CMS 05-20-2018 Concerto - res.cloudinary.com · arranged by carl czerny (1791–1857) Composed in...

This concert is made possible, in part, by The Gladys Krieble Delmas Foundation and the Aaron Copland Fund for Music.

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

SUNDAY AFTERNOON, MAY 20, 2018, AT 5:00 3,842ND CONCERT

Alice Tully Hall, Starr Theater, Adrienne Arsht StageHome of The Chamber Music Society of Lincoln Center

ANNE-MARIE McDERMOTT, pianoGILLES VONSATTEL, pianoAARON BOYD, violinBELLA HRISTOVA, violinSEAN LEE, violinPAUL NEUBAUER, violaMIHAI MARICA, cello

TIMOTHY COBB, double bassTARA HELEN O'CONNOR, fluteTOMMASO LONQUICH, clarinetPETER KOLKAY, bassoonSTEWART ROSE, hornAYANO KATAOKA, percussion

JEAN-MARIE LECLAIR

(1697–1764)

WOLFGANG AMADEUS

MOZART(1756–1791)

Concerto in B-flat major for Violin, Strings, and Continuo, Op. 10, No. 1 (1745) Allegro Andante Giga: Allegro ma non troppoHRISTOVA, BOYD, LEE, NEUBAUER, MARICA, COBB, VONSATTEL

Concerto in D minor for Piano, Flute, and Strings, K. 466 (1785) (arr. Carl Czerny) Allegro Romance Rondo: Allegro assaiMCDERMOTT, O'CONNOR, LEE, HRISTOVA, NEUBAUER, MARICA, COBB

INTERMISSION

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

CONCERTO NIGHT!

JOHANN SEBASTIAN BACH

(1685–1750)

LEOŠ JANÁČEK(1854–1928)

STEVEN MACKEY(b. 1956)

Concerto in G minor for Keyboard, BWV 975 (after Vivaldi RV 316) (1713–14) [Allegro] Largo Giga: PrestoVONSATTEL

Concertino for Clarinet, Bassoon, Horn, Two Violins, Viola, and Piano (1925) Moderato Più mosso Con moto AllegroLONQUICH, KOLKAY, ROSE, BOYD, HRISTOVA, NEUBAUER, MCDERMOTT

Micro-Concerto for Solo Percussion, Flute, Clarinet, Violin, Cello, and Piano (1999) Part 1: Chords and Fangled Drumset Part 2: Interlude No. 1—Vibes Solo Part 3: Click, Clak, Clank Part 4: Interlude No. 2—Marimba and Cello Part 5: Tune in SevenKATAOKA, O'CONNOR, LONQUICH, LEE, MARICA, VONSATTEL

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

ABOUT TONIGHT’S PROGRAMDear Listener,

As this concert title’s exclamation point implies, this is an occasion of celebration and excitement.  It also marks the last opportunity we will have to greet you before July’s Summer Evenings concerts renew our mutual engagement in the art of chamber music. The concert which concludes a season as rich as this past one invites us to reflect on the journey we have taken together, through centuries of music by composers of many lands, performed by CMS’s incomparable roster of season and guest artists. We thank you for being a part of it, and hope that your experience with CMS has been as rewarding musically, and personally, as it has been for us.

Simply doing the math on today’s composition dates tells us that the concerto has been around for at least 300 years. Obviously, the form has proven popular and successful, and provided both composers and performers with opportunities for musical innovation and adventure. The idea of concerto—a piece which features one or more instruments in a solo role—originated in the Baroque period, as instruments themselves and the technical skills for playing them improved. This allowed them to be liberated from supporting roles and to be featured as the protagonists in works such as the early concerti grossi of composers such as Corelli in the early 18th century. The importance of the soloist grew alongside the evolution of music itself, and in the 18th and 19th centuries, composers such as Mozart, Beethoven, Mendelssohn, and Brahms took the form to new heights. And in modern times as well, the concerto form thrived in the hands of Ravel, Shostakovich, Barber, Dutilleux, Lutosławski, all the way to Steven Mackey, whose stunning Micro-Concerto we’ve chosen to send you off on a most thrilling note. 

Lastly, we wish to express our admiration of our “soloists” today, who bravely confront the challenges that concertos present. One of history’s most charming (and substantiated) composer quotes comes from Mozart, who responded to his father’s admonition that his new concerto was too difficult to play: “But Father, it’s a concerto. It’s supposed to be hard and you have to practice it a lot!”

Mozart was five at the time.

Enjoy the performance,

David Finckel              Wu HanARTISTIC DIRECTORS

www.ChamberMusicSociety.org

Jean-Marie Leclair, among the earliest of the great French violinists and composers for his instrument, was one of eight children born to a cellist and master lacemaker in Lyons. Little is known of Leclair’s early life, though he was apparently trained in his father’s trade and spent some time in the family lace business. By age 19, however, 

he was dancing with the ballet of the Lyons Opéra, and six years later he was engaged for a season as principal dancer and choreographer at the Teatro Regio Ducale in Turin. Leclair was also active as a violinist at the time and composed several sonatas in 1721; while in Turin, he studied the instrument with Giovanni Battista Somis, a pupil of Corelli and conductor at the theater. Leclair moved to Paris in 1723, and came under the patronage of Joseph Bonnier, one of France’s richest men, while he prepared 12 of his violin sonatas for publication as his Op. 1. 

Leclair created a sensation with his debut in 1728 as a violinist in his own music at the celebrated Concerts Spirituels, where he appeared regularly for the next eight years. His reputation spread to England, Holland, and 

JEAN-MARIE LECLAIR  Born May 10, 1697, in Lyons, France.  Died October 22, 1764, in Paris.

Published in 1745.  First CMS performance on February 9, 1999, by violinist Ida Kavafian, with violinists Theodore Arm and Nicholas Eanet,  violist Paul Neubauer, cellist Fred Sherry,  bassist Edgar Meyer, and harpsichordist John Gibbons.

  Duration: 13 minutes

Concerto in B-flat major for Violin, Strings, and Continuo, Op. 10, No. 1

Steve Mackey’s imagination and creativity is fascinating particularly for two reasons. One is the choice of percussion instruments—from standard drums to toy-like instruments—to create such a colorful sound palette. It was a fun process to search for a specific “instrument” such as cans and bottles—it was a perfect excuse for me to drink a few bottles of wine or beer! The other thing is a non-traditional way of playing—in this piece, I am not only striking, scraping, or shaking standard or non-standard instruments, but also clicking clickers and blowing a samba whistle and Marine Band Harmonica. I hold claves lightly and bounce one on a conga drum to create a "trill" sound. I clap my hands on an eighth note, then hit a tambourine, and then grab a small shaker on the next two 16th notes. These are just a few examples of the many instructions that Mackey detailed in his score—they are very thoughtful, sophisticated ideas with a sense of humor and wit.

To find two good sounding clickers, I ended up ordering a bag of one dozen bug clickers online and tried them all out—who would imagine that clickers were called for to play a “percussion concerto”?

—Ayano Kataoka

NOTES ON THE PROGRAM

The Chamber Music Society of Lincoln Center

Germany, where he was acclaimed on his concert tours. In 1733, he was appointed to Louis XV’s household orchestra, but four years later had a falling out with the violinist Pierre Guignon, who was to serve as concertmaster, and resigned. From 1738 to 1744, Leclair held various positions in The Netherlands and the French alps before returning to Paris, where he composed and taught a few private students. In 1748, he accepted a position with the Duke of Gramont in the Parisian suburb of Puteaux. Twice married, he separated in 1758 from his second wife, largely retired from public life, and moved to a seedy, distant section of Paris. Cut off from his family, he became reclusive and immersed himself in the study of literature. On the night of October 22, 1764, he was stabbed to death as he entered his house. Among the suspects were the gardener who found the body, Leclair’s nephew (with whom he had recently quarreled), and Mme. Leclair herself; all three were cleared after a police 

investigation. According to Neal Zaslaw in the New Grove Dictionary of Music and Musicians, “The evidence (in the French Archives Nationales) is so clearly against the nephew, who was a violinist and author of L’arbre généalogique de l’harmonie (1767), that the only remaining mystery is that he was never brought to trial.”

Most of Leclair's 12 violin concertos follow the Vivaldian three-movement model (fast–slow–fast) and the ritornello procedure (orchestral refrains separated by solo episodes) that proved so fruitful as a formal engine for the Baroque concerto. The B-flat major Concerto, Op. 10, No. 1, opens with an Allegro based on a lilting theme that skillfully balances scale steps with small and large leaps. The noble Andante is music of almost operatic pathos. The closing Gigue, with its swinging rhythms, short phrases and infectious melodic style, exudes the air of a country dance, though one delivered with an abundance of courtly violin decoration.  u

Carl Czerny was one of Vienna’s most respected musicians during the early 19th century. Born in Vienna on February 20, 1791, Czerny, the son of a piano teacher, 

debuted publicly (in Mozart’s Concerto No. 24 in C minor, K. 491) at nine, and played Beethoven’s “Pathétique” Sonata for the composer himself and was eagerly accepted as his student. Czerny worked closely with Beethoven for the next three years, not only perfecting his own keyboard technique, but also imbibing his teacher’s style of performance, studying each new piano composition as it came along (he was the first to play the “Emperor” Concerto in Vienna), and becoming his friend.

Czerny devoted himself to teaching, and became one of the 

WOLFGANG AMADEUS MOZART Born January 27, 1756, in Salzburg. Died December 5, 1791, in Vienna.

arranged by carl czerny (1791–1857)

Composed in 1785.  Premiered on February 11, 1785, in Vienna, with the composer as soloist.

  Tonight is the first CMS performance of  this piece.


Concerto in D minor for Piano, Flute, and Strings, K. 466


After serving in positions as organist and church musician at Arnstadt and Mühlhausen from 1703 to 1708, Bach won a more prestigious job at the court of Weimar, presided over with iron will by the Saxon Duke Wilhelm Ernst, a stern 

religionist who insisted that his servants attend daily devotions and always be prepared to answer questions about the minutiae of the morning’s sermon. The Duke’s fervent Lutheranism did not, however, prevent his appreciating Bach’s genius as an organist and composer.

Wilhelm Ernst passed his musical sympathies on to his son Prince Johann Ernst, just 12 when Bach arrived in 1708 but already well versed in music theory, organ, violin, and trumpet, and eagerly involved with the acquisition of instruments and performing materials for the court’s music library. In February 

day’s most renowned (and expensive) piano pedagogues; Liszt, Thalberg, Leschetizky, Heller, and Beethoven’s nephew Karl were among his students. Though his friends recognized in him a warm personality, Czerny chose to follow a reclusive life: he renounced marriage, almost never socialized, rarely played in public, seldom attended concerts or opera, and remained in Vienna all his life except for one-time trips to London, Paris, Leipzig, and Italy. During the day, he taught, up to 12 hours; at night, surrounded by an ever-growing pride of cats, he composed, creating an entire arsenal of pedagogical items that accumulated to several thousand separate numbers, and wrote treatises on music theory and history and an autobiography. 

Czerny’s career coincided with the exploding demand from genteel home music-makers during the early 19th century for instruments and sheet music. In addition to well over 800 original compositions, he made some 300 

arrangements, variations, and fantasias based on operatic themes, traditional tunes, and concert compositions to satisfy this lucrative market, including the Requiem, a half-dozen symphonies and the D minor Piano Concerto by Mozart, a composer he championed throughout his life. 

The first movement follows the concerto-sonata form that Mozart had perfected in his earlier works for piano and orchestra, and is filled with conflict between soloist and tutti that is heightened by enormous harmonic, dynamic, and rhythmic tensions. The Romanza moves to a brighter key to provide a contrast to the stormy opening Allegro, but even this lovely music summons a dark, minor-mode intensity for one of its episodes. The finale is a complex sonata-rondo form with developmental episodes. The D major coda provides less a lighthearted, happy conclusion than a sense of catharsis capping the cumulative drama of this noble masterwork.  u

JOHANN SEBASTIAN BACH Born March 21, 1685, in Eisenach, Germany. Died July 28, 1750 in Leipzig.

Composed in 1713–14.  Tonight is the first CMS performance of  this piece.


Concerto in G minor for Keyboard, BWV 975 (after Vivaldi RV 316)


1711, Ernst was sent for his university studies to Utrecht, where he continued his musical tuition, attended concerts, and assembled printed and manuscript scores to take home, most notably of the Italian concertos that were then setting the fashion for instrumental music throughout Europe. Upon his return to Weimar, in July 1713, Johann Ernst asked Bach to make keyboard arrangements of several of these concertos, so Bach duly transcribed five for organ (BWV 592–596) and 16 for harpsichord (BWV 972–987), most by Vivaldi but one each by Alessandro Marcello, Torelli, and Telemann, and then paid obeisance to Johann Ernst by including five of the talented young Prince’s own works in the set (BWV 592, 595, 982, 984, 987). Bach’s involvement with the genre ended when Johann Ernst left Weimar again the next summer (he died the following 

year, at age 19), but he ingested a wealth of practical knowledge from his transcriptions about the structure, style, and expressive potential of the concerto form that was reflected in his creative work for the rest of his life.

Bach arranged the Concerto in G minor (BWV 975) from Vivaldi’s now-lost Violin Concerto in the same key (RV 316); the first two movements survive in modified forms in the G minor Violin Concerto (RV 316a) published in 1716 in Amsterdam by Roger Estienne as the sixth in a collection of twelve such works collectively titled La Stravaganza (Op. 4), indicating an “extravagance” of harmonic daring and flamboyant solo passages. Bach’s Concerto follows the characteristic fast–slow–fast pattern, with a bracing opening Allegro, a deeply expressive Largo, and a closing perpetual-motion Giga (Gigue). u

The inspiration for the Concertino was a performance in Prague in November 1924 of Janáček’s The Diary of One Who Vanished in which Jan Herman, professor at Prague University and 

one of the country’s most respected musicians, participated as pianist. “You played my Diary as I have never heard it played,” Janáček wrote to Herman. “Under this wonderful impression the main themes of my future concerto came to me while walking. From here to the finished composition is a long way, however. Much thinking!” As the new work gestated over the following months, its form shifted from that of a traditional three-movement concerto to an unusual structure of four compact and idiosyncratic movements, and its instrumental complement was reduced from full orchestra to chamber ensemble, quite probably as a result of Janáček’s familiarity with recent compositions for unconventional chamber groups 

LEOŠ JANÁČEK   Born July 3, 1854, in Hukvaldy, Moravia.  Died August 12, 1928, in Ostrava, Czechoslovakia.

Composed in 1925.  Premiered on February 16, 1926, in Brno.  First CMS performance on March 2,  1973, by clarinetist Gervase de Peyer, bassoonist Loren Glickman, hornist  Barry Tuckwell, violinists Ani Kavafian  and Charles Treger, violist Walter  Trampler, and pianist Richard Goode.


Concertino for Clarinet, Bassoon, Horn, Two Violins, Viola, and Piano


by Stravinsky, Schoenberg, Falla, and other leading European composers. The Concertino was completed in April 1925 (he dedicated the score to Jan Herman), premiered at a concert of the Society of Moravian Composers in Brno on February 16, 1926, and first heard in Prague four days later.

Janáček wrote that the Concertino “grew from the youthful mood of my sextet Mládí,” and then went on to attach boyhood images to each movement: “I. One spring day we prevented a hedgehog from getting into his lair by stopping up the entrance. He was cross but he toiled in vain. II. A chatty squirrel jumps high up from tree to tree. III. The bulging eyes of a little night owl and other censorious night-birds stare into the strings of the piano. IV. Like a scene from a fairy-tale in which everybody is discussing a new penny.” In a perceptive analysis of the Concertino, music theorist Fred Everett Maus wrote, “Janáček is not proposing a program in the opening movement, but rather an analogy: the 

behavior of the horn is like the behavior of the trapped hedgehog…. It is revealing that the hedgehog analogy does not deal with sounds, but more generally with the behavior of the trapped animal.” 

Janáček’s interest in developing musical equivalents of the rhythms and stresses of the Czech language in his vocal works finds an instrumental counterpart in the Concertino, whose thematic materials are short-breathed, repetitive, quirkily modal in construction, and irregular in phrasing. The first three movements—respectively for piano and horn only, for piano and E-flat clarinet (except when the other participants are admitted at the very end), and for the full ensemble—are all built from contrasting musical ideas given in clear sectional juxtapositions. The finale as well grows from a pair of thematic cells—a muscular descending phrase and a motive of longer notes and sharply dotted rhythms—but these are developed more in tandem than are the themes in the earlier movements.  u

“I imagine ... a kind of vernacular music from a culture that doesn’t really exist,” 

says Steven Mackey, one of America’s most adventurous and admired composers. Mackey was born in 1956 in Frankfurt, Germany to American parents but grew up in northern California, where he excelled in sports and imitating Jimmy Hendrix on his electric guitar. Mackey graduated from the University of California at Davis in 1978 with a degree in guitar and lute but with the ambition of being a composer. He did his graduate work in composition at Stony Brook University with John Lessard and David Lewin (M.A., 1980) and at Brandeis University with Donald Martino (Ph.D., 1985), and was 

STEVEN MACKEY  Born February 14, 1956, in Frankfurt, 

Germany.

Composed in 1999.  Premiered on November 3, 1999 in New York City by percussionist Daniel Druckman and the New York New Music Ensemble.

  First CMS performance on December 2, 2010, by percussionist Ayano Kataoka, flutist Tara Helen O’Connor, clarinetist Alexander Fiterstein, violinist Arnaud Sussmann, cellist Jakob Koranyi, and pianist Gilles Vonsattel.


Micro-Concerto for Solo Percussion, Flute, Clarinet, Violin, Cello, and Piano


appointed to the Princeton faculty as soon as he finished his doctorate; he became a full professor there in 1993. Mackey won the prestigious Kennedy Center Friedheim Award in 1987, and he has since received Guggenheim, Lieberson, and Tanglewood fellowships, a second Friedheim Award, the Stoeger 

Prize from the Chamber Music Society of Lincoln Center (1995), the 2012 Grammy for Best Small Ensemble Performance (for Lonely Motel, recorded on the Cedille label by eighth blackbird), and many commissions.

Mackey wrote “Micro-Concerto explores a variety of more complex roles 

INFLUENCES ON MICRO-CONCERTO“When I was a young composer in the mid-1980s, the so-called ‘Pierrot’ ensemble (flute, clarinet, violin, cello, and piano, named after Schoenberg's Pierrot Lunaire), with or without added percussion, was the ubiquitous ‘mod music’ group. It has a certain economic appeal in that you get a little of everything, but because of that, every concert you went to had pieces by students and teachers wrestling with this Spartan orchestra in a post-Schoenbergian expressionist idiom. I… felt the need to transform the ensemble into something else, something more sympathetic to my background and interests, something more lively. In Micro-Concerto, the featured role of the percussionist playing a combination of toys and ‘legit’ instruments makes the ensemble a little more playful. Also, a recurring strategy in the composition of the non-percussion parts is to have them occasionally get stuck on one or a couple of oddly articulated notes, bringing them closer to the spirit of percussion.

“Another seminal influence on the Micro-Concerto was a Percussive Arts Society National Convention I attended in 1992. There I witnessed a 90-minute clinic on state-of-the-art techniques for playing crash cymbals. I confess that there was something humorously esoteric about the event, but I left inspired to imagine particular ways to coax sound out of pieces of wood, metal, and skin instead of simply hitting them. It also woke me to the fact that the first step in writing for percussion is to invent the instrument and a playing technique. Percussionists tend to have an adventurous attitude about this: if they can reach it with an arm or leg, or hold it in the mouth it is fair game. I’m fascinated by the one-man-band mentality of juggling contrasting timbres produced by a gamut ranging from finely crafted instruments to kitchen utensils and hobby shop paraphernalia.”

—Steven Mackey


that the individual can play in relation to the ensemble. In Part 1: Chords and Fangled Drumset, the rhythm is front and center. I imagine that the piano chords harmonize the rhythm instead of the rhythm measuring the harmonies.

“Part 2: Interlude #1 — Vibes Solo is a short, lyrical ballad.

“In Part 3: Click, Clak, Clank, the percussionist is neither an accompanying rhythm section nor leading melody. I think of it as a contextualizing and interpreting narration spoken in some imaginary tongue-clicking language.

“In Part 4: Interlude #2 — Marimba and Cello, the two instruments are completely co-dependent; the story is told only by their interplay. In some sense they are a single instrument with timbres no more disparate than the clickers and samba whistle that are part of the 

percussionist’s instrument in Part 3. This movement flows without pause into Part 5: Tune in Seven. In the first half of the movement, the percussionist is one of six players tossing around a set of variations on the Tune. Toward the end, the percussionist returns to the ‘fangled drumset’ and shifts the focus back to what must be (along with singing) the most fundamental form of musical expression—hitting things in time.

“The two interludes are played on big, standard pieces of percussion ‘furniture,’ but the main movements focus on small moves and subtle distinctions. They are full of fussy descriptions of how to play some hand-held ‘toy’ just so. This micro-management of small muscle groups, and the fact that the concerto soloist is accompanied by the smallest orchestra imaginable, suggested the title.”  u

© 2018 Dr. Richard E. Rodda

ABOUT THE ARTISTSAARON BOYD  Violinist Aaron Boyd enjoys a versatile career as soloist, chamber musician, orchestral leader, recording artist, lecturer, and teacher. Since making his New York recital debut in 1998, he has concertized throughout North America, Europe, and Asia. Formerly a member of the Escher String Quartet, he was a recipient of an Avery Fisher Career Grant and the Martin E. Segal prize from Lincoln Center, and was also awarded a Proclamation by the City of Pittsburgh for his musical accomplishments. A 

passionate advocate for new music, he has worked directly with such legendary composers as Milton Babbitt, Elliott Carter, and Charles Wuorinen. He is also founder of the Zukofsky Quartet (quartet-in-residence at Bargemusic); the only ensemble to have played all of Milton Babbitt’s notoriously difficult string quartets. As a recording artist, he can be heard on the BIS, Music@Menlo Live, Naxos, Tzadik, North/South, and Innova labels. He has been broadcast in concert by NPR, WQXR, and WQED, and was profiled by Arizona Public Television. Born in Pittsburgh, Mr. Boyd began his studies with Samuel LaRocca and Eugene Phillips and graduated from The Juilliard School where he studied with Sally Thomas and coached extensively with Paul Zukofsky and cellist Harvey Shapiro. He now serves as Director of Chamber Music and Professor of Practice in Violin at Southern Methodist University and lives in Dallas with his wife Yuko, daughter Ayu, and son Yuki.

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TIMOTHY COBB  Timothy Cobb is the principal bass of the New York Philharmonic, prior to which he served as principal bass for the Metropolitan Opera Orchestra. He has appeared at numerous chamber music festivals worldwide, and as a former participant in the Marlboro Music festival, has toured with the Musicians from Marlboro series. He is a faculty member of the Sarasota Music Festival each June, and in 2014 helped to launch a new bass program for the Killington Music Festival in Killington, 

Vermont. He serves as principal bass for Valery Gergiev’s World Orchestra for Peace, an invited group of musicians from around the world, from which he has earned the title UNESCO Artist for Peace. He has also served as principal bass for the Mostly Mozart festival orchestra since 1989. He can be heard on all Met recordings after 1986, as well as on the Naxos label, in a recording of Giovanni Bottesini’s duo bass compositions with fellow bassist Thomas Martin, of London. Mr. Cobb graduated from the Curtis Institute of Music where he studied with Roger Scott. In his senior year he became a member of the Chicago Symphony under Sir Georg Solti. He serves as bass department chair for The Juilliard School, as well as serving on the faculties of the Manhattan School of Music, Purchase College, and Rutgers University. He also holds the title ‘Distinguished Artist in Residence’ at Lynn University in Boca Raton, Florida.

BELLA HRISTOVA  Acclaimed for her passionate, powerful performances, beautiful sound, and compelling command of her instrument, violinist Bella Hristova is a musician with a growing international career. Her 2017–18 season features performances of Beethoven’s ten sonatas for piano and violin in a nation-wide recital tour of New Zealand with acclaimed pianist Michael Houstoun. She also performs extensive and varied concerto repertoire including works by American composers Lukas 

Foss, Samuel Barber, and David Ludwig, and appears with the Chautauqua, Austin, and Milwaukee symphonies. She has performed at major venues and worked with conductors including Pinchas Zukerman, Jaime Laredo, Rossen Milanov, and Michael Stern. A sought-after chamber musician, she performs at festivals including Australia’s Musica Viva Festival, Music@Menlo, Music from Angel Fire, Chamber Music Northwest, the Santa Fe Chamber Music Festival, and the Marlboro Music Festival. Her recording, Bella Unaccompanied (A.W. Tonegold Records), features works for solo violin by Corigliano, Kevin Puts, Piazzolla, Milstein, and J. S. Bach. In addition to a 2013 Avery Fisher Career Grant, she is the recipient of first prizes in the 2009 Young Concert Artists International Auditions and the 2007 Michael Hill International Violin Competition in New Zealand, and laureate of the 2006 International Violin Competition of Indianapolis. She attended the Curtis Institute of Music, where she worked with Ida Kavafian and Steven Tenenbom, and received her Artist Diploma with Jaime Laredo at Indiana University. A former member of CMS Two, Ms. Hristova plays a 1655 Nicolò Amati violin.

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AYANO KATAOKA  Percussionist Ayano Kataoka, formerly a member of Chamber Music Society Two and the first percussionist to be so chosen, is known for her brilliant and dynamic technique, as well as the unique elegance and artistry she brings to her performances. She has collaborated with many of the world’s most respected artists, including Emanuel Ax, Jaime Laredo, Ani Kavafian, David Shifrin, and Jeremy Denk. She gave the world premiere of Bruce Adolphe’s Self Comes to Mind for cello and two 

percussionists with cellist Yo-Yo Ma at the American Museum of Natural History in 2009. She presented a solo recital at Tokyo Opera City Recital Hall which was broadcast on NHK, the national public station of Japan. Her performances can also be heard on the Deutsche Grammophon, Naxos, New World, Bridge, New Focus, and Albany record labels. Since 2013 she has toured the United States and Mexico extensively as a percussionist for Cuatro Corridos, a chamber opera led by soprano Susan Narucki and Mexican author Jorge Volpi that addresses human trafficking across the U.S.-Mexican border. The recording of Hebert Vazquez’s Azucena, the first scene of Cuatro Corridos, on Bridge Records was nominated for a Latin Grammy in the Best Contemporary Composition category. A native of Japan, Ms. Kataoka began her marimba studies at age five, and percussion at 15. She received her artist diploma degree from Yale University, where she studied with marimba virtuoso Robert van Sice. She is a faculty member of the University of Massachusetts at Amherst.

PETER KOLKAY  Called “superb” by the Washington Post and “stunningly virtuosic” by the New York Times, Peter Kolkay is the only bassoonist to receive an Avery Fisher Career Grant and win first prize at the Concert Artists Guild International Competition. He is associate professor of bassoon at the Blair School of Music at Vanderbilt University where he was part of the inaugural class of Chancellor’s Faculty Fellows. He has presented solo recitals at Weill Recital Hall, Merkin Hall, the Chicago Cultural Center, and 

Centro Cultural Ollin Yolitzli in Mexico City. Mr. Kolkay is a regular performer at the Spoleto USA, Music@Menlo, and Bridgehampton Chamber Music summer festivals. He actively engages with composers in the creation of new works for the bassoon; he gave the world premiere of Joan Tower’s bassoon concerto, and will premiere a new work for bassoon and string quartet by Mark-Anthony Turnage during the 2018-19 season. He is a member of the IRIS Orchestra in Germantown, Tennessee, and an alum of Chamber Music Society Two. Mr. Kolkay holds degrees from Lawrence University (Appleton, Wisconsin), the Eastman School of Music, and Yale University, and studied with Frank Morelli, John Hunt, Jean Barr, and Monte Perkins. A native of Naperville, Illinois, he now calls downtown Nashville home.

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SEAN LEE  Violinist Sean Lee has captured the attention of audiences around the world with his lively performances of the classics. A recipient of a 2016 Avery Fisher Career Grant, he is one of few violinists who dare to perform Niccolò Paganini’s 24 Caprices in concert, and his YouTube series, Paganini POV, continues to draw praise for the use of technology in sharing unique perspectives and insight into violin playing. He has performed as a soloist with orchestras including the Utah 

Symphony, Israel Camerata Jerusalem, and Orchestra del Teatro Carlo Felice; and his recital appearances have taken him to Vienna’s Konzerthaus, Tel Aviv Museum of Art, and Carnegie Hall’s Weill Hall. As a season artist at the Chamber Music Society of Lincoln Center and a former member of CMS Two, he continues to perform regularly at Lincoln Center, as well as on tour. Originally from Los Angeles, Mr. Lee studied with Robert Lipsett of the Colburn Conservatory and legendary violinist Ruggiero Ricci before moving at the age of 17 to study at The Juilliard School with his longtime mentor, violinist Itzhak Perlman. He continues to call New York City home, and currently teaches at The Juilliard School’s Pre-College Division, as well as the Perlman Music Program. He performs on a violin originally made for violinist Ruggiero Ricci in 1999, by David Bague.

TOMMASO LONQUICH  Italian clarinetist Tommaso Lonquich enjoys a distinguished international career, having performed on the most prestigious stages of four continents and at major festivals. He is solo clarinetist with Ensemble MidtVest, an acclaimed chamber ensemble based in Denmark. As a chamber musician, he has partnered with Pekka Kuusisto, Carolin Widmann, Ani Kavafian, Nicolas Dautricourt, David Shifrin, Charles Neidich, Klaus Thunemann, Sergio Azzolini, Umberto Clerici, Gilbert Kalish, 

Alexander Lonquich, Jeffrey Swann, and the Danish, Zaïde, and Allegri string quartets. He performs regularly as solo clarinetist with the Leonore Orchestra in Italy and has collaborated with conductors such as Zubin Mehta, Vladimir Ashkenazy, Fabio Luisi, and Leonard Slatkin. He has conceived several collaborative performances with dancers, actors, and visual artists. With Ensemble MidtVest, he has been particularly active in improvisation, leading workshops at The Juilliard School. He is co-artistic director of KantorAtelier, a vibrant cultural space based in Florence, dedicated to the exploration of music, theatre, art, and psychoanalysis. He can be heard on a number of CD releases for DaCapo, CPO, and Col Legno, as well as on broadcasts for Performance Today, the BBC, and other radio programs around the world. Mr. Lonquich graduated from the University of Maryland under the tutelage of Loren Kitt, furthering his studies with Alessandro Carbonare and Michel Arrignon at the Escuela Superior de Musica Reina Sofía in Madrid. In 2009 the Queen of Spain awarded him the Escuela’s prestigious annual prize. He is a member of CMS Two.

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ANNE-MARIE McderMOTT  For over 25 years Anne-Marie McDermott has played concertos, recitals, and chamber music in hundreds of cities throughout the United States, Europe, and Asia. She also serves as artistic director of the Bravo! Vail Music and Ocean Reef Music festivals, as well as Curator for Chamber Music for the Mainly Mozart Festival in San Diego. She recently participated in the New Century Chamber Orchestra’s Silver Jubilee All-Gershwin Program, and embarked on a cycle of Beethoven 

concertos at Santa Fe Pro Musica. She also recorded a new concerto by Poul Ruders, alongside Rachmaninov’s Paganini Variations, and returned to play Gershwin with the New York Philharmonic at the Bravo! Vail Festival. She has performed with leading orchestras including the New York Philharmonic, Minnesota Orchestra, Dallas Symphony, Columbus Symphony, Seattle Symphony, National Symphony, and Houston Symphony. Her recordings include the complete Prokofiev piano sonatas, Bach’s English Suites and partitas (Editor’s Choice, Gramophone magazine), Gershwin’s complete works for piano and orchestra with the Dallas Symphony (Editor’s Choice, Gramophone magazine), and, most recently, the Haydn piano sonatas and concertos with the Odense Philharmonic in Denmark. She tours each season with the Chamber Music Society, as a member of the piano quartet OPUS ONE, with violinist Nadja Salerno-Sonnenberg, and as part of a trio with her sisters Kerry and Maureen McDermott. Ms. McDermott studied at the Manhattan School of Music and has been awarded the Mortimer Levitt Career Development Award for Women, an Avery Fisher Career Grant, and won the Young Concert Artists auditions.

MIHAI MARICA  Romanian-born cellist Mihai Marica is a First Prize winner of the “Dr. Luis Sigall” International Competition in Viña del Mar, Chile and the Irving M. Klein International Competition, and is a recipient of Charlotte White’s Salon de Virtuosi Fellowship Grant. He has performed with orchestras such as the Symphony Orchestra of Chile, Xalapa Symphony in Mexico, the Hermitage State Orchestra of St. Petersburg in Russia, the Jardins Musicaux Festival Orchestra in Switzerland, the 

Louisville Orchestra, and the Santa Cruz Symphony in the United States. He has also appeared in recital performances in Austria, Hungary, Germany, Spain, Holland, South Korea, Japan, Chile, the United States, and Canada. A dedicated chamber musician, he has performed at the Chamber Music Northwest, Norfolk, and Aspen music festivals where he has collaborated with such artists as Ani Kavafian, Ida Kavafian, David Shifrin, André Watts, and Edgar Meyer, and is a founding member of the award-winning Amphion String Quartet. A recent collaboration with dancer Lil Buck brought forth new pieces for solo cello written by Yevgeniy Sharlat and Patrick Castillo. Mr. Marica studied with Gabriela Todor in his native Romania and with Aldo Parisot at the Yale School of Music where he was awarded master's and artist diploma degrees. He is a former member of Chamber Music Society Two.

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PAUL NEUBAUER  Violist Paul Neubauer’s exceptional musicality and effortless playing led the New York Times to call him “a master musician.” This season he will appear in recital and with orchestras in the U.S. and Asia including his Chicago Symphony subscription debut with Riccardo Muti performing Mozart’s Sinfonia Concertante with violinist Robert Chen. His recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia, a work he premiered with the St. Paul Chamber, Los Angeles 

Chamber, and Idyllwild Arts orchestras and the Chautauqua Symphony, will be released on Signum Records. Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the New York, Los Angeles, and Helsinki philharmonics; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth symphonies; and Santa Cecilia, English Chamber, and Beethovenhalle orchestras. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower and has been featured on CBS’s Sunday Morning, A Prairie Home Companion, and in Strad, Strings, and People magazines. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical, and in 2016 he released a solo album of music recorded at Music@Menlo. Mr. Neubauer was recently appointed artistic director of the Mostly Music series in New Jersey and is on the faculty of The Juilliard School and Mannes College.

