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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

STEPHEN WILLIAMSON, CLARINET Stephen Williamson is the newly appointed principal clarinetist of the New York Philharmonic. Prior to joining the Philharmonic, he served for two seasons as Ricardo Muti’s principal clarinetist in the Chicago Symphony Orchestra and, before that, eight seasons as James Levine’s principal clarinet in the Metropolitan Opera Orchestra. Steve also was recently appointed principal clarinet with the Saito Kinen Festival Orchestra in Japan under Seiji Ozawa. As a core member of the MET Chamber Ensemble, Williamson performed extensivelyperformed with James Levine as soloist and as chamber artist. In August 2011, he performed Mozart’s Clarinet Concerto with the Pacific Music Festival Orchestra in Japan under Fabio Luisi. In January 2012, Williamson joined Luisi and the MET Orchestra as soloist in a performance of Mozart’s Clarinet Concerto at Carnegie Hall. Williamson serves on the clarinet faculty at Columbia University and the Mannes College of Music in New York City, as well as at the Pacific Music Festival. He has recorded for the Sony Classics, Telarc, CRI, BMG, Naxos and Decca labels and can be heard on numerous film soundtracks. Williamson received his bachelor’s degree and performer’s certificate from the Eastman School of Music, and his master’s degree from the Juilliard School. As a Fulbright Scholar, he furthered his studies at the Hochschule der Künste in Berlin, where he collaborated with various members of the Berlin Philharmonic. His past teachers include Peter Rieckhoff, Charles Neidich, Kenneth Grant and Michael Webster. Williamson was the grand prize winner of the 1994 Boosey & Hawkes/Buffet Crampon First Annual North American Clarinet Competition. Other past awards include the Concert ArtistsGuild Competition as well as the Coleman International Chamber Music Competition. A long-time Selmer-Paris and Vandoren Artist, Mr. Williamson currently plays Selmer Signature clarinets and uses Vandoren traditional reeds with a James Pyne JX/BC mouthpiece. He resides in Nyack, NY with his wife Jill, sons Ryan, Connor, Matthew and their dog Lila.

April 3, 2016: Sir James Galway and Lady Jeanne Galway, flutes; Benjamin Beilman solo violin; Sean Lee and Danbi Um, violins; Mark Holloway, viola; Nicholas Canellakis, cello; Timothy Cobb, bass; Paolo Bourdignon, harpsichord JOHANN SEBASTIAN BACH (1685-1750) Brandenburg Concerto No. 4, BWV 1049 for two flutes, solo violin, strings, and continuo April 3, 2016: Sir James Galway and Lady Jeanne Galway, flutes; Benjamin Beilman solo violin; Sean Lee and Danbi Um, violins; Mark Holloway, viola; Nicholas Canellakis, cello; Timothy Cobb, bass; Paolo Bourdignon, harpsichord In March 1719, when Bach was in Berlin to collect the new harpsichord made for Cöthen by court instrument maker Michael Mietke, he had occasion to play for Margrave Christian Ludwig of Brandenburg. The meeting spurred the Margrave to invite Bach to send him some compositions. The works that he sent probably originated in Weimar even before Bach’s move to Cöthen in 1717, but it took yet another two years for him to complete, compile, and submit his “Six concerts avec plusieurs instruments” (Six concertos with several instruments). He dedicated the 1721 manuscript to the Margrave, saying: As I had a couple of years ago the pleasure of appearing before Your Royal Highness . . . and as I noticed then that Your Highness took some pleasure in the small talents that Heaven has given me for Music, and as in taking leave of Your Royal Highness, Your Highness deigned to honor me with the command to send Your Highness some pieces of my composition: I have then in accordance with Your Highness’s most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments. No record exists of the Margrave of Brandenburg ever using the scores, ever sending Bach a fee, or ever thanking him. Legend has it that a lack of acknowledgment may have stemmed from the Margrave’s instrumental resources not matching those of Cöthen or Weimar, thus rendering the pieces unperformable at his establishment. But this overlooks the fact that Bach used unprecedented and different scoring in each of the individual works, treating the collection like an “Art of the Concerto Grosso” and thus was not aiming to match any specific establishment’s resources. The manuscript eventually became the property of the state library in Berlin, remaining unpublished until the Bach revival in the nineteenth century. In 1880 Philipp Spitta, Bach’s famous biographer, coined the term “Brandenburg Concertos,” which has been used ever since for the well-loved works. The standard plan for the eighteenth-century concerto grosso was simple and at the same time flexible. The format, developed by Torelli, Corelli, and Vivaldi, consisted of a small group of solo instruments (the concertino) alternating with a larger group (the ripieno or tutti). Most of these works used a string orchestra for the ripieno and two violins and cello for the concertino, and the usual number of movements was three: fast, slow, fast. Bach’s Brandenburg Concertos offer a wide spectrum of innovative instrumental schemes and combinations and a great variety in treatment of form. Nos. 1, 3, and 6 use instrumental forces that are fairly balanced in number, whereas Nos. 2, 4, and 5 contrast a small concertino with a large ripieno. The Fourth Concerto combines elements of a solo violin concerto and a concerto grosso, with a concertino group of the solo violin and two flutes (originally recorders). The solo violin is required to play almost without pause in the first movement, and to execute virtuosic cadenza-like passages in the third movement. The lightning-quick scale passages and double-stops make this Concerto as difficult, if not more difficult, than any of Bach’s violin concertos. The three movements of the Fourth Brandenburg Concerto follow the traditional fast-slow-fast arrangement. The first movement uses da capo form (a beginning section, followed by a contrasting section, then a repeat of the first section). The slow movement revolves around chains of pulsing two-note groupings and makes much of the contrast between loud (full group) and soft (soloists alone). The texture of much of the last movement is fugal, and its momentum is infectious. Near the end the “heartbeat” is twice suspended by forceful chords and rests before the energetic push to the finish. © Jane Vial Jaffe Return to Parlance Program Notes

