December 5, 2021: Paul Jacobs, organ JOHANN SEBASTIAN BACH (1685-1750) Prelude and Fugue in C Major, BWV 547 December 5, 2021: Paul Jacobs, organ Dating has proved extremely elusive for this remarkably masterful, surprisingly underperformed work. Scholars have proposed dates as early as c. 1719, which would mean post-Weimar (see note for BWV 532 for more about Weimar) when Bach was in Cöthen serving Prince Leopold as Kapellmeister, and as late as the 1740s in Leipzig (see note for Sinfonia from Cantata 29 for more about Leipzig), with some middle ground as “by 1725” (early Leipzig). The complexity of both movements and the parallels between them argue for Leipzig, but Bach’s mixture of originality, tradition, and scattered similarities to various works surely account for the differing opinions. Both the Prelude and the Fugue employ short pithy motives that give no hint of the spontaneous excursions that Bach spins out nor what scholar Peter Williams calls their “carefully planned finality.” Each of the first three bars of the Prelude offers a distinct shape that proves recognizable in many variations throughout. The leaping jagged middle idea provides the basis for the leaping pedal, which never takes up the other two shapes. Bach creates the finality that will have its parallel in the Fugue with dramatic chords and a final sustained low pedal note that all point to home. The Fugue subject also operates in one-bar segments, seemingly unfolding as a four-voice fugue with each manual responsible for two of the voices and a palpable absence of pedal. Unusual for Bach, he presents five slightly varied expositions with imaginative ways of linking them and the sheer number of times we hear the subject in myriad ways is stunning. Suddenly, two-thirds of the way into the fugue, the pedal thunders out in a fifth voice with the subject in longer note values (augmentation) while the other four voices perform miraculous strettos and inversions of the subject—pure contrapuntal wizardry. The coda takes place over the same low home pedal that Bach employed in the Prelude, now providing even grander finality by sustaining to the very end. © Jane Vial Jaffe Return to Parlance Program Notes

April 23, 2017: Isabel Leonard, mezzo-soprano; Warren Jones, piano GIOACHINO ROSSINI (1792–1868) Canzonetta spagnuola April 23, 2017: Isabel Leonard, mezzo-soprano; Warren Jones, piano By 1815 Rossini’s operas were being performed all over Italy, except in Naples, which had its own traditions. The shrewd impresario Domenica Barbaia, however, invited Rossini to compose for him and then to serve as artistic director of the San Carlo opera house in Naples, where he became a favored son, “reigning” from 1815 to 1822. Probably in 1821, toward the end of his time there, he composed his virtuosic Canzonetta spagnuiola (Little Spanish song), “En medio a mis colores” (Surrounded by my colors). He set three verses, separated by a refrain, with colorful Spanish/Gypsy flair. His oscillating ornaments are challenging to the singer and thrilling for the audience, and his Spanish/Gypsy style sounds prophetic of Bizet, whose “Gypsy Song” in Carmen with its similar after-beat accompaniment, ornaments, and acceleration bears a striking resemblance to Rossini’s dashing work. © Jane Vial Jaffe Texts and Translations Canzonetta spagnuola En medio a mis colores, ay, Pintando estaba un día, ay, Cuando la musa mía, ay, Me vino a tormentar, ay. Ay, con dolor pues dejo Empresa tan feliz Cual es de bella Nice Las prendas celebrar, ay. Quiso que yo pintase, ay, Objeto sobrehumano, ay, Pero lo quiso en vano, ay, Lo tuvo que dejar, ay. Ay, con dolor pues dejo, etc. Conoce la hermosura, ay, Un corazón vagado, ay, Mas su destin malvado, ay, Ie impide de cantar, ay. Ay, con dolor pues dejo, etc. —Anonymous Little Spanish Song Surrounded by my colors, ay, I was painting one day, ay, when my muse, ay, came to torment me, ay. With sorrow then I left my happy task of celebrating the charms of the beautiful Nice, ay. My muse asked me to paint, ay, a more spiritual subject, ay, but he asked in vain, ay, and he had to leave, ay. With sorrow then I left, etc. An inconstant heart, ay, may know beauty, ay, but its cruel destiny, ay prevents it from singing, ay. With sorrow then I left, etc. Return to Parlance Program Notes

