November 15, 2026: Café Music Paul Schoenfeld (1947-2024) Café Music (piano trio) November 15, 2026: Café Music American composer Paul Schoenfield wrote in a wide variety of genres from oratorio and opera to music for amplified violin, piano, and drum set. His largest body of work is for varied chamber ensembles, most of which include challenging parts for the piano, his own instrument. Schoenfield has received numerous commissions and awards, including those from the National Endowment for the Arts, Chamber Music America, the Rockefeller Foundation, and the American Composers Forum; and he was a Pulitzer Prize finalist for his song cycle Camp Songs . He has been inspired by American, British, and Slovakian folk music, and has drawn particularly on Jewish Chassidic and Klezmer music in the exploration of his own roots. Schoenfield’s varied interests led him to study mathematics (in which he also holds a degree from Carnegie Mellon) and Hebrew, and he once lived on a kibbutz in Israel. For many years he divided his time between homes in Israel and in the United States, where he was a longtime composition professor at the University of Michigan. Café Music, in three movements—fast, slow, very fast—has proved to be one of Schoenfield’s most popular pieces because of its witty banter and soulful expressiveness, all in an engaging mix of styles. The composer wrote the following about the work: “The idea to compose Café Music first came to me in 1985 after sitting in one night for the pianist at Murray’s Restaurant in Minneapolis. Murray’s employs a house trio which plays entertaining dinner music in a wide variety of styles. My intention was to write a kind of high-class dinner music—music that could be played at a restaurant, but might also (just barely) find its way into a concert hall. The work draws on many of the types of music played by the trio at Murray’s. For example, early twentieth-century American, Viennese, light classical, Gypsy, and Broadway styles are all represented. A paraphrase of a beautiful Chassidic melody is incorporated in the second movement. Café Music was commissioned by the St. Paul Chamber Orchestra (SPCO) and received its premiere during a SPCO chamber concert in January 1987.” —©Jane Vial Jaffe Return to Parlance Program Notes

November 15, 2026: Café Music Gioachino Rossini (1792–1868) Anchovies for solo piano November 15, 2026: Café Music Years after the production of his most well-known operas, Rossini had been experiencing prolonged illness, tiresome treatments, and other conflicts that left him exhausted and pessimistic. After traveling for various medical treatments, he returned to Paris where his health finally improved, allowing his focus to return to composing as well as hosting one of the most interesting salons in the city at the time. His humor resurfaced, and he developed an interest in short piano pieces that explore witty musical ideas, just as an appetizer would succinctly present a culinary idea. In the collection called Péchés de vieillesse or “Sins of Old Age,” Rossini produced several volumes of vocal, chamber, and solo piano pieces that were often themed. The fourth volume included Quatre hors d’oeuvres , odes to four appetizers such as “Anchois” or anchovies, as well as Quatre mendiants , character pieces named for figs, almonds, raisins, and hazelnuts. “Anchois” is written in the form of a theme and variations with the theme introduced after a quick introduction. This introductory statement is repeated throughout, serving as a sort of interlude between each variation. The theme is playful, lighthearted, and decorated with a few sparkling trills. Additional trills and arpeggios expand the melody gracefully in the first variation. The second variation adds repeated-note pronouncements and the instruction to be played a little faster, giving it the feel of a fanfare. The repeated notes continue in the interlude as well. Of the variations, the third has the biggest shift in feel with its smooth, flowing accompaniment. Its interlude phrase is also elevated with running triplet lines leading into a bold, animated conclusion. —©Ainsley Berryhill Return to Parlance Program Notes

November 15, 2026: Café Music Francis Poulenc (1899-1963) Cello Sonata November 15, 2026: Café Music Forced to spend much time during World War II in small towns outside his beloved Paris, Poulenc composed steadily in order to sustain himself through hardship and bouts of depression. His style underwent certain changes—a kind of neo-Romanticism in the 1940s and a lyrical religious infusion in his late years—but he always retained something of his original style, which perhaps most epitomized the ideals of Les Six (a group of brash young composers in Paris in the early 1920s). During these later years, his work alternated between years of composing and giving concerts. Poulenc started working on his Cello Sonata in 1940 as part of a conscious effort to become more comfortable writing for solo string instruments. His work on this piece was ongoing for many years through the completion of his Violin Sonata in 1943, his first successful work for solo strings. With the technical expertise and advice of cellist Pierre Fournier, the Cello Sonata was completed by 1948 and despite Poulenc’s lack of confidence, it has become known as one of the most difficult and creative cello sonatas in the standard repertoire. The work includes frequent shifts in mood and requires a delicate balance between humor and melancholy. It was dedicated to Fournier; he and Poulenc performed it many times in the 1940s and '50s. The first movement is in sonata form and consists of frequent shifts in mood, dynamics, and meter. The energy fluctuates suddenly between stormier Romantic gestures and lighter phrases. The soft, simple ending contrasts with this drama and confirms the humor of Poulenc’s writing. Cavatine, the second movement, opens with a gentle, beautiful melody over rich, heavily pedaled tones in the piano. The melody darkens after this initial phrase with the texture turning breathy at times over a more animated piano accompaniment. The thick piano texture returns throughout the movement. The Ballabile is energetic and danceable, as the name suggests, with playful responses between the cello and the piano. Nimble pizzicato sections alternate with smoother, connected phrases. The carefree energy continues throughout, and Poulenc writes several reminders to the performers to persist without slowing. Lastly, the finale is introduced with a more serious and dramatic tone and heavy piano chords before opening up into a faster, leap-filled presto passage requiring agility from both performers. The seriousness of the previous movements is recalled in contemplative, lyrical sections before the drama of the opening returns in a final largo phrase. —©Jane Vial Jaffe, Ainsley Berryhill Return to Parlance Program Notes

DEMIAN AUSTIN, TROMBONE Demian Austin is principal trombonist of the Metropolitan Opera Orchestra. He is also a member of the MET Chamber Ensemble, which performs regularly at Carnegie’s Weill and Zankel halls. He has performed with The Chamber Music Society of Lincoln Center, and in the Mostly Mozart festival at Lincoln Center. Mr. Austin has played on numerous recordings including the Metropolitan Opera Brass CDs, several movie soundtracks, Dialogues with Double Bass with Jeremy McCoy on Bridge Records, the GM Recordings issue of Beethoven’s Fifth Symphony and Brahms’ First Symphony conducted by Gunther Schuller, and many recordings with the Metropolitan Opera Orchestra, including Strauss’ Tod und Verklarung. He can also be heard regularly on Sirius Satellite Radio’s Live at the Met Broadcasts, the Saturday Matinee Broadcasts of the Met, and on The Met: Live in HD worldwide movie simulcasts. At Juilliard he has been the Gordon Henderson Pre-College Trombone Faculty since 2009. He received his Bachelor of Music degree in 1992 from Oberlin College, where he studied with Raymond Premru, and his Masters of Music degree in 1995 from The Juilliard School, where he studied with Per Brevig. Aside from his career in music, Mr. Austin has a keen interest in film and has attended several intensive seminars on screenwriting.

NATHAN GUNN, BARITONE Nathan Gunn has made a reputation as one of the most exciting and in-demand baritones of the day. He has appeared in internationally renowned opera houses such as the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Los Angeles Opera, Houston Grand Opera, Royal Opera House Covent Garden, Paris Opera, Bayerische Staatsoper, Glyndebourne Opera Festival, Bilboa, and the Théâtre Royal de la Monnaie in Brussels. His many roles include the title roles in Billy Budd, Eugene Onegin, Il Barbiere di Siviglia, and Hamlet, Guglielmo in Cosí fan tutte, the Count in Le Nozze di Figaro, Tarquinius in The Rape of Lucetia, Malatesta in Don Pasquale, Belcore in L’Elisir d’Amore, and Ottone in L’incoronazione di Poppea. A frequent interpreter of new works, Mr. Gunn created the role of Paul in the world premiere of Daron Hagen’s Amelia at the Seattle Opera. He also created the roles of Alec Harvey in André Previn’s Brief Encounter at the Houston Grand Opera, Father Delura in Peter Eötvös’ Love and Other Demons at the Glyndebourne Opera Festival, and Clyde Griffiths in Tobias Picker’s An American Tragedyat the Metropolitan Opera. Also a distinguished concert performer, Mr. Gunn has appeared the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, Cleveland Orchestra, Minnesota Orchestra, London Symphony Orchestra, Münchner Rundfunkorchster, and the Rotterdam Philharmonic Orchestra. The many conductors with whom he has worked with include, Sir Andrew Davis, Sir Colin Davis, Christoph von Dohnányi, Christoph Eschenbach, Alan Gilbert, Daniel Harding, James Levine, Kurt Masur, Kent Nagano, Antonio Pappano, Donald Runnicles, Esa-Pekka Salonen, Robert Spano, Michael Tilson Thomas, and Mark Wigglesworth.

A frequent recitalist, Mr. Gunn has been presented in recital at Alice Tully Hall by both Lincoln Center’s Art of the Song Series and the Lincoln Center Chamber Music Society; and by Carnegie Hall in Zankel Hall, Roy Thomson Hall, Cal Performances, the Schubert Club, the Philadelphia Chamber Music Society, the Vocal Arts Society in Washington, DC, the University of Chicago, the Krannert Center, the Wigmore Hall, and the Théâtre Royal de la Monnaie. As a student, he performed in series of recitals with his teacher and mentor John Wustman that celebrated the 200th anniversary of Franz Schubert’s birth.

Mr. Gunn has recently ventured outside the standard opera repertoire with appearances in performances of Camelotwith the New York Philharmonic (broadcast live on PBS’s Great Performances) and Showboat at Carnegie Hall. He was also a featured soloist in the New York Philharmonic’s 80th birthday gala celebration for Stephen Sondheim and appeared with Sting and Trudie Styler in the Allen Room at Jazz at Lincoln Center in Twin Spirits, a work that explores the relationship between Clara and Robert Schumann. Mr. Gunn’s solo album, Just Before Sunrise, was released on Sony/BMG Masterworks. Other recordings include the title role in Billy Budd with Daniel Harding and the London Symphony Orchestra (Virgin Classics), which won the 2010 Grammy Award; the first complete recording of Rogers & Hammerstein’s Allegro (Sony’s Masterworks Broadway), Peter Grimes with Sir Colin Davis and London Symphony Orchestra (LSO Live!) which was nominated for a 2005 Grammy Award, Il Barbiere di Siviglia (SONY Classics),Kullervo with the Atlanta Symphony Orchestra (Telarc), and American Anthem (EMI). He also starred as Buzz Aldrin in Man on the Moon, an opera written specifically for television and broadcast on the BBC in the UK. The program was awarded the Golden Rose Award for Opera at the Montreux Festival in Lucerne. This season, Mr. Gunn returned to the Metropolitan Opera for Cosí fan tutte and The Magic Flute, and made his debut at the Theater an der Wien in The Rape of Lucretia. Upcoming engagements include cabaret shows at the famous Café Carlyle in New York City and at the Segerstrom Center for the Arts in Orange County, andevening of song with Kelli O’Hara and the New York Philharmonic, a concert with Mandy Patinkin at the Ravinia Festival, and his debuts at the Teatro Real in Madrid in Le Nozze di Figaro and the Cincinnati Opera in Eugene Onegin,. Next season he returns to the Metropolitan Opera for Billy Budd, the Lyric Opera of Chicago for Showboat, the Houston Grand Opera for Il Barbiere di Siviglia, and the San Francisco Opera for Die Zauberflöte. Mr. Gunn was the recipient of the first annual Beverly Sills Artist Award, and was awarded the Pittsburgh Opera Renaissance Award. He is an alumnus of the Metropolitan Opera Lindemann Young Artists Program and was the winner of the 1994 Metropolitan Opera National Council Competition. Mr. Gunn is also an alumnus of the University of Illinois at Champaign-Urbana where he is currently a professor of voice.

April 3, 2016: Sean Lee, violin JOHANN SEBASTIAN BACH (1685-1750) Adagio and Presto from Sonata No. 1 in G minor for Unaccompanied Violin, BWV 1001 April 3, 2016: Sean Lee, violin Though we find precedents for Bach’s Sonatas and Partitas for unaccompanied violin in works by Johann Jacob Walther, Heinrich Biber, and Johann Paul Westhoff, Bach’s contributions totally eclipsed these and remain unsurpassed to this day in invention and magnificence. Trained as a violinist in his youth by his father, Bach knew the capabilities of the instrument and expanded greatly upon them. The autograph manuscript, dated 1720, presents three sonatas in alternation with three partitas. The sonatas represent the serious Italian sonata da chiesa (church sonata) form with four movements in a slow, fast, slow, fast pattern; the partitas resemble the sonata da camera (chamber sonata), a series of dance movements, which if Bach had been writing in the French style would have been called a suite. Throughout the unaccompanied violin works and in those for solo cello, Bach showed his mastery at creating a many-voiced texture with what is essentially a single-line instrument, often by the use of double stops or rolled chords, but even more often by implying several melodic lines by artful figuration. He counted on the ability of the ear to pick out and hold onto notes in one register and string them together over time as an independent voice; one can often hear such implied voices in counterpoint, occurring in two or more registers. Bach’s elaborate ornamentation in the G minor Adagio makes a fitting opening to the Sonata and indeed to the entire set of sonatas and partitas. He was not content to simply write out a few chords and a figured bass and leave the rest up to the performer. Rather, his ornamentation is carefully notated, though the Adagio gives a free, improvisatory impression. The Presto closing movement runs along in constant sixteenth-note motion and single-voice texture until the concluding chords of each half. This lighter style provides wonderful contrast to the weightier preceding movements. © Jane Vial Jaffe Return to Parlance Program Notes

November 14, 2021 – Schumann String Quartet MAURICE RAVEL (1875-1937) String Quartet in F November 14, 2021 – Schumann String Quartet Incredible as it seems, Ravel’s efforts as a student at the Paris Conservatory and his attempts to win the prestigious Prix de Rome met with repeated rejection. His first dismissal from the Conservatory came in 1895 after he failed to win any piano prizes. He was dismissed again in 1900 when prizes in composition and fugue also eluded him. He nevertheless credited his teachers—Fauré in composition and Gédalge in composition—as major influences. He stayed on at the Conservatory as an auditor in Fauré’s class until 1903. Just as Ravel’s flouting of conservative counterpoint and harmony rules dogged his success at the Conservatory, it kept him from earning the Prix de Rome five times between 1900 and 1905. These utterly painful snubbings became known as the first “Affaire Ravel,” which ultimately led to the uncovering of a judging scandal and the replacement of the director of the Conservatory with the more tolerant Fauré. Against this backdrop of academic failure, however, Ravel was winning considerable public and critical support for his already mature-sounding compositions. Ravel’s only String Quartet, now one of the most beloved pieces in the chamber music repertoire, was the product of his last year of study with Fauré, to whom he dedicated it with affection. The Quartet’s glorious first movement was the submission that failed to win its composer the 1903 Prix. The first performance of the Quartet took place at the Société Nationale de Musique—a prestigious place indeed for a “failure”—on March 5, 1904, by the Heymann Quartet. The critics hotly contested the merits of the work, some considering it too derivative of Debussy and others boldly recognizing Ravel as one of the masters of the future. Obvious parallels exist between Debussy’s and Ravel’s Quartets—such as the shadowy accompanimental sixteenth-note figures in the first movement and the pizzicatos in the scherzo—but Ravel’s clarity of structure, innovative textures, and thematic transformations within and between movements bespeak his uniqueness. Despite a professional rivalry that became ugly in the press, Debussy is said to have written his younger colleague encouraging him to stand firm with exactly what he had composed. The warm pastoral theme of Ravel’s opening and a vigorous climax provide a wonderful foil for the soaring, haunting second theme played by the violin and viola paralleling one another two octaves apart. The composer drapes his inspired textures and colors over a transparent sonata framework. This form features some harmonic sleight of hand—when the haunting theme returns in the recapitulation, Ravel uses exactly the same notes in the upper three parts, but manages a change to the home key simply by raising the cello line. Like Debussy, Ravel places his Scherzo second. The younger composer uses contrasting meters between the outer and inner pairs of instruments, culminating in an insistent trill that blossoms into a plaintive melody over busy texture. The central trio slows to a moody, atmospheric meandering before the rhythmic pizzicato of the scherzo resumes. Ravel’s slow movement begins in the declamatory vein of a storyteller, whose muted narrative unfolds with alternating tension and serenity, periodically alluding to first-movement themes. A string of ingenious textures and ideas captivates the ear—delicate trills arising out of a gruff cello recitative, poignant melodies with rocking accompaniment or underlaid with rapid string crossings, and an exquisite peak followed by a nostalgic ebbing. The vigorous finale with its irregular 5/8 meter and juxtaposition of lyricism and insistent outbursts struck Fauré as “stunted, badly balanced, in fact a failure.” Time, however, has overruled his objections—the movement’s unsettled nature, its expressive transformations of first-movement material, and its whirlwind virtuosity are now deemed the perfect conclusion to a masterpiece. © Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, MARCH 21, 2027 AT 4 PM PAUL JACOBS, ORGAN CELEBRATING BACH ON HIS 342nd BIRTHDAY Paul Jacobs , organ "Paul Jacobs is one of the great living virtuosos." — The Washington Post "...an obliterating performance by one of the major musicians of our time." — Alex Ross, The New Yorker ABOUT THE PERFORMANCE BUY TICKETS A perennial Parlance favorite, organist Paul Jacobs returns with the breathtaking artistry, dazzling virtuosity, and narrative charisma that have made his appearances among the highlights of PCC's recent seasons. To celebrate J. S. Bach's 342nd birthday, Jacobs recreates Felix Mendelssohn's legendary all-Bach recital of 1840 in Leipzig—a landmark event in the nineteenth-century Bach Revival. Featuring six of Bach's greatest organ masterpieces , this remarkable program honors the enduring legacy of two visionary composers whose musical legacies became forever intertwined. 2026-2027 SEASON September 13, 2026 Mozart and Schubert at 19 Members of the MET Orchestra October 11, 2026 Viano String Quartet Four of a Kind November 15, 2026 Café Music January 17, 2027 Richard Goode, piano Itamar Zorman, violin February 28, 2027 Winterreise Benjamin Appl, baritone James Baillieu, piano March 21, 2027 Bach's Birthday Concert Paul Jacobs, organ April 11, 2027 Celebrating Beethoven's 250th Anniversary Zukerman Trio May 9, 2027 Chen–Lipman–Cho String Trio Michael Stephen Brown, piano June 6, 2027 Fly the Coop Emi Ferguson, baroque flute Ruckus, period-instrument ensemble Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS Felix Mendelssohn's Legendary All-Bach Recital of 1840 in Leipzig PROGRAM J. S. Bach: Prelude and Fugue in E-flat major , BWV 552 ("St. Anne") Program Notes J. S. Bach: Chorale Prelude, Schmücke dich, o liebe Seele , BWV 654 Program Notes J. S. Bach: Prelude and Fugue in A minor , BWV 543 Program Notes J. S. Bach: Passacaglia and Fugue in C minor , BWV 582 Program Notes J. S. Bach: Pastorale in F major , BWV 590 Program Notes J. S. Bach: Toccata and Fugue in D minor , BWV 565 Program Notes Watch Paul Jacobs perform Bach's "Great" Fugue in G minor, BWV 542: Watch Paul Jacobs perform Bach's "Little" Fugue in G minor, BWV 578:

SUNDAY, JANUARY 17, 2027 AT 4 PM RICHARD GOODE, PIANO ITAMAR ZORMAN, VIOLIN Itamar Zorman , violin Richard Goode , piano “Itamar Zorman’s splendid playing conveyed precisely the right mix of tenderness, agitation and spiritual succor.” — The New York Times Robert Goode “Every time we hear him, he impresses us as better than we remembered, surprising us, surpassing our expectations and communicating perceptions that stay in the mind.” — Gramophone ABOUT THE PERFORMANCE BUY TICKETS 2026-2027 SEASON September 13, 2026 Mozart and Schubert at 19 Members of the MET Orchestra October 11, 2026 Viano String Quartet Four of a Kind November 15, 2026 Café Music January 17, 2027 Richard Goode, piano Itamar Zorman, violin February 28, 2027 Winterreise Benjamin Appl, baritone James Baillieu, piano March 21, 2027 Bach's Birthday Concert Paul Jacobs, organ April 11, 2027 Celebrating Beethoven's 250th Anniversary Zukerman Trio May 9, 2027 Chen–Lipman–Cho String Trio Michael Stephen Brown, piano June 6, 2027 Fly the Coop Emi Ferguson, baroque flute Ruckus, period-instrument ensemble Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS Widely acknowledged for more than half a century as one of the world's most distinguished pianists, Richard Goode has been praised for performances of "tremendous emotional power, depth, and expressiveness." Violinist Itamar Zorman has been hailed as one of the most soulful and compelling artists of the younger generation. Together, they combine profound musical insight with a shared commitment to expressive honesty, creating performances of uncommon depth and intimacy. Their thoughtfully curated program spans three centuries, from the graceful elegance of Mozart and the timeless architecture of Bach to the luminous poetry of Debussy , culminating in Beethoven's radiant final Violin Sonata, Op. 96—a fitting showcase for two consummate musicians at the height of their interpretive powers. PROGRAM W.A. Mozart: Violin Sonata in E-flat major, K. 481 Program Notes Johann Sebastian Bach: Sonata No. 3 in C major for Solo Violin, BWV 1005 Program Notes INTERMISSION Claude Debussy: Selected Preludes for Piano Program Notes Program Notes Ludwig van Beethoven: Violin Sonata in G major, Op. 96 Program Notes Watch Itamar Zorman's eloquent performance of Ysaÿe's arrangement of Chopin's Ballade No. 1 in G minor for violin and piano: Watch Richard Goode's compelling 2024 performance of Beethoven's Diabelli Variations at Parlance Chamber Concerts:

SUNDAY, NOVEMBER 2, 2025 AT 4 PM “FOR DIETER: THE PAST AND THE FUTURE” A CENTENNIAL CELEBRATION OF DIETRICH FISCHER-DIESKAU BENJAMIN APPL, BARITONE JAMES BAILLIEU, PIANO
 PETER FRANCIS JAMES, NARRATOR BENJAMIN APPL , BARITONE JAMES BAILLIEU , PIANO PETER FRANCIS JAMES , NARRATOR “Benjamin Appl sounds as if singing is his most natural mode of expression; and since he has an extraordinarily beautiful voice, there should be decades of happiness as he continues to expand his repertoire.” — BBC Music Magazine “Appl’s voice has a burnished, oaky beauty as well as considerable sweetness, while the interpretations are suffused with a gentle intelligence, an instinct for unforced but direct communication and what feels like a real love for the repertoire.” — Gramophone “James Baillieu is in a class of his own, he is in the Gerald Moore/Graham Johnson bracket, a remarkable pianist.” — The Daily Telegraph ABOUT THE PERFORMANCE BUY TICKETS 2025-2026 SEASON September 14, 2025 “Singers” from the Met Orchestra October 12, 2025 Lawrence Brownlee, tenor November 2, 2025 Benjamin Appl, baritone; James Baillieu, piano December 7, 2025 The Tallis Scholars January 18, 2026 Benjamin Beilman, violin; Jonathan Swenson, cello; Orion Weiss, piano February 22, 2026 Radu Ratoi, accordion March 8, 2026 Jonathan Biss, piano April 26, 2026 Jerusalem String Quartet May 17, 2026 Chee-Yun, violin; Sterling Elliott, cello; Henry Kramer, piano Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS BBC Music Magazine has called baritone Benjamin Appl “not only a singer of boundless promise, but already a great artist.” Appl will bring his warmly expressive voice and deeply personal artistry to a heartfelt tribute honoring his mentor, Dietrich Fischer-Dieskau, in the year of the legendary baritone’s centennial. Entitled “To Dieter: The Past and The Future,” this richly varied program will feature songs by Schubert, Brahms, Clara Schumann, Wolf, Tchaikovsky, Britten, Barber, and others — composers who shaped Fischer-Dieskau’s legacy and continue to inspire Appl’s own musical journey. He will be joined by his superb recital partner, pianist James Baillieu . This event will include narration by acclaimed actor Peter Francis James. Dietrich Fischer‑Dieskau was a renowned German Lieder baritone, widely regarded as one of the greatest interpreters of art song in the 20th century. His expressive depth, intellectual rigor, and unmatched command of text and nuance elevated the Lied to new artistic heights, influencing generations of singers and reshaping standards for vocal recital performance. Benjamin Appl was Fischer‑Dieskau’s final protégé. On May 28, 2025, in honor of the 100th anniversary of Fischer‑Dieskau’s birth, Appl penned the following appreciation for The New York Times: “What I Learned From Dietrich Fischer‑Dieskau, a Sublime Voice” Read program description by Benjamin Appl For Dieter: the past and the future PROGRAM FOR DIETER: THE PAST AND THE FUTURE FIRST ENCOUNTER Franz Schubert (1797-1828) Liebesbotschaft (Rellstab) D957/1 3‘00" Am Bach im Frühling (Schober) D361 3‘40" Der Musensohn (Goethe) D764 time 2’10" CHILDHOOD IN BERLIN Albert Fischer-Dieskau (1865-1937) Heidenröslein (Goethe) from his Singspiel Sesenheim 1’30” Klaus Fischer-Dieskau (1921-1994) Nocturne I (excerpt) (Der Mutter gewidmet) op. 1/1 (1935) 1’00” Wehmut (Goethe) (1936) op. 3/2 1‘30” YOUTH AND FIRST STEPS AS A SINGER Johannes Brahms (1833-1897) Wie bist du meine Königin (Daumer) op. 32/9 4’30” WAR TIMES AND BEING A SOLDIER 1944/45 Hugo Wolf (1860-1903) Andenken (Matthison) 2’20” Aribert Reimann (1936-2024) Tenebrae (Celan) (UA 1962, Berlin) 3’00” PRISONER OF WAR 1945-1947 Christian Sinding (1856-1941) Sylvelin (Vislie) op. 55/1 2’10” Pyotr Ilyich Tchaikovsky (1840-1893) Nur wer die Sehnsucht kennt (Goethe) op. 6/6 3’10” Eduard Künneke (1885-1953) Ich bin nur ein armer Wandergesell (Haller/Rideamus) 1’30” RETURN TO BERLIN 1947 Hanns Eisler (1898-1962) Die Heimkehr (Brecht) 2’00” Edvard Grieg (1843-1907) Der Traum (Bodenstedt) 3’30 INTERMISSION FIRST STEPS OF A WORLD CAREER Johannes Brahms (1833-1897) Vier ernste Gesänge op. 121 18‘00" Denn es gehet dem Menschen wie dem Vieh (Ecclesiastes) Ich wandte mich, und sahe an (Ecclesiastes) O Tod, wie bitter bist du (Ecclesiastes) Wenn ich mit Menschen (Corinthians) SONG ACCOMPANISTS AND FRIENDS Franz Schubert (1797-1828) An mein Klavier (Schubart) D342 3’20” Samuel Barber (1910-1981) A Green Lowland of Pianos (Harsymowicz/Miłosz) op. 45/2 2’10 Benjamin Britten (1913-1976) Proverb III (Blake) op. 74 0’50" LOSS OF HIS FIRST WIFE IRMEL 1963 Carl Loewe (1796-1869) Süßes Begräbnis (Rückert) op. 62/4 3‘10” DEATH OF MOTHER THEODORA 1966 Hanns Eisler (1898-1962) Mutterns Hände (Tucholsky) 2’15” MARITAL LIFE (Ruth Leuwerik 1965-1967//Kristina Pugell 1968-1975 //Julia Varady 1977-2012) Franz Grothe (1908-1982) Excerpt from film music of ‘Vater braucht eine Frau‘ (1952) 0’20" Franz Schubert (1797-1828) Liebhaber in allen Gestalten (Goethe) D558 2’00” Clara Schumann (1819-1896) Liebst du um Schönheit (Rückert) op. 12/2 2‘30” EPILOGUE Carl Maria von Weber (1786-1826) Meine Lieder, meine Sänger (Löwenstein-Werthheim) op. 15/1 2’30" Franz Schubert (1797-1828) Litanei auf das Fest Allerseelen (Jacobi) D343 2’00" An die Musik (Schober) D547 2’40" Watch Benjamin Appl and James Baillieu perform Schubert’s Erlkönig: Watch Benjamin Appl perform Bach’s “Jesus remains my joy” from Cantata BWV 147:

SUNDAY, OCTOBER 11, 2026 AT 4 PM VIANO QUARTET VIANO QUARTET Hao Zhou and Lucy Wang, violins; Aiden Kane, viola; Tate Zawadiuk, cello “They do indeed play with a rare unity of intention, a clearly profiled collective voice, and a distinct ensemble personality… Many young quartets learn to express themselves eloquently, but this one, it is clear, also has something to say.” — The Boston Globe ABOUT THE PERFORMANCE BUY TICKETS Praised for their "virtuosity, visceral expression, and rare unity of intention" (The Boston Globe), the Viano Quartet has rapidly emerged as one of the world's most exciting young chamber ensembles, earning the prestigious 2025 Avery Fisher Career Grant and appearing in many of the world's leading concert halls. Their Parlance debut traces the remarkable evolution of the string quartet through four landmark masterpieces. From Haydn's eloquent Classicism to the lyrical Romanticism of Mendelssohn and Dvořák and the searing modernism of Janáček's Kreutzer Sonata , the program celebrates the string quartet's remarkable expressive range from the late eighteenth to the early twentieth century. 2026-2027 SEASON September 13, 2026 Mozart and Schubert at 19 Members of the MET Orchestra October 11, 2026 Viano String Quartet Four of a Kind November 15, 2026 Café Music January 17, 2027 Richard Goode, piano Itamar Zorman, violin February 28, 2027 Winterreise Benjamin Appl, baritone James Baillieu, piano March 21, 2027 Bach's Birthday Concert Paul Jacobs, organ April 11, 2027 Celebrating Beethoven's 250th Anniversary Zukerman Trio May 9, 2027 Chen–Lipman–Cho String Trio Michael Stephen Brown, piano June 6, 2027 Fly the Coop Emi Ferguson, baroque flute Ruckus, period-instrument ensemble Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS PROGRAM Joseph Haydn: String Quartet in C major, Op. 20, No. 2 Program Notes Leoš Janáček: String Quartet No. 1 ("Kreutzer Sonata") Program Notes INTERMISSION Antonín Dvořák: Selections from Cypresses, B. 152 Program Notes Felix Mendelssohn: String Quartet No. 4 in E minor, Op. 44, No. 2 Program Notes Watch the Viano Quartet perform the Mendelssohn's thrilling String Quartet No. 6 in F minor, Op. 80:

SUNDAY, NOVEMBER 15, 2026 AT 4 PM CAFÉ MUSIC KEVIN ZHU, VIOLIN  TOMMY MESA, CELLO   ALBERT CANO SMIT, PIANO ANTON RIST, CLARINET  WILLIAM SHORT, BASSOON BILLY R. HUNTER, JR., TRUMPET  RUPERT BOYD, GUITAR Kevin Zhu , violin "Astonishing adroitness... stark, haunting beauty... totally sumptuous." — The Straits Times Tommy Mesa , cello "Mr. Mesa's playing had a musical intensity that was commanding in every detail." — New York Concert Review Albert Cano Smit , piano "a moving young poet" — Le Devoir Rupert Boyd , guitar "Musically and technically flawless." — Soundboard Magazine Anton Rist , clarinet Principal Clarinet, Metropolitan Opera Orchestra William Short , bassoon Principal Bassoon, Metropolitan Opera Orchestra Billy R. Hunter, Jr. , trumpet Principal Trumpet, Metropolitan Opera Orchestra ABOUT THE PERFORMANCE BUY TICKETS 2026-2027 SEASON September 13, 2026 Mozart and Schubert at 19 Members of the MET Orchestra October 11, 2026 Viano String Quartet Four of a Kind November 15, 2026 Café Music January 17, 2027 Richard Goode, piano Itamar Zorman, violin February 28, 2027 Winterreise Benjamin Appl, baritone James Baillieu, piano March 21, 2027 Bach's Birthday Concert Paul Jacobs, organ April 11, 2027 Celebrating Beethoven's 250th Anniversary Zukerman Trio May 9, 2027 Chen–Lipman–Cho String Trio Michael Stephen Brown, piano June 6, 2027 Fly the Coop Emi Ferguson, baroque flute Ruckus, period-instrument ensemble Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS CAFÉ MUSIC From Martinů's delightfully zany ballet La revue de cuisine (The Kitchen Review) and Rossini's whimsical piano miniature Anchovies to James Grant's Triple Mocha Indulgence for bassoon and piano and Paul Schoenfeld's exuberant piano trio Café Music , this mouthwatering program serves up a delicious menu of musical delicacies. Performed by an all-star ensemble of internationally acclaimed soloists, rising young virtuosos, and principal musicians of the Metropolitan Opera Orchestra, Café Music promises a sparkling afternoon of musical wit, dazzling virtuosity, and culinary panache. PROGRAM Bohuslav Martinů: Suite from La revue de cuisine ("The Kitchen Review")  Program Notes Gioacchino Rossini: Anchovies for solo piano Program Notes Francis Poulenc: Cello Sonata Program Notes INTERMISSION Astor Piazzolla: L'Histoire du Tango (violin and guitar) Program Notes James Grant:  Triple Mocha Indulgence (bassoon and piano)  Program Notes Paul Schoenfeld: Café Music (piano trio) Program Notes Watch violinist Kevin Zhu perform Niccolò Paganini's virtuoso tour de force: Watch guitarist Rupert Boyd's beguilingly foot-tapping performance of Antonio Carlos Jobim's Felicidade: Watch bassoonist William Short's lyrically eloquent performance of Mozart's Bassoon Concerto at Parlance Chamber Concerts: