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SUNDAY, MARCH 8, 2026 AT 4 PM JONATHAN BISS, PIANO MOZART, JANÁČEK, AND SCHUMANN JONATHAN BISS , PIANO “Biss is known for his deeply insightful approach to the pillars of the repertoire and a desire to forge connections between that canon and the present…” — The Boston Globe, January 2024 ABOUT THE PERFORMANCE BUY TICKETS Pianist Jonathan Biss is internationally acclaimed for his impeccable taste, formidable technique, and profound musical insight. He has performed as a soloist with many of the world’s leading orchestras and, since 2018, has served as Co-Artistic Director of the Marlboro Music School and Festival alongside Mitsuko Uchida. In his thoughtfully curated program, Jonathan Biss charts an expressive journey through three centuries of piano masterpieces — from Mozart’s stormy Sonata in C minor, K. 457, to Janáček’s early 20th-century nostalgia in On an Overgrown Path , and the sweeping Romantic passion of Schumann’s Fantasy in C , envisioned as a coded love letter to his beloved wife-to-be, Clara Wieck. 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 Wolfgang Amadeus Mozart: Sonata in C minor, K. 457 Program Notes Leoš Janáček: On an Overgrown Path, Series 1, Nos. 1, 6, and 7 Program Notes INTERMISSION Wolfgang Amadeus Mozart: Sonata in F, K. 533/494 Program Notes Robert Schumann: Fantasy in C, Op. 17 Program Notes Watch pianist Jonathan Biss play Schumann’s Fantasiestücke, Op. 12: Watch pianist Jonathan Biss play Beethoven’s Sonata No. 31, Op. 110:

SUNDAY, MAY 17, 2026 AT 4 PM A BRAHMSIAN FINALE CHEE-YUN, VIOLIN STERLING ELLIOTT, CELLO HENRY KRAMER, PIANO CHEE-YUN , VIOLIN STERLING ELLIOTT , CELLO HENRY KRAMER , PIANO “Chee-Yun was at once playful and passionate, her bow was consistently precise even at NASCAR speed.” — The Washington Post “Sterling Elliot is a star cellist who has risen beyond hopeful promise to astonishing maturity. If you see his name on an upcoming venue, take the leap, and hear what he is up to, no matter what the program offers.“ — The Millbrook Independent “Henry Kramer was as technically flawless and precise as a faceted diamond…” — Portland Press Herald ABOUT THE PERFORMANCE BUY TICKETS 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 Violinist Chee-Yun returns to Parlance Chamber Concerts following her unforgettable 2024 performance of Brahms’s Horn Trio — an interpretation so compelling that Artistic Director Michael Parloff invited her back for an afternoon devoted entirely to Brahms’s chamber music. She will be joined by two extraordinary young artists: Sterling Elliott , a cellist of “astonishing maturity” (The Millbrook Independent ), and Henry Kramer , a pianist whose Brahms playing has been called “thrilling and nearly flawless” (Cleveland Classical Review ). Their program will open with Brahms’s dramatic D-minor Violin Sonata , followed by the lyrical F-major Cello Sonata . The concert will culminate in a performance of Brahms’s towering B-minor Piano Trio , uniting all three artists in a powerful and expressive finale to Parlance Chamber Concert’s 18th season. PROGRAM Johannes Brahms: Violin Sonata No. 3 in D minor, Op. 108 Program Notes Johannes Brahms: Cello Sonata No. 2 in F, Op. 99 Program Notes INTERMISSION Johannes Brahms: Piano Trio No. 1 in B, Op. 8 Program Notes Watch violinist Chee-Yun’s scintillating performance of Brahms’s Horn Trio with hornist Brad Gemeinhardt and pianist Alessio Bax: Watch cellist Sterling Elliott play Elgar’s Cello Concerto in London: Watch pianist Henry Kramer play Ravel’s Alborada del Gracioso from Miroirs:

SUNDAY, APRIL 26, 2026 AT 4 PM JERUSALEM STRING QUARTET ALEXANDER PAVLOVSKY, VIOLIN SERGEI BRESLER, VIOLIN MATHIS ROCHAT, VIOLA KYRIL ZLOTNIKOV, CELLO JERUSALEM STRING QUARTET “Consummately brilliant playing throughout, combining amazing technical finesse with overwhelming musical insight….” — BBC Music Magazine ABOUT THE PERFORMANCE BUY TICKETS Renowned for their “amazing technical finesse and overwhelming musical insight” (BBC Music Magazine ), the Jerusalem String Quartet returns to Parlance Chamber Concerts for an expressively far-ranging program featuring works by Haydn, Beethoven , and Pulitzer Prize–winning composer Shulamit Ran . Celebrated for their warm, balanced sound and eloquent ensemble unity, the Quartet brings a rare blend of tradition, individuality, and emotional depth to both classical masterworks and contemporary voices. Their program will culminate with Beethoven’s Quartet in B-flat, Op. 130 , including the boundary-pushing Grosse Fuge . This great quartet —by turns rustic, playful, introspective, and adventurous —showcases the full range of Beethoven’s extraordinary late-life inventiveness and mastery.” 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 Joseph Haydn: Quartet in B-flat, Op. 76, No. 4 (“Sunrise”) Program Notes Shulamit Ran: Betwixt and Between – String Quartet No. 4 Commissioned by and composed for the Jerusalem String Quartet in 2025 Program Notes INTERMISSION Ludwig van Beethoven: Quartet in B-flat, Op. 130 (with the Grosse Fuge) Program Notes Watch the Jerusalem Quartet perform the Haydn’s String Quartet in D, Op. 64, No. 5 (The Lark): Watch the Jerusalem Quartet perform the third movement of Brahms's String Quartet No.3, Op.67:

VIDEOS PARLANCE PERFORMANCE VIDEOS VIDEO CONCERT PREVIEWS PARLOFF MULTIMEDIA LECTURES AND INTERVIEWS Watch in full screen Go to the video you'd like to watch. Press the red button with white arrow to play video. At the bottom-right of the video player, click full screen icon. May 17, 2026 Brahms' Violin Sonata No. 3 in D minor, Op. 108 Chee-Yun, violin; Henry Kramer, piano Brahms' Cello Sonata No. 2 in F major, Op. 99 Sterling Elliott, cello, Henry Kramer, piano Michael Parloff Introduces Brahms’ Piano Trio No. 1 in B major, Op. 8 Brahms: Piano Trio No. 1 in B major, Op. 8 Chee-Yun, violin • Sterling Elliott, cello • Henry Kramer, piano October 12, 2025 Donizetti’s “Una furtiva lagrime” from L’elisir d’amore Lawrence Brownlee, tenor; Kevin J. MIller, piano Mozart’s“Un’aura amorosa” from Così fan tutte Lawrence Brownlee, tenor; Kevin J. MIller, piano September 14, 2025 Mozart’s Horn Concerto No. 4 in E-flat, K. 495 Brad Gemeindardt, horn; Michael Parloff, conductor Members of the Met Orchestra Mozart’s Bassoon Concerto in B-flat, K. 191 William Short, bassoon; Michael Parloff, conductor Members of the Met Orchestra Mozart’s Clarinet Concerto in A, K. 622 Anton Rist, clarinet; Michael Parloff, conductor Members of the Met Orchestra Haydn’s Symphony No. 6 in D, (The Morning) Hob. 1/6 Michael Parloff, conductor Members of the Met Orchestra March 9. 2025 Maurice Ravel’s Shéhérazade Erika Baikoff, soprano; Soohong Park, piano February 9, 2025 Camille Saint-Saëns’ Romance, Op. 36 Steven Isserlis, cello; Connie Shih, piano December 15, 2024 Mozart’s Flute Concerto No. 1 in G, K. 313 Denis Bouriakov, flute; Michael Parloff, conductor Musicians from the New York Philharmonic François Devienne’s Flute Concerto No. 7 in E minor Denis Bouriakov, flute; Michael Parloff, conductor Musicians from the New York Philharmonic October 20, 2024 Michael Parloff Introduces Joachín Turina’s La oración del torero ("The Bullfighter’s Prayer”) Joaquín Turina’s La oración del torero ("The Bullfighter’s Prayer”) Modigliani String Quartet September 29, 2024 Cellobration (Part 1) Carter Brey, Rafael Figueroa, Edward Arron, and Zvi Plesser, cello Jeewon Park, piano Cellobration (Part 2) Carter Brey, Rafael Figueroa, Edward Arron, and Zvi Plesser, cello Jeewon Park, piano June 2, 2024 Michael Parloff Introduces Mozart’s Sinfonia Concertante, K. 364 Mozart’s Sinfonia Concertante, K. 364 Oliver Neubauer, violin; Paul Neubauer, viola Members of the Met Orchestra; Michael Parloff, conductor MAY 12, 2024 Michael Parloff Introduces Dvorak’s Songs My Mother Taught Me Dvorak’s Songs My Mother Taught Me Chee-Yun, violin; Alessio Bax, piano Michael Parloff Introduces Ravel’s Mother Goose Suite Ravel’s Mother Goose Suite Alesso Bax and Lucille Chung, piano Brahms’s Trio for violin, horn, and piano, Op. 40 Chee-Yun, violin; Brad Gemeinhardt, horn; Alessio Bax, piano March 10, 2024 Michael Parloff Introduces Beethoven’s Diabelli Variations Beethoven’s Diabelli Variations, Op. 120 Richard Goode, piano JANUARY 14, 2024 Michael Parloff Introduces Anton Webern’s Langsamer Satz for String Quartet Anton Webern’s Langsamer Satz Goldmund String Quartet Michael Parloff Introduces Alexander Borodin’s String Quartet No. 2 in D Alexander Borodin’s Quartet No. 2 in D Major Goldmund String Quartet Robert Schumann’s Quartet No. 3 in A, Op. 42, No. 3 Goldmund String Quartet DECEMBER 3, 2023 Bruce Adolphe and Michael Parloff discuss Bruce Adolphe's “Memory Believes (a requiem)” Bruce Adolphe: Memory Believes (a requiem) Brentano String Quartet & Antioch Chamber Ensemble (choir) October 15, 2023 Michael Parloff Introduces Amanda Maier’s Piano Trio in E-flat Major Amanda Maier’s Piano Trio in E-flat Major The Lysander Piano Trio MAY 21, 2023 Michael Parloff Introduces Béla Bartók’s Rhapsody No. 1 for cello and piano Béla Bartók’s Rhapsody No. 1 for cello and piano, BB94c, Sz. 88 Zlatomir Fung, cello; Albert Cano Smit, piano Sergei Rachmaninoff’s Trio élégiaque No. 2, Op. 9 Kevin Zhu, violin; Zlatomir Fung, cello; Albert Cano Smit APRIL 2, 2023 Brahms’s E-minor Cello Sonata, Op. 38 Paul Watkins, cello; Boris Berman, piano MARCH 19, 2023 Bach’s French Suite in C minor, BWV 813 Rachel Naomi Kudo, piano Three Bach Transcriptions by Egon Petri and Ferruccio Busoni Rachel Naomi Kudo, piano Bach’s Italian Concerto, BWV 971 Rachel Naomi Kudo, piano FEBRUARY 12, 2023 Three Pieces by Fritz Kreisler Benjamin Beilman, violin; Gloria Chien, piano Michael Parloff Introduces Johann Strauss’s Emperor Waltz and Korngold’s Suite, Op. 23 (arr. Schoenberg) Johann Strauss’s Emperor Waltz; Arranged for Chamber Ensemble by Arnold Schoenberg Gloria Chien, piano; Benjamin Beilman and Alexi Kenney, violin; Milena Pajaro-Van de Stadt, viola; Mihai Marica, cello; Yoobin Son, flute; Pascual Martínez-Forteza, clarinet Michael Introduces Erich Korngold’s Suite for Two Violins, Cello, and Piano Left-Hand, Op. 23 Erich Korngold - Suite for 2 violins, cello, and piano left-hand; Parlance Chamber Concerts Gloria Chien, piano; Benjamin Beilman and Alexi Kenney, violin; Mihai Marica, cello JANUARY 29, 2023 Mozart, Divertimento in F, K. 318 The Danish String Quartet Benjamin Britten, Three Divertimenti The Danish String Quartet Elvis Presley, Can’t Help Falling in Love, arr. Danish String Quartet The Danish String Quartet DECEMBER 4, 2022 Sam Perkin, Freakshow The Sitkovetsky Trio NOVEMBER 20, 2022 Michael Parloff Introduces Erwin Schulhoff’s Hot Sonata for Saxophone and Piano Erwin Schulhoff’s Hot Sonata Steven Banks, saxophone and Xak Bjerken, piano Michael Parloff Introduces Claude Debussy’s Rapsodie for Saxophone and Piano Claude Debussy’s Rapsodie for Saxophone and Piano Steven Banks, saxophone and Xak Bjerken, piano OCTOBER 30, 2022 Brahms, String Sextet No. 2 in G, Op. 36 Emerson String Quartet with Guillermo Figueroa, viola, and David Finckel, cello NOVEMBER 14, 2021 Michael Parloff introduces Mendelssohn’s String Quartet in A minor, Op. 13 Mendelssohn, String Quartet in A minor, Op. 13 Schumann String Quartet Ravel, String Quartet in F Schumann String Quartet FEBRUARY 16, 2020 Verdi, Caro Nome (from Rigoletto) Meigui Zhang, soprano; Ken Noda, piano JANUARY 19, 2020 Beethoven, Sonata in C# minor, Op. 27, No. 2 (“Moonlight”) Paul Lewis, piano DECEMBER 15, 2019 Michael Parloff introduces Stravinsky’s “The Soldiers Tale” (Music from the 1918 pandemic) Stravinsky, “The Soldier’s Tale” Benjamin Luxon, narrator; Benjamin Beilman, violin; Innhyuck Cho, clarinet; Frank Morelli, Bassoon; Chris Coletti, trumpet; Demian Austin, trombone; David J. Grossman, bass; Ian Rosenbaum, percussion; Anni Crofut, dancer-choreographer OCTOBER 27, 2019 Boccherini, String Quartet in C, Op. 2, No. 6 Quartetto di Cremona Respighi, String Quartet No. 3 in D Quartetto di Cremona Verdi, “Quando le sere al placido” (from Luisa Miller) Quartetto di Cremona MAY 19, 2019 Michael Parloff introduces Mozart’s Adagio & Rondo, K. 617 for glass harmonica, flute, oboe, viola, and cello Mozart, Adagio & Rondo, K. 617 Friedrich Heinrich Kern, glass harmonica; Chelsea Knox, flute; Elaine Douvas, oboe; Jeremy Berry, viola; Estelle Choi, cello APRIL 14, 2019 Michael Parloff Introduces Corelli’s “La Folia” Violin Sonata in D minor, Op. 5, No. 12 Corelli (arrg. Poxon), “La Folia”: Sonata in D minor, Op. 5, No. 12 Anne Akiko Meyers, violin; Jason Vieaux, guitar Michael Parloff introduces Rentarō Taki’s Kōjō no Tsuki (The Moon Over the Ruined Castle) Rentarō Taki, Kōjō no Tsuki (The Moon Over the Ruined Castle) Anne Akiko Meyers, Violin Elvis Presley, Can’t Help Falling in Love Anne Akiko Meyers, violin, and Jason Vieaux, guitar MARCH 24, 2019 Bach, Violin and Keyboard Sonata in E Major, BWV 1016 Sarah Crocker Vonsattel, violin, and Gilles Vonsattel Bach, Keyboard Concerto in D minor, BWV 1052 Gilles Vonsattel, piano soloist, and chamber orchestra JANUARY 27, 2019 Michael Parloff Introduces Beethoven’s “Kakadu Variations,” Op. 121A Beethoven, “Kakadu Variations”, Op. 121A for piano trio Pinchas Zukerman Piano Trio Anton Arensky, Piano Trio in D minor, Op. 32 Pinchas Zukerman Piano Trio DECEMBER 16, 2018 Michael Parloff introduces Shostakovich’s String Quartet No. 8 in C minor, Op. 110 Shostakovich, String Quartet No. 8 in C minor, Op. 110 Emerson String Quartet Schubert, String Quintet in C Major, D. 956, Op.Posth 163 Emerson String Quartet with cellist David Finckel NOVEMBER 4, 2018 Saint-Saëns: Carnival of the Animals Alessio Bax & Lucille Chung, pianos with Members of the New York Philharmonic Michael Parloff introduces Vivaldi’s Flute Concerto in D, Op. 10, No. 3 (“The Goldfinch”) Vivaldi, Flute Concerto in D, Op. 10, No. 3 (“The Goldfinch”) Yoobin Son, flute Members of the New York Philharmonic SEPTEMBER 23, 2018 Michael Parloff introduces Mozart’s Piano Concerto No. 14 in E flat, K. 449 (Chamber Version) Mozart, Piano Concerto No. 14 in E flat, K. 449 Michael Brown, piano, and string quintet Schubert, Rondo in A, D. 438, for violin and string quartet Sean Lee, violin, and string quartet Chausson, Concerto in D, Op. 21, for violin, piano, and string quartet Arnaud Sussmann, violin; Michael Brown, piano, and string quartet APRIL 8, 2018 Michael Parloff Introduces Beethoven’s Quartet in F, Op. 59, No. 1 (Razumovsky No. 1) Ludwig van Beethoven: Quartet in F, Op. 59, No. 1 Danish String Quartet Michael Parloff Introduces Beethoven’s Quartet in C# minor, Op. 131 Ludwig van Beethoven: Quartet in C# Minor, Op. 131 Danish String Quartet MARCH 11, 2018 Beethoven, Sonata No. 10 in G, Op. 96 for violin and piano Benjamin Beilman, violin, and Orion Weiss, piano Ravel, “Blues” from Sonata No. 2 in G, for violin and piano Benjamin Beilman, violin, and Orion Weiss, piano A pre-performance conversation about Frederic Rzewski’s “Demons” (2017) Michael Parloff interviews Benjamin Beilman and Orion Weiss Frederic Rzewski, “Demons” (2017) for violin and piano Benjamin Beilman, violin, and Orion Weiss, piano FEBRUARY 17, 2018 Michael Parloff introduces the history of Haydn’s “Seven Last Words of Christ.” (5 minutes) Haydn, “The Seven Last Words of Christ” Chiara String Quartet Michael Parloff’s multimedia lecture on the history and music of Haydn’s “Seven Last Words of Christ” (55 minutes) DECEMBER 17, 2017 Rachmaninoff, Romance from Suite No. 2, Op. 17 for 2 pianos) Alessio Bax and Lucille Chung, pianos Rachmaninoff, Tarantella from Suite No. 2, Op. 17 for 2 pianos Alessio Bax and Lucille Chung, pianos Lutosławski, Variations on a Theme of Paganini for 2 pianos Alessio Bax and Lucille Chung, pianos NOVEMBER 19, 2017 Bach, Brandenburg Concerto No. 6, Mvt. 1 Los Angeles Guitar Quartet Bach, Brandenburg Concerto No. 6, Mvts. 2 & 3 Los Angeles Guitar Quartet OCTOBER 29, 2017 Michael Parloff Introduces Mozart’s Adagio in B minor, K. 540 Mozart, Adagio in B minor, K. 540 Peter Serkin, piano Mozart, Sonata in B-Flat Major, K. 570 Peter Serkin, piano Bach, The Goldberg Variations, BWV 988 Peter Serkin, piano SEPTEMBER 24, 2017 Michael Parloff introduces Mendelssohn’s Octet for Strings, Op. 20 Mendelssohn, String Octet in E-flat, Op. 20 Arnaud Sussmann, Sean Lee, Emily Daggett Smith, & Danbi Um, violins; Mark Holloway & Paul Neubauer, violas; Rafael Figueroa & Mihai Marica, cellos Strolling Violist Paul Neubauer plays Schulenburg’s Puszta-Märchen Fauré, Romance in B-flat, Op. 28 for violin and piano Arnaud Sussmann, violin, and Michael Brown, piano Saint-Saëns, Romance in F, Op. 36 for cello and piano Mihai Marica, and Michael Brown, piano MARCH 26, 2017 Michael Parloff introduces Haydn’s Quartet in D, Op. 64, No. 5 (The Lark) Joseph Haydn, Quartet in D, Op. 64, No. 5 (The Lark) Jerusalem String Quartet DECEMBER 18, 2016 Gilad Cohen, Trio for a Spry Clarinet, Weeping Cello, and Ruminative Harp Michael Parloff interviews the composer followed by the trio performance Michael Parloff introduces Debussy’s Sacred and Profane Dances & Ravel’s Introduction and Allegro Claude Debussy, Sacred and Profane Dances Harpist Mariko Anraku with Met Orchestra principal musicians Maurice Ravel, Introduction and Allegro Harpist Emmanuel Ceysson with Met Orchestra principal musicians NOVEMBER 20, 2016 Michael Parloff introduces Dvořák’s Quartet No. 12 in F (American Quartet) Antonín Dvořák, String Quartet No. 12 in F (American) New York Philharmonic String Quartet George Gershwin, Lullaby New York Philharmonic String Quartet OCTOBER 30, 2016 Michael Parloff introduces Shostakovich’s Piano Trio No. 1 in C minor, Op. 8 Shostakovich, Piano Trio No. 1 in C minor, Op. 8 Wu Han, piano; David Finckel, cello; Philip Setzer, violin APRIL 3, 2016 Bach, Badinerie from Suite in B Minor BWV 1067 Sir James Galway, flute Benjamin Beilman and Danbi Um, violins Mark Holloway, viola; Nicholas Canellakis, cello Timothy Cobb, bass; Paolo Bordignon, harpsichord MARCH 6, 2016 Michael Parloff introduces Schubert’s String Quartet in D minor, K. 810 (“Death and the Maiden”) Escher String Quartet Schubert, String Quartet in D minor (“Death and the Maiden”), Mvts 1 & 2 Escher String Quartet Schubert, String Quartet in D minor (“Death and the Maiden”), Mvts 3 & 4 Escher String Quartet DECEMBER 13, 2015 Michael Parloff introduces Beethoven’s Cello Sonata No. 4 in C Paul Watkins, cello, Gilles Vonsattel, piano Beethoven, Cello Sonata in C, Op. 102, No. 1 – Full Performance Paul Watkins, cello, Gilles Vonsattel, piano Michael Parloff introduces Beethoven’s Violin Sonata No. 9 in A, Op. 47 (The “Bridgetower-Kreutzer”) Beethoven: Violin Sonata No. 9 Violin Sonata No. 9 in A, Op. 47 (The “Bridgetower-Kreutzer”) Kristin Lee, violin; Gilles Vonsattel, piano NOVEMBER 15, 2015 Charles Ives: Violin Sonata No. 1 Stefan Jackiw, violin; Jeremy Denk, piano and speaker OCTOBER 4, 2015 Mozart, Sonata in F, K. 563 & K. 494 Richard Goode, piano Brahms: 4 Klavierstücke, Op. 119 Richard Goode, piano APRIL 26, 2015 Jules Styne, I Fall in Love Too Easily Stefon Harris, vibraphone/marimba, Alex Brown, piano MARCH 29, 2015 Frederic Weatherly, Danny Boy Matthew Polenzani, tenor, Ken Noda, piano Ravel, Five Popular Greek Songs Matthew Polenzani, tenor, Ken Noda, piano Michael Parloff introduces Samuel Barber’s Hermit Songs Samuel Barber, Hermit Songs, Op. 69 Matthew Polenzani, tenor; Ken Noda, piano Beethoven, Adelaide Matthew Polenzani, tenor; Ken Noda, piano FEBRUARY 8, 2015 Michael Parloff introduces Prokofiev’s Cello Sonata in C, Op. 119 Prokofiev, Cello Sonata in C, Op. 119 David Finckel, cello, Wu Han, piano JANUARY 4, 2015 Beethoven, Quartet No. 12 in E-flat, Op. 127 Emerson String Quartet Movement 1 Movement 2 Movement 3 Movement 4 NOVEMBER 2, 2014 Manuel de Falla, Polo from Seven Popular Songs Isabel Leonard, mezzo-soprano, Sharon Isbin, guitar OCTOBER 5, 2014 Mozart, Violin Sonata in E Minor, K. 308 Arnaud Sussmann, violin, Gilles Vonsattel, piano Michael Parloff introduces Mozart’s Violin Sonata in E minor, K. 308 Movement 1 Movement 2 OCTOBER 5, 2014 Brahms, Piano Quintet in F minor, 3rd Movement Erin Keefe, Arnaud Sussmann, violins, Hsin-Yun Huang viola, Rafael Figueroa, cello, Gilles Vonsattel, piano APRIL 27, 2014 William Walton, Façade Highlights Stephanie Blythe & Raymond Menard, reciters, Members of the Met Orchestra, Michael Parloff, conductor JANUARY 27, 2013 Beethoven, Piano Sonata No. 31 in A-flat, Op. 110 Richard Goode, piano Movement 1 Movement 2 Movement 3 OCTOBER 31, 2012 Mozart, Concerto in C, K. 299 for Flute and Harp Stefán Höskuldsson, flute, Deborah Hoffman, harp, Members of the Met Orchestra, Michael Parloff, conductor Michael Parloff introduces Mozart’s Concerto for Flute and Harp, K. 299 Movement 1 Movement 2 Movement 3 Prokofiev, Peter and the Wolf (Introducing the instrumental characters) Midge Woolsey, narrator, Members of the Met Orchestra, Michael Parloff, conductor Prokofiev, Peter and the Wolf (Complete performance) Midge Woolsey, narrator, Members of the Met Orchestra, Michael Parloff, conductor SEPTEMBER 23, 2012 Reicha: Sinfonia in D, Op. 12 for four flutes Sir James Galway, Robert Langevin, Stefán Höskuldsson, Denis Bouriakov, flutes Movement 1 Movement 2 Movement 3 Movement 4

November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano RICHARD STRAUSS (1864–1949) Songs November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano Strauss wrote songs all his life, from his first song, “Weinachtslied” (Christmas song), at the age of six, to his Four Last Songs, so-named by his publisher, which he composed at the age of eighty-four. Many of his more than 200 songs were written for soprano Pauline de Ahna who became his wife in 1894; the composer himself usually accompanied her on the piano. Some of his songs remain infrequently performed—often because of their difficulty—while others hold a firm place both in recital and in orchestrated versions by Strauss and others on symphonic programs. Strauss composed the four marvelous songs of Opus 27 in 1894 as his wedding present to Pauline. He had become interested in a group of poets—followers of Max Stirner and his socialist ideals—who had established themselves as a force against sentimental mid-nineteenth-century poets and against folk and mock-ancient poetry. Strauss was little interested in their politics, but latched onto their Romantic outpourings. Third in the set, “Heimliche Aufforderung” (Secret invitation) sets a text by Scottish-born but German-raised Stirner disciple, John Henry Mackay. His text is an ardent love song, sung during a tryst amid a crowd of merrymakers. The eager vocal line is accompanied by rippling figurations that change several times to a more static texture to reflect the text. A peaceful postlude follows the ecstatic appeal for night to fall. “Allerseelen” (All Soul’s Day) belongs to Strauss’s first set of published songs, Acht Gedichte aus Letzte Blätter von Hermann von Gilm (Eight Poems from Last Leaves by Hermann von Gilm), op. 10. He had come across the poems in an 1864 volume brought back from Innsbruck by his friend and composer Ludwig Thuille. Strauss composed the songs in 1885, dedicating them to Heinrich Vogl, principal tenor at the Munich Court Opera, who had expressed admiration for them to the young composer. “Allerseelen” (All Souls’ Day), which appears last in the Opus 10 collection, refers to November 2, the day when Western Christians commemorate those dear to them who have died. The poet of Strauss’s setting is longing for his departed love to return, tenderly wishing for things to be as they once were. The song shows the twenty-one-year-old’s lyrical and harmonic mastery, in this case unfolding in a through-composed form that becomes progressively more dramatic. Another of Strauss’s greatest songs, “Befreit” (Freed), third in the Opus 39 set of 1898, sets a text by controversial but now largely forgotten Expressionist poet Richard Dehmel, whose poems became popular for their rich symbolism of erotic love, beauty, art, and feeling. Though Dehmel professed that poetry should have many equally valid interpretations, he went so far as to publish a criticism of Strauss’s setting but without giving specifics about why he thought it “too soft-grained.” He did admit that even though he had envisioned a man’s parting with his dying wife, there are many kinds of farewells. The title “Befreit” represents the loving couple so freed from suffering that not even death is a threat. Strauss’s moving setting emphasizes the constancy of their love and acknowledges with his poignant setting of “O Glück!” at the end of each verse that happiness radiates even through sorrow. “Morgen!” (Tomorrow!), which concludes the Opus 27 group (see above), sets another romantic text by John Henry Mackay. Strauss fashioned a delicate, rapturous setting, begun by one of his most extended and engaging introductions. The song concludes in recitative style followed by a condensed reminder of the introduction. Strauss dashed off “Cäcilie” on September 9, 1894, the day before his wedding. In a nice parallel, he was setting a poem that had been written to honor the wife of the poet, Heinrich Hart. (The text is often misattributed to Heinrich’s brother Julius.) Strauss is said to have embellished the already full and virtuosic accompaniment when performing the song, so it comes as no surprise that he decided to orchestrate it in 1897. Strauss placed it second in the Opus 27 set (see above), but it makes a perfect concluding selection here as his most impassioned and ecstatic love song. —©Jane Vial Jaffe Return to Parlance Program Notes

PETER SERKIN, PIANO Recognized as an artist of passion and integrity, the distinguished American pianist Peter Serkin has successfully conveyed the essence of five centuries of repertoire. His inspired performances with symphony orchestras, in recital appearances, chamber music collaborations and on recordings have been lauded worldwide for decades. Peter Serkin’s rich musical heritage extends back several generations: his grandfather was violinist and composer Adolf Busch and his father pianist Rudolf Serkin. He has performed with the world’s major symphony orchestras, led by such eminent conductors as Seiji Ozawa, Pierre Boulez, Alexander Schneider, Daniel Barenboim, George Szell, Eugene Ormandy, Claudio Abbado, Simon Rattle, James Levine, Herbert Blomstedt, Rafael Frühbeck de Burgos and George Cleve. A dedicated chamber musician, Mr. Serkin has collaborated with Alexander Schneider, Pamela Frank, Yo-Yo Ma, the Budapest, Guarneri, Orion, Shanghai, and Dover String Quartets and TASHI, of which he was a founding member. An avid exponent of the music of many of the 20th and 21st century’s most important composers, Mr. Serkin has been instrumental in bringing to life the music of Schoenberg, Reger, Webern, Berg, Stravinsky, Wolpe, Messiaen, Takemitsu, Wuorinen, Goehr, and Knussen for audiences around the world. He has performed many important world premieres of works written specifically for him, in particular by Toru Takemitsu, Hans Werner Henze, Luciano Berio, Leon Kirchner, Alexander Goehr, Oliver Knussen and Charles Wuorinen. Mr. Serkin has recently made several arrangements of four-hand music by Mozart, Schumann and his grandfather, Adolf Busch, for various chamber ensembles and for full orchestra. He has also arranged all of Brahms’s organ Chorale-Preludes, transcribed for one piano, four-hands. Mr. Serkin’s 2017-2018 season began with concerts in Japan, and he continues with solo recitals in Ashland OR, Sonoma, Fresno, and Santa Barbara CA, Ridgewood, NJ, and St. Paul, MN, performing Mozart Sonatas paired with Bach’s Goldberg Variations. Orchestral engagements include the Bartók Concerto for Two Pianos, Percussion, and Orchestra with Anna Polansky, Orchestra Now, and Leon Botstein at Carnegie Hall. The pianist also performs with the Rogue Valley and Duluth-Superior Symphonies, and he joins the Dover Quartet for the Brahms Piano Quintet at South Mountain Concerts. Last season, Mr. Serkin performed solo recitals in New York City, Beacon, NY, and Mount Kisco, NY, and orchestral programs with the Sacramento Philharmonic and Berkshire and Longwood Symphonies. In April, he joined members of the New York Philharmonic in a performance of the Busch Piano Quintet at New York City’s Merkin Concert Hall at Kaufman Music Center. Following engagements with the Curtis Symphony Orchestra in Philadelphia, Mr. Serkin embarked on a European tour with the orchestra, performing Brahms Piano Concert No. 1 in London, Berlin, Vienna, Salzburg, Dresden, Bremen and Wroclaw. Recent summer seasons have featured engagements at the Ravinia, Tanglewood, La Jolla, Chautauqua, and Music Mountain Music Festivals, BBC Proms, Oxford Philharmonic and Bellingham Music Festivals performing concertos, chamber music, and duo piano programs. Mr. Serkin traveled to Havana, Cuba with the Bard Conservatory Orchestra in June 2016 and has been Artist-in-Residence at the Santa Fe Chamber Music Festival. Orchestral highlights of recent seasons have included the Boston, Chicago, American, Sydney and Saint Louis Symphonies, New York Philharmonic and Scottish Chamber Orchestra, while recital tours have taken Mr. Serkin to Hong Kong, Cologne, Philadelphia, Detroit, Pittsburgh, Santa Monica, Princeton and New York’s 92nd Street Y. Mr. Serkin currently teaches at Bard College Conservatory of Music.

AMY BURTON, SOPRANO With a voice the New York Times has called, “luminous” and “lustrous,” versatile soprano Amy Burton has sung with the Metropolitan Opera, New York City Opera, at the White House, and with major opera companies, orchestras, and at concert and cabaret venues throughout the US, Europe, UK, Japan, Mexico, and Israel. Known for her crystalline portrayals of Mozart heroines as well as French repertoire ranging from opera to chansons populaires, Ms. Burton performs throughout the USA and abroad in recital and cabaret concerts with her husband, composer-pianist John Musto . The couple have toured the US and Mexico with "Late Night with Leonard Bernstein" narrated by the composer's daughter Jamie, with acclaimed pianist Michael Boriskin. Ms. Burton has premiered and recorded several of Musto’s song cycles and has been a champion of contemporary composers such as Paul Moravec, John Corigliano, William Bolcom, Richard Danielpour, John Harbison, and others. Notable concert appearances include her New York recital debut at 92Y, Great Performances at Lincoln Center, Mostly Mozart Festival, Chamber Music Society of Lincoln Center, Carnegie Hall, PS21, The Kennedy Center, Atelier Lardeur in Paris, the Liceu Forum in Barcelona, the Neue Galerie’s Café Sabarsky, and the modern-day premiere of Cole Porter's 1929 show, La Revue des Ambassadeurs at Town Hall with Vince Giordano and the Night Hawks and in Paris with L’orchestre de Pasdeloup.

September 26, 2021: Paul Neubauer, viola; Arnaud Sussmann, viola; Nicholas Canellakis, cello; Sihao He, cello; Joel Noyes, cello; David J. Grossman, bass; Paolo Bordignon, harpsichord JOHANN SEBASTIAN BACH (1685-1750) Brandenburg Concerto No. 6 in B-flat major, BWV 1051 September 26, 2021: Paul Neubauer, viola; Arnaud Sussmann, viola; Nicholas Canellakis, cello; Sihao He, cello; Joel Noyes, cello; David J. Grossman, bass; Paolo Bordignon, harpsichord In March 1719, when Bach was in Berlin to collect the new harpsichord made for Cöthen by court instrument maker Michael Mietke, he had occasion to play for Margrave Christian Ludwig of Brandenburg. The meeting spurred an invitation from the Margrave for Bach to send him some compositions. The works that he sent probably originated in Weimar even before Bach’s move to Cöthen in 1717, but it took yet another two years for him to complete, compile, and submit his “Six concerts avec plusieurs instruments” (Six concertos with several instruments). He dedicated the 1721 manuscript to the Margrave, saying: As I had a couple of years ago the pleasure of appearing before Your Royal Highness . . . and as I noticed then that Your Highness took some pleasure in the small talents that Heaven has given me for Music, and as in taking leave of Your Royal Highness, Your Highness deigned to honor me with the command to send Your Highness some pieces of my composition: I have then in accordance with Your Highness’s most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments. No record exists of the Margrave of Brandenburg ever using the scores, ever sending Bach a fee, or ever thanking him. Legend has it that a lack of acknowledgment may have stemmed from the Margrave’s instrumental resources not matching those of Cöthen or Weimar, thus rendering the pieces unperformable at his establishment. It is certainly true that Bach used unprecedented and different scoring in each of the individual works, treating the collection like an “Art of the Concerto Grosso” and thus was not aiming to match any specific establishment’s resources. The manuscript eventually became the property of the state library in Berlin, remaining unpublished until the Bach revival in the nineteenth century. In 1880 Philipp Spitta, Bach’s famous biographer, coined the term “Brandenburg Concertos,” which has been used ever since for the beloved works. Bach empoyed the simple yet flexible plan for the eighteenth-century concerto grosso developed by Torelli and Corelli, standardized by Vivaldi—a small solo group (the concertino) alternating with the full ensemble (ripieno or tutti), typically in three movements: fast, slow, fast. The Brandenburg Concertos offer a wide spectrum of innovative instrumental schemes and combinations and a great variety in treatment of form. Nos. 1, 3, and 6 use instrumental forces that are fairly balance in number, with No. 1 containing some violino piccolo solos and No. 6 featuring two violas. Nos. 2, 4 and 5 contrast a small concertino with a large ripieno throughout, with different instruments featured in each case. In the Sixth Concerto Bach uses only strings and continuo, as in the Third. In this case, however, he creates a new atmosphere of somewhat darker colors by dispensing with violins. (Could Brahms have been following his lead in his A major Serenade?) The concertino is made up of two violas (originally viole da braccio), two violas da gamba (now usually played on cello), and cello. The solo violas provide an especially mellow sound that contributes to this Concerto’s unique sonority. Perhaps the most striking feature of the work, other than scoring, is the incredible contrapuntal writing in the first movement. The violas enter in canon separated by a time interval of only two sixteenth notes. The second movement is a poignant Adagio ma non troppo, followed by the energetic final movement in da capo form (A-B-A), made lively by syncopations and a bubbly mood of optimism. © Jane Vial Jaffe Return to Parlance Program Notes

KEVIN ZHU, VIOLIN Nineteen-year-old Kevin Zhu has amassed an outstanding record of concert performances and competition wins since he began playing violin at age three. Praised for his “awesome technical command and maturity” (The Strad) and “absolute virtuosity, almost blinding in its incredible purity” (L’ape musicale), Kevin regularly performs on the world’s largest stages, ranging from Carnegie Hall in New York to London’s Royal Festival Hall to the Forbidden City Concert Hall in Beijing. Initially coming to international attention after winning the 2018 Paganini Competition and 2012 Yehudi Menuhin Competition, he has established himself as a leading figure among the next generation of musicians, astonishing audiences with his peerless technical mastery and inimitable artistic voice. In the 2020-21 season, Kevin will make debuts with the Moscow State Symphony Orchestra, Polish Baltic Philharmonic, and Colorado Springs Philharmonic, and returns to the Teatro Carlo Felice in Genoa performing Elgar’s Violin Concerto. He also performs solo recitals in Dresden, New York City, and Washington, D.C., embarking on a project to perform Paganini’s complete 24 Caprices in one concert, one of few violinists to ever do so. Recent orchestral highlights include concerto appearances with the Pittsburgh Symphony Orchestra, Moscow Virtuosi, and China Philharmonic Orchestra. A highly sought-after recitalist, he has toured across the United States and Europe with repertoire ranging from Beethoven to contemporary commissions. Kevin is also a passionate chamber musician, collaborating with artists such as Itzhak Perlman, Lawrence Power, and Jan Vogler. In addition to his efforts on stage, Kevin serves as a Culture Ambassador of the Lin Yao Ji Music Foundation of China. He has repeatedly been featured on BBC Radio 3, NPR’s From the Top, and RAI Radio 3. Kevin is a proud recipient of a Kovner Fellowship at The Juilliard School, where he studies with Itzhak Perlman and Li Lin. Kevin performs on the c1722 “Lord Wandsworth” Antonio Stradivari violin, which is on loan from the Ryuji Ueno Foundation and Rare Violins In Consortium, Artists and Benefactors Collaborative.

April 24, 2022 – Marc-André Hamlein, piano LUDWIG VAN BEETHOVEN (1770–1827) Piano Sonata No. 29 in B-flat major, Op. 106 “Hammerklavier“ April 24, 2022 – Marc-André Hamlein, piano In the spirit of nationalism that erupted following the Napoleonic wars in Germany, Beethoven wrote to his publisher on January 23, 1817: “Henceforth all our works that have German titles are to have the name “Hammerklavier” instead of “pianoforte.” The composer also suggested the subtitle for his Opus 101 and 109 Sonatas, but in a curious twist of history only the famous Opus 106 Sonata became known by the designation—and that as a nickname rather than an indication of genre. During the Sonata’s composition in 1817–18 Beethoven was plagued by custody and care issues relating to his nephew Karl and by his own continued ill health. Nevertheless, he had entered his late composing phase, concentrating on one particular work at a time as if to wring the utmost from a genre in expression, intellectual exploration, and aesthetic depth. The Hammerklavier, Missa solemnis, Diabelli Variations, and Ninth Symphony all fit this mold. The Hammerklavier, with its powerful investigation of sonata form and fugue, represents a curious oasis between the daring formal experiments of the piano and cello sonatas immediately preceding and the Piano Sonatas, op. 109–111, that would soon follow. For the first time since his Sonata, op. 31, no. 3, Beethoven writes in the four-movement Classical mold, and yet he expands and explores the traditional forms to a radical extent. The first movement contains one of his longest development sections—replete with a fugal expanse—and his relatively short Scherzo nevertheless sports two trios. Following his slow movement, which is his longest, his fugal finale is positively massive—a precursor to his celebrated Grosse Fuge, originally the finale of his Opus 130 Quartet in the same key of B-flat. Many commentators, led by the distinguished Charles Rosen, have commented on the structural and thematic importance of descending thirds and on the clash of B-flat and B-natural in various harmonic contexts. These unifying threads permeate the composition in a much more profound way than a simple cyclic quotation of one movement in another. The striking chordal opening with its initial leap and distinctive rhythm shows the importance of the interval of the third, but the exuberant gesture also refers to Archduke Rudolph, the work’s dedicatee. The same idea appears in a sketch with the words “vivat, vivat Rudolphus.” A further “Archduke” connection involves the present first movement and that of the Archduke Trio. During the course of their similar harmonic schemes, both descend to the exotic G major for the second subject and employ chains of descending thirds in the development. The relatively brief scherzo adopts the first movement’s rising and falling thirds and warring B-flats and B-naturals but with a comic flair. Beethoven’s ending is a masterpiece of self-mockery—a jab at the weighty conflict between these two adversaries in his first movement. Beethoven added the two-note rising third that opens his slow movement at the proofing stage. This may lessen the shock of the movement’s distant tonality (F-sharp minor), but only by creating a bit of ambiguity before the first full chord. We listen raptly to the contemplative mood, the delicate ornamentation preceding the second theme, the variation of the first theme in the recapitulation, the ensuing unexpected harmonic journey, and the exquisitely simple version of the theme in the coda, but words fail to convey the profound effect of this movement. In the same way that Beethoven audibly searches for how to express the Ode to Joy in the last movement of his Ninth Symphony, here in his Hammerklavier finale he “finds his way” toward the monumental fugue by “trying out” several styles. A decisive leap recalls the opening of the first movement and launches the main fugue subject. He then displays his subject in all its academic permutations—augmentation, retrograde with a new countersubject, inversion—and with the original subject heard simultaneously with its inversion. But instead of pedantic logic he achieves drama and poetry through varied textures, harmonies, and pianistic colors, and mind-boggling manipulation of tension and release. He creates something entirely new out of the genre, remarkably superimposing elements of variation and rondo form on his fugue. The Hammerklavier Sonata has always stood out for its monumental proportions and its demands on the performer and listener alike. Beethoven was fully aware of its challenges when he told his publisher in 1819: “Now there you have a sonata that will keep the pianists busy when it is played fifty years hence.” © Jane Vial Jaffe Return to Parlance Program Notes

JONATHAN SWENSEN, CELLO Rising star of the cello Jonathan Swensen is the recipient of the 2022 Avery Fisher Career Grant and was recently awarded joint First Prize at the 2024 Naumburg International Cello Competition. Previously he has been featured as both Musical America’s ‘New Artist of the Month’ and ‘One to Watch’ in Gramophone Magazine. Jonathan first fell in love with the cello upon hearing the Elgar Concerto at the age of six, and ultimately made his concerto debut performing that very piece with Portugal’s Orquestra Sinfónica do Porto Casa da Música. The release of Jonathan’s debut recording ‘Fantasia’, on Champs Hill Records, an album of works for solo cello, including Bent Sørensen’s ‘Farewell Fantasia’, composed for and dedicated to Jonathan and which he premiered in 2021. The album received rave reviews on its release, including from Gramophone, BBC Music, The Strad and Musical America which printed “Swensen proves to be not just a bold programmer, but a mature artist with a bold rounded sound and the emotional chops to back it up.” Solo appearances with orchestras have included the Aalborg Symphony Orchestra under Douglas Boyd, the New England Conservatory Philharmonia and Hugh Wolff, London’s Philharmonia Orchestra, Orquesta Ciudad de Granada, Copenhagen Philharmonic, Aarhus Symphony Orchestra, Odense Symphony Orchestra, Iceland Symphony Orchestra, Armenian State Symphony Orchestra, the NFM Leopoldinum in a play-direct program, Mobile Symphony, and the Greenville Symphony. During the 2024-25 season Jonathan will make his debut with the Orchestre National Bordeaux Aquitaine, returns to the Aarhus Symphony Orchestra. He has made critically acclaimed recital debuts at the Kennedy Center’s Terrace Theater and New York’s Merkin Concert Hall, with additional performances in Boston’s Jordan Hall, the Morgan Library and Museum, the Casals Festival, and the Krannert Center. In addition to his many solo appearances, Jonathan is a frequent performer of chamber music in the U.S. and Europe, appearing at the Tivoli Festival, Copenhagen Summer Festival, Chamberfest Cleveland, Krzyżowa-Music, Vancouver Recital Society, San Francisco Performances, La Jolla Music Society’s Summerfest, and Newport Classical. In 2024, Jonathan joined the Bowers Program of the Chamber Music Society of Lincoln Center where he performs at Alice Tully Hall, Lincoln Center’s Rose Studio, and on tour throughout the United States. He captured First Prizes at the 2019 Windsor International String Competition, 2018 Khachaturian International Cello Competition, and the 2018 Young Concert Artists International Auditions. A graduate of the Royal Danish Academy of Music, Jonathan continued his studies with Torleif Thedéen at the Norwegian Academy of Music in Oslo, and Laurence Lesser at the New England Conservatory, where he received his Artist Diploma in May 2023. Jonathan is an Artist in Residence at the Queen Elisabeth Music Chapel in Belgium working with Gary Hoffman.

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