Development Director Inmo Parloff Leadership Council Thomas and Heidi Ahlborn Anne Bosch William and Zitta Chapman Catherine Coo ke Christina Hembree Adrian and Christina Jones Ronald and Mollie Ledwith Youngick and Joyce Lee Carol Martin Dorothy Neff Suzanne Taranto Donald and Gigo Taylor Richard and Michelle Vaccaro

May 19, 2019: Calidore String Quartet; Matthew Lipman, viola WOLFGANG AMADEUS MOZART (1756-1791) String Quintet in E-flat, K. 614 May 19, 2019: Calidore String Quartet; Matthew Lipman, viola Mozart’s five string quintets (six with the addition of the quintet version of the Serenade for wind octet, K. 516b), show a certain connection with the Haydn brothers, Michael and Joseph. The first, K. 174, an early work from his Salzburg days, no doubt grew out of Mozart’s interest in the quintets of his colleague Michael. Already at this date Mozart was eager to try his hand at the fuller sonorities made possible by the additional of a second viola to the standard string quartet configuration. The later quintets—the glorious C major and G minor, written in Vienna within a month of one another in the spring of 1787, and the last two, in D major and E-flat major, written four months apart in the winter and spring of 1790–91—show a distinct connection with Joseph Haydn. The older composer was reported to have played Mozart’s quintets with him frequently—including the first private reading of the D major, K. 593—and no doubt would have done the same with the E-flat major, K. 614, had Haydn’s career not taken him to London. The music of this last Quintet shows the definite stamp of Haydn’s influence. Dated “April 12, 1791” in Mozart’s own catalog of his works, this E-flat Quintet turned out to be his last major chamber work. The first edition, published posthumously in 1793 with K. 593, bore the inscription “Composto per un Amatore Ongarese” (Composed for a Hungarian Enthusiast), and the publisher, Artaria, was reported by the Wiener Zeitung to have said that both quintets were written in response to “the very active encouragement of a music lover.” Scholar Ernst Franz Schmid suggested in the mid-twentieth century that the commissioner of the two quintets may have been Johann Tost—who had been a second violin player in Haydn’s orchestra at Esterháza and later became a wealthy businessman—though Tost was actually born in Moravia rather than Hungary. Mozart’s widow had mentioned in a letter to publisher André in 1800 that Mozart had done work for Tost, who said he possessed some of her husband’s manuscripts and had promised to identify them for her by their themes, but whether he did so and whether the two quintets were among them remains unknown. Eminent scholars Otto Eric Deutsch and H. C. Robbins Landon took up Schmid’s supposition, but Tost’s involvement remains speculation. Suffice it to say that Mozart seldom composed works without some financial gain in mind, and Tost as commissioner is a likely candidate. Mozart often played viola in the readings of his chamber music with Haydn and others, but he rarely led off boldly with a viola theme which is how the E-flat major Quintet begins. The two violas play a “hunting horn” call in lively 6/8 meter—typical for “hunt” themes but atypical for a Mozart first movement. Robbins Landon suggests that he may have borrowed the idea for a 6/8 first movement from Haydn’s Symphony No. 67 in F major, but an even closer model might be his own “Hunt” Quartet, K. 458. Mozart ingeniously explores this theme with counterpoint, trills, and cello interjections, even transforming it into a lyrical second theme. Another “viola moment” occurs in the recapitulation when the first viola gets to lead off the second theme. The slow movement unfolds as a stately theme with four free variations. Scholar Charles Rosen points to the slow movement in Haydn’s Symphony No. 85, “La Reine,” as a possible influence. Mozart interjects a remarkable chromatically inflected interlude before the first variation begins. The minuet skips along merrily, its playful simplicity masking some sophisticated touches, such as making his main motive rise in the violas instead of making its usual descent. The charming trio section draws on the pastoral device of a rustic drone. Mozart’s finale perhaps pays the greatest tribute to Haydn. As Rosen points out, its jolly main theme bears a remarkable similarity to the finale of one of the quartets that Haydn dedicated to Tost in 1790, op. 64, no. 6, but even more, Mozart’s style throughout reminds us of Haydn’s mischievous wit. The exuberant movement unfolds in masterful sonata-rondo form, with one of its most delicious surprises coming in the form of a fugato section in the development. We can only hope that Haydn got to experience this captivating piece of chamber music even though Mozart’s tragically early death prevented them from ever playing it together. © Jane Vial Jaffe Return to Parlance Program Notes

January 18, 2026: Benjamin Beilman, violin; Jonathan Swenson, cello; Orion Weiss, piano Richard Wagner-Franz Liszt (1813-1883) Isolde’s Liebestod from Tristan and Isolde for piano January 18, 2026: Benjamin Beilman, violin; Jonathan Swenson, cello; Orion Weiss, piano Liszt and Wagner were born just two years apart, traveled in the same musical circles, and became good friends—each admiring and promoting the other’s music. But in a tangled scandal that the principals strove to keep from the press, Liszt’s daughter Cosima began an affair with Wagner in 1863 though she was married to conductor and pianist Hans von Bülow. Not only was Bülow a piano student of Liszt (he premiered Liszt’s B minor Sonata and Totentanz , among other great works, such as Tchaikovsky’s First Piano Concerto), but he also became friendly with Wagner and premiered two of his great operas, Tristan und Isolde in 1865 and Die Meistersinger von Nürnberg in 1868. It was in April 1865 that Cosima gave birth to the first of three children by Wagner—they named her Isolde, and Bülow, humiliated and hurt but hoping to avoid scandal, registered her as his daughter out of his devotion to Wagner. Against this, Bülow conducted the Tristan premiere exactly two months later, on June 10. Liszt, for his part, highly disapproved of his daughter’s relationship with Wagner, not only because of his loyalty to Bülow but because it involved Cosima’s rejection of Catholicism. Liszt made several attempts to convince Wagner to give up Cosima, the last by visiting him in 1867, but when that failed, he broke off relations with Wagner for five years. And yet it was in 1867, at the height of the crisis, that Liszt composed his masterful paraphrase, Isolde’s Liebestod , from Tristan . Despite his personal trauma in regard to Wagner’s actions, Liszt was able—like Bülow, astoundingly—to separate the man’s personal shortcomings from his sublime music—something that has become a rather global phenomenon. Liszt had long made Wagner’s operatic works accessible through piano transcriptions, but this paraphrase represents something far more than a simple transcription—it is an ingenious reimagining of Wagner’s vision. The third act finale, in which Tristan dies in Isolde’s arms and she then joins him in death, is now known as the Liebestod , though Wagner had originally called it “Verklärung” (Transfiguration). Conversely, Wagner used the label “Liebestod” for his concert performances of the equally famous Prelude, because it illustrates the Wagner/Schopenhauer philosophy linking love and death. It was Liszt and the present piano that led to “Liebestod” being universally employed for Wagner’s ecstatic finale. Liszt faced a formidable task in converting Wagner’s rich orchestration and contrapuntal textures to the piano, especially the re-creation of some of the biggest climaxes known to music. Because of the piano’s natural decay of sound, Liszt accomplishes this by means of arpeggios, tremolos, and repeated chords. He also highlights Wagner’s advanced harmonies—akin to his own—faithfully adapting Wagner’s yearning for the home key and Isolde’s final attainment of ethereal peace. —©Jane Vial Jaffe Return to Parlance Program Notes

2012-2013 SEASON 2012-2013 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

September 24, 2017: Arnaud Sussmann, violin; Michael Brown, piano GABRIEL FAURÉ (1845-1924) Romance in B-flat major, op. 28 September 24, 2017: Arnaud Sussmann, violin; Michael Brown, piano Fauré began composing his Romance, op. 28, in August 1877 out of great boredom while on a three-week visit to Cautarets in the Pyrenées. He had been persuaded to go there by the famous singer Pauline Viardot to give her daughter Marianne, his reluctant fiancée, some time to think. On September 17, back in Paris, he wrote to his friend Marie Clerc that he had tried out the Romance with Marianne’s violinist brother Paul. Finally on the third run-through the assembled Viardot ladies warmed up to the piece, prompting Fauré to remark, “What a pity one cannot always begin with the third hearing.” Two years later he found himself asking Pauline Viardot if he could borrow the piece, having left the only manuscript at her house. The Romance unfolds in A-B-A form, with the flowing motion of the outer sections contrasted by a dramatic central section with an angular theme for the violin. A cadenza-like passage restores the calm of the opening. © Jane Vial Jaffe Return to Parlance Program Notes

December 18, 2016: Emmanuel Ceyssonu, harp; Jerry Grossman, cello; Inn-hyuck Cho, clarinet GILAD COHEN Trio for a Spry Clarinet, Weeping Cello, and Ruminating Harp December 18, 2016: Emmanuel Ceyssonu, harp; Jerry Grossman, cello; Inn-hyuck Cho, clarinet An active composer, performer, and theorist, Israeli musician Gilad Cohen focuses on a variety of musical genres that include concert music, rock, and music for theater. His works have been performed in North America, Asia, Europe, and the Middle East by renowned artists ranging from London’s Nash Ensemble and the Apollo Chamber Players to the Brentano Quartet and Tre Voci (Kim Kashkashian, Marina Piccinini and Sivan Magen), as well as orchestras and choirs throughout Israel and his own rock band, Double Space. Recipient of myriad honors and top composition prizes, Cohen was recently awarded the 2016 Barlow Prize, resulting in the commission of a duet for violin and piano that will be premiered by a consortium of performers. His other recent and current projects include Around the Cauldron , commissioned by Concert Artists Guild with support from the Adele and John Gray Endowment Fund, to be premiered at Carnegie Hall in 2017, and Doaa and Masa , which will be premiered this year by harpist Sivan Magen in Hong-Kong, Israel, and Columbia. He is also working on a new quintet for the 10th anniversary of the Israeli Chamber Project for premiere performances on their 2018 tours. On the rock/pop front, Cohen’s music for Double Space and modern-klezmer ensemble Klezshop was awarded the Outstanding Achievement in Songwriting Award in the 11th Annual Great American Song Contest and was a finalist at the John Lennon Songwriting Contest. As a theorist Cohen has researched structure in the music of Pink Floyd, resulting in articles in prestigious publications, lectures in the U.S. and Israel, a four-credit course at Ramapo College, and the first-ever academic conference devoted to Pink Floyd that he coproduced at Princeton University with composer Dave Molk. As a performing musician, Cohen has played piano, bass guitar, and guitar at renowned venues worldwide, and he has served on occasion as a choral conductor and music director of musicals. A faculty member at Ramapo College, Cohen holds a Ph.D. in composition from Princeton University, and he is a graduate of Mannes College of Music, the Jerusalem Academy of Music and Dance, and the BMI Lehman Engel Musical Theatre Workshop. Among his principal teachers were Robert Cuckson, Steven Mackey, and Paul Lansky. Cohen composed his Trio for a Spry Clarinet, Weeping Cello, and Ruminating Harp in 2009 (revised 2010) on a commission from the Israeli Chamber Project. ICP members Tibi Cziger, Michal Korman, and Sivan Magen gave the premiere at the Stephen Wise Free Synagogue in New York on May 14, 2009, and the work went on to win the 2013 International Composition Competition of the American Harp Society in Dallas. The Trio will also be played this year by members of the Sinfonieorchester Münster (Germany), the Kassia Ensemble at Chamber Music Pittsburgh, and the Exponential Ensemble at New York’s National Opera Center. The composer writes: “When approaching the task of writing a piece for the unusual instrumentation of clarinet, cello, and harp, I have been influenced by a mixture of different musical styles that, in my mind, relate to these instruments: folk music, Jewish klezmer, impressionism, and rock (after all, it is a known fact the cello originated from the electric guitar). As it often happens, the result is somewhat different than the original plan, but some elements from these genres have still found their way to the final version. “The Trio is loosely constructed out of three movements that are played in a row and offer different versions of similar themes, while each instrument aims to pull the musical style in its own direction. While the first movement showcases the clarinet in some klezmer figurations, the second features a texture that resembles a rock band: the cello is ‘soloing’ on top of a rhythmic accompaniment by the harp and a funky bass line by the bass clarinet. At the beginning of the closing movement, the harp reintroduces earlier themes in a gentler and somewhat impressionistic mood. Toward the end of the piece, there is a triumphant moment at which all instruments showcase their individual variations simultaneously. Thus, they celebrate their differences in tone as well as their blend together.” © Jane Vial Jaffe Return to Parlance Program Notes

ALESSIO BAX, PIANO Combining exceptional lyricism and insight with consummate technique, Alessia Bax is without a doubt “among the most remarkable young pianists now before the public” (Gramophone). He catapulted to prominence with First Prize wins at both the Leeds and Hamamatsu International Piano Competitions, and is now a familiar face on five continents, not only as a recitalist and chamber musician, but also as a concerto soloist who has appeared with more than 150 orchestras, including the London, Royal, and St. Petersburg Philharmonic Orchestras, the New York, Boston, Dallas, Cincinnati, Sydney, and City of Birmingham Symphony Orchestras, and the NHK Symphony in Japan, collaborating with such eminent conductors as Marin Alsop, Vladimir Ashkenazy, Sir Andrew Davis, Fabio Luisi, Sir Simon Rattle, Yuri Temirkanov, and Jaap van Zweden. Bax constantly explores many facets of his career. He released his eleventh Signum Classics album, Italian Inspirations, whose program was also the vehicle for his solo recital debut at New York’s 92nd Street Y as well as on tour. He recently embarked on a trio tour of Spain with violinist Joshua Bell and cellist Steven Isserlis. Bax and his regular piano duo partner, Lucille Chung, gave recitals at New York’s Lincoln Center and were featured with the St. Louis Symphony and Stéphane Denève. He has also presented the complete works of Beethoven for cello and piano with cellist Paul Watkins in New York City. Next season he will make his debut with the Milwaukee Symphony, performing Brahms’ second piano concerto and will return for the fourth time for two recitals at the historic Teatro Colón in Buenos Aires. This past summer was highlighted by his fifth season as Artistic Director of Tuscany’s Incontri in Terra di Siena festival as well as return appearances at the Seattle Chamber Music Festival and at the Bravo! Vail Music Festival with the Dallas Symphony and Fabio Luisi conducting. Bax revisited Mozart’s K. 491 and K. 595 concertos, as heard on Alessio Bax Plays Mozart, for his recent debuts with the Boston and Melbourne Symphonies, both with Sir Andrew Davis, and with the Sydney Symphony, which he led himself from the keyboard. Other recent highlights include the pianist’s Auckland Philharmonia debut, concerts in Israel, a Japanese tour featuring dates with the Tokyo Symphony, a U.S. tour with flutist Emmanuel Pahud and an Asian tour with Daishin Kashimoto. Recent seasons also saw Bax make his solo recital debut at London’s Wigmore Hall, and give concerts at L.A.’s Disney Hall, Washington’s Kennedy Center, and New York’s Carnegie Hall. In 2009, he was awarded an Avery Fisher Career Grant, and four years later he received both the Andrew Wolf Chamber Music Award and the Lincoln Center Award for Emerging Artists. Bax’s celebrated Signum Classics discography includes Beethoven’s “Hammerklavier” and “Moonlight” Sonatas (a Gramophone “Editor’s Choice”); Beethoven’s “Emperor” Concerto; Bax & Chung, a duo disc with Lucille Chung; Alessio Bax plays Mozart, recorded with London’s Southbank Sinfonia; Alessio Bax: Scriabin & Mussorgsky (named “Recording of the Month … and quite possibly … of the year” by MusicWeb International); Alessio Bax plays Brahms (a Gramophone “Critics’ Choice”); Bach Transcribed; and Rachmaninov: Preludes & Melodies (an American Record Guide “Critics’ Choice 2011”). Recorded for Warner Classics, his Baroque Reflections album was also a Gramophone “Editor’s Choice.” He performed Beethoven’s “Hammerklavier” Sonata for Daniel Barenboim in the PBS-TV documentary Barenboim on Beethoven: Masterclass, available on DVD from EMI. At age 14, Bax graduated with top honors from the conservatory of Bari, his hometown in Italy, and after further studies in Europe, he moved to the United States in 1994. A Steinway artist, he lives in New York City with pianist Lucille Chung and their daughter, Mila. He was invited to join the piano faculty of Boston’s New England Conservatory in the fall of 2019.

DENIS BOURIAKOV, FLUTE Established as one of the world’s leading flute soloists, Denis Bouriakov was the winner of the 2009 Prague Spring competition, and prize winner at most major international flute competitions, including the Nielsen, Munich ARD, Kobe, Rampal, Nicolet, Larrieu, and others. He is currently the Principal Flutist of the Los Angeles Philharmonic, appointed by Gustavo Dudamel in 2015, and has previously served as the Principal Flute of the Metropolitan Opera in New York under James Levine. Denis has been combining orchestral and solo careers, regularly performing concertos and recitals worldwide. He has collaborated as a soloist with many prominent conductors, including Valery Gergiev, Daniel Harding, and Gustavo Dudamel. With his phenomenal virtuoso technique and musicianship, Denis looks outside the standard flute repertoire for works that would allow the flute to shine, continually transcribing and performing violin concertos and sonatas, and expanding the limits of flute technique and artistry. A number of his arrangements have been published by Theodore Presser, with a few in the works. Additionally, some of them are available as free downloads on his website. His first solo CD, featuring the Bach Chaconne, Sibelius Violin Concerto, and other daring original arrangements, was released in 2009 and followed by a number of other solo albums over the years. His upcoming CD release, in collaboration with the Lithuanian Chamber Orchestra, features Romantic-era violin and flute concertos such as the Mendelssohn Violin Concerto. In addition to his commercially released solo albums, Denis has published hundreds of videos of live performances from recitals and concertos on his YouTube and IGTV channels. Denis has held a full-time teaching position at the University of California, Los Angeles since 2017, alongside his fellow-flutist wife, Erin, who shares his enjoyment of collaborative teaching and duo performing. In 2018 he was appointed Visiting Professor of Flute to his alma mater, the Royal Academy of Music in London. The Academy previously awarded Denis the prestigious titles of Associate and Fellow of the Royal Academy of Music in 2006 and 2014, respectively. Denis leads many masterclasses for conservatories and universities worldwide and teaches many courses in Germany and Japan. He has been on the faculty of the Verbier Festival in Switzerland and the Pacific Music Festival in Japan, both of which he had participated in as a student. Additionally, Denis has been invited to adjudicate many international competitions. In 2019 he was appointed chairman of the woodwind jury by Valery Gergiev for the prestigious XVI Tchaikovsky International Competition. Denis was born in Simferopol, Crimea, and was a prodigy flutist from a young age. At the age of 10, he was admitted to the Moscow Central Special School, where he studied with the famous Professor Y.N. Dolzhikov, the only French-trained professor in USSR. With the support of the “New Names” International Charity Foundation and the Vladimir Spivakov Foundation, Denis toured as a young soloist in over 20 countries in Europe, Asia, South America, and the USA, performing for Pope John Paul the Second, Prince Michael of Kent, and the presidents of Russia, Romania, and Indonesia. When he turned 18, Denis went on to attend the Royal Academy of Music in London, studying with Professor William Bennett, OBE. While studying in London, he competed internationally and freelanced as a Principal Flute with the Philharmonia of London, the London Philharmonic Orchestra, Leeds Opera North, and the Frankfurt Radio Symphony Orchestra. He won his first full-time orchestral position in 2005 as Principal Flute with the Tampere Philharmonic Orchestra in Finland, where he also taught at the Tampere Conservatory of Music. In 2008 Denis moved to Spain to become the Principal Flute with the Barcelona Symphony Orchestra under Eiji Oue. Later that year, Denis won the position as Principal Flute of the Metropolitan Opera in New York and has resided in the United States since 2009. Denis plays on an Altus PS model flute and a Faulisi silver headjoint.

KERRY McDERMOTT, violin Violinist Kerry McDermott has been recognized as one of the most versatile and exciting artists of her generation. A first violinist with the New York Philharmonic, Ms. McDermott joined as its youngest member at the age of twenty-one, and has since appeared as soloist with them throughout North America. She has garnered prizes and awards in major competitions including the Montreal International Violin Competition and the International Tchaikovsky Competition in Moscow – where she also received a special award for “Best Artistic Interpretation”. At age seventeen, Ms. McDermott became the youngest winner in the history of Artists International Auditions which resulted in her New York recital debut. She has performed on tour throughout Holland with Reizend Muziek, as well as North American tours with The Chamber Music Society of Lincoln Center and the Muir String Quartet. Ms. McDermott has also appeared at Summerfest La Jolla, Angel Fire, Music in the Vineyards, Chamber Music Northwest, Bravo! Colorado, Caramour, Marlboro, Tanglewood, Wolftrap, Mostly Mozart, OK Mozart, Newport, Fredericksburg, Ravinia and on three continents with the New York Philharmonic Ensembles. She has recorded for Cala, New World Records and Melodia, and her media appearances include a PBS/ABC/BBC Documentary, the motion picture FAME and an AT&T commercial for National Network Television. She is a member of The McDermott trio with her sisters, pianist, Anne-Marie and cellist, Maureen, and a Master Artist and National Reviewer for the National YoungArts Foundation. Ms. McDermott is an alumna of the Manhattan School of Music and Yale College.

Development Director Inmo Parloff Leadership Council Thomas and Heidi Ahlborn Anne Bosch William and Zitta Chapman Catherine Coo ke Christina Hembree Adrian and Christina Jones Ronald and Mollie Ledwith Youngick and Joyce Lee Carol Martin Dorothy Neff Suzanne Taranto Donald and Gigo Taylor Richard and Michelle Vaccaro