RYAN SPEEDO GREEN, ORION STRING QUARTET PAOLO … · RYAN SPEEDO GREEN, bass-baritone PAOLO...

SUNDAY AFTERNOON, MARCH 31, 2019, AT 5:00 3,945TH CONCERT

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

RYAN SPEEDO GREEN, bass-baritonePAOLO BORDIGNON, harpsichordTIMOTHY COBB, double bassSTEPHEN TAYLOR, oboe

ORION STRING QUARTET DANIEL PHILLIPS, violin TODD PHILLIPS, violin STEVEN TENENBOM, viola TIMOTHY EDDY, cello

JOHANN SEBASTIAN

BACH(1685–1750)

JOSEPH HAYDN

(1732–1809)

Cantata Ich habe genug, BWV 82 (1727) Aria: "Ich habe genug" Recitative: "Ich habe genug" Aria: "Schlummert ein, ihr matten Augen" Recitative: "Mein Gott! wenn kommt das schöne" Aria: "Ich freue mich auf meinen Tod"GREEN, D. PHILLIPS, T. PHILLIPS, TENENBOM, EDDY, COBB, BORDIGNON, TAYLOR

INTERMISSION

The Seven Last Words of Our Savior on the Cross for String Quartet, Op. 51 (1786) Introduction: Maestoso ed adagio Father, forgive them for they know not what they

do: Largo Truly I say to you: This day shalt thou be with me in

Paradise: Grave e cantabile Mother, behold thy son; and thou, behold thy

mother: Grave My God, my God, why hast Thou forsaken me?:

Largo I thirst: Adagio  It is finished: Lento Father, into Thy hands I commend my spirit: Largo Earthquake: Presto e con tutta la forzaT. PHILLIPS, D. PHILLIPS, TENENBOM, EDDY

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

www.ChamberMusicSociety.org

ABOUT TONIGHT'S PROGRAMDear Listener,

The two works on today’s program are ones that we have known and loved for many years. They are both focused on one of life’s most intimate and trying chapters: in the case of Bach’s cantata, it’s the end of life for everyman, and in the Haydn, the voice is of Jesus, questioning, preaching, and narrating during his final moments on the cross.

Bach’s cantata is among his most famous and often-performed, and has been recorded over one hundred times. For chamber musicians, this cantata is indeed precious, as it is one of a handful that Bach composed without chorus or need of a substantial orchestra, and therefore qualifies itself as true chamber music. For our musicians, and indeed for you as well, experiencing this work affords us contact with a dimension of Bach that we don’t get in, say, the Brandenburg Concertos. And what a large part of Bach that is! That Bach remains the greatest composer of sacred music ever is virtually beyond doubt. For those of us who play so much secular Bach—the solo cello suites, the concertos, the keyboard works—applying our fingers and hearts to the music you’ll hear today is a deeply profound experience.

It is extraordinary to think that Joseph Haydn, who composed hundreds of works in traditional classical style format, could depart from that form as radically and with as much success as his Seven Last Words unquestionably shows. There is no work like it in the entire string quartet literature. Ask any composer to write a piece consisting of eight slow movements in a row (before the finale) and they would likely turn you down. The closest piece we know of is Shostakovich’s 15th and final quartet of 1974, an all-slow movement work imbued with signature Shostakovich gloom and pessimism lasting 35 minutes. Haydn’s hour-long Seven Words however, while often anguished, offers alternative episodes of heavenly beauty. It is perhaps because of the careful planning of moods that Haydn’s hour passes as kind of effortless meditation, constituting one of music’s most unique and extraordinary journeys.

Enjoy the performance,

David Finckel Wu HanARTISTIC DIRECTORS

The Chamber Music Society of Lincoln Center

NOTES ON THE PROGRAM

Cantata Ich habe genug, BWV 82

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

Composed in 1727.

SOMETHING TO KNOW: This cantata was written for the Purification of Mary on February 2, 1727, a feast commemorating the presentation of Jesus at the temple 40 days after he was born.

SOMETHING TO LISTEN FOR: The oboe plays an intricate, introspective solo part, introducing and commenting on the voice part throughout.

Bach wrote well over 300 cantatas, of which some 220, filling half the volumes of his collected works, are extant. Though these pieces have called forth countless exegetical flights, they were very practical items, intended, as was virtually all of the music before Beethoven, for a specific occasion and audience. In the case of Bach’s cantatas, which were the principal music of the main Lutheran service, the occasion arose almost weekly and the audience was the congregation of Leipzig’s churches. The Hauptgottesdienst, the most important of the week’s devotions, was an imposing collection of Roman and Protestant components that began at 7:00 a.m. on Sunday and lasted until almost noon: an organ voluntary, a motet, the Kyrie and Gloria, various hymns, gospels, prayers and announcements, communion, and a sermon whose mighty length was certain to turn listeners’ thoughts to the hereafter. Just before the sermon, to prepare the congregation for the inspired homily and to celebrate that Sunday’s special significance in the church calendar, a cantata was performed whose texts were taken

from, based on, or inspired by one of the Bible verses for the day. Except for the Sundays in Lent and Advent, Bach was required to prepare a cantata every week with his choristers from the Thomasschule, as well as for various special festivals, such as Christmas, Easter, and New Year’s Day—a total of 59 cantatas annually. During his tenure in Leipzig, Bach produced five complete annual service cycles, comprising some 300 sacred cantatas. The first two of these cycles (a total of 120 works) were completed during his first two years at the Thomaskirche (1723–24)—an average of one new cantata every six days! (1723 was also the year of the Magnificat, St. John Passion, a motet, a Sanctus, numerous organ works, and the birth of a short-lived daughter.) The third cycle was written between 1725 and 1727, and the fourth by 1729, but the last extended into the 1740s, Bach by that time having built up a large library from which he could draw to meet his needs.

The Cantata No. 82, Ich habe genug (It is enough), for solo bass, oboe, strings, and continuo, was composed in 1727 and first performed at the Thomaskirche on February 2 for the feast

Premiered on February 2, 1727, in Leipzig. First CMS performance on November 20,

1980. Duration: 23 minutes


of the Purification of Mary. The text for the opening aria is taken from the gospel for the day (Simeon’s acclamation of the child Jesus in the temple—Luke ii/22–32), though the author of the remaining verses is unknown. (The melody for the cantata’s rapturous central aria, Schlummert ein, first appeared two years earlier in the second “notebook” that Bach wrote for the delectation of

his wife, Anna Magdalena.) The texts of the Cantata No. 82 speak of a weariness, almost a scorn, for the world and a longing for death in Christ. The cantata’s form achieves a pleasing symmetry, with the outer arias, matched in key (C minor), sonority (obbligato oboe), meter (triple), and mood, flanking the sweet lullaby of the middle movement; brief recitatives connect the arias. u

1. Arie Ich habe genug,Ich habe den Heiland,

das Hoffen der Frommen,Auf meine begierigen Arme genommen;Ich habe genug!

Ich hab' ihn erblickt, Mein Glaube hat Jesum an's Herze

gedrückt; Nun wünsch' ich, noch heute mit

Freuden Von hinnen zu scheiden.

2. Rezitativ Ich habe genug.Mein Trost ist nur allein,Daß Jesus mein und ich sein eigen

möchte sein.Im Glauben halt ich ihn,Da seh ich auch mit SimeonDie Freude jenes Lebens schon.Laßt uns mit diesem Manne ziehn!Ach! möchte mich von meines

Leibes KettenDer Herr erretten;Ach! wäre doch mein Abschied hier,Mit Freuden sagt ich, Welt, zu dir:Ich habe genug.

1. Aria It is enough,I have accepted the Savior,

the hope of the devout,Into my eager arms;It is enough! I have seen him,My faith has drawn Jesus to my heart;

Now, even today,

I would joyfully depart this world.

2. Recitative It is enough.My sole consolation is That Jesus is mine, and I long to be his.

I hold him in faith,For along with SimeonI already behold the joy of that life.Let us go with this man!Oh! if only the Lord would free me

From the prison of this body;Oh! if only my end had come, With what joy would I say to the world:It is enough.

TEXT & TRANSLATIONICH HABE GENUG, BWV 82


3. Aria Slumber now, you weary eyes,Close gently and joyfully!

World, I shall not remain here,There is no longer any part of you Necessary to my soul.

Here I must endure misery,But there, there I shall findSweet peace, quiet rest.

4. Recitative My God! when shall that beautiful

moment come,When I depart in peaceInto the cool earthAnd find rest there, in your bosom?My farewells are finished,World, good night!

5. Aria I greet my death with joy,Oh, would that it had already come.

For then I shall escape the sufferingThat ties me still to the world.

3. Arie Schlummert ein, ihr matten Augen,Fallet sanft und selig zu!

Welt, ich bleibe nicht mehr hier, Hab' ich doch kein Theil an dir, Das der Seele könnte taugen.

Hier muß ich das Elend bauen, Aber dort, dort werd' ich schauen Süßen Frieden, stille Ruh.

4. Rezitativ Mein Gott! wenn kommt das schöne:

Nun!Da ich in Frieden fahren werdeUnd in dem Sande kühler ErdeUnd dort bei dir im Schooße ruhn?Der Abschied ist gemacht,Welt, gute Nacht!

5. Arie Ich freue mich auf meinen Tod,Ach, hätt' er sich schon eingefunden.

Da entkomm' ich aller Noth, Die mich noch auf der Welt gebunden.

The Seven Last Words of Our Savior on the Cross for String Quartet, Op. 51

JOSEPH HAYDN Born March 31, 1732, in Rohrau, Austria. Died May 31, 1809, in Vienna.Composed in 1786.

SOMETHING TO KNOW: These seven slow movements were written on a special commission from a church in Cádiz, Spain, for Good Friday.

SOMETHING TO LISTEN FOR: Each movement is a meditation on a short Latin phrase. Haydn based the openings of the seven movements on their texts, writing them into the first violin part.

Joseph Haydn was the most famous and widely respected composer in Europe during the 1780s. Though his

music had been circulating widely in the northern countries, England, and France in manuscript copies and pirated

Premiered on Good Friday 1787 in Cádiz, Spain.

First CMS performance on March 21, 2008. Duration: 60 minutes


editions for more than a decade, his new, more liberal contract of 1779 with the Esterházys allowed him to deal directly with publishers to oversee the distribution of his works, and his reputation flourished during the years immediately thereafter. His Symphony No. 53 (“L’Impériale”) scored such a resounding success at the 1782 Bach-Abel Concerts in London, for example, that invitations for him to visit England were mooted diligently enough for him to write three symphonies (Nos. 76–78) later that year in preparation for the venture. When Haydn finally reached London in 1791, he was greeted by music lovers there with a frenzy stoked by a decade of delay in his arrival. Paris, too, was susceptible to the manifold charms of his compositions, and by 1786 he had begun the series of six “Paris” Symphonies commissioned by Claude-François-Marie Rigoley, Comte d’Ogny, for the distinguished series of Les Concerts de la Loge Olympique. Haydn’s fame had even leaped the Pyrenees, and sometime in 1785 or 1786, he received a commission for an unusual piece of instrumental music from the ecclesiastics of the southern Spanish coastal city of Cádiz, perhaps the most distant point from Vienna in all of Europe below the Arctic Circle.

In 1801, Haydn gave an account of the affair: “About 15 years ago, I was requested by a canon of Cádiz to compose instrumental music on The Seven Last Words of Our Savior on the

Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Holy Week, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp suspended from the center of the ceiling broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service, the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit, and prostrated himself before the altar. The interval was filled with music. The bishop then in like manner pronounced the second word, and the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task composing seven adagios to succeed one another without fatiguing the listeners.” Haydn met this challenge magnificently, and The Seven Last Words became one of his most beloved compositions during his lifetime—in addition to the original version for orchestra, he also issued the music in an edition for string quartet, authorized and corrected a piano reduction of the score, and in 1796, just before undertaking The Creation, fitted it with words and an additional movement for wind band as an oratorio. The work’s popularity vaulted the Atlantic almost immediately, and it was heard in the United States as early as 1793. The composer himself frequently declared it to be the finest of his compositions, and, on December 26, 1803 in the Redoutensaal in Vienna, he made it the subject of the last performance he conducted in public.

Haydn framed what he called the seven “sonatas” comprising his Seven Last Words (each in traditional

Haydn took considerable care to create a varied series of sharply defined emotional and musical tableaux.


sonata form) with an introduction, by turns dramatic and thoughtful, and a concluding Earthquake, depicting the rending of the earth upon the death of Christ. Though the finale is the work’s only explicitly programmatic movement, Haydn took considerable care to create a varied series of sharply defined emotional and musical tableaux—indeed, the main theme of each is hewed precisely to follow the rhythm of the Latin liturgical text that it limbs. (In the original orchestral score, the Latin text is laid under the motive it generates.) “Each sonata, or each text, is so expressed, purely through instrumental music, as to produce the deepest impression in the soul of even the most inexperienced listener,” Haydn wrote to the London publisher Forster in 1787. Haydn’s success in this matter was confirmed the following year by a review in the Musikalische Realzeitung that read, “We are able to guess in practically every note what the composer meant to convey.” The pity and promise of Christianity’s central drama inspired from the deeply religious Haydn one of his most compelling creations, a work without parallel in its emotion and form in the entire instrumental repertory. “The Seven Last Words,” wrote British critic and musicologist Bernard Jacobson, “attains a profundity and richness of expression new in Haydn’s music, and it may be regarded as a worthy opening to his last and greatest creative period.”

The introduction (D minor), possessed of what Robbins Landon termed an “impersonal severity,” progresses from its stern opening fortissimo proclamation to its mournful pianissimo close through music of sharply contrasted dynamics and plaintive harmonies.

Sonata No. 1 (B-flat major) is based on the text Father, forgive them for they know not what they do (Pater,

dimitte illis; non enim sciunt, quid faciunt). Despite its stabbing dynamics and harmonic plangencies, this music conveys a sense of understanding and sympathy, the qualities Haydn held at the center of his religious beliefs.

Sonata No. 2 (C minor; Truly I say to you: this day shalt thou be with me in Paradise—Amen dico tibi: hodie mecum eris in paradiso) combines, according to the English musicologist Wilfred Mellers, “a sublime lyrical serenity with intense tonal drama. The music has a meditative ecstasy which makes it seem more Catholic in spirit than any music Haydn wrote.”

Sonata No. 3 (E major; Mother, behold thy son; and thou, behold thy mother—Mulier, ecce filius tuus, et tu, ecce mater tua) is based on a theme of small falling intervals, a kind of musical teardrop used to portray grief since the time of the Renaissance.

Sonata No. 4 (F minor; My God, my God, why hast Thou forsaken me?—Eli, Eli, lama asabthani?) paints a desolate picture of loneliness and abandonment in which the lower instrumental lines frequently drop away to let the first violins carry on alone without support.

Sonata No. 5 (A major) grows from the text I Thirst (Sitio). A barren pizzicato passage draped with the tiniest wisps of melody (suggesting the exhausted, whispered words of Christ) is juxtaposed with wrenching chromatic harmonies that range widely around the movement’s nominal key to depict, perhaps, the body racked with pain. The movement, one of Haydn’s most touching creations, broaches an intensity of expression that looks forward to the Beethovenian world of 19th-century Romanticism.

Sonata No. 6 (It is finished—Consumatum est) suggests the hope of redemption in its overall harmonic progression from the despair of G minor


© 2019 Dr. Richard E. Rodda

to the bright promise of G major. Haydn himself valued this movement highly—he frequently wrote its theme in visitors’ common-place books when they requested an entry from him.

Sonata No. 7 (E-flat major; Father, into Thy hands I commend my spirit—Pater, in tuas manus commendo spiritum meum) is some of Haydn’s most comforting music. “How moving the expiring Spirit,” wrote Robbins Landon, “with grimly repeated bass notes and the stuttering breath of life above in the muted violins. In a moment of blinding inspiration at the end, when the pulsing notes continue softly, life itself seems to expire in the

gentle thirds of the melody. Finally, all movement stops.”

The Earthquake (Presto, with all possible force) must have been a powerful and disturbing vision in 1787, though later musical cataclysms by Berlioz, Liszt, Wagner, and Mahler have robbed this music of much of its shock value for modern listeners. More than just a programmatic curiosity, however, this violent music is an outburst of grief and shock elicited by the awesome tragedy of the crucifixion, Haydn’s very human response to the anguish and the wonder of Christianity’s seminal event. u

PAOLO BORDIGNON Harpsichordist, organist, and conductor Paolo Bordignon has received acclaim for lively and distinctive interpretations of early music to compelling performances of avant-garde repertoire. He is harpsichordist of the New York Philharmonic and performs in 2018–19 with Camerata Pacifica, Orpheus Chamber Orchestra, Santa Fe Chamber Music Festival, New Jersey Symphony Orchestra, ECCO—East Coast Chamber Orchestra, and a Trans-Siberian Arts Festival tour with the

Sejong Soloists. He has appeared with the English Chamber Orchestra, American Symphony Orchestra, St. Paul Chamber Orchestra, Lincoln Center’s Mostly Mozart Festival Orchestra, the Knights, and the Orchestra of St. Luke’s. He has collaborated with Sir James Galway, Itzhak Perlman, David Robertson, Reinhard Goebel, Paul Hillier, Bobby McFerrin, and Midori, as well as Renée Fleming and Wynton Marsalis in a Juilliard Gala. With the Clarion Music Society, he gave the world premiere of several newly rediscovered chamber works of Mendelssohn. He has performed organ recitals at St. Thomas Church Fifth Avenue in New York and St. Eustache in Paris, and he has been a regular organ recitalist at the Metropolitan Museum of Art, including a ten recital residency in 2010–11. Born in Toronto of Italian heritage, Mr. Bordignon studied organ with Brian Rae and John Tuttle. He attended the Curtis Institute of Music, where he studied organ with John Weaver and harpsichord with Lionel Party, and The Juilliard School. He is an associate of the Royal Conservatory of Music and a fellow of the Royal Canadian College of Organists.

ABOUT THE ARTISTS

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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.

RYAN SPEEDO GREEN Praised by the Washington Post as an artist “fully ready for a big career,” bass-baritone Ryan Speedo Green returns this season to the Metropolitan Opera to sing the King in Aida and for a reprise of Colline in La bohème, and to the Wiener Staatsoper as a member of the ensemble with roles including Sarastro in Die Zauberflöte, Raimondo in Lucia di Lammermoor, Der Einarmige in Die Frau ohne Schatten, and Lodovico in Otello. Orchestral engagements this season include

Beethoven’s Ninth Symphony conducted by Marin Alsop at the Ravinia Festival, and a debut with the Mostly Mozart Festival singing Mozart’s Requiem with Louis Langrée. He is also presented in recital at the Terrace Theatre at the Kennedy Center as winner of the Marian Anderson Vocal Award from Washington National Opera, and appears in recital with Dayton Opera. In 2016, Little, Brown published Sing for Your Life, by New York Times journalist Daniel Bergner. The book tells the story of Mr. Green’s personal and artistic journey: from a trailer park in southeastern Virginia and from time spent in Virginia’s juvenile facility of last resort to the Met stage. A native of Suffolk, Virginia, Mr. Green received a master’s degree from Florida State University, a bachelor’s degree from the Hartt School of Music, and was a member of the Metropolitan Opera Lindemann Young Artist Development Program.

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ORION QUARTET Timothy Eddy, cello; Steven Tenenbom, viola;

Daniel Phillips, violin; and Todd Phillips, violin

Since its inception, the Orion Quartet has been consistently praised for the extraordinary musical integrity it brings to performances, offering diverse programs that juxtapose classic works of the standard quartet literature with masterworks by 20th and 21st century composers. The quartet remains on the cutting edge of programming with wide-ranging commissions from composers Chick Corea, Brett Dean, David Del Tredici, Alexander Goehr,

Thierry Lancino, John Harbison, Leon Kirchner, Marc Neikrug, Lowell Liebermann, Peter Lieberson, and Wynton Marsalis, and enjoys a creative partnership with the Bill T. Jones/Arnie Zane Dance Company. The members of the Orion String Quartet—violinists Daniel Phillips and Todd Phillips (brothers who share the first violin chair equally), violist Steven Tenenbom, and cellist Timothy Eddy—have worked closely with such legendary figures as Pablo Casals, Sir András Schiff, Rudolf Serkin, Isaac Stern, Pinchas Zukerman, Peter Serkin, members of TASHI and the Beaux Arts Trio, as well as the Budapest, Végh, Galimir, and Guarneri string quartets. The Orions serve as season artists of the Chamber Music Society of Lincoln Center and quartet-in-residence at New York’s Mannes School of Music, where they are featured in a four-concert series each year. Marking its 30th anniversary, the Orion Quartet’s 2017–18 season included bold, virtuosic programs with renowned presenters across North America. Returning to the Santa Fe Chamber Music Festival for a week-long residency, the quartet offered audiences five inspired concerts with works by Beethoven, Bruch, Dvorák, Puccini, and Verdi. The ensemble appeared at the Chamber Music Pittsburgh Series and South Mountain Concerts with flutist Tara Helen O’Connor, with further highlights including performances at the Philadelphia, Phoenix, and San Antonio Chamber Music societies. The quartet also returned to the Chamber Music Society of Lincoln Center with a virtuosic all-Haydn program in November 2017, and a fascinating contemporary music program in January 2018 that included the world premiere of a CMS-commissioned work by Sebastian Currier, and Quartet No. 2 for Strings and Soprano “And once I played Ophelia” by Brett Dean with soprano Tony Arnold, also performed at the Library of Congress in Washington, D.C., last season. In the previous season, the Orion Quartet’s performances at the Chamber Music Society of Lincoln Center included programs of Haydn and Bach, and of Puccini and Hugo Wolf, also presented in Athens, Georgia. The quartet appeared with New School Concerts, the Philadelphia Chamber Music Society, and the Chamber Music Society of Westchester, concluding the season with its annual return to the Santa Fe Chamber Music Festival, where the ensemble has earned a reputation as a champion of lesser-known works by famed composers.

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Heard often on National Public Radio’s Performance Today, the Orion has also appeared on PBS’s Live from Lincoln Center, A&E’s Breakfast with the Arts, and three times on ABC-TV’s Good Morning America. Additionally, the quartet was photographed with Drew Barrymore by Annie Leibovitz for the April 2005 issue of Vogue. Formed in 1987, the quartet chose its name from the Orion constellation as a metaphor for the unique personality each musician brings to the group in its collective pursuit of the highest musical ideals.

DANIEL PHILLIPS Violinist Daniel Phillips enjoys a versatile career as an established chamber musician, solo artist, and teacher. A graduate of Juilliard, he studied with Ivan Galamian, Sally Thomas, Nathan Milstein, Sandor Vegh, and George Neikrug. Since winning the 1976 Young Concert Artists Auditions, he has been an emerging artist who has performed as a soloist with numerous symphonies; last season marked his concerto debut with the Yonkers Symphony. He appears regularly at the Spoleto Festival USA, Santa Fe Chamber Music Festival, Chamber Music Northwest, Chesapeake Music Festival, and the International Musicians Seminar in Cornwall, England. He was a member of the renowned Bach Aria Group, and has toured and recorded in a string quartet for SONY with Gidon Kremer, Kim Kashkashian, and Yo-Yo Ma. He is a professor at the Aaron Copland School of Music at Queens College and on the faculties of the Mannes College of Music, Bard College Conservatory, and The Juilliard School.

TODD PHILLIPS Todd Phillips has performed as a guest soloist with leading orchestras throughout North America, Europe, and Japan including the Pittsburgh Symphony, New York String Orchestra, and Orpheus Chamber Orchestra, with which he made a critically acclaimed recording of Mozart’s Sinfonia Concertante for Deutsche Grammophon. He has appeared at the Mostly Mozart, Ravinia, Santa Fe, Marlboro, and Spoleto festivals, and with Chamber Music at the 92nd Street Y and New York Philomusica. He has collaborated with such renowned artists as Rudolf Serkin, Jaime Laredo, Richard Stoltzman, Peter Serkin, and Pinchas Zukerman and has participated in 18 Musicians from Marlboro tours. He has recorded for the Arabesque, Delos, Deutsche Grammophon, Finlandia, Marlboro Recording Society, New York Philomusica, RCA Red Seal, and SONY Classical labels. He serves as professor of violin at the Mason Gross School of the Arts at Rutgers University, Mannes College the New School for Music, Manhattan School of Music, and Bard College Conservatory of Music.

STEVEN TENENBOM Violist Steven Tenenbom has established a distinguished career as chamber musician, soloist, recitalist, and teacher. He has worked with composer Lukas Foss and jazz artist Chick Corea, and has appeared as a guest artist with such ensembles as the Guarneri and Emerson string quartets, and the Kalichstein-Laredo-Robinson Trio. He has performed as a soloist with the Utah Symphony, Rochester Philharmonic, and Cincinnati Chamber Orchestra, and toured with the Brandenburg Ensemble


throughout the United States and Japan. His festival credits include Mostly Mozart, Aspen, Ravinia, Marlboro, June Music Festival, Chamber Music Northwest, Music from Angel Fire, and Bravo! Vail. A former member of the Galimir Quartet, he is currently a member of the piano quartet OPUS ONE. He and his wife, violinist Ida Kavafian, live in Connecticut where they breed, raise, and show champion Vizsla purebred dogs.

TIMOTHY EDDY Cellist Timothy Eddy has earned distinction as a recitalist, orchestral soloist, chamber musician, recording artist, and teacher. He has performed with such symphonies as Dallas, Colorado, Jacksonville, North Carolina, and Stamford, and has appeared at the Mostly Mozart, Ravinia, Aspen, Marlboro, Lockenhaus, Spoleto, and Sarasota music festivals. He has won prizes in numerous national and international competitions, including the 1975 Gaspar Cassado International Violoncello Competition in Italy. Mr. Eddy was frequently a faculty member at the Isaac Stern Chamber Music Workshops at Carnegie Hall. A former member of the Galimir Quartet, the New York Philomusica, and the Bach Aria Group, he collaborates in recital with pianist Gilbert Kalish. He has recorded a wide range of repertoire from Baroque to avant-garde for the Angel, Arabesque, Columbia, CRI, Delos, Musical Heritage, New World, Nonesuch, Vanguard, Vox, and SONY Classical labels.

STEPHEN TAYLOR Stephen Taylor is one of the most sought-after oboists in the country. He is a solo oboist with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St. Luke’s Chamber Ensemble (for which he has served as co-director of chamber music), the American Composers Orchestra, the New England Bach Festival Orchestra, and Speculum Musicae, and is co-principal oboist of the Orpheus Chamber Orchestra. His regular festival appearances include Spoleto, Aldeburgh,

Caramoor, Bravo! Vail Valley, Music from Angel Fire, Norfolk, Santa Fe, Aspen, and Chamber Music Northwest. Among his more than 200 recordings is Elliott Carter’s Oboe Quartet for which Mr. Taylor received a Grammy nomination. He has performed many of Carter’s works, giving the world premieres of Carter’s A Mirror on Which to Dwell, Syringa, and Tempo e Tempi; and the U.S. premieres of Trilogy for Oboe and Harp, Oboe Quartet, and A 6 Letter Letter. He is entered in Who’s Who in American Colleges and Universities and has been awarded a performer’s grant from the Fromm Foundation at Harvard University. Trained at The Juilliard School, he is a member of its faculty as well as of the Yale and Manhattan schools of music. Mr. Taylor plays rare Caldwell model Lorée oboes.

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Elinor L. Hoover, ChairRobert Hoglund, Vice ChairJoost F. Thesseling, Vice Chair Peter W. Keegan, TreasurerPaul B. Gridley, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinLinda S. DainesPeter DuchinJennifer P.A. GarrettWilliam B. GinsbergPhyllis GrannWalter L. HarrisPhilip K. HowardPriscilla F. KauffVicki KelloggHelen Brown LevineJohn L. LindseyJames P. O'ShaughnessyTatiana Pouschine

Richard PrinsDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserCharles SchregerDavid SimonSuzanne E. VaucherSusan S. WallachAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinPeter Frelinghuysen (1941–2018) Marit 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 HauserLinda KeenJudy KosloffMike McKoolSassona NortonSeth NovattMorris RossabiSusan SchuurTrine SorensenShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth,

Founding Artistic Director

Directors and Founders

The Bowers Program

The Bowers Program (formerly CMS Two) provides a unique three-year opportunity for some of the finest young artists from around the globe, selected through highly competitive auditions,  to be immersed as equals in everything CMS does.Lise de la Salle, pianoFrancisco Fullana, violinAlexi Kenney, violinAngelo Xiang Yu, violinDavid Requiro, celloXavier Foley, double bassAdam Walker, fluteSebastian Manz, clarinet

CALIDORE STRING QUARTET Jeffrey Myers, violin Ryan Meehan, violin Jeremy Berry, viola Estelle Choi, cello

SCHUMANN QUARTET Erik Schumann, violin Ken Schumann, violin Liisa Randalu, viola Mark Schumann, cello

David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive DirectorADMINISTRATIONKeith Kriha, Administrative DirectorGreg Rossi, ControllerMert Sucaz, Executive and

Development Assistant

ARTISTIC PLANNING & PRODUCTIONBeth Helgeson, Director of

Artistic Planning and AdministrationKari Fitterer, Director of

Artistic Planning and TouringLaura Keller, Editorial ManagerSarissa Michaud, Production ManagerGrace Parisi, Education and

Operations Manager Schuyler Tracy, Touring CoordinatorArianna de la Cruz, Artistic and

Production Intern

DEVELOPMENTMarie-Louise Stegall, Director of

DevelopmentFred Murdock, Associate Director,

Special Events and Young PatronsJoe 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 Concerts

MARKETING/SUBSCRIPTIONS/ PUBLIC RELATIONS

Emily Graff, Director of Marketing and Communications

Trent Casey, Director of Digital ContentMelissa Muscato, Assistant Director,

Marketing and Digital ContentNatalie Dixon, Manager, Audience and

Customer ServicesSara Norton, Marketing AssociateJesse Limbacher, Audience and

Customer Services AssociateJoshua Mullin, Digital Content

AssistantJoel Schimek, Ticketing Assistant

Administration


GOLD PATRONS ($2,500 to $4,999)Anonymous (2)Nasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichAmerican Friends of Wigmore HallJoan AmronJames H. ApplegateAxe-Houghton FoundationBrett Bachman and Elisbeth ChallenerLawrence B. BenensonConstantin R. BodenJill Haden CooperThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerVirginia Davies and Willard Taylor

Suzanne DavidsonMr. and Mrs. Joseph W. Donner Helen W. DuBoisRachel and Melvin EpsteinMr. Lawrence N. Field Dr. and Mrs. Fabius N. FoxMr. Andrew C. Freedman and

Ms. Arlie SulkaDiana G. FriedmanEgon R. GerardEdda and James GillenMr. and Mrs. Philip HowardKenneth Johnson and Julia TobeyPaul KatcherEd and Rosann KazChloë A. Kramer

Henry and Marsha LauferHarriet and William LembeckDr. Edward S. LohJennifer ManocherianNed and Francoise MarcusDr. and Mrs. Michael N. MargoliesSheila Avrin McLean and David McLeanMr. and Mrs. Leigh MillerMartin and Lucille Murray Brian and Erin Pastuszenski Susan B. Plum Mr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda SchultzPeter and Sharon Schuur

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 FoundationCarmel Cultural Endowment for the ArtsThe Chisholm FoundationJoyce B. CowinHoward Gilman FoundationDr. and Mrs. Victor GrannEugene and Emily GrantThe Jerome L. Greene FoundationMr. and Mrs. Paul B. Gridley

Rita E. and Gustave M. HauserThe Hearst Foundation, Inc.Elinor and Andrew HooverJane and Peter KeeganLincoln Center Corporate FundNational Endowment for the ArtsThe New York Community TrustNew York State Council on the ArtsStavros Niarchos Foundation

Mr. and Mrs. James P. O'ShaughnessyBlanchette 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 Alexi KenneyThomas Brener and Inbal Segev-BrenerEstate of Anitra Christoffel-PellSally D. and Stephen M. Clement, IIIJoseph M. CohenLinda S. DainesJenny and Johnsie GarrettWilliam and Inger G. GinsbergMarion Goldin Charitable Gift FundGail and Walter HarrisFrank and Helen Hermann Foundation

Robert and Suzanne HoglundVicki and Chris KelloggAndrea Klepetar-FallekBruce and Suzie KovnerMetLife FoundationNew York City Department of Cultural AffairsMarnie S. Pillsbury in honor of

Donaldson C. PillsburyRichard Prins and Connie SteensmaDr. Annette U. RickelDr. Beth Sackler and Mr. Jeffrey Cohen

Charles S. SchregerDavid SimonMr. and Mrs. Erwin StallerWilliam R. Stensrud and

Suzanne E. VaucherJoost and Maureen ThesselingTiger Baron FoundationSusan and Kenneth WallachMr. and Mrs. Jarvis WilcoxKathe and Edwin WilliamsonShannon Wu and Joseph Kahn

BENEFACTORS ($10,000 to $24,999)Anonymous (4)Ronald AbramsonJonathan Brezin and Linda KeenColburn FoundationCon EdisonNathalie and Marshall CoxThe Gladys Krieble Delmas FoundationRobert and Karen DesjardinsHoward Dillon and Nell Dillon-ErmersCarole DonlinThe Lehoczky Escobar Family Judy and Tony Evnin

David Finckel and Wu HanJohn and Marianne FouheySidney E. Frank FoundationMr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Hamilton Generation FundIrving Harris FoundationFrederick L. JacobsonMichael Jacobson and Trine SorensenPriscilla F. KauffJeehyun Kim

Judy and Alan KosloffHelen Brown LevineSassona Norton and Ron FillerMr. Seth Novatt and Ms. Priscilla NatkinsTatiana PouschineGilbert ScharfJudith and Herbert SchlosserMrs. Robert SchuurJoe and Becky StockwellCarlos Tome and Theresa KimVirginia B. Toulmin FoundationMrs. Andrea W. Walton

PLATINUM PATRONS ($5,000 to $9,999)Anonymous (1)William and Julie Ballard Murat BeyazitThe Jack Benny Family FoundationJanine Brown and Alex Simmons Jr.Mr. and Mrs. John D. CoffinMrs. Barbara M. ErskineMr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationNaava and Sanford Grossman

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

The Hite FoundationAlfred and Sally JonesMr. and Mrs. Hans KilianJonathan E. LehmanLeon Levy FoundationJane and Mary MartinezMr. and Mrs. H. Roemer McPhee,

in memory of Catherine G. CurranAchim and Colette Moeller

Anju Narula Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperThomas A. and Georgina T. Russo

Family FundLynn StrausMartin and Ruby VogelfangerPaul and Judy WeislogelNeil Westreich

Artistic Directors Circle

Patrons


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

ALLEGRO ($600 to $999)

Anonymous (6)American Chai TrustArgos Fund of the Community Foundation

of New JerseyRichard L. BaylesWilliam Benedict and Dorothy Sprague Maurice S. and Linda G. Binkow

Philanthropic FundAnn S. ColeColleen F. ConwayAllyson and Michael ElyJudi FlomMr. Stephen M. FosterDorothy and Herbert FoxMr. David B. Freedlander

Lisa A. Genova, in honor of Suzanne and Robert Hoglund

Robert M. Ginsberg Family Foundation Sharon GurwitzKris and Kathy HeinzelmanAlice HenkinMr. and Mrs. James R. HoughtonThomas Frederick JamboisPatricia Lynn Lambrecht Leeds Family FoundationThomas Mahoney and Emily Chien,

in honor of Paul and Linda GridleyThe David Minkin FoundationLinda Musser Dot and Rick Nelson

Mimi PoserLorna PowerMs. Kathee RebernakAmanda Reed and Frances WoodMr. David RitterDiana and John SidtisDr. Robert SilverEsther Simon Charitable TrustBarbaralee Diamonstein-Spielvogel and

Hon. Carl SpielvogelMs. Claudia SpiesAndrea and Lubert StryerMs. Jane V. TalcottTricia and Philip WintererFrank Wolf

Sophia Ackerly and Janis BuchananBrian Carey and Valerie TomaselliMrs. Margherita S. FrankelDorothy F. GlassAbner S. GreenePete KlostermanPeter KrollFrederick and Ivy KushnerBarbara and Raymond LeFebvreMr. Stanley E. Loeb

Jane and John LooseMerrill Family FundDeborah MintzDr. and Mrs. Richard R. NelsonGil and Anne Rose Family Fund Lisa and Jonathan SackMonique and Robert SchweichAnthony R. SokolowskiMr. and Mrs. Myron Stein,

in honor of Joe Cohen

Charles R. Steinberg and Judith Lambert Steinberg

Mr. David P. StuhrSherman TaishoffSusan Porter TallMr. and Mrs. George WadeBarry Waldorf and Stanley GotlinAlden Warner and Pete Reed

(as of February 25, 2019)

Friends

YOUNG PATRONS* ($500 to $2,500)Anonymous (1)Jordan C. AgeeSamuel Coffin and Tobie CornejoJamie ForsethSusanna GoldfingerLawrence GreenfieldRobert J. HaleyYoshiaki David KoMatt LaponteBrian P. Lei

Liana and Joseph Lim Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason NongAndrew M. PoffelEren Erdemgil Sahin and Erdem SahinShu-Ping Shen

Jonathan U.R. Smith Erin SolanoAndrea VogelJonathan WangMr. Nick Williams and Ms. Maria DoerflerRebecca Wui and Raymond KoMatthew Zullo

SILVER PATRONS ($1,500 to $2,499)Anonymous (4)Alan AgleHarry E. AllanLawrence H. AppelDr. Anna BalasBetsy Shack BarbanellLillian BarbashMr. and Mrs. William G. BardelCaryl Hudson BaronMr. and Mrs. T. G. BerkDon and Karen Berry Adele BilderseeJudith Boies and Robert ChristmanAnn and Paul BrandowEric Braverman and Neil BrownCahill Cossu Noh and RobinsonCharles and Barbara BurgerJeff and Susan CampbellAllan and Carol CarltonDale C. Christensen, Jr.Judith G. ChurchillBetty CohenMarilyn and Robert CohenBetsy Cohn, in honor of Suzanne DavidsonJon Dickinson and Marlene BurnsJoan DyerThomas E. Engel, Esq.Mr. Arthur FergusonHoward and Margaret FluhrCynthia FriedmanJoan and Jeremy FrostRosalind and Eugene J. Glaser

Alberta Grossman, in honor of Lawrence K. Grossman

Judith HeimerDr. and Mrs. Wylie C. HembreeCharles and Nancy HoppinDr. Beverly Hyman and

Dr. Lawrence BirnbachBill and Jo Kurth Jagoda, in honor of

David Finckel and Wu HanDr. Felisa B. KaplanStephen and Belinda Kaye Thomas C. KingPatricia Kopec Selman and Jay E. SelmanDr. 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 FundKenneth LoganCarlene and Anders MaxwellEileen E. McGann Ilse MelamidMerrick Family FundBernice H. MitchellAlan and Alice ModelBarbara A. PelsonCharles B. RaglandMr. Roy Raved and Dr. Roberta LeffMark and Pat Rochkind

Dr. Hilary Ronner and Mr. Ronald FeimanJoseph and Paulette RoseDede and Michael RothenbergMarie von SaherDrs. Eslee Samberg and Eric MarcusDavid and Sheila RothmanSari and Bob SchneiderDelia and Mark SchulteMr. David Seabrook and

Dr. Sherry Barron-SeabrookJill S. SlaterJudith and Morton SloanAnnaliese SorosDr. Margaret Ewing SternWarren and Susan SternDeborah F. StilesAlan and Jaqueline StuartErik and Cornelia ThomsenJudith and Michael Thoyer Leo J. TickHerb and Liz TulchinMr. and Mrs. Salvatore VaccaMr. and Mrs. Joseph ValenzaPierre and Ellen de VeghDr. Judith J. Warren and

Dr. Harold K. GoldsteinAlex and Audrey WeintrobRobert Wertheimer and Lynn SchackmanJill and Roger WittenGro V. and Jeffrey S. Wood Cecil and Gilda Wray

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

Michael W. SchwartzFred and Robin SeegalCarol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. SingerDiane Smook and Robert Peduzzi

Gary So, in honor of Sooyun KimSally WardwellPatricia and Lawrence WeinbachLarry Wexler and Walter BrownDeborah and David Winston,

in memory of May Winston

Janet Yaseen and the Honorable Bruce M. Kaplan

Sandra and Franklin ZieveNoreen and Ned Zimmerman


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 City Department of Cultural Affairs, in partnership with the City Council; and the New York State Council on

the Arts, with the support of Governor Andrew M. Cuomo and the New York State Legislature.

From the Chamber Music Society's first season in 1969–70, support for this special institution has come from those who share a love of chamber music and a vision for the Society's future.

While celebrating our 49th Anniversary Season this year we pay tribute to the distinguished artists who have graced our stages in thousands of performances. Some of you were here in our beloved Alice Tully Hall when the Chamber Music Society's first notes were played. Many more of you are loyal subscribers and donors who, like our very first audience, are deeply passionate about this intimate art form and are dedicated to our continued success.

Those first steps 49 years ago were bold and ambitious. Please join your fellow chamber music enthusiasts in supporting CMS by calling the Membership Office at (212) 875-5782, or by donating online at www.ChamberMusicSociety.org/support. Thank you for helping us to continue to pursue our important mission, and for enabling the Chamber Music Society to continue to present the finest performances that this art form has to offer.

The Chamber Music Society gratefully recognizes those individuals, foundations, and corporations whose estate gifts and exceptional support of the Endowment Fund ensure a firm financial base for the Chamber Music Society's continued artistic excellence. For information about gifts to the Endowment Fund, please contact Executive Director Suzanne Davidson at (212) 875-5779.

MAKE A DIFFERENCE

THE CHAMBER MUSIC SOCIETY ENDOWMENT

Lila Acheson Wallace Flute ChairMrs. John D. Rockefeller III

Oboe ChairCharles E. Culpeper Clarinet ChairFan Fox & Leslie R. Samuels

Violin ChairMrs. William Rodman Fay

Viola ChairAlice Tully and Edward R.

Wardwell Piano ChairEstate of Robert C. AckartEstate of Marilyn ApelsonMrs. Salvador J. AssaelEstate of Katharine BidwellThe Bydale FoundationEstate of Norma ChazenEstate of Anitra Christoffel-Pell John & Margaret Cook FundEstate of Content Peckham CowanCharles E. Culpeper FoundationEstate of Catherine G. Curran

Mrs. William Rodman FayMarion Goldin Charitable Gift FundThe Hamilton FoundationEstate of Mrs. Adriel HarrisEstate of Evelyn HarrisThe Hearst FundHeineman FoundationMr. and Mrs. Peter S. HellerHelen Huntington Hull FundEstate of Katherine M. HurdAlice Ilchman Fund

Anonymous Warren Ilchman

Estate of Peter L. Kennard Estate of Jane W. KitselmanEstate of Charles Hamilton

NewmanMr. and Mrs. Howard Phipps, Jr.Donaldson C. Pillsbury FundEva Popper, in memory of

Gideon Strauss

Mrs. John D. Rockefeller 3rdDaniel and Joanna S. RoseEstate of Anita SalisburyFan Fox & Leslie R. Samuels

FoundationThe Herbert J. Seligmann

Charitable TrustArlene Stern TrustEstate of Arlette B. SternEstate of Ruth C. SternElise L. Stoeger Prize for

Contemporary Music, bequest of Milan Stoeger

Estate of Frank E. Taplin, Jr.Mrs. Frederick L. TownleyMiss Alice TullyLila Acheson WallaceLelia and Edward WardwellThe Helen F. Whitaker FundEstate of Richard S. ZeislerHenry S. Ziegler

RYAN SPEEDO GREEN, ORION STRING QUARTET PAOLO … · RYAN SPEEDO GREEN, bass-baritone PAOLO...

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