LUCILLE CHUNG, PIANO Born in Montréal, Canadian pianist Lucille Chung has been acclaimed for her “stylish and refined performances” by Gramophone magazine, “combining vigour and suppleness with natural eloquence and elegance” (Le Soir). She made her debut at the age of ten with the Montréal Symphony Orchestra and Charles Dutoit subsequently invited her to be a featured soloist during the MSO Asian Tour in 1989. Since then, she has performed an extensive concerto repertoire with over 70 leading orchestras such as the Philadelphia Orchestra, Moscow Virtuosi, BBC National Orchestra of Wales, Flemish Radio Orchestra, Orquesta Sinfónica de Tenerífe, Orquesta Sinfónica de Bilbao, Staatskapelle Weimar, Philharmonie de Lorraine, Orchestra Sinfonica Siciliana, Belgrade Philharmonic, the Seoul Philharmonic, KBS Orchestra, New Jersey Symphony, Dallas Symphony, UNAM Philharmonic (Mexico), Israel Chamber Orchestra as well as all the major Canadian orchestras, including Montreal, Toronto, Vancouver, National Arts Centre (Ottawa), Calgary, Winnipeg and Metropolitain, among others. She has appeared with conductors such as Krzysztof Penderecki, Vladimir Spivakov, Vasily Petrenko, Yannick Nézet-Séguin, Peter Oundjian, Gerd Albrecht and Charles Dutoit. As a recitalist, she has performed in over 35 countries in prestigious venues such as the Wigmore Hall in London, New York’s Carnegie Hall and Lincoln Center, the Kennedy Center and Phillips Collection in Washington, D.C., the Dame Myra Hess Series in Chicago, the Concertgebouw in Amsterdam, Madrid’s Auditorio Nacional, the Great Hall of the Franz Liszt Academy in Budapest, and the Palais des Beaux-Arts in Brussels. Festival appearances include the Verbier Festival in Switzerland, MDR Sommer Festival in Dresden, Lübecker Kammermusikfest, Santander International Festival in Spain, Felicja Blumental Festival in Israel, Music@Menlo, Montreal International Festival, Ottawa Chamber Festival, Bard Music Festival in NY, International Keyboard Institute and Festival in NYC, ChangChun Festival in China, and the Bravissimo Festival in Guatemala. In 1989, she was recognized on the international scene as the First Prize winner at the Stravinsky International Piano Competition. She won Second Prize at the 1992 Montreal International Music Competition, at which she also won a Special Prize for the best interpretation of the unpublished work. In 1993, she received the Outstanding Achievement Award from the Governor General of Canada and in 1994 won the Second Prize at the First International Franz Liszt Competition in Weimar. In 1999, she was awarded the prestigious Virginia Parker Prize by the Canada Council for the Arts. She graduated from both the Curtis Institute of Music and the Juilliard School before she turned twenty. She decided to further her studies in London with Maria Curcio-Diamand, Schnabel’s protégée, at the “Mozarteum” in Salzburg with Karl-Heinz Kämmerling and received the Konzertexam Diplom from the Hochschule “Franz Liszt” in Weimar, where she worked with the late Lazar Berman. She also graduated from the Accademia Pianistica in Imola, Italy with the honorary title of “Master” and from Southern Methodist University under Joaquín Achúcarro where she is now a Johnson-Prothro Artist-in-Residence. Ms. Chung is the recipient of the prestigious Honors Diploma at the Accademia Chigiana in Siena, Italy. Lucille Chung has been hailed as “a considerable artist, admirable for her bold choice of music” by The Sunday Times for her recordings of the complete piano works by György Ligeti on the Dynamic label. The first volume was released in 2001 to great critical acclaim, receiving the maximum R10 from Classica-Répertoire in France, 5 Stars from the BBC Music Magazine, and 5 Stars on Fono Forum in Germany. The final volume, which also contains works for two pianos, was recorded with her husband, Alessio Bax and once again received the prestigious R10 from Classica-Répertoire. Her all-Scriabin CD won the “Best Instrumental Recording” prize at the 2003 Prelude Classical Awards in Holland as well as the coveted R10 from Classica-Répertoire in France. She also recorded the two Mendelssohn Piano Concerti on the Richelieu/Radio-Canada label, which was nominated for the Prix Opus in Canada. In August 2005, Bax and Chung recorded Saint-Saëns’ Carnival of the Animals with the Fort Worth Symphony under Maestro Miguel Harth-Bedoya, which was released in 2006. In 2007 she released a solo album for the Fazioli Concert Hall Series. Lucille then embarked on an exclusive contract with Disques XXI/Universal. So far, she has released two CDs, Piano Transcriptions of Camille Saint-Saëns and Mozart & Me. Both CDs continue earning critical praise and have been broadcast internationally. 2013 marked the release of a piano duo disc with Alessio Bax, presenting Stravinsky’s original four-hand version of the ballet Petrouchka as well as music by Brahms and Piazzolla for Signum Records. In 2015, she released an all Poulenc album which was chosen as the “Recording of the Month” on MusicWeb and most recently in April 2018, a Liszt solo recital album for Signum Records. Lucille is fluent in French, English, Korean, Italian, German, and Russian. She and husband, pianist Alessio Bax make their home in New York City with their daughter, Mila, and are artistic co-directors of the Joaquín Achúcarro Foundation. www.lucillechung.com

