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PINCHAS ZUKERMAN; AMANDA FORSYTH; ANGELA CHENG A prodigious talent recognized worldwide for his artistry, Pinchas Zukerman has been an inspiration to young musicians throughout his adult life. In a continuing effort to motivate future generations of musicians through education and outreach, the renowned artist teamed up in 2002 with four protégés to form a string quintet called the Zukerman ChamberPlayers. Despite limited availability during the season, the ensemble amassed an impressive international touring schedule with close to two hundred concerts and four discs on the CBC, Altara and Sony labels. Beginning in 2011 Zukerman, along with cellist Amanda Forsyth and pianist Angela Cheng, began offering trio repertoire as an alternative to the quintet works with the ChamberPlayers. In addition to piano trios by Mendelssohn, Beethoven, Dvorak and Shostakovich, programs often include duo performances with various couplings including the Kodaly Duo. Invitations from major Festivals and venues led to the official launch of the Zukerman Trio in 2013. The ensemble has traveled around the globe to appear in Japan, China, Australia, Spain, Italy, France, Hungary, South Africa, Istanbul, Russia, and throughout the United States. Appearances at major festivals have included the BBC Proms, Edinburgh, Verbier, and Bravo! Vail. This season, the Zukerman Trio returns to Australia for performances at the Adelaide Town Hall and the Ulkaria Cultural Centre. Other highlights include appearances at Chamber Music Sedona, Chamber Music Society of Detroit and the Music Institute of Chicago. The 2017-2018 marks Mr. Pinchas Zukerman’s ninth season as Principal Guest Conductor of the Royal Philharmonic Orchestra and his third as the Adelaide Symphony Orchestra’s Artist-in-Residence and includes over 100 concerts worldwide. He joins long-time friend Itzhak Perlman for a gala performance with the Israel Philharmonic Orchestra at Carnegie Hall and duo recitals in Boston, Newark, Miami, and West Palm Beach. He tours with cellist Amanda Forsyth and the Zukerman Trio, and leads the National Arts Centre Orchestra, Baltimore, San Diego, Vancouver, Nashville and New West Symphonies, among others, as soloist and conductor. Born in Tel Aviv, Pinchas Zukerman came to America in 1962, where he studied at The Juilliard School with Ivan Galamian. He has been awarded a Medal of Arts, the Isaac Stern Award for Artistic Excellence, and was appointed as the Rolex Mentor and Protégé Arts Initiative’s first instrumentalist mentor in the music discipline. A devoted and innovative pedagogue, Mr. Zukerman chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music, where he has pioneered the use of distance-learning technology in the arts. He currently serves as Conductor Emeritus of the National Arts Centre Orchestra of Canada, as well as Artistic Director of its Young Artist Program. Canadian Juno Award-winning Amanda Forsyth is considered one of North America’s most dynamic cellists. Her intense richness of tone, remarkable technique and exceptional musicality combine to enthrall audiences and critics alike. From 1999-2015, Amanda Forsyth was principal cellist of the National Arts Centre Orchestra, where she appeared regularly as soloist and in chamber ensembles. She is recognized as an eminent recitalist, soloist and chamber musician appearing with leading orchestras in Canada, the United States, Europe, Asia and Australia. As a recording artist she appears on the Fanfare, Marquis, Pro Arte and CBC labels. Consistently praised for her brilliant technique, tonal beauty and superb musicianship, Canadian pianist Angela Cheng performs regularly throughout North America as a recitalist and orchestral soloist. Angela Cheng has been Gold Medalist of the Arthur Rubinstein International Piano Masters Competition, as well as the first Canadian to win the prestigious Montreal International Piano Competition. Other awards include the Canada Council’s coveted Career Development Grant and the Medal of Excellence for outstanding interpretations of Mozart from the Mozarteum in Salzburg.

PARLANCE PROGRAM NOTES LE NUOVE MUSICHE: The Baroque Revolution (1550 - 1660) LE NUOVE MUSICHE: The Baroque Revolution (1550 - 1660) – April 7, 2024: Jordi Savall and Hespèrion XXI Samuel Adams (1985) Impromptu: After Schubert (Premiere Performance ) – February 26, 2017: Emanuel Ax, piano Bruce Adolphe (1955) Memory Believes (a requiem) for string quartet and chamber choir (World Premiere) – December 3, 2023 Isaac Albéniz (1860-1909) Asturias – November 2, 2014: Sharon Isbin, guitar 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 Juan Arañéz (died c. 1649) Chacona (“La Vida Bona”) – November 19, 2017: Los Angeles Guitar Quartet Anton Arensky (1861-1906) Piano Trio No. 1 in D minor, Op. 32 – January 27, 2019: Pinchas Zukerman Trio C.P.E. Bach (1714–1788) Suite in E minor Wq 62/12 – April 24, 2022 – Marc-André Hamlein, piano Johann Sebastian Bach (1685-1750) Adagio and Presto from Sonata in G minor, BWV for solo violin – April 3, 2016: Sean Lee, violin Air from Orchestra Suite No. 3 in D arr. for four cellos – September 29, 2024: Edward Arron, Carter Brey, Rafael Figueroa, and Zvi Plesser, cellos 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 Air on the G String from Orchestral Suite No. 3 in D major, BWV 1068 , arr. for organ by Smith Newell Penfield Arioso from Cantata, BWV 156 – December 5, 2021: Paul Jacobs, organ Arioso from Cantata, BWV 156 – January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN Brandenburg Concerto No. 3, BWV 1048 – March 24, 2019: Kristin Lee, violin; Paul Huang, violin; Danbi Um, violin; Pierre Lapointe, viola; Dov Scheindlin, viola; Maurycy Banszek, viola; Edward Arron, cello; Mihai Marica, cello; Joel Noyes, cello; Tim Cobb, bass; Gilles Vonsattel, harpsichord 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 Brandenburg Concerto No. 6, BWV 1051 – November 19, 2017: Los Angeles Guitar Quartet Brandenburg Concerto No. 6 – September 26, 2021: Viola Soloists: Paul Neubauer and Arnaud Sussmann Chorale Prelude “Ich ruf zu Dir, Herr Jesu Christ”, BWV 639 (arr. Busoni) – March 19, 2023 – Rachel Naomi Kudo, piano Chorale Prelude “Wachet auf, ruft uns die Stimme”, BWV 645 (arr. Busoni) – March 19, 2023 – Rachel Naomi Kudo, piano Chromatic Fantasy & Fugue, BWV 903 – March 19, 2023 – Rachel Naomi Kudo, piano Concerto in D Minor after Vivaldi, BWV 596 – December 5, 2021: Paul Jacobs, organ Double Concerto for Two Flutes in D minor, BWV 1043, arr. by Denis Bouriakov (Denis and Erin Bouriakov, flutes) – 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. Double Violin Concerto in D Minor BWV 1043 – March 24, 2019: Paul Huang, violin; Danbi Um, violins; Sarah Crocker Vonsattel, violin; Kristin Lee, violin; Pierre Lapointe, viola; Mihai Marica, cello; Tim Cobb, bass; Gilles Vonsattel, harpsichord French Suite No. 2 in C minor, BWV 813 – March 19, 2023 – Rachel Naomi Kudo, piano Goldberg Variations BWV 988 – October 29, 2017: Peter Serkin, piano I follow you with Joyful Steps from St. John Passion for soprano, 2 flutes, and continuo – April 3, 2016: Ying Fang, soprano; Sir James Galway and Lady Jeanne Galway, flutes; Nicholas Canellakis, cello; Paolo Bourdignon, harpsichord Italian Concerto, BWV 971 – March 19, 2023 – Rachel Naomi Kudo, piano Jesus soll mein