SIHAO HE, CELLO Cellist Sihao He first came into international prominence in 2008 as a 14-year old cellist winning first prize at the International Antonio Janigro Cello Competition in Croatia. Later that same year, he sealed his great promise by winning the National Cello Competition in his native China. He is also the Grand Prize winner of the prestigious 3rd Gaspar Cassadó International Cello Competition in Japan, a laureate of the Queen Elizabeth International Cello Competition International and Tchaikovsky Competition for Young Musicians. In 2019, he won 3rd prize in Munich’s ARD International Music Competition. Sihao has appeared in numerous concerts both as a soloist with leading orchestras and in recitals. After winning the Grand Prize at the 3rd Gaspar Cassado Competition he performed a recital tour in Japan and China. His recital in Tokyo’s Yomiuri Otemachi Hall music Critic Masahiko Yu wrote the following in his review: “First prize winner of the 3rd Cassado competition Shanghai born cellist Sihao He is a big scaled splendid cellist who played a very technically demanding program like a magician”. In the US, important performances took place before audiences at the Metropolitan Museum, the U.S Supreme Court Historical Society in Washington D.C and a recital at the Myra Hess Concert series in Chicago. As a soloist, Sihao has performed with many leading orchestras including the Bavarian Radio Symphony Orchestra, Munich Radio Orchestra, Tokyo Philharmonic Orchestra, Brussels Philharmonic, Münchener Kammer orchester, Royal de Chambre de Wallonie, Orquestra the Sinfônica de Piracicaba in Brazil, and the Xiamen Philharmonic in China. In March 2020, Sihao was chosen to be a member of the prestigious Chamber Music Society of Lincoln Center’s The Bowers Program (formerly CMS Two). As a chamber musician, Sihao appeared at the Shanghai New Music Week, the Shanghai Electronic Music Week, in the US at the Music@Menlo and in Europe at the Rome festival. He has performed together with Joseph Silverstein, Pinchas Zuckerman, Donald Weilerstein and the Calidore Quartet. Before coming to the US his string Quartet, Simply Quartet, won first prize at the Haydn Invitational Chamber Music Competition in Shanghai, China and was awarded “The Most Promising Young String Quartet” at the 4th Beijing International Chamber Music Competition. Born in Shanghai, China, Sihao He holds a Bachelor’s degree from the Robert McDuffie Center for Strings at Mercer University where he studied with Hans Jorgen Jensen and Julie Albers, and a Master’s Degree from the Bienen School of Music at Northwestern University. Mr. He is currently attending the Bienen School of Music at Northwestern University for his D.M.A. degree under the tutelage of Hans Jørgen Jensen. In addition to playing the cello, Sihao is a brilliant Snooker and Billiard player.

SHARON ISBIN, GUITAR Acclaimed for her extraordinary lyricism, technique, and versatility, multiple Grammy Award winner Sharon Isbin has been hailed as “the preeminent guitarist of our time.” She is also the winner of Guitar Player magazine’s “Best Classical Guitarist” award, and the Toronto and Madrid Queen Sofia competitions, and was the first guitarist ever to win the Munich Competition. She has appeared as soloist with over 170 orchestras and has given sold-out performances in the world’s finest halls, including New York’s Carnegie and Avery Fisher Halls, Boston’s Symphony Hall, Washington, D.C.’s Kennedy Center, London’s Barbican and Wigmore Halls, Amsterdam’s Concertgebouw, Paris’ Châtelet, Vienna’s Musikverein, Munich’s Herkulessaal, Madrid’s Teatro Real, and many others. She has served as Artistic Director/Soloist of festivals she created for Carnegie Hall and the Ordway Music Theatre (St. Paul), her own series at New York’s 92nd Street Y, and the acclaimed national radio series Guitarjam. She is a frequent guest on national radio programs including All Things Considered and Garrison Keillor’s A Prairie Home Companion. She has been profiled on television throughout the world, including CBS Sunday Morning and A&E. She was a featured guest on Showtime Television’s hit series The L Word, and was the only classical artist to perform in the 2010 Grammy Awards. She performed as featured soloist on the soundtrack for Martin Scorsese’s Academy Award winning film, The Departed. Among her other career highlights, she performed at Ground Zero on September 11, 2002, for the internationally televised memorial, and in concert at the White House for President and Mrs. Obama in November 2009. She has been profiled in periodicals from People to Elle, The Wall Street Journal, and The New York Times, as well as on the cover of over 45 magazines. A one-hour documentary on her titled Sharon Isbin: Troubadour, produced by Susan Dangel, premieres in 2014. Ms. Isbin’s catalogue of over 25 recordings—from baroque, Spanish/Latin, and 20th century to crossover and jazz-fusion—reflects remarkable versatility. Her latest recording, Sharon Isbin & Friends: Guitar Passions (Sony) became a #1 bestseller on Amazon.com, and includes guest rock/jazz guitarists Steve Vai, Steve Morse, Nancy Wilson (Heart), Stanley Jordan, and Romero Lubambo. Her 2010 Grammy Award winning CD Journey to the New World includes guests Joan Baez and Mark O’Connor. Ranked as a #1 bestselling classical CD on Amazon.com and iTunes, it spent 63 consecutive weeks on the top Billboard charts. Her Dreams of a Worldsoared onto top classical Billboard charts, edging out The 3 Tenors, and earned her a 2001 Grammy for “Best Instrumental Soloist Performance,” making her the first classical guitarist to receive a Grammy in 28 years. Her world premiere recording of concerti written for her by Christopher Rouse and Tan Dun received a 2002 Grammy, as well as Germany’s prestigious Echo Klassik Award. She received a 2005 Latin Grammy nomination for “Best Classical Album” and a 2006 GLAAD Media Award nomination for “Outstanding Music Artist” (alongside Melissa Etheridge) for her Billboard Top 10 Classical disc with the New York Philharmonic of Joaquin Rodrigo’s Concierto de Aranjuez, and concerti by Ponce and Villa-Lobos. This marked the Philharmonic’s first-ever recording with guitar, and followed their Avery Fisher Hall performances with Ms. Isbin as their first guitar soloist in 26 years.Baroque Favorites for Guitar with the Zurich Chamber Orchestra remained on the Billboard Top 10 for 16 weeks, and her Journey to the Amazon with Brazilian percussionist Thiago de Mello and saxophonist Paul Winter, a bestseller in the U.S. and the U.K., received a 1999 Grammy nomination for “Best Classical Crossover Album.” She is also featured on Howard Shore’s 2008 Grammy-nominated soundtrack CD for The Departed. Her other CDs include Artist Profile, Wayfaring Stranger with mezzo-soprano Susanne Mentzer, Greatest Hits (EMI), and Aaron Jay Kernis’ Double Concerto with violinist Cho-Liang Lin and the Saint Paul Chamber Orchestra (SPCO), which received a 2000 Grammy nomination. Her eight best-selling titles for EMI include J.S. Bach Complete Lute Suites and concerti by Joaquin Rodrigo which the composer praised as “magnificent.” She is also featured on the Grammy Foundation’s Smart Symphonies CD distributed to over five million families. Her recordings have received many other awards, including “Critic’s Choice Recording of the Year” in bothGramophone and CD Review, “Recording of the Month” in Stereo Review, and “Album of the Year” in Guitar Player. Sharon Isbin has been acclaimed for expanding the guitar repertoire with some of the finest new works of the century. She has commissioned and premiered more concerti than any other guitarist, as well as numerous solo and chamber works. Her American Landscapes (EMI) is the first-ever recording of American guitar concerti and features works written for her by John Corigliano, Joseph Schwantner and Lukas Foss. (In November 1995, it was launched in the space shuttle Atlantis and presented to Russian cosmonauts during a rendezvous with Mir.) In January 2000, she premiered the ninth concerto written for her: Concert de Gaudí by Christopher Rouse with Christoph Eschenbach and the NDR Symphony, followed by the U.S. premiere with the Dallas Symphony. Among the many other composers who have written for her are Joan Tower, David Diamond, Aaron Jay Kernis, Leo Brouwer, Howard Shore, Steve Vai, and Ned Rorem. In 2003, she premiered John Duarte’s Joan Baez Suite, and in 2005 she premiered a duo by rock guitarist Steve Vai in their joint concert in Paris’ Théâtre du Châtelet. Upcoming premieres in 2015 include a work for guitar and orchestra by Chris Brubeck. Orchestra (throughout Austria including Vienna’s Musikverein) and Belgium’s Philharmonique de Liege, recitals and concerti in New York’s 92nd St Y and Carnegie Hall, Washington, D.C.’s Kennedy Center, a week of performances at the Théâtre du Châtelet in Paris, Filarmonica Toscanini in Milan, MIDEM Classical Awards in Cannes, and an Ms. Isbin’s recent highlights include tours with the Zurich Chamber Orchestra, Tonkünstler 18-city Guitar Passions tour with Stanley Jordan and Romero Lubambo in 2014. Ms. Isbin has toured Europe annually since she was seventeen, and appears as soloist with orchestras throughout the world, including the New York Philharmonic, National Symphony, Baltimore, Detroit, Houston, Dallas, Pittsburgh, Minnesota, St. Louis, Nashville, New Jersey, Louisville, Indianapolis, Milwaukee, Phoenix, Buffalo, and Utah Symphonies; Saint Paul, Los Angeles, Zurich, Scottish, and Lausanne Chamber Orchestras; the London Symphony, Orchestre National de France; and BBC Scottish, Lisbon Gulbenkian, Prague, Milan Verdi, Mexico City, Jerusalem, and Tokyo Symphonies. Her festival appearances include Mostly Mozart, Aspen, Ravinia, Grant Park, Interlochen, Santa Fe, Mexico City, Bermuda, Hong Kong, Montreux, Strasbourg, Paris, Athens, Istanbul, Ravenna, Prague, and Budapest International Festivals. As a chamber musician, Ms. Isbin has performed with the Emerson String Quartet; the Chamber Music Society of Lincoln Center; a “Guitar Summit” tour with jazz greats Herb Ellis, Stanley Jordan and Michael Hedges; trio recordings with Larry Coryell and Laurindo Almeida; and duo recordings with Carlos Barbosa-Lima. She collaborated with Antonio Carlos Jobim, and has shared the stage with luminaries from Aretha Franklin to Muhammad Ali. Born in Minneapolis, Sharon Isbin began her guitar studies at age nine in Italy, and later studied with Andrès Segovia and Oscar Ghiglia. A former student of Rosalyn Tureck, Ms. Isbin collaborated with the noted keyboardist in preparing landmark first performance editions of the Bach lute suites for guitar (published by G. Schirmer). She received a B.A. cum laude from Yale University and a Master of Music from the Yale School of Music. She is the author of the Classical Guitar Answer Book, and is Director of guitar departments at the Aspen Music Festival and The Juilliard School (which she created in 1989, becoming the first and only guitar instructor in the institution’s 100-year history). In her spare time, Ms. Isbin enjoys trekking in the jungles of Latin America, cross-country skiing, snorkeling, and mountain hiking.

KRISTIN LEE, VIOLIN A recipient of the 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and the Astral Artists’ 2010 National Auditions, Kristin Lee is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. “Her technique is flawless, and she has a sense of melodic shaping that reflects an artistic maturity,” writes the St. Louis Post-Dispatch, and The Strad reports, “She seems entirely comfortable with stylistic diversity, which is one criterion that separates the run-of-the-mill instrumentalists from true artists.” Kristin Lee has appeared as soloist with leading orchestras including The Philadelphia Orchestra, St. Louis Symphony, St. Paul Chamber Orchestra, New Jersey Symphony, Rochester Philharmonic, New Mexico Symphony,West Virginia Symphony, Milwaukee Symphony, Tacoma Symphony, Hong Kong Philharmonic, Nordic Chamber Orchestra of Sweden, Ural Philharmonic of Russia, Korean Broadcasting Symphony, Guiyang Symphony Orchestra of China, Orquesta Sinfonica Nacional of Dominican Republic, and many others. She has performed on the world’s finest concert stages, including Carnegie Hall, Avery Fisher Hall, the Kennedy Center, Philadelphia’s Kimmel Center,the Metropolitan Museum of Art, Steinway Hall’s Salon de Virtuosi, Philadelphia Chamber Music Society, the Ravinia Festival, Philadelphia’s World Cafe Live, (Le) Poisson Rouge in New York, the Louvre Museum in Paris, Washington, D.C.’s Phillips Collection, and Korea’s Kumho Art Gallery. An accomplished chamber musician, Kristin Lee is a member of the Chamber Music Society of Lincoln Center, performing at Lincoln Center in New York and on tour with CMS throughout each season. She has also appeared in chamber music programs at Music@Menlo, La Jolla Festival, Medellín Festicámara of Colombia, the El Sistema Chamber Music festival of Venezuela, the Sarasota Music Festival, Festspiele Mecklenburg- Vorpommern of Germany, the Hong Kong Chamber Music Festival and the Bridgehampton Chamber Music Festival, among many others. In addition, Lee is the co-founder and artistic director of Emerald City Music, a chamber music series that presents authentically unique concert experiences and bridges the divide between the highest caliber classical music and the many diverse communities of the Puget Sound region of Washington State. Recent highlights include performances presented by the San Francisco Symphony with Itzhak Perlman, Amarillo Symphony, Chamber Music Sedona, a tour with the Silk Road Ensemble, Parlance Chamber Concerts, Moab Music Festival, Lyra Music Festival, Olympic Music Festival, North Carolina New Music Initiative, and the Leicester International Music Festival. Upcoming performances include Music in the Vineyards, Olympia Symphony Orchestra, and tours with the Chamber Music Society of Lincoln Center and Camerata Pacifica, as well as return performances at Music@Menlo, the Highlands Chapel Series, and the Bridgehampton Chamber Music Festival. Reflecting on both her personal journey and her professional journey, Kristin Lee has developed a new project, Americana, which showcases a broad spectrum of illustrious composers and the American musical styles which influenced them, as well as their own musical styles which influenced generations of composers to come. As a foreign-born citizen of America, Lee was compelled to select this unique collection of composers and works to express her pride of the country she now calls her own, and offers recital programs that have a distinct and recognizable sound of American music and its rich history. Kristin Lee is a principal artist with Camerata Pacifica, sitting as The Bernard Gondos Chair. She is also concertmaster of the Nu Deco Ensemble in Miami, Florida, and is a member of Steve Coleman’s Natal Eclipse, a hybrid chamber-jazz ensemble that explores the very foundations of group improvisation and spontaneous composition. Lee’s performances have been broadcast on PBS’s “Live from Lincoln Center,” the Kennedy Center Honors, WFMT Chicago’s “Rising Stars” series, WRTI in Philadelphia, and on WQXR in New York. She also appeared on Perlman in Shanghai, a nationally broadcast PBS documentary that chronicled a historic cross‑cultural exchange between the Perlman Music Program and Shanghai Conservatory. She made the world premiere recording of Vivian Fung’s Violin Concerto, written for her, which won a Juno Award and is available on Naxos. Lee’s many honors include awards from the 2015 Trondheim Chamber Music Competition, 2011 Trio di Trieste Premio International Competition, the SYLFF Fellowship, Dorothy DeLay Scholarship, the Aspen Music Festival’s Violin Competition, the New Jersey Young Artists’ Competition, and the Salon de Virtuosi Scholarship Foundation.She is also the unprecedented First Prize winner of three concerto competitions at The Juilliard School– in the Pre-College Division in 1997 and 1999, and in the College Division in 2007. Born in Seoul, Lee began studying the violin at the age of five, and within one year won First Prize at the prestigious Korea Times Violin Competition. In 1995, she moved to the United States and continued her musical studies under Sonja Foster. Two years later, she became a student of Catherine Cho and Dorothy DeLay in The Juilliard School’s Pre-College Division. In January 2000, she was chosen to study with Itzhak Perlman after he heard her perform Mendelssohn’s Violin Concerto with Juilliard’s Pre-College Symphony Orchestra. Lee holds a Master’s degree from The Juilliard School, where she studied with Itzhak Perlman and Donald Weilerstein, and served as an assistant teacher for Perlman’s studio as a Starling Fellow. She is a member of the faculty of the Aaron Copland School of Music at Queens College and has served on the faculties of the LG Chamber Music School in Seoul, Korea, El Sistema’s chamber music festival in Caracas, Venezuela, and the Music@Menlo Chamber Music Festival.

ROBERT LANGEVIN, FLUTE Robert Langevin, holder of The Lila Acheson Wallace Chair, joined the New York Philharmonic as Principal Flute at the start of the 2000–01 season. In May 2001, he made his solo debut with the Orchestra in the North American premiere of Siegfried Matthus’s Concerto for Flute and Harp with Philharmonic Principal Harp Nancy Allen and then- Music Director Kurt Masur. Prior to the Philharmonic, Mr. Langevin held the Jackman Pfouts Principal Flute Chair of the Pittsburgh Symphony and was an adjunct professor at Duquesne University, in Pittsburgh. Mr. Langevin served as associate principal flute of the Montreal Symphony Orchestra for 13 years, playing on more than 30 recordings. As a member of Musica Camerata Montreal and l’Ensemble de la Société de Musique Contemporaine du Québec, he premiered many works, including the Canadian premiere of Pierre Boulez’s Le Marteau sans maître. In addition, Mr. Langevin has performed as soloist with Quebec’s most distinguished ensembles and has recorded many recitals and chamber music programs for the Canadian Broadcasting Corporation. He also served on the faculty of the University of Montreal for nine years. Born in Sherbrooke, Quebec, Mr. Langevin began studying flute at age 12 and joined the local orchestra three years later. While studying with Jean-Paul Major at the Montreal Conservatory of Music, he started working in recording studios, where he accompanied a variety of artists of different styles. He graduated in 1976 with two first prizes, one in flute, the other in chamber music. Not long after, he won the prestigious Prix d’Europe, a national competition open to all instruments with a first prize of a two-year scholarship to study in Europe. This enabled him to work with Aurèle Nicolet at the Staatliche Hochschule für Musik in Freiburg, Germany, where he graduated in 1979. He subsequently studied with Maxence Larrieu, in Geneva, winning second prize at the Budapest International Competition in 1980. His most recent solo appearance with the Philharmonic was in September 2008 in Lorin Maazel’s Music for Flute and Orchestra. Mr. Langevin is a member of the Philharmonic Quintet of New York with which he has performed concerts on many continents. In addition, he has given recitals and master classes throughout the United States and in countries such as Canada, Spain, Costa Rica, Japan, North Korea, Singapore, and Vietnam. He is currently on the faculties of The Juilliard School, The Manhattan School of Music, and the Orford International Summer Festival.

NATHAN HUGHES, OBOE Nathan Hughes is Principal Oboe of the Metropolitan Opera and a member of the faculty at The Juilliard School. He previously served as Principal Oboe of the Seattle Symphony and has recorded, toured, and made guest appearances as Principal Oboe with the Chicago Symphony Orchestra, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, and San Francisco Symphony. An avid chamber musician, Hughes has performed with the Philadelphia, La Jolla, Seattle, and Brooklyn Chamber Music Societies, as well as at ChamberFest Cleveland, and Chamber Music Pittsburgh. In addition, he has made appearances at the festivals of Aspen, Bridgehampton, Lucerne, Marlboro, Pacific, Salzburg, Santa Fe, Sarasota, Spoleto, and Tanglewood. He has received critical acclaim for his performances as soloist with the MET Chamber Ensemble at Carnegie Hall, Mainly Mozart Festival Orchestra, Orchestra of St. Luke’s, Seattle Symphony, La Jolla SummerFest Chamber Orchestra, and Verbier Festival Orchestra. A dedicated teacher, his students have earned significant positions in numerous major symphony orchestras throughout the country. Hughes earned degrees from the Cleveland Institute of Music and The Juilliard School, and has lectured and presented masterclasses at institutions around the world including at the New World Symphony, Cleveland Institute, Eastman, Oberlin, Indiana University, as well as at the Munich Hochschule in Germany, National University in Korea, Stockholm Royal College of Music in Sweden, Royal Conservatory in Canada, and Pacific Music Festival in Japan. He regularly works with young musicians in the summer at the Marlboro Festival in Vermont and at the Verbier Festival in Switzerland.

December 5, 2021: Paul Jacobs, organ JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C Minor, BWV 582 December 5, 2021: Paul Jacobs, organ For the last work in this 335th anniversary celebration of Bach, we turn to the earliest work on the program and one of his most famous, the Passacaglia in C minor. Not only has this organ work been arranged numerous times for orchestra, piano, or various chamber groups, but it has made its way into popular culture through films and such diverse renditions as Jimi Hendrix’s Lift Off and the jazz flute version by Hubert Laws, both in 1973. Precise dating of the Passacaglia is educated guesswork, but a range between 1706 and 1713 is typically given. Though no manuscript in Bach’s hand exists, the various sources show enough variants to suggest that the original version was written out in organ tablature (system of notation with numbers, letters, and other signs to indicate keys). The thinking is that Bach may have made such a version during his visit to Lübeck in 1705–06 or perhaps shortly after he got back to Arnstadt, where he soon felt stifled after the stimulation of Lübeck and moved to an organist position at Mühlhausen. Or it could be that a later version spilled over into his early years at Weimar (see the note for BWV 582 for more about Weimar). The form of a passacaglia, often indistinguishable from that of a chaconne, consists of a series of variations based on a repeating pattern in the bass—typically four or eight measures—and relies on traditional chord progressions. Such pieces flourished especially during the Baroque era, when many composers made use of existing passacaglia themes for their own sets of variations. In Bach’s case, his work consists of a theme and twenty variations, the last of which is extended without pause by a fugue, which could also count as Variation 21. Some scholars have conjectured that Bach may have composed the Fugue first, basing it on two main subjects—the first drawn from a mass by French organist André Raison from his Livre d’orgue, published in Paris in 1699, and the second, which he would tweak to become the Passacaglia’s second half, placed as a pulsing countersubject to the first subject. Yet a third fugue subject in faster note values then enters as a countersubject to the combined counterpoint of the first two. The tweaked second half of the Passacaglia has been found to be similar to a passacaille in a different mass by Raison, which some view as just a coincidence. Whether or not the Fugue or the Passacaglia came first, both show added influences of other composers such as Buxtehude and Legrenzi whose works on repeating patterns Bach was studying around that time. Many commentators have proposed theories of what sorts of symbolism or symmetries seem to be at work in the Passacaglia, and there are numerous differences of opinion as to where formal divisions and groupings lie. A general consensus, however, seems to be that there is a break in intensity after Variation 12, followed by an “interlude” of three variations and another group of five that ends with great majesty. The Fugue is the work’s crowning achievement—more complicated than a fugue on a single subject and thus called a double fugue by many, though definitions vary. The upshot is that Bach was thinking about counterpoint in remarkably sophisticated ways and surpassing all of his models in creating an original design. After the first presentation of the subject and countersubject, this pair returns four times, migrating systematically among voices and moving out of and back into the home key—and at the same time incorporating a third subject (countersubject) as well as a layer of freely composed material. All of this leads with dramatic purpose to a resounding conclusion. © Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, MARCH 9, 2025 AT 4 PM CELEBRATE RAVEL’S 150th BIRTHDAY! ERIKA BAIKOFF, SOPRANO SOOHONG PARK, PIANO ERIKA BAIKOFF , SOPRANO SOOHONG PARK , PIANO 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 “As Barbarina in the Met’s Le Nozze di Figaro, soprano Erika Baikoff made the most of her moment to shine. When staged simply and sung so beautifully, as it was here, Barbarina’s short aria, ‘L’ho perduta…me meschina’, is one of the brightest musical gems in the opera.” — Seen and Heard International "What sounds like easy playing in both senses of the word actually requires not only extraordinary technique but also a sensitive feeling for the breaks and depths of Schumann's music. Only a few people can do this really well, like pianist Soohong Park, the gold medal winner of the Guildhall School of Music and Drama” — Die Glocke, Germany. Celebrate the musical genius of Maurice Ravel on the 150th anniversary of his birth. The beguiling Russian-American soprano Erika Baikoff will collaborate the stellar Korean pianist Soohong Park in an afternoon of Ravel’s most alluring songs and ravishing piano solos . Throughout his life, Ravel drew inspiration from legends, poetry, and exotic locales. Erika and Soohong’s recital will journey across the musical landscapes of Greece, Spain, and Asia. Along the way, they will perform two of Ravel’s most beloved melodies, the poignant Pavane for a Dead Princess and the sinuous Vocalise in the Form of a Habanera . Another high point of the afternoon will be Soohong Park’s performance of Ravel’s dazzling triptych, Gaspard de la nuit , widely considered to be one of the most fearsomely challenging piano piece ever written. Ravel created fantastical musical images of the water-princess Undine, slowly twisting gallows in the setting sun, and the maniacally pirouetting goblin Scarbo. Bon anniversaire, Monsieur Ravel! PROGRAM Maurice Ravel Cinq mélodies populaires grecques for soprano and piano Program Notes Maurice Ravel Pavane pour une infante défunte for piano Program Notes Maurice Ravel Vocalise Etude en forme de habanera for soprano and piano. Program Notes Maurice Ravel Air de feu from L’enfante et les sortileges Program Notes Maurice Ravel Le Tombeau de Couperin for piano Program Notes INTERMISSION Maurice Ravel Manteau de fleurs for soprano and piano Ballade de la reine morte d’aimer for soprano and piano Program Notes Maurice Ravel Gaspard de la nuit for piano Program Notes Maurice Ravel Shéherazade for soprano and piano Program Notes Watch Erika Baikoff and Soohong Park’s mesmerizing performance of Schubert’s Nacht und Träume, D. 827: Watch Erika Baikoff and Soohong Park perform Schubert’s Frühlingsglaube, D.686:

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:

SUNDAY, OCTOBER 15, 2023 AT 4 PM LYSANDER PIANO TRIO SCANDINAVIAN INSPIRATIONS ABOUT THE PERFORMANCE BUY TICKETS The Lysander Piano Trio has developed a reputation for passionate playing and exciting programming. They find creative ways to connect well-known masterworks with music by lesser-known and underrepresented composers, discovering common threads across cultures and times. 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 Lysander Piano Trio Itamar Zorman, violin Michael Katz, cello Liza Stepanova, piano “…technical assurance and thoughtful musicality…performed with rich sound and nuanced musicianship in the varied works… finely hued collaboration among the three musicians.” —The New York Times “…a passionate single-mindedness that wound up serving all of the score’s varied moods, right through to a finale of exhilarating panache.” — The Washington Post On October 15 they will perform a Scandinavian-themed program including music by the great Norwegian composer, Edvard Grieg and 19th-century Swedish violinist-composer, Amanda Maier . The Lysander Trio’s concert will culminate with Schubert’s towering Piano Trio in E-flat, Op. 100 , which features the poignant Swedish folk song “Se solen sjunker” (The Sun Is Setting). PROGRAM Edvard Grieg Program Notes Andante con moto for piano trio Amanda Maier Program Notes Piano Trio in E-flat Franz Schubert Piano Trio in E-flat, Op. 100 Program Notes Watch the Lysander Trio perform the Finale of Ravel’s Piano Trio:

SUNDAY, MAY 18, 2025 AT 4PM LATE NIGHT WITH LEONARD BERNSTEIN A MULTIMEDIA CABARET JAMIE BERNSTEIN , HOST JOHN MUSTO , PIANO AMY BURTON , SOPRANO MICHAEL BORISKIN , PIANO “A look at the after-hours maestro [that] revealed his mischievous personality and musical predilections … the audience filled the room with lusty laughs and applause.” — The New York Times “For lovers of contemporary American music, nothing could exceed Late Night with Leonard Bernstein, which delighted and, even thrilled, a packed house ... Those in attendance will not forget this delicious evening.” — San Diego Times 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 A well-known insomniac for whom night was a time for creativity and friendship, deep introspection and revelry, the iconic Leonard Bernstein worked incessantly, often entertaining friends and guests late into the night and dazzling them with charismatic performances across a wide range of musical styles. Late Night with Leonard Bernstein is hosted by his daughter Jamie and and features three internationally-acclaimed artists – soprano Amy Burton and pianists John Musto and Michael Boriskin. A scintillating and affectionate multimedia portrait of the personal side of this charismatic, singularly public figure, this vibrant production has captivated sold-out audiences across the U.S. and Mexico since it premiered at Lincoln Center. The program weaves together a warm-hearted, revealing script, a video slideshow of rare photographs of the legendary artist and his family, friends, and colleagues, and Bernstein’s most intimate (and favorite) music, along with personal stories and even audio and film clips of the Maestro himself. PROGRAM LEONARD BERNSTEIN: “For Aaron Stern” (from Thirteen Anniversaries, No. 12) “For Stephen Sondheim” (from Thirteen Anniversaries, No. 3) “For Elizabeth B. Ehrman” (from Five Anniversaries, No. 3) “Ilana, the Dreamer” (from Four Sabras, No. 1) Program Notes ZEZ CONFREY: Dizzy Fingers Program Notes AARON COPLAND: Excerpt from Piano Variations Excerpt from El Salon Mexico (arr. Bernstein) Program Notes BERNSTEIN: Canon for Aaron “Ain’t Got No Tears Left” (from On the Town) Program Notes RAYMOND SCOTT: Powerhouse (arr. Lenny Amber) Program Notes BERNSTEIN: Excerpt from Conchtown Program Notes ERNESTO LECUONA: Malagueña Program Notes FRANZ SCHUBERT: Marche Characteristique in C Major Program Notes NOEL COWARD: “If Love were All” (from Bitter Sweet ) Program Notes EDVARD GRIEG: Nocturne, Opus 54, No.4 (from Lyric Pieces , Book 5) Program Notes BERNSTEIN: “Little Smary” (lyrics by Jennie Bernstein, from Arias and Barcarolles) Program Notes BERNSTEIN: Lullaby for JZ “Some Other Time” (from On The Town ) Program Notes Watch the Trailer for “Late Night With Leonard Bernstein”:

January 14, 2024: Goldmund Quartet ANTON WEBERN (1883-1945) Langsamer Satz January 14, 2024: Goldmund Quartet Webern was in love. In his third year as a student at the University of Vienna, he became romantically involved with his cousin Wilhelmine (Minna), and Webern’s diary, each entry filled with passionate outpourings combined with images of nature, radiates his happiness: “Our love rose to infinite heights and filled the universe! Two souls were enraptured!” The Langsamer Satz (“slow movement”), originally for string quartet, was composed in June 1905 as a direct expression of that love. They kept their affair secret knowing the anguish it would cause both sets of parents, but they married in 1911 after finding out Minna was pregnant. The marriage was officially prohibited by the Roman Catholic Church and solemnized only in 1915, by which time three of the couple’s four children had been born. In 1904 Webern had begun private composition studies with Arnold Schoenberg, which were to have profound impact on his life. There are some indications in the original set of parts for Langsamer Satz that the work was played, most likely within the Schoenberg “circle,” but Webern never made the work public. He may have suppressed it as a student work or because his compositional style soon underwent a major shift toward Schoenberg’s atonal language. In any case, it was not until 1962, almost twenty years after his death, that the world first heard this moving piece, performed on May 27 in Seattle by the University of Washington String Quartet. Langsamer Satz shows Webern’s indebtedness to late Romanticism in its rich harmonies and sweeping melodic lines. While this kind of expressiveness soon became telescoped into bare essentials, the movement exhibits the contrapuntal techniques that enabled him to structure even his most concise serial compositions. The piece consists of four basic sections, the fourth a reprise of the first, plus a coda. Though the key of the movement is E-flat major, the flowing opening melody gives the initial impression of C minor. A short, more restless section in G minor precedes a beautiful new calm theme that, if the opening was not enough, puts to rest questions about Webern’s lyrical abilities. The section peaks with the opening bar of this theme played triple forte, doubled in three octaves. In the reprise of the opening section, the second statement of the main theme is now the property of the cello. A coda based on the lyrical third section climaxes ecstatically and Webern’s wordless expression of love concludes quietly in E-flat major after a brief reminiscence of the C minor opening. © Jane Vial Jaffe Return to Parlance Program Notes

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