INN-HYUCK CHO, CLARINET Inn-Hyuck Cho, a native of South Korea, was just named Principal Clarinet of Metropolitan Opera Orchestra. Prior to his appointment in 2016, he was principal clarinet of the Basel Symphony Orchesra (Switzerland), one of the oldest European orchestras, as well as the Musikkollegium Winterthur (Switzerland). He has performed as a guest with the Chamber Orchestra of Europe, Zurich Tonhalle Orchestra, Orchestre de Paris, Zurich Philharmonia, Radio France Philharmonic, the Bavarian Radio Chamber Orchestra, and the Luzern Symphony Orchestra. 
He is member of the Alma Wodwind Quintet, which won first prize in the Henri Tomasi International Woodwind Quintet Competition in Marseille, France. Mr. Cho was a laureate of the Carl Nielsen International Music Competition and Debussy International Clarinet Competition. He studied at the Korean National University of Arts and the Conservatoire National Supérieur de Musique de Paris with Prof. Michel Arrignon and Prof. Pascal Moragués.

MICHAEL PARLOFF Principal Flutist of the Metropolitan Opera Orchestra from 1977 until his retirement in 2008, Michael Parloff has been heard regularly as a recitalist, chamber musician, and concerto soloist throughout North America, Europe, and Japan. He has collaborated with such noted artists as James Levine, Jessye Norman, James Galway, Peter Serkin, Dawn Upshaw, Thomas Hampson, Jaime Laredo, and the Emerson String Quartet and has performed on numerous occasions at the Chamber Music Society of Lincoln Center. As a lecturer, conductor, and teacher, Michael Parloff has appeared at major conservatories and university music schools in the United States and abroad. These venues include The Juilliard School, Yale University, the Chamber Music Society of Lincoln Center, Music@Menlo, the Verbier and Tanglewood Festivals, and the National Orchestral Institute at the University of Maryland. He has been a faculty member at the Manhattan School of Music since 1985. Michael Parloff is the founder and Artistic Director of Parlance Chamber Concerts. The mission of Parlance Chamber Concerts is to promote the appreciation and understanding of classical music in Northern New Jersey by presenting the world’s finest singers and instrumentalists in affordable, innovatively programmed public concerts and educational events. In recent seasons, Parlance Chamber Concerts has presented such renowned artists as the Emerson and Brentano String Quartets, pianists Emanuel Ax, Richard Goode, Jeremy Denk, and Simone Dinnerstein, Met Opera singers Stephanie Blythe, Thomas Hampson, Matthew Polenzani, Isabel Leonard, and Nathan Gunn, flutist James Galway, and clarinetist Richard Stoltzman. Since 1996, Michael has also presented over 30 benefit concerts for various nonprofit organizations and humanitarian causes in Northern Bergen County, New Jersey. Michael Parloff has recorded extensively with the Metropolitan Opera for Deutsche Grammophon, Sony Classical, London, and Philips and has recorded solo recital repertoire and 20th-century chamber music for E.S.SAY, Gunmar, CRI, and Koch. To view Michael Parloff’s videos and multimedia lectures, click here .

November 20, 2022: Steven Banks, Saxophonist-Composer Xak Bjerken, Piano, Principal Strings of The Met Orchestra STEVEN BANKS (1993) Come As You Are for tenor saxophone and piano November 20, 2022: Steven Banks, Saxophonist-Composer Xak Bjerken, Piano, Principal Strings of The Met Orchestra For several years, I have wanted to write a piece that was dedicated to my immediate family (my mother and three sisters) and the influence of my upbringing on my understanding of music and life in general. When preparing the program for my Young Concert Artists debut recital, it dawned on me that there would be no better time than this to share a work that bears such personal significance. When I think back to my childhood, and especially the beginnings of my journey in music, the church is at the center of so much. We were regular church-goers, my grandfather was a pastor in the African Methodist Episcopal (A.M.E.) church, and the church provided us with an incredible community that was very important to my family in the good times and the bad. The church taught me about the transformative and awesome power of music. In an effort to honor both my family and the church, I decided to write a four-movement work in which each movement would be dedicated to a different family member and take inspiration from their favorite Negro spiritual or sacred song. At its core, Come As You Are is an expanded arrangement or setting of these four songs. As a more direct reference to the music played in the church that I grew up going to, the song Total Praise, which is typically sung by a choir, serves as a sort of connective tissue throughout the entire piece. The titles of each movement come from lyrics from Total Praise. The text of each song is vital in understanding the expressive nature of each movement. However, the form and melodic content of each song have been either been expanded, rearranged, or manipulated in a way that is meant to make the message clear when played on instruments that, obviously, can not convey the actual words. Below, I’ve listed the movement titles along with the song that they draw inspiration from. Lift My Eyes (My Lord, What A Morning) Times of the Storm (Wade in the Water) Strength of My Life (His Eye Is On the Sparrow) Lift My Hands (I Still Have Joy) When interpreted through the lens of classical music, these movements are configured in a way that is intended to align with a slightly deviant four-movement sonata form that composers like Schumann, Rachmaninoff, Shostakovich, and many others used in several of their works. In this form, the first movement is an allegro, the second movement is a scherzo or dance, the third movement is an adagio, and the last movement is another fast one, perhaps with a dance feel or including a theme and variations. Come As You Are was conceived of with this in mind, but is not rigidly connected to it. Through the lens of African-American sacred music, the first two movements, Lift My Eyes and Times of the Storm, are inspired by traditional Negro spirituals. It is important to note that spirituals often contained text that was Biblical on the surface, yet deeply personal or communicative in intention. My Lord, What A Morning and Wade in the Water are no exceptions to this tradition. In this spirit, I aimed to strike a balance between the surface-level meaning of these spirituals and what they might have meant for the people that sang them. There may seem to be striking dichotomies in character that are reflective of these varied meanings. The second two movements, Strength of My Life and Lift My Hands, are inspired by songs that are more common in religious practices today. In these, I have tried to make a musical depiction of the lyrics in a way that conveys the message of each song from my perspective. As I wrote this piece, I realized that one of its purposes was to bring together different facets of my own life experience. As a classical musician, the vast majority of my colleagues have little knowledge or understanding of Black culture or how it influences my music-making. As a Black man from North Carolina, many of my family and friends don’t have a true sense of what I do and love as a classical performer and composer. I have also spent an incredible amount of time and energy on keeping these worlds separate and trying to show up in each as if the other didn’t exist. This “two-ness” is akin to a concept called double consciousness that W.E.B. Dubois introduced at the turn of the 20th century in his book The Souls of Black Folk. He outlines this concept, roughly, as having two simultaneous identities. One of these might be described as uniquely American, while the other is uniquely Black. As a composer, I strive to let my internal musical voice be “ok” and to follow it where it wanders, trusting that this amalgamation of experiences is leading me in a direction that is uniquely mine and informed by my various interests and identities. Come As You Are is a significant landmark on this journey to musical individuation. © Jane Vial Jaffe Return to Parlance Program Notes

December 4, 2022 – The Sitkovetsky Trio LUDWIG VAN BEETHOVEN (1770–1827) Piano Trio in G major, op. 1, no. 2 December 4, 2022 – The Sitkovetsky Trio Beethoven carefully considered his presentation to the musical world of Vienna. Though he had composed quite a few works by 1795, he chose the three Trios that form Opus 1 as his first publication. He had been sponsored by Elector Maximilian Franz to move from his hometown of Bonn to Vienna at the end of 1792, to study with the great Joseph Haydn and to make his name in a musically more active world. Haydn was writing piano trios at that time, and though Beethoven probably had started work on his trios before he left Bonn, it was natural for him to work on them under the influence of his new teacher. When Haydn left for a sojourn in London in January 1794, Beethoven immediately began studies with Johann Albrechtsberger, which continued for fourteen months until Haydn’s return. A sketch for one of the movements of the G major Trio, op. 1, no. 2, was found among lessons Beethoven had done for Albrechtsberger. Beethoven’s Opus 1Trios were performed privately in 1794 at the house of Prince Lichnowsky, who received the dedication. Ferdinand Ries, later Beethoven’s pupil, reported many years after the fact that Haydn was among the distinguished guests in the audience and that the older composer had many nice things to say about the works, but advised against publishing the Third in C minor, saying the public would have difficulty understanding it. Ries also reported that Beethoven took this to be a sign of jealousy on Haydn’s part. It has been shown more recently that Ries’s account mixed up the chronology and that any possible qualms Haydn may have had about the C minor Trio were raised upon his second return from London in 1795, after the Trios had already been published. In response to this and other accounts that Haydn was envious of the younger composer, esteemed musicologist James Webster wrote, “It is inconceivable that the powerful and original genius of Haydn at the height of his powers should have had any difficulty with this work . . . or indeed any of Beethoven’s music of the 1790s, unless for reasons that reflect on Beethoven’s limitations rather than his own.” Furthermore, Webster demonstrated that no irreparable falling out between the two composers occurred in the 1790s, though they did experience a period of distrust between 1800 and 1804. Beethoven may have worked more on the Trios after the 1794 performance and perhaps other performances of them at Prince Lichnowsky’s. But his most likely reason for delaying their publication until 1795 was to build up a following—meaning a sufficient number of subscribers. Like the other Opus 1 Trios and the Opus 2 Piano Sonatas, Beethoven conceived of the Trio in four movements, despite the custom of the day to compose chamber works with piano in three movements. The G major Trio opens with an elaborate slow introduction in which the piano predominates. Both the piano and violin preview the main theme of the Allegro vivace, which makes its entrance in the “wrong key” before righting itself to G major. The slow movement contrasts with the surrounding fast movements by its 6/8 meter, expressive nuances, and unusual key of E major. Haydn also used the key of E major for the slow movement of his famous G major Gypsy Trio, but his Trio was written in England in 1795. Beethoven wrote a fleet scherzo instead of a minuet for the third movement of his Trio. Haydn had written minuets in fast enough tempos to be considered scherzos, whereas Beethoven actually called these movements scherzos. The cello, playing quietly in its lowest range, initiates the furtive-sounding main section. The hushed quality remains until the loud closing bars of the main section. The Trio provides contrast in texture, but remains quiet. The principal section’s return is literal, followed by a soft coda that ends pianissimo. The sonata-form finale also begins quietly but soon bursts forth exuberantly. Beethoven’s obvious fun with repeated notes generates the first theme and, in a different fashion, the second. He must also have enjoyed disguising the beginning of his recapitulation, something that Haydn also did on occasion. Beethoven winds down the movement with quiet fragmentation of motives then jolts the listener with the final fortissimo chords. © Jane Vial Jaffe Return to Parlance Program Notes

2018-2019 ARTIST ROSTER EDWARD ARRON, CELLO MICHAEL BROWN, PIANO BARRY CENTANNI, PERCUSSION TIMOTHY COBB, DOUBLE BASS DAVID J. GROSSMAN, DOUBLE BASS PAUL HUANG, VIOLIN CHELSEA KNOX, FLUTE SEAN LEE, VIOLIN MIHAI MARICA, CELLO KEN NODA, PIANO WEN QIAN, VIOLIN SHERYL STAPLES, VIOLIN JASON VIEAUX, GUITAR PINCHAS ZUKERMAN; AMANDA FORSYTH; ANGELA CHENG ELAINE DOUVAS, OBOE MAURYCY BANASZEK, VIOLA THE CALIDORE STRING QUARTET INN-HYUCK CHO, CLARINET EMERSON STRING QUARTET WENDY BRYN HARMER, SOPRANO PAUL JACOBS, ORGAN PIERRE LAPOINTE, VIOLA QIAN-QIAN LI, VIOLIN ANNE AKIKO MEYERS, VIOLIN GARRICK OHLSSON, PIANO DOV SCHEINDLIN, VIOLA ARNAUD SUSSMANN, VIOLIN GILLES VONSATTEL, PIANO JOEL NOYES, CELLO PASCUAL MARTÍNEZ FORTEZA, CLARINET ALESSIO BAX, PIANO NICHOLAS CANELLAKIS, CELLO LUCILLE CHUNG, PIANO DAVID FINCKEL, CELLO MING FENG HSIN, VIOLIN FRIEDRICH HEINRICH KERN, GLASS HARMONICA KRISTIN LEE, VIOLIN MATTHEW LIPMAN, VIOLA EILEEN MOON-MYERS, CELLO CYNTHIA PHELPS, VIOLA EMILY DAGGETT SMITH, VIOLIN DANBI UM, VIOLIN SARAH CROCKER VONSATTEL, VIOLIN KEVIN ZHU, VIOLIN YOOBIN SON, FLUTE

November 14, 2021 – Schumann String Quartet FELIX MENDELSSOHN (1809-1847) String Quartet in A minor, Op. 13 November 14, 2021 – Schumann String Quartet Mendelssohn’s A minor Quartet would have been an amazing achievement for a mature, fifty- or sixty-year-old composer. That he wrote it at the age of eighteen can scarcely be comprehended. Yet it may have been just because of his youth that it emerged as a masterpiece: he was young enough to have been greatly impressed by the works of Beethoven’s late period, but not old enough to be daunted by them. Mendelssohn wrote his A minor Quartet in 1827, the very year Beethoven died. Not only was Mendelssohn influenced by Beethoven’s Quartet in the same key, op. 132, which he must have known even though it was not published until the end of 1827, but he took thorough notice of Beethoven’s Ninth Symphony, especially the recall of themes from preceding movements in the Finale and Beethoven’s use of instrumental recitative. Earlier in 1827 Mendelssohn had composed a short song entitled “Frage” (Question), which set some lines by J. G. Droyson (known as “Voss”): “Ist es wahr? das du stets dort in dem Laubgang?” (Is it true that you are always waiting for me in the arbored walk?) The song, marked Thema, is printed at the head of the Quartet score in the Breitkopf & Härtel Complete Works edition. Mendelssohn used the three-note questioning motive for “Ist es wahr?” as the Quartet’s motto. The use of a “texted” motto naturally brings to mind Beethoven’s last String Quartet, op. 135, published in September 1827, with its “Muss es sein?” “Es muss sein!” motto. The Opus 135 Quartet was not premiered until 1828; but provided Mendelssohn became acquainted with Beethoven’s immediately upon its publication, he would have had nearly a month to incorporate this idea into his Quartet, which he completed on October 27. Mendelssohn first presents his “Ist es wahr?” motive in the Adagio introduction just before the onset of the Allegro vivace. He also bases the main theme of the movement on the motto, though disguised by the change to the minor mode and a switch to 4/4 instead of 3/4: after the scurrying sixteenth notes, the viola, imitated by the other instruments, plays the theme based on the motto rhythm. The use of E minor as the secondary key area gives the first movement some of its intensity, as do the fugal writing and high level of dissonance, which again bring Beethoven to mind. We know from some remarks Mendelssohn made about the Quartet’s success with the Parisian avant-garde that he knew he was being revolutionary. The slow movement, curiously marked Adagio non lento, reaches an even higher level of dissonance, especially in the fugal D minor section that follows the opening F major passage. Links to the motto theme can be found in both. After the climax of the developmental middle section, a violin cadenza brings about the return of the opening theme; the fugal section is recalled, but masterfully transformed. Rather than a scherzo, which was usual by this time, Mendelssohn wrote an Intermezzo for the third movement. Its elfin “trio” brings to mind the fleeting scherzos from A Midsummer Night’s Dream and the Octet. The main theme and the trio are cleverly joined in the coda, a feature he would return to in his later quartets. The finale shows a truly remarkable conception. It opens with a dramatic violin recitative over tremolo chords, and ingenious thematic references begin to crowd in. Mendelssohn increases the drama by delaying the establishment of the home key of A minor. The exposition ends forcefully in E minor. The development begins with a subdued treatment of the fugal subject from the slow movement in three-part counterpoint. The violent octave outburst signals the end of the development at which point the movement’s opening recitative over tremolo reappears. Eventually the first violin alone states the fugal subject in the original key, meter, and tempo. Its continuation prepares the work’s perhaps inevitable conclusion: the return of A major, and the opening of the first movement, based on “Ist es wahr?” This time, however, Mendelssohn fully makes the connection with the song by quoting its ending completely: “Was ich fühle, das begreift nur, die es mitfühlt, und die treu mir ewig bleibt” (What I feel, can only mean, she feels it with me, and will stay ever true to me). (Note: Though it is generally agreed that the Quartet is in A minor, it is frequently listed in A major because of the short opening and closing sections in the major.) © Jane Vial Jaffe Return to Parlance Program Notes

MICHELLE KIM, VIOLIN Violinist Michelle Kim has been Assistant Concertmaster (The William Petschek Family Chair) of the New York Philharmonic since 2001. She has performed as soloist with orchestras such as the New York Philharmonic, New Jersey Philharmonic, Santa Barbara Chamber Orchestra, and Pacific Symphony. An active chamber musician, Ms. Kim has collaborated with violinists Cho-Liang Lin, Christian Tetzlaff, and Pinchas Zukerman; cellists Mstislav Rostropovich, Lynn Harrell, and Gary Hoffman; and pianists Lang Lang and Yefim Bronfman. She has performed at the Santa Fe Chamber Music, La Jolla Chamber Music, Strings in the Mountain, and Bravo! Vail Valley Music festivals. She has also served as the first violinist of the Rossetti String Quartet, and was a Sterne Virtuoso Artist at Skidmore College in 2007-08. A former Presidential Scholar, Ms. Kim attended the University of Southern California’s Thornton School of Music as a Starling Foundation scholarship recipient. She has been a member of the faculty at the USC Thornton School of Music; Colburn School of Performing Arts; and University of California, Santa Barbara. Michelle Kim currently teaches at the Mannes College of Music.

February 8, 2015 – David Finckel, cello; Wu Han, piano ALEXANDER SCRIABIN (1872–1915) Five Preludes for Solo Piano, Op. 16 (1894–1895) February 8, 2015 – David Finckel, cello; Wu Han, piano A student of the Moscow Conservatory alongside the likes of Sergei Rachmaninov and Aleksandr Goldenweiser, the pianist and composer Aleksandr Skryabin struggled greatly to compose, enduring massive anxiety attacks for much of the 1890s. With the support of the conservatory’s director, Vasily Safonov, Skryabin was permitted to graduate early (in the same year as Rachmaninov), although his mentor, Anton Arensky, who had been working closely with Skryabin on counterpoint and fugue, was adamantly against his departure. Nevertheless, Skryabin graduated from the conservatory, and through Safonov’s support was soon contacted by Mitrofan Belyayev, an Imperial Russian music publisher in Moscow. Through Belyayev’s connections, Skryabin was given opportunity to tour Russia in 1894, and was sent to Paris in 1895. Compositionally, during this period, Skryabin devoted himself almost entirely to composing Preludes towards an outstanding bet he had made with Belyayev that he could compose 48 Preludes before departing for Paris; it was to fulfill this bet that Skryabin composed his Twenty-Four Preludes, op. 11, and Five Preludes, op. 16. Shostakovich and Nina separated, and the composer, as Vollman alludes, remained in Moscow with no definite plans to follow his wife back to Leningrad. It was during this time that work on the Cello Sonata began. By 1935, however, Nina was pregnant with the Shostakoviches’ first child, and the marriage essentially righted itself (which did not preclude later extramarital affairs by both Dmitry and Nina). Shortly after the affair ended, Konstaninovskaya received an anonymous political denunciation and spent roughly a year in prison. The first of the Opus 16 Preludes paints a heavily romantic dreamscape. Like a wind-up music box, it is as if Skryabin leads us to question whether the next note will actually come, or whether it will leave us in an airy suspense. Far more decisive than is the following prelude, in g-sharp minor: the work carries a depth in the left hand reminiscent of Franz Liszt, whom Skryabin deeply admired. The third and fourth preludes alternate between a hymn-like chordal melody and a dainty right-hand melody, which recalls the first prelude’s sensibility. The set concludes with a brief, yet fulfilling Allegretto in f-sharp minor. ©2013 Andrew Goldstein Return to Parlance Program Notes

ANNE-MARIE McDERMOTT, PIANO In a career that has spanned over 25 years, American pianist Anne-Marie McDermott has played concertos, recitals and chamber music in hundreds of cities throughout the United States, Europe and Asia. The breadth of her repertoire matches that of her instrument, spanning from Bach, Haydn and Beethoven to Rachmaninoff, Prokoviev and Scriabin to works by today’s most influential composers — Aaron Jay Kernis, Steven Hartke, Joan Tower and Charles Wuorinen, among them. As an Artistic Director, Ms. McDermott leads the Ocean Reef Chamber Music Festival in Florida and the Avila Chamber Music Celebration in Curacao. 

Beginning with the 2011 season, she is also the Artistic Director of the Vail Valley Music Festival in Colorado. Anne-Marie has been an Artist Member of The Chamber Music Society of Lincoln Center since 1995. Ms. McDermott’s passions have recently coalesced in several important projects that are indicative both of her popularity and the range of her musical interests: the presentation of The Complete Prokoviev Piano Sonatas and Chamber Music as part of the Lincoln Center Festival; The Chamber Music of Shostakovich at the Chamber Music Society of Lincoln Center ; the premiere of Charles Wuorinen’s Piano Sonata No. 6; and the performance and recording of Gershwin’s Complete Works for Piano and Orchestra with the Dallas Symphony (2008, Bridge Records). The latter was named Editor’s Choice by Gramophone. 

About her critically acclaimed recording of the Complete Prokoviev Piano Sonatas (2009, Bridge Records), Gramophone wrote “we have waited a long time for an American pianist of this stature.”

CLARA NEUBAUER, VIOLIN 16-year-old violinist Clara Neubauer attends The Dalton School and The Juilliard Pre-College as a student of Li Lin, and she studies with Itzhak Perlman, Catherine Cho, and Sean Lee at the Perlman Music Program and PMP Suncoast. Clara made her concerto debut with the National Repertory Orchestra in 2012, and her Lincoln Center debut at the Chamber Music Society of Lincoln Center’s Young Ensembles Concert in 2013. This past season, Clara performed as soloist with The Little Orchestra Society, the Dalton Orchestra, the New York Concerti Sinfonietta, and in performances at Alice Tully Hall, Weill Recital Hall, Juilliard ChamberFest, and Goddard Riverside. A winner of the 2017 Young Musicians Competition at the Chamber Music Society of Lincoln Center, Clara was a Young Performer at the Music@Menlo Chamber Music Institute for five years. Clara was also a Musical Ambassador for the Doublestop Foundation and won first place in the 2017 Adelphi Competition. Born on 9/11/2001, Clara shared the stage with Bernadette Peters and Robert DeNiro hosting a 9/11 Memorial benefit and performing violin duos with her brother. She also can be heard leading the audio tour guide “for children and families” at the 9/11 Memorial Museum, available as a free app at the App Store. She is currently filming a documentary about 9/11 and will be featured in Faces of Hope: Babies Born on 9/11. In her free time, she loves reading, singing, playing chess, and musical theater. In October, 2013, she made her acting debut with the New York Philharmonic at a Young People’s concert at Avery Fisher Hall. At The Dalton School, she loves mathematics and chemistry, and she currently teaches a fifth grade violin class.

ÉRIK GRATTON, FLUTE Acting Principal Flutist of the Metropolitan Opera Orchestra Érik Gratton is a native of Montréal, Canada. He received a First Prize with great distinction from the Montreal Conservatory, where he studied with Carolyn Christie and Jean-Paul Major. He furthered his studies with Jeanne Baxtresser at the Manhattan School of Music. Érik is in his 18th season as principal flutist of the Nashville Symphony. He has made many solo appearances with the orchestra, including John Corigliano’s Pied Piper Fantasy. He can be heard on more than 20 recordings with the Nashville Symphony on the Naxos label. Érik performed recently with the Montreal Symphony and the Seattle Symphony, and he has appeared at numerous orchestral festivals, including Tanglewood, Shira Music Festival Israel, the Peninsula Music Festival, and Mainly Mozart. Érik is an active session player in Nashville’s busy recording industry and enjoys giving solo recitals and playing chamber music on a regular basis. In his spare time, his hobbies include beekeeping, woodworking, and discovering new things and places with his wife Erin.

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.