Dvořák (1841–1904)Piano Quintet in A Major, op. 81, B. 155 (1877)
Featuring Arnaud Sussmann, violin, and Wu Han, piano, with
musicians from the Chamber Music Institute’s International
Program.
Wednesday, August 1, 7:30 p.m. Stent Family Hall, Menlo School
Wolfgang Amadeus Mozart (1756–1791)Piano Quartet in g minor, K. 478 (1785)
Felix Mendelssohn (1809–1847) String Octet in E-flat Major, op. 20 (1825)
Featuring Matthew Lipman, viola, and the Calidore String
Quartet: Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry,
viola; and Estelle Choi, cello, with musicians from the Chamber
Music Institute’s International Program.
Tickets: $32. Young Patrons Society members receive two complimentary tickets, and Young Patrons Leadership Circle members receive four complimentary tickets to either Overture performance.
24 subscribe at www.musicatmenlo.org | 650-331-0202
Music@Menlo’s Chamber Music Institute has become one
of the top-tier summer programs in the world for string play-
ers and pianists. The Institute brings together exceptionally
talented young musicians and a world-class roster of per-
forming artists for an intensive three-week training program,
consisting of the International Program for preprofessional
artists (ages eighteen to twenty-nine) and the Young Perform-ers Program for pre- and early-conservatory-level students
(ages nine to eighteen). These extraordinary young artists are
selected from top preparatory and conservatory programs
across the United States and abroad. Students work closely
with the festival’s artist-faculty in coachings, master classes,
and various other educational activities. Highlights include the
immensely popular Prelude Performances and Koret Young
Performers Concerts featuring the Institute’s aspiring young
artists. The Chamber Music Institute’s series of master classes,
Café Conversations, and performances—always free and open
to the public—offers listeners opportunities to witness the fos-
tering of great traditions and the exchange of ideas between
today’s most accomplished artists and classical music’s next
generation.
The Chamber Music Institute and its International Program and
Young Performers Program participants are supported by con-
tributions to the Ann S. Bowers Young Artist Fund.
Music@Menlo is thrilled to announce the launch of the Overture Concerts, a unique addition to the festival’s musical offerings. During the 2018 festival, audiences will have two not-to-be-missed opportunities to hear the extraordinary young artists of the Chamber Music Institute’s International Program perform alongside select main-stage Music@Menlo festival artists. More information on these exciting new con-certs is available on p. 23.
Chamber Music Institute David Finckel and Wu Han ARTISTIC DIRECTORS
Gloria Chien INSTITUTE DIRECTOR
Gilbert Kalish DIRECTOR, INTERNATIONAL PROGRAM
Arnaud Sussmann ASSOC. DIRECTOR, INTERNATIONAL PROGRAM
25subscribe at www.musicatmenlo.org | 650-331-0202
Prelude Performances and Koret Young Performers Concerts
Prelude Performance Schedule
Featuring the Institute’s International Program artists.
Saturday, July 14, 3:30 p.m., Menlo-Atherton*
Sunday, July 15, 3:30 p.m., Martin Family Hall
Tuesday, July 17, 5:00 p.m., Menlo-Atherton*
Wednesday, July 18, 5:00 p.m., Martin Family Hall
Thursday, July 19, 5:00 p.m., Martin Family Hall
Friday, July 20, 5:00 p.m., Menlo-Atherton*
Sunday, July 22, 3:30 p.m., Martin Family Hall
Wednesday, July 25, 5:00 p.m., Martin Family Hall
Thursday, July 26, 5:00 p.m., Menlo-Atherton*
Friday, July 27, 5:00 p.m., Stent Family Hall
Sunday, July 29, 3:30 p.m., Martin Family Hall
Tuesday, July 31, 5:00 p.m., Menlo-Atherton*
Friday, August 3, 5:00 p.m., Menlo-Atherton*
Koret Young Performers Concert Schedule
Featuring the students of the Young Performers Program.
Saturday, July 21, 1:00 p.m., Menlo-Atherton*
Saturday, July 28, 1:00 p.m., Menlo-Atherton*
Saturday, August 4, 1:00 p.m., Menlo-Atherton*
In response to the popularity of these events, a ticket is required
for all Prelude Performances and Koret Young Performers Con-
certs. Free tickets can be requested at will call beginning one
hour prior to the start of each concert or reserved in advance
online at www.musicatmenlo.org starting at 9:00 a.m. on the
day of the event. Seating is by general admission. Members of
the Bach Circle ($1,000) and above enjoy Advance Ticketing for
one Prelude Performance or Koret Young Performers Concert
of their choice. Members of the Beethoven Circle ($10,000) and
above enjoy Advance Ticketing for all Prelude Performances and
Koret Young Performers Concerts. For reserved seating oppor-
tunities, please see Premium Seating information on p. 34.
*The Center for Performing Arts at Menlo-Atherton
Café Conversations and Master Classes Beginning on July 16, each weekday throughout the festival,
Music@Menlo offers midday events including the popular Café
Conversations and master classes. Café Conversations feature
select festival artists discussing a variety of topics related to music
and the arts. These forums showcase the wide-ranging expertise
and imagination of our artists and provide further insights into
their remarkable careers and musical experiences.
Master classes offer opportunities to witness members of the
artist-faculty impart their knowledge, art, and expertise to the
next generation of performers. In master classes, Chamber
Music Institute participants are coached in preparation for their
Prelude Performances and Koret Young Performers Concerts.
The insights gained from observing the nuanced process of
preparing a piece of music for performance deepen audiences’
appreciation of the concert experience.
Each weekday of the festival season features a Café Conversa-
tion or master class at 11:45 a.m. on the Menlo School campus.
Reservations are not required. During the festival season,
please consult your festival program book or visit our website
at www.musicatmenlo.org for a detailed schedule of master
classes and Café Conversation topics.
Open Coachings Music@Menlo invites you to experience the Chamber Music
Institute by observing select coachings on the Menlo School
campus, Monday through Friday from July 16 through August 3.
Daily coaching schedules can be found at the festival Welcome
Center.
The festival’s preconcert and afternoon Prelude Performances and Koret Young Performers Concerts showcase the extraordinary young
artists of the Chamber Music Institute and are an integral part of Music@Menlo’s educational mission. These inspiring concerts have become
some of the season’s most anticipated events. Experience these young artists performing great works from the chamber music repertoire.
For both series, free tickets are required and may be reserved in advance on the day of the concert.
26 subscribe at www.musicatmenlo.org | 650-331-0202
Music@Menlo is delighted to announce our new off-season initiative—Music@Menlo:Focus.
A reimagining of our Winter Series, this new venture will offer listeners opportunities to experience the festival’s signature chamber music programming and immersive educational content during the year in a bold, brand-new form.
For the inaugural season, two popular Music@Menlo artists each will curate multiday residencies. Please join us this November and in May 2019 to witness Guest Curators Hyeyeon Park and Arnaud Sussmann as they launch Music@Menlo:Focus, featuring out-reach and intellectually captivating “Behind the Music” events and culminating in two enthralling performances in a new concert venue, St. Bede’s Episcopal Church in Menlo Park.
SHAKESPEARE AND GOETHE WITH HYEYEON PARKTo open the 2018–2019 Music@Menlo:Focus residencies,
Music@Menlo is proud to present Shakespeare and Goethe—a
magical exploration of literary allusions in music. As the cul-
mination of this residency, an all-star cast of five artists will
join forces on November 9 in St. Bede’s Church to bring to
life timeless literature-inspired masterpieces by Beethoven,
Mendelssohn, Schubert, Liszt, and Brahms. This must-see per-
formance and its associated events will shine new light on the
dramatic impact that Macbeth, A Midsummer Night’s Dream,
Faust, and Werther had on the inventiveness and imagination of
some of the greatest chamber music authors of all time.