erstes Wort from Cantata 171 for soprano, violin and continuo – April 3, 2016: Ying Fang, soprano; Sean Lee, violin; Nicholas Canellakis, cello; Paolo Bordignon, harpsichord Passacaglia and Fugue in C Minor, BWV 582 – December 5, 2021: Paul Jacobs, organ Piano Concerto in D Minor for BWV 1052 – March 24, 2019: Gilles Vonsattel, solo piano; Paul Huang, violin; Danbi Um, violin; Wen Qian, violin; Kristin Lee, violin; Sarah Crocker Vonsattel, violin; Ming-Feng Hsin, violin; Dov Scheindlin, viola; Pierre Lapointe, viola; Mihai Marica, cello; Edward Arron, cello; Joel Noyes, cello; Tim Cobb, bass Prelude and Fugue in C Major, BWV 547 – December 5, 2021: Paul Jacobs, organ Prelude and Fugue in D Major, BWV 532 – December 5, 2021: Paul Jacobs, organ Prelude from Suite for Cello in D, BWV 1012 – March 24, 2019: Edward Arron, cello Prelude from Violin Partita in E, BWV 1006 – March 24, 2019: Kristin Lee, violin Preludio from Partita No. 3 arrg. for 3 violins & viola – May 6, 2018: Oliver Neubauer, violin; Clara Neubauer, violin; Kerry McDermott, violin; Paul Neubauer, viola Sheep May Safely Graze, BWV 208 – December 5, 2021: Paul Jacobs, organ Sheep May Safely Graze, BWV 208 (arr. Petri) – March 19, 2023 – Rachel Naomi Kudo, piano Sheep Safely Graze, from Cantata 208 for soprano, two flutes, and continuo – April 3, 2016: Ying Fang, soprano; Sir James Galway and Lady Jeanne Galway, flutes; Nicholas Canellakis, cello; Paolo Bordignon, harpsichord Sinfonia from Cantata, BWV 29 (arr. Marcel Dupre) – December 5, 2021: Paul Jacobs, organ Sonata in E, BWV 1035 for flute and continuo – April 3, 2016: Sir James Galway, flute; Nicholas Canellakis, cello; Paolo Bourdignon, harpsichord Suite in B minor, BWV 1067 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 Suite in E minor, BWV 996 for solo guitar – September 25, 2016: Jason Vieaux, guitar Toccata and Fugue in D minor, BWV 565 (Notes coming soon!) — March 22, 2020: Paul Jacobs Organ Toccata in C minor, BWV 911 – March 19, 2023 – Rachel Naomi Kudo, piano Toccata in D, BMV 912 – March 19, 2023 – Rachel Naomi Kudo, piano Trio Sonata in E Minor, BWV 528 – December 5, 2021: Paul Jacobs, organ Trio Sonata No. 6 in G major, BMV 530 (Notes coming soon!) — March 22, 2020: Paul Jacobs Organ Violin and Piano Sonata in E, BWV 1016 – March 24, 2019: Sarah Crocker Vonsattel, violin; Gilles Vonsattel, piano Vor deinen Thron tret’ ich hiermit arr. for four cellos by Finckel Cello Quartet – September 29, 2024: Edward Arron, Carter Brey, Rafael Figueroa, and Zvi Plesser, cellos Samuel Barber (1910-1981) Adagio for Strings – December 16, 2018: Emerson Quartet Adagio from String Quartet No. 1, Op. 11 – January 10, 2010: Emerson String Quartet Hermit Songs, Op. 29 – March 29, 2015: Matthew Polenzani, tenor; Ken Noda, piano Steven Banks (1993) As I Am – November 20, 2022 – Steven Banks, saxophone, Xak Bjerken, piano Come As You Are – November 20, 2022 – Steven Banks, saxophone, Xak Bjerken, piano Amy Barlowe Hebraique Elegie for two violins – February 20, 2022: Paul Huang; Danbi Um, violins Jean Barrière (1707-1747) Allegro prestissimo from Sonata in G for two cellos – September 29, 2024: Carter Grey and Edward Arron, cellos Béla Bartók (1881–1945) Contrasts, BB 116 – October 5, 2014: Osmo Vänska, clarinet; Erin Keefe, violin; Gilles Vonsattel, piano Rhapsody No. 1 for cello and piano – May 21, 2023 – Zlatomir Fung, cello, Albert Cano Smit, piano Sonata No. 2, Sz 76 (1922) – March 11, 2018: Benjamin Beilman, Violin; Orion Weiss, piano Ludwig van Beethoven (1770–1827) Adelaide, Op. 46 – March 29, 2015: Matthew Polenzani, tenor; Ken Noda, piano Allegretto WoO – December 4, 2022 – Sitkovetsky Trio Cavatina from String Quartet in B-flat, Op. 130 – December 3, 2023 – Brentano String Quartet; Antioch Chamber Ensemble Cello Sonata in G minor, Op. 5, No. 2 – June 19, 2022: Amanda Forsyth; Shai Wosner, piano Cello Sonata in G minor, Op. 5, No. 2 – February 9, 2025: The Virtuoso Cellist, with Steven Isserlis and Connie Shih Cello Sonata No. 3 in A, Op. 69 (Notes coming soon!) – June 7, 2020: Amanda Forsyth, cello; Angela Cheng, piano “Eyeglasses” Duo in E-flat, WoO 32 for viola and cello (Notes coming soon!) – June 6, 2020: Matthew Lipman, viola; Amanda Forsyth, cello Kakadu Variations, Op. 121a – January 27, 2019: Pinchas Zukerman Trio Fantasia in G minor, Op. 77 – January 19, 2020: Paul Lewis, piano Piano Sonata No. 29 in B-flat major, Op. 106 “Hammerklavier“ – April 24, 2022 – Marc-André Hamlein, piano Piano Trio in E-flat (“Archduke”), Op. 97 – June 19, 2022: Zukerman Trio Piano Trio in G, Op. 1, No. 2 – December 4, 2022 – Sitkovetsky Trio Quartet No. 11 in F minor, Op. 95 (“Serioso”) – March 26, 2017: Jerusalem String Quartet Romance in F, Op. 50 for violin and piano – September 24, 2017: Sean Lee, violin; Michael Brown, piano Seven Variations on Bei Männern from Mozart's Magic Flute for cello and piano - September 29, 2024: Edward Arron, cello; Jeewon Park, piano Six Bagatelles from Op. 119 - March, 10 2024: Richard Goode, piano Sonata No. 4 in C, Op. 102, for cello & piano – December 13, 2015: Paul Watkins, cello; Gilles Vonsattel, piano Sonata No. 13 in E-flat major, Op. 27, no. 1, “Quasi una fantasia” – January 19, 2020: Paul Lewis, piano Sonata No. 14 in C-sharp minor, Op. 27, no. 2, “Quasi una fantasia” (“Moonlight”) – January 19, 2020: Paul Lewis, piano Sonata No. 9 in A, Op. 47, (Kreutzer) for violin & piano – December 13, 2015: Kristin Lee, violin; Gilles Vonsattel, piano Sonata No. 10 in G, Op. 96 (1812) – March 11, 2018: Benjamin Beilman, Violin; Orion Weiss, piano Sonata No. 10 in G, Op. 96 for violin and piano – April 19, 2009: Elmar Oliveira, violin; John Novacek, piano Sonata No. 30 in E, Op. 109 - March, 10 2024: Richard Goode, piano String Quartet in A minor, Op. 132 – April 13, 2025: Quartetto Di Cremona String Quartet in C# minor, Op. 131 – April 8, 2018: Danish String Quartet String Quartet in D, Op. 18, No. 3 – April 8, 2018: Danish String Quartet String Quartet in E-flat major, Op. 127 – January 4, 2015: Emerson String Quartet String Quartet in E minor, Op. 59, No. 2 – October 20, 2024: Modigliani Quartet String Quartet in F, Op. 59, No. 1 – April 8, 2018: Danish String Quartet String Trio in G, Op. 9, No. 1 (Notes coming soon!) – June 6, 2020: Pinchas Zukerman, violin; Matthew Lipman, viola; Amanda Forsyth, cello The Diabelli Variations, Op. 120 - March, 10 2024: Richard Goode, piano Trio in D, Op. 70, No. 1 (Ghost) for violin, cello, & piano – December 13, 2015: Kristin Lee, violin; Paul Watkins, cello; Gilles Vonsattel, piano Trio in E-flat, Op. 1, No. 1 – October 30, 2016: Wu Han, piano; Philip Setzer, violin; David Finckel, cello Trio No. 1 in E-flat, Op. 1 – October 30, 2016: Wu Han, piano; Philip Setzer, violin; David Finckel, cello Violin Sonata No. 3 in E-flat major. Op. 12, No. 3 – February 20, 2022: Paul Huang, violin; Juho Pohjonen Violin Sonata No. 5 in F (“Spring), Op. 24 – June 19, 2022: Pinchas Zukerman, violin; Shai Wosner, piano Violin Sonata No. 8 in G Major, Op. 30, No. 3 (Notes coming soon!)- May 3, 2020: Paul Huang, violin; Juho Pohjonen, piano Hector Berlioz (1803-1869) Les nuits d’été, op. 7 – April 23, 2017: Isabel Leonard, mezzo-soprano; Warren Jones, piano Georges Bizet (1838-1875) Chanson d’Avril – February 16, 2020: Ying Fang, soprano; Ken Noda, piano La Coccinelle – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Three Songs – September 27, 2009: Danielle de Niese, soprano; Ken Noda, piano Luigi Boccherini (1743-1805) Cello Sonata No. 6 in A, G. 4 – September 26, 2021: Cello Soloist: Nicholas Canellakis Quartet in C, Op. 2, No. 6 - October 27, 2019: Quartetto di Cremona Quintet in D for guitar and string - September 25, 2016: Jason Vieaux, guitar; Escher String Quartet Alexander Borodin (1833-1887) String Quartet No. 2 in D – January 14, 2024: Goldmund Quartet Nadia Boulanger (1887-1979) 3 Pieces for cello and piano – February 9, 2025: The Virtuoso Cellist, with Steven Isserlis and Connie Shih Johannes Brahms (1833-1897) Ballades, Op. 10 – October 14, 2018: Garrick Ohlsson, piano Cello Sonata in E minor, Op. 38 – April 2, 2023 – Paul Watkins, cello, Boris Berman, piano Eight Pieces, Op. 76 – October 14, 2018: Garrick Ohlsson, piano Klavierstücke, Op. 118 – October 4, 2015: Richard Goode, piano Klavierstücke, Op. 119 – October 4, 2015: Richard Goode, piano Piano Quintet in F minor, Op. 34 – October 5, 2014: Arnaud Sussmann and Erin Keefe violins; Hsin-Yun Huang, viola; Rafael Figueroa, cello; Gilles Vonsattel, piano Piano Trio No. 2 in C, Op. 87 – January 27, 2019: Pinchas Zukerman Trio Sextet for Strings No. 2 in G, Op. 36 – October 20, 2022 – Emerson String Quartet Sonata in E-Flat, Op. 120, for viola and piano – September 27, 2009: Lawrence Dutton, viola; Ken Noda, piano Sonata No. 2 in A, Op. 100 – November 15, 2015: Jeremy Denk, piano; Stefan Jackiw, violin String Quartet in B-flat, Op. 67 – October 20, 2024: Modigliani Quartet Three Intermezzos for piano, Op. 117 – April 2, 2023 – Boris Berman, piano Trio in B Major, Op. 8, for violin, cello, and piano – October 18, 2009: David Chan, violin; Jeewon Park, piano, Rafael Figueroa, cello Trio in A minor, Op. 114, for viola, cello, and piano – April 2, 2023 – Ettore Causa, viola, Paul Watkins, cello, Boris Berman, piano Trio in E-flat, Op. 40 for violin, horn, and piano – May 12, 2024: Alessio Bax, piano; Lucille Chung, piano; Chee-Yun, violin; Brad Gemeinhardt Variations on a Hungarian Theme, Op. 21, No. 2 – October 14, 2018: Garrick Ohlsson, piano Variations on an Original Theme, Op. 21, No. 1 – October 14, 2018: Garrick Ohlsson, piano Variations on a Theme by Paganini, Op. 35, Book 1 – October 14, 2018: Garrick Ohlsson, piano Viola Sonata in E-flat, Op. 120, No. 2 – April 2, 2023 – Ettore Causa, viola, Boris Berman, piano Violin Sonata in A, Op. 100 – May 21, 2023 Kevin Zhu, violin, Albert Cano Smit, piano Benjamin Britten (1913-1976) Divertimenti for String Quartet – January 29, 2023, Danish String Quartet Henri Brod (1799 – 1839) Duo from Lucia di Lammermoor, Op. 55 for oboe & cello and piano – September 18, 2022 – Elaine Douvas, oboe, Joel Noyes, cello, Bryan Wagorn, piano Max Bruch (1838-1920) Andante con moto in C# Minor, Op. 83 for clarinet, cello, and piano – April 19, 2009: Jon Manasse, clarinet; Rafael Figueroa, cello; John Novacek, piano Kol Nidrei for cello and piano - February 18, 2024: Nicholas Canellakis, cello; Michael Stephen Brown, piano Gaspar Cassadó (1897-1966) Sardana and Jota from Suite for solo cello – September 24, 2017: Rafael Figueroa, cello Suite for Solo Cello – October 18, 2009: Rafael Figueroa, cello Ernest Chausson (1855-1899) Concerto in D, Op. 21 for violin, piano, and string quartet – September 23, 2018: Arnaud Sussmann, solo violin; Michael Brown, piano; Sean Lee, violin; Emily Smith, violin; Matt Lipman, viola; Nick Canellakis, cello Gilad Cohen (Born 1980) Trio for a Spry Clarinet, Weeping Cello and Ruminating Harp – December 18, 2016: Emmanuel Ceyssonu, harp; Jerry Grossman, cello; Inn-hyuck Cho, clarinet “Moonrhymes” (Premiere) for 3 violins, viola and piano – May 6, 2018: Kerry McDermott, violin; Clara Neubauer, violin; Paul Neubauer, viola; Oliver Neubauer, violin; Anne-Marie McDermott, piano Frederic Chopin (1810-1849) Four Impromptus, Opp. 29, 36, 51, & 66 – February 26, 2017: Emanuel Ax, piano Four Mazurkas, op. 67 – April 23, 2017: Warren Jones, piano Polonaise Brillante in C, Op. 3 for cello and piano – September 29, 2024: Carter Brey, cello; Jeewon Park, piano Sonata in B minor, Op. 58 – February 26, 2017: Emanuel Ax, piano Valse Brilliante in A flat, Op. 34, No. 1 for piano – September 24, 2017: Michael Brown, piano John Corigliano (Born 1938) Lullaby for Natalie – April 14, 2019: Anne Akiko Meyers, violin; Jason Vieaux, guitar Archangelo Corelli (1653-1713) Sonata in D minor Op. 5 No. 12 “La Folia” arr. Andy Poxon – April 14, 2019: Anne Akiko Meyers, violin Charles Dancla (1817-1907) Variations on Ah! Vous dirai-je, Maman for three violins and viola – May 6, 2018: Kerry McDermott, violin; Clara Neubauer, violin; Paul Neubauer, viola; Oliver Neubauer, violin Louis-Claude Daquin (1694-1772) Le Coucou – November 4, 2018: Lucille Chung, piano Félicien David (1810-1876) La Nuit (arr. Vieuxtemps) for viola and piano – September 24, 2017: Mark Holloway, viola; Michael Brown, piano Claude Debussy (1862-1918) Cello Sonata in D minor, L. 135 – March 13, 2022: Kristin Lee, violin; Nicholas Canellakis, cello; Michael Brown, piano Clair de lune – November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano Danses sacrée et profane, L. 103 for harp and strings – December 18, 2016: Mariko Anraku, harp; David Chan, concertmaster; Catherine Ro, violin; Dov Scheindlin, viola; Rafael Figueroa, cello Hommage à Haydn – October 17, 2021: Roman Rabinovich, piano; Escher String Quartet Rhapsody for Alto Saxophone and piano – November 20, 2022 – Steven Banks, saxophone, Xak Bjerken, piano String Quartet – April 13, 2025: Quartetto Di Cremona Suite bergamasque arranged for two harps – December 18, 2016: Mariko Anraku, harp; Emmanuel Ceysson, harp Violin Sonata in G minor, L. 140 – March 13, 2022: Kristin Lee, violin; Nicholas Canellakis, cello; Michael Brown, piano François Devienne (1759-1803) Flute Concerto No. 7 in E minor – 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. 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 Franz and Karl Doppler (1821-1883; 1825-1900) Rigoletto Fantasie for 2 flutes and piano – Seth Morris and Maron Khourey, flutes, Bryan Wagorn, piano John Duke (1899-1984) Three Songs – May 15, 2016: James Morris, bass-baritone; Ken Noda, piano Antonín Dvořák (1841-1904) Songs My Mother Taught Me, arr. for violin and piano – May 12, 2024: Alessio Bax, piano; Lucille Chung, piano; Chee-Yun, violin; Brad Gemeinhardt String Quartet No. 14 in A-Flat, Op. 105 – January 10, 2010: Emerson String Quartet Terzetto in C, Op. 74 or 2 violins and viola – May 6, 2018: Clara Neubauer, violin; Kerry McDermott, violin; Paul Neubauer, viola Quartet No. 12 in F, Op. 96 (American) – November 20, 2016: Frank Huang, concertmaster; Sheryl Staples, principal associate concertmaster; Cynthia Phelps, viola; Carter Brey; cello Quartet No. 13 in G, Op. 106 – March 26, 2017: Jerusalem String Quartet Juan de Encina (1411-1456) Oy Comamos – November 19, 2017: Los Angeles Guitar Quartet Sir Edward Elgar (1857-1934) Quintet in A minor, Op. 84 for piano and strings – November 20, 2016: Jonathan Biss, piano; Frank Huang, concertmaster; Sheryl Staples, principal associate concertmaster; Cynthia Phelps, viola; Carter Brey; cello English Madrigals John Bennet: All Creatures Now William Byrd: Though Amaryllis Dance Thomas Weelkes: Hark, All Ye Lovely Saints Thomas Tomkins: Adieu, Ye City-Prisoning Towers John Wilbye: Draw on Sweet Night Thomas Morley: Fyre, Fyre! – December 3, 2023: Brentano String Quartet; Antioch Chamber Ensemble Manuel de Falla (1876-1946) Danse Espagnole from La Vida Breve for violin and piano – September 24, 2017: Emily Daggett Smith, violin; Michael Brown, piano Siete canciones populares españolas – November 2, 2014: Isabel Leonard, mezzo-soprano; Sharon Isbin, guitar Siete Canciones Populares Espanolas – April 14, 2019: Anne Akiko Meyers, violin; Jason Vieaux, guitar Gabriel Fauré (1845-1924) Mélodies – November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano Romance in B flat, Op. 28 for violin and piano – September 24, 2017: Arnaud Sussmann, violin; Michael Brown, piano César Franck (1822-1890) Prelude, Fugue, and Variation, Op. 18 – January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN Sonata in A – November 15, 2015: Jeremy Denk, piano; Stefan Jackiw, violin George Gershwin (1898-1937) Lullaby for string quartet (American) – November 20, 2016: Frank Huang, concertmaster; Sheryl Staples, principal associate concertmaster; Cynthia Phelps, viola; Carter Brey; cello Preludes – November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano Phillip Glass (Born 1937) Metamorphosis II – April 14, 2019: Jason Vieaux, guitar Osvaldo Golijov (1960) Tenebrae – April 13, 2025: Quartetto Di Cremona Georg Goltermann (1824-1898) Serenade Op. 119, No. 2 for four cellos – September 29, 2024: Edward Arron, Carter Brey, Rafael Figueroa, and Zvi Plesser, cellos Enrique Granados (1867–1916) Canciones amatorias – April 23, 2017: Isabel Leonard, mezzo-soprano; Warren Jones, piano Spanish Dance in E minor, Op. 37, no. 5 – November 2, 2014: Sharon Isbin, guitar Edvard Grieg (1843-1907) Andante con moto for piano trio – October 15, 2023: Lysander Piano Trio Cello Sonata, Op. 36 –February 9, 2025: The Virtuoso Cellist, with Steven Isserlis and Connie Shih Sonata in A Minor, Op. 36, for cello and piano – October 19, 2008: Carter Brey, cello; Warren Jones, piano Marc-André Hamelin Suite à l’ancienne (Suite in the old style) (2020) – April 24, 2022: Marc-André Hamelin, piano Georg Friedrich Händel (1685-1759) Angels ever bright and fair (from Theodora) – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Endless Pleasure (from Semele) – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Sonata in G minor, Op. 2, No. 8 for two cellos and piano – September 29, 2024: Zvi Plesser and Rafael Figueroa, cellos; Jeewon Park, piano Two Opera Arias – May 15, 2016: James Morris, bass-baritone; Ken Noda, piano Joseph Haydn (1732-1809) Allegro molto from Cello Concerto in C major: Hob. VIIb/1 – September 29, 2024: Edward Arron, Carter Brey, Rafael Figueroa, and Zvi Plesser, cellos Piano Sonata No. 50 in C Hob. XVI: 50 – October 17, 2021: Roman Rabinovich, piano; Escher String Quartet Piano Trio in G, Hob. XV: 25 (“Gypsy”) – October 17, 2021: Roman Rabinovich, piano; Escher String Quartet Quartet in D, Op. 64, No. 5 (“The Lark”) – March 26, 2017: Jerusalem String Quartet String Quartet in B-flat, Op. 76, No. 4 (“Sunrise”) – October 17, 2021: Roman Rabinovich, piano; Escher String Quartet String Quartet in G, Op. 33, No. 5 – October 20, 2022 – Emerson String Quartet String Quartet in G, Op. 77, No. 1 – October 17, 2021: Roman Rabinovich, piano; Escher String Quartet Symphony No. 6 in D, Hob. 1/6 (“The Morning”) – September 14, 2025: “SINGERS” FROM THE MET ORCHESTRA The Seven Last Words of Christ for string quartet – February 17, 2018: Chiara String Quartet Phillip Houghton Opals – November 19, 2017: Los Angeles Guitar Quartet Jenö Hubay (1858-1937) Scenes de la Csarda, No. 3, Op. 18 for violin and piano – September 24, 2017: Danbi Um, violin; Michael Brown, piano Jacques Ibert (1890-1962) Chansons de Don Quichotte – May 15, 2016: James Morris, bass-baritone; Ken Noda, piano Charles Ives (1874-1954) Sonata No. 1, S. 60 – November 15, 2015: Jeremy Denk, piano; Stefan Jackiw, violin Sonata No. 4 (Children’s Day at the Camp Meeting), S. 63 – November 15, 2015: Jeremy Denk, piano; Stefan Jackiw, violin Variations on "America" – January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN Leoš Janáček (1854-1928) Quartet No. 1 (Kreutzer Sonata) – March 6, 2016: The Escher String Quartet Antônio Carlos Jobím (1927-1994) A Felicidade – April 14, 2019: Jason Vieaux, guitar Alan Jay Kernis 100 Great Dance Hits for guitar and string quartet – September 25, 2016: Jason Vieaux, guitar; Escher String Quartet Erich Wolfgang Korngold (1897-1957) Suite for two violins, cello, and piano (left hand) – February 12, 2023 – Gloria Chien, piano, Benjamin Beilman and Alexi Kenney, violins, Milena Pajaro-van de Stadt, viola, Mihai Marica, cello Suite from Much Ado about Nothing, Op. 11 – February 20, 2022: Danbi Um, violin; Juho Pohjonen, piano Fritz Kreisler (1875 — 1962) Three Pieces for Violin and Piano: Marche Miniature Viennoise The Old Refrain Viennese Rhapsodic Fantasietta Benjamin Beilman, violin, Gloria Chien, piano Franz Liszt (1811-1886) Fantasia and Fugue on 'Ad Nos, Ad Salutarem Undam' – January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN Selected Songs – March 29, 2015: Matthew Polenzani, tenor; Ken Noda, piano Federico García Lorca (1898–1936) Canciones españolas antiguas – November 2, 2014: Isabel Leonard, mezzo-soprano; Sharon Isbin, guitar Witold Lutoslawski (1913-1994) Variations on a Theme of Paganini for two pianos – December 19, 2017: Alessio Bax, piano; Lucille Chung, piano Gustav Mahler (1860-1911) Piano Quartet – February 12, 2023 – Gloria Chien, piano, Alexi Kenney, violin, Milena Pajaro-van de Stadt, viola, Mihai Marica, cello Amanda Maier (1853-1894) Piano Trio in E-flat – October 15, 2023: Lysander Piano Trio Antonio Martín y Coll (1650-1734) Diferéncias Sobre Las Folia – November 19, 2017: Los Angeles Guitar Quartet El Villano – November 19, 2017: Los Angeles Guitar Quartet Bohuslav Martinů (1809-1959) Cello Sonata No. 1 – February 9, 2025: The Virtuoso Cellist, with Steven Isserlis and Connie Shih Jules Massenet (1842-1912) Letter Scene and Va! Laisse couler mes larmes from Werther – April 23, 2017: Isabel Leonard, mezzo-soprano; Warren Jones, piano Felix Mendelssohn (1809-1847) Octet in E-flat, Op. 20 for strings – September 24, 2017: Paul Neubauer, viola; Arnaud Sussman, violin; Rafael Figueroa, cello; Michael Brown, piano Sonata No. 1 in F Minor, Op. 65 – January 19, 2025: THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN Piano Trio No. 2 in C minor, Op. 66 – December 4, 2022 – Sitkovetsky Trio Song Without Words in D for cello and piano – September 29, 2024: Rafael Figueroa, cello; Jeewon Park, piano String Quartet in A minor, Op. 13 – November 14, 2021 – Schumann String Quartet String Quartet in F Minor, Op. 80 – January 10, 2010: Emerson String Quartet Trio No 2 in C Minor, Op. 66 for violin, cello, and piano – April 19, 2009: Elmar Oliveira, violin; Rafael Figueroa, cello; John Novacek, piano Olivier Messiaen Quartet for the End of Time - February 18, 2024: Anthony McGill, clarinet; Stefan Jackiw, violin; Nicholas Canellakis, cello; Michael Stephen Brown, piano Pat Metheny Road to the Sun – November 19, 2017: Los Angeles Guitar Quartet Jesse Montgomery Peace for clarinet and piano - February 18, 2024: Anthony McGill, clarinet; Michael Stephen Brown, piano Xavier Montsalvatge (1912–2002) Selections from Cinco canciónes negras – November 2, 2014: Isabel Leonard, mezzo-soprano, Sharon Isbin, guitar Moritz Moszkowski (1854–1925) Suite for two violins and piano, Op. 71 – February 20, 2022: Paul Huang, violin; Danbi Um, violin; Juho Pohjonen, piano Wolfgang Amadeus Mozart (1756-1791) Adagio and Rondo, K. 617 for glass harmonica, flute, oboe, viola, and cello – May 19, 2019: Friedrich Heinrich Kern, glass harmonica; Chelsea Knox, flute; Elaine Douvas, oboe; Jeremy Berry, viola; Estelle Choi, cello Adagio in B minor, K. 540 – October 29, 2017: Peter Serkin, piano Adagio in C for Armonica, K. 617 – January 31, 2010: Cecilia Brauer, glass harmonica Adagio in C, K. 617a for glass harmonica – May 19, 2019: Friedrich Heinrich Kern, glass harmonica Al desio di chi t’adoro – September 27, 2009: Danielle de Niese, soprano; Ken Noda, piano Andante in C, K. 315 for flute and orchestra – 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. Ave Verum Corpus for chamber choir and string quartet – December 3, 2023: Brentano String Quartet; Antioch Chamber Ensemble Bassoon Concerto in B-flat, K. 191 – September 14, 2025: “SINGERS” FROM THE MET ORCHESTRA Clarinet Concerto in A, K. 622 – September 14, 2025: “SINGERS” FROM THE MET ORCHESTRA Clarinet Trio in E flat, Op. 498 (“Kegelstatt”) – November 4, 2018: Pascual Martinez-Fortese, clarinet; Cynthia Phelps, viola; Alessio Bax, piano 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 Deh vieni non tardar (from Le Nozze di Figaro) – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Divertimento in F, K. 138 – January 29, 2023, Danish String Quartet Duo in G, K. 423, for violin & viola – October 19, 2008: Sheryl Staples, violin; Cynthia Phelps, viola Fantasie in F minor, K. 594 for organ – May 19, 2019: Paul Jacobs, organ Flute Concerto in G, K. 313 – 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. Horn Concerto No. 4 in E-flat, K. 495 – September 14, 2025: “SINGERS” FROM THE MET ORCHESTRA Non più di fiori from La Clemenza di Tito, K. 621 – May 19, 2019: Wendy Bryn Harmer, soprano; Inn-Hyuck Cho, basset horn; Ken Noda, piano Piano Quartet in G minor, K. 478 – May 8, 2022: Arnaud Sussmann, violin; Anna Polonsky, piano; Paul Neubauer, viola; Fred Sherry, cello; Michael Parloff, lecturer Quartet for Oboe (soprano Saxophone) and Strings, arr. by Steven Banks – November 20, 2022 – Steven Banks, saxophone, Benjamin Bowman, violin, Milan Milisavljević, viola, Rafael Figueroa, cello Quartet in D, K. 575 (Prussian No. 1) – March 6, 2016: The Escher String Quartet Overture to The Marriage of Figaro, arr. for four cellos by Douglas Moore – September 29, 2024: Edward Arron, Carter Brey, Rafael Figueroa, and Zvi Plesser, cellos S’altro che lagrime (from La Clemenza di Tito) – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Serenade No. 10 in B-flat, K. 361/370a (Gran Partita) – September 18, 2022: Winds of Met Sonata in B flat, K. 570 – October 29, 2017: Peter Serkin, piano Sonata in C, K. 521 for piano 4-hands – December 19, 2017: Alessio Bax, piano; Lucille Chung, piano Sonata in A, K. 526 – March 11, 2018: Benjamin Beilman, Violin; Orion Weiss, piano Sonata No. 8 in A minor, K. 310 – October 4, 2015: Richard Goode, piano Sonata No. 15 in F, K. 533 – October 4, 2015: Richard Goode, piano String Quartet in C, K. 465 (“Dissonance”) – November 14, 2021 – Schumann String Quartet String Quintet in E-flat, K. 614 – May 19, 2019: Calidore String Quartet; Matthew Lipman, viola String Quartet in G major, K. 387 – January 4, 2015: Emerson String Quartet Three Late Songs, K. 596 – 598 – May 19, 2019: Wendy Bryn Harmer, soprano; Ken Noda, piano String Quartet No. 16 in E-flat, K. 428 – January 29, 2023, Danish String Quartet Two Concert Arias – May 15, 2016: James Morris, bass-baritone; Ken Noda, piano Un moto di gioia (from Le Nozze di Figaro) – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Violin Sonata in A, K. 526 – May 8, 2022: Arnaud Sussmann, violin; Anna Polonsky, piano; Paul Neubauer, viola; Fred Sherry, cello; Michael Parloff, lecturer Violin Sonata in E minor, K. 300c (K. 304) – October 5, 2014: Arnaud Sussmann, violin; Gilles Vonsattel, piano Violin Sonata in G, K. 379 – May 8, 2022: Arnaud Sussmann, violin; Anna Polonsky, piano; Paul Neubauer, viola; Fred Sherry, cello; Michael Parloff, lecturer Zeffiretti lusinghieri (from Idomeneo) – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Modest Musorgsky (1839-1881) Ballet of the Unhatched Chicks – November 4, 2018: Alessio Bax, piano John Novacek Four Rags for Two Jo(h)ns for clarinet and piano – April 19, 2009: Jon Manasse, clarinet; John Novacek, piano Mark O’Connor F.C.’s Jig for violin and viola – May 6, 2018: Kerry McDermott, violin; Paul Neubauer, viola Hermeto Pascoal Da Sábado pra Dominguihnos – November 19, 2017: Los Angeles Guitar Quartet Arvo Pärt Fratres for violin and piano - February 18, 2024: Stefan Jackiw, violin; Michael Stephen Brown, piano Sam Perkin Freak Show – December 4, 2022 – Sitkovetsky Trio Astor Piazzolla (1921-1992) Histoire du Tango – April 14, 2019: Anne Akiko Meyers, violin; Jason Vieaux, guitar Milonga del ángel – November 20, 2022 Steven Banks, saxophone, Xak Bjerken, piano Amilcare Ponchielli (1834-1886) Quartetto for flute, oboe, B-flat clarinet, E-flat clarinet and piano – September 18, 2022 – Met Winds David Popper (1843-1913) Requiem for three cellos and piano – September 29, 2024: Rafael Figueroa, Edward Arron, and Zvi Plesser, cellos; Jeewon Park, piano Baden Powell Samba Novo – November 19, 2017: Los Angeles Guitar Quartet Sergei Prokofiev (1891–1953) Sonata for Cello and Piano in C Major, Op. 119 (1949) – February 8, 2015: David Finckel, cello; Wu Han, piano Giacomo Puccini (1858–1924) Crisantemi – October 27, 2019: Quartetto di Cremona Three Arias – November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano Sergei Rachmaninoff (1873–1943) Andante from Sonata in G minor, Op. 19 for cello and piano – September 29, 2024: Zvi Plesser, cello; Jeewon Park, piano Six Songs, Op. 38: In My Garden at Night, To Her, Daisies, Pied Piper, Dreams, A-oo – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Sonata for Cello and Piano in g minor, Op. 19 – February 8, 2015: David Finckel, cello; Wu Han, piano Suite No. 2, Op. 17 for two pianos – December 19, 2017: Alessio Bax, piano; Lucille Chung, piano Trio élégiaque No. 2 in D minor, Op. 9 – May 21, 2023 – Kevin Zhu, violin, Zlatomir Fung, cello, Albert Cano Smit, piano Maurice Ravel (1875-1937) Air de feu from L’enfante et les sortileges – March 9, 2025: Ravel’s 150th Birthday Concert, with Erika Baikoff, Soprano; Soohong Park, piano Cinq mélodies populaires grecques – March 29, 2015: Matthew Polenzani, tenor; Ken Noda, piano Cinq mélodies populaires grecques for soprano and piano – March 9, 2025: Ravel’s 150th Birthday Concert, with Erika Baikoff, Soprano; Soohong Park, piano Gaspard de la nuit for piano – March 9, 2025: Ravel’s 150th Birthday Concert, with Erika Baikoff, Soprano; Soohong Park, piano Introduction and Allegro for harp, flute, clarinet, and string quartet – December 18, 2016: Emmanuel Ceysson, harp; Érik Gratton, flute; Inn-hyuck Cho, clarinet; David Chan, concertmaster; Catherine Ro, violin; Dov Scheindlin, viola; Jerry Grossman, cello Le Tombeau de Couperin for piano – March 9, 2025: Ravel’s 150th Birthday Concert, with Erika Baikoff, Soprano; Soohong Park, piano Ma mere l’oye arranged for two harps – December 18, 2016: Mariko Anraku, harp; Emmanuel Ceysson, harp Manteau de fleurs for soprano and piano Ballade de la reine morte d’aimer for soprano and piano – March 9, 2025: Ravel’s 150th Birthday Concert, with Erika Baikoff, Soprano; Soohong Park, piano Menuet sur le nom d’Haydn – October 17, 2021: Roman Rabinovich, piano; Escher String Quartet Mother Goose Suite for piano 4-hands – May 12, 2024: Alessio Bax, piano; Lucille Chung, piano; Chee-Yun, violin; Brad Gemeinhardt Pavane pour une infante défunte for piano – March 9, 2025: Ravel’s 150th Birthday Concert, with Erika Baikoff, Soprano; Soohong Park, piano Piano Trio in A minor – March 13, 2022: Kristin Lee, violin; Nicholas Canellakis, cello; Michael Brown, piano Shéherazade for soprano and piano – March 9, 2025: Ravel’s 150th Birthday Concert, with Erika Baikoff, Soprano; Soohong Park, piano Sonata for Violin and Cello – March 13, 2022: Kristin Lee, violin; Nicholas Canellakis, cello; Michael Brown, piano String Quartet in F – November 14, 2021 – Schumann String Quartet The Valley of the Bells for piano - February 18, 2024: Michael Stephen Brown, piano Tzigane for violin and piano – May 6, 2018: Oliver Neubauer, violin; Anne-Marie McDermott, piano Vocalise Etude en forme de habanera for soprano and piano – March 9, 2025: Ravel’s 150th Birthday Concert, with Erika Baikoff, Soprano; Soohong Park, piano Ottorino Respighi (1879-1936) Quartet in D – October 27, 2019: Quartetto di Cremona Nikolai Rimsky-Korsakov (1844-1908) Flight of the Bumblebee, arr. Rachmaninoff – November 4, 2018: Alessio Bax, piano Chris Rogerson New Work for two violins and piano – Paul Huang, violin; Danbi Um, violin; Juho Pohjonen, piano Frederic Rzewski Demons for violin and piano (2017) – March 11, 2018: Benjamin Beilman, Violin; Orion Weiss, piano Joaquín Rodrigo (1901–1999) Aranjuez, ma pensée – November 2, 2014: Isabel Leonard, mezzo-soprano; Sharon Isbin, guitar Gioachino Rossini (1792–1868) Canzonetta spagnuola – April 23, 2017: Isabel Leonard, mezzo-soprano; Warren Jones, piano Camille Saint-Saëns (1835-1921) Carnival of the Animals – January 31, 2010: Stefán Ragnar Höskuldsson, flute; Stephen Williamson, clarinet; Yoon Kwon, violin; Abraham Appleman, viola; Joel Noyes, cello; Timothy Cobb, bass; Gregory Zuber, xylophone; Gareth Icenogle, narrator Carnival of the Animals – November 4, 2018: Alessio Bax and Lucille Chung, pianos; Yoobin Son, flute; Pascual Martinez-Fortese, clarinet; Sheryl Staples, violin; Qian-Qian Li, violin; Cynthia Phelps, viola; Eileen Moon, cello; Tim Cobb, bass; Barry Centanni, xylophone 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. Romance, Op. 36 for cello and piano – September 24, 2017: Mihai Marica, cello; Michael Brown, piano Pablo Sarasate (1844-1908) Navarra, Op. 33 for two violins and piano – February 20, 2022: Paul Huang, violin; Danbi Um, violin; Juho Pohjonen, piano Franz Schubert (1797-1828) Duo Sonata in A, Op. 162, D. 574, for violin and piano – October 18, 2009: David Chan, violin; Jeewon Park, piano Four Impromptus, D. 935 (Op. 142) – February 26, 2017: Emanuel Ax, piano Nacht und Träume – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Piano Trio in E-flat, Op. 100 – October 15, 2023: Lysander Piano Trio Rondo in A, D. 438 for violin and string quartet – September 23, 2018: Sean Lee, solo violin; Emily Smith, violin; Arnaud Sussman, violin; Matt Lipman, viola; Nick Canellakis, cello Shepherd on the Rock, Op. 129, D. 965, for soprano, clarinet and piano – September 27, 2009: Danielle de Niese, soprano; Stephen Williamson, clarinet; Ken Noda, piano Sonata in G major, D. 894, op. 78 (“Fantasie”) – January 19, 2020: Paul Lewis, piano Sonatas in C minor, D. 958; A major, D. 959; and B-flat major, D. 960 - November 17, 2024: Paul Lewis, piano String Quartet No. 13 in A minor, D. 804 – January 29, 2023, Danish String Quartet String Quintet in C, D. 956 – December 16, 2018: Emerson String Quartet with David Finckel, cello Trio No. 2 in E-flat, D. 929, Op. 99 – October 30, 2016: Wu Han, piano; Philip Setzer, violin; David Finckel, cello Quartet No. 14 in D minor, D. 810 (Death and the Maiden) – March 6, 2016: The Escher String Quartet Viola – February 16, 2020: Ying Fang, soprano; Ken Noda, piano Hermann Schulenburg (1886-1959) Gypsy Romance and Csardas for viola and piano – September 24, 2017: Paul Neubauer, viola; Arnaud Sussman, violin; Rafael Figueroa, cello; Michael Brown, piano Erwin Schulhoff (1894-1942) Hot Sonata for alto saxophone and piano – Steven Banks, saxophone, Xak Bjerken, piano Robert Schumann (1810-1856) Fairy Tales, Op. 120, for clarinet, viola, and piano – September 27, 2009: Stephen Williamson, clarinet; Ken Noda, piano Quartet in E-flat, Op. 47, for piano and strings – October 19, 2008: Sheryl Staples, violin; Cynthia Phelps, viola; Carter Brey, cello; Warren Jones, piano Scenes from Childhood, Op. 15 for piano – May 12, 2024: Alessio Bax, piano; Lucille Chung, piano; Chee-Yun, violin; Brad Gemeinhardt Sonata No. 1 in A minor, Op. 105 for violin and piano – May 6, 2018: Clara Neubauer, violin; Anne-Marie McDermott, piano String Quartet No. 3 in A, Op. 41/3 – January 14, 2024: Goldmund Quartet Alexander Scriabin (1872–1915) Five Preludes for Solo Piano, Op. 16 (1894–1895) – February 8, 2015: David Finckel, cello; Wu Han, piano Dmitri Shostakovich (1906–1975) Concertino in A minor, Op. 94 for two pianos – December 19, 2017: Alessio Bax, piano; Lucille Chung, piano Sonata for Cello and Piano in d minor, Op. 40 (1934) – February 8, 2015: David Finckel, cello; Wu Han, piano String Quartet No. 7 in F-sharp minor, Op. 108 – January 4, 2015: Emerson String Quartet String Quartet No. 8 in C Minor, Op. 110 – December 16, 2018: Emerson Quartet String Quartet No. 12 in D-flat, Op. 133 – October 20, 2022 – Emerson String Quartet Trio No. 1 in C minor, Op. 8 – October 30, 2016: Wu Han, piano; Philip Setzer, violin; David Finckel, cello Spirituals Good News; You Can Tell the World; Deep River; Ride on King Jesus – November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano Johann Strauss (1804–1849) Emperor Waltz for piano quintet, flute, and clarinet (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 Richard Strauss (1864–1949) Five Songs – May 15, 2016: James Morris, bass-baritone; Ken Noda, piano Songs – November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano Igor Stravinsky (1882–1971) Suite Italienne – December 15, 2019: Benjamin Beilman, violin; Andrew Tyson, piano The Soldier’s Tale – December 15, 2019: Benjamin Luxon, narrator; Benjamin Beilman, violin; Chris Coletti, trumpet; Demian Austin, trombone; Inn-Hyuck Cho, clarinet; Frank Morelli, bassoon; David J. Grossman, bass; Ian Rosenbaum, percussion; Anni Crofut, dancer-choreographer Three Movements from Petrushka – December 15, 2019: Andrew Tyson, piano Rentarō Taki (1879–1901) Kojo No Tsuki” (“The Moon over the Ruined Castle”) arr. Anne Akiko Meyers – April 14, 2019: Anne Akiko Meyers, violin; Jason Vieaux, guitar Francisco Tárrega (1852–1909) Recuerdos de la Alhambra – November 2, 2014: Sharon Isbin, guitar Capricho árabe for solo guitar – September 25, 2016: Jason Vieaux, guitar Peter Ilyich Tchaikovsky (1840–1893) The White Swan (Pas D’action from Swan Lake) – November 4, 2018: Sheryl Staples, violin; Lucille Chung, piano The Tallis Scholars Mother & Child – December 7, 2025: THE RENAISSANCE CHOIR: THE TALLIS SCHOLARS “MOTHER AND CHILD” Joaquín’s Turina (1882 - 1949) La oración de torero (The Bullfighter’s Prayer) – October 20, 2024: Modigliani Quartet Giuseppe Verdi (1813–1901) Come dal ciel precipita (from Macbeth) – May 15, 2016: James Morris, bass-baritone; Ken Noda, piano Ella giammai m’amó (from Don Carlo) – May 15, 2016: James Morris, bass-baritone; Rafael Figueroa, cello; Ken Noda, piano Quartet in E minor – October 27, 2019: Quartetto di Cremona Heitor Villa-Lobos (1887 – 1959) A Lenda do Caboclo – November 19, 2017: Los Angeles Guitar Quartet Antonio Vivaldi (1678-1741) Concerto in B minor for 4 violins – September 26, 2021: Violin Soloists: James Thompson, Oliver Neubauer, Clara Neubauer, Jeanelle Brierley Flute Concerto in D, RV428, (The Goldfinch) – November 4, 2018: Yoobin Son, solo flute; Sheryl Staples, violin; Qian-Qian Li, violin; Cynthia Phelps, viola; Eileen Moon, cello; Tim Cobb, bass; Alessio Bax, harpsichord Guitar Concerto in D, RV 93 – September 25, 2016: Jason Vieaux, guitar; Escher String Quartet The Four Seasons – September 26, 2021: Violin Soloists: Spring – Danbi Um; Summer – Nathan Meltzer; Autumn – Arnold Sussmann; Winter – Kevin Zhu Melinda Wagner Pan Journal for harp and string quartet – December 18, 2016: Mariko Anraku, harp; Emmanuel Ceysson, harp; David Chan, concertmaster; Catherine Ro, violin; Dov Scheindlin, viola; Rafael Figueroa, cello George Walker (1922-2018) Lyric for Strings – December 16, 2018: Emerson Quartet Anton Webern (1883-1945) Langsamer Satz – January 14, 2024: Goldmund Quartet Hugo Wolf (1860-1903) Italian Serenade for string quartet – September 25, 2016: Escher String Quartet John Williams / Anderson & Roe Three Star Wars Fantasies – January 31, 2010: Greg Anderson and Elizabeth Joy Roe, piano Anonymous “Music from the Time of Cervantes” (arr. W. Kanengiser) – November 19, 2017: Los Angeles Guitar Quartet

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

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SUNDAY, DECEMBER 16, 2018 AT 3 PM EMERSON STRING QUARTET GUEST CELLIST DAVID FINCKEL BUY TICKETS DAVID FINCKEL, CELLO “His playing has great warmth and expressiveness coupled with a noble, aristocratic restraint.” — Strings Magazine EMERSON STRING QUARTET “With musicians like this there must be some hope for humanity.” — The Times (London) FEATURING ABOUT THE PERFORMANCE BUY TICKETS The venerable ensemble will return to Parlance Chamber Concerts with their erstwhile colleague for a festive reunion performance of Schubert’s cherished Cello Quintet. PROGRAM George Walker Lyric for Strings Program Notes Dmitri Shostakovich String Quartet No. 8 in C minor, Op. 110 Program Notes Samuel Barber Adagio for Strings Program Notes Franz Schubert String Quintet in C, D. 956 Program Notes Watch Michael Parloff’s Lecture about Shostakovich’s 8th String Quartet at Lincoln Center Chamber Music Society:

RAYMOND MENARD, RECITER Raymond Menard is a New York based theater professional. In 1987 he joined the stage management staff of the Metropolitan Opera Association and now holds the title of Production Stage Manager. Prior to joining the Met, he was Staff Stage Director and Artistic Administrator for the New York City Opera. While at NYCO, he was honored with the Julius Rudel Award in recognition of his musical and administrative skills. In addition to his behind the scenes work, Ray has appeared onstage as Pasha Selim in Mozart’s ABDUCTION FROM THE SERAGLIO for Opera New Jersey and as King Bobeche in the Bronx Opera production of Offenbach’s BLUEBEARD. He is a frequent participant in the Met Live in HD and Sirius radio broadcasts. Ray studied music at the New England Conservatory of Music and theater at the PrattInstitute. Since 2010 he has served on the faculty of the Graduate School of the Arts of Columbia University. A New Jersey native, Ray makes his home in Boonton Township with his wife, Laura, and daughters, Amity and Isobel.

SUNDAY, SEPTEMBER 25, 2016 AT 3 PM Jason Vieaux, guitar; 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 JASON VIEAUX, GUITAR “…perhaps the most precise and soulful classical guitarist of his generation.” – NPR FEATURING ABOUT THE PERFORMANCE BUY TICKETS Our gala opener on September 25 will have you dancing in the aisles. Grammy Award-winning guitarist Jason Vieaux will collaborate with the stellar Escher String Quartet in an exuberant international mix. The afternoon will journey from Hugo Wolf ’s buoyant Italian Serenade to Luigi Boccherini ’s sizzling Fandango , reaching a toe-tapping climax with Alan Jay Kernis ’s irrepressible 100 Greatest Dance Hits for Guitar and String Quartet . PROGRAM Hugo Wolf Italian Serenade for string quartet Program Notes Antonio Vivaldi Guitar Concerto in D, RV 93 Program Notes Luigi Boccherini Quintet in D for guitar and string Program Notes Johann Sebastian Bach Suite in E minor, BWV 996 for solo guitar Program Notes Francisco Tárrega Capricho árabe for solo guitar Program Notes Alan Jay Kernis 100 Great Dance Hits for guitar and string quartet Program Notes Jason Vieaux performs Albéniz’s Sevilla: The Escher String Quartet performs Schubert’s ‘Death and the Maiden’ Quartet, Mvts 1 & 2:

STERLING ELLIOTT, CELLO Acclaimed for his stellar stage presence and joyous musicianship, cellist Sterling Elliott is a 2021 Avery Fisher Career Grant recipient and the winner of the Senior Division of the 2019 National Sphinx Competition. Already in his young career, he has appeared with major orchestras such as the Philadelphia Orchestra, the New York Philharmonic, the Boston Symphony, the Cleveland Orchestra, the Los Angeles Philharmonic, the Detroit Symphony and the Dallas Symphony, with noted conductors Yannick Nezet-Seguin, Thomas Wilkins, Jeffrey Kahane, Mei Ann Chen and others. In the 2024/2025 season Sterling Elliott debuts with the Atlanta Symphony, Reno Philharmonic, Columbus Symphony, Ann Arbor Symphony, Des Moines Symphony, Winston-Salem Symphony, and returns to the Wilmington Symphony. He joins the Madison Symphony for the Beethoven Triple Concerto with Gil and Orli Shaham and returns to Carnegie Hall with the Orchestra of St. Luke’s led by Louis Langree. As the YCAT–Music Masters Robey Artist with the London-based Young Classical Artists Trust he will Tour New Zealand in addition to appearances at Wigmore Hall, Hamburg’s Elbphilharmonie, Konzerthaus Berlin, the Concertgebouw in Amsterdam and others. This season he also begins his tenure as a BBC New Generation Artist, and a three-year residency in the Bowers Program of the Chamber Music Society of Lincoln Center appearing with CMLSC at Alice Tully Hall and on tour throughout the U.S. Sterling has a long history with the Sphinx Organization where he won the 2014 Junior Division Competition, becoming the first alumnus from the Sphinx Performance Academy to win the Sphinx Competition. Last season, Sterling received the Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization. Sterling is pursuing an Artist Diploma at the Juilliard School under the tutelage of Joel Krosnick and Clara Kim, following completion of his Master of Music and undergraduate degrees at Juilliard. He is an ambassador of the Young Strings of America, a string sponsorship operated by Shar Music. He performs on a 1741 Gennaro Gagliano cello on loan through the Robert F. Smith Fine String Patron Program, in partnership with the Sphinx Organization.

April 8, 2018: Danish String Quartet LUDWIG VAN BEETHOVEN (1770–1827) String Quartet in C# minor, Op. 131 April 8, 2018: Danish String Quartet When Prince Nicholas Galitzin ordered “one, two, or three new quartets” from Beethoven in November 1822, he could hardly have realized that he was instigating a series of works by which all later generations would judge profundity. Beethoven had not forgotten the quartet medium in the twelve years since the F minor Quartet, op. 95, but the commission gave him the impetus to turn sketches into finished works. Nevertheless, he could not concentrate on quartet writing until after completing the Missa solemnis , the Diabelli Variations, and the Ninth Symphony, so the project did not begin in earnest until mid-1824. After composing the B-flat major Quartet, the third of Galitzin’s commission, Beethoven continued writing quartets—not for the prince, who never completed payment for the first three, but out of the inner necessity for expression. Thus he added the C-sharp minor Quartet, op. 131, in seven movements in 1825–26, followed by the F major, arriving at the five works known as the “late quartets.” It should be noted that, too late for Beethoven himself but in the proper spirit, a son of Galitzin paid with interest what was owed on his father’s three quartets into the Beethoven estate. In May 1826 Beethoven offered the C-sharp minor Quartet to Schott for publication, receiving much more than he was to have received for each of the three “Galitzin” Quartets, but he did not live to see it in print. Nor did he witness a performance, which first took place publicly in 1835. The work did circulate in private performances, however, and it is fascinating to know that Schubert’s dying wish to hear the Quartet came to pass on November 14, 1828, just five days before the younger composer died. The C-sharp minor Quartet abounds with original features and an otherworldliness that so aptly illustrate the private world of Beethoven’s late period. We have only to listen to the opening notes of the slow fugue that opens the work—a startlingly novel beginning—to realize that we are the privileged eavesdroppers to a bared musical soul. The brooding, contemplative mood immediately sets the movement apart from more customary brisk-paced fugues, and suggests a link with the C-sharp minor Fugue of Bach’s Well-tempered Clavier , which Beethoven had known since his youth. He takes his subject matter through numerous permutations and a wide range of keys, so that when he returns to the home key we experience a sense of recapitulation. Just prior comes a passage of ethereal beauty, in which the transparent texture highlights the two entwined violins followed by a duet between the viola and cello. Beethoven planned for the entire Quartet to be played without pause, though he was induced by the publisher to put in “numbers,” which correspond to what have traditionally been called its seven movements. Many, however, have commented on the fact that some of these “movements” might better be viewed as introductions or transitions to what follows, so that the first movement serves as a very extended introduction to the second movement, the very brief “No. 3” makes a transition to the Andante variation, and following the scherzo, “No. 6” serves as the slow introduction to the finale. Thus we find a highly original, expanded conception of the traditional four-movement quartet scheme. “No. 2” opens in a hush that is both gentle and merry, as if emerging from the shadow of the fugue. Here Beethoven turns to sonata style if not to form, since the movement contains no development section, and the mood is dancelike, much as one would find in a scherzo. Through a dramatic octave unison passage he brings about a brief but forceful climax that he immediately breaks into closing fragments. These impart little finality, however, and “No. 3,” like an opera recitative, prepares the next movement. The central Andante movement consists of a simple lyrical theme and six variations that show an amazing array of textures. Beethoven’s extended coda begins like a seventh variation, but then rhapsodizes, trills, and recalls the main theme in innocent guise, all leading to a dramatic flourish that brings on the subdued conclusion. The Presto scherzo begins impishly with the cello issuing a little invitation, only to be met with complete silence before the movement takes off. Beethoven’s two contrasting trio sections begin with playful two-note interchanges to which he adds a theme—marked piacevole (pleasing or amiable)—that is clearly related to the theme of the scherzo. He even begins his trio a third time—a joke he had also made in his Fourth and Seventh Symphonies—but abruptly shifts into an amazing coda that reduces trio elements to fragments before the scherzo theme gradually takes over. Even this return of the main theme throws us momentarily off guard because Beethoven asks for it to be played sul ponticello (on the bridge), producing a glassy, almost eerie sound. He exits this novel effect with a quick push to fortissimo (very loud) to end the movement. The three somber notes that open the relatively brief Adagio plunge us back into the realm of tragedy, here played out in poignant melancholy before erupting in the outcry of the tempestuous finale. After a forceful chord, the finale alternates pregnant pauses with angry unison statements, then takes off at an energetic gallop. Though Beethoven introduces moments of quiet into the first theme area, he saves his main contrast for the second theme, which first makes a long descent, then leaps rapturously to three repeated notes. His development section introduces a new long-note foil for the galloping motive, and makes much of a fragment of the opening unison idea and the scalar descent from the second theme. Following a murmur that grows ever more intense, the recapitulation bursts on the scene with a number of ingenious alterations, chief among which is the expressive return of the second theme in a key far removed from the original. Beethoven’s full-length coda, as in many of his late works, takes us on yet another developmental journey, during which we hear the astounding use of the long notes from the development in powerful octaves. Though Beethoven turns to the major mode of the home key toward the very end, we find little of the victory such a turn signaled in earlier works—the foregoing sense of tragedy in this Quartet cannot be dispelled. © Jane Vial Jaffe Return to Parlance Program Notes

CONNIE SHIH, PIANO The Canadian pianist, Connie Shih, is repeatedly considered to be one of Canada’s most outstanding artists. In 1993 she was awarded the Sylva Gelber Award for most outstanding classical artist under age 30. At the age of nine, she made her orchestral debut with Mendelssohn's first Piano Concerto with the Seattle Symphony Orchestra. At the age of 12, she was the youngest ever protégé of Gyorgy Sebok, and then continued her studies at the Curtis Institute in Philadelphia with Claude Frank, himself a protégé of Arthur Schnabel. Later studies were undertaken with Fou Tsong in Europe. As soloist, she has appeared extensively with orchestras throughout Canada, the U.S.A. and Europe. In a solo recital setting, she has made countless appearances in Canada, the U.S., Iceland, England, Spain, Italy, Germany, Japan and China. Connie has given chamber music performances with many world-renowned musicians. To critical acclaim, she appears regularly in recital with cellist Steven Isserlis. Including chamber music appearances at the Wigmore and Carnegie Halls, she performs at the prestigious Bath Music Festival, Aldeburgh, Cheltenham, Weill Hall (N.Y.), and at the Kronberg Festival. Her collaborations have included Maxim Vengerov, Tabea Zimmerman, and Isabelle Faust. Connie regularly tours North America and Europe with Steven Isserlis, and includes a tour of Asia with Joshua Bell. In addition she appears at concert venues across Germany with the cellist Manuel Fischer-Dieskau with whom she recorded the first-ever CD of the Sonatas for piano and cello by Carl Reinecke and the complete Beethoven sonatas. Her CD with Steven Isserlis on the BIS label was recently released. Connie's performances are frequently broadcast via television and radio on CBC (Canada), BBC (U.K.), SWR, NDR, and WDR (Germany) as well as on other various television and radio stations in North America and Europe. She is on faculty at the Casalmaggiore Festival in Italy.

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 11, 2018: Benjamin Beilman, Violin; Orion Weiss, piano BÉLA BARTÓK (1881–1945) Violin Sonata No. 2, BB 85 (Sz. 76) March 11, 2018: Benjamin Beilman, Violin; Orion Weiss, piano Bartók wrote his two sonatas for violin and piano in 1921 and 1922 for violinist Jelly d’Arányi, with whom he played them in London, the first in 1922 and the second in 1923. The composer especially like performing the Second Sonata, not only with d’Arányi but with Imre Waldbauer, József Szigeti, and Zoltán Székely. Along with The Miraculous Mandarin and the First Piano Concerto, the violin sonatas are products of Bartók’s “expressionist” period, when he came closest to the ideals of the Second Viennese School of Schoenberg, Berg, and Webern. Lecturing in America in 1927–28 Bartók said: “There was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.” The composer himself described the First Violin Sonata as “in C-sharp minor” and the Second as “in C major,” but the tonality is extremely clouded in both. In the Second Sonata a pivotal relationship proves to be that of a tritone from F-sharp to C. Further, in both he refrains from the traditional sharing or imitation of materials between the two instruments, which makes these two works unlike any other works in the genre. In the Second Sonata in particular Bartók also avoids the conventional form of a sonata, employing instead a condensed two-movement form related to the model of traditional Hungarian verbunkos (recruiting music) consisting of a slow section (lassù ) and a fast section (friss ). The first movement adopts a free, declamatory style with elaborate ornamentation and frequent pushing and pulling of the tempo typical of the slow (lassù ) section, albeit in a more dissonant style. Bartók hasn’t completely distanced himself from Classic forms here, drawing on a kind of sonatina structure—that is, exposition and recapitulation with no development—but his recapitulation varies the four sections of his exposition themes significantly and the overall effect sounds freely rhapsodic rather than betraying its careful organization. The opening theme, which Bartók recalls not only at the opening of the recapitulation but twice in the coda, also plays a unifying role in the second movement. A technique that comes into play in the first movement, though less than in the first movement of the First Sonata, is the placing of successive melody notes in different registers (octave displacement), a common technique in twelve-tone composition. This greatly alters, for example, the sound of the return of the third section in the recapitulation. Bartók in his Hungarian Folk Music suggests a folk equivalent to this “high art” technique: Hungarian peasants do not devote much care to selecting a suitable pitch, but they simplify difficulties in proportion as they occur: whenever a note is too high or two low for them, they transpose it by an octave, regardless of design and rhythmic conditions. This they will do ad libitum, perhaps several times in the course of one tune. Hence at times peculiar leaps of a seventh occur. . . . In the course of time this practice has become so usual that many peasants resort to changes of octaves without being driven by need. The connected second movement exhibits a lively dance character, like the friss section of verbunkos style, and unfolds in a form somewhat like a rondo in which the “refrain” returns in varied guises. Bartók ingeniously links his two movements by recalling themes from the first movement in the intervening episodes and by having the violin return to the first movement’s opening theme at the climax near the end. The piece ends with an atmospheric fade to a somewhat surprising but radiant C major chord. © Jane Vial Jaffe Return to Parlance Program Notes