GLORIA CHIEN, PIANO Taiwanese-born pianist Gloria Chien has one of the most diverse musical lives as a noted performer, concert presenter, and educator. She made her orchestral debut at the age of sixteen with the Boston Symphony Orchestra with Thomas Dausgaard, and she performed again with the BSO with Keith Lockhart. She was subsequently selected by the The Boston Globe as one of its Superior Pianists of the year, “who appears to excel in everything.” In recent seasons, she has performed as a recitalist and chamber musician at Alice Tully Hall, the Library of Congress, the Phillips Collection, the Dresden Chamber Music Festival, and the National Concert Hall in Taiwan. She performs frequently with the Chamber Music Society of Lincoln Center. In 2009, she launched String Theory, a chamber music series in Chattanooga, Tennessee that has become one of the region’s premier classical music presenters. The following year she was appointed Director of the Chamber Music Institute at Music@Menlo by Artistic Directors, David Finckel and Wu Han, a position she held for the next decade. In 2017, she joined her husband, violinist Soovin Kim, as artistic director of the Lake Champlain Chamber Music Festival in Burlington, Vermont. The duo became artistic directors at Chamber Music Northwest in Portland, OR in 2020. They were named recipients of Chamber Music Society of Lincoln Center’s Award for Extraordinary Service in 2021 for their efforts during the pandemic. Chien received her bachelor, masters and doctoral degrees at the New England Conservatory of Music with Wha Kyung Byun and Russell Sherman. She is Artist-in-Residence at Lee University in Cleveland, Tennessee, and she is a Steinway Artist.

AMY BURTON, SOPRANO With a voice the New York Times has called, “luminous” and “lustrous,” versatile soprano Amy Burton has sung with the Metropolitan Opera, New York City Opera, at the White House, and with major opera companies, orchestras, and at concert and cabaret venues throughout the US, Europe, UK, Japan, Mexico, and Israel. Known for her crystalline portrayals of Mozart heroines as well as French repertoire ranging from opera to chansons populaires, Ms. Burton performs throughout the USA and abroad in recital and cabaret concerts with her husband, composer-pianist John Musto . The couple have toured the US and Mexico with "Late Night with Leonard Bernstein" narrated by the composer's daughter Jamie, with acclaimed pianist Michael Boriskin. Ms. Burton has premiered and recorded several of Musto’s song cycles and has been a champion of contemporary composers such as Paul Moravec, John Corigliano, William Bolcom, Richard Danielpour, John Harbison, and others. Notable concert appearances include her New York recital debut at 92Y, Great Performances at Lincoln Center, Mostly Mozart Festival, Chamber Music Society of Lincoln Center, Carnegie Hall, PS21, The Kennedy Center, Atelier Lardeur in Paris, the Liceu Forum in Barcelona, the Neue Galerie’s Café Sabarsky, and the modern-day premiere of Cole Porter's 1929 show, La Revue des Ambassadeurs at Town Hall with Vince Giordano and the Night Hawks and in Paris with L’orchestre de Pasdeloup.