TARA HELEN O'CONNOR  Tara Helen O’Connor is a charismatic performer noted for her artistic depth, brilliant technique, and colorful tone spanning every musical era. Winner of an Avery Fisher Career Grant and a two-time Grammy nominee, she was the first wind player to participate in the Chamber Music Society Two program.  A Wm. S. Haynes flute artist, she regularly appears at the Santa Fe Chamber Music Festival, Music@Menlo, the Chamber Music Festival of the Bluegrass, Spoleto USA, Chamber Music 

Northwest, Mainly Mozart Festival, Music from Angel Fire, the Banff Centre, the Great Mountains Music Festival, Chesapeake Music Festival, and the Bravo! Vail Music Festival. A much sought after chamber musician and soloist, she is a founding member of the Naumburg Award-winning New Millennium Ensemble, and a member of the woodwind quintet Windscape and the legendary Bach Aria Group. She has premiered hundreds of new works and has collaborated with the Orion String Quartet, St. Lawrence Quartet, and Emerson Quartet. She has appeared on A&E’s Breakfast with the Arts, Live from Lincoln Center, and has recorded for Deutsche Grammophon, EMI Classics, Koch International, CMS Studio Recordings with the Chamber Music Society, and Bridge Records. She is associate professor of flute, head of the wind department, and coordinator of classical music studies at Purchase College Conservatory of Music. Additionally, she is on the faculty of Bard College Conservatory and the contemporary program at Manhattan School of Music and is a visiting artist, teacher, and coach at the Royal Conservatory of Music in Toronto.

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STEWART ROSE  Praised by the New Yorker for his “forceful yet elegant virtuosity,” French hornist Stewart Rose is one of the preeminent horn players of his generation. In recent seasons he has performed as guest principal horn with the New York Philharmonic, Philadelphia Orchestra, Metropolitan Opera Orchestra, St. Paul Chamber Orchestra, and the Saito Kinen Orchestra. He has appeared at the Marlboro, Tanglewood, Mostly Mozart, Spoleto, Edinburgh, Eastern Shore, and 

Bridgehampton festivals, and is a frequent guest with the Chamber Music Society of Lincoln Center. A native New Yorker, he began playing with the Orpheus Chamber Orchestra in 1981 and has been principal horn of Orchestra of St. Luke’s since 1983. He also served as principal horn with the New York City Opera for 25 years. Mr. Rose’s first solo CD, From the Forest—a collection of early classical works for horn and orchestra by Haydn, Telemann, Leopold Mozart, and Christoph Forster with St. Luke’s Chamber Ensemble—was released on St. Luke’s Collection to great critical acclaim. Other recent recordings include his appearance as first horn on New York Philharmonic releases including Berlioz’s Harold in Italy with Lorin Maazel, Sebastian Currier’s Time Machine with Anne-Sophie Mutter and Alan Gilbert, and Concerto: One Night in Central Park with Andrea Bocelli; Tchaikovsky: Winter Dreams and The Tempest with Pablo Heras-Casado and Orchestra of St. Luke’s; and Kevin Puts's Seven Seascapes premiere recording with the Bridgehampton Chamber Music Festival.

GILLES VONSATTEL  Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality. He is the recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award, and winner 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, Chamber Music Northwest, La Roque d’Anthéron, Music@Menlo, the Lucerne festival, and Spoleto USA. Deeply committed to the performance of contemporary music, he has premiered numerous works both in the United States and Europe and worked closely with notable composers such as Jörg Widmann, Heinz Holliger, and George Benjamin. Recent and upcoming projects include appearances with the Chicago Symphony (Bernstein’s Age of Anxiety), Gothenburg Symphony (Messiaen’s Turangalîla Symphonie), Orchestra della Svizzera Italiana (Berg’s Kammerkonzert), Mozart concertos with the Vancouver Symphony and Florida Orchestra, as well as multiple appearances with the Chamber Music Society. A former member of Chamber Music Society Two, Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School. He is on the faculty of the University of Massachusetts at Amherst.

MARCO BORGGREV

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It is our privilege to list the names of our generous and loyal donors to the CMS Annual Fund and Spring Gala. On behalf of the Board of

Directors, the Artists and Staff, we extend our deep appreciation to each of you. Have a wonderful summer and be sure to celebrate with us at

Summer Evenings on July 8, 11, & 15!

052018_Fillers_DevoCollage.indd 1 4/20/2018 3:22:34 PM


Contributors to the Annual Fund provide vital support for the Chamber Music Society's wide-ranging artistic and educational programs. We gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their generous gifts. We also thank those donors who support the Chamber Music Society through the Lincoln Center Corporate Fund.

ANNUAL FUND

LEADERSHIP GIFTS ($50,000 and above)The Achelis and Bodman FoundationThe Chisholm FoundationHoward Gilman FoundationWilliam and Inger G. GinsbergDr. and Mrs. Victor GrannEugene and Emily GrantJerome L. Greene FoundationMr. and Mrs. Paul B. GridleyRita E. and Gustave M. Hauser

Elinor and Andrew HooverJane and Peter KeeganSusan Carmel LehrmanLincoln Center Corporate FundNational Endowment for the ArtsNew York State Council on the ArtsStavros Niarchos FoundationThe New York Community TrustMr. and Mrs. James P. O'Shaughnessy

Blanchette Hooker Rockefeller FundThe Fan Fox and Leslie R. Samuels Foundation, Inc.

Ellen Schiff Elizabeth W. SmithThe Alice Tully FoundationElaine and Alan WeilerThe Helen F. Whitaker Fund

GUARANTORS ($25,000 to $49,999)Ann Bowers,  in honor of Dmitri Atapine

Thomas Brener and  Inbal Segev-Brener

Sally D. and Stephen M. Clement, IIIJoseph M. CohenJoyce B. CowinLinda S. DainesEstate of Anthony C. GoochGail and Walter HarrisFrank and Helen Hermann FoundationRobert and Suzanne Hoglund

Harry P. KamenEstate of Peter L. KennardAndrea Klepetar-FallekBruce and Suzie KovnerMetLife FoundationRichard Prins and Connie SteensmaNew York City Department of  Cultural Affairs

Dr. Annette U. RickelDr. Beth Sackler and  Mr. Jeffrey Cohen

Judith and Herbert Schlosser

David SimonMr. and Mrs. Erwin StallerWilliam R. Stensrud and  Suzanne E. Vaucher

Joost and Maureen ThesselingTiger Baron FoundationMr. and Mrs. Jarvis WilcoxKathe and Edwin WilliamsonShannon Wu and Joseph Kahn

BENEFACTORS ($10,000 to $24,999)Anonymous (2)Ronald AbramsonEstate of Marilyn Apelson Jonathan Brezin and Linda KeenColburn FoundationCon EdisonThe Gladys Krieble Delmas Foundation

Robert and Karen DesjardinsHoward Dillon and  Nell Dillon-Ermers

Carole DonlinThe Lehoczky Escobar Family David Finckel and Wu Han

John and Marianne FouheySidney E. Frank FoundationMr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Hamilton Generation FundIrving Harris FoundationMichael Jacobson and Trine SorensenPriscilla F. KauffVicki and Chris KelloggJeehyun KimJudy and Alan KosloffHelen Brown LevineDouglas M. Libby

Millbrook Vineyards & WineryMr. Seth Novatt and  Ms. Priscilla Natkins

Marnie S. PillsburyTatiana PouschineDr. and Mrs. Richard T. RosenkranzMrs. Robert SchuurFred and Robin SeegalSeth Sprague Educational and  Charitable Foundation

Joe and Becky StockwellCarlos Tome and Theresa KimSusan and Kenneth WallachMrs. Andrea W. Walton

PLATINUM PATRONS ($5,000 to $9,999)Anonymous (2)William and Julie Ballard Murat BeyazitJoan BennyNathalie and Marshall CoxValerie and Charles DikerJohn and Jody EastmanMrs. Barbara M. ErskineMr. and Mrs. Irvine D. FlinnThe Frelinghuysen Foundation

Marlene Hess and James D. Zirin,  in loving memory of  Donaldson C. Pillsbury

The Hite FoundationAlfred and Sally JonesC.L.C. Kramer FoundationJonathan E. LehmanLeon Levy FoundationDr. and Mrs. Michael N. MargoliesJane and Mary MartinezMr. and Mrs. H. Roemer McPhee,  in memory of Catherine G. Curran

The Robert and Joyce Menschel  Family Foundation 

Achim and Colette Moeller Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperThomas A. and Georgina T. Russo

Family FundMartin and Ruby VogelfangerPaul and Judy WeislogelNeil Westreich

Artistic Directors Circle

Patrons


YOUNG PATRONS* ($500+)Jordan C. AgeeRaoul Boisset Samuel Coffin and Tobie CornejoJamie ForsethRobert J. HaleyYoshiaki David KoLiana and Joseph Lim 

Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason NongEren Erdemgil Sahin and Erdem Sahin

Shu-Ping ShenJonathan U.R. Smith Erin SolanoMr. Nick Williams and Ms. Maria Doerfler

Rebecca Wui and Raymond Ko

SILVER PATRONS ($1,500 to $2,499)Anonymous (5)Alan AgleHarry E. AllanLawrence H. AppelBrett Bachman and Elisbeth ChallenerDr. Anna BalasBetsy Shack BarbanellLillian BarbashMr. and Mrs. William G. BardelCaryl Hudson BaronRichard L. BaylesMr. and Mrs. T. G. BerkDon and Karen Berry Adele BilderseeJudith Boies and Robert ChristmanCahill Cossu Noh and RobinsonCharles and Barbara BurgerJeff and Susan CampbellAllan and Carol CarltonDale C. Christensen, Jr.Judith G. ChurchillBetty CohenMarilyn and Robert CohenMr. Mark Cohen,  in memory of May Lazer

Alan and Betsy Cohn FoundationJon Dickinson and Marlene BurnsJoan DyerThomas E. Engel, Esq.Mr. Arthur FergusonHoward and Margaret FluhrMr. Andrew C. Freedman and  Ms. Arlie Sulka

Mr. and Mrs. Burton M. FreemanRosalind and Eugene J. GlaserJudith HeimerCharles and Nancy HoppinDr. Beverly Hyman and  Dr. Lawrence Birnbach

Bill and Jo Kurth JagodaDr. Felisa B. KaplanKeiko and Steven B. Kaplan,  in honor of Paul Huang

Stephen and Belinda Kaye Thomas C. KingPatricia Kopec Selman and  Jay E. Selman

Dr. and Mrs. Eugene S. KraussEdith KubicekRichard and Evalyn LambertCraig Leiby and Thomas ValentinoDr. Donald M. LevineFran LevineJames Liell Walter F. and Phyllis Loeb Family Fund  of the Jewish Communal Fund

Carlene and Anders MaxwellEileen E. McGann Sheila Avrin McLean and David McLeanIlse MelamidMerrick Family FundBernice H. MitchellAlan and Alice ModelAlex PagelBarbara A. PelsonCharles B. Ragland

Mr. Roy Raved and Dr. Roberta LeffDr. Hilary Ronner and Mr. Ronald 

FeimanJoseph and Paulette RoseDiana and Michael RothenbergMarie von SaherDavid and Sheila RothmanSari and Bob SchneiderDelia and Mark SchulteMr. David Seabrook and  Dr. Sherry Barron-Seabrook

Jill S. SlaterJudith and Morton SloanAnnaliese SorosDr. Margaret Ewing SternDeborah F. StilesAlan and Jaqueline StuartJoseph C. TaylorErik and Cornelia ThomsenJudith and Michael Thoyer Leo J. TickSalvatore and Diane VaccaMr. and Mrs. Joseph ValenzaPierre and Ellen de VeghDr. Judith J. Warren and  Dr. Harold K. Goldstein

Robert Wertheimer and  Lynn Schackman

Tricia and Philip WintererGro V. and Jeffrey S. Wood Cecil and Gilda Wray

*For more information, call (212) 875-5216 or visit chambermusicsociety.org/yp

GOLD PATRONS ($2,500 to $4,999)Anonymous (3)Nasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichAmerican Friends of Wigmore HallJoan AmronJames H. ApplegateAxe-Houghton FoundationLawrence B. BenensonAmerican Chai TrustConstantin R. BodenMr. and Mrs. John D. CoffinJill Haden CooperThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerVirginia Davies and Willard TaylorSuzanne DavidsonMr. and Mrs. Joseph W. Donner Helen W. DuBoisRachel and Melvin Epstein

Judy and Tony EvninMr. Lawrence N. Field Dr. and Mrs. Fabius N. FoxMrs. Beatrice FrankDiana G. FriedmanEgon R. GerardEdda and James GillenFrederick L. JacobsonKenneth Johnson and Julia TobeyPaul KatcherEd and Rosann KazMr. and Mrs. Hans KilianChloë A. KramerHenry and Marsha LauferHarriet and William LembeckDr. Edward S. LohJennifer ManocherianNed and Francoise MarcusMr. and Mrs. Leigh MillerMartin and Lucille Murray Sassona Norton and Ron Filler

Susan B. Plum Mr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda SchultzPeter and Sharon SchuurMichael W. SchwartzCarol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. SingerDiane Smook and Robert PeduzziGary So, in honor of Sooyun KimSally WardwellPatricia and Lawrence WeinbachLarry Wexler and Walter BrownJanet Yaseen and the  Honorable Bruce M. Kaplan

Sandra and Franklin ZieveNoreen and Ned Zimmerman


PRESTO ($1,000 to $1,499)

ALLEGRO ($600 to $999)

ANDANTE ($300 to $599)

Anonymous (7)Bialkin Family FoundationMaurice S. and Linda G. Binkow Philanthropic Fund

Ann S. ColeColleen F. ConwayAllyson and Michael ElyMr. Stephen M. FosterDorothy and Herbert FoxKris and Kathy HeinzelmanDr. and Mrs. Wylie C. HembreeAlice Henkin

Mr. and Mrs. James R. HoughtonThomas Frederick JamboisPatricia Lynn Lambrecht Leeds Family FoundationThe David Minkin FoundationLinda Musser Anju Narula Dot and Rick NelsonChristine PishkoMimi PoserJames B. RanckMs. Kathee Rebernak

Ms. Linda C. RoseMr. David RosnerCharles S. SchregerMonique and Robert SchweichDiana and John SidtisDr. Robert SilverEsther Simon Charitable TrustAndrea and Lubert StryerMs. Jane V. TalcottHerb and Liz TulchinJill and Roger WittenFrank Wolf

Sophia Ackerly and Janis BuchananMrs. Albert Pomeroy BedellBrian Carey and Valerie TomaselliMrs. Margherita S. FrankelDorothy F. GlassMiriam Goldfine Abner S. GreeneSharon GurwitzEvan and Florence JanovicPete Klosterman

Peter KrollBarbara and Raymond LeFebvreMr. Stanley E. LoebJane and John LooseThomas Mahoney and Emily Chien, in honor of Paul and Linda Gridley

Linda and Thomas Marshella, in memory of Donald F. Humphrey

Dr. and Mrs. Richard R. NelsonLisa and Jonathan Sack

Anthony R. SokolowskiMr. and Mrs. Myron Stein,  in honor of Joe Cohen

Dr. Charles and Mrs. Judith  Lambert Steinberg

Mr. David P. StuhrSherman TaishoffSusan Porter TallMr. and Mrs. George Wade

Anonymous (10)Peter ArnowRoman BachliDr. and Mrs. Frederick M. BaekelandDavid Baker and Lois GaetaMr. Samuel E. BassMr. and Mrs. Charles BleibergEllen BogolubMs. Bracha-Nechama Bomze,  in honor of Herman Bomze

Kenneth P. BrowneMiriam and Howard BudinFern Budow and Bob ReissMichael Bulman and  Ronnie Janoff-Bulman

Anna Burton, MDMr. and Mrs. John BushThe Gilbert and Ildiko Butler  Family Foundation, Inc.

Ms. Lorette L. CameronLeonard and Heather Cariou Harold and Maida CherryCarol and Wallace ChinitzHerzlia and David ClainLauren CowlesJohn E. CozPaul DipaolaHerb and Eloise ElishMr. and Mrs. Albert FishlowMr. Charles A. FormaBill and Lesleigh ForsythMr. David B. FreedlanderThe Ellen and David Freeman/ Gogolick Donor Advised Fund of the Jewish Federation of Cleveland

Mr. and Mrs. Jeffrey FriedmanRosa and Robert GellertSusan Gellert and 

Mitchell Gershonowitz David Gikow and Sarah ReidRobert M. Ginsberg FoundationBarry Waldorf and Stanley GotlinBruce M. GreenwaldMikhail GrinbergJonathan and Jennifer Grossman Thomas GubanichMartha HaffeyD. Max and Medill HarveyAnne D. HerrmannMs. Catherine Hirsch,  in honor of Kathe Williamson

Joan HolmesThomas L. and Sarah A. HolmesDonal F. Holway,  in memory of Martha F. Steel

Peter and Susan Jacobson Judith JordanHenry and Margaret KingRachel and Donald KleinMr. and Mrs. Frank A. KorahaisFrederick and Ivy Kushner Ms. Judith LanhamHarris I. LehrerDr. Owen LewisThe Lipskar Family Fund of the  Jewish Communal Fund

Mrs. Patricia S. LittmanMrs. Suzanne D. LubellJudy and Nigel MacEwanStephen C. MalamudGregory and Susan Marks Caroline and Richard MarlinMr. DeCourcy E. McIntosh Merrill Family FundMel and Liz Miller

Deborah Mintz,  in memory of Nancy Rosenthal

Martin L. and Lucy Miller MurrayNancy O Knitting Group,  in memory of Robert Mann

Judith and Donald PinalsMiriam PolletMs. Jane PolleyMrs. Jessie Hunter PriceAllen and Harriet Radin Marc RauchGerald and Rosalind Reisner Cedomir Crnkovic and  Valerie Rubsamen

Joan G. SarnoffMr. and Mrs. Marc SawyerElizabeth and Jerome SchneewindPatricia SchoenfeldLester Schwalb,  in honor of Philip and Cheryl Milstein

Mr. and Mrs. William G. SeldenMr. and Mrs. George E. SheaDr. M. Lana SheerMs. Ellen ShermanRichard E. SilvermanJo Ann SilversteinBeverly SolochekMs. Claudia SpiesWhitney StewartPeter Straus and Katherine GardellaKenneth Vittor and Judith Aisen The Marian M. Warden Fund of The Foundation for Enhancing Communities

Alden Y. Warner, III and Peter S. ReedPaul and Bernice Witkovsky

Friends


ADAGIO ($100 to $299)Anonymous (43)Dr. Graciela AbelinSam L. Abram and Amy KoppesDan and Emily AdlerJoan Ai, in honor of Shannon WuDonald AibelJohn AmatrudaAimee B. AndersonMs. Rose AndersonKaren and Gregory ArensonMr. Leon D. AshnerElaine AthanassiadesRita AuerbachIsabelle Autones and 

Francis GreenburgerSheila Averback and Katherine KeenanJean BaoCarol and Bert BarnettMrs. Nicholas BentonMr. Pinchas BergerMarion BerghahnRussell BermanJanet F. BernsteinKathi and Robert BersonMr. Alfred Blomquist, Jr. and  Ms. Elisabeth Mannschott

Leonard and Barbara Blum Stephen BlumMichelle A. BraccoJim and Beth BraniganMr. and Mrs. Theodore C. Brannon, Jr.Mr. Neboysha R. BrashichJean S. BrennerNatalie Brody Dr. Anne L. BrooksMs. Deborah E. BrownMr. Henry BrownsteinMs. Eileen BucklerMrs. James E. BurkeAlan Burstin and Vincent DePasqualeEsther and Michael BushellMartine and Ralph CalderMr. Ralph A. Cann IIIMs. Dalia CarmelMr. William CavanaghMarcy ChambersDr. Paul ChamblissMarc and Rona ChernoMs. Blanche Lark ChristersonRhea Cohen BD Cole and CA WatsonMs. Elizabeth CollinsMr. Stephen CorriganLloyd R. Currier Stephen Delroy Charitable FundHester DiamondMr. Nathan DickmeyerRuth and Robert DiefenbachMr. Donald DillportCharles DimstonCharles D. DischeMr. Dan DonnellyPamela DrexelCarolyn DugganMartha and David DunkelmanHendrik Edelman and  Antoinette M. Kania

Carlotta EisenKathleen and Gary EmeryJune Fait & Herbert ColesEllen and Richard FarrenMs. Fiona FeinDr. and Mrs. Roy E. FeldmanEdith Ferber

Barbara E. Field and Seth DubinLinda and Geoffrey FieldJean and Raymond FirestoneMichael and Carole FleisherDr. Miriam Forman and Dr. John KollerMr. John H. ForsgrenMs. Bonnie FoxNaomi FreistadtMs. Ruth W. FriendlyKwok Sum FungMark and Doreen GamellAlexander GarvinAnn and Martin GelfandLinda GeorgeMs. Jessica GerstleJason R. GettingerJohn R. GillespieMr. Louis GinsbergMariluz and Arthur GironMs. Elisabeth GitterBarbara GoldMs. June O. GoldbergLynn C. GoldbergMrs. A. Deborah Goldstein, MDJ. Richard GoldsteinDr. Barry GooznerMr. Paul GrafMr. and Mrs. Marc GranetzJohn GraubardAnn H. GreenbergMr. and Ms. Daniel GreenbergerMr. and Mrs. Lawrence HaberMr. Robert Lawrence HamelMr. Russel T. HamiltonHelen R. HamlinMr. Sanford HanauerMr. Frances HanckelConrad and Marsha HarperTimothy and Sharon HarrisMr. Randolph T. Haviland and  Ms. Joan Poole

Mr. Peter S. HellerJoseph HertzbergMs. Emita B. HillMs. Eileen HoffmanMr. Robert Louis HoguetMs. Lynn HopkinsDr. and Mrs. S. Theodore HorwitzMr. Peter J. HuntMs. Ann L. HymanMark M. and Cathy Kaufman IgerPerri Beth IrvingsMs. Diane JacobsMrs. Gale JacobsohnPeter Johnson,  in honor of Graeme Johnson

Ms. Sandra JonesPeter H. JuddBernard L. KaplanMs. Audrey S. KatzAlisa Katzen and Gary RamsayJames and Bonnie Kaufman Ms. Cynthia S. Kayan Fred and Whitney KeenJules and Susan KermanMs. Faye KilsteinAndrew W. KingMr. and Mrs. Michael D. KishbauchMs. Kaori KitaoIrving and Rhoda KleimanRichard M. KleinMr. Robert KleinMrs. Nancy KoenigsbergMr. Richard C. Komson

Ms. Gabrielle KopelmanMr. David KozakMr. and Mrs. Alfred H. LandessMs. Beth Cooper LawrenceMs. Paula LawrenceMr. and Mrs. Alan E. LazarescuDr. and Mrs. Sung I. LeeJ. Mia Leo and Richard KuczkowskiDr. and Mrs. Robert G. LernerFred and Lynn Levine Ms. Joslyn Levy and Mr. David SpectorJoan LinceJohn and Marcia LowensteinDayna and Peter LucasMr. David P. LummLaura and John LungMs. Nancy LuptonJames P. MacGuireSamuel Madell, MDMr. Theodore N. MakarMiriam MalachMs. Myra MalkinMr. James I. MandelDouglas MaoDrs. Donald J. and Julie J. MarcuseMr. and Mrs. Irving L. MarkovitzEmily MarksLeon Martel,  in memory of Marilee Martel

Dr. Joanna Dodd MasseyDusa McDuffDr. Naomi MendelsohnMary MendenhallDr. Faith A. MenkenCarole MerrittAndrew MillisDr. Stephen MohnKarl MollerFred and Judie MopsikMrs. Janet KeithlyMs. Lee A. Hebner and  Mr. Kenneth R. Nassau

Ronald NelsonMaury NewburgerMs. Marilyn NissensonMs. Jane NovattEmiko OkawaDaniel and Rebecca OkrentJames H. OlanderCatharine W. O'RourkeDr. Robert E. PaaswellMr. Joel PapoMs. Elizabeth PeytonMr. William PfisterHenry C. PinkhamSeth and Angela PinskyWilliam M. PinzlerJudith J. PlowsRonald PodellMr. Armand PohanDrs. Peggy and Michael PorderDonald O. QuestJ. L. QuillenBeth RabinoveDr. and Mrs. Kanti RaiAmanda ReedCarroll and Ted ReidMary R. ReinertsenMs. Carol ReissJoan Murray-ReynoldsFlorence and Martin RichmanMichael Rinehart and Shirley ArikerFrancine Rizman BrewerMs. Phyllis Rodman


Albert and Roberta RomanoSandra Priest RoseSusan Roth Harvey and Barbara RothenbergMr. Ernest RubensteinNancy Brilliant RubingerMr. Eugene RybakMr. Alan E. SalzDr. Eslee SambergDr. Philip E. Sarachik and  Dr. Myriam P. Sarachik

Edward ScarcelleRobert and Constance ScharfCharles E. ScheidtMr. and Mrs. Francis H. SchottMr. and Mrs. David SchraaEdwin Schur and Joan Brodsky SchurMaryanne SchwallerMr. Béla R. Schwartz and  Ms. June Zimmerman

Judith Abby SchwartzMr. and Mrs. Anthony ScottoMarsha ShapiroHelga L. ShareshianKatherine H. ShepardPatrick Shrout and Jane Hanson Mr. William P. Shulevitz and  Rabbi Marion Shulevitz

Ms. Anna Shuster

Linda and David SicherJohn S. SiffertMrs. Barbara Antell SilberGayle and Charles SinclairMs. Ika SitorusMargaret Skaggs and Robert SalernoRonald D. SluskyHope SobieJudith Soffer and Eugene LewisMr. and Mrs. Albert SpekmanDr. and Mrs. Jerome P. SpivackDr. Barbara StallingsRose Z. StarrSharon G. StearnsSondra SteinDr. and Mrs. Peter SteinglassMarion Stewart,  in memory of Marcy Glanz

Natasha StoweMira StulmanIra and Nancy SussmanMelanie C. SzeMr. and Mrs. Samuel TatnallAnne L. Taylor, MDJoe and Pauline ThomeWilliam and Carolyn ThorntonJon Peter TilleyMr. Thomas Toce

Edward P. ToddDr. Terry L. TolkDr. Thomas TuckerDebi and Irwin UngerElliot and Ella UrdangMr. and Mrs. Koen van BesienVanette Van NoteLynn WagenknechtAlbert WatsonGail G. WatsonJanet Weaver John WeigerMs. Donna WelenskyKenneth WenzelBetsy Werley and Robert PlowsJanet and Peter WhiteMary WightDan Wilhelm and Courtney O'Malley Joanna P. WilliamsAlice and Ronald WongDoris WoodwardThe Gordon FoundationRafael YglesiasMs. Yumiko Christine Yokoi,  in honor of Caroline and David Saxe

Ms. Eve ZarinRuth Jane ZuckermanBurton Zwick

The Achelis and Bodman FoundationChevron HumankindJamie Brooke ForsethGoldman Sachs Matching Gift 

ProgramIBM Matching Grants Program

Johnson & Johnson Family of Companies

Loews FoundationLucy Lu and Mark FranksMasterCard Inc.Frederick J. Murdock

Pepsico FoundationPfizer Foundation Inc.Sony Corporation of AmericaUnitedhealth Group

Anonymous (1)Leon and Joan Ashner Mrs. Marguerite S. BedellEliane BukantzMichael and Esther BushellJoanne Castellani and 

Michael AndriaccioRobert J. Cubitto and Ellen R. Nadler Jon Dickinson and Marlene Burns Howard Dillon and Nell Dillon-ErmersMs. Carlotta EisenMitzi FilsonMr. Stuart M. Fischman

Mr. and Mrs. Arthur GironMs. Dalia Carmel GoldsteinPaul B. GridleyMrs. Mary Scott GuestWarren IlchmanFrederick L. JacobsonThomas JamboisHarry P. Kamen Hans and Donna KilianDr. Thomas C. KingChloë A. KramerHarriet and William LembeckHelen Brown Levine

Seth Novatt and Priscilla NatkinsEmiko OkawaEva PopperCarol Shoshkes ReissMartin RiskinMrs. Robert SchuurMr. and Mrs. Joseph E. Stockwell, Jr. Kenny TanSally WardwellAlan G. Weiler John S. WilsonRoger and Jill Witten

Joan DyerJoan EhrlichAnnette FidlerNaomi FreistadtCarol GardnerBill Gerdes

Carole KessnerPete KlostermanRichard KomsonTom KranidasMarion LedererMillicent McKinley

Frank MontaturoRuth PhaneufBeth RabinoveSusan RauchJudy RubinJoe Schwartz

Helga ShareshianRita SilvermanRefna WilkinCarol Wood

Matching Gifts

Alice Tully Circle

Volunteers

The Chamber Music Society of Lincoln Center www.ChamberMusicSociety.org

SPRING GALA

MAY 14, 2018

HONOREEJames P. O’Shaughnessy

CHAIRSElinor and Andrew Hoover

VICE CHAIRS Joyce B. Cowin Alan and Elaine Weiler

BENEFACTORJames and Melissa O’Shaughnessy Elizabeth W. Smith

PLATINUMSally and Stephen ClementDr. and Mrs. Phyllis GrannPaul and Linda GridleyJane and Peter KeeganDr. Annette U. RickelFreddie and Erwin StallerJoost and Maureen Thesseling

GOLDDr. Sander M. Abend and

Dr. Carol Lindemann AbendAmerican ExpressJoseph M. CohenLinda S. DainesJennifer and Johnson GarrettWilliam and Inger G. GinsbergWalter and Gail HarrisRobert and Suzanne HoglundPriscilla F. KauffVicki and Chris KelloggJeehyun KimJay and Julie LindseyRichard Prins and Connie Steensma

Dr. Beth Sackler and  Mr. Jeffrey Cohen

David SimonSuzanne E. Vaucher and  William R. Stensrud

Susan S. and Kenneth L. WallachEarl D. WeinerCoke Anne and Jarvis WilcoxKathe and Edwin Williamson

SILVERJudy and Alan Kosloff Marsha and Henry LauferBarbara A. Pelson Herbert and Judith SchlosserShannon Wu and Joseph Kahn

BRONZENasrin AbdolaliThe Asen Foundation,  Scott Asen, Trustee

Joan BennyEllen Beth BogolubMr. and Mrs. John D. CoffinPierre and Ellen de VeghJon Dickinson and Marlene BurnsHoward Dillon and  Nell Dillon-Ermers

Carole G. DonlinBarbara M. ErskineTony and Judy EvninJohn and Marianne FouheyJoan and Jeremy FrostPhilip and Alexandra HowardBruce Kaplan and Janet YaseenFrederick and Ivy KushnerHelen Brown LevineJennifer ManocherianJessica NagleLinda and Stuart NelsonMarnie S. PillsburyTatiana Pouschine and  Richard Strother

Richard ReissAri RifkinTrine Sorensen and Michael Jacobson

Elizabeth Stribling and  Guy Robinson

Leo J. TickAndrea W. WaltonMr. and Mrs. Jeffrey S. Wood

FRIENDAnonymousJudith G. ChurchillMarilyn L. CohenNathalie and Marshall Cox

Fred and Martha FarkoughRiane GrussJudith HeimerEdith KubicekDaniel and Marie MessinaMr. and Mrs. Lester S. Morse, Jr.Elaine and James Wolfensohn

SUPPORTERMr. and Mrs. James F. CaughmanJamie ForsethRobert HaleyYoshiaki David KoDorothy LewisJoseph and Liana LimShoshana LittLucy Lu and Mark FranksZachary and Katy MaggioEdwin MeulensteenKatie NojimaJason NongShelley and Bruce Ross-LarsonMr. and Mrs. Lewis Rumford, IIIGary So and Sooyun KimErin SolanoMr. and Mrs. Edward W. Zimmerman

SPECIAL THANKSInon BarnatanMichael BrownNicholas CanellakisCarole G. DonlinDavid Finckel and Wu HanBella HristovaJewelry by Julie VosMary MartinezSeth Novatt and Priscilla NatkinsRichard O’NeillSusan SchuurGilles Vonsattel

(as of May 11, 2018)


SPRING GALA

MAY 14, 2018


The Chamber Music Society wishes to express its deepest gratitude for  The Daniel and Joanna S. Rose Studio, which was made possible by 

a generous gift from the donors for whom the studio is named. 

CMS is grateful to JoAnn and Steve Month for their generous contribution of  a Steinway & Sons model "D" concert grand piano.

The Chamber Music Society's performances on American Public Media's  Performance Today program are sponsored by MetLife Foundation.

CMS extends special thanks to Arnold & Porter for its great  generosity and expertise in acting as pro bono Counsel.

CMS gratefully recognizes Shirley Young for her generous service as International Advisor.

CMS wishes to thank Covington & Burling for acting as pro bono Media Counsel.

CMS is grateful to Holland & Knight LLP for its generosity in acting as pro bono international counsel.

This season is supported by public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State

Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council.

James P. O'Shaughnessy, ChairmanElinor L. Hoover, Chairman ElectRobert Hoglund, TreasurerPeter W. Keegan, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinLinda S. DainesPeter DuchinPeter Frelinghuysen (1941–2018)Jennifer P.A. GarrettWilliam B. GinsbergPhyllis GrannPaul B. GridleyWalter L. HarrisPhilip K. HowardPriscilla F. KauffVicki KelloggJeehyun KimHelen Brown Levine

John L. LindseyTatiana PouschineRichard PrinsDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserDavid SimonJoost F. ThesselingSuzanne E. VaucherAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinMarit GrusonCharles H. HamiltonHarry P. KamenPaul C. LambertDonaldson C. Pillsbury (1940–2008)William G. SeldenAndrea W. Walton

GLOBAL COUNCILHoward DillonCarole G. Donlin John FouheyCharles H. HamiltonRita HauserJudy KosloffMike McKoolSeth NovattJoumana RizkMorris RossabiSusan SchuurTrine SorensenShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth, 

Founding Artistic Director

Directors and Founders

David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive Director

ADMINISTRATIONKeith Kriha, Administrative DirectorMartin Barr, ControllerSusan Mandel, Executive and

Development Assistant

ARTISTIC PLANNING & PRODUCTIONBeth Helgeson, Director of

Artistic Planning and AdministrationKari Fitterer, Director of

Artistic Planning and TouringJen Augello, Operations ManagerLaura Keller, Editorial ManagerSarissa Michaud, Production

ManagerGrace Parisi, Production and

Education AssociateBrent Ness, Touring Coordinator

DEVELOPMENTSharon Griffin, Director of

DevelopmentFred Murdock, Associate Director,

Special Events and Young PatronsJanet Barnhart, Manager of

Institutional GivingJoe Hsu, Manager, Development

Operations and ResearchJulia Marshella, Manager of

Individual Giving, PatronsErik Rego, Manager of

Individual Giving, Friends

EDUCATIONBruce Adolphe, Resident Lecturer and

Director of Family ConcertsDerek Balcom, Director of Education

MARKETING/SUBSCRIPTIONS/ PUBLIC RELATIONS

Emily Holum, Director of Marketing and Communications

Trent Casey, Director of Digital Content

Desmond Porbeni, Associate Director, Audience and Customer Services

Marlisa Monroe, Public Relations Manager

Melissa Muscato, Marketing Content Manager

Natalie Dixon, Audience and Customer Services Associate

Sara Ricci, Marketing AssistantBrett Solomon, Subscription and

Ticketing Services Assistant

Administration

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