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ZLATOMIR FUNG, CELLO The first American in four decades and youngest musician ever to win First Prize at the International Tchaikovsky Competition Cello Division, Zlatomir Fung is poised to become one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 23-year-old has already proven himself to be a star among the next generation of world-class musicians. A recipient of the Borletti-Buitoni Trust Fellowship 2022 and a 2020 Avery Fisher Career Grant, Fung’s impeccable technique demonstrates mastery of the canon and exceptional insight into the depths of contemporary repertoire. In the 2022-2023 season, Fung performs with orchestras and gives recitals in all corners of the world. Orchestral engagements include the BBC and Rochester Philharmonics, Milwaukee, Reading, Lincoln, Ridgefield and Sante Fe Symphonies, Baltimore Chamber Orchestra, Sarasota Orchestra, and APEX Ensemble. He gives the world premiere of a new cello concerto by Katherine Balch with the Dallas Symphony Orchestra. He plays recitals throughout North America with pianists Benjamin Hochman, Dina Vainshtein, and Janice Carissa, including stops in New York City, Chicago, IL, San Diego and Berkeley, CA, Los Alamos, NM, Rockville, MD, Melbourne, FL, Vancouver and Sechelt, BC, Northampton, MA, Province, RI, Burlington, VT, and Waterford, VA. Tours of Europe and Asia include a recital at Wigmore Hall and two performances at Cello Biënnale Amsterdam. Recent summer festival appearances include Aspen Music Festival, Bravo! Vail with the New York Philharmonic and Leonard Slatkin, ChamberFest Cleveland, Chamber Music Northwest, La Jolla Chamber Music Society, Rockport Chamber Music Festival, and Verbier. As a soloist, Fung has appeared with the Detroit, Kansas City, Seattle, Utah, Greensboro, Ann Arbor, and Asheville Symphonies, among many others. Past recital highlights include his Carnegie Hall Weill Recital Hall debut with pianist Mishka Rushdie Momen and multiple tours throughout North America, Europe, and Asia. As a chamber musician, he has been presented by the Philadelphia Chamber Music Society, Philharmonic Society of Orange County, IMS Prussia Cove, Syrinx Concerts in Toronto, The Embassy Series & The Phillips Collection in Washington DC, and Salon de Virtuosi and Bulgarian Concert Evenings in New York City. A winner of the 2017 Young Concert Artists International Auditions and the 2017 Astral National Auditions, Fung has taken the top prizes at the 2018 Alice & Eleonore Schoenfeld International String Competition, 2016 George Enescu International Cello Competition, 2015 Johansen International Competition for Young String Players, 2014 Stulberg International String Competition, and 2014 Irving Klein International Competition. He was selected as a 2016 U.S. Presidential Scholar for the Arts and was awarded the 2016 Landgrave von Hesse Prize at the Kronberg Academy Cello Masterclasses. Of Bulgarian-Chinese heritage, Zlatomir Fung began playing cello at age three. Fung studied at The Juilliard School under the tutelage of Richard Aaron and Timothy Eddy. Fung has been featured on NPR’s Performance Today and has appeared on From the Top six times. In addition to music, he enjoys cinema, reading, and blitz chess.

NICHOLAS CANELLAKIS, CELLO Hailed as a “superb young soloist” (The New Yorker), Nicholas Canellakis has become one of the most sought-after and innovative cellists of his generation, captivating audiences throughout the United States and abroad. In The New York Times, his playing was praised as “impassioned” and “soulful,” with “the audience seduced by Mr. Canellakis’s rich, alluring tone.” In the spring of 2015, Mr. Canellakis made his Carnegie Hall concerto debut, performing Leon Kirchner’s Music for Cello and Orchestra with the American Symphony Orchestra in Isaac Stern Auditorium. Mr. Canellakis is an artist of The Chamber Music Society of Lincoln Center, with which he performs regularly in Alice Tully Hall and on tour. As a member of The Canellakis-Brown Duo, his collaboration with pianist/composer Michael Brown, Mr. Canellakis performs numerous recitals throughout the country each season. A frequent performer at Bargemusic in New York City, he has also been a guest artist at many of the world’s leading music festivals, including Santa Fe, La Jolla, Music@Menlo, Ravinia, Verbier, Mecklenburg, Moab, Bridgehampton, Sarasota, and Aspen. He is the co-artistic director of the Sedona Winter MusicFest in Arizona. Mr. Canellakis was a winner of The Chamber Music Society of Lincoln Center’s CMS Two international auditions. He was also selected to be in residence at Carnegie Hall as a member of Ensemble ACJW, in which he performed in Weill and Zankel Halls and worked to enhance music education throughout New York City. He is a graduate of the Curtis Institute of Music and New England Conservatory, where his teachers included Orlando Cole, Peter Wiley, and Paul Katz. Mr. Canellakis is on the faculty of the Brooklyn College Conservatory of Music. Filmmaking is a special interest of Mr. Canellakis. He has produced, directed, and starred in several short films and music videos, including his popular comedy web series “Conversations with Nick Canellakis.” All of his videos can be found on his website at www.nicholascanellakis.com .

2013-2014 ARTIST ROSTER ALESSIO BAX, PIANO NICHOLAS CANELLAKIS, CELLO STEFÁN RAGNAR HÖSKULDSSON, FLUTE DAVID KRAUSS, TRUMPET JOEL NOYES, CELLO PHILIP SETZER, VIOLIN STEPHEN WILLIAMSON, CLARINET STEPHANIE BLYTHE, RECITER LINO GOMEZ, SAXOPHONE HSIN-YUN HUANG, VIOLA ANTHONY MCGILL, CLARINET SUSANNA PHILLIPS, SOPRANO ARNAUD SUSSMANN, VIOLIN GREGORY ZUBER, PERCUSSION BRENTANO STRING QUARTET JERRY GROSSMAN, CELLO WARREN JONES, PIANO RAYMOND MENARD, RECITER ERIK RALSKE, FRENCH HORN CONRAD TAO, PIANO

June 2, 2024: Mozart’s Double Concertos WOLFGANG AMADEUS MOZART (1756-1791) Concerto for Flute and Harp, K. 299 June 2, 2024: Mozart’s Double Concertos Mozart went to Paris in the spring of 1778, and, as the cost of living was high, he presented himself to members of the nobility and the Parisian socialites in hopes of receiving musical commissions, being paid for performances, or giving music lessons. One of his composition pupils was the daughter of Adrien-Louis Bonnière de Souastre, Comte de Guines. (Mozart referred to him as the Duc de Guines, though he was actually a count.) Mozart wrote to his father that the “Duc” played the flute extremely well and his daughter’s harp playing was “magnifique.” In April 1778 he duly composed a flute and harp concerto, for which he fully expected to be paid. The daughter ceased her lessons when she was to be married, and the Duc went off to the country. Mozart went around to the house to collect, not only for the lessons, but for the Concerto, which the Duc had already had for four months. He found only a housekeeper who offered him such a meager sum that he indignantly refused it. Although Mozart eventually had nothing but contempt for this aristocratic family, some gratitude is owed them for eliciting such a delightful work—his only composition for harp. Mozart, incredibly, is said to have disliked both the flute and the harp, yet this Concerto shows both instruments to advantage, and maintains the standard one expects of the master. The Concerto was designed to please eighteenth-century French society, and hence its galant style avoids contrapuntal complexities. The work employs a multitude of engaging melodies, many of which are only given to the soloists. The first movement follows sonata form, with a long exposition and recapitulation, but a short development. About midway into the movement Mozart wrote a low D-flat and C for the flute, which, doubling the harp’s lowest notes, form the bass(!) line. Apparently the “Duc” de Guines had a flute with the D-flat and C holes (and possibly keys), which Mozart may not have been able to count on later, for he never wrote those notes for the flute again. Mozart’s imaginative orchestration in the second movement includes violas divided into two independent parts throughout, providing a lush string texture, while the oboes and horns are left silent. A warm, elegant mood prevails. The third movement suggests a courtly gavotte; the main theme begins with the characteristic upbeat of two quarter notes. The oboes and horns are prominent here after the silence of the previous movement. The rondo-form movement again shows an unusual abundance of melodic material, even for Mozart. —©Jane Vial Jaffe 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.

December 5, 2021: Paul Jacobs, organ JOHANN SEBASTIAN BACH (1685-1750) Prelude and Fugue in D Major, BWV 532 December 5, 2021: Paul Jacobs, organ Bach’s astounding proficiency as an organist not only earned him legendary renown in his lifetime but contributed immeasurably to his unique position for posterity as an idolized composer of boundless inventiveness, mind-boggling intellect, and technical wizardry. His more than 250 compositions for organ span his entire lifetime, from his earliest pieces written as a student with his father’s cousin, organist Johann Christoph Bach, to an organ chorale, one of his last pieces, composed when he was nearly blind. Most originated during his employment at the Duke of Weimar’s court, 1708–17, the last period of his long life when he held an actual post as organist. The present Prelude and Fugue in D major is thought to be an early Weimar work from about 1710. This was a time during which he had absorbed influences from German predecessors such as Buxtehude, Böhm, and Pachelbel, as well as Italian masters such as Legrenzi and Corelli, but before he encountered Vivaldi’s works, which brought about a significant style change c. 1713–14. Bach’s early organ works show an impassioned exuberance if a generally less polished harmonic and polyphonic technique. Bach’s organ works can be easily categorized in two groups—those based on chorale melodies and those freely invented, such as toccatas, fantasias, preludes and fugues. The two categories do not separate music intended for church—the vast majority of his organ works—from that for any other purpose such as teaching or recitals, rather, there was considerable crossover. The Prelude and Fugue in D major, BWV 532, is one of those formally varied, exuberant “free” pieces, which unfolds on an especially large scale. The Prelude consists of a brilliant and wide-ranging introduction, a contrapuntal “Alla breve” (two beats to a bar) in Italian style with slowly shifting harmonies, and a slow section that ends with recitative-like passages in preparation for the Fugue. The fugue subject shows Bach’s fascinating inventiveness in shaping something extraordinary out of repetitions and sequences (the same material at a different pitch). He was clearly fascinated by this remarkable subject because he reused it in his Toccata in D major, BWV 912, which may date from around the same time. © Jane Vial Jaffe Return to Parlance Program Notes

GILAD COHEN, COMPOSER Gilad Cohen’s new quintet for three violins, viola, and piano, Parlance Chamber Concerts’s first commissioned work, will be premiered by the Neubauer-McDermott Family Concert on May 6, 2018. An active composer, performer, and theorist, Israeli musician Gilad Cohen focuses on a variety of musical genres that include concert music, rock, and music for theater. His works have been performed in North America, Asia, Europe, and the Middle East by renowned artists ranging from London’s Nash Ensemble and the Apollo Chamber Players to the Brentano Quartet and Tre Voci (Kim Kashkashian, Marina Piccinini and Sivan Magen), as well as orchestras and choirs throughout Israel and his own rock band, Double Space. Recipient of myriad honors and top composition prizes, Cohen was recently awarded the 2016 Barlow Prize, resulting in the commission of a duet for violin and piano that will be premiered by a consortium of performers. His other recent and current projects include Around the Cauldron, commissioned by Concert Artists Guild with support from the Adele and John Gray Endowment Fund, to be premiered at Carnegie Hall in 2017, and Doaa and Masa, which will be premiered this year by harpist Sivan Magen in Hong-Kong, Israel, and Columbia. He is also working on a new quintet for the 10th anniversary of the Israeli Chamber Project for premiere performances on their 2018 tours. On the rock/pop front, Cohen’s music for Double Space and modern-klezmer ensemble Klezshop was awarded the Outstanding Achievement in Songwriting Award in the 11th Annual Great American Song Contest and was a finalist at the John Lennon Songwriting Contest. As a theorist Cohen has researched structure in the music of Pink Floyd, resulting in articles in prestigious publications, lectures in the U.S. and Israel, a four-credit course at Ramapo College, and the first-ever academic conference devoted to Pink Floyd that he coproduced at Princeton University with composer Dave Molk. As a performing musician, Cohen has played piano, bass guitar, and guitar at renowned venues worldwide, and he has served on occasion as a choral conductor and music director of musicals. A faculty member at Ramapo College, Cohen holds a Ph.D. in composition from Princeton University, and he is a graduate of Mannes College of Music, the Jerusalem Academy of Music and Dance, and the BMI Lehman Engel Musical Theatre Workshop. Among his principal teachers were Robert Cuckson, Steven Mackey, and Paul Lansky.

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Mary Hammann, viola Violist with the Met Opera since 1992, Mary Hammann hails from a family of five musical sisters. She graduated from Curtis Institute and Mannes College of Music, studying with Michael Tree, Karen Tuttle, and Walter Trampler. Mary has appeared in numerous chamber music festivals, including Marlboro Music, and for 20 years has concertized and recorded numerous CDs with her award-winning trio, Auréole.

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MICHELLE KIM, VIOLIN Violinist Michelle Kim has been Assistant Concertmaster (The William Petschek Family Chair) of the New York Philharmonic since 2001. She has performed as soloist with orchestras such as the New York Philharmonic, New Jersey Philharmonic, Santa Barbara Chamber Orchestra, and Pacific Symphony. An active chamber musician, Ms. Kim has collaborated with violinists Cho-Liang Lin, Christian Tetzlaff, and Pinchas Zukerman; cellists Mstislav Rostropovich, Lynn Harrell, and Gary Hoffman; and pianists Lang Lang and Yefim Bronfman. She has performed at the Santa Fe Chamber Music, La Jolla Chamber Music, Strings in the Mountain, and Bravo! Vail Valley Music festivals. She has also served as the first violinist of the Rossetti String Quartet, and was a Sterne Virtuoso Artist at Skidmore College in 2007-08. A former Presidential Scholar, Ms. Kim attended the University of Southern California’s Thornton School of Music as a Starling Foundation scholarship recipient. She has been a member of the faculty at the USC Thornton School of Music; Colburn School of Performing Arts; and University of California, Santa Barbara. Michelle Kim currently teaches at the Mannes College of Music.

WU HAN, PIANO Pianist Wu Han ranks among the most esteemed and influential classical musicians in the world today. Leading an unusually multifaceted artistic career, she has risen to international prominence through her wide-ranging activities as a concert performer, recording artist, educator, arts administrator, and cultural entrepreneur. In high demand as a recitalist, concerto soloist, and chamber musician, Wu Han has appeared at many of the world’s most prestigious concert series and venues across the United States and around the world. She is a frequent collaborator with many of today’s finest musicians and ensembles. Wu Han appears extensively each season as duo pianist with cellist David Finckel, and in 2012, they were the recipients of Musical America’s 2012 Musicians of the Year award, one of the highest honors granted by the music industry. London’s Musical Opinion said of the duo’s Wigmore Hall debut: “They enthralled both myself and the audience with performances whose idiomatic command, technical mastery and unsullied integrity of vision made me think right back to the days of Schnabel and Fournier, Solomon and Piatigorsky.” In addition to her distinction as one of classical music’s most accomplished performers, Wu Han has established a reputation for her dynamic and innovative approach to the recording studio. In 1997, Wu Han and David Finckel launched ArtistLed, classical music’s first musician-directed and Internet-based recording company, whose catalogue of eighteen albums has won widespread critical acclaim. The duo’s recording for the ArtistLed label of the Rachmaninov, Shostakovich, and Prokofiev sonatas for cello and piano received BBC Music Magazine’s coveted “Editor’s Choice” award. The most recent addition to the ArtistLed catalogue, Wu Han LIVE, was released in December 2014 in collaboration with the Music@Menlo LIVE label and features Wu Han performing solo and chamber works of Mendelssohn, Bach, and Haydn. Now in their third term as Artistic Directors of The Chamber Music Society of Lincoln Center, David Finckel and Wu Han hold the longest tenure since Charles Wadsworth, the founding Artistic Director. They are the founding Artistic Directors of Music@Menlo, a chamber music festival and institute in Silicon Valley that has garnered international acclaim, soon to celebrate its thirteenth season. David Finckel and Wu Han also serve as Artistic Directors of Chamber Music Today, an annual festival held in Seoul, Korea. The festival, now celebrating its fifth anniversary, is at the forefront of expanding the presence of chamber music in the Far East. Wu Han has achieved universal renown for her passionate commitment to nurturing the careers of countless young artists through a wide array of education initiatives. For many years, she taught alongside the late Isaac Stern at Carnegie Hall and the Jerusalem Music Center. Under the auspices of the Chamber Music Society of Lincoln Center, Wu Han and David Finckel direct the LG Chamber Music School, which provides workshops for young artists in Korea. In 2013, Wu Han and David Finckel established a chamber music studio at Aspen Music Festival.