Behind the Music Thursday, November 8, 2018, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $30 full price; $15 under age thirty
Concert Program Friday, November 9, 2018, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park Tickets: $52/$47 full price; $25/$20 under age thirty
Ludwig van Beethoven (1770–1827)Piano Trio in D Major, op. 70, no. 1, Ghost (1808)
Felix Mendelssohn (1809–1847)Nocturne and Scherzo from A Midsummer Night’s Dream for
Piano, Four Hands, op. 61 (1843)
Franz Schubert (1797–1828)Gretchen am Spinnrade and Erlkönig (arr. Liszt, 1837–1838)
Johannes Brahms (1833–1897)Piano Quartet no. 3 in c minor, op. 60 (1855–1856, 1874)
ARTISTSHyeyeon Park, Jon Kimura Parker, pianos; Cho-Liang Lin, violin;
Matthew Lipman, viola; David Finckel, cello
FOLK TALES WITH ARNAUD SUSSMANNThis program was built around a unique and rather unusual
instrumentation for string trio—two violins and a viola—seldom
heard in a full chamber music program. Featuring staples of the
repertoire, Antonín Dvořák’s magnificent Miniatures and Terzetto
and Zoltán Kodály’s delightfully folksy Serenade, the program
also offers rarely performed music by Belgian composer and
violinist Eugène Ysaÿe and Russian composer Sergei Taneyev. The
richness and variety in the music will surprise and delight you, as
will the project’s intimate educational style. Violist extraordinaire
and festival favorite Paul Neubauer will be joined onstage by vir-
tuoso violinists Pamela Frank and Arnaud Sussmann.
Behind the Music Thursday, May 2, 2019, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $30 full price; $15 under age thirty
Concert Program Friday, May 3, 2019, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park Tickets: $52/$47 full price; $25/$20 under age thirty
Antonín Dvořák (1841–1904)Miniatures for Two Violins and Viola, op. 75a (1887)
Eugène Ysaÿe (1858–1931)Le Londres in a minor for Two Violins and Viola (ca. 1914–1916)
Zoltán Kodály (1882–1967)Serenade for Two Violins and Viola, op. 12 (1919–1920)
Sergei Taneyev (1856–1915)Trio in D Major for Two Violins and Viola, op. 21 (1907)
Antonín DvořákTerzetto in C Major for Two Violins and Viola, op. 74 (1887)
ARTISTSPamela Frank, Arnaud Sussmann, violins; Paul Neubauer, viola
27subscribe at www.musicatmenlo.org | 650-331-0202
Cover: Nero, 1984, limestone. Photo by EPW Studio/Maris Hutchinson
Top: Tabatinga, 1984, limestone. Photo by EPW Studio/Maris Hutchinson
Bottom: Gonzalo Fonseca with Great Jones Street, 1994. Photo by Ovak Arslanian
Back cover: La trucha de Maria, 1985, Persian travertine. Photo by EPW Studio/Maris Hutchinson
Music@Menlo founding Artistic Directors cellist
David Finckel and pianist Wu Han rank among
the most esteemed and influential classical
musicians in the world today. Recipients of
Musical America’s Musicians of the Year award,
they bring unmatched talent, energy, imagi-
nation, and dedication to their multifaceted
endeavors as concert performers, recording
artists, educators, artistic administrators, and
cultural entrepreneurs. In high demand as indi-
viduals and as a duo, they appear each season
at a host of the most prestigious venues and
concert series across the United States and
around the world.
Since 2004, David Finckel and Wu Han have
together held the prestigious position of Artistic
Director of the Chamber Music Society of
Lincoln Center, the world’s largest presenter
and producer of chamber music, programming
and performing under its auspices worldwide.
Their wide-ranging musical innovations include
the launch of ArtistLed (www.artistled.com),
classical music’s first musician-directed and
Internet-based recording company, whose
catalogue of nineteen albums has won wide-
spread critical acclaim. In 2011, David Finckel
and Wu Han were named Artistic Directors of
Chamber Music Today, an annual festival held
in Seoul, South Korea, and since 2013, they
have led the Finckel-Wu Han Chamber Music
Studio at the Aspen Music Festival and School.
In these capacities, as well as through a multi-
tude of other educational initiatives, they have
achieved universal renown for their passionate
commitment to nurturing the careers of count-
less young artists. David Finckel and Wu Han
reside in New York City. For more information,
please visit www.davidfinckelandwuhan.com.
Artistic Directors: David Finckel and Wu Han The Martin Family Artistic Directorship
Gonzalo Fonseca (1922–1997) understood sculpture as a microcosmic
way to engage civilization and weave together past and future. Inte-
grating the forms that he encountered in his extensive travel, Fonseca
resisted the narrower tracks of mid-twentieth-century Modernist
sculpture and instead dedicated himself to expanding its landscape.
He carved his stones himself, without the aid of assistants, and often
worked with found stone. Uruguayan-born, he divided the majority
of his life between Manhattan and a hilltop studio among the quar-
ries and stone-working communities in Northern Tuscany. Gonzalo
Fonseca produced hundreds of paintings and drawings and executed
a number of monumental public works. A documentary focused on
Fonseca, titled Membra Disjecta: Gonzalo Fonseca and the Heart of Stone, comes out in 2018. For
further information, visit www.gonzalofonseca.com.
Visual Artist: Gonzalo Fonseca
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Described as a cellist whose “playing is highly
impressive throughout” (Strad), Dmitri Atapine has
appeared at leading venues around the world. He
has performed with the Chamber Music Society of
Lincoln Center, where he is a member of the CMS
Two program, and is a frequent guest at festivals including
Music@Menlo, Chamber Music Northwest, La Musica Sarasota, the
Pacific Music Festival, Aldeburgh, and Aix-en-Provence. Professor
of cello at the University of Nevada, Reno, and Artistic Director of
Apex Concerts, Dmitri Atapine holds a doctoral degree from the
Yale School of Music, where he studied with Aldo Parisot.
Turkish cellist Efe Baltacigil recently made his debut
with the Berlin Philharmonic and Sir Simon Rattle
alongside his brother, Fora. He also performed
Tchaikovsky’s Rococo Variations with the Seattle
Symphony, after which the Seattle Times lauded his
“sublimely natural, so easily virtuosic, phenomenal, effortless
musicianship.” Recent appearances as soloist include Brahms’s
Double Concerto with violinist David Coucheron and the Norwe-
gian Radio Orchestra and Richard Strauss’s Don Quixote with the
Seattle Symphony. A member of the East Coast Chamber
Orchestra, he was Associate Principal Cellist of the Philadelphia
Orchestra until 2011 and is currently Principal Cellist of the Seattle
Symphony.
Violinist Aaron Boyd enjoys a versatile career as
soloist, chamber musician, lecturer, teacher, and
recording artist and concertizes throughout the
United States, Europe, Russia, and Asia. He appears
regularly as an Artist of the Chamber Music Society
of Lincoln Center and has participated in the Marl-
boro, Music@Menlo, La Jolla, Bridgehampton, and Prussia Cove
festivals. Previously on the violin faculties of Columbia University
and the University of Arizona, Aaron Boyd now serves as Director
of Chamber Music and Professor of Practice in Violin at the Mead-
ows School of the Arts at Southern Methodist University in Dallas,
Texas.
Pianist-composer Michael Brown has been hailed
by the New York Times as “one of the leading
figures in the current renaissance of performer-
composers.” Winner of a 2015 Avery Fisher Career
Grant, he appears regularly with the Seattle, Albany,
Maryland, New Haven, and Erie Symphony Orchestras and with
the Chamber Music Society of Lincoln Center. He was selected by
pianist András Schiff to perform across the United States and
Europe. As Composer-in-Residence for the New Haven
Symphony for the 2017–2019 seasons, he has been commis-
sioned to write a new symphony. For more information, please
visit michaelbrownmusic.com.
The Calidore String Quartet’s “deep reserves of
virtuosity and irrepressible dramatic instinct” (New
York Times) have won the ensemble accolades
across the globe and firmly established it as one of
the finest chamber music ensembles performing
today. The quartet regularly performs in the most prestigious
venues throughout North America, Europe, and Asia such as
Carnegie Hall, Lincoln Center (as members of the Chamber Music
Society of Lincoln Center’s CMS Two program), Wigmore Hall, the
Konzerthaus Berlin, and Seoul’s Kumho Arts Hall, as well as at many
significant festivals, including Verbier, Ravinia, Mostly Mozart,
Music@Menlo, Rheingau, East Neuk, and Festspiele Mecklenburg-
Vorpommern. In addition to winning the M-Prize International
Chamber Music Competition and the Borletti-Buitoni Trust
Fellowship, the Calidore String Quartet has won Grand Prizes in
virtually all the major U.S. chamber music competitions, including
the Fischoff, Coleman, Chesapeake, and Yellow Springs chamber
music competitions, and the ARD International and Hamburg
International competitions.
Hailed by the New Yorker as a “superb young soloist,”
Nicholas Canellakis has become one of the most
sought-after and innovative cellists of his generation.
Canellakis recently made his Carnegie Hall concerto
debut, performing with the American Symphony
Orchestra in Isaac Stern Auditorium. He is an Artist of the Chamber
Music Society of Lincoln Center, with which he performs regularly
in Alice Tully Hall and on tour. He is also a regular guest artist at
many of the world’s leading music festivals, including Santa Fe, La
Jolla, Music@Menlo, Ravinia, Bridgehampton, Mecklenburg, Hong
Kong, Moab, and Saratoga Springs.
The Cleveland Plain Dealer asserted that violinist
Ivan Chan’s “…tonal sweetness is matched by impec-
cable taste, purposeful energy, and an unerring
sense of phrasing.” A member of the Miami String
Quartet from 1995 to 2010, Chan is currently Associ-
ate Professor of Chamber Music, Violin, and Viola at the Hong
Kong Academy for Performing Arts. As a visiting artist, he has
taught at the Curtis Institute of Music, the Juilliard School, New
England Conservatory, Ravinia’s Steans Institute, Morningside Music
Bridge, and Beijing Central Conservatory. In 2018, Chan will be on
faculty at Music@Menlo and the Kent Blossom Music Festival.
Deemed one of the Superior Pianists of the Year
(Boston Globe), Gloria Chien is founding Artistic
Director of String Theory, a chamber music series in
Chattanooga, Tennessee, and was appointed Direc-
tor of the Chamber Music Institute at Music@Menlo
in 2010. A Steinway Artist, she has recorded for Chandos Records
and released a CD with clarinetist Anthony McGill in 2010. Gloria
Chien is an Artist-in-Residence at Lee University in Tennessee and
is an Artist of the Chamber Music Society of Lincoln Center.
Sara Couden, contralto, is so excited to be returning
to Music@Menlo. Highlights from this past season
include Brahms’s Alto Rhapsody at the Staunton
Music Festival, Petr Eben’s Loveless Songs for Voice
and Viola, performed with Kim Kashkashian at the
Marlboro Music Festival, Third Lady in a concert of highlights from
The Magic Flute with the Los Angeles Philharmonic, the role of
Albine in the Metropolitan Opera’s fall production of Thaïs, soloist
in Schoenberg’s version of Das Lied von der Erde with the New
York chamber group Cantata Profana, soloist in Beethoven’s
Symphony no. 9 with the Tucson, Charleston, Charlotte, and San
Francisco Symphonies, and a program of Bach cantatas through
the Philadelphia Chamber Music Society.
A violist of international reputation, Roberto Díaz is
President and CEO of the Curtis Institute of Music. As
a teacher of viola at Curtis and former Principal Violist
of the Philadelphia Orchestra, Díaz has already had a
significant impact on American musical life, and he
continues to do so in his dual roles as performer and educator. He
has appeared as an orchestral soloist and recitalist in major cities
around the globe and has worked with many of the leading con-
ductors and composers of our time. A celebrated chamber artist
and recitalist, Roberto Díaz is a member of the Díaz Trio and
performs frequently on tour in programs featuring Curtis students.
Multiple award–winning Spanish clarinetist
Jose Franch-Ballester (FrAHnk Bai-yess-TAIR) has
performed to great acclaim in venues across the
United States and abroad. He appears regularly
with the Chamber Music Society of Lincoln Cen-
ter, serves as Principal Clarinet of California’s Camerata
Pacifica, and founded Jose Franch-Ballester i amics (and
friends), an organization that presents concerts in his native
Valencia, Spain. Franch-Ballester has commissioned, pre-
miered, and performed works by numerous contemporary
composers. Also a dedicated music educator, he serves as
Assistant Professor of Clarinet and Chamber Music at the
Festival Artist Biographies
29subscribe at www.musicatmenlo.org | 650-331-0202
University of British Columbia in Vancouver, Canada. Jose
Franch-Ballester is represented in the Americas by Sciolino
Artist Management, www.samnyc.us.
Ara Guzelimian has served as Provost and Dean
of the Juilliard School since August 2006, where
he works closely with the President in overseeing
the faculty, curriculum, and artistic planning of
the distinguished performing arts conservatory in
all three of its divisions—dance, drama, and music. Previously,
he was Senior Director and Artistic Advisor of Carnegie Hall,
Artistic Administrator of the Aspen Music Festival and School in
Colorado, Artistic Director of the Ojai Festival in California, and
Artistic Administrator of the Los Angeles Philharmonic. He
currently serves on the Music Visiting Committee of the
Morgan Library and Museum in New York City and is an
Artistic Consultant for the Marlboro Music Festival and
School in Vermont.
John R. Hale is an archaeologist at the University
of Louisville, with degrees in archaeology from
Yale and Cambridge. Hale’s fieldwork ranges from
the Delphic Oracle in Greece to a Paleo-Christian
church in Portugal. Underwater investigations
include ancient shipwrecks at Caesarea Maritima in Israel and
submerged Maya ruins in Guatemala. His discoveries have been
published in Antiquity and Scientific American, and his book on
the ancient Athenian navy, Lords of the Sea, was published by
Viking Penguin. Fascinated by music from an early age, John
Hale also joined an interdisciplinary team that reconstructed and
performed on an ancient Greek salpinx, or trumpet.
In violinist Bella Hristova’s 2017–2018 season,
she performs Beethoven’s ten sonatas for piano
and violin in a recital tour of New Zealand with
Michael Houstoun, performs chamber music, and
appears as soloist with orchestras nationwide.
Her extensive festival appearances include Chamber Music
Northwest and the Marlboro Music Festival. Her noteworthy
recording Bella Unaccompanied was released on A. W. Tone-
gold Records, and her awards include a 2013 Avery Fisher
Career Grant and First Prize in the 2009 Young Concert Artists
International Auditions. She attended the Curtis Institute of
Music, where she worked with Ida Kavafian and Steven Tenen-
bom. Bella Hristova plays a 1655 Nicolò Amati violin.
The recipient of a 2015 Avery Fisher Career Grant
and a 2017 Lincoln Center Award for Emerging
Artists, Taiwanese-American violinist Paul Huang is quickly gaining attention for his eloquent music
making. The 2017–2018 season sees Huang’s
White Nights Festival debut with the Mariinsky Orchestra under
Valery Gergiev, as well as many other engagements here and
abroad. In the summer of 2018, he appears at various U.S.
summer festivals and makes his recital debut at the Lucerne
Festival. He continues his association with the Chamber Music
Society of Lincoln Center throughout the season and returns
to Camerata Pacifica as its Principal Artist. He won the 2011
Young Concert Artists International Auditions. Paul Huang
plays the Guarneri del Gesù Cremona 1742 ex-Wieniawski
violin, on loan through the Stradivari Society.
Pianist Gilbert Kalish’s profound influence on the
musical community as a performer, educator, and
recording artist has established him as a major
figure in American music making. He was pianist
of the Boston Symphony Chamber Players for
thirty years, was a founding member of the Contemporary
Chamber Ensemble, and is an Artist of the Chamber Music
Society of Lincoln Center. Kalish is Distinguished Professor and
Head of Performance Activities at Stony Brook University. He
was previously a faculty member and Chair of the Faculty at
the Tanglewood Music Center. Kalish received the American
Composers Forum’s Champion of New Music Award in 2017.
The recipient of a 2016 Avery Fisher Career
Grant, violinist Alexi Kenney has been named “a
talent to watch” (New York Times). His win at
the 2013 Concert Artists Guild Competition at
the age of nineteen led to a critically acclaimed
Carnegie Hall debut recital at Weill Hall. High-
lights of Kenney’s 2017–2018 season include debuts with the
Detroit, Columbus, California, and Amarillo Symphonies and
recitals with pianist Renana Gutman on Carnegie Hall’s Dis-
tinctive Debuts series and at the Phillips Collection in
Washington, D.C., Lee University in Tennessee, and the Green
Music Center at Sonoma State University in California. He joins
the Chamber Music Society of Lincoln Center’s CMS Two pro-
gram beginning in the 2018–2019 season.
Bassoonist Peter Kolkay is the recipient of an
Avery Fisher Career Grant and First Prize winner
of the Concert Artists Guild Competition. An Art-
ist of the Chamber Music Society of Lincoln
Center, Kolkay is also Associate Professor of Bas-
soon at the Blair School of Music at Vanderbilt University,
where he was a Chancellor’s Faculty Fellow from 2015 to 2017.
Upcoming highlights include the premiere of a work for bas-
soon and string quartet by Mark-Anthony Turnage. Peter
Kolkay studied with Frank Morelli, John Hunt, Jean Barr, and
Monte Perkins. Born in Naperville, Illinois, he now calls down-
town Nashville, Tennessee, home.
Recipient of a 2015 Avery Fisher Career Grant and
a top-prize winner of the 2012 Walter W. Naum-
burg Competition and the Astral Artists’ 2010
National Auditions, Kristin Lee is a violinist of
remarkable versatility and impeccable technique
who enjoys a vibrant career as a soloist, recitalist, chamber
musician, and educator. Lee has appeared as soloist with top
orchestras such as the Philadelphia Orchestra, St. Louis Sym-
phony, New Jersey Symphony, St. Paul Chamber Orchestra,
Ural Philharmonic of Russia, and Korean Broadcasting Sym-
phony. An accomplished chamber musician, she is an Artist of
the Chamber Music Society of Lincoln Center and has
appeared at festivals such as Music@Menlo, La Jolla Summer-
Fest, Medellín Festicámara of Colombia, the El Sistema
Chamber Music Festival of Venezuela, and the Sarasota Music
Festival, among others. She is a faculty member of the Aaron
Copland School of Music at Queens College and the
cofounder and Artistic Director of Emerald City Music in Seat-
tle, Washington.
Winner of a 2015 Avery Fisher Career Grant,
American violist Matthew Lipman has performed
as soloist with the Minnesota, Illinois Philhar-
monic, Grand Rapids Symphony, Wisconsin
Chamber, and Juilliard Orchestras and given
recitals at the Greene Space in New York City and the Phillips
Collection in Washington, D.C. His recording of Mozart’s
Sinfonia concertante with Sir Neville Marriner and the Academy
of St. Martin in the Fields topped the classical charts last year,
and he has been profiled by PBS and NPR and the Strad and
BBC Music magazines. This year he will release a solo debut
album on Cedille Records. A Teaching Assistant at Juilliard,
Matthew Lipman performs on a 1700 Goffriller viola on loan
through the RBP Foundation.
Considered among the top solo, chamber, and
orchestral musicians today, Anthony McGill is
now in his fourth season as Principal Clarinet of
the New York Philharmonic, having previously
been Principal Clarinet of the Metropolitan Opera
Orchestra and Associate Principal of the Cincinnati Symphony.
Performances as recitalist, chamber musician, and soloist with
orchestras throughout the United States, Europe, Asia, and
South Africa consistently receive rave reviews. As an educator,
McGill is on the faculties of the Juilliard School, the Curtis
Institute of Music, the Peabody Conservatory, Manhattan
School of Music, and the Bard College Conservatory. A native
of Chicago, Anthony McGill attended the Curtis Institute of
Music and is the recipient of an Avery Fisher Career Grant as
well as the first Sphinx Medal of Excellence.
30 subscribe at www.musicatmenlo.org | 650-331-0202
Demarre McGill, Principal Flute of the Seattle Sym-
phony, is an internationally recognized recitalist and
chamber and orchestral musician. He has appeared
as soloist with the orchestras of Philadelphia, Pitts-
burgh, Dallas, and Baltimore and most recently
served as Acting Principal Flute of the Metropolitan Opera
Orchestra. Winner of an Avery Fisher Career Grant, McGill has
participated in chamber music festivals around the globe and,
along with clarinetist Anthony McGill and pianist Michael McHale,
founded the McGill/McHale Trio. A native of Chicago, Demarre
McGill received degrees from both the Curtis Institute of Music
and Juilliard and is Visiting Assistant Professor of Flute at the Uni-
versity of Cincinnati College-Conservatory of Music.
Stephanie McNab has been the Piccolo Chair of the
San Francisco Opera Orchestra since 2002. In addi-
tion, she frequently performs as a guest artist with
the San Francisco Symphony, San Francisco Ballet,
and the St. Louis Symphony. Former orchestral
appointments include the Buffalo Philharmonic, New Mexico
Symphony, and Long Beach (California) Symphony. McNab has
been a featured soloist with the Los Angeles Philharmonic, at the
Carmel Bach Festival, and in recital at Cal Tech’s Dabney Hall. A
native of Los Angeles, she studied under Sheridon Stokes at UCLA
and subsequently worked with Anne Zentner, Mark Sparks, and
Kazuo Tokito.
Recognized as a deeply expressive artist and
known for her musical career of broad versatility,
violinist Amy Schwartz Moretti is Director of the
McDuffie Center for Strings at Mercer University’s
Townsend School of Music and former Concert-
master of the Oregon Symphony and Florida Orchestra. She is a
member of the internationally acclaimed Ehnes String Quartet,
curates the Fabian Concert Series in Macon, Georgia, and main-
tains an active performing schedule of solo, chamber, and
concertmaster appearances. Through the generous efforts of
the Stradivari Society of Chicago, she plays the 1744 G. B. Gua-
dagnini violin. Born in Wisconsin and raised in North Carolina
and California, Moretti lives in Georgia with her husband and
two sons, enjoying all aspects of motherhood, especially Satur-
day soccer matches.
Violist Paul Neubauer’s exceptional musicality and
effortless playing led the New York Times to call him
“a master musician.” Appointed Principal Violist of the
New York Philharmonic at age twenty-one, he has
appeared as soloist with over one hundred
orchestras including the New York, Los Angeles, and Helsinki Phil-
harmonics; the National, St. Louis, Detroit, Dallas, San Francisco,
and Bournemouth Symphonies; and the Santa Cecilia, English
Chamber, and Beethovenhalle Orchestras. He has premiered
viola concerti by Bartók (revised version of his Viola Concerto),
Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott,
Penderecki, Picker, Suter, and Tower and recorded for Decca,
Deutsche Grammophon, RCA Red Seal, and Sony Classical.
An Emmy Award winner, two-time Grammy nomi-
nee, and Avery Fisher Career Grant recipient,
violist Richard O’Neill has appeared as soloist with
the London and Los Angeles Philharmonics and
the BBC Symphony with Andrew Davis, Vladimir
Jurowski, and Yannick Nézet-Séguin. He is a Universal/Deutsche
Grammophon recording artist, and his albums have sold over
200,000 copies. An Artist of the Chamber Music Society of
Lincoln Center, he has introduced thousands to chamber music
in South Korea through his chamber music initiative, DITTO.
Elliott Carter, John Harbison, and Huang Ruo have dedicated
works to him. The first violist to receive the Artist Diploma from
Juilliard, he was honored with a Proclamation from the New
York City Council. He runs marathons for charity.
Selected as an Artist of the Year by the Seoul Arts
Center, Hyeyeon Park has been described as a pia-
nist “with power, precision, and tremendous glee”
(Gramophone). She is a prizewinner of numerous
international competitions, including Oberlin,
Ettlingen, Hugo Kauder, Maria Canals, Prix Amadèo, and Corpus
Christi, and her performances have been broadcast on KBS and
EBS television (Korea) and RAI3 (Italy), WQXR (New York), WFMT
(Chicago), WBJC (Baltimore), and WETA (Washington, D.C.) radio.
She is Artistic Director of Apex Concerts (Nevada) and a professor
of piano at the University of Nevada, Reno. Her first solo CD,
Klavier 1853, has been released on the Blue Griffin label.
Hyeyeon Park holds the Alan and Corinne Barkin Piano Chair for 2018.
Pianist Jon Kimura Parker recently appeared as
soloist with the orchestras of Chicago and Phila-
delphia and at Carnegie Hall and the Kennedy
Center. He is a founding member of the Montrose
Trio and founded Off the Score with legendary
Police drummer Stewart Copeland. Professor of piano at Rice
University, Artistic Advisor of the Orcas Island Chamber Music
Festival, and Artistic Director of the Honens International Piano
Competition, Jon Kimura Parker studied with Edward Parker,
Keiko Parker, Lee Kum-Sing, Marek Jablonski, and Adele Marcus.
He is an Officer of the Order of Canada.
Jon Kimura Parker holds the Kathleen G. Henschel Piano Chair in honor of Wu Han for 2018.
Principal Flutist of the Metropolitan Opera
Orchestra from 1977 until his retirement in 2008,
Michael Parloff is the founder and Artistic
Director of Parlance Chamber Concerts in Ridge-
wood, New Jersey. As a lecturer, conductor, and
teacher, he has appeared at major concert venues, festivals,
and conservatories in the United States and abroad, including
the Chamber Music Society of Lincoln Center, Music@Menlo,
the Juilliard School, Yale University, and Tanglewood. He is
also a frequent lecturer for the French cruise line Ponant.
Michael Parloff has been a faculty member at Manhattan
School of Music since 1985.
Opera News hails Lyubov Petrova as a “soprano of
ravishing, changeable beauty, blazing high notes,
and magnetic stage presence.” In the 2017–2018
season, she sings her first performances of Freia in
Das Rheingold with both the London Philharmonic
and the Odense Symphony Orchestra, in addition to returning to
the Metropolitan Opera for its productions of Le nozze di Figaro
and Così fan tutte. Petrova made her Metropolitan Opera debut
as Zerbinetta in Ariadne auf Naxos and has since returned for
numerous other roles. Last season, she sang her first perfor-
mances of Tatyana in Eugene Onegin with Florida Grand Opera,
Sophie in Der Rosenkavalier at the Bolshoi Theatre in Moscow,
and Sofya in Prokofiev’s Semyon Kotko with Vladimir Jurowski
conducting the Radio Filharmonisch Orkest at the
Concertgebouw.
Scott Pingel’s career has included serving as the
San Francisco Symphony’s Principal Bass for thir-
teen years, in addition to positions such as
Principal Bass of the Charleston Symphony
Orchestra and Guest Principal with the National
Arts Centre Orchestra in Canada, among others. As a chamber
musician, he can be heard in venues around the country with
groups such as the Chamber Music Society of Lincoln Center
and on radio programs including NPR’s Performance Today.
Formerly active as a jazz musician, Pingel performed in clubs
from New York to Stockholm. He was previously a tenured
Associate Professor of Music at the University of Michigan and is
currently a faculty member of the San Francisco Conservatory
of Music.
Festival Artist Biographies
31subscribe at www.musicatmenlo.org | 650-331-0202
First Prize winner of the 2008 Naumburg Interna-
tional Violoncello Competition, David Requiro
(pronounced re-KEER-oh) is recognized as one of
today’s finest cellists. Requiro has appeared as
soloist with the Tokyo Philharmonic, National
Symphony Orchestra, Seattle Symphony, and numerous orches-
tras across North America. He has performed with the Chamber
Music Society of Lincoln Center, Seattle Chamber Music Society,
and Jupiter Symphony Chamber Players and is a founding
member of the Baumer String Quartet. The Chamber Music
Society of Lincoln Center appointed him to its prestigious CMS
Two residency program beginning in 2018. David Requiro has
been Assistant Professor of Cello at the University of Colorado
Boulder since 2015.
David Requiro holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2018.
Known for his “delicious quality of tone,”
Kevin Rivard, Coprincipal Horn of the San Fran-
cisco Opera Orchestra and Principal Horn of the
San Francisco Ballet Orchestra, has performed
with Orpheus Chamber Orchestra, the Metropoli-
tan Opera Orchestra, the Philadelphia Orchestra, and the
Chamber Music Society of Lincoln Center, among others. His
awards include Grand Prize at the Concours International
d’Interprétation Musicale in Paris, the International Horn Com-
petition of America, and the Farkas Horn Competition. Kevin
Rivard has participated in the Sarasota Music Festival, the
Norfolk Chamber Music Festival, the Verbier Festival, and
the Santa Fe Opera.
Cellist Keith Robinson is a founding member of
the Miami String Quartet and has been active as a
chamber musician, recitalist, and soloist since his
graduation from the Curtis Institute of Music. His
most recent recording, released on Blue Griffin
Records with pianist Donna Lee, features Mendelssohn’s com-
plete works for cello and piano. As a member of the Miami
String Quartet, he has recorded for the BMG, CRI, Musical Heri-
tage Society, and Pyramid recording labels, was a member of
the Chamber Music Society of Lincoln Center’s CMS Two pro-
gram, and won the Concert Artists Guild, London String Quartet,
and Fischoff chamber music competitions. He plays a Carlo
Tononi cello made in Venice and dated 1725.
Six-time Grammy Award-winning recording pro-
ducer Da-Hong Seetoo returns to Music@Menlo
for a sixteenth consecutive season to record the
festival concerts for release on the Music@Menlo
LIVE label. A Curtis Institute– and Juilliard School–
trained violinist, Seetoo has emerged as one of a handful of elite
audio engineers, using his own custom-designed microphones,
monitor speakers, and computer software. His recent clients
include the Borromeo, Escher, Emerson, Miró, and Tokyo String
Quartets; the Beaux Arts Trio; pianists Daniel Barenboim, Yefim
Bronfman, Derek Han, and Christopher O’Riley; violinist Gil Sha-
ham; cellist Truls Mørk; the Chamber Music Society of Lincoln
Center; the Chicago Symphony Orchestra under David Zinman;
the Evergreen Symphony (Taipei, Taiwan); the New York Philhar-
monic under Lorin Maazel; the ProMusica Chamber Orchestra
(Columbus, Ohio); the Royal Philharmonic Orchestra under Car-
los Miguel Prieto; the Singapore Symphony Orchestra; and
David Finckel and Wu Han for the ArtistLed label.
Winner of a 2009 Avery Fisher Career Grant, vio-
linist Arnaud Sussmann debuted in the 2016–2017
season with the Vancouver Symphony, Pacific
Symphony, and Alabama Symphony, among other
orchestras. He has appeared previously with the
American Symphony Orchestra, Stamford Symphony, Chatta-
nooga Symphony, Minnesota Sinfonia, Jerusalem Symphony,
and Paris Chamber Orchestra. A dedicated chamber musician,
he has been affiliated with the Chamber Music Society of Lin-
coln Center since 2006 and regularly appears with it in New
York and on tour. Born in Strasbourg, France, and based now in
New York City, Arnaud Sussmann trained at the Conservatoire
de Paris and the Juilliard School with Boris Garlitsky and Itzhak
Perlman.
Stephen Taylor, one of the most sought-after
oboists in the country, holds the Mrs. John D.
Rockefeller III Solo Oboe Chair at the Chamber
Music Society of Lincoln Center. He is a soloist
with the New York Woodwind Quintet, Orchestra
of St. Luke’s, St. Luke’s Chamber Ensemble, the American Com-
posers Orchestra, the New England Bach Festival Orchestra, and
Speculum Musicae and is Coprincipal Oboist of Orpheus Cham-
ber Orchestra. His regular festival appearances include Spoleto,
Aldeburgh, Caramoor, Bravo! Vail Valley, Music from Angel Fire,
Norfolk, Santa Fe, Aspen, and Chamber Music Northwest.
Trained at the Juilliard School, Stephen Taylor is a member of its
faculty as well as those of the Yale School of Music and Manhat-
tan School of Music.
Swiss-born American pianist Gilles Vonsattel is
the recipient of an Avery Fisher Career Grant and
the Andrew Wolf Chamber Music Award and win-
ner of the Naumburg and Geneva competitions.
He has appeared with the Munich Philharmonic,
Orchestre Symphonique de Montréal, Boston Symphony, and
San Francisco Symphony and performed recitals and chamber
music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo!
Vail Valley, Chamber Music Northwest, La Roque d’Anthéron,
Music@Menlo, the Lucerne Festival, and Spoleto USA. As an
Artist of the Chamber Music Society of Lincoln Center, Gilles
Vonsattel regularly performs at Alice Tully Hall and on tour
throughout the United States and internationally.
In the 2017–2018 season, Australian-Chinese
tenor Kang Wang will sing Mitrane in Semiramide
at the Metropolitan Opera as well as cover Arturo
in Lucia di Lammermoor and the tenor solo in
Verdi’s Requiem, after a successful role and
house debut last season as Narraboth in Strauss’s Salome. He
will sing Rossini’s Stabat Mater with the London Philharmonic
and Mendelssohn’s Elijah with the San Antonio Symphony and
will present a solo recital at the National Conservatory of Mos-
cow. Upcoming engagements include Alfredo in La traviata for
his Welsh National Opera debut and Rodolfo in La bohème at
Austin Lyric Opera. He is a third-year member of the Linde-
mann Young Artist Development Program of the Metropolitan
Opera.
Violinist Wu Jie has garnered unprecedented
international success as both a chamber and solo
musician. She cofounded the Escher String
Quartet in 2005 and played with that ensemble
until 2012. From 2013 to 2016, Wu Jie taught
many violin and viola students in Manhattan School of Music’s
Precollege Division, and many of her students are now in pres-
tigious schools such as the Curtis Institute of Music, Yale, and
the Cleveland Institute of Music. Her main teachers include
Pinchas Zukerman, Patinka Kopec, Eleonora Turovsky, Lei Fang,
and Robert Mann. In 2012, Wu Jie married Escher String
Quartet violist Pierre Lapointe and they now have a lovely son
named Arthur.
Winner of the prestigious Yehudi Menuhin Interna-
tional Violin Competition, violinist Angelo Xiang Yu
has won the enthusiastic response of audiences
worldwide for his astonishing technique, exquisite
tone, and exceptional maturity. His recent and
upcoming engagements include concerto performances with
the Pittsburgh, Toronto, Vancouver, Colorado, North Carolina,
Alabama, Charlotte, and Houston symphonies and a tour with
the New Zealand Symphony throughout the country. He has
performed in world-renowned venues such as the Konzerthaus
Berlin, the Louvre Auditorium, Beijing’s National Centre for the
Performing Arts, Singapore’s Victoria Theatre and Concert Hall,
the Oslo Opera House, Auckland Town Hall, Jordan Hall, and
Boston Symphony Hall. Yu currently performs on a 1729 Stradi-
varius violin generously on loan from an anonymous donor.
32 subscribe at www.musicatmenlo.org | 650-331-0202
Gifts to the Annual FundGifts to the Annual Fund support the critical daily operations of
the festival and Chamber Music Institute and are acknowledged
through membership benefits.
Sponsor a Student with a Gift to the Ann S. Bowers Young Artist FundPlay a critical role in the lives of these extraordinary young
musicians by enabling the life-changing experience of studying
at Music@Menlo’s Chamber Music Institute. Sponsors enjoy
the same benefits as contributors to the Annual Fund as well as
special opportunities to get to know their student. Please con-
tact us to learn how to become a Sponsor.
Planned Giving through the Isaac Stern CircleInclude Music@Menlo in your estate plans to leave a lasting leg-
acy of music. Please speak with us about your specific interests
and talk with your estate planning advisor to learn more.
Young Patrons SocietyPatrons under forty are invited to join the Young Patrons Society
in its inaugural year. Members enjoy complimentary Overture
Concert tickets and invitations to special receptions. Please visit
our website to learn more about the Young Patrons Society.
Gifts to the Music@Menlo FundThe Music@Menlo Fund, initially funded by the Tenth-Anniversary
Campaign, holds board-designated funds to support long-term
financial health and special projects. Please contact us to learn
more about making a special gift or pledge to the Fund.
VolunteerVolunteers provide critical support to the festival, including
ushering and hosting artists or seasonal staff members in their
homes.
Ways to GiveGifts of Cash: Gifts may be made at www.musicatmenlo.org or
by phone at 650-330-2030 or may be mailed to Music@Menlo
at 50 Valparaiso Avenue, Atherton, CA 94027.
Gifts of Securities: A gift of appreciated stock may offer
valuable tax benefits. Please contact your financial advisor for
more information.
Pledges: Gifts may be pledged and paid in increments
comfortable for you.
Employer Matching Gifts: Employer matching gifts are a great
way to double or triple your impact! Many companies match
gifts for retirees as well as current employees. Contact your
employer’s human resources department to find out more.
Music@Menlo is a program of Menlo School, a registered
501(c)3 educational institution.
For more information on supporting Music@Menlo, please
contact Lee Ramsey, Development Director, at 650-330-2133
Support the music you love with a gift to Music@Menlo today!Did you know that ticket sales make up only 15 percent of Music@Menlo’s budget?
33subscribe at www.musicatmenlo.org | 650-331-0202
Music@Menlo MembershipBecome a Member by making a contribution to the Annual Fund
Your gift to Music@Menlo will:
• Subsidize each and every event produced during our summer
festival
• Underwrite free community programming, including:
– Prelude Performances
– Koret Young Performers Concerts
– Master classes
– Café Conversations
– Open coaching sessions
• Provide a world-class educational experience for forty young
and emerging artists in our Chamber Music Institute
• Fund year-round chamber music activities, including:
– Music@Menlo:Focus residency concerts
– Classroom and community outreach during our Winter
Residency program
Only Members of Music@Menlo enjoy special benefits and VIP access. Join one of our membership circles today!
Performers Circle ($100–$999)Welcome to the Music@Menlo community!
Composers Circle ($1,000–$24,999)Enjoy special events with festival artists and the Artistic Direc-
tors, advance reservations for the Chamber Music Institute
performances, and VIP ticketing.
Patrons Circle ($25,000+)Members of the Patrons Circle play a vital role in the support of
Music@Menlo and are recognized through the Season Dedica-
tion, as well as intimate opportunities to engage with festival
artists and the annual Patrons Circle Season Announcement
event.
For a complete listing of donor levels and details of the benefits
included, please visit www.musicatmenlo.org/membership or
contact Lee Ramsey, Development Director, at 650-330-2133
Music@Menlo Travel September 16–25, 2018: London & ParisMusic@Menlo invites you to embark on a specially curated
musical journey. With festival artists, expert guides, and dis-
tinguished lecturers, Music@Menlo’s travel program offers our
patrons incomparable insider access to significant historical
and cultural landmarks and musical experiences like no other.
This fall, Music@Menlo will journey to two of the Creative
Capitals presented in the 2018 festival: London and Paris. With
Artistic Directors David Finckel and Wu Han and other festival
artists, we will explore the extraordinary musical and cultural
legacies of these two great cities.
If you are interested in learning more about Music@Menlo’s
travel program, please contact Lee Ramsey at 650-330-2133
34 subscribe at www.musicatmenlo.org | 650-331-0202
Ways to OrderMail: Music@Menlo Tickets 50 Valparaiso Avenue Atherton, CA 94027
Phone: 650-331-0202
Fax: 650-330-2016
Online: www.musicatmenlo.org
Music@Menlo Box Office HoursBefore July 9: Monday–Friday, 10:00 a.m.–4:00 p.m.
July 9–August 4: Daily, 9:00 a.m.–4:00 p.m.
Get the Best Seats!SupportMembers of the Bach Circle ($1,000) and above receive VIP
priority ticketing—VIP ticket orders are filled first, ensuring
ticket availability for the most popular concerts and securing
priority seats, based on giving level. Bach Members and above
also receive Advance Ticketing for one Prelude Performance or
Koret Young Performers Concert of their choice. Members of the Haydn Circle ($2,500) and above receive Premium Seating
reservations for the best seats in the hall. The number of Pre-
mium Seating reservations is dependent on giving level. Order
by April 2 for VIP priority ticketing .
SubscribeSummer Festival Subscribers receive Subscriber priority ticket-
ing with a purchase of four or more paid events. Subscriber
orders are filled immediately after VIP priority orders and before
single-ticket orders. Order by April 17 for Subscriber priority
ticketing.
Order EarlySingle-ticket orders are filled in the order they are received,
after the VIP and Subscriber priority ticketing windows have
closed. Order early to get the best seats and to get tickets to
concerts that sell out quickly!
2018 Summer Festival SubscriptionsBecome a Music@Menlo Summer Festival Subscriber and enjoy
exclusive benefits, personalized services, and special savings
throughout the entire festival. Subscriber benefits include the
following:
• Priority ticketing: Get your order filled before non-Subscribers
for improved seats and access to concerts that sell out quickly.
Order by April 17 for Subscriber priority ticketing.
• Special savings: Receive a 5 percent or a 10 percent discount
on your order and all additional ticket purchases throughout
the festival.
• Free ticket exchanges: Easily exchange your tickets for the
2018 summer festival free of charge.
Subscription Levels: Choose Your OwnFestival Mini Subscription (4–5 Events*)• Save 5 percent on your ticket order and subsequent festival
ticket purchases.
Festival Full Subscription (6+ Events*)• Save 10 percent on your ticket order and subsequent festival
ticket purchases.
Immersion Subscription (All Events**)• Save 10 percent on your ticket order and subsequent festival
ticket purchases.
• Receive a 10 percent discount on Music@Menlo merchandise.
• Receive the complete set of recordings of 2018 Music@Menlo
LIVE when it is released later in the year.
Subscriber FeesA $10-per-order handling fee applies to each original order.
Subscribers pay no handling fees on ticket exchanges
throughout the 2018 summer festival. Subsequent new ticket
purchases (not exchanges) will incur the standard $6-per-order
handling fee.
* Concert Programs, Carte Blanche Concerts, Encounters, and Overture Concerts
** All Concert Programs and Encounters
Reserving Your Summer Festival Tickets
35subscribe at www.musicatmenlo.org | 650-331-0202
More Ticketing InformationMembers of the Bach Circle and Above (contributors of $1,000 or more to the 2018 Annual Fund)
Your VIP priority ticket order (placed by April 2) will be filled
before all other ticket orders (priority based on giving level). For
your first summer festival ticket order, pay festival Subscriber or
non-Subscriber handling fees ($10 handling fee for subscrip-
tions or a $6 handling fee for single-ticket orders). Then, enjoy
waived handling fees for all additional ticket purchases or
exchanges throughout the 2018 summer festival.
Premium Seating and Advance TicketingPremium Seating allows Members of the Haydn Circle ($2,500)
and above to upgrade some of their tickets to include assigned
seating reflecting their preferences. Premium Seating can be
applied to any paid event and/or Prelude Performances and
Koret Young Performers Concerts. Members of the Bach Circle
($1,000) and above enjoy Advance Ticketing for one Prelude
Performance or Koret Young Performers Concert of their
choice. Members of the Beethoven Circle ($10,000) and above
enjoy Advance Ticketing for all Prelude Performances and Koret
Young Performers Concerts.
For more information about Advance Ticketing or Premium
Seating, please visit www.musicatmenlo.org/membership or
contact Lee Ramsey at [email protected] or 650-330-2133.
Seating PoliciesSeating is reserved for all paid ticketed events: Encounters,
Overtures, Concert Programs, and Carte Blanche Concerts.
Starting in 2018, seating will be reserved for Encounters. For
reserved-seating events, seats are assigned on a best-available
basis at the time the order is filled. Seating is by general admission
for all free events, including Prelude Performances, Koret Young
Performers Concerts, Café Conversations, and master classes.
Premium Seating is available for Haydn Circle ($2,500) and above
Members for Prelude Performances and Koret Young Performers
Concerts.
Discounted Tickets for Those under Age ThirtyMusic@Menlo is committed to making tickets available at a greatly
reduced rate for audience members under the age of thirty.
Prices vary by event and venue. Proof of age may be required.
Single-Ticket Orders A $6 handling fee applies to any order of three or fewer
concerts or Encounters. A $3-per-ticket handling fee applies to
exchanges.
Receiving Your Summer Festival Tickets Tickets will be mailed beginning in mid-June. For ticket orders
placed after that, tickets will be mailed within approximately five
business days. For ticket orders placed fewer than seven days
prior to a performance, tickets will be held at will call.
Will Call and Ticket Services at the Venue Will call and on-site ticket services at each venue open one hour
before the start of any ticketed event. Tickets for all Music@Menlo
paid events may be ordered at on-site ticket services.
Ticket Returns, Exchanges, and DonationsWe welcome ticket returns for a credit, exchange, or donation.
You may return your ticket up to twenty-four hours prior to
a performance for a ticket credit (to be used within the same
season), an immediate exchange, or a tax-deductible dona-
tion. Ticket exchanges are subject to a $3-per-ticket fee, which
is waived for Summer Festival Subscribers and Members of
the Bach Circle ($1,000) and above. There is never a fee to
donate your ticket. Proof of the return must be provided. All
programs and artists are subject to change without notice.
Tickets cannot be exchanged, credited, or donated on the day
of the event. We cannot refund tickets, except in the case of a
canceled event.
Ticket Reservations for Prelude Performances and Koret Young Performers ConcertsOnline ticket reservations are available for Prelude
Performances and Koret Young Performers Concerts and can
be made at www.musicatmenlo.org or by calling the ticketing
line on the day of the event starting at 9:00 a.m. Free tickets can
also be requested in person at will call beginning one hour prior
to the start of each concert. Ticket reservations are general
admission.
AccessibilityAccessible seating is available at each venue and can be
ordered online, by phone, or by mail. If ordering online or by
mail, please indicate that accessible seating is required. For
questions about accessibility, please contact patron services.
Questions For questions about tickets or your order, please call patron
services at 650-331-0202, email [email protected], or
visit www.musicatmenlo.org.
Reserving Your Summer Festival Tickets
36 subscribe at www.musicatmenlo.org | 650-331-0202
Menlo School is one of the nation’s leading independent college-
preparatory schools and has been the home of Music@Menlo
since its inaugural season in 2003. The Menlo School campus
is host to many of the festival concerts, the Encounter series,
and Music@Menlo’s Chamber Music Institute. The school’s
classrooms offer an ideal setting for rehearsals and coachings,
while Martin Family Hall and Stent Family Hall’s Spieker Ballroom
provide intimate settings for music as well as for Café Conversa-
tions, master classes, and other Institute activities.
Menlo School’s commitment to learning and its welcoming
atmosphere and beautiful grounds make it the ideal envi-
ronment for audiences, Institute students, and the festival’s
artist-faculty to share ideas and realize Music@Menlo’s educa-
tional mission, which serves festival audiences, Menlo School
students, and the next generation of chamber musicians.
During the school year, Music@Menlo supports Menlo School’s
commitment to instilling creative-thinking skills in all of its
students. Music@Menlo’s annual Winter Residency brings clas-
sical music into the Menlo School classrooms with a series of
special performances, discussions, and classroom presenta-
tions designed to introduce Menlo School students to a broad
selection of chamber music masterpieces, all in the context of
curricula ranging from American literature to foreign language
studies.
Festival Welcome CenterMusic@Menlo’s Welcome Center is open daily throughout
the festival. The Welcome Center serves as a place for artists,
students, audience members, and festival guests to connect
during the festival. Visitors to the Welcome Center can purchase
concert tickets and get information about the festival’s many
offerings and events.
Performance VenuesIn 2018, Music@Menlo offers audiences the chance to hear
great chamber music in three unique concert spaces:
Stent Family Hall, on the Menlo School campus, is, in the words
of one festival artist, “one of the world’s most exquisite chamber
music spaces.” The hall’s elegant Spieker Ballroom, with seating for
148 guests, provides a listening experience in the intimate setting
for which chamber music was intended.
Martin Family Hall, Menlo School’s versatile 220-seat multi-
media facility, offers up-close enjoyment from every seat for
Encounters (see p. 22), select Prelude Performances (see
pp. 24–25), master classes, and Café Conversations (see p. 25).
The Center for Performing Arts at Menlo-Atherton, open since
2009, is the Peninsula’s first state-of-the-art concert hall, acousti-
cally ideal for chamber music. With an architectural design inspired
by the neighboring oak tree grove and an intimate interior, the 492-
seat hall is located in close proximity to downtown Menlo Park on
the campus of Menlo-Atherton High School.
Reserved Seating—Seating for paid events at the Center for
Performing Arts at Menlo-Atherton, Stent Family Hall, and Martin
Family Hall is reserved. Seating for all free events, including Prelude
Performances and Koret Young Performers Concerts, is by general
admission. Venue seating maps and more information on reserved
seating can be found on the order form, and directions to the ven-
ues appear on the opposite page.
Stent Family Hall
Martin Family Hall
The Center for Performing Arts at Menlo-Atherton
Music@Menlo’s Home: Menlo School The Festival Campus and Performance Venues
37subscribe at www.musicatmenlo.org | 650-331-0202
For Visitors to Our AreaLocation: Atherton and Menlo Park are situated adjacent to each
other on the San Francisco Peninsula, midway between San
Francisco and San Jose.
Getting here: The San Francisco Bay Area is served by three
international airports: San Francisco, San Jose, and Oakland.
Atherton and Menlo Park are within forty-five minutes of each.
Caltrain services Menlo Park and nearby Palo Alto for a direct
link to San Francisco.
Weather: In July and August, it almost never rains on the Penin-
sula. Days are dry and warm, frequently in the low eighties, and
evenings can be cool, sometimes in the high fifties.
Shopping and dining: The towns of Menlo Park and Palo Alto
offer tree-lined streets featuring distinctive boutiques, shops,
and outstanding eateries serving cuisine to suit any taste. Also
nearby, the Stanford Shopping Center in Palo Alto is an upscale
open-air mall.
Accommodations: Comfortable and welcoming hotels are
available in a variety of price ranges in Menlo Park and Palo Alto.
Visit www.musicatmenlo.org for more information and useful
links to area websites.
Directions and ParkingMenlo School, Stent Family Hall, and Martin Family Hall all are
located at 50 Valparaiso Avenue in Atherton, between El Camino
Real and Alameda de las Pulgas, at the Atherton/Menlo Park
border. Parking is plentiful and free on the school’s campus.
The Center for Performing Arts at Menlo-Atherton is
located on the campus of Menlo-Atherton High School at
555 Middlefield Road in Atherton, near the intersection of
Middlefield Road and Ravenswood Avenue. Parking is free.
Caltrain
AT H E R T O N
M E N L O P A R K
P A L O A LT O
Cowper St.
THE CENTER FOR PERFORMING ARTS
AT MENLO-ATHERTON
Rave
nsw
ood
Ringwoo
d Ave
Willo
w Rd.
ST. BEDE’SEPISCOPALCHURCH
PHOTO CREDITS Music@Menlo photographs (pp. 2–3, 23–25, and 32–37): Carlin Ma. Travel programs (p. 33): iStock Photo. David Finckel and Wu Han (pp. 2 and 27): Lisa-Marie Mazzucco. Paul Huang (p. 20): Marco Borggreve. Wu Han (p. 20): Lisa-Marie Mazzucco. Calidore String Quartet (p. 20): Michael Hershkowitz. Dmitri Atapine and Hyeyeon Park (p. 21): Heather Woodson-Gammon. Paul Neubauer (p. 21): Tristan Cook. Michael Brown (p. 21): Jamie Beck. Arnaud Sussmann and Hyeyeon Park (p. 26): Carlin Ma. Hyeyeon Park (p. 26): courtesy of the University of Nevada, Reno. Jon Kimura Parker (p. 26): Tara McMullen. Cho-Liang Lin (p. 26): Sophie Zhai. Matthew Lipman (p. 26): Jiyang Chen. David Finckel (p. 26): Lisa-Marie Mazzucco. Arnaud Sussmann (pp. 26 and 31): Matt Dine. Pamela Frank (p. 26): Nicolas Lieber. Paul Neubauer (pp. 26 and 31): Tristan Cook. Gonzalo Fonseca (p. 27): Ovak Arslanian. Dmitri Atapine (p. 28): Do Hyung Kim. Efe Baltacigil (p. 28): Christian Steiner. Aaron Boyd (p. 28): Carlin Ma. Michael Brown (p. 28): Neda Navaee. Calidore String Quartet, Nicholas Canellakis (p. 28): Sophie Zhai. Ivan Chan (p. 28): Zheng Yang. Gloria Chien (p. 28): Lisa-Marie Mazzucco. Sara Couden (p. 28): Dario Acosta. Roberto Díaz (p. 28): Alisa Garin. Jose Franch-Ballester (p. 28): Ashleigh Taylor Photography. Ara Guzelimian (p. 29): Rosalie O’Connor. John R. Hale (p. 29): Joan Vandertoll. Bella Hristova (p. 29): Lisa-Marie Mazzucco. Paul Huang (p. 29): Marco Borggreve. Gilbert Kalish (p. 29): Anneliese Varaldieve. Alexi Kenney (p. 29): Yang Bao. Peter Kolkay (p. 29): Jim McGuire. Kristin Lee (p. 29): Sophie Zhai. Matthew Lipman (p. 29): Jiyang Chen. Anthony McGill (p. 29): David Finlayson. Demarre McGill (p. 30): Teresa Berg. Stephanie McNab (p. 30): Norbert Brein-Kozakewycz. Amy Schwartz Moretti (p. 30): Angela Morris. Paul Neubauer (p. 30): Tristan Cook. Richard O’Neill (p. 30): CREDIA. Hyeyeon Park (p. 30): D. H. Kim. Jon Kimura Parker (p. 30): Shayne Gray. Michael Parloff (p. 30): Elizabeth Veneskey. Lyubov Petrova (p. 30): Ronnie Nelson. Scott Pingel (p. 30): Matthew Washburn. David Requiro (p. 31): Brian Hatton. Kevin Rivard (p. 31): Chris Hardy. Keith Robinson (p. 31): Tara McMullen. Da-Hong Seetoo, Stephen Taylor (p. 31): Christian Steiner. Gilles Vonsattel (p. 31): Marco Borggreve. Wu Jie (p. 31): Tristan Cook. Angelo Xiang Yu (p. 31): Kate Lemmon.
Art direction and design: Nick Stone, www.nickstonedesign.com
1
2
MAP NOT DRAWN TO SCALE
38 subscribe at www.musicatmenlo.org | 650-331-0202
Dat
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ven
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aid
Eve
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Mu
sic
@M
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39subscribe at www.musicatmenlo.org | 650-331-0202
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