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March 26, 2017: Jerusalem String Quartet LUDWIG VAN BEETHOVEN (1770–1827) String Quartet in F minor, op. 95, “Serioso” March 26, 2017: Jerusalem String Quartet Beethoven’s F minor String Quartet of 1810, the last of his “middle” quartets, is one of a select group of works for which he provided his own descriptive title—other famous instances being his Pathétique Sonata and Eroica and Pastoral Symphonies. He marked his manuscript “Quartett Serioso,” a curious mix of German and quasi-Italian, which apparently meant a work devoid of ostentation whose inner conflicts were expressed by pared-down harmonic, motivic, and formal structures. Unfortunately it could imply that his Harp Quartet, op. 74, written just a year before—and any of his other quartets for that matter—were not “serious,” though surely he meant it as a way to separate his quartet production apart from the proliferation of showy and less weighty quartets by other composers that had begun populating the concert scene. On another front, the work’s “seriousness” has to do with his having written it without a commission because of a personal compulsion, and dedicating it to a friend, cello-player Nikolaus Zmeskall von Domanovecz, rather than to a highborn patron. This resonates with his late quartets, which, though instigated by a patron, ended up being composed out of sheer inner necessity. Beethoven had already begun using quartet-writing as the place for exploring his most forward-thinking ideas—which had led to such disappointing critical reception of his Razumovsky Quartets, op. 59—but now this testing ground took a turn toward privacy. He waited an unusually long time before having the Serioso Quartet performed and published. The work received its first performance by the Schuppanzigh Quartet in May of 1814, for which occasion Beethoven apparently revised it. The Serioso was one of several pieces that Beethoven sold to publisher Anton Sigmund Steiner in 1815 in repayment of a debt. The debt must have been substantial because the batch also included the Opus 96 Violin Sonata, the Archduke Trio, the Seventh and Eighth Symphonies, and several smaller works. A pivotal work, the Serioso takes a look back to the Razumovsky and Harp Quartets but just as clearly points to the late quartets, though it would be fourteen years before he took up the genre again. Concision and new harmonic relationships are paramount here, and often his compression of both boils down to single notes or pairs of notes. The first movement’s dark, furious unison opening suddenly breaks off, followed by a leaping response characterized by dotted rhythms. The ensuing lyrical elaboration of the opening now pointedly highlights the remote Neapolitan harmony (based on the flatted second scale degree). A prominent pair of half steps in the lyrical passage sets up the somewhat unusual key of D-flat for the lovely second theme. Twice, once at the end of the second theme and once in the midst of the closing theme, explosive ascending scales and daring excursions to remote keys command our attention. It stands to reason that in such a terse movement Beethoven would not repeat his exposition. Instead he shocks the listener again with a crashing major chord that seems to signal a development. Yet this turns out not to be a thorough “working-out” in the classical sense, rather a brief revisiting of the furious opening and the leaping dotted-rhythmic idea, followed by a suspenseful buildup. Beethoven then begins his drastically shortened recapitulation with the fortissimo unison of the transition to the second theme. A coda of the same length as the development balances out this remarkable rethinking of sonata form. The Allegretto ma non troppo begins softly and mysteriously, with a melodic shape similar to the first movement’s opening. Any idea of relaxed, lyrical contrast becomes entangled in a wavering between major and minor and an increasing influx of chromaticism that peaks in the middle section’s fugue. This remarkable interior piece unfolds in two sections before the opening music returns in shortened form. Beethoven continues with a serene coda, but instead of ending peacefully makes a directs link to the ensuing tempestuous scherzo. Beethoven asked that his third movement, a typical place for an irreverent scherzo, be played Allegro assai vivace ma serioso . Propulsive sections with an obsessive dotted rhythm alternate with two trio sections of more lyrical demeanor, which still transmit a restless sense with the first violin’s figurations and unusual harmonic juxtapositions of distantly related keys. A truly slow, reflective introduction prefaces the agitated sonata-rondo finale. Compact once again, the movement features a dancelike but disquieting main theme that Beethoven varies ingeniously on every recurrence. Its last appearance comes to a halt on a hushed major chord that unleashes one of the most talked about endings ever. A lightening quick coda in the major mode rockets forth in unimaginable contrast to the rest of the movement and to the entire piece. In this Beethoven parallels his own Egmont Overture, written just months before, also in a serious F minor with an F major coda, but whereas that ending represents a hard-won victory corroborated by the story, here Beethoven seems simply to be letting go, albeit in breathtaking style. © Jane Vial Jaffe Return to Parlance Program Notes

< Back Frédéric Chopin Four Mazurkas, Op. 67 for piano Program Notes Previous Next

EIGHTEEN YEARS OF BRINGING THE WORLD’S FINEST MUSICAL ARTISTS TO OUR COMMUNITY Piano Anderson & Roe Emanuel Ax Inon Barnaton James Baillieu* Alessio Bax Boris Berman Jonathan Biss Xak Bjerken Michael Boriskin Wendy Chen Gloria Chien Lucille Chung Jeremy Denk Simone Dinnerstein Richard Goode Julie Gunn Marc-André Hamelin Wu Han Warren Jones Henry Kramer* Rachel Naomi Kudo Paul Lewis Anne-Marie McDermott Philip Moll John Musto Ken Noda John Novacek Garrick Ohlsson Jeewon Park Soohong Park Juho Pohjonen Anna Polonsky Roman Rabinovich Peter Serkin Connie Shih Albert Cano Smit Conrad Tao Andrew Tyson Gilles Vonsattel Bryan Wagorn Shai Wosner Orion Weiss Vocal Benjamin Appl, baritone* Erika Baikoff, soprano Angel Blue, soprano Stephanie Blythe, mezzo-soprano Lawrence Brownlee, tenor* Amy Burton, soprano Danielle de Niese, soprano Ying Fang, soprano Nathan Gunn, baritone Thomas Hampson, baritone Wendy Bryn Harmer, soprano Isabel Leonard, mezzo-soprano Kate Lindsey, mezzo-soprano Susanna Phillips, soprano Dimitri Pittas, tenor Matthew Polenzani, tenor Morris Robinson, bass Lucy Shelton, soprano Meigui Zhang, soprano String Quartet Brentano Calidore Cremona Danish Emerson Escher Goldmund Jerusalem Modigliani New York Philharmonic Schumann Piano Trio Lysander Trio Pinchas Zukerman Trio Sitkovetsky Trio Violin Benjamin Beilman Jeanelle Brierley Benjamin Bowman David Chan Chee-Yun Tim Fain Ming-Feng Hsin Quan Ge Frank Huang Paul Huang Katharine Fong Stefan Jackiw Erin Keefe Alexi Kenney Michelle Kim Soovin Kim Aline Kobialka Yoon Kwon Kristen Lee Sean Lee Qian-Qian Li Kerry McDermott Nathan Melzer Anne Akiko Meyers Clara Neubauer Oliver Neubauer Elmar Oliviera Wen Qian Catherine Ro Philip Setzer Emily Daggett Smith Sheryl Staples Arnaud Sussmann James Thompson Danbi Um Sarah Crocker Vonsattel Audrey Wright Kevin Zhu Viola Abraham Appleman Maurycy Benaszak Isabella Bignasca Ettore Causa Karen Dreyfus Lawrence Dutton Guillermo Figueroa Mark Holloway Mary Hammann Hsin-Yun Huang Matthew Lipman Milan Milisavljević Paul Neubauer Milena Pajaro-van de Stadt Cynthia Phelps Robert Rinehart Dov Scheindlin Cong Wu Cello Edward Aaron Carter Brey Nicholas Canellakis Matthew Christakos Sterling Elliott* David Finckel Andrés Díaz Rafael Figueroa Zlatomir Fung Jerry Grossman Sihao He Steven Isserlis Mihai Marica Eileen Moon Joel Noyes Zvi Pressler Jonathan Swenson* Paul Watkins Nathan Vickery Viola da Gamba Jordi Savall Accordion Radu Ratoi* String Bass Timothy Cobb Jon Deak Richard Fredrickson David J. Grossman Brendan Kane Leigh Mesh Flute Sarah Beaird Denis Bouriakov Erin Bouriakov Sir James Galway Lady Jeanne Galway Érik Gratton Stefán Höskuldsson Maron Anis Khoury Seth Morris Chelsea Knox Robert Langevin Lauren Scanio Yoobin Son Oboe Michal Cieślik Elaine Douvas Nathan Hughes Joseph Jordan Ryan Roberts John Upton Clarinet Innhyuck Cho David Gould (basset horn) Dean LeBlanc (basset horn) Jon Manasse Anthony McGill Jessica Phillips Anton Rist Richard Stoltzman Osmo Vänskä Stephen Williamson Bassoon Jensen Bocco* Evan Epifanio Frank Morelli Mark Romatz William Short* Horn Javier Gándara Brad Gemeinhardt Liana Hoffman Erik Ralske Anne Scharer Hugo Valverde Tanner West Trumpet Chris Coletti David Krauss Trombone Demian Austin Weston Sprott Percussion Barry Centanni Ian Rosenbaum Gregory Zuber Organ Paul Jacobs Guitar Sharon Isbin Los Angeles Guitar Quintet Jason Vieaux Harp Nancy Allen Mariko Anraku Emmanuel Ceysson Michelle Gott Deborah Hoffman Saxophone Steven Banks Lino Gomez Harpsichord Paolo Bordignon Theremin Darryl Kubian Glass Harmonica Cecelia Brauer Friedrich Heinrich Kern Large Ensembles Antioch Chamber Ensemble (Choir) Hespèrion XXI Members of the Metropolitan Opera Orchestra Members of the Metropolitan Opera Chorus The Tallis Scholars* Jazz Artists Bill Charlap Trio Stefon Harris, vibraphone Paquito D’Riviera Quintet Bucky Pizzarelli, guitar Howard Alden, guitar Frank Vignola, guitar Narrator Jamie Bernstein Stephanie Blythe Ann Crumb Gareth Icenogle Benjamin Luxon Ray Menard Michael Parloff Midge Woolsey Dancer Anni Crofut *2025 – 2026 Parlance Debut Artist

September 25, 2016: Escher String Quartet HUGO WOLF (1860-1903) Italian Serenade September 25, 2016: Escher String Quartet Hugo Wolf is known primarily as a composer of nearly 350 art songs, as a champion of Wagner and disparager of Brahms, and as a man who spent the last years of his short life in agonizing insanity. Though Wolf faced many spells when his creative powers failed him, he also experienced great bursts of creativity. The Serenade in G major—he later called it “an Italian Serenade” in an 1892 letter to Emil Kauffmann—was composed in just such a burst, from May 2–4, 1887, in the midst of a larger creative surge during which he was immersed in setting Eichendorff poems. Wolf’s Eichendorff phase played an important role in the Serenade’s conception. The one-movement work relates thematically to the first of the Eichendorff songs “Der Soldat I,” of which the text concerns a soldier’s love for a lady who lives in a castle. The same subject matter appears in Eichendorff’s novella Aus dem Leben eines Taugenichts (Memoirs of a good-for-nothing) in which an Italian serenade figures prominently in the plot. The hero, who leaves home to seek his fortune, is a violinist, which might explain the importance of the solo violin in the quartet version of Wolf’s Serenade. At one point in the novella an orchestra plays a serenade, which may have inspired Wolf’s eventual arrangement for small orchestra (1892). As he was rescoring the Italian Serenade for orchestra, Wolf clearly had in mind a four-movement work, but attempts in 1893, 1894, and 1897, remained sketches. That he considered the existing one-movement work as a first movement speaks volumes about his approach to form. He made it perfectly obvious, especially as a critic for the Wiener Salonblatt, that he detested absolute music and any sort of academic technique—fugue, pedal points—that first movements inevitably contained. Therefore, instead of following a typical abstract sonata form, he relied on a form that implied some sort of program or narrative, though he never actually specified one. His free rondo form and recitative-like passages create such an effect. The Italian Serenade leaves the overall impression of playful irony, in part because of its saucy main theme, which returns often enough to overrule any lovesick outburst. In one episode the cello plays an impassioned recitative, which is clearly mocked by the response of the other instruments. At the end Wolf brings back the repeated notes of the introduction, with pizzicato chords providing a last bit of wit. © Jane Vial Jaffe Return to Parlance Program Notes

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:

November 19, 2017: Los Angeles Guitar Quartet PHILLIP HOUGHTON Opals November 19, 2017: Los Angeles Guitar Quartet Phillip Houghton (b. 1954) is one of the most recorded and influential Australian guitars composers. His work expresses a distinctly Australian aesthetic, reflecting the country’s vast landscapes and mystical “dreamtime” Aboriginal legends. He is famously a synesthete, wherein he sees very specific colors when he hears musical tones and timbres. “Opals” (1993, revised 2014) is a three-movement work for guitar quartet, and it attempts to capture the myriad glints and sparkles emanated by Australia’s opalescent national gemstone. In the score, there are detailed notes describing the particular colors and sheens that the music attempts to evoke. The composer provided the following notes for each movement: Rather than being pitch-black, the Black Opal is a stone of fantastic colour. Electric reds, purples, blues and greens of every shade predominate and refract and collide, in a fiery rainbow of splinters of brilliant light against a dark matrix. One could say that the opal is “made” from water, and, in the “Water Opal” movement, I imagined a kaleidoscope of colour in and against a transparent “water matrix”…colours floating, bleeding into each other. Against a white matrix the lighter colours of the White Opal are brilliant and translucent. Evident in this stone is what is called “pinfire” (glittering points of red and green) and the “rolling flash” (which describes the effect of layers of colour which, ripple abruptly and sparkle through the stone when the stone is moved). © William Kanengiser Return to Parlance Program Notes

RICHARD FREDRICKSON, DOUBLE BASS Hailed as a “…virtuoso…” by Donal Henahan of The New York Times, “…an extraordinary musician…” by The Washington Post and “…stupefying…” by L’Est Vaudois (Switzerland), Richard Fredrickson made his Carnegie Recital Hall debut at the age of 24 after winning the Concert Artists Guild award. This marked the first time the award had ever been presented to a double bassist. Mr. Fredrickson has been a guest artist with such orchestras as the Seattle, Omaha and Baton Rouge Symphonies, the Slovak Radio Orchestra, the New York Chamber Symphony and the Washington Chamber Symphony. He has toured twice in Italy as soloist with the Orchestra of the North Carolina School of the Arts, where he also taught in the summer program. He has toured in Europe and appeared several times at the Kennedy Center, to great critical acclaim, with the Handel Festival Orchestra (now known as the Washington Chamber Symphony). He has also toured in the United States with Mitch Miller and his orchestra performing the Paganini Moses Fantasy. In recital, he has been heard in such venues and cities as the 92nd Street Y in New York, both the National Gallery of Art and the Corcoran Gallery in Washington, DC; Winston-Salem, North Carolina; Seattle, Washington; and in Italy. For several seasons he was a member of Newman and Friends with harpsichordist/organist Anthony Newman at Alice Tully Hall and with whom he also recorded the Bach Brandenburg Concerti. His festival engagements include the New Hampshire White Mountain Festival, Aspen, the Seattle Chamber Music Festival and the Fredericksburg Festival of the Arts. Chamber music has always been a special passion for Mr. Fredrickson. He has appeared with such groups and artists as the Philadelphia String Quartet, “For the Love of Music”, the Copenhagen String Trio, the Muir String Quartet, the Lyric Piano Quartet, Bargemusic, Yo-Yo Ma, Carol Wincenc, Heidi Lehwalder, Christopher O’Riley, Anton Nel, Anne-Marie McDermott and Michelle Levin. Ever seeking to expand the solo double bass repertoire, he has been the inspiration for such compositions as a Sonata and a Suite by Kenneth Benshoof, sonatas by Paul Tufts and Jan Bach and a Concerto by Alvin Brehm. Recently, he commissioned both John Carbon and William Thomas McKinley to write works for him. With the Slovak Radio Orchestra, Kirk Trevor conducting, Fredrickson recorded the Carbon Endangered Species, McKinley Passacaglia and the Vittorio Giannini Psalm 130. The CD was released in 2005 on the MMC (Master Musicians Collective) label. In May, 2005 Fredrickson also performed and recorded a new work written for him by McKinley for clarinet, double bass and orchestra, as well as the Bottesini Duetto with clarinetist Richard Stolzman and the Slovak Radio Orchestra. The Bottesini Duetto was released in October 2009 on the Navona Records label.

December 18, 2016: Mariko Anraku, harp; Emmanuel Ceysson, harp; David Chan, concertmaster; Catherine Ro, violin; Dov Scheindlin, viola; Rafael Figueroa, cello MELINDA WAGNER Pan Journal December 18, 2016: Mariko Anraku, harp; Emmanuel Ceysson, harp; David Chan, concertmaster; Catherine Ro, violin; Dov Scheindlin, viola; Rafael Figueroa, cello Melinda Wagner’s catalog of works embodies music esteemed for its exceptional beauty, power, and intelligence. Wagner received widespread attention when her colorful Concerto for Flute, Strings, and Percussion earned her the Pulitzer Prize in 1999. Since then she has composed such major works as her Trombone Concerto for Joseph Alessi and the New York Philharmonic, a piano concerto entitled Extremity of Sky for Emanuel Ax and the Chicago Symphony Orchestra (CSO), and Little Moonhead for the Orpheus Chamber Orchestra as part of its popular “New Brandenburgs” project. Emanuel Ax has also performed Extremity of Sky on tour with the National Symphony and with the Staatskapelle Berlin and the Toronto and Kansas City Symphonies. Championed early on by Daniel Barenboim, Wagner has received three commissions from the CSO, most recently Proceed, Moon, which the CSO will premiere under the baton of Susanna Malkki in 2017. Melinda Wagner’s works have also been performed recently by the American Composers Orchestra, the United States Marine Band, the Boston Modern Orchestra Project, the American Brass Quintet, the Empyrean Ensemble, and the Philadelphia Chamber Music Society. Wagner’s many honors include a Guggenheim Foundation Fellowship, awards from the American Academy of Arts and Letters, and the American Society of Composers, Authors, and Publishers (ASCAP). Wagner received her undergraduate degree and an honorary doctorate from Hamilton College, her master’s degree from the University of Chicago, and her Ph.D. and a Distinguished Alumni Award from the University of Pennsylvania. A passionate and inspiring teacher, Melinda Wagner has given master classes at many fine institutions across the United States, including Harvard, Yale, Eastman, Juilliard, and the University of California–Davis. She has held faculty positions at Brandeis University and Smith College, and she has served as a mentor at the Atlantic Center for the Arts, the Wellesley Composers Conference, and Yellow Barn. Ms. Wagner is currently on the faculty of the Juilliard School. Wagner composed Pan Journal in 2009 on a commission from the Philadelphia Chamber Music Society for harpist Elizabeth Hainen and the Juilliard String Quartet, who gave the premiere on April 26 that year at Philadelphia’s Kimmel Center in the Perelman Theater. The title refers to the Greek god of pastures, forests, flocks, and herds, who in one famous myth invented the Pan flute or Pan pipes after chasing the wood-nymph Syrinx, who had been changed into a reed to escape his amorous advances. According to the composer, however, “the title came to me long after the piece was finished.” She continued: “I just liked the idea of ‘documenting’ a day in the life of a mythical being. . . . I never think in terms of a ‘story’ when I’m composing.” “Pan Journal,” says Wagner, “is rather mercurial and a bit volatile,” which speaks to Pan’s range of character, from love-lorn to impish. “Its form is loosely arch-like, with the work’s greatest intensity accumulating around its center. It opens with a slow introduction based on a cello melody that is referred to later in the piece and closes with an evanescent coda. I wanted the harp and the strings to be equal partners here so that they could play off one another, so, since the strings can easily sustain tones and play chromatically while the harp’s plucked notes fade quickly and can only be chromatically altered by using the foot-pedal mechanism, I made much use of several techniques—tremolo, pizzicato, glissando, etc.—that they share.” © Jane Vial Jaffe Return to Parlance Program Notes

January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN Charles Ives (1874-1954) Variations on "America" January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN Charles Ives was an eighteen-year-old organ virtuoso when he composed his celebrated variations for organ on the patriotic hymn “America.” He would not enter Yale until two years later, and his primary musical influence was his bandmaster father George. When he first performed the Variations on “America” on February 17, 1892, at the Methodist church in Brewster, New York, he was still improvising parts of it, as he recalled, and his father had something to say about what he could and could not include. Apparently the piece sometimes contained an interlude of canons (exact or close imitation as one part overlaps another) in three different keys, which George had ruled out because it “made the boys laugh out loud.” Furthermore, he had forbidden the polonaise (a Polish-style dance in 3/4 time) on account of the conflict he perceived between a European form and an American tune. (He later reinstated it as Variation 4.) As with many of Ives’s works, the Variations on “America” were not published until long after they were composed, in this case 1949, but the piece was one of his first to become widely known and played. As it stands, the work features an introduction, a theme, Variations 1 and 2, an interlude, Variations 3 and 4, a second interlude, Variation 5, and a coda. Influences of pieces Ives studied around the time of composition certainly play a role—particularly those by John Knowles Paine, Dudley Buck, and Johann Christian Heinrich Rinck—but the work also manifests Ives’s great streak of originality. In the variations themselves he constantly fragments, reorders, and recomposes his source tune in quite sophisticated ways. Further, the interludes, which were added around 1909–10, show the bold use of two keys at once—F major and D-flat major in the first and A-flat major and F major in the second. Many casual listeners have supposed Ives to be poking fun at the patriotic main theme, whereas those more familiar with his sense of humor have suspected him rather of mocking the more stodgy variation forms of his time. His sense of humor is certainly evident, but he was most likely earnest in showing his mastery of the variation form and of his given instrument. —©Jane Vial Jaffe Return to Parlance Program Notes

< Back Camille Saint-Saëns Romance, Op. 36 for cello and piano Program Notes Previous Next

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