November 15, 2015 – Jeremy Denk, piano; Stefan Jackiw, violin CÉSAR FRANCK (1822-1890) Violin Sonata in A major, M. 8 November 15, 2015 – Jeremy Denk, piano; Stefan Jackiw, violin César Franck, organist at St. Clothilde and professor of organ at the Paris Conservatory, influenced a generation of composers including d’Indy, Chausson, Duparc, and Vierne, yet was not prolific himself as a composer. He was a late achiever par excellence: he completed his only Symphony when he was sixty-six, and he composed his memorable chamber works, the Piano Quintet and Violin Sonata, just several years before, with the String Quartet closely following the Symphony. There is no telling what he might have achieved had he not died in 1890 at age sixty-seven. Franck’s concern for thematic unity led to the use of what his disciple and enthusiastic champion Vincent d’Indy called the “cyclic” principle—the use of similar thematic material in two or more movements in the same work. D’Indy related Franck’s cyclic procedures to Beethoven, who may have been his inspiration, but Franck’s structural ideas have much more in common with those of Liszt and his practice of deriving an entire work from one musical idea. The opening theme begins with a three-note “generating cell,” as d’Indy called it, that permeates the work. Almost immediately Franck shows his penchant for changing keys. As a teacher of organ, with composition mixed in, Franck grew uneasy when any student remained too long in one key—“Modulate, modulate!” he would urge, which was known to exasperate Debussy, who studied briefly in his class. Formally the first movement is based on this and another main theme that occurs only in piano interludes; the subjects alternate while passing through myriad keys. The presentation of the thematic material in this fashion and the lack of development give the movement the feel either of a prologue or of an inner movement. Originally Franck had conceived the movement in a slow tempo, but changed it to Allegretto after hearing it played by violin virtuoso Eugène Ysaÿe, to whom the work is dedicated. Full-fledged sonata form is saved for the second movement, which employs a bit of the generating cell and also introduces another theme that will return in the finale. The brilliance of this Allegro movement contrasts nicely with the poetic first movement and with the rhapsodic third movement. This Recitativo-Fantasia sounds improvisatory at the outset as Franck ruminates upon the generating cell. The final Fantasia section is dominated by another theme that will reappear in the finale and ends with an unexpected harmonic turn. The finale is remarkable for the exact imitation between the violin and piano—one of the famous examples of canonic writing in the literature—which appears four times like a rondo refrain. The intervening episodes are based on the materials of the previous movements. The Sonata was apparently given as a wedding present to Ysaÿe, who first performed it with pianist Léontine Bordes-Pène as the last work on an all-Franck concert at the Musée Moderne de Peinture in Brussels on December 16, 1886. D’Indy described that memorable late afternoon performance: It was already growing dark as the Sonata began. After the first Allegretto, the players could hardly read their music. Unfortunately, museum regulations forbade any artificial light whatever in rooms containing paintings; the mere striking of a match would have been an offense. The audience was about to be asked to leave, but, brimful with enthusiasm, they refused to budge. At this point, Ysaÿe struck his music stand with his bow, demanding, “Let’s go on!” Then, wonder of wonders, amid darkness that now rendered them virtually invisible, the two artists played the last three movements from memory with a fire and passion the more astonishing in that there was a total lack of the usual visible externals that enhance a concert performance. Music, wondrous and alone, held sovereign sway in the blackness of night. The miracle will never be forgotten by those present. © Jane Vial Jaffe Return to Parlance Program Notes

MARK ROMATZ, BASSOON Mark L. Romatz, bassoon, is currently Second Bassoon and Contrabassoon the Metropolitan Opera Orchestra. Prior to that appointment, the University of Michigan graduate held positions with the Montreal, Jacksonville, Savannah, Duluth, and Flint Symphonies. He has been a member of the Bellingham, Grand Teton, Grant Park, Colorado, Spoleto, Lancaster, Sunflower, and Buzzard Bay Music Festivals. Mr. Romatz has been a faculty member at McGill University in Montreal, the University of Florida, St. Olaf College, and the University of Minnesota-Duluth. He as served as Acting Second Bassoon with the Minnesota Orchestra and has performed with the Chicago and Detroit Symphony Orchestras and the Saint Paul Chamber Orchestra. He studies with L. Hugh Cooper and John Miller.

November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano American Songbook Arlen: I Wonder What Became of Me; Gershwin: Our Love is Here to Stay; Weill: Youkali November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano I Wonder What Became of Me Harold Arlen Born in Buffalo, New York, February 15, 1905; died in New York, April 23, 1986 After composing Broadway musicals in New York in the 1930s, Harold Arlen began writing for Hollywood films—he is best-known for his songs for The Wizard of Oz, in particular, “Over the Rainbow” with lyricist Yip Harburg. He spent the next two decades composing primarily in collaboration with lyricist Johnny Mercer, helping to shape the spectacular effusion of American popular song at the time. In the mid-1940s Arlen again turned his attention to the theater, and it was for the 1946 Broadway show St. Louis Woman that he and Mercer wrote “I Wonder What Became of Me.” The lead, Della, was supposed to sing it as a lament that luxury has not brought fulfillment. Though the song was dropped in pre-Broadway tryouts, it took on a life of its own with such illustrious interpreters as Lena Horne. Arlen liked to break the mold of a thirty-two-bar popular song form on occasion, just as he sometimes felt some songs just need to “get into another key” than where they began.” “I Wonder What Became of Me” does both—it employ sections uneven in length and ends up in a new key in reflection of its wistful lyrics. Our Love Is Here to Stay George Gershwin Born in Brooklyn, New York, September 26, 1898; died in Hollywood, California, July 11, 1937 Pursuing his prodigious musical talent after dropping out of high school, George Gershwin went to work at age fifteen for a music publisher of popular songs, singing and playing them at the piano to attract buyers. Soon he began composing his own songs and piano pieces, and when he got a better job as a pianist for Broadway shows, it was a small step for him to compose his own shows, for which his brother Ira wrote the lyrics. They scored their first big hit in 1920 with the song “Swanee,” recorded by Al Jolson. George gained further celebrity with his highly original works combining jazz and classical styles for the concert hall such as Rhapsody in Blue and An American in Paris. By age thirty he was America’s most famous composer. He and Ira continued to write successful Broadway shows through the 1930s, but George’s untimely death of a brain tumor at age thirty-eight robbed the world of one of its most innovative and successful composers. “Our Love Is Here to Stay” was the last song Gershwin wrote before his death on July 11, 1937. His brother Ira fit it with words after George’s death as a tribute to him for the film The Goldwyn Follies (1938), in which it was sung by Kenny Baker. The song’s extraordinary popularity, however, stems from its use in the hit film An American in Paris, where Gene Kelly sings it to Leslie Caron. Youkali Kurt Weill Born in Dessau, March 2, 1900; died in New York, April 3, 1950 Kurt Weill had already earned recognition as Germany’s leading avant-garde theater composer when the rise of Nazism forced him and his wife, singer and actress Lotte Lenya, to move to Paris in 1934, then to New York in 1935. His greatest European successes—Mahagonny (1927) and Die Dreigroschenoper (1928), with its hit song “Mack the Knife”—had resulted from his collaboration with satiric dramatist Bertolt Brecht. Weill quickly adapted to the very different world of Broadway, having already begun to use American jazz and popular song elements in his European theater works. Writing for stage, film, and radio in America, Weill became especially known for works such as Knickerbocker Holiday (1938), which contains the ultra-popular “September Song”; Lady in the Dark (1940); Street Scene (1946); and Lost in the Stars (1949). Weill originally composed an instrumental version of the tango that became “Youkali” while in Paris as an interlude for the 1934 play Marie galante by Jacques Duval. The following year Roger Fernay (pseudonym of French actor Roger Bertrand) wrote lyrics for it, and the song was published jointly by the two under the title “Youkali.” It lay in obscurity, however, until the aging Lenya turned over a stack of Weill’s materials to Canadian-born soprano Teresa Startas, whose career at the Metropolitan opera spanned thirty-six years. Though written and first published in France, this “Tango Habanera,” as it is subtitled, holds a place in the “American songbook” because it emerged from oblivion when Stratas recorded it in 1981 in New York on her album The Unknown Kurt Weill. “Youkali” refers to an idyllic land where one can escape life’s troubles, but which turns out to be only a dream. —©Jane Vial Jaffe Return to Parlance Program Notes

November 15, 2015 – Jeremy Denk, piano; Stefan Jackiw, violin CHARLES IVES (1874-1954) Violin Sonata 1, S. 60 and Violin Sonata No. 4, “Children’s Day at the Camp Meeting,” S. 63 November 15, 2015 – Jeremy Denk, piano; Stefan Jackiw, violin In his four violin sonatas, as in much of his music, Ives drew on scraps of hymns, popular songs, band tunes, patriotic songs, and ballads of nineteenth-century America, familiar from growing up in Danbury, Connecticut. These he combined with his own original blend of traditional and nontraditional harmonies, “wrong-note” dissonances, clusters, and very free counterpoint. The sonatas are groupings of many individual violin and piano movements that Ives worked on from c.1906 to 1919. Definite similarities exist among the violin sonatas. All are conceived in a three-movement form and all end with a large-scale coda based on a hymn tune, played by the violin in altered form. The First Sonata , which Ives assembled around 1914 or 1917 using some materials from as early as 1906, shows an intriguing unification by key scheme and motives that neither Second nor Fourth Sonata demonstrates; the Third again uses cyclic procedures. Not only does Ives preview the key of the next movement’s opening motive in both the first and second movements, but he also emphasizes two main keys across movements. Further, he brings back the first movement’s opening at the end of the third movement, and he plays on the melodic similarities between some of his borrowed tunes, such as “Shining Shore” in the first movement and “Watchman” in the third. Other remarkable features of the First Sonata are its types of cumulative settings—unusual even for Ives—in its first and third movement. Cumulative is the apt term, coined by scholar J. Peter Burkholder in his 1983 doctoral dissertation, referring to the manner in which Ives introduces motives that he elaborates and combines until he presents the final “accumulated” setting toward the conclusion. Here in the First Sonata Ives bases his first movement primarily on the hymn “Shining Shore,” which has a contrasting middle section. He not only lets its main theme accumulate through the movement, but similarly treats a countermelody made from the hymn’s contrasting melody. Further, he begins with an introduction that returns at the end, encapsulating the cumulative setting. The slow movement, like much of Ives’s Second Sonata, draws on what is commonly referred to as his “Pre-First” Violin Sonata, which he may have begun as early as c. 1901–02 and worked on at various times between 1908 and 1913. Here, as in that slow movement, he freely varies “The Old Oaken Bucket” in its outer sections and bits of the Civil War tune “Tramp, Tramp, Tramp” in its livelier middle section. The loud violin passage at the end previews the main theme of the third movement. In the third movement’s cumulative setting—even more ingenious than in the first—Ives starts to treat fragments from the tune “Work Song” and interrupts this “development” by beginning a different cumulative setting as a middle section (on the tune “Watchman”). He then resumes the initial setting and takes it to its full-blown conclusion—thus creating a unique three-part form. Ives jotted down the following colorful description of the First Sonata on his score: “This sonata is in part a general impression, of kind of reflection and remembrance of the peoples’ outdoor gatherings in which men got up and said what they thought, regardless of the consequences—of holiday celebrations and camp meetings in the [18]80s and 90s—suggesting some of the songs, tunes, and hymns, together with some of the sounds of nature joining in from the mountains in some of the old Connecticut farm towns. “The first movement may, in a way, suggest something that nature and human nature would sing out to each other—sometimes. The second movement, a mood when ‘The Old Oaken Bucket’ and ‘Tramp, Tramp, Tramp, the Boys are Marching’ would come over the hills, trying to relive the sadness of the old Civil War Days. And the third movement, the hymns and the actions at the farmers’ camp meeting inciting them to ‘work for the night is coming.’” * * * Ives assembled the material of the Fourth Sonata between 1911 and 1916. It was the only violin sonata for which he actually supervised publication: he had it privately lithographed in 1914–15 in a four-movement version. It was later republished in 1942, without the fourth movement and with certain revisions of the other movements. The omitted movement became the finale of the Second Sonata. The Fourth Sonata, Ives said, was “an attempt to write a sonata which Moss White, then about twelve years old, could play. The first movement kept to this idea fairly well, but the second got away from it, and the third got in between. Moss White couldn’t play the last two and neither could his teacher.” The 1942 publication provided Ives’s vivid commentary on the work, taken “mostly from remarks written on the back of some of the old music manuscripts,” which is quoted extensively here for his unique description of his own childhood experiences and how they influenced the work’s construction: “This sonata . . . called ‘Children’s Day at the Camp Meeting’ . . . is shorter than the other violin sonatas, and a few of its parts and suggested themes were used in organ and other earlier pieces. The subject matter is a kind of reflection, remembrance, expression, etc., of the children’s services at the outdoor summer camp meetings held around Danbury and in many of the farm towns in Connecticut, in the [18]70s, 80s, and 90s. . . . “The first movement (which was sometimes played last and the last first)—was suggested by an actual happening at one of these services. The children, especially the boys, liked to get up and join in the marching kind of hymns. And as these meetings were ‘outdoor,’ the ‘march’ sometimes became a real one. One day Lowell Mason’s ‘Work for the Night Is Coming’ got the boys going and keeping on between services. . . . In this movement . . . the postlude organ practice [Ives was an accomplished organist] . . . and the boys’ fast march got to going together, even joining in each others’ sounds, and the loudest singers and also those with the best voices, as is often the case, would sing most of the wrong notes. . . . The organ would be uncovering ‘covered 5ths’ breaking ‘good resolutions’ faster and faster and the boys’ march reaching almost a ‘Main Street Quick-step’ when Parson Hubbell would beat the ‘Gong’ on the oak tree for the next service to begin. Or if it is growing dark, the boys’ march would die away, as they marched down to their tents, the barn doors or over the ‘1770 Bridge’ between the Stone Pillars to the Station. “The second movement is quieter and more serious except when Deacon Stonemason Bell and Farmer John would get up and get the boys excited. But most of the movement moves around a rather quiet but old favorite hymn of the children [“Jesus Loves Me”], while mostly in the accompaniment is heard something trying to reflect the outdoor sounds of nature on those summer days—the west wind in the pines and oaks, the running brook—sometimes quite loudly—and maybe towards evening the distant voices of the farmers across the hill getting in their cows and sheep. “But as usual even in the quiet services, some of the deacon-enthusiasts would get up and sing, roar, pray, and shout but always fervently, seriously, reverently—perhaps not ‘artistically’—(perhaps the better for it). . . . At times these ‘confurorants’ would give the boys a chance to run out and throw stones down on the rocks in the brook! (Allegro conslugarocko!)—but this was only momentary and the quiet Children’s Hymn is sung again, perhaps some of the evening sounds are with it—and as this movement ends, sometimes a distant Amen is heard—as the mood of the Day calls for it. . . . “The third movement is more in the nature of the first. As the boys get marching again some of the old men would join in and march as fast (sometimes) as the boys and sing what they felt, regardless—and—thanks to Robert Lowry—‘Gather at the River.’” * * * In 1914 Ives invited accomplished German violinist Franz Milke to try out his First and Second Violin Sonatas, before he made revisions several years later. As the composer reported, “He didn’t even get through the first page. He was all bothered with the rhythms and the notes, and got mad. He said ‘This cannot be played.’ . . . He couldn’t get it even after I’d played it over for him several times.” This, coming after Ives had experienced a number of similar reactions to his music, prompted him to wonder, “Are my ears on wrong?” Though they still contain challenges, his violin sonatas have long been recognized by performers and listeners alike as among the most original and important pieces of violin music by an American composer. © Jane Vial Jaffe Return to Parlance Program Notes

November 15, 2026: Café Music James Grant Triple Mocha Indulgence (bassoon and piano) November 15, 2026: Café Music James Grant, an American-Canadian composer, has been regularly commissioned by a variety of orchestras, choruses, and chamber ensembles and is in demand for his thoughtful and savvy writing for specific instruments as well as his incorporation of influences from jazz, pop, and other styles. Grant taught composition at Middlebury College in Vermont before he began composing full-time, and he has been composer in residence for the Fairfax Symphony Orchestra in Virginia and the Bay Atlantic Symphony in New Jersey. Grant’s works include concertos for bass clarinet and alto saxophone as well as a double concerto for euphonium and tuba. With the addition of several other works for tuba and euphonium, Grant has garnered some attention from the low brass community with a feature in T.U.B.A. (now ITEA) Journal and several dissertations focused on these works. Today, Grant is still composing while also serving as the Director of the new Thriving Cultures Organic Sourdough Bread bakery at Muskoka Market & Eatery, a not-for-profit, member-owned community grocery providing sustainable, ethically sourced foods from local farmers and producers. Chocolates is a set of three torch songs that was originally commissioned and recorded by Michelle LaCourse for viola, and versions for clarinet and bassoon soon followed. The title was inspired by Grant’s gift of chocolate truffles to LaCourse following their 1997 collaboration on his viola concerto. Whether or not Triple Mocha Indulgence was named intentionally for its apparent form, it comes across in three sections: a sorrowful, blues-inspired opening, the cheerful middle section, and an exciting closing section reminiscent of mid-twentieth century ragtime. The slow, sentimental opening features relaxed interplay between the soloist and the piano. The second and more animated section introduces an easy-going swung feel with surprising moments dashing through straight eighth notes before returning to the lively swing. These rhythmic shifts complement the playfully leaping melody. The enthusiasm continues to grow throughout the closing including the unexpected moment the bassoon plays a named excerpt from “Jesu, Joy of Man’s Desiring” with an instruction for it to be “played ‘classically.’” It is as though the soloist is daydreaming for a moment before returning to the main idea with the direction from the score: “back to jazz.” This playful distraction is followed by a shift in meter that solidifies the ragtime feel. The drama is built with moments for the piano to shine and a few pauses before the enthusiastic ending that could only be elevated further by the performer’s option to “execute a long ‘Gershwin gliss.’” —©Ainsley Berryhill Return to Parlance Program Notes

TIMOTHY COBB, DOUBLE BASS Timothy Cobb is the principal bass of the New York Philharmonic, prior to which he served as principal bass for the Metropolitan Opera Orchestra. Mr. Cobb serves as bass department chair for the Juilliard School, as well as serving on the faculties of the Manhattan School of Music, Purchase College and Rutgers University. Mr. Cobb also holds the title ‘Distinguished Artist in Residence’ at Lynn University in Boca Raton, Fl. Mr. Cobb has appeared at numerous chamber music festivals worldwide, and as a former participant in the Marlboro Music festival, has toured with the Musicians from Marlboro series. Mr. Cobb serves on the faculty of the Sarasota Music Festival each June, and in 2014 helped to launch a new bass program for the Killington Music Festival in Killington, VT. Mr. Cobb serves as principal bass for Valery Gergeiv’s” World Orchestra for Peace”, an invited group of musicians from around the world who donate their time biannually to form an orchestra promoting international friendship and understanding. From his affiliation with the World Orchestra, Mr. Cobb has been designated a ‘UNESCO Artist for Peace’. Mr. Cobb also served as principal bass for the Mostly Mozart festival orchestra from 1989-2015. Mr. Cobb graduated from the Curtis Institute where he studied with Roger Scott. While at Curtis, Mr. Cobb was a substitute with the Philadelphia Orchestra and in his senior year became a member of the Chicago Symphony under Sir Georg Solti. Mr. Cobb can be heard on all Met recordings after 1986, New York Philharmonic recordings and broadcasts from 2011 on, as well as on the Naxos label, in a recording of Giovanni Bottesini’s duo bass compositions with fellow bassist Thomas Martin, of London. Additionally, Mr. Cobb has an ongoing collaboration with actor Stephen Lang, performing the solo bass soundtrack for Mr. Lang’s animated short, ‘The Wheatfield’, which depicts a moving and factual story from the Battle of Gettysburg. Mr. Lang and Mr. Cobb were joined by historian Harold Holzer when they were invited to Gettysburg in 2013 to mark the 150th anniversary of the battle by performing ‘The Wheatfield ‘at the Gettysburg Museum. In the 2018/19 season, Mr. Cobb will appear on the New York Philharmonic’s Merkin Hall chamber series, as well as two appearances with the Chamber Music Society of Lincoln Center at Alice Tully Hall in New York City, and the Harris Theatre in Chicago. Mr. Cobb will also make two appearances at the Parlance Chamber Series in Ridgewood, New Jersey. Additionally, Mr. Cobb will travel to several countries in Asia and Europe to give master classes, as well as performing a full schedule with the New York Philharmonic and a performance of Beethoven’s ninth symphony with the World Orchestra for Peace in November in Germany marking the 100th anniversary of Armistice Day, the end of WW1.

ABRAHAM APPLEMAN, VIOLA Abraham Appleman was born in Yokohama, Japan. He began his studies on the violin and piano at the age of four, soon after his family moved to the Boston area. His continued studies there led to his debut, at age fifteen, performing Max Bruch’s G minor Violin Concerto with the Boston Symphony Orchestra. Since then, Mr. Appleman has had a multifaceted career, performing in Asia, Europe, and the Americas as a soloist, concertmaster, and chamber musician. He is a founding member of the chamber ensemble Voce Intimae and has served as concertmaster of the Colorado Music Festival and the Atlantic Classical Orchestra in Florida. In New York, Mr. Appleman performs regularly in the first violin section of the Metropolitan Opera Orchestra. As one of the foremost violinists in the recording industry, he can be heard as a soloist on numerous CDs and motion picture soundtracks. During the summer season, Mr. Appleman is regularly invited to perform with the Boston Symphony Orchestra at the Tanglewood Music Festival.

SUNDAY, DECEMBER 15, 2019 AT 3 PM STRAVINSKY! Ballet & Theater Music BUY TICKETS INN-HYUCK CHO, CLARINET Principal Clarinet, Met Orchestra DEMIAN AUSTIN, TROMBONE Principal Trombone Met Orchestra CHRIS COLETTI, TRUMPET Principal Trumpet Canadian Brass BENJAMIN LUXON, ACTOR-NARRATOR “His interpretive power is unquestioned.” — The New York Times ANDREW TYSON, PIANO “A real poet of the piano.” — BBC Radio 3 BENJAMIN BEILMAN, VIOLIN 2019 “Poised and monstrously talented” — Philadelphia Inquirer IAN ROSENBAUM, PERCUSSION Lincoln Center Chamber Music Society ANNI CROFUT, DANCER FRANK MORELLI, BASSOON Principal Bassoon Orpheus FEATURING ABOUT THE PERFORMANCE BUY TICKETS This special event will feature music from three of Stravinsky’s iconic theater works. The dazzling Piano Suite from Petrushka was inspired by the music from his groundbreaking 1911 ballet, and the neoclassic Suite Italienne for violin and piano was adapted from Stravinsky’s charming and witty score for his 1923 ballet Pulcinella . The afternoon will culminate with a fully narrated, choreographed performance of Stravinsky’s seminal 1918 theater work, The Soldier’s Tale , the Faustian tale of a young soldier who makes a deal with the Devil. PROGRAM Igor Stravinsky Three Movements from Petrushka Andrew Tyson, piano Program Notes Igor Stravinsky Suite Italienne Benjamin Beilman, violin; Andrew Tyson, piano Program Notes Igor Stravinsky The Soldier’s Tale Benjamin Luxon, narrator; Anni Crofut, dancer; Instrumental Septet Program Notes Watch Anni Crofut dance the Tango, Waltz, and Ragtime from Stravinsky’s “The Soldier’s Tale”:

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, MAY 17, 2026 AT 4 PM A BRAHMSIAN FINALE CHEE-YUN, VIOLIN STERLING ELLIOTT, CELLO HENRY KRAMER, PIANO CHEE-YUN , VIOLIN STERLING ELLIOTT , CELLO HENRY KRAMER , PIANO “Chee-Yun was at once playful and passionate, her bow was consistently precise even at NASCAR speed.” — The Washington Post “Sterling Elliot is a star cellist who has risen beyond hopeful promise to astonishing maturity. If you see his name on an upcoming venue, take the leap, and hear what he is up to, no matter what the program offers.“ — The Millbrook Independent “Henry Kramer was as technically flawless and precise as a faceted diamond…” — Portland Press Herald 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 Violinist Chee-Yun returns to Parlance Chamber Concerts following her unforgettable 2024 performance of Brahms’s Horn Trio — an interpretation so compelling that Artistic Director Michael Parloff invited her back for an afternoon devoted entirely to Brahms’s chamber music. She will be joined by two extraordinary young artists: Sterling Elliott , a cellist of “astonishing maturity” (The Millbrook Independent ), and Henry Kramer , a pianist whose Brahms playing has been called “thrilling and nearly flawless” (Cleveland Classical Review ). Their program will open with Brahms’s dramatic D-minor Violin Sonata , followed by the lyrical F-major Cello Sonata . The concert will culminate in a performance of Brahms’s towering B-minor Piano Trio , uniting all three artists in a powerful and expressive finale to Parlance Chamber Concert’s 18th season. PROGRAM Johannes Brahms: Violin Sonata No. 3 in D minor, Op. 108 Program Notes Johannes Brahms: Cello Sonata No. 2 in F, Op. 99 Program Notes INTERMISSION Johannes Brahms: Piano Trio No. 1 in B, Op. 8 Program Notes Watch violinist Chee-Yun’s scintillating performance of Brahms’s Horn Trio with hornist Brad Gemeinhardt and pianist Alessio Bax: Watch cellist Sterling Elliott play Elgar’s Cello Concerto in London: Watch pianist Henry Kramer play Ravel’s Alborada del Gracioso from Miroirs:

SUNDAY, APRIL 8, 2018 AT 3 PM BEETHOVEN: EARLY, MIDDLE, & LATE QUARTETS BUY TICKETS THE DANISH STRING QUARTET “That mixture of casualness and control that comes out when they perform makes them the quartet I would most want to hear play just about anything. Chords all have a diamond edge, tunes pour like molten silver, staccato passages skip like stones across a lake.” — Justin Davidson, New York Magazine FEATURING ABOUT THE PERFORMANCE BUY TICKETS On April 8 , it will be a thrill to introduce the sizzling Danish String Quartet to our community. The Danes’s rare combination of rock star charisma, ensemble perfection, and consummate artistry have made them one of the most in-demand quartets of our time. Their All-Beethoven concert will feature three masterpieces from his early, middle and late periods. PROGRAM Ludwig van Beethoven String Quartet in D, Op. 18, No. 3 Program Notes Ludwig van Beethoven String Quartet in F, Op. 59, No. 1 Program Notes Ludwig van Beethoven String Quartet in C# minor, Op. 131 Program Notes Watch the Danish String Quartet perform Beethoven’s Quartet No. 15, Op. 131: Watch the Danish String Quartet perform Beethoven’s Quartet No. 10 (The Harp), Op. 74:

Greg Anderson, piano The Anderson & Roe mission: To make classical music a relevant and powerful force in society. Known for their adrenalized performances, original compositions, and notorious music videos, GREG ANDERSON and ELIZABETH JOY ROE are revolutionizing the piano duo experience for the 21st century. Described as “the most dynamic duo of this generation” (San Francisco Classical Voice ), “rock stars of the classical music world” (Miami Herald ), and “the very model of complete 21st-century musicians” (The Washington Post ), the Anderson & Roe Piano Duo aims to make classical music a relevant and powerful force around the world. Their five critically acclaimed albums have spent dozens of weeks at the top of the Billboard Classical Charts, while their Emmy-nominated, self-produced music videos have been viewed by millions on YouTube and at international film festivals. 2022 marks the 20th anniversary of Anderson & Roe’s debut. Since forming their dynamic musical partnership as students at The Juilliard School, Anderson & Roe have toured extensively worldwide as recitalists and orchestral soloists; appeared on NPR, MTV, PBS, and the BBC; presented at numerous international leader symposiums; and served as hosts of “From the Top” and the Van Cliburn International Piano Competition. A live performance by Anderson & Roe was handpicked to appear on the Sounds of Juilliard CD celebrating the school’s centenary. While isolating during the COVID-19 pandemic, Anderson & Roe performed several innovative and interactive virtual events, produced over a dozen new music videos, appeared in MasterVoices’ Myths and Hymns (2021 Drama League Nominee for Best Digital Concert Production) alongside luminaries of opera and musical theater, and hosted a year of Two Piano Tuesday livestream conversations on Facebook Live which drew an enthusiastic and devoted global audience each week.