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SUNDAY, SEPTEMBER 29, 2024 AT 4 PM CARTER BREY, RAFAEL FIGUEROA, EDWARD ARRON, & ZVI PLESSER, CELLOS WITH JEEWON PARK, PIANO CARTER BREY , Principal Cello, New York Philharmonic RAFAEL FIGUEROA , Principal Cello, Metropolitan Opera Orchestra ZVI PLESSER , Cello Professor, The Juilliard School EDWARD ARRON , Cello Professor, Amherst Collage JEEWON PARK , PIANO “Carter Brey opened the Beethoven Sonata with a jaw-droppingly resonant account of the rich low ascending notes…Brey’s natural eloquence was spotlighted time and again…ocher-toned mastery.” — The Washington Post “Edward Arron displayed a satiny tone and a light, elegant touch…He sang out beautifully.” — The Cincinnati Post “The solo part showcased the polished and confident playing of Israeli cellist, Zvi Plesser … The most difficult passages were enjoyable both for the ears and the eyes.” — Zoltán Szabó, Bachtrack ABOUT THE PERFORMANCE BUY TICKETS 2024-2025 SEASON September 29, 2024 Cellobration! October 20, 2024 Modigliani Quartet November 17, 2024 Paul Lewis Plays Schubert December 15, 2024 The Virtuoso Flutist Denis Bouriakov January 19, 2025 The Virtuoso Organist Paul Jacobs February 9, 2025 The Virtuoso Cellist Steven Isserlis March 9, 2025 Ravel’s 150th Birthday Concert April 13, 2025 Quartetto Di Cremona May 18, 2025 Late Night With Leonard Bernstein Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS Parlance Chamber Concerts’s 17th season will begin with a joyful “Cellobration ” featuring four of the leading cellists of our time. Carter Brey , principal cellist of the New York Philharmonic; Rafael Figueroa , principal cellist of the Metropolitan Opera Orchestra; Zvi Plesser , cello professor at The Juilliard School of Music; and renowned solo cellist and chamber musician Edward Arron will be joined by the elegant pianist Jeewon Park . Their program will highlight the cello’s uniquely rich and flexible musical voice in an afternoon of solos, duos, trios, and quartets by Bach, Mozart, Haydn, Chopin, Mendelssohn, and Rachmaninoff and others. PROGRAM Wolfgang Amadeus Mozart Overture to The Marriage of Figaro, arr. for four cellos by Douglas Moore Program Notes Sergei Rachmaninoff Andante from Sonata in G minor, Op. 19 for cello and piano Zvi Plesser, cello and Jeewon Park, piano Program Notes Jean Barrière Allegro prestissimo from Sonata in G for two cellos Carter Brey and Edward Arron, cellos Program Notes Johann Sebastian Bach Air from Orchestra Suite No. 3 in D arr. for four cellos Program Notes Felix Mendelssohn Song Without Words in D for cello and piano Rafael Figueroa, cello and Jeewon Park, piano Program Notes David Popper Requiem for three cellos and piano Rafael Figueroa, Edward Arron, and Zvi Plesser, cellos; Jeewon Park, piano Program Notes Frederic Chopin Polonaise Brillante in C, Op. 3 for cello and piano Carter Brey, cello and Jeewon Park, piano Program Notes Intermission Johann Sebastian Bach Vor deinen Thron tret’ ich hiermit arr. for four cellos by Finckel Cello Quartet Program Notes Ludwig van Beethoven Seven Variations on Bei Männern from Mozart's Magic Flute for cello and piano Edward Arron, cello, and Jeewon Park, piano Program Notes Georg Friedrich Händel Sonata in G minor, Op. 2, No. 8 for two cellos and piano Zvi Plesser and Rafael Figueroa, cellos; Jeewon Park, piano Program Notes Georg Goltermann Serenade Op. 119, No. 2 for four cellos Program Notes Joseph Haydn Allegro molto from Cello Concerto in C major: Hob. VIIb/1 Program Notes Watch Carter Brey perform the Scherzo from Chopin’s Sonata for cello and piano in G minor, Opus 65: Watch Edward Arron perform the 1st movement of Bach’s Prelude to Suite No. 1 in G: Watch Zvi Plesser perform the 1st movement of Dvorak’s Cello Concerto:

SUNDAY, FEBRUARY 22, 2026 AT 4 PM THE VIRTUOSO ACCORDION INTRODUCING RADU RATOI RADU RATOI, ACCORDION ABOUT THE PERFORMANCE BUY TICKETS Parlance Chamber Concerts is proud to present its first-ever accordion recital, featuring the charismatic young Moldovan virtuoso Radu Ratoi. A rising star on the international stage, Ratoi has been lauded for his “breathtaking precision and profound musicality” (Neue Musikzeitung) and is widely recognized as one of the most innovative accordionists of his generation. With equal command of classical masterworks and bold contemporary repertoire, he is transforming perceptions of what the accordion can be. In this captivating program, Ratoi will perform his own dazzling transcriptions of works by Bach, Rameau, Liszt , and Saint-Saëns , alongside striking modern works that reveal the instrument’s full expressive and technical range. A trailblazer and a poet of the accordion, Ratoi promises an unforgettable musical experience. 2025-2026 SEASON September 14, 2025 “Singers” from the Met Orchestra October 12, 2025 Lawrence Brownlee, tenor November 2, 2025 Benjamin Appl, baritone; James Baillieu, piano December 7, 2025 The Tallis Scholars January 18, 2026 Benjamin Beilman, violin; Jonathan Swenson, cello; Orion Weiss, piano February 22, 2026 Radu Ratoi, accordion March 8, 2026 Jonathan Biss, piano April 26, 2026 Jerusalem String Quartet May 17, 2026 Chee-Yun, violin; Sterling Elliott, cello; Henry Kramer, piano Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS PROGRAM Jean-Phillipe Rameau: Overture from Pygmalion , RTC 52 Program Notes Johann Sebastian Bach: English Suite No. 3 in G minor, BWV 808 Program Notes Anatoly Kusyakov: Sonata No. 6, Part 2: Finale Program Notes Franz Schubert: Finale from String Quartet No. 14 in D minor, D. 810 (“Death and the Maiden), arr. by Radu Ratoi Program Notes INTERMISSION François Couperin: Les Roseaux from Pièces de Clavecin, Book 3 Program Notes Johann Sebastian Bach: Passacaglia in C minor, BWV 582 Program Notes Franz Liszt: Transcendental Étude No. 10, “Appassionata,” S. 139, arr. by Radu Ratoi Program Notes Camille Saint-Saëns: Danse macabre, Op. 40 Program Notes Watch accordionist Radu Ratoi play Camille Saint-Saëns’ Danse Macabre: Watch accordionist Radu Ratoi play Suite of Moldavian Folk Songs:

LIABILITY WAIVER Parlance Chamber Concerts’s Covid-19 Liability Waiver Parlance Chamber Concerts is committed to the health and safety of our audience members, performers, and staff. While we are taking measures to protect our attendees, artists, volunteers, and employees, the risk of contracting Covid-19 and other contagious diseases may exist in any public space. To protect Parlance Chamber Concert’s ability to continue presenting public events, I agree: By purchasing tickets and entering Parlance Chamber Concerts’s performance venue (West Side Presbyterian Church), I will comply with all policies, guidelines, and preventive measures implemented by Parlance Chamber Concerts to reduce the spread of COVID-19. Parlance Chamber Concerts cannot guarantee that I will not be exposed to and contract COVID-19 or other contagious diseases, and all those entering our performance venue do so at their own risk. I accept the risk of being exposed to, contracting, or spreading COVID-19 or other contagious diseases along with all consequential damages. I waive any right to bring any claims, including but not limited to claims of negligence. Masking is encouraged but optional and proof of vaccination is no longer required for admittance to Parlance Chamber Concerts’s events.

ABOUT THE 2009-2010 SEASON 2009-2010 SEASON Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts

BOARD OF DIRECTORS Founders Michael and Inmo Parloff Artistic Director Michael Parloff Artistic Advisory Board James Galway David Finckel Thomas Hampson Members of the Emerson String Quartet (Emeritus): Philip Setzer Eugene Drucker Lawrence Dutton Paul Watkins Executive Board Donald Reeder , Chairman of the Board Michael Parloff , P resident Warren F. Cooke , Vi ce President Elizabeth Forbes, Secretary Edward Lowentha l Peter Riemer Development Director Inmo Parloff Leadership Council Thomas and Heidi Ahlborn Anne Bosch Catherine Cooke Eugene Cornell and Susan Mayo Paul Gridley Christina Hembree Adrian and Christina Jones Gary Knapp Ronald and Mollie Ledwith Thomas and Carol Martin Dorothy Neff Barry Poskanzer and Mary Krugman Suzanne Taranto Donald and Gigo Taylor

March 19, 2023 – Rachel Naomi Kudo, piano JOHANN SEBASTIAN BACH (1685-1750) Chorale Prelude “Wachet auf, ruft uns die Stimme”, BWV 645 (arr. Busoni) March 19, 2023 – Rachel Naomi Kudo, piano Our discussion of the present three Bach transcriptions must begin with Ferrucio Busoni, who was Egon Petri’s teacher. As a youth Busoni adored Bach above all other composers, a passion that endured throughout his life. He not only drew on Bach’s music for inspiration in his own works but he issued a monumental edition of Bach’s solo keyboard works transcribed for piano—a twenty-five volume collection plus a seven-volume set—aided by his students Egon Petri and Bruno Mugellini. So synonymous did Bach and Busoni become in the public’s mind that on Busoni’s first American tour his wife Gerda was once introduced by a society matron as “Mrs. Bach-Busoni.” This anecdote was related by Petri, a superb German pianist of Dutch descent, who began studying with Busoni in Weimar in 1901. Petri eventually settled in the United States, taught at Mills College, and authored many Bach transcriptions at Busoni’s behest. Busoni issued his Bach edition in two collections: the twenty-five-volume Klavierwerke, and the seven-volume Bach-Busoni edition. Although Busoni’s name appears on each volume of the Klavierwerke, many were edited by Petri and a few by Bruno Mugellini. Petri had expected Busoni to supervise his and Mugellini’s editorial work and they strove to operate under his principles and to emulate his style, yet Busoni concerned himself very little with reading their proofs, much to Petri’s surprise. Busoni strove to remain true to the essence of Bach’s music in his transcriptions, but inevitably his own Romantic sensibilities crept in with his addition of tempo and pedal markings, dynamics, register changes, repeats, and performance suggestions. Nevertheless, these transcriptions are rewarding additions to the piano repertoire. Ich ruf zu dir, Herr Jesu Christ—which appears as No. 5 in Busoni’s collection of Ten Chorale Preludes (1898) and No. 41 (BWV 639) in Bach’s Orgel-Büchlein (Little Organ Book)—has become a favorite of pianists and audiences for its poignant serenity. Flowing arpeggios in the middle voice accompany the tender, mostly unadorned chorale melody, supported by a steady “walking bass.” Wachet auf, ruft uns die Stimme is actually Busoni’s transcription of what was already a transcription by Bach himself. In 1731 Bach had composed the fourth movement of his Cantata 140 (Wachet auf) in chorale-prelude style with tenor(s) taking the chorale melody, surrounded by a a lyrical countermelody for upper strings in unison and supported by continuo (bass line and harmony). Thus it was a simple task to transfer all three parts to organ, which he did in BWV 645, one of a group of six late works that became known as the “Schübler Chorales” after their publication by Johann Georg Schübler in 1748–49. Busoni’s transcription for piano, No. 2 in his Ten Chorale Preludes, maintains the lilting flow in the upper line against the steady chorale in the middle voice. Turning to the first piece of the group of transcriptions, Egon Petri arranged his version of Schafe können sicher weiden (Sheep may safely graze) not from a chorale preude by Bach but rather a soprano aria from Cantata 208 Was mir behagt, ist nur die muntre Jagd! (What pleases me is above all the lively hunt). Bach wrote secular cantatas for aristocratic patrons to celebrate special occasions such as birthdays, name days, and accession days, or for academic ceremonies, and he composed Cantata 208 on a text by Weimar court poet Salomo Franck for the birthday of Duke Christian Weissenfels in 1713. Known as the Hunt Cantata, it contains “Schafe können sicher weiden,” the well-known aria for Pales, second soprano to Diana, goddess of the hunt. For centuries listeners have been captivated by its texture of rocking parallel thirds for two flutes—the quintessential pastoral instrument—accompanying the tender main melody, which praises Duke Christian for ruling his people as a good shepherd. The lovely aria has been transcribed for countless times for various performing forces, among the first—Percy Grainger’s for band (1931), Mary Howe’s for solo piano and two pianos (1935), and William Walton’s for orchestra (1940). Egon Petri’s transcription, published in 1944 has become the best-known transcription for piano. © Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, APRIL 7, 2024 AT 4 PM JORDI SAVALL, VIOLA DA GAMBA AND CONDUCTOR HESPÈRION XXI (EARLY MUSIC ENSEMBLE) LE NUOVE MUSICHE THE BAROQUE REVOLUTION IN EUROPE (1560 - 1660) Jordi Savall , viola da gamba, conductor “If there were no Jordi Savall, we’d all live on a musically smaller planet.”— San Francisco Classical Voice Hespèrion XXI “The glorious ensemble sound of Hespèrion XXI featured period-instrument textures rendered with a delicacy and clarity sufficient to make a listener truly feel like a time traveler. — The New York Times ABOUT THE PERFORMANCE BUY TICKETS Jordi Savall and his legendary ensemble, Hespèrion XXI , will explore 100 years of musical history in a fascinating concert of music by early Baroque masters. For more than 50 years, Jordi Savall has rescued musical gems from the obscurity of neglect and oblivion and given them back for all to enjoy. A tireless advocate for early music, he interprets and performs the repertory both as a viola da gambist and a conductor. Savall founded the ancient music ensemble Hespèrion XXI in 1974 as a way of recovering and disseminating the rich and fascinating musical repertoire prior to the 19th century on the basis of historical criteria and the use of original instruments. Today the ensemble is central to the understanding of the music of the period between the Middle Ages and the Baroque. 2023-2024 SEASON October 15, 202 3 Lysander Piano Trio November 12, 2023 Angel Blue, soprano Bryan Wagorn, piano December 3, 2023 Brentano String Quartet Antioch Chamber Choir January 14, 2024 Goldmund String Quartet February 18, 2024 Candlelit Music of The Spirit March 10, 2024 Richard Goode, Piano Late Beethoven April 7, 2024 Jordi Savall, Conductor Hespèrion XXI May 12, 2024 Mothers Day Concert June 2, 2024 Mozart’s Double Concertos Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS PROGRAM Le Nuove Musiche The Baroque Revolution in Europe (1560 - 1660) This program is approximately 75 Minutes in length Program Notes Vincenzo Ruffo (ca.1508-1587) Capricci in musica a tre voci (Milano, 1564) La Gamba – La Disperata – La Piva Emilio de’ Cavalieri (ca.1550-1602) Rappresentatione di Anima, et di Corpo (Roma, 1600) Sinfonia La Pellegrina: Intermedii et concerti (Siena, 1589) Ballo del Granduca Tobias Hume (ca.1569-1645) Captain Humes Poeticall Musicke (Londra, 1607) The Lady Sussex delight The Earle of Pembrookes Galiard Anonymous (England, ca.1610) Greensleeves to a Ground Samuel Scheidt (1587 - 1654) Ludi Musici (1621) Galliard Battaglia, SSWV 59 Girolamo Frescobaldi (1583 - 1643) Il primo libro delle canzoni (Rome, 1628) Canzon terza, a due canti, F 8.14c Andrea Falconiero (ca.1586-1656) Il primo libro di canzone (Naples, 1650) Ciaccona Juan García de Zéspedes (1619-1678) Guaracha Giovanni Girolamo Kapsberger (ca.1580 - 1651) Libro terzo d’intavolatura di chitarrone (Roma, 1626) Variations on the Folia Anonymous (Spain, ca.1660) Diferencias sobre la Folía Andrea Falconiero l primo libro di canzone (Naples, 1650) Passacalle Biagio Marini (1594-1663) Per ogni sorte di strumento musicale (Venice, 1655) Passacaglio Tarquino Merula (1595-1665) Canzoni overo sonate concertate per chiesa e camera (Venice, 1637) Chiaccona Antonio Valente (ca.1520-ca.1580) Intavolatura de cimbalo (Naples, 1576) Gallarda Napolitana Watch viola gambist Jordi Savall perform La Rêveuse: Les folies d’Espagne de Marin Marais: Watch Jordi Savall and Hespèrion XXI play an excerpt from Lachrimae Caravaggio: This program has been made possible in part by a grant administered by the Bergen County Department of Parks, Division of Cultural and Historic Affairs from funds granted by the New Jersey State Council on the Arts.

MAKE A DONATION Parlance Chamber Concerts gratefully accepts fully tax-deductible contributions of any amount. Please make a secure donation through PayPal or with your own credit card among those listed below. With a donation of $100 or more, you will be listed in the Program Booklets For details and questions about joining the Parlance Patrons Circle, please contact Sally Jones at 201-546-6132. Donate here . Parlance Chamber Concerts, Inc., is a fully-accredited 501(c)(3) nonprofit organization. Contributions are tax-deductible to the extend allowable by law.

ABOUT THE 2007-2008 SEASON 2007-2008 SEASON Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts

2009-2010 ARTIST ROSTER ANDERSON & ROE, DUO PIANISTS DAVID CHAN, VIOLIN DANIELLE DE NIESE, SOPRANO RAFAEL FIGUEROA, CELLO DARRYL THOMAS KUBIAN, VIOLIN, THEREMIN JOEL NOYES, CELLO PETER WASHINGTON, JAZZ BASS ABRAHAM APPLEMAN, VIOLA BILL CHARLAP, PIANIST LAWRENCE DUTTON, VIOLA STEFÁN RAGNAR HÖSKULDSSON, FLUTE YOON KWON, VIOLIN JEEWON PARK, PIANO STEPHEN WILLIAMSON, CLARINET CECILIA BRAUER, ARMONICA TIMOTHY COBB, BASS EMERSON STRING QUARTET DR. GARETH ICENOGLE, NARRATOR KEN NODA, PIANO KENNY WASHINGTON, JAZZ DRUMS GREG ZUBER, XYLOPHONE

IAN ROSENBAUM, PERCUSSION Praised by The Strad as an “utterly dazzling” artist, with “a marvelous show of superb technique” and “mesmerizing grace” (New York Classical Review), violinist Danbi Um captivates audiences with her virtuosity, individual sound, and interpretive sensitivity. A Menuhin International Violin Competition Silver Medalist, winner of the prestigious 2018 Salon de Virtuosi Career Grant, and a recent top prizewinner of the Naumburg International Violin Competition, she showcases her artistry in concertos, solo recitals, and in collaboration with distinguished chamber musicians. 
 Her recent and forthcoming engagements include solo appearances with the Chamber Orchestra of Philadephia (Kimmel Center), Brevard Philharmonic, and New York recital debut at Lincoln Center presented by the Chamber Music Society of Lincoln Center, San Francisco recital debut on Music@Menlo’s celebrated “Carte Blanche” series, and Philadelphia recital debut presented by Astral Artists. In addition, she will debut at the Wolf Trap in Washington D.C., and her return to the Parlance Chamber Music Series (NJ), Caramoor Festival as well as a national tour with the Chamber Music Society of Lincoln Center. During 2017-18 season, She also debuted for the Palm Beach Chamber Music Society with pianist Juho Pohjonen, the Philadelphia Orchestra’s “Morning Musicales”, and at the National Museum of Women in the Arts in Washington, D.C., with pianist Orion Weiss. After winning the 2014 Music Academy of the West Competition, Ms. Um made her concerto debut in the Walton Violin Concerto with the Festival Orchestra, conducted by Joshua Weilerstein. Recent concerto engagements include appearances with the Israel Symphony, Auckland Philharmonic, Vermont Symphony, and the Dartmouth Symphony. She also recently appeared in recital and in chamber music performances in such venues as the Kennedy Center, Philadelphia’s Kimmel Center, Boston’s Isabella Stewart Gardner Museum, the Harris Theatre in Chicago, Wigmore Hall in London, and at the Tel Aviv Museum of Art. An avid chamber musician, Ms. Um is a current artist member of the Chamber Music Society of Lincoln Center (CMS) and will see her opening the CMS’s 50th anniversary season in fall 2019 at Alice Tully Hall. Festival appearances have included those at Marlboro, Ravinia, Yellow Barn, Moab, Seattle, Caramoor, and North Shore. This past summer, Ms. Um made critically acclaimed debut at the Moritzburg Festival in Dresden, Germany at the invitation of Jan Vogler. Her chamber music collaborators have included Anthony Marwood, Vadim Gluzman, Pamela Frank, Cho-Liang Lin, Paul Neubauer, Frans Helmerson, Jan Vogler, David Shifrin, and Gilbert Kalish. Born in 1990 in Seoul, South Korea, Ms. Um began violin lessons at the age of three. In the year 2000, she moved to the United States to study at the Curtis Institute of Music, where she earned a Bachelor’s degree. She also holds an Artist Diploma from Indiana University. Her teachers have included Shmuel Ashkenasi, Joseph Silverstein, Jaime Laredo, and Hagai Shaham. Ms. Um is a winner of Astral’s 2015 National Auditions. She plays a 1683 “ex-Petschek” Nicolo Amati violin, on loan from a private collection.

November 4, 2018: Alessio Bax, piano NIKOLAI RIMSKY-KORSAKOV (1844-1908) Flight of the Bumblebee, arr. Rachmaninoff November 4, 2018: Alessio Bax, piano Rimsky-Korsakov originally composed his ultra-famous Flight of the Bumblebee as part of The Tale of Tsar Sultan, the opera he wrote in 1899 to celebrate the 100th anniversary of the birth of the great Russian author Alexander Pushkin. The story of this fairy-tale opera involves “three sisters, three wishes, three wonders, and three bee stings.” The celebrated Flight of the Bumblebee is heard between scenes, after the swan (one of the wonders) shows the hero how he can turn himself into a bee, so he can fly home and meet his father. The composer creates the picturesque frenzy of a bee in flight with incredibly fast notes moving in a narrow range for the violins, clarinet, and flute in turn. Like many others who were so fascinated by this piece as to arrange it for almost every conceivable instrument, Rachmaninoff made a piano arrangement early in 1929. He eliminated its central episode, altered the beginning and end of the outer sections slightly, and tinkered a bit with a couple of harmonies, but he kept close to the Rimsky-Korsakov in other ways, especially in spirit, arriving at a dazzling encore piece that he even recorded on his last piano roll in April of 1929. © Jane Vial Jaffe Return to Parlance Program Notes