May 6, 2018: Kerry McDermott, violin; Clara Neubauer, violin; Paul Neubauer, viola; Oliver Neubauer, violin Y. DOBON (1916-1996) Zowie! Goes the Weasel for 3 violins and viola May 6, 2018: Kerry McDermott, violin; Clara Neubauer, violin; Paul Neubauer, viola; Oliver Neubauer, violin Zowie! Goes the Weasel , a humorous arrangement for four violins of the well-known nursery tune “Pop! Goes the Weasel,” appeared in print in 1947 in Fiddle Sessions , a collection of ensemble pieces for two, three, and four violins compiled by Livingston Gearhart. A pianist, educator, composer, and arranger, Gearhart published a series of nine such Sessions, known for their humor and liveliness as they build students’ music skills. He may be best known, however, for his arrangement of the classic “Dry Bones” for Fred Waring and the Pennsylvanians. Gearhart studied at the Curtis Institute of Music and with Nadia Boulanger in Paris, where he also met Igor Stravinsky, Darius Milhaud, and Robert Casadesus—and formed a successful piano duo with his future wife, Virginia Clotfelter (professional name Morley). They returned to the U.S. owing to WWII conditions, and by 1954 they had performed over 2,000 concerts, most of them under contract with Columbia Concerts and the Fred Waring Show . They also made many recordings for Columbia Masterworks and Decca Records, and Gearhart worked as a staff arranger for the Fred Waring Show . In 1955 Gearhart joined the faculty of the State University of New York at Buffalo (SUNY Buffalo) where he taught piano, theory, and orchestration until his retirement in 1985. Also in 1955, divorced from Virginia, he married violinist and conductor Pamela Gerhart (not a misspelling!), for whose students at SUNY Buffalo, the Community Music School of Buffalo, and many workshops and clinics he continued to compose and make arrangements. Gearhart included no biographical information in Fiddle Sessions about “Y. Dobon” the composer of Zowie! Goes the Weasel , but it is entirely possible that it was one of his colleagues at the Fred Waring Show or someone he encountered on tour. Information about Dobon may lie somewhere in the 507 folders of Gearhart’s original compositions, arrangements, collections, and personal papers held at the SUNY Buffalo Library, but for the present, Gearhart deserves the credit for making this jazzy, lighthearted arrangement known. Here the four-violin arrangement is adapted for three violins and viola. © Jane Vial Jaffe Return to Parlance Program Notes

September 27, 2009 – Danielle de Niese, soprano; Ken Noda, piano GEORGES BIZET (1838-1875) Three Songs September 27, 2009 – Danielle de Niese, soprano; Ken Noda, piano Although the three songs in this set were composed at different times in Bizet’s life and are based on texts by three different poets, they form a beguiling and unified triptych. A lighthearted spirit pervades the songs, which blend images of love and the natural world. Louis Bouilhet’s poem “Song of April” evokes the beauty of a glistening spring morning as a young woman encourages her beloved to get up and join her in savoring the gorgeous day in progress. Victor Hugo’s “The Ladybug” teasingly presents the image of a bashful 16-year-old boy at a dance party, too shy to summon the courage to kiss the young beauty with a ladybug on her neck. Waltz music accompanies the scene as the disappointed insect finally flies off, reproaching the young man for his reticence. And Édouard Pailleron’s “Tarantella” inspired Bizet to compose a delightfully virtuosic showpiece, again based on themes of love and flight. The airborne butterfly, musically represented by the soprano’s coloratura passagework, conjures the image of her lover’s frivolity and inconstancy. By Michael Parloff Return to Parlance Program Notes

ANNE SCHARER, FRENCH HORN Anne Marie Scharer has been playing horn in the Metropolitan Opera Orchestra since the 1997-1998 season. She was appointed to second horn by James Levine in 2016. Previously she played third horn for thirteen seasons and fourth horn for six seasons. Anne was born and raised in Madison, Wisconsin and went on to study music at Indiana University and The Juilliard School. Her first professional orchestral position was in Oviedo, Spain as co-principal horn. In 1994 she returned to the United States and played associate principal/third horn with the Columbus Symphony for three years before joining the Met. In addition to her work with the Opera, she teaches horn at Interlochen Center for the Arts and records for commercial and movie soundtracks.

December 15, 2024: THE VIRTUOSO FLUTIST. DENIS BOURIAKOV, FLUTE. A RECITAL FOR FLUTE AND ORCHESTRA, with Erin Bouriakov, Flute. Musicians From The New York Philharmonic. Michael Parloff, Conductor. Camille Saint-Saëns (1835-1921) Introduction and Rondo Capriccioso, Op. 28, arr. by Denis Bouriakov December 15, 2024: THE VIRTUOSO FLUTIST. DENIS BOURIAKOV, FLUTE. A RECITAL FOR FLUTE AND ORCHESTRA, with Erin Bouriakov, Flute. Musicians From The New York Philharmonic. Michael Parloff, Conductor. By the time Saint-Saëns met him, Pablo de Sarasate was already an established violin virtuoso, though he was only fifteen years old. Saint-Saëns wrote: It is a long time ago now since I first saw Pablo de Sarasate call at my house. Fresh and young as spring itself, the faint shadow of a mustache scarcely visible on his upper lip, he was already a famous virtuoso. As if it were the easiest thing in the world he had come quite simply to ask me to write a concerto for him. Flattered and charmed to the highest degree I promised I would, and I kept my word with the Concerto in A major. The First Violin Concerto, written in 1859, was only the beginning of their long artistic relationship. In 1863 Saint-Saëns wrote the present Introduction and Rondo capriccioso for Sarasate, who for unknown reasons did not give the first performance until April 4, 1867; the composer waited until 1870 to publish the piece, but meanwhile Sarasate performed it throughout Europe and in the United States. In 1880 Saint-Saëns honored him again with the Third Violin Concerto. These works were ideally suited to Sarasate’s style of playing—technically perfect, with an unusually sweet and pure tone and a wider vibrato than was common at the time—all of which he reportedly achieved without practicing scales or exercises. The Introduction and Rondo capriccioso is a brilliant showpiece—and perhaps the most famous of Saint-Saëns’s lighter compositions. Frequent performances were facilitated by Bizet, who made the violin and piano arrangement, and Debussy, who made a version for two pianos. Now, flute virtuoso Denis Bouriakov has transcribed the work for flute and orchestra, which makes a great and perfectly natural if extra-challenging showpiece for the flute. Saint-Saëns gave the one-movement work a pronounced Spanish flavor in Sarasate’s honor. The rhapsodic passages of the Introduction are accompanied by pizzicato strings, suggesting a guitar. The Rondo theme with its “Spanish” syncopations alternates with contrasting episodes guaranteed to show off the soloist’s virtuosity. The work ends with a whirlwind coda that dazzles with its pyrotechnical display of scales and arpeggios. —©Jane Vial Jaffe Return to Parlance Program Notes

SCOTT STEVENS, PERCUSSION Scott Stevens has been a percussionist and timpanist with the Metropolitan Opera Orchestra since 1977. He received his degrees from The Juilliard School where he studied with Saul Goodman and Elden “Buster” Bailey. In the summers, Mr. Stevens is a member of the percussion faculty at the Interlochen Arts Camp, Interlochen, Michigan.

DOV SCHEINDLIN, VIOLA Dov Scheindlin is a member and Artistic Director of the Orpheus Chamber Orchestra, and an Associate member of the Metropolitan Opera Orchestra. He has been violist of the Arditti, Penderecki and Chester String Quartets. He has performed in 28 countries around the globe, and won the Siemens Prize in 1999. He has appeared as soloist with the Concertgebouw Orchestra of Amsterdam and has recorded extensively for EMI, Teldec, and others. He won the Gramophone Award in 2002 for the Arditti Quartet’s recording of Sir Harrison Birtwistle’s Pulse Shadows. He has premiered chamber music by Britten, Carter, Kurtág, Adès and others. He has performed at festivals such as Salzburg, Luzern, and Tanglewood with members of the Juilliard, Alban Berg, Tokyo, and Borodin String Quartets. Dov Scheindlin lives in New York and he plays a viola by Francesco Bissolotti of Cremona, made in 1975. He is married to Met violinist Katherine Fong, and they have a two-year-old son, Ezekiel.

January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN César Franck (1822-1890) Prelude, Fugue, and Variation, Op. 18 January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN As organist at St. Clothilde and professor of organ at the Paris Conservatory, Franck influenced a generation of organists and composers including d’Indy, Chausson, Duparc, and Vierne. As a composer Franck was a late achiever par excellence: his three memorable chamber works—the Piano Quintet, the Violin Sonata, and the String Quartet—were composed in the last decade of his life, and his only Symphony was completed when he was sixty-five. There is no telling what he might have achieved had he not died in 1890 at age sixty-seven. At St. Clothilde, which boasted one of Cavallé-Coll’s finest organs, Franck naturally provided service music, but it was his after-service improvising that drew crowds and led to his Six pièces , composed between 1856 and 1864. His friend Liszt was so impressed that he declared them deserving of a “place beside the masterpieces of Bach.” Franck dedicated the third of these, Prélude, fugue et variation , composed between 1860 and 1862, to fellow organist Camille Saint-Saëns. The classically oriented Prelude and Fugue may show a kinship with his colleague’s style, though in no way represents a portrait. The tender, slightly melancholy Prelude consists of three iterations of an irregular five-measure phrase. Another short “prelude” that sounds extemporized launches the Fugue, after which the Variation presents a new version of the opening Prelude with a more active accompaniment. —©Jane Vial Jaffe Return to Parlance Program Notes

April 19, 2009 – Elmar Oliveira, violin; John Novacek, piano LUDWIG VAN BEETHOVEN (1770–1827) Sonata No. 10 in G, Op. 96 for violin and piano April 19, 2009 – Elmar Oliveira, violin; John Novacek, piano In 1812, the year Beethoven composed his tenth and final violin sonata, he wrote in his diary, “Everything that is called life should be sacrificed to the sublime and be a sanctuary of art.” The sublime tenderness of the G Major Sonata may surprise those expecting the fist-shaking defiance of his Fifth Symphony or the turbulence of the Appassionata piano sonata. Here we encounter a “kinder, gentler” Beethoven, passing from his heroic middle period into a more ruminative, profound late period. In this piece, pain and struggle recede and are replaced by an intimate, pastoral warmth. Dedicated to his devoted patron Archduke Rudolf, the piece was premiered in December of that year with the Archduke at the piano. The violinist was the Frenchman Pierre Rode, once considered the finest of his time but, in 1812, somewhat past his prime. Rode’s advancing age may have dictated a less vigorous work than Beethoven’s previous violin sonata, the monumental “Kreutzer” of 1803. But the gentle, musing atmosphere of Op. 96 is more probably an outgrowth of Beethoven’s evolving inner life. The first movement begins with a rustling, feathery trill, establishing the pastoral tone of the sonata. A jauntier second theme does little to disturb the overall serenity of the exposition. Themes unfold in an instinctive, stream-of-consciousness manner. At times the music seems to hover, circle around, and wander down unexpected paths, which become, in turn, the bases for further explorations. The warm, hymn-like second movement, marked “slow and expressive,” is one of Beethoven’s most beautiful Adagios. A flowing, tranquil stream of melody is couched in rich, chorale-like harmonies. The peaceful movement concludes with a moment of suspended animation before diving into the more agitated third movement, a minor key Scherzo. Though distinguished by syncopated, end-of-the-bar accents, the music never becomes brusque. The Scherzo alternates with a graceful, waltzing Trio set over a bagpipe drone, again reinforcing the work’s pastoral character. Beethoven wrote to the Archduke, “I have not hurried unduly to compose the last movement, as in view of Rode’s playing I have had to give thought to the composition of this movement. In our finales we like to have fairly noisy passages, but R does not care for them – and so I have been rather hampered.” Beethoven finally settled on a genial, folk-like melody as the basis for an unconventional set of variations. Four increasingly active variations lead to a prolonged, expressive Adagio, somewhat reminiscent of the atmosphere of the second movement. Eloquent instrumental exchanges are interrupted by dreamy, chromatic piano cadenzas. The initial theme eventually returns, leading to a boisterous section that is interrupted by a quiet, mysterious canon before returning to the original theme. The listener is surprised by a short, final Adagio, after which the violin and piano regain their resolve and sprint to an unbridled, joyous conclusion. By Michael Parloff Return to Parlance Program Notes

September 23, 2018: Michael Brown, solo piano; Arnaud Sussmann, violin; Emily Smith, violin; Matt Lipman, viola; Nick Canellakis, cello; David J. Grossman, bass WOLFGANG AMADEUS MOZART (1756-1791) Concerto No. 14 in E flat, K. 449 for piano and string quartet September 23, 2018: Michael Brown, solo piano; Arnaud Sussmann, violin; Emily Smith, violin; Matt Lipman, viola; Nick Canellakis, cello; David J. Grossman, bass The E-flat major Concerto—completed on February 9, 1784, but probably begun in 1782 or ’83—was the first of Mozart’s so-called “great” concertos and the first work he entered in his own catalog of works. Something about the work’s significance must have triggered the idea that he needed to maintain a record of his compositions, a practice he kept up until a few weeks before he died. He composed the E-flat Concerto for Barbara (Babette) Ployer, a fine pianist who studied with Mozart and whose talents he greatly appreciated. It was for her that he also wrote his Piano Concerto in G major, K. 453, and the “Grand” Sonata for two pianos in D major. Her father, Gottfried Ignaz von Ployer, agent of the Salzburg court in Vienna, frequently presented evenings of music and had helped to pave the composer’s way in Viennese society. By refraining from publishing the E-flat Concerto during his lifetime, Mozart granted Babette almost exclusive rights to the work. He did, however, play it himself on his benefit concert in March 1784, where “it won extraordinary applause,” as he reported to his father, and he did send a copy back to Salzburg for his sister Nannerl to perform. The work’s modest proportions in comparison with subsequent “grander” concertos later prompted Mozart to call it “a concerto in an entirely different style and written more for a small than a large orchestra.” As he had for the three piano concertos that immediately precede this work, Mozart suggested that the E-flat Concerto might be played “a quattro”—that is with string quartet accompaniment rather than full orchestra, in which version it works extremely well. History has tended to underrate this Concerto, but its many imaginative features make the work deserving of more frequent performance. The E-flat Concerto is remarkable for the earnestness of its first two movements. The tonal ambiguity between E-flat major and its relative minor in the restless first movement have even resulted in the work’s being labeled in C minor on occasion. In characteristic fashion Mozart presents a plethora of ideas in both his first and second key areas. In the first group an agitated theme in C minor does not reappear until near the end of the movement. Other striking uses of C minor occur in the recapitulation and in Mozart’s own cadenza for the movement. The slow movement presents an interesting mix of sonata and rondo elements in a procession of intimately elegant ideas and rich modulations. The marked avoidance of cadences and of the signposts of traditional form make this a “quietly revolutionary” movement—a precursor to Schubert perhaps—and add to the tally of this Concerto’s noteworthy features. The finale combines contrapuntal style and comic opera elements with great success, all the while presenting an original sonata-rondo form. Mozart’s distinctive main theme never returns exactly the same way. The second episode’s use of C minor makes a connection with the first movement as does the subsequent fugal version of the main theme in that key. Mozart’s coda in merry 6/8 meter introduces further variation both of the main theme and of one of the later themes—a witty conclusion to an inspired Concerto. © Jane Vial Jaffe Return to Parlance Program Notes

February 9, 2025: The Virtuoso Cellist, with Steven Isserlis and Connie Shih Edvard Grieg (1843-1907) Cello Sonata, Op. 36 February 9, 2025: The Virtuoso Cellist, with Steven Isserlis and Connie Shih The last formal position of Grieg's career was as conductor of the Bergen Harmoniske Selskab from 1880 to 1882, after which his activities centered around composition and concert tours. In 1883, newly freed from official commitments, Grieg composed his only Cello Sonata, op. 36, the Walzer-Capricen for piano duet, op. 37, a second set of Lyric Pieces, op. 38, and he worked on a second piano concerto (never completed). Grieg wrote twenty years later that he did not rate the Cello Sonata very highly, "because it does not betoken any forward step in my development." As has been noted previously in these pages, he was not as comfortable in the extended forms of a sonata, as in the lyrical miniatures that were his strength. He may have been concerned about his struggle with form, but his remarks cannot detract from the work's singing melodies, expressive writing for both cello and piano, and Norwegian folk-like characteristics. Moreover, Grieg thought enough of the work to perform it several times with notable cellists. In addition to playing the première with Friedrich Grützmacher in Dresden, October 22, 1883, Grieg performed it soon after in Leipzig with Julius Klengel, and twice in Christiania two years later with his older brother John Grieg, to whom the work is dedicated. The composer became acquainted with Pablo Casals through his friend Julius Röntgen, Dutch composer, conductor and pianist, and heard Casals and Röntgen play the Sonata in Amsterdam. The Cello Sonata continued to appear on Casals's recital programs for years. Both the first and last movements of this three-movement Sonata are based on a free sonata form, and both movements contain rich chromaticism and several surprising jazz-foreshadowing sonorities. The first movement begins as if it had already been in progress and the listener just now "tuned in"—a kind of opening favored by many Romantic composers. The second theme is like a folk song, as is the lyrical secondary theme in the last movement. In the slow movement, one imagines the sound of a harp upon hearing the solo piano opening and subsequent accompaniment figures. The last movement opens with a solo cello recitative before breaking into a sprightly dance. Although the Sonata has had its detractors, it has also had supporters. The Boston cellist Wulf Fries, a close associate of Artur Rubinstein, liked the Sonata so much that he wrote to Grieg asking for more of the same kind. Grieg replied that he was ill and had written nothing else for cello, although arrangements for cello of some of his pieces had been made by Goltermann. The great scholar William S. Newman in The Sonata Since the Classic Era regarded it as one of Grieg's best-sounding, most-rewarding sonatas. —©Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, APRIL 26, 2026 AT 4 PM JERUSALEM STRING QUARTET ALEXANDER PAVLOVSKY, VIOLIN SERGEI BRESLER, VIOLIN MATHIS ROCHAT, VIOLA KYRIL ZLOTNIKOV, CELLO JERUSALEM STRING QUARTET “Consummately brilliant playing throughout, combining amazing technical finesse with overwhelming musical insight….” — BBC Music Magazine ABOUT THE PERFORMANCE BUY TICKETS Renowned for their “amazing technical finesse and overwhelming musical insight” (BBC Music Magazine ), the Jerusalem String Quartet returns to Parlance Chamber Concerts for an expressively far-ranging program featuring works by Haydn, Beethoven , and Pulitzer Prize–winning composer Shulamit Ran . Celebrated for their warm, balanced sound and eloquent ensemble unity, the Quartet brings a rare blend of tradition, individuality, and emotional depth to both classical masterworks and contemporary voices. Their program will culminate with Beethoven’s Quartet in B-flat, Op. 130 , including the boundary-pushing Grosse Fuge . This great quartet —by turns rustic, playful, introspective, and adventurous —showcases the full range of Beethoven’s extraordinary late-life inventiveness and mastery.” 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 PROGRAM Joseph Haydn: Quartet in B-flat, Op. 76, No. 4 (“Sunrise”) Program Notes Shulamit Ran: Betwixt and Between – String Quartet No. 4 Commissioned by and composed for the Jerusalem String Quartet in 2025 Program Notes INTERMISSION Ludwig van Beethoven: Quartet in B-flat, Op. 130 (with the Grosse Fuge) Program Notes Watch the Jerusalem Quartet perform the Haydn’s String Quartet in D, Op. 64, No. 5 (The Lark): Watch the Jerusalem Quartet perform the third movement of Brahms's String Quartet No.3, Op.67: