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December 5, 2021: Paul Jacobs, organ JOHANN SEBASTIAN BACH (1685-1750) Trio Sonata in E Minor, BWV 528 December 5, 2021: Paul Jacobs, organ In Leipzig, where Bach served as Kantor of the Thomasschule, teaching was a huge part of his life, and his own sons were some of his very best pupils. Sometime between 1727 and 1730 he composed a set of organ sonatas, BWV 525–530, as a teaching tool for his son Wilhelm Friedemann, who became one of the finest organists of his day. What set these sonatas apart from Bach’s other organ works was their configuration as trio sonatas, in which he assigned one instrumental part to the right hand on one of the organ’s manuals, one to the left on another manual, and the bass part to the feet on the pedals. This configuration led to a lightness and clarity of texture not present in many of his other organ works. He may have also had in mind the forward-looking tastes of Wilhelm Friedemann when he occasionally slipped into a galant, more modern style, such as in the triplet motion of the E minor Sonata’s last movement. In general structure, these six sonatas rely more on concerto form in three movements (fast, slow, fast) than on four-movement sonata models. Because the three individual lines function as in a trio sonata—and because in typical fashion Bach borrowed some of the movements from earlier works and refashioned some into later pieces—the urge for arrangers to transcribe them for myriad combinations of two of more instruments has proved irresistible. In the case of the present Sonata in E minor, Bach borrowed the first movement from the Sinfonia that opens the second half of Cantata 76: “Die Himmel erzählen die Ehre Gottes” (1723), which was scored for oboe d’amore (mezzo-soprano oboe with a bulb bell), viola da gamba (viol held between the legs), and continuo (bass line to be realized by a keyboard player). Thus it makes perfect sense for the entire organ sonata to have been arranged for this combination of instruments, as in the present performance. The first movement of the E minor Sonata movement is unusual and striking in that it begins with a brief Adagio introduction that leads without pause into a high-spirited Vivace. The extremely concise ritornello form of the Vivace is also extraordinary, consisting of a ritornello (recurring section) that appears three times, whose imitative subject is immediately followed by a brief imitative answer, but the last of these answers turns into an episode full of derived figures that lasts the remaining third of the movement before being capped by a cadential phrase. The movement is also unusual for its focus on the viola da gamba line to begin the Vivace, and also for the sheer buoyancy of all three lines, the bass line of which is more elaborate here than in the Cantata. The lovely middle movement exists in an early form in D minor, known from three sources, but since those copies were made after 1750 from a now lost source it is difficult to determine the instrumentation or key of the original. (Pieter Dirksen in his “reconstruction” for oboe d’amore, viola da gamba, and continuo suggests that the lost source may have dated from as early as ca.1714 when Bach was in Weimar.) Sources aside, the beautiful main theme is remarkable for its constant emphasis on two-bar phrase lengths, which Bach maintains even in the sequencing material that follows. These two types of music alternate, A-B-A-B, before Bach brings back the opening in stretto (closer together entries) and adds a final cadence. Bach configures the lively third movement as a rondo fugue, its subject alternating with sequential episodes. The irrepressible triplet figure, introduced only briefly in the subject’s third bar, soon becomes the merry propulsive force of the entire perpetual motion movement. © Jane Vial Jaffe Return to Parlance Program Notes

ERIN BOURIAKOV, FLUTE Erin Bouriakov is an international soloist, chamber musician, lecturer and a teacher, and is a faculty at UCLA. She has appeared as a soloist with the Mariinsky theater Orchestra, Seoul Philharmonic Orchestra, Euro-Asian Philharmonic Orchestra, Musica Viva and others. Together with her husband, Denis Bouriakov, they frequently perform and record together worldwide. Erin has won a number of competitions both in USA and abroad. Mrs. Bouriakov was born in Seoul, Korea. She has moved to USA to study at the Interlochen Arts Academy, where she studied with Tyra Gilb. She then went on to studying at Oberlin Conservatory with Michel Debost, and later at the Royal Academy of Music in London with William Bennett. Erin has also studied with a former principal of La Scala Bruno Cavallo in Milano, Italy. She had been appointed the Principal Flute of the Seoul Philharmonic Orchestra Co. in 2006. As an orchestral musician Ms. Bouriakov has performed in many orchestras, including the Metropolitan Opera in New York and the Los Angeles Philharmonic. While living in New York, she was an assistant teacher at Juilliard pre-college. Erin is a Haynes flutes artist since 2016 and is playing a 14K all gold model.

January 27, 2019: Pinchas Zukerman Trio ANTON ARENSKY (1861-1906) Piano Trio No. 1 in D minor, Op. 32 January 27, 2019: Pinchas Zukerman Trio Arensky was influenced by some of the greatest figures of Russian music: Rimsky-Korsakov, his composition teacher at the St. Petersburg Conservatory, and Tchaikovsky, his colleague at the Moscow Conservatory, where Arensky taught upon his graduation. In turn he instructed other great Russians in Moscow, notably Rachmaninoff, Skryabin, and Glière. Returning to St. Petersburg in 1895, Arensky become director of the Imperial Chapel on Balakirev’s recommendation. From 1901 on, receiving a pension from the chapel, Arensky devoted himself to composing and to appearances as a conductor and pianist. Having been addicted to alcohol and gambling for some time, his life became more and more disorganized, according to Rimsky-Korsakov. He spent his final years in a tuberculosis sanatorium in Finland, where he died in 1906. Of his three operas, the first, Son na Volge (A dream on the Volga) achieved the greatest success, but his reputation generally rests on a few shorter works, such as the present D minor Trio, and short piano pieces at which he excelled. Arensky composed his D minor Piano Trio in 1894 and dedicated it to Karl Davïdov (1838–1889), who had been principal cellist of the St. Petersburg opera and later director of the conservatory there. The work might be classified in the “chestnut” category because of its familiarity, but this is a familiarity that is sensed even by one who is hearing the piece for the first time. The work evokes other composers in certain places—the trio of the Scherzo, for example, brings Saint-Saëns’s Second Piano Concerto to mind and the opening theme of the Finale suggests the “Polonaise” in the last movement of Tchaikovsky’s Third Orchestral Suite. Despite these influences, Arensky’s Trio could not have withstood the test of time without its own distinct identity. The first movement, in the tradition of late German Romanticism, unfolds in a grand sonata form, with the striking feature of an adagio statement of the opening theme to close the movement. The imaginative Scherzo, placed second, frames a trio that shows the Russian-Slavic-German fondness for an idealized kind of waltz. The slow Elegia, its somber mood enhanced by muted strings, is the movement that particularly pays tribute to the memory of Davïdov. It follows ternary form with a varied return of the “A” section. The Finale, a real tour de force, immediately dispels the mood with its exuberant polonaise-like main theme. The coda unifies the entire work, recalling the theme of the middle section of the Elegia and the first theme of the first movement in its adagio setting before the fast-paced conclusion. © Jane Vial Jaffe Return to Parlance Program Notes

April 14, 2019: Anne Akiko Meyers, violin ARCHANGELO CORELLI (1653-1713) Sonata in D minor, op. 5, no. 12, “La folia” April 14, 2019: Anne Akiko Meyers, violin Historians often take Arcangelo Corelli as their point of departure when discussing sonatas because their influence and success was unprecedented. He published five sets each containing twelve sonatas: four collections of trio sonatas between 1681 and 1694 and one collection of violin sonatas, op. 5, in 1700. He had gained enormous recognition as a teacher, but his more profound influence came from the dissemination of his works, which coincided with the amazing boom in printing around 1700. His Opus 5 violin sonatas went through some forty-two editions by about 1815! Corelli’s models inspired new works based on them by such illustrious composers as J. S. Bach and Vivaldi as well as slavish imitations—with or without crediting him. The innovations that so impressed Corelli’s contemporaries may now sound predictable, but it is their very originality that so attracted his followers into using them so frequently as to become the norm. These include nimble violin writing (despite rarely exceeding the third position in range), ascending and descending passages based on first inversion chords or other harmonic patterns that gave tonality a “modern” sound, and chains of suspensions involving “leap-frogging” sequences in the trio sonatas. Though Corelli established the four-movement norm for a Baroque sonata—slow-fast-slow-fast—many of his sonatas contain three or five movements, and two of his most famous, the Ciaccona and this afternoon’s “La folia,” consist of one movement only. The folia (sometimes follia ), which originated as a dance or dance song in Portugal, had already become popular by the time it was first referred to in writing in the fifteenth century. Spanish and Italian examples appeared in the early seventeenth century—many for guitar—but it wasn’t until the last quarter of the seventeenth century that the harmonic pattern and melody became relatively standardized through Lully and his French colleagues, as well as in Spain, England, and Italy. Like the earlier folia, this popular type was as the basis for songs, dances, and variation sets. Corelli’s set of “Folia” variations from 1700, which he published in a place of honor as the last sonata in his Opus 5, contributed greatly to that popularity. Vivaldi paid overt homage to Corelli when he closed his twelve trio sonatas, op. 1, with a one-movement set of “Follia” variations, as did Rachmaninoff much later when he composed his Variations on a Theme by Corelli, op. 42. Following his simple presentation of the theme, Corelli offers twenty-three variations of widely varied figuration and character. Most follow the sixteen-measure pattern exactly, though several are halved to eight measures and the final dazzling variation is extended slightly for closure. The violin and continuo—in this case guitar—share the spotlight equally, trading off within variations or from one variation to the next. Anne Akiko Meyers commissioned Andy Poxon to make the present arrangement of the Sonata because she wanted a new take on the age-old melody. A brilliant former student of Jason Vieaux and a gifted composer in his own right, Poxon is also a respected solo performer, band member, and teacher who embraces multiple styles from classical to blues and rock. © Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, OCTOBER 17, 2021 AT 3 PM HAYDN SEEKING BUY TICKETS ESCHER STRING QUARTET “The Escher players seemed to make time stand still, effortlessly distilling the essence of this introspective music with expressive warmth and a natural confiding intimacy.” — Chicago Classical Review ROMAN RABINOVICH, PIANO “Mr. Rabinovich performed with uncommon sensitivity and feeling, playing with a wonderful brio and spontaneity, crisp rhythmic bite, and abundant colorings.” — The New York Times FEATURING ABOUT THE PERFORMANCE BUY TICKETS Mozart called Haydn a “great man and my dearest friend,” and Beethoven knelt before Haydn on his 76th birthday to fervently kiss his hands and forehead. Haydn’s celebrated wit, grace, and eloquence will be richly on display in this musical survey of his seminal chamber works for piano, string quartets, and piano trio. As a special treat, the multitalented pianist Roman Rabinovich will accompany his own short animated film entitled “Imaginary Encounters with Haydn.” PROGRAM Claude Debussy Hommage à Haydn Program Notes Joseph Haydn String Quartet in G, Op. 77, No. 1 Program Notes Joseph Haydn Piano Sonata No. 50 in C Hob. XVI: 50 Program Notes Maurice Ravel Menuet sur le nom d’Haydn Program Notes Joseph Haydn String Quartet in B-flat, Op. 76, No. 4 (“Sunrise”) Program Notes Joseph Haydn Piano Trio in G, Hob. XV: 25 (“Gypsy”) Program Notes Watch Roman Rabinovich play Haydn’s Piano Sonata in G, Hob XVI 39:

SUNDAY, MAY 6, 2018 AT 3 PM NEUBAUER-McDERMOTT FAMILY CONCERT BUY TICKETS GILAD COHEN, COMPOSER KERRY McDERMOTT, violin New York Philharmonic PAUL NEUBAUER, VIOLA “A master musician.” — The New York Times ANNE-MARIE McDERMOTT, PIANO Lincoln Center Chamber Music Society CLARA NEUBAUER, VIOLIN “It was a committed, refreshing performance displaying absolute technical security.” — The Epoch Times OLIVER NEUBAUER, VIOLIN (2021) “His was a captivating performance, fully bringing-out the shifting moods, wit, and lyricism of Mozart’s music.” — The Epoch Times FEATURING ABOUT THE PERFORMANCE BUY TICKETS On May 6 , the stellar Neubauer-McDermott Family will bring our eleventh season to an exhilarating conclusion. Violist Paul Neubauer (of the Lincoln Center Chamber Music Society), violinist Kerry McDermott (of the New York Philharmonic), and their children, violinists Oliver and Clara Neubauer , will be joined by Kerry’s sister, CMS pianist Anne-Marie McDermott , in music of Bach, Dvořák, Ravel, and Schumann . The concert will include the World Premiere of Gilad Cohen’s* “Moonrhymes” for three violins, viola, and piano , commissioned by PCC especially for this event. Inspired by the familial theme, Cohen’s work will focus on children’s songs from Israel, America, and Spain. *Gilad Cohen is a Ridgewood resident and a music professor at Ramapo College. A Princeton Ph.D., he is the winner of the 2016 Barlow Prize and the 2010 Israeli Prime Minister Award for Composers. PROGRAM Johann Sebastian Bach Preludio from Partita No. 3 arranged for 3 violins & viola Program Notes Antonín Dvořák Terzetto in C, Op. 74 for 2 violins and viola Program Notes Maurice Ravel Tzigane for violin and piano Program Notes Gilad Cohen “Moonrhymes” (Premiere) for 3 violins, viola and piano Program Notes Robert Schumann Sonata No. 1 in A minor, Op. 105 for violin and piano Program Notes Mark O’Connor F.C.’s Jig for violin and viola Program Notes Charles Dancla Variations on Ah! Vous dirai-je, Maman for three violins and viola Program Notes Watch Clara Neubauer perform Arensky’s Trio in D minor: Watch Paul Neubauer perform Benjamin Dale’s Romance for Viola and Piano: Watch Anne-Marie McDermott perform Haydn’s Piano Sonata in C:

SUNDAY, SEPTEMBER 24, 2017 AT 3 PM DANCES, ROMANCES, AND MENDELSSOHN’S OCTET BUY TICKETS RAFAEL FIGUEROA, CELLO Principal Cello, Met Orchestra MARK HOLLOWAY, VIOLA “Warm and intimacy.” — Neue Zürcher Zeitung PAUL NEUBAUER, VIOLA “A master musician.” — The New York Times MICHAEL BROWN, PIANO “Formidable pianist” — The New York Times DANBI UM, VIOLIN “Danbi Um’s playing is utterly dazzling…a marvelous show of superb technique” — The Strad ARNAUD SUSSMANN, VIOLIN “Beauty of sound and elegance.” — Nice Matin SEAN LEE, VIOLIN “Breathtakingly beautiful.” — The New York Times EMILY DAGGETT SMITH, VIOLIN “Irrepressible élan.” — The Seattle Times MIHAI MARICA, CELLO “Stunning Performance” — New York Times FEATURING ABOUT THE PERFORMANCE BUY TICKETS Parlance Chamber Concerts’s gala opener will showcase nine dazzling artists in scintillating dances and soulful romances by Beethoven, Fauré, Saint-Saëns, Falla, and others . The afternoon will climax with their collaboration in Felix Mendelssohn’s Octet for strings , the 16-year-old composer’s miraculous melding of youthful exuberance and sovereign musical command. PROGRAM Frédéric Chopin Valse Brilliante in A flat, Op. 34, No. 1 for piano Program Notes Gabriel Fauré Romance in B flat, Op. 28 for violin and piano Program Notes Gaspar Cassadó Sardana and Jota from Suite for solo cello Program Notes Ludwig van Beethoven Romance in F, Op. 50 for violin and piano Program Notes Jenö Hubay Scenes de la Csarda, No. 3, Op. 18 for violin and piano Program Notes Félicien David La Nuit (arr. Vieuxtemps) for viola and piano Program Notes Manuel de Falla Danse Espagnole from La Vida Breve for violin and piano Program Notes Camille Saint-Saëns Romance, Op. 36 for cello and piano Program Notes Hermann Schulenburg Gypsy Romance and Csardas for viola and piano Program Notes Felix Mendelssohn Octet in E-flat, Op. 20 for strings Program Notes Arnaud Sussmann, violin; Michael Stephen Brown, piano: Fauré - Romance in B-flat, Op. 28: Hear violist Paul Neubauer and pianist Wu Han perform Valdez’s Gypsy Serenade:

April 3, 2016: Ying Fang, soprano; Sean Lee, violin; Nicholas Canellakis, cello; Paolo Bordignon, harpsichord JOHANN SEBASTIAN BACH (1685-1750) Jesus soll mein erstes Wort from Cantata 171 for soprano, violin and continuo April 3, 2016: Ying Fang, soprano; Sean Lee, violin; Nicholas Canellakis, cello; Paolo Bordignon, harpsichord When Bach took the position of Kantor of the Thomasschule and civic music director in Leipzig in 1723, he set out to compose five cycles of cantatas, roughly sixty per year, for use in the city’s main churches. The two hundred or so that survive represent a remarkable achievement in inventiveness and quality. Bach typically chose his texts from a variety of poets, but in the summer of 1728 Christian Friedrich Henrici (Picander), his chief librettist between 1725 and 1742, provided him with a full year’s series of texts. This, the fourth of Bach’s cycles, is often called the “lost” cycle, because only nine survive. Of these, Cantata 171, Gott, wie dein Name, written for New Year’s Day and the Feast of the Circumcision, was most likely first performed on January 1, 1729. The Gospel text for New Year’s Day (Luke 2:21) refers to the naming of Jesus when he was circumcised, so the poet’s expansion of the idea into a multimovement cantata revolves around the importance of his name for the Christian world. In the midst of a large-scale work for chorus, oboes, trumpets, and strings, Bach writes a beautiful, intimate soprano aria with lovely violin obbligato, in which the protagonist says that just as Jesus’ name shall be the first word uttered in the new year, so shall it be the last in the hour of death. Always a judicious recycler, Bach reworked this aria from “Angenehmer Zephyrus” (Pleasant zephyr) from his secular Cantata 205 (1725), where the elaborate violin phrases depicted a gentle zephyr wind. Bach changed the basically though-composed form, albeit with instrumental ritornellos, into a ternary form by keeping the first and middle sections as well as the closing ritornello basically unchanged, but making the third section an artfully modified return of the opening section. © Jane Vial Jaffe Text and Translation Jesus soll mein erstes Wort In dem neuen Jahre heißen. Fort und fort Lacht sein Nam in meinem Munde, Und in meiner letzten Stunde Ist Jesus auch mein letztes Wort. —Picander Jesus should be my first word spoken in the new year. On and on his name laughs in my mouth, and in my last hours Jesus is also my last word. Return to Parlance Program Notes

SETH MORRIS, FLUTE Seth Morris serves as Principal Flute with the Metropolitan Opera Orchestra and previously held the same position with the Houston Grand Opera and Houston Ballet Orchestras. He also was a member of the New World Symphony and West Michigan Symphony and has performed with ensembles across the United States including the Houston, Detroit, and Pacific Symphony Orchestras, American Ballet Theatre, Mainly Mozart Festival Orchestra, and the Dallas Winds. Seth was a Fellow of the Tanglewood Music Center, as well as a member of the American Institute of Musical Studies Festival Orchestra in Graz, Austria, and performed at the Bay View Music Festival. A laureate of multiple competitions, Seth won first prize in the National Flute Association's Young Artist Competition, the James Pappoutsakis Memorial Competition, the Myrna W. Brown Artist Competition, and both the Kentucky Flute Festival's Young Artist and Collegiate Artist Competitions. In 2015, Seth won the bronze medal at the Ima Hogg Competition where he gave the Houston Symphony premiere of the Carl Nielsen Flute Concerto; other concerto performances include the Boston Chamber Symphony, the Bay View Chamber Orchestra, and the University of Kentucky Symphony Orchestra. In addition to performing, Seth has taught at numerous universities and festivals around the country including serving as guest professor at the University of Michigan and University of Texas at Arlington. He has been a Guest Artist or featured clinician for the Texas Music Festival, Texas Flute Festival, Houston Flute Fest, San Diego Flute Club, Long Beach Flute Institute, Floot Fire Houston, and Kentucky Flute Festival, and has served on the faculty for Carnegie Hall’s NYO-USA and the Houston Youth Symphony. His articles have been published in The Flutist Quarterly and The Floot Fire Book: Advanced. Originally from Louisville, Kentucky, Seth went on to earn a Bachelor of Music and Bachelor of Music in Music Education at the University of Kentucky, a Master of Music at the New England Conservatory, and a Doctor of Musical Arts in Flute Performance degree at the University of Michigan. His teachers include Paula Robison, Amy Porter, Fenwick Smith, and Gordon Cole. Seth is a William S. Haynes Artist.

December 18, 2016: Mariko Anraku, harp; Emmanuel Ceysson, harp CLAUDE DEBUSSY (1862-1918) Selections from Suite bergamasque, arranged for two harps December 18, 2016: Mariko Anraku, harp; Emmanuel Ceysson, harp Debussy was enchanted by the poetry of Paul Verlaine. Around 1890 he began composing a series of piano pieces that would become his Suite bergamasque , titled after a line of Verlaine’s famous poem Clair de lune . The poem had appeared in an 1869 collection entitled Fêtes galantes , which had been inspired by the paintings of Watteau and his followers. In these paintings, idealized landscapes of parks and gardens in the twilight are often populated by revelers in costumes of the tragic-comic characters of the commedia dell-arte—Harlequin, Pierrot, Colombine, and company—a form of theater that began in sixteenth-century Italy. Verlaine’s collection also provided texts for a number of Debussy’s songs before he returned to the piano pieces for revision and publication as Suite bergamasque in 1905. In the sixteenth and seventeenth centuries, the word bergamasque (or bergomask) referred to a fantasia or set of instrumental variations based on a folk dance—Shakespeare’s rustic characters in A Midsummer Night’s Dream , for example, dance a bergomask. Presumably that folk dance had some connection with the Bergamo district in northern Italy. Further, the character of the Harlequin is described as a mischievous servant from Bergamo. By Verlaine’s and Debussy’s time there was no evident connection with the bergomask’s traditional tune or harmonic scheme, but the association with a folk dance and the commedia dell’arte lingered. Debussy’s Suite bergamasque consists of four movements, Prélude, Menuet, Clair de lune, and Passepied, of which we hear I, III, and IV, arranged for two harps by Matthieu Martin. The Prélude opens with unhurried nobility, achieving Debussy’s aim of sounding improvisatory. This introductory idea leads to a stronger, chordally moving main theme, followed by a delicately textured second theme. The middle section develops both themes, with a kind of recapitulation that deals only with the opening introductory idea and the stronger main theme. The outline of sonata form, however, remains secondary to the lovely sense of improvisation or “Impressionism” that Debussy creates. Originally titled “Promenade sentimentale” after another Verlaine poem, the third piece became Clair de lune (Moonlight) when Debussy polished the Suite bergamasque for publication in 1905. Since then the piece has taken on a life of its own, having become extraordinarily popular and, sad to say, trivialized. Its luminous qualities and inspired construction, however, should inspire listeners to look beyond its familiarity. That amazing opening—how it just hangs there then gently descends as silvery light from the moon—is pure genius. Its rhythmic freedom gives the feeling of floating as does the delay of the anchoring pitch of the home key. Debussy, like his contemporary Ravel, was justly famous for his water imagery. The rippling central section no doubt responds to the line in Verlaine’s poem describing the moonlight bringing sobs of ecstasy to the fountains. The ending is magical—Debussy fragments the theme as moonlight would be broken up by shadows and allows it to die away in a haunting final cadence. A passepied was a French court dance of the seventeenth and eighteenth centuries in triple time, much like a minuet but faster, with fairly constant motion in eighth- or sixteenth-notes. For his Passepied, Debussy opted instead for a moderate tempo and 4/4 meter, perhaps reflecting his original title, Pavane, which refers to a stately court dance. He most likely changed the name after deciding that his piece was too active for a Pavane, but also to avoid comparison with Fauré’s influential Pavane, op. 50. It seems he was not worried about comparison with another source of inspiration—the Passepied from Delibes’s pastiche of “ancient” dances for Le roi s’amuse , which had long been available in piano transcription. Whatever the case, Debussy’s piece, unfolding in a kind of modified rondo form, shows a fascinating mix of the constant motion of a passepied and a profusion of contrasting melodies, all bathed in a kind of modal sonority that hints at older times while proclaiming Debussy’s Impressionistic orientation. © Jane Vial Jaffe Return to Parlance Program Notes

INON BARNATAN, PIANO Pianist Inon Barnatan has rapidly gained international recognition for engaging and communicative performances that pair insightful interpretation with impeccable technique. Described by London’sEvening Standard as “a true poet of the keyboard”, Mr. Barnatan performs a diverse range of repertoire, encompassing both classical and contemporary composers, with the variety of the pieces he performs reflected in his being equally valued as a soloist, recitalist and chamber musician. Since moving to the United States in 2006, Mr. Barnatan has made his orchestral debuts with the Cleveland Orchestra and the Houston, Philadelphia, and San Francisco Symphony Orchestras, and has performed in New York at Carnegie Hall, the 92nd Street Y, the Metropolitan Museum and Alice Tully Hall. In 2009 he was awarded a prestigious Avery Fisher Career Grant, an honor reflecting the strong impression he has made on the American music scene in such a short period of time. In addition to his American appearances, Mr. Barnatan has appeared as a soloist with the Amsterdam Sinfonietta, Israel Philharmonic Orchestra, Netherlands Chamber Orchestra, Orchestre de la Suisse Romande, Shanghai Symphony Orchestra, Jerusalem Symphony Orchestra, London Soloists Chamber Orchestra, Orchestra of New Europe, the Winnipeg Symphony Orchestra and a tour with the Academy of St. Martin in the Fields as a conductor and soloist. An avid chamber musician, Mr. Barnatan recently completed three seasons as a member of the Chamber Music Society of Lincoln Center’s CMS Two program. In 2009 he curated a festival of Schubert’s late solo piano, songs and chamber music works for the Society, the first musician other than the Society’s Artistic Directors to be invited to program concerts. ‘The Schubert Project’ program has also been performed at the Concertgebouw, the Festival de México, and at the Library of Congress. Other chamber music performances include the complete Beethoven piano and violin sonatas at the Concertgebouw, the Bergen International Festival in Norway, the Vancouver Chamber Music Festival, the Delft and the Verbier Festivals and the Lyon Musicades. His rigorous U.S. festival schedule has included a broad range of concerts at the Spoleto Festival USA, the Aspen and Bridgehampton Music Festivals, and the Santa Fe and Seattle Chamber Music Festivals. He has collaborated with musicians such as Liza Ferschtman, Miriam Fried, Martin Fröst, Gary Hoffman, Janine Jansen, the Jerusalem String Quartet, Ralph Kirshbaum, Cho-Liang Lin, Paul Neubauer and Alisa Weilerstein. In 2008 he received the Andrew Wolf Memorial Award in Rockport, awarded every two years to an exceptional chamber music pianist. Mr. Barnatan’s 2011-12 season appearances include a solo performance as part of the Lincoln Center’s Great Performers series, chamber music appearances in New York and a U.S. tour with the Chamber Music Society of Lincoln Center and West Coast recitals including opening the Music@Menlo Winter Series and performances at the Portland Piano International. He will make orchestral appearances with the Billings, Chattanooga, Eugene, Jacksonville and Oregon Symphony Orchestras and the Nordwestdeutschen Philharmonie with repertoire spanning a wide range of composers, including Beethoven, Brahms, Mozart, Ravel, Saint-Saëns and Tchaikovsky. In February 2012 he will embark on an eight-city European tour with cellist Alisa Weilerstein, preceded by concerto and chamber performances in Israel, and he will also undertake a three-week concerto and recital tour of South Africa in November. In 2012, Mr. Barnatan will release his second solo recording, Darkness Visible featuring wide-ranging but thematically-related works: Ravel’s Gaspard de la Nuit, Thomas Adés’s Darknesse Visible, Debussy’s Suite Bergamasque, Ronald Stevenson’s Peter Grimes Fantasy and Ravel’s La Valse. Intrigued by the fact that all of these works were inspired by other works of art (Ravel’s Gaspard is based on three poems by Aloysius Bertrand; Darknesse Visible is based on a John Dowland song; Debussy was inspired by a Verlaine poem; Stevenson’s Peter Grimes Fantasy is based on the Benjamin Britten opera; and La Valse is inspired by a story by Edgar Allen Poe), Mr. Barnatan examines how different characteristics of darkness are represented in music. These works will be performed by Mr. Barnatan at his solo recitals this season. Passionate about contemporary music, Mr. Barnatan regularly commissions and performs music by living composers, including works by Thomas Adès, George Benjamin, George Crumb, Avner Dorman, Kaija Saariaho and Judith Weir among others. Last season, he participated in Carnegie Hall’s “Making Music: James MacMillan” series, performing the composer’s Piano Sonata and chamber piece Raising Sparks. Mr. Barnatan’s debut CD of Schubert piano works was released on Bridge Records in 2006. London’s Evening Standard wrote: “The young, Israeli born pianist Inon Barnatan is a true poet of the keyboard: refined, searching, unfailingly communicative… This is musicianship of the highest caliber.” Gramophone recommended the recording in its November 2006 award issue, calling Barnatan “a born Schubertian” and praising the CD’s “sensitivity, poise and focus.” His second CD of works for piano and violin by Beethoven and Schubert with violinist Liza Ferschtman was described by All Music Guide as “a magical listening experience.” Born in Tel Aviv in 1979, Inon Barnatan started playing the piano at the age of three after his parents discovered he had perfect pitch, and he made his orchestral debut at eleven. His studies connect him to some of the 20th century’s most illustrious pianists and teachers: he studied with Professor Victor Derevianko, who himself studied with the Russian master Heinrich Neuhaus, and in 1997 he moved to London to study at the Royal Academy of Music with Maria Curcio – who was a student of the legendary Artur Schnabel – and with Christopher Elton. Leon Fleisher has also been an influential teacher and mentor and in 2004 he invited Mr. Barnatan to study and perform Schubert sonatas as part of a Carnegie Hall workshop, an experience that has had a lasting resonance for Mr. Barnatan. In 2006 Mr. Barnatan moved to New York City, where he currently resides in a converted warehouse in Harlem. For more information about Mr. Barnatan visit www.inonbarnatan.com or visit his page on Facebook.

SUNDAY, DECEMBER 5, 2021 AT 3 PM PAUL JACOBS, ORGAN WELCOME BACH, PAUL JACOBS! BUY TICKETS PAUL JACOBS, ORGAN FEATURING ABOUT THE PERFORMANCE BUY TICKETS It will be an honor to welcome back America’s foremost organist, Paul Jacobs. The inimitable virtuoso will introduce and perform a selection of towering masterpieces by Johann Sebastian Bach , composed and arranged especially for the King of Instruments. PROGRAM J.S. Bach Sinfonia from Cantata, BWV 29 (arr. Marcel Dupre) Program Notes J.S. Bach Trio Sonata in E Minor, BWV 528 Program Notes J.S. Bach Air on the G String , Suite No. 3, BWV 1068 Program Notes J.S. Bach Concerto in D Minor after Vivaldi, BWV 596 Program Notes J.S. Bach Passacaglia and Fugue in C Minor, BWV 582 Program Notes J.S. Bach Arioso from Cantata, BWV 156 Program Notes J.S. Bach Prelude and Fugue in D Major, BWV 532 Program Notes Watch Paul Jacobs perform and introduce Bach’s organ music at NPR: Watch Paul Jacobs discuss and play Bach’s organ music at St. Peter’s Lutheran Church in New York City: