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FRIEDRICH HEINRICH KERN, GLASS HARMONICA Friedrich Heinrich Kern is a German composer, pianist, and glass harmonica player based in New York City. He has made widely-praised appearances as a performer and composer in the United States, Europe, the Middle East and Asia. FHKern’s work is dedicated to exploring wistful, unfolding soundscapes and discovering the realms between dreams and consciousness. He moves freely between the worlds of electronic and acoustic music, unwilling to be limited by boundaries, languages, and any barriers between them. One of the few professional glass harmonica soloists worldwide, he plays the only existing modern version of the glass harmonica in North America, the Verrophone. FHKern began his studies in his home country of Germany where he earned degrees in both piano and composition. He then traveled to Korea studying traditional Korean music. He combines his contemporary classical background with a refined pop sensibility to create ethereal compositions with modern electronic vibes. In addition to his solo and ensemble performances, he has composed works for acoustic and electronic instrumentations, ranging from solo piano to full orchestra. Musical connections shape his ideas and genius. His latest collaboration is ‘The New Paganini Project’ with Niklas Liepe (Sony Classical, 2018), and his solo recordings are released on M=Maximal. FHKern currently performs live in Europe and North America on his spellbinding ‘The Evolution of Silence’ tour. He is a member of German glass music ensemble sinfonia di vetro.

LAWRENCE BROWNLEE, TENOR Lawrence Brownlee is a leading figure in opera, both as a singer who has graced the world's leading stages, and as a voice for activism and diversity in the industry. Captivating audiences and critics around the globe, he has been hailed as “an international star in the bel canto operatic repertory” (The New York Times), “one of the world’s leading bel canto stars” (The Guardian), and “one of the most in-demand opera singers in the world today” (NPR). In the 2024-2025 season, Mr. Brownlee made his highly anticipated role debut in the title role of Mozart’s Mitridate, re di ponto with Boston Lyric Opera. He also returns to The Metropolitan Opera as Count Amaviva in Il Barbiere di Siviglia (broadcast Live in HD in theaters worldwide), and joins Opéra national de Paris as Tonio in La fille du régiment and Arturo in I puritani, as well as The New National Theatre in Tokyo as Count Almaviva, and Bayerische Staatsoper as Tonio. On the concert stage, Mr. Brownlee will join Levy Sekgapane in a duo concert with the Latvian National Orchestra, L’Auditori in the closing concert, and will embark on a recital tour featuring songs from his acclaimed Rising program across North America and Europe. Highlights of Mr. Brownlee’s recent seasons include his return as Ernesto in Don Pasquale at Teatro alla Scala Milan and as Tonio in La fille du régiment at Lyric Opera Chicago, as well as his role debuts as Tamino in Die Zauberflöte at The Metropolitan Opera, as Edgardo in Lucia di Lammermoor at The New National Theatre Tokyo and Fernand in a new production of Donizetti’s La Favorite with Houston Grand Opera. In spring 2021, Brownlee joined The Juilliard School as a Distinguished Visiting Faculty Member. He serves as artistic advisor for Opera Philadelphia and is an Ambassador for Lyric Opera of Chicago’s Lyric Unlimited as well as Opera for Peace. In recent years, Mr. Brownlee has emerged as a pivotal voice around equity and diversity in classical music. Mr. Brownlee works with companies and engages civic organizations in the cities he visits to create programs and experiences seeking to expand opera audiences. His critically acclaimed solo recital program Cycles of My Being, a song cycle that centers on the black male experience in America today, has toured extensively, including performances at Opera Philadelphia, Carnegie Hall, the Kennedy Center, and virtual broadcasts throughout 2020. Mr. Brownlee is a Grand Prize Winner of the 2001 Metropolitan Opera National Council auditions. He is also the recipient of numerous awards and distinctions including “Male Singer of the Year” (2017 International Opera Awards), the Kennedy Center’s Marian Anderson Award, and the Opera News Award (2021). In October 2019, he had the distinct honor of singing at Jessye Norman’s funeral in her hometown of Augusta, Georgia.

SIMONE DINNERSTEIN, PIANO American pianist Simone Dinnerstein has been called “a throwback to such high priestesses of music as Wanda Landowska and Myra Hess,” by Slate magazine, and praised by TIME for her “arresting freshness and subtlety.” The New York-based pianist gained an international following because of the remarkable success of her recording of Bach’s Goldberg Variations, which she raised the funds to record. Released in 2007 on Telarc, it ranked No. 1 on the US Billboard Classical Chart in its first week of sales and was named to many “Best of 2007” lists including those of The New York Times, The Los Angeles Times, and The New Yorker. Her follow-up album, The Berlin Concert, also gained the No. 1 spot on the Chart. Ms. Dinnerstein has recently signed an exclusive agreement with Sony Classical, and her first album for that label — an all-Bach disc — will be released in January 2011. Ms. Dinnerstein’s performance schedule has taken her around the world since her triumphant New York recital debut at Carnegie Hall’s Weill Recital Hall in 2005, performing Bach’s Goldberg Variations. Recent and upcoming performances include her recital debuts at The Kennedy Center for the Performing Arts, the Vienna Konzerthaus, and London’s Wigmore Hall, the Lincoln Center Mostly Mozart Festival, the Aspen and Ravinia festivals, in Cologne, Paris, London, Copenhagen, Vilnius, Bremen, Rome, and Lisbon, and at the Stuttgart Bach Festival; as well as debut performances with the Frankfurt Radio Symphony Orchestra, Dresden Philharmonic, Czech Philharmonic, New York Philharmonic, Minnesota Orchestra, Atlanta Symphony, Baltimore Symphony, Orchestra of St. Luke’s, Kristjan Järvi’s Absolute Ensemble, and the Tokyo Symphony. In New York she has performed on Lincoln Center’s Great Performers series, and in three sold-out recitals at The Metropolitan Museum of Art. She is also a frequent performer at New York’s (Le) Poisson Rouge, a club presenting all genres of music. Ms. Dinnerstein has played concerts throughout the United States for the Piatigorsky Foundation, an organization dedicated to bringing classical music to non-traditional venues. Amongst the places she has played are nursing homes, schools and community centers. Most notably, she gave the first classical music performance in the Louisiana state prison system when she played at the Avoyelles Correctional Center. She also performed at the Maryland Correctional Institution for Women, in a concert organized by the Baltimore Symphony Orchestra to coincide with her BSO debut. In addition, Ms. Dinnerstein has founded P.S. 321 Neighborhood Concerts, an evening concert series at the Brooklyn public elementary school that her son attends and where her husband teaches fifth grade. The concerts, which feature musicians Ms. Dinnerstein has admired and collaborated with during her career, is open to the public and raises funds for the school’s Parent Teacher Association. The musicians performing donate their time and talent to the program. Over the past few years, Ms. Dinnerstein has been featured in Gramophone, BBC Music Magazine, Classic FM Magazine, The New York Times, The Wall Street Journal, “O” The Oprah Magazine, TIME, Slate, The Sunday (London) Times Magazine, The Daily Telegraph, The Independent, The Guardian, and the Frankfurter Allgemeine Zeitung, among others, and has appeared on radio programs including BBC Radio 3’s In Tune, BBC Radio 4’s Woman’s Hour, NPR’s Morning Edition, Public Radio International’s Studio 360 with Kurt Andersen, American Public Media’s Performance Today, Minnesota Public Radio, XM Radio’s Classical Confidential, as part of the news on SIRIUS Satellite Radio’s The Howard Stern Show, and on national television in Germany. Ms. Dinnerstein is a graduate of The Juilliard School where she was a student of Peter Serkin. She was a winner of the Astral Artist National Auditions, and has twice received the Classical Recording Foundation Award. She also studied with Solomon Mikowsky at the Manhattan School of Music and in London with Maria Curcio. Simone Dinnerstein (pronounced See-MOHN-uh DIN-ner-steen) lives in Brooklyn, New York with her husband and son. She is managed by Tanja Dorn at IMG Artists and is a Sony Classical artist.

PAUL NEUBAUER, VIOLA Violist Paul Neubauer’s exceptional musicality and effortless playing led the New York Times to call him “a master musician”. He is the newly appointed Artistic Director of the Mostly Music series in New Jersey. This season he will be featured in a Live from Lincoln Center broadcast with the Chamber Music Society of Lincoln Center and will premiere a new work for viola and piano by Liliya Ugay written to celebrate the 100th anniversary of Carson McCullers’s birth. He also appears with his trio with soprano Susanna Phillips and pianist Anne-Marie McDermott, and as soloist with orchestra. 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. A two-time Grammy nominee, in 2016, Mr. Neubauer released a solo album of music recorded at Music@Menlo. His recording of piano quartets with Daniel Hope, David Finckel and Wu Han was recently released on the Deutsche Grammophon label. Joan Tower’s Purple Rhapsody with Timothy Russsell and the Pro Music Chamber Orchestra, commissioned for him by seven orchestras and the Koussevitsky Foundation, was released by Summit Records. Other recorded works that were written for him include: Wild Purple for solo viola by Joan Tower for Naxos; Viola Rhapsody a concerto by Henri Lazarof on Centaur Records; and Soul Garden for viola and chamber ensemble by Derek Bermel on CRI. His recording of the Walton Viola Concerto was recently re-released on Decca and his Schumann recital album with pianist Anne-Marie McDermott was recorded for Image Recordings. During his six year tenure with the New York Philharmonic, Paul Neubauer appeared as soloist with that orchestra in over twenty performances. One particularly memorable performance was the New York premiere of Krzysztof Penderecki’s Viola Concerto with Penderecki conducting. He has appeared with over 100 orchestras throughout the United States, Europe, and Asia including the Los Angeles Philharmonic, the Orchestra of St. Luke’s, the San Francisco, National, St. Louis, Dallas, Indianapolis, Puerto Rico and Cincinnati symphonies, the Bavarian State Radio Orchestra, the Helsinki Philharmonic, the Hungarian Radio Orchestra, the Orchester der Beethovenhalle Bonn (with whom he performed the world premiere of the newly revised version of Bartók’s Viola Concerto), the Kansas City Symphony (premiering Tobias Picker’s Viola Concerto), the English Chamber Orchestra (performing the world premiere of Gordon Jacob’s Viola Concerto no. 2), and the Knoxville Symphony (premiering David Ott’s Viola Concerto). Mr. Neubauer made his Carnegie Hall Debut playing the first performance of Joel Philip Friedman’s Concerto for Viola and Orchestra with the National Orchestral Association. He has also appeared with the Stockholm Chamber Orchestra, Royal Liverpool Philharmonic, Hong Kong Philharmonic, Ensemble orchestral de Paris, Orquesta Filharmonica de Buenos Aires, Bournemouth Symphony, and the Taipei National Symphony. In Rome, he has performed with violinist Vladimir Spivakov and the Orchestra of the National Academy of Santa Cecelia. Other collaborations include performances with Andre Watts and Vladimir Feltsman at the Metropolitan Museum of Art; with Joshua Bell and Steven Isserlis at London’s Wigmore and Queen Elizabeth Hall’s; and with Pinchas Zukerman, James Galway, Vladimir Spivakov and Alicia de Larrocha at the Mostly Mozart Festival. He has also collaborated with the Emerson, Shanghai, Juilliard, Cleveland, Fine Arts, Orion, Borromeo, Miami, and Brentano quartets. Mr. Neubauer’s musical activities are consistently creative. In a pair of highly acclaimed New York premieres, he performed Bartók’s Viola Concerto (which he helped to revise along with Bartók’s son, Peter and composer Nelson Dellamaggiore), and Max Bruch’s Double Concerto for Clarinet and Viola with clarinetist David Shifrin. He also gave the North American premiere of the Detlev Müller-Siemens Viola Concerto and Richard Suter’s Three Nocturnes for Viola and Orchestra. He has been featured as a special guest artist of the New York City Ballet at Lincoln Center in performances of Viola Alone, and on the popular radio show A Prairie Home Companion with Garrison Keillor. He was very successful as the director of Voilà Viola, a viola festival held at Merkin Hall in New York, and has toured the United States with pianist Christopher O’Riley, violinist Pamela Frank, and cellist Carter Brey. In addition to his innumerable orchestral, recital, and festival appearances, Paul Neubauer is accessible to a broad range of television and radio audiences through Live from Lincoln Center telecasts with the Chamber Music Society of Lincoln Center. He has been featured on CBS’s Sunday Morning; in recital on PBS’s Front Row Center and In Concert; on Argentinean, Brazilian, and Mexican television as soloist with orchestras; on National Public Radio’s Performance Today and Morning Edition, on St. Paul Sunday Morning, as well as on international radio performances throughout the world. Among Mr. Neubauer’s numerous awards are First Prize in the Mae M. Whitaker International Competition, the D’Angelo International Competition, and the Lionel Tertis International Viola Competition. He has been the recipient of a Solo Recitalist’s Fellowship from the National Endowment for the Arts and a special prize from the Naumburg Foundation, which awarded him an Alice Tully Hall recital debut. Moreover, the Epstein Young Artists Program has sponsored him and he was the first violist chosen to receive an Avery Fisher Career Grant. Born in Los Angeles and currently residing in New York City, Mr. Neubauer studied with Alan de Veritch, Paul Doktor, and William Primrose. He holds a Master’s Degree from The Juilliard School where he is now a member of the faculty. He also teaches at Mannes College.

2019-2020 ARTIST ROSTER BENJAMIN BEILMAN, VIOLIN 2019 INN-HYUCK CHO, CLARINET YING FANG, SOPRANO PAUL JACOBS, ORGAN BENJAMIN LUXON, ACTOR-NARRATOR JUHO POHJONEN, PIANO DANBI UM, VIOLIN DEMIAN AUSTIN, TROMBONE CHRIS COLETTI, TRUMPET DAVID J. GROSSMAN, DOUBLE BASS PAUL LEWIS, PIANO FRANK MORELLI, BASSOON QUARTETTO DI CREMONA ZUKERMAN TRIO IAN ROSENBAUM, PERCUSSION ANNI CROFUT, DANCER PAUL HUANG, VIOLIN MATTHEW LIPMAN, VIOLA KEN NODA, PIANO ANDREW TYSON, PIANO

September 18, 2022: WINDS OF THE MET WOLFGANG AMADEUS MOZART (1756-1791) Serenade No. 10 in B-flat, K. 361/370a (Gran Partita) September 18, 2022: WINDS OF THE MET In March 1784 the Wienerblättchen announced a benefit concert for virtuoso clarinetist and basset-horn player Anton Stadler that would include “a big wind piece of quite an exceptional kind composed by Herr Mozart.” Johann Friedrich Schink, who had attended the concert, later published the following account: I heard music for wind instruments today by Herr Mozart, in four movements, glorious and sublime. It consisted of thirteen instruments; viz. four corni, two oboi, two fagotti, two clarinetti, two basset-corni, a contreviolin, and at each instrument sat a master—Oh what an effect it made—glorious and grand, excellent and sublime. This concert at the National Hoftheater in Vienna had indeed included only four movements of this marvelous work, though the manuscript shows that all seven had been composed at the same time. Perhaps concert or rehearsal time was restricted, necessitating the cuts, or perhaps Mozart was aiming more at symphonic proportions—it was common practice for him to delete movements of typical six- or seven-movement serenades to make four-movement symphonies. The exact date of the Serenade’s composition cannot be pinpointed. Expert Alan Tyson has shown that the paper was a type Mozart used in 1782 and not for any composition thereafter, but circumstances and style suggest late 1783 or early 1784 as a more likely date of composition, and Mozart scholars such as Daniel Leeson and David Whitwell stand by this date. Thorough investigation of the manuscript only became possible beginning in 1942 when it was purchased by the Library of Congress after being passed from one noble family to another for over 175 years. The familiar title “Gran Partita” was not Mozart’s idea—it appears in a hand other than his on the manuscript. The instrumentation was indeed unusual, and Mozart apparently worried that such a piece would not be of much use after the occasion for which it was written. Stadler probably played the first clarinet part as “concertmaster,” though he was equally adept on the basset horn (a customized clarinet with a lower range). There can be no mistaking that Mozart intended a string bass as his lowest instrument, for the manuscript says “contrabasso” and the part contains pizzicato indications. Nevertheless it is often played on contrabassoon. A stately introduction, common to such serenades but less common in his symphonies, features contrasting fanfares and gentle responses. The main Molto allegro proceeds in a wonderfully witty manner that has much in common with Mozart’s comic opera style. Its extended sonata form contains a number of memorable features such as the wandering approach to the right key for the beginning of the recapitulation and the almost wistful moments in the coda before the snappy conclusion. The first of the minuets elegantly contrasts the full group with solo utterances. In the first trio we are treated to the singular sound of the two clarinets and two basset horns, while the second trio in the minor mode contrasts a section of scurrying triplets and sequences with a horn call that is answered by oboes and basset horns. “Sublime” is indeed the word for the Adagio, which Mozart starts out in solemn unison before setting up the pulsing accompaniment that will support the exquisitely poignant solos above it. Sustained notes that blossom into motion and expressive leaps between registers play a wonderful role here. The second minuet swings along merrily, again employing pointed contrasts between the full ensemble and solo instruments, in addition to dynamic contrasts. As in the first minuet Mozart includes two trios, the first a slightly mournful piece in B-flat minor—an extremely rare key in his time—and the second based on a simple folklike melody played by oboe, basset horn, and bassoon. Mozart labeled the fifth movement “Romance,” which typically meant something in a vocal style. Here poised, lyrical outer sections frame a lively minor-mode section. In this center section the bassoon’s continuous fast notes drive the shorter phrases of the upper winds to a major mode conclusion before the solemn singing style resumes. The charming theme-and-variations sixth movement is almost exactly reproduced in the C major Flute Quartet, K. Anh. 171, a work whose pedigree is still under scrutiny. Whether or not that arrangement is genuine, Mozart’s music captivates the listener. The movement follows double variation form, in which two themes are alternately varied, giving rise to myriad instrumental combinations. Most impressive is the great pause that halts the action in preparation for Mozart’s poignant Adagio variation. The sprightly final Allegro variation concludes the movement in high spirits. The last movement is a jolly rondo, which might have inspired Beethoven’s finale in his well-known Wind Octet, op. 103. Mozart’s two contrasting episodes each contain a section in his agitated, minor-mode “alla Turca” style. The second also features the bassoon in a fast-paced solo. Mozart extends the ebullient refrain on its final appearance with a brilliant wind-up to a decisive end. © Jane Vial Jaffe Return to Parlance Program Notes

BILLY R. HUNTER, JR., TRUMPET A native of Austin, Texas, Billy Hunter is currently Principal Trumpet with the Metropolitan Opera in New York and Assistant Principal Trumpet with the Grant Park Symphony Orchestra in Chicago. Before this, he was Principal with the New World Symphony and Spoleto Festival Italy orchestras, and has performed as Guest Principal with the Frankfurt Radio Symphony in Germany, Malaysian Philharmonic in Kuala Lumpur, and the Charleston Symphony Orchestra. Other orchestras he has performed with are the New York Philharmonic, Boston, Baltimore, and Dallas Symphonies. As a chamber musician and soloist Mr. Hunter has performed with several ensembles and music festivals including Grant Park Orchestra, New World Symphony, University of Texas Symphony and Wind Ensemble, Prometheus Chamber Orchestra, Eastern Music Festival Orchestra, American Brass Quintet, the Martha’s Vineyard Chamber Music Festival and the MET Chamber Ensemble. His honors and awards include first prize in the Kingsville International Solo Competition Brass and Non-string divisions, second prize in the National Trumpet Competition, recipient of the Roger Voisin Trumpet award as a fellow of the prestigious Tanglewood Music Center in the Berkshires, and most recently, the University of Texas at Austin Outstanding Young Alumnus Award. A graduate of the University of Texas at Austin and the Juilliard School, his teachers have included Mark Gould (former Principal Trumpet of the Met), Raymond Mase (Principal Trumpet of the NYC Ballet and ABQ), Raymond Crisara (former trumpet of the Met and NBC Symphony), and Harry Shapiro (former horn player of the Boston Symphony).

SUNDAY, MARCH 19, 2023 AT 4 PM BACH’S 338TH BIRTHDAY CONCERT: RACHEL NAOMI KUDO, PIANO BUY TICKETS RACHEL NAOMI KUDO, PIANO 1st Prize Winner, 2018 Leipzig International Bach Competition “Full of joy in playing and with the utmost precision, she received cheers and thunderous applause for her magnificent performance.” — Südwest Presse, Ulm, Germany FEATURING ABOUT THE PERFORMANCE BUY TICKETS Parlance Chamber Concert’s annual celebration of Bach’s Birthday will showcase the pristine artistry of American pianist Rachel Naomi Kudo, one of today’s leading Bach interpreters. Winner of the 2018 Leipzig International Bach Competition, she has garnered international acclaim for the majesty, clarity and sheer joy of her performances. Her all-Bach recital will include an wide range of Bach’s keyboard masterpieces, including the scintillating Chromatic Fantasy and Fugue in D minor, vivacious Italian Concerto, and a set of divinely inspired Chorale Preludes. PROGRAM J.S. Bach Chromatic Fantasy and Fugue in D minor, BWV 903 Program Notes J.S. Bach Italian Concerto, BWV 971 Program Notes J.S. Bach Toccata in D, BWV 912 Program Notes J.S. Bach Chorale Prelude “Chorale Prelude “Wachet auf, ruft uns die Stimme,” BWV 645 (arr. Busoni) Program Notes J.S. Bach Chorale Prelude “Sheep May Safely Graze,” BWV 208 (arr. Petri) Program Notes J.S. Bach French Suite No. 2 in C minor, BWV 813 Program Notes J.S. Bach Chorale Prelude “Ich ruf zu Dir, Herr Jesu Christ,” BWV 639 (arr. Busoni) Program Notes J.S. Bach Toccata in C minor, BWV 911 Program Notes Watch Rachel Naomi Kudo perform Bach’s Italian Concerto, BWV 971: Watch Rachel Naomi Kudo perform Chorale Prelude “Sheep May Safely Graze,” BWV 208 (arr. Petri)

MIDGE WOOLSEY, NARRATOR Midge Woolsey has proudly served the tristate community as a broadcaster for over 30 years. Since joining WQXR in 1993, she has been the Weekend Music host and more recently the Weekday Evening host. As a host on public television’s flagship station Thirteen/WNET she has introduced such specials as Andrea Bocelli’s Emmy nominated Statue of Liberty Concert, The Three Tenors with James Levine live from Paris, and the landmark twenty-four hour event, PBS Millennium 2000. She has also hosted numerous fundraising events, including Josh Groban in Concert and Pavarotti in Central Park. Behind the scenes, Woolsey worked with Jac Venza on Great Performances, the award-winning PBS series of international music, dance and drama programs. She also served as production executive for award-winning producer David Grubin, working with him on several acclaimed historical documentaries for the PBS series American Experience and on the poetry series The Language of Life with Bill Moyers. Woolsey has degrees in theater and music, and has served as a director, performer and choreographer in more than 100 productions with various regional opera and musical theater companies.

ARNAUD SUSSMANN, VIOLIN Winner of a 2009 Avery Fisher Career Grant, Arnaud Sussmann has distinguished himself with his unique sound, bravura and profound musicianship. Minnesota’s Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you’ll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener. His clear tone [is] a thing of awe-inspiring beauty, his phrasing spellbinding.” A thrilling young musician capturing the attention of classical critics and audiences around the world, Arnaud Sussmann has appeared with the American Symphony Orchestra, Buffalo Philharmonic, New World Symphony, Pacific Symphony, Paris Chamber Orchestra, Jerusalem Symphony and the Vancouver Symphony Orchestra. Further solo appearances have included a tour of Israel and concerts at Lincoln Center’s Alice Tully Hall, Dresden Music Festival in Germany and at the Phillips Collection in Washington, D.C. Mr. Sussmann has been presented in recital in Omaha on the Tuesday Musical Club series, New Orleans by the Friends of Music, Tel Aviv at the Museum of Art and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Chamber Music Northwest and Moritzburg festivals and appears regularly at the Caramoor, Music@Menlo, La Jolla SummerFest, Seattle Chamber Music, Moab Music and Saratoga Springs Chamber Music festivals. Recent concerto appearances include performances with Maestro Valery Gergiev and the Mariinsky Orchestra at the White Nights Festival in St Petersburg, the Santa Rosa Symphony, the Albany Symphony, the Jacksonville Symphony and the Grand Rapids Symphony. This past season, chamber music performances included tours with the Chamber Music Society of Lincoln Center to Korea’s LG Arts Center, Shanghai’s Oriental Center and Hong Kong’s Music Academy. Arnaud Sussmann has performed with many of today’s leading artists including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenazi, Wu Han, David Finckel, Jan Vogler and members of the Emerson String Quartet. He has worked with conductors such as Cristian Macelaru, Marcelo Lehninger, Rune Bergmann and Leon Botstein. A dedicated chamber musician, he has been a member of the Chamber Music Society of Lincoln Center since 2006 and has regularly appeared with them in New York and on tour, including a recent concert at London’s Wigmore Hall. A frequent recording artist, Arnaud Sussmann has released albums on Deutsche Grammophon’s DG Concert Series, Naxos, Albany Records and CMS Studio Recordings labels. His solo debut disc, featuring three Brahms Violin Sonatas with pianist Orion Weiss, was released in December 2014 on the Telos Music Label. He has been featured on multiple PBS’ Live from Lincoln Center broadcasts alongside Itzhak Perlman and the Perlman Music Program and with musicians of the Chamber Music Society of Lincoln Center. Born in Strasbourg, France and based now in New York City, Arnaud Sussmann trained at the Conservatoire de Paris and the Juilliard School with Boris Garlitsky and Itzhak Perlman. Winner of several international competitions, including the Andrea Postacchini of Italy and Vatelot/Rampal of France, he was named a Starling Fellow in 2006, an honor which allowed him to be Mr. Perlman’s teaching assistant for two years. Mr. Sussmann now teaches at Stony Brook University on Long Island and was recently named Co-Artistic Director of Music@Menlo’s International Music Program.

BRAD GEMEINHARDT, FRENCH HORN Praised by the New York Times as having performed “with poetry and backbone” at a recent performance on solo horn Mahler’s 5th Symphony at Carnegie Hall, hornist Brad Gemeinhardt is Principal horn of the Metropolitan Opera, where he has been a member of the orchestra since 2007. Over his extensive and varied career spanning the last quarter century, in addition to countless performances at the Met, Mr. Gemeinhardt has performed as a Guest Principal horn of such ensembles as the New York Philharmonic, the Israel Philharmonic, the Chicago Symphony, and the Philadelphia Orchestra. He has also performed in numerous Broadway shows, as well as with the Orpheus Chamber Orchestra, American Symphony Orchestra, and the San Francisco Symphony, among many others. Also he can be heard on television shows, radio jingles, commercial recordings and in many feature films, beginning with The Producers (2005) to the more recent The Joker (2019) and In the Heights (2021). Mr. Gemeinhardt also appears frequently with the Met Orchestra Chamber Ensemble’s performances at Carnegie Hall’s Weill Recital Hall, where he has performed the Brandenburg 1st Concerto, the Brahms Horn Trio, Schubert Octet, among other pieces, all to great acclaim. Brad Gemeinhardt is sought after as a teacher and mentor for young, aspiring French horn players. He serves on the faculties of the Juilliard School Pre-College Division and Columbia University, and is a Valade Fellow at Interlochen Arts Camp in Michigan. In addition, he is regularly invited to give master classes as a guest artist, most recently at the Juilliard School, the Manhattan School of Music, New York University, the Aspen Music Festival and School, and New York University. Mr. Gemeinhardt received a Bachelor of Music degree from The Juilliard School, where he studied horn with the late Jerome Ashby. He resides in Manhattan with his wife Dana, his teenagers Alex and Marin and his cavapoo Macintosh.