December 5, 2021: Paul Jacobs, organ JOHANN SEBASTIAN BACH (1685-1750) Arioso from Cantata, BWV 156 December 5, 2021: Paul Jacobs, organ Bach was especially fond of this justly famous slow movement. He used it as the opening Sinfonia of his Cantata 156: “Ich steh mit einem Fuss im Grabe,” scored for oboe, strings, and continuo, which was first performed in Leipzig on January 23, 1729. Then around 1738 he used it again as the slow movement of his Keyboard Concerto in F minor, BWV 1056. Both, however, are thought to be reworkings of the slow movement of an earlier oboe concerto in G minor that is now lost (though scholars have reconstructed it). This exquisite Sinfonia, also known as “Arioso,” presents a favorite Vivaldi slow-movement texture—a singing melody over pizzicato accompaniment, though not a repeating bass pattern as both Vivaldi and Bach often employed. The melody, whether for oboe or right hand of the keyboard part, provides a perfect example of Bach’s ornamentation technique. His embellishments, simple at first and more extensive when the opening section returns, complement the melodic line without disrupting it. The present version for organ was arranged by American organist Diane Bish, who is also known for her television series The Joy of Music. © Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, MARCH 6, 2016 AT 3 PM Escher String Quartet BUY TICKETS ESCHER STRING QUARTET “The Escher players seemed to make time stand still, effortlessly distilling the essence of this introspective music with expressive warmth and a natural confiding intimacy.” — Chicago Classical Review FEATURING ABOUT THE PERFORMANCE BUY TICKETS The Escher String Quartet is one of the fastest-rising young chamber ensembles. Championed by the Emerson Quartet, the Escher Quartet is one of the few ensembles to be awarded the prestigious Avery Fisher Career Grant. Within months of its inception in 2005, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet in Residence at each artist’s summer festival. Today the quartet is in demand worldwide and serves as Artists of The Chamber Music Society of Lincoln Center. The Escher Quartet takes its name from the Dutch graphic artist M.C. Escher. The quartet members were inspired by Escher’s method of intricate interplay between individual components to form a cohesive whole. PROGRAM Wolfgang Amadeus Mozart Quartet in D, K. 575 (Prussian No. 1) Program Notes Leoš Janáček Quartet No. 1 (Kreutzer Sonata) Program Notes Franz Schubert Quartet No. 14 in D minor, D. 810 (Death and the Maiden ) Program Notes Escher String Quartet - Beethoven Quartet in A minor, Op. 132, Mvt 2 (CMS) Escher String Quartet - Shostakovich Quartet No. 8, Mvt. 2 (CMS)

October 15, 2023: Lysander Piano Trio Edvard Grieg (1843-1907) Andante con moto for piano trio October 15, 2023: Lysander Piano Trio By 1878, when Grieg set out to write a piano trio, he had earned recognition as Norway’s foremost composer. He had made important connections in Germany through his studies in Leipzig and had won renown in Copenhagen as well as in his native Bergen, but it was not without great effort. Influenced by violinist Ole Bull, Grieg had begun incorporating Norwegian folk idioms into his compositions, but he struggled to meet expectations in the larger forms of the chamber music medium because of his natural inclination to short, self-contained, lyrical melodies. Grieg had just completed his G minor String Quartet in the summer of 1878, which he said “is not intended to bring trivialities to market. It strives towards breadth, soaring flight and above all resonance for the instruments for which it is written. I needed to do this as a study. Now I shall tackle another piece of chamber music; I think in that way I shall find myself again.” Yet he composed only one movement of the projected piano trio, the Andante con moto in C minor. He made notes on the manuscript suggesting he might revise it, but he never returned to it nor did he write any other piano trio. After Grieg’s death, his friend, Leipzig-born Dutch pianist and composer Julius Röntgen (who also played a role in this afternoon’s second work), unearthed the Andante con moto and wrote to Grieg’s widow, Nina Hagerup Grieg, saying, “It is a beautiful piece and completely in order. . . . What a solemnity it conveys! How he can’t get enough of that single theme, that even in the major mode retains its mourning character, and then develops so beautifully its full power. . . . The piece can very well stand by itself and does not at all give the impression of being a fragment, as it constitutes a perfect entity in itself.” The piece was not published, however, until 1978 in the Grieg Critical Edition. Grieg’s monothematic movement is so striking because of how often Grieg showcases his theme in octave unison, first presented by the piano after a hushed introduction of string chords. Whereas the major-mode section offers contrast—and one might consider it considerably less “mournful” than Röntgen suggested—there is no doubt about the overall dark intensity of the piece, which rises to a dramatic climax before ebbing quietly. Return to Parlance Program Notes

THOMAS HAMPSON, BARITONE Thomas Hampson enjoys a singular international career as a recitalist, opera singer, and recording artist, and maintains an active interest in teaching, research, and technology. The American baritone has performed in all of the world’s most important concert halls and opera houses with many renowned singers, pianists, conductors, and orchestras. Praised by the New York Times for his “ceaseless curiosity,” he is one of the most respected, innovative, and sought-after soloists performing today. Hampson has won worldwide recognition for his thoughtfully researched and creatively constructed programs that explore the rich repertoire of song in a wide range of styles, languages, and periods. He is one of the most important interpreters of German Romantic song, and with his celebrated “Song of America” project (www.songofamerica.net ), a collaboration with the Library of Congress, has become the “ambassador” of American song. Through the Hampsong Foundation, founded in 2003, he employs the art of song to promote intercultural dialogue and understanding. Hampson begins his 2011-12 season at San Francisco Opera, where he will create the role of Rick Rescorla in the world premiere of Christopher Theofanidis’s Heart of a Soldier. The new opera, commemorating the tenth anniversary of the 9/11 attacks, features a libretto by Donna Di Novelli and is directed by Francesca Zambello. Based on the 2002 book by James B. Stewart, the work is inspired by the true story of Rescorla, his wife, Susan, and his friend Daniel J. Hill, culminating in Rescorla’s tragic death in the collapse of the South Tower of the World Trade Center following his heroic evacuation of all 2,700 employees of Morgan Stanley. Hampson’s other operatic engagements this season include Iago in Verdi’s Otello and the title role in Hindemith’s Mathis der Maler, both at Zurich Opera, and Verdi’s Macbeth at New York’s Metropolitan Opera. Among other season highlights for Hampson are the opening night gala concert with Christoph Eschenbach and the National Symphony Orchestra, marking two anniversaries: the orchestra’s 80th and the Kennedy Center’s 40th; Mahler’s Das Lied von der Erdewith the Munich Philharmonic and Zubin Mehta; Lieder Eines Fahrenden Gesellen with the Los Angeles Philharmonic and Gustavo Dudamel; Brahms’s Requiem and Dvořák’s Biblical Songs with the Pittsburgh Symphony and Manfred Honeck; and recitals in the U.S., Spain, Germany, Switzerland and Austria (Vienna’s Musikverein), including “Song of America” programs in New York and Cologne. The 2011-12 season will also see the debut of the syndicated “Song of America” radio series, co-produced by the Hampsong Foundation and the WFMT Radio Network of Chicago for release in October. Hosted by Hampson, the series will consists of 13 one-hour programs exploring the history of American culture through song, bringing the “Song of America” project to a national audience of radio listeners. Hampson’s 2010-11 season was dominated by performances celebrating the 150th anniversary of Gustav Mahler’s birth and the 100th anniversary of his death. Recognized as today’s leading interpreter of the Austrian composer’s songs, the baritone began the worldwide celebrations on July 7, 2010 – Mahler’s 150th birthday – in Kaliste, Czech Republic, with a recital from the composer’s birth house, streamed live on medici.tv, as well as an internationally televised orchestral concert, available on DVD. Throughout the season he performed Mahler with orchestras including the Vienna Philharmonic, the New York Philharmonic, the North German Radio Symphony Orchestra, Gustav Mahler Youth Orchestra, and the Czech Philharmonic with conductors such as Alan Gilbert, Mariss Jansons, Philippe Jordan, and Antonio Pappano. Hampson also featured the composer’s songs in recitals in Munich, Paris, Amsterdam, Brussels, Zurich, Milan and Oslo, and presented the complete songs as “Mahler Artist-in-Residence” at Hamburg’s Elbphilharmonie. His new recording of Des Knaben Wunderhorn with the Wiener Virtuosen – a conductorless ensemble comprising principal players of the Vienna Philharmonic – was widely acclaimed. Additional highlights of Hampson’s 2010-11 season included season-opening performances in the title role of a new production of Verdi’s Macbeth at Lyric Opera of Chicago; three all-Strauss concerts with Renée Fleming and the Berlin Philharmonic conducted by Christian Thielemann; selections from George Crumb’s American Songbooks, with the Chamber Music Society of Lincoln Center; “Song of America” recitals at Duke University and Minnesota Beethoven Festival; and the world premiere of William Bolcom’s Laura Sonnets, written especially for him. In Switzerland, he performed at Zurich Opera in new productions of Verdi’s I Masnadieri and Wagner’s Parsifal under Adam Fischer and Daniele Gatti, and appeared in a series of opera galas. In March 2011 he oversaw the inaugural season of the Heidelberg Lied Academy, of which he is artistic director; the academy is part of the Heidelberger Frühling music festival and trains young singers in text-based song interpretation. Raised in Spokane, Washington, Hampson has received many honors and awards for his probing artistry and cultural leadership. His discography of more than 150 albums includes winners of a Grammy Award, two Edison Prizes, and the Grand Prix du Disque. He holds honorary doctorates from Manhattan School of Music, Whitworth College (WA), and the San Francisco Conservatory, and is an honorary member of London’s Royal Academy of Music. In the 2009-10 season he served as the New York Philharmonic’s first artist in residence, and in 2011 he received the Concertgebouw Prize. He carries the titles of Kammersänger of the Vienna State Opera and the Chevalier de l’Ordre des Arts et des Lettres by the Republic of France, and was awarded the Austrian Medal of Honor in Arts and Sciences in 2004. He is the 2009 Distinguished Artistic Leadership Award recipient from the Atlantic Council in Washington, DC, and in 2008 was named Special Advisor to the Study and Performance of Music in America by Dr. James H. Billington, Librarian of Congress. In 2010, Hampson was elected a member of the American Academy of Arts and Sciences.

April 3, 2016: Sir James Galway, flute; Benjamin Beilman and Danbi Um, violins; Mark Holloway, viola; Nicholas Canellakis, cello; Timothy Cobb, bass; Paolo Bourdignon, harpsichord JOHANN SEBASTIAN BACH (1685-1750) Air on the G String (from Suite in D, BWV 1068) for flute, strings, and continuo April 3, 2016: Sir James Galway, flute; Benjamin Beilman and Danbi Um, violins; Mark Holloway, viola; Nicholas Canellakis, cello; Timothy Cobb, bass; Paolo Bourdignon, harpsichord For background on Bach’s Orchestral Suites, see Orchestral Suite No. 2 in B minor. The Third Suite may be the most famous of the four on account of its meltingly beautiful Air. One of the most popular and arranged pieces of all time, it achieved special notoriety through August Wilhelmj’s version for the violin G string (1871). The Air’s binary form—two halves, each repeated—and its “stepping” bass overlaid with a long, sustained melodic line are standard Baroque procedures, but its poignant effect transcends all formulas. James Galway plays its haunting violin part on the flute. Return to Parlance Program Notes

LEIGH MESH, BASS Associate Principal Bass, joined the Metropolitan Opera Orchestra in 1993. A graduate of the Curtis Institute of Music, he has taught master classes at the New World Symphony in Miami, the Cincinnati Conservatory, the Juilliard School and the Manhattan School of Music. Mr. Mesh has performed regularly at the Verbier Music Festival, and with the MET Chamber Ensemble, the Caramoor Virtuosi, and the Brentano and Tokyo String Quartets. He lives with his wife and two children in New York, and pursues cycling and skiing whenever he can. Mr. Mesh is an exclusive artist for Thomastik-Infeld Strings.

SUNDAY, MARCH 22, 2020 AT 3 PM PAUL JACOBS, ORGAN ALL BACH IN HONOR OF HIS 335TH BIRTHDAY BUY TICKETS PAUL JACOBS, ORGAN “Paul Jacobs is one of the greatest living virtuosos…he is utterly without artifice.” – The Washington Post FEATURING ABOUT THE PERFORMANCE BUY TICKETS On March 22, Paul Jacobs, America’s foremost organ virtuoso, will celebrate Bach’s 335th birthday with a recital of towering masterpieces for The King of Instruments. The Grammy Award-winning organist will perform Bachian favorites including Sheep Safely Graze , the sparkling Trio Sonata in E minor , and the powerful C-minor Passacaglia and Fugue . PROGRAM J.S. Bach Sinfonia from Cantata, BWV 29 (arr. Marcel Dupre) Program Notes J.S. Bach Trio Sonata in E Minor, BWV 528 Program Notes J.S. Bach Sheep May Safely Graze , BWV 208 Program Notes J.S. Bach Concerto in D Minor after Vivaldi, BWV 596 Program Notes J.S. Bach Prelude and Fugue in C Major, BWV 547 Program Notes J.S. Bach Passacaglia and Fugue in C Minor, BWV 582 Program Notes J.S. Bach Arioso from Cantata, BWV 156 Program Notes J.S. Bach Prelude and Fugue in D Major, BWV 532 Program Notes Watch Paul Jacobs perform and introduce Bach’s organ music at NPR: Watch Paul Jacobs discuss and play Bach’s organ music at St. Peter’s Lutheran Church in New York City: