KATHERINE FONG, VIOLIN Violinist Katherine Fong has been a member of the Metropolitan Opera Orchestra since 2000. A native of Amarillo, Texas, she began playing at age four. Katherine leads a multifaceted existence as an orchestral musician, chamber musician, soloist, entrepreneur, and mother. In addition to the Metropolitan Opera season, Katherine frequently performs as soloist in Bogotá with the Orquesta Nacional de Colombia and runs her company Luxitune (www.luxitune.com ), designing bejeweled fine tuners for string instruments. She has performed with the Met Chamber Ensemble and Maestro James Levine at Carnegie’s Zankel Hall. Katherine received a Bachelor of Music from the New England Conservatory, where she studied with Eric Rosenblith, and continued her studies with Cho-Liang Lin and Joel Smirnoff at the Juilliard School, where she received her Master of Music degree. She is proud mommy to Ezekiel, age 2 and is married to violist Dov Scheindlin.

March 24, 2019: Sarah Crocker Vonsattel, violin; Gilles Vonsattel, piano JOHANN SEBASTIAN BACH (1685-1750) Violin and Piano Sonata in E, BWV 1016 March 24, 2019: Sarah Crocker Vonsattel, violin; Gilles Vonsattel, piano Bach may have begun his six Sonatas for violin and keyboard (BWV 1014–19) before 1725—possibly in Cöthen—but it is clear that he completed them c. 1725 in Leipzig, where he served as director of the city’s church music and of the Collegium Musicum. (For more about the Collegium see the notes for the Double Violin Concerto.) Some of the important surviving manuscript sources, dating from the mid 1720s and 1740s, show layers of emendation, suggesting that the sonatas were played frequently and that slight modifications were introduced. Bach’s accompanied Violin Sonatas differ from other Baroque violin sonatas in that the keyboard serves as an equal partner to the violin instead of merely providing continuo accompaniment. In many Baroque sonatas the keyboard part consists of a written-out bass line and a set of numerical figures that indicate which harmonies are to be filled in by the right hand. In these sonatas, however, Bach writes out a specific, independent part for the keyboard right hand, which engages in dialogue and independent counterpoint with the violin in the manner of a trio sonata. In regard to formal plan, Bach did embrace tradition—in all but the sixth of the Violin Sonatas he kept the typical sonata da chiesa (church sonata) sequence of four movements—fast, slow, fast, slow. The imposing Adagio that opens the E major Sonata, shows an exception to the general predominance of trio sonata texture. In this case the violin plays sweeping phrases, the keyboard right hand plays chords in an ostinato or repetitive pattern, and the left hand provides solemn, measured pacing. The main theme of the fugal Allegro transmits an innocent, popular character. Though the movement is clearly delineated in A–B–A form, the main theme recurs even in the cantabile B section. The return of the A section is considerably condensed. The third movement takes the form of a modulating chaconne or passacaglia in which the repeating pattern (occasionally altered) occurs in the bass. The violin and the keyboard right hand play independent melodic lines. At the end Bach writes out a miniature “cadenza” where other Baroque composers might have left an improvisation up to the performer. Bach’s irrepressible closing movement again displays ternary structure. The middle section features a contrasting triplet idea, though ideas from the opening section eventually appear here as well. Bach makes it very clear, nevertheless, when the opening section proper returns. Throughout the movement the trio sonata texture is fully exploited in the engaging interplay between the violin and keyboard right hand. © Jane Vial Jaffe Return to Parlance Program Notes

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:

SUNDAY, FEBRUARY 12, 2023 AT 4 PM THE GOLDEN AGE OF VIENNA BUY TICKETS BENJAMIN BEILMAN, VIOLIN 2019 “Poised and monstrously talented” — Philadelphia Inquirer ALEXI KENNEY, VIOLIN “He made it seem as if this were the only possible way to play the music.” — The New York Times PASCUAL MARTÍNEZ FORTEZA, CLARINET New York Philharmonic Member YOOBIN SON, FLUTE New York Philharmonic Member GLORIA CHIEN, PIANO “…dashing bravado and an uncanny precision of calibration” — Richard Dyer, The Boston Globe MIHAI MARICA, CELLO “Stunning Performance” — New York Times MILENA PAJARO-VAN DE STADT, VIOLA “…lyricism that stood out…a silky tone and beautiful, supple lines.” — The Strad FEATURING ABOUT THE PERFORMANCE BUY TICKETS “Vienna’s Golden Age” signifies the fin-de-siecle cultural hothouse that spawned innovations in art, music, science, literature, and philosophy. Creative pioneers such as Mahler, Freud, Gutave Klimt, Hofmannsthal, and Schoenberg rubbed shoulders in the elegant coffee houses, art salons, and concert halls of Vienna during those momentous, pre-war years. Seven extraordinary musicians will explore the charm and portent of the music that flowered in the rich cultural ferment of Golden Age Vienna. PROGRAM Fritz Kreisler Marche Miniature Viennoise Program Notes Fritz Kreisler The Old Refrain Program Notes Fritz Kreisler Viennese Rhapsodic Fantasietta Program Notes Gustav Mahler Piano Quartet in A minor Gloria Chien, piano Alexi Kenney, violin; Milena Pajaro-Van de Stadt, viola; Mihai Marica, cello Program Notes Johann Strauss Emperor Waltz (arr. Schoenberg) Gloria Chien, piano, Benjamin Beilman and Alexi Kenney, violins; Milena Pajaro-Van de Stadt, viola; Mihai Marica, cello; Yoobin Son, flute; Pascual Martinez-Forteza, clarinet Program Notes Erich Korngold Suite for two violins, cello, and piano left-hand Program Notes Watch Benjamin Beilman perform Fritz Kreisler’s Viennese Rhapsodic Fantasietta:

GILLES VONSATTEL, PIANO A “wanderer between worlds” (Lucerne Festival), Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality. Comfortable with and seeking out an enormous range of repertoire, Vonsattel displays a musical curiosity and sense of adventure that has gained him many admirers. Recipient of an Avery Fisher Career Grant and winner of the Naumburg and Geneva competitions as well as a Honens laureate, he has in recent years made his Boston Symphony, Tanglewood, and San Francisco Symphony debuts, while performing recitals and chamber music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo! Vail, Music@Menlo, the Gilmore festival, the Lucerne festival, and the Munich Gasteig. His most recent 2014 New York solo recital was hailed as “tightly conceived and passionately performed…a study in intensity” by The New York Times. Reengaged by the San Francisco Symphony, he has also appeared with the Warsaw Philharmonic, Calgary Philharmonic, Edmonton Symphony, l’Orchestre Symphonique du Québec, Boston Pops, Nashville Symphony, Musikkollegium Winterthur, Staatskapelle Halle, and L’orchestre de chambre de Genève. Chamber partners include musicians such as James Ehnes, Frank Huang, Nicolas Altstaedt, David Shifrin, David Finckel, Stefan Jackiw, Jörg Widmann, Gary Hoffman, Carter Brey, Anthony Marwood, Paul Neubauer, Paul Watkins, Phil Setzer, Emmanuel Pahud, Karen Gomyo, David Jolley, Ida Kavafian, and the Swiss Chamber Soloists. He has appeared in concert with the Pacifica, Orion, Ebène, Danish, Daedalus, Escher, and Borromeo Quartets. Deeply committed to the performance of contemporary works, he has premiered numerous works both in the United States and Europe and worked closely with notable composers such as Jörg Widmann, Heinz Holliger, and George Benjamin. His 2011 recording for the Honens/Naxos label of music by Debussy, Honegger, Holliger, and Ravel was named one of Time Out New York’s classical albums of the year, while a 2014 release on GENUIN/Artist Consort received a 5/5 from FonoForum and international critical praise. His upcoming solo release for Honens will include music of Scarlatti, Webern, Messiaen, Debussy, and George Benjamin’s Shadowlines. This season’s projects include the Berg Kammerkonzert with the Orchestra della Svizzera Italiana, a tour with Jörg Widmann and the Irish Chamber Orchestra, Mozart concerti with the Vancouver Symphony and Florida Orchestra, performances at Seoul’s LG Arts Centre and at the Beijing Modern Music Festival, as well as multiple appearances internationally and throughout the United States with the Chamber Music Society of Lincoln Center performing music ranging from Beethoven and Dvorak, to Lachenmann. Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School, where he studied with Jerome Lowenthal. He is on the faculty of the University of Massachusetts at Amherst, and makes his home in New York City. Gilles Vonsattel is a Steinway Artist.

EVAN EPIFANIO, BASSOON Evan Epifanio was appointed Principal Bassoon of The Metropolitan Opera Orchestra in 2018. Prior to The Met, Evan was a member of The Sarasota Orchestra and New World Symphony, as well as serving as Principal Bassoon of the Des Moines Metro Opera. He has also performed with other ensembles including The Chicago Symphony Orchestra and The Florida Orchestra. Evan can be heard playing with The MET Orchestra Chamber Ensemble at Carnegie Hall’s Weill Recital Hall throughout the year. He has lead masterclasses at a variety of locations including The Academia Filarmónica de Medellín, Colombia and most recently The Juilliard School. During his summer months Evan has been heard performing with Classical Tahoe in Incline Village, Nevada and The Mainly Mozart Festival in San Diego.

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

SUNDAY, APRIL 3, 2016 AT 3 PM Sir James Galway and Friends BUY TICKETS TIMOTHY COBB, BASS Principal Bass New York Philharmonic SIR JAMES GALWAY, FLUTE “He has a technical mastery so complete that it makes everything look easy… No one in their right mind, or ear, could object to such committed, insightful and lovable performances.” – The Los Angeles Times PAOLO BORDIGNON, HARPSICHORD “Bordignon’s stylings were right on the mark as he amply showed us his fluid technique and mastery of the instrument.” — Salt Lake Tribune MARK HOLLOWAY, VIOLA “Warm and intimacy.” — Neue Zürcher Zeitung DANBI UM, VIOLIN “Danbi Um’s playing is utterly dazzling…a marvelous show of superb technique” — The Strad NICHOLAS CANELLAKIS, CELLO “Superb young soloist.” — The New Yorker BENJAMIN BEILMAN, VIOLIN 2015 “He brought dark chocolate sound and lyricism to his rhapsodic playing and compellingly dispatched the breathless, perpetual-motion finale.” — The New York Times LADY JEANNE GALWAY, FLUTE SEAN LEE, VIOLIN “Breathtakingly beautiful.” — The New York Times YING FANG, SOPRANO “A warm, agile, and appealing voice…a star in the making.” – Anthony Tommasini, The New York Times FEATURING ABOUT THE PERFORMANCE BUY TICKETS he living legend of the flute, Sir James Galway is regarded as both the supreme interpreter of the classical flute repertoire and a consummate entertainer whose appeal crosses all musical boundaries. Through his extensive touring, over 30 million albums sold, and his frequent international television appearances, Sir James has endeared himself to millions worldwide and is a tireless promoter of the arts. Sir James will share his great love of Bach in a special collaboration with nine brilliant young soloists. This concert promises to be unforgettable afternoon of music-making. PROGRAM Johann Sebastian Bach Sonata in E, BWV 1035 for flute and continuo Program Notes Johann Sebastian Bach Jesus soll mein erstes Wort from Cantata 171 for soprano, violin and continuo Program Notes Johann Sebastian Bach Sheep Safely Graze, from Cantata 208 for soprano, two flutes, and continuo Program Notes Johann Sebastian Bach Suite in B minor, BWV 1067 for flute, strings, and continuo Program Notes Johann Sebastian Bach I follow you with Joyful Steps from St. John Passion for soprano, two flutes, and continuo Program Notes Johann Sebastian Bach Adagio and Presto from Sonata in G minor, BWV 1001 for solo violin Program Notes Johann Sebastian Bach Air on the G String (from Suite in D, BWV 1068) for flute, strings, and continuo Program Notes Johann Sebastian Bach Brandenburg Concerto No. 4, BWV 1049 for two flutes, solo violin, strings, and continuo Program Notes James Galway - Bach Sonata in E, BMV 1034, Mvt 1 James Galway - Reicha Sinfonia in D for 4 Flutes, Mvt 1 (PCC) James Galway - Bach Badinerie from Suite in B minor

March 19, 2023 – Rachel Naomi Kudo, piano JOHANN SEBASTIAN BACH (1685-1750) Chorale Prelude “Ich ruf zu Dir, Herr Jesu Christ”, BWV 639 (arr. Busoni) March 19, 2023 – Rachel Naomi Kudo, piano Our discussion of the present three Bach transcriptions must begin with Ferrucio Busoni, who was Egon Petri’s teacher. As a youth Busoni adored Bach above all other composers, a passion that endured throughout his life. He not only drew on Bach’s music for inspiration in his own works but he issued a monumental edition of Bach’s solo keyboard works transcribed for piano—a twenty-five volume collection plus a seven-volume set—aided by his students Egon Petri and Bruno Mugellini. So synonymous did Bach and Busoni become in the public’s mind that on Busoni’s first American tour his wife Gerda was once introduced by a society matron as “Mrs. Bach-Busoni.” This anecdote was related by Petri, a superb German pianist of Dutch descent, who began studying with Busoni in Weimar in 1901. Petri eventually settled in the United States, taught at Mills College, and authored many Bach transcriptions at Busoni’s behest. Busoni issued his Bach edition in two collections: the twenty-five-volume Klavierwerke, and the seven-volume Bach-Busoni edition. Although Busoni’s name appears on each volume of the Klavierwerke, many were edited by Petri and a few by Bruno Mugellini. Petri had expected Busoni to supervise his and Mugellini’s editorial work and they strove to operate under his principles and to emulate his style, yet Busoni concerned himself very little with reading their proofs, much to Petri’s surprise. Busoni strove to remain true to the essence of Bach’s music in his transcriptions, but inevitably his own Romantic sensibilities crept in with his addition of tempo and pedal markings, dynamics, register changes, repeats, and performance suggestions. Nevertheless, these transcriptions are rewarding additions to the piano repertoire. Ich ruf zu dir, Herr Jesu Christ—which appears as No. 5 in Busoni’s collection of Ten Chorale Preludes (1898) and No. 41 (BWV 639) in Bach’s Orgel-Büchlein (Little Organ Book)—has become a favorite of pianists and audiences for its poignant serenity. Flowing arpeggios in the middle voice accompany the tender, mostly unadorned chorale melody, supported by a steady “walking bass.” Wachet auf, ruft uns die Stimme is actually Busoni’s transcription of what was already a transcription by Bach himself. In 1731 Bach had composed the fourth movement of his Cantata 140 (Wachet auf) in chorale-prelude style with tenor(s) taking the chorale melody, surrounded by a a lyrical countermelody for upper strings in unison and supported by continuo (bass line and harmony). Thus it was a simple task to transfer all three parts to organ, which he did in BWV 645, one of a group of six late works that became known as the “Schübler Chorales” after their publication by Johann Georg Schübler in 1748–49. Busoni’s transcription for piano, No. 2 in his Ten Chorale Preludes, maintains the lilting flow in the upper line against the steady chorale in the middle voice. Turning to the first piece of the group of transcriptions, Egon Petri arranged his version of Schafe können sicher weiden (Sheep may safely graze) not from a chorale preude by Bach but rather a soprano aria from Cantata 208 Was mir behagt, ist nur die muntre Jagd! (What pleases me is above all the lively hunt). Bach wrote secular cantatas for aristocratic patrons to celebrate special occasions such as birthdays, name days, and accession days, or for academic ceremonies, and he composed Cantata 208 on a text by Weimar court poet Salomo Franck for the birthday of Duke Christian Weissenfels in 1713. Known as the Hunt Cantata, it contains “Schafe können sicher weiden,” the well-known aria for Pales, second soprano to Diana, goddess of the hunt. For centuries listeners have been captivated by its texture of rocking parallel thirds for two flutes—the quintessential pastoral instrument—accompanying the tender main melody, which praises Duke Christian for ruling his people as a good shepherd. The lovely aria has been transcribed for countless times for various performing forces, among the first—Percy Grainger’s for band (1931), Mary Howe’s for solo piano and two pianos (1935), and William Walton’s for orchestra (1940). Egon Petri’s transcription, published in 1944 has become the best-known transcription for piano. © Jane Vial Jaffe Return to Parlance Program Notes

February 12, 2023 – Gloria Chien, piano, Benjamin Beilman and Alexi Kenney, violins, Milena Pajaro-van de Stadt, viola, Mihai Marica, cello, Yoobin Son, flute, Pascual Martinez-Forteza JOHANN STRAUSS (1804–1849) Emperor Waltz (arr. Schoenberg) February 12, 2023 – Gloria Chien, piano, Benjamin Beilman and Alexi Kenney, violins, Milena Pajaro-van de Stadt, viola, Mihai Marica, cello, Yoobin Son, flute, Pascual Martinez-Forteza On November 23, 1918, in Vienna, Schoenberg founded the Society for Private Musical Performances. For slightly more than three seasons, the Society presented new works in thoroughly prepared performances for an audience of card-carrying members, many of them his friends and students. Critics were not allowed, nor applause or expressions of disapproval. The repertoire naturally included some of his own works, though he refrained from programming any of them until the second season. The composers whose works were performed most frequently were Max Reger (34 works) and Claude Debussy (26). Other composers who figured prominently were Berg, Webern, Bartók, Ravel, Scriabin, Mahler, Stravinsky, R. Strauss, Busoni, Szymanowski, Hauer, Zemlinsky, and Suk. Orchestral works had to be transcribed for performing forces that the Society could manage—two- or four-hand piano, or chamber orchestra consisting of piano, harmonium, flute, clarinet, string quartet, and, occasionally bass, percussion, or other added instruments. Though Schoenberg sometimes assigned the work of transcribing to his students, he made many of the arrangements himself. The Society was losing money, and so on May 27, 1921, Schoenberg and his colleagues presented a benefit concert with new arrangements of four Strauss waltzes—among them the Emperor Waltzes—followed by an auction of the scores. The program listed the following performers: Eduard Steuermann, piano; Alban Berg, harmonium; Rudolf Kolisch and Arnold Schoenberg, violins 1, Karl Rankl, violin 2; Othmar Steinbauer, viola; and Anton Webern, cello. Unfortunately, the Society had to fold that December, but in its three years the Society had presented 154 works, some with multiple performances, in 117 concerts! To turn to the original composer of the Emperor Waltzes, Johann Strauss II was originally discouraged in a musical career by his father who ran a celebrated dance orchestra in Vienna. Eventually, however, it was Johann Strauss II who achieved international recognition as “the waltz king.” In 1888 he was inspired to write two different compositions in his capacity as “imperial court ball music director” for the jubilee celebrating Franz-Joseph’s fortieth anniversary as emperor. The first, the Emperor’s Jubilee Waltzes, op. 434, is rarely heard today, while the Emperor Waltzes, op. 437, has proved to be one of Strauss’s most enduring and popular works. Most of Strauss’s great waltzes stem from the 1860s, including his most well-known On the Beautiful Blue Danube. The present Emperor Waltzes as well as the Voices of Spring, however, were written two decades later when he was concentrating more on operettas than independent dances pieces. He did include waltz sequences in his operettas, of which Die Fledermaus (The Bat) and The Gypsy Baron achieved the greatest success and renown. The set of Emperor Waltzes finds itself equally at home in the concert hall as in the dance hall. The work is introduced by a quiet march—a bit Mozartean in style, orchestration, and trills—in which Strauss previews the theme of the first waltz and builds an impressive climax that subsides in a cello solo. The waltz proper is a tender, lilting affair, leading off a string of four charming waltzes. The third is said to recall Franz-Joseph’s military career in its second half, and the last constitutes a ländler (Austrian folk dance in triple meter, precursor to the waltz). The lengthy coda, which again highlights the solo cello, recalls and develops themes from the first and third waltzes. The final reminiscence of the first theme is tinged with an elegant nostalgia before the final flourish. © Michael Parloff Return to Parlance Program Notes

March 24, 2019: Kristin Lee, violin JOHANN SEBASTIAN BACH (1685-1750) Prelude from Violin Partita in E, BWV 1006 March 24, 2019: Kristin Lee, violin We find precedents for Bach’s Sonatas and Partitas for unaccompanied violin in works by Johann Jacob Walther, Heinrich Biber, and Johann Paul Westhoff, but Bach’s contributions totally eclipsed these and remain unsurpassed to this day in invention and magnificence. Trained as a violinist in his youth by his father, Bach knew the capabilities of the instrument and expanded greatly upon them. The autograph manuscript, dated 1720, presents three sonatas in alternation with three partitas. The sonatas represent the serious Italian sonata da chiesa (church sonata) form with four movements in a slow, fast, slow, fast pattern; the partitas resemble the sonata da camera (chamber sonata), a series of dance movements, which if Bach had been writing in the French style would have been called a suite. Throughout the unaccompanied violin works and in those for solo cello, Bach showed his mastery at creating a many-voiced texture with what is essentially a single-line instrument, often by the use of double stops or rolled chords, but even more often by implying several melodic lines by artful figuration. He counted on the ability of the ear to pick out and hold onto notes in one register and string them together over time as an independent voice; one can often hear such implied voices in counterpoint, occurring in two or more registers. Whereas Bach began each of his solo cello suites with a Preludio, the E major Partita is the only solo violin work to open with such a movement and is notable for its larger than usual number of authentic dynamic markings. The cheerful perpetual motion of the Preludio has contributed greatly to the work’s popularity. Bach himself showed a fondness for it by transcribing it for organ and orchestra in Cantatas 120a and 29; he also made a transcription of the entire Partita for lute. © Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, APRIL 14, 2019 AT 3 PM ANNE AKIKO MEYERS, VIOLIN, & JASON VIEAUX, GUITAR BUY TICKETS ANNE AKIKO MEYERS, VIOLIN “Vigorous master… stylish elegance” 
— Los Angeles Times JASON VIEAUX, GUITAR “Virtuosic, flamboyant, dashing, and ineffably lyrical.” — New York Times FEATURING ABOUT THE PERFORMANCE BUY TICKETS Two of today’s most scintillating artists will join forces for an afternoon of evocative violin and guitar duos. Anne Akiko Meyers is a best-selling recording artist with 35 albums. Jason Vieaux’s most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo. Don’t miss their special collaboration! PROGRAM Archangelo Corelli Sonata in D minor Op. 5 No. 12 “La Folia” arr. Andy Poxon Program Notes Phillip Glass Metamorphosis II, arr. by Michael Riesman Program Notes Astor Piazzolla Histoire du Tango, arr. by Dmitriy Varelas Program Notes Rentarō Taki “Kojo No Tsuki” (“The Moon over the Ruined Castle”) arr. Anne Akiko Meyers Program Notes Antônio Carlos Jobím A Felicidade Program Notes John Corigliano Lullaby for Natalie Program Notes Manuel de Falla Siete Canciones Populares Españolas, arr. by Emilio Pujol Program Notes An introduction to violinist Anne Akiko Meyers and guitarist Jason Vieaux: Watch Jason Vieaux perform Antonio Carlos Jobim’s “A Felicidade”: