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Elizabeth Roe, piano The Anderson & Roe mission: To make classical music a relevant and powerful force in society. Known for their adrenalized performances, original compositions, and notorious music videos, GREG ANDERSON and ELIZABETH JOY ROE are revolutionizing the piano duo experience for the 21st century. Described as “the most dynamic duo of this generation” (San Francisco Classical Voice ), “rock stars of the classical music world” (Miami Herald ), and “the very model of complete 21st-century musicians” (The Washington Post ), the Anderson & Roe Piano Duo aims to make classical music a relevant and powerful force around the world. Their five critically acclaimed albums have spent dozens of weeks at the top of the Billboard Classical Charts, while their Emmy-nominated, self-produced music videos have been viewed by millions on YouTube and at international film festivals. 2022 marks the 20th anniversary of Anderson & Roe’s debut. Since forming their dynamic musical partnership as students at The Juilliard School, Anderson & Roe have toured extensively worldwide as recitalists and orchestral soloists; appeared on NPR, MTV, PBS, and the BBC; presented at numerous international leader symposiums; and served as hosts of “From the Top” and the Van Cliburn International Piano Competition. A live performance by Anderson & Roe was handpicked to appear on the Sounds of Juilliard CD celebrating the school’s centenary. While isolating during the COVID-19 pandemic, Anderson & Roe performed several innovative and interactive virtual events, produced over a dozen new music videos, appeared in MasterVoices’ Myths and Hymns (2021 Drama League Nominee for Best Digital Concert Production) alongside luminaries of opera and musical theater, and hosted a year of Two Piano Tuesday livestream conversations on Facebook Live which drew an enthusiastic and devoted global audience each week.

DAVID KRAUSS, TRUMPET David Krauss joined The Metropolitan Opera Orchestra as Principal Trumpet in 2001and occupies theBeth W. and Gary A. Glynn endowed chair. He has has performedwith James Levine in the MET chamber series at Carnegie Hall and has appeared as guest principal trumpet with the Boston Symphony Orchestra and New York Philharmonic. A native of Long Island, New York, he earned both Bachelor andMaster of Music degrees from The Juilliard School and studied Wynton Marsalis,William Vacchiano, Chris Gekker and James Pandolfi. Prior to joining the Met, heperformed with a variety of ensembles in and around New York City including Orchestraof St. Luke’s, The New Jersey Symphony, and on several Broadway shows. He coproduced three recordings, including the Metropolitan Opera Brass’s self titled debut album and the subsequent “Waltzes, Songs & Festive Scenes” and “Sacrae Symphoniae”, as part of which he was praised by the American Record Guide for his “singing tone which is luxurious and inviting.” He is currently trumpet professor at the Mason Gross School of Arts, Rutgers University and teaches trumpet in the pre college division of The Juilliard School. In the summertime, he is the head brass coach and trumpet teacher at the Boston University Tanglewood Institute. David lives in Manhattan with his wife Kristen and their four children Noah, Eli, Margot, and Ava.

March, 10 2024: Richard Goode, piano LUDWIG VAN BEETHOVEN (1770–1827) Sonata No. 30 in E, Op. 109 March, 10 2024: Richard Goode, piano In 1826, the last year of his life, Beethoven told his friend Karl Holz that he would write no more piano pieces. He made the statement during a discussion of his last three piano sonatas—opp. 109, 110, and 111—which he considered the best piano sonatas he had written. “It [the piano] is and remains,” he said, “an inadequate instrument. In the future I shall write, in the manner of my grandmaster Handel, one oratorio and one concerto for any string or wind instrument per year, provided that I have finished my Tenth Symphony (C minor) and my Requiem.” Commentators still argue over whether Beethoven felt limited by the physical qualities of the piano of his day or whether he needed more moving parts/voices than pieces for piano alone could accommodate, but these last three sonatas certainly show no waning of interest in the creative possibilities of form within the sonata genre. Written between 1820 and 1822 while Beethoven was working on the Missa solemnis and Ninth Symphony, these late sonatas return to exploring the fluid forms and balances among movements that had characterized his piano sonatas of 1814–16—opp. 90, 102 (Nos. 1 and 2), and 101. In the interim years, the Hammerklavier Sonata, op. 106, a revolutionary work in many other ways, had reverted to a traditional four-movement pattern. Beethoven completed the present E major Sonata mainly in the summer of 1820. He dedicated the work to Maximiliane Brentano, the daughter of Antoinie (whom many believe to be the intended recipient of the famous “Immortal Beloved” letter) and Franz Brentano, Beethoven’s frequent benefactor and financial provider for the publication of the Missa solemnis . There is no evidence that Maximilane ever played the Sonata or was even capable of handling its challenges, but along with the dedication copy Beethoven included a sweet personal letter full of appreciation for her and her parents, saying, “While I am thinking of the excellent qualities of your parents, there are no doubts in my mind that you have been striving to emulate these noble people and are progressing daily—my memories of a noble family can never fade, may your memories of me be frequent and good.” Given the astounding form of the E major Sonata—two unusual and brief sonata-form movements capped by an expansive slow variation movement—several salient details bear noting. The sonata-form of the first movement is unprecedented in both the surprising brevity of its carefree main theme and the shocking interruption by the dramatic, slow recitative-like second theme. Further, Beethoven’s lively development section never varies the arpeggiated, alternating hands texture from the short opening theme; instead the process of development comes from harmonic manipulations. The fierce Prestissimo erupts from the subdued close of the previous movement. Even faster than Presto, the movement serves the purpose of a scherzo but with the more serious framework of a concentrated sonata form. The regular four- and eight-bar phrase lengths contrast with the previous movement’s metric ambiguities. Beethoven not only shows his academic prowess by invoking double counterpoint but uses it for the novel purpose of showing off the piano’s registral range. The hauntingly beautiful variation set that concludes the E major Sonata aptly shows Beethoven concentrating the weight of these late sonatas toward the end. Following the theme, marked “Gesangvoll, mit innigster Empfindung” (Songful, with innermost feeling), the first two variations add harmonic interest, whereas the third, fourth, and fifth variations feature various contrapuntal techniques. The fourth variation, in particular, presents an exquisite study in the timing of certain sounds decaying while others are held. The sixth variation returns, seemingly to the simplicity of the theme, but the added insistent repeated notes suggest a grander purpose here as Beethoven intricately builds up his layers of ornamental sonorities. —©Jane Vial Jaffe Return to Parlance Program Notes

ANTIOCH CHAMBER ENSEMBLE, CHOIR Widely regarded as one of the finest professional choral ensembles in the United States, The Antioch Chamber Ensemble is currently celebrating its 23rd season of exceptional music-making. Under the leadership of founding Artistic Director Joshua Copeland, and executive director Stephen Sands, the ensemble strives to present as diverse a program as possible of the world’s greatest choral literature, both sacred and secular, and has performed works ranging from Renaissance polyphony to contemporary masterpieces with a core group of ten to twelve of the New York metropolitan area’s finest singers. Antioch has been awarded first-place honors in the highly prestigious Tolosa International Choral Competition in Spain, establishing them among the top rank of professional choirs in the world. In recent seasons, Antioch has been called “stellar,” “flawless,” “an exceptional group,” and “a spectacular example of what a classical choir should sound like” by the national press. Of the ensemble’s début for the Chamber Music Society of Lincoln Center, The New York Times wrote: “The Antioch Chamber Ensemble performed … with clarity of tone and intonation so pure that you could hear the buzz of overtones created by some of the close harmonies. The most daring of these often color the sighs and wordless exclamations that punctuate both spiritual and secular texts, and the Antioch singers gave each its expressive register: impassioned, weak-kneed, swooning.” Other past performance highlights include concerts for the Metropolitan Museum of Art, the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC), the Piccolo Spoleto Festival, the American Choral Directors Association Eastern National Conference and the Festival des Choeurs Lauréats in France.

transcr. Sharon Isbin November 2, 2014 – Isabel Leonard, mezzo-soprano, Sharon Isbin, guitar FEDERICO GARCÍA LORCA (1898–1936) Canciones españolas antiguas transcr. Sharon Isbin November 2, 2014 – Isabel Leonard, mezzo-soprano, Sharon Isbin, guitar García Lorca may be best known for his literary achievements, yet few great poets and playwrights have been involved in music to the extent that he was. Reported to have hummed tunes before he could talk, he received early musical training; by the age of eleven he was studying piano in Granada with Antonio Segura and Francisco Benítez. Pedro Revuelta, in his article “Lorca and Music” somehow assigned the precise figure of 87% to his life activities revolving around music. Lorca’s poems frequently bear musical titles—Songs, Gypsy Ballads, Suites; and many of his essays are devoted to musical topics—Ancient Spanish Lullabies, How a City Sings and Sleeps , and El cante jondo (often translated as “deep song,” referring to the whole body of flamenco or Gypsy music). Lorca’s inspiration came not only from his native Spanish music, but from composers of Western art music—he apparently listened obsessively to Bach’s Cantata 104: Wachet auf, ruft uns die Stimme while writing the second act of his famous tragedy Blood Wedding (1933). Lorca loved the music of Debussy, particularly his Spanish-inspired works—he is said to have given exquisite performances on the piano of La soirée dans Grenade from Estampes and La puerta del vino from the second book of Préludes. Lorca formed one of the greatest friendships of his life with composer Manuel de Falla, to whom he was introduced as a prodigy poet when Falla visited Granada in 1919. Falla settled there permanently the following year and the two collaborated on many projects, including the celebrated cante jondo festival in 1922 for which Lorca wrote his lecture/essay El cante jondo . This discussion of the history and techniques of flamenco singing is notable for its consideration of the guitarist as the equal of the singer, since the latter had always been considered the main attraction. In his lecture/essay Ancient Spanish Lullabies , first given at Vassar College in 1930, Lorca dealt with a subject that had been part of him since birth. He particularly stressed that Spanish lullabies, unlike other European lullabies, are not sweet, soft, and monotonous, but they “awaken” the child to the dangers outside the mother’s protective arms; aware of the dangers, the child will realize the security of those arms and fall asleep. Eventually, however, the child must realize that he or she is alone. Lorca collected and arranged many Spanish folk songs, particularly from his native Andalusian region in the south—perhaps tinkering with their words himself. His moving performances of them, sometimes singing and accompanying himself on piano or guitar, became well known to millions of Spaniards before he was shot in the early days of the Spanish Civil War, apparently by supporters of Franco. His refusal to write down his arrangements is in keeping with the history of the oral tradition that so fascinated him. He also disliked the inability of the musical notation to reflect the characteristic microtonal and rhythmic complexities of this music. Fortunately in 1931 he made five records of his arrangements, sung by La Argentinita and accompanied by himself on the piano; these have been transcribed and performed countless times since. This evening’s selections of Canciones españolas antiguas , all arranged by Sharon Isbin, are interspersed throughout the program, beginning with “El café de Chinitas,” a song taught to Lorca by his great uncle, who earned his living playing in this flamenco nightclub in Málaga. The song’s protagonist brags that he is a better bullfighter and Gypsy than his brother and will kill the bull before four-thirty. The open-ended harmony (dominant) that ends all the song’s phrases and verses seems fitting in that we never find out what happens in the bullfight, but it is actually a typical practice in Spanish folk song, as in “Romance de Don Boyso.” Here, with distinctive melodic leaps of a fourth, we hear the story of a Spanish nobleman who finds a Christian girl held captive by the Moors, who turns out to be Rosalinda, his long-lost sister. “Nana de Sevilla” falls into the category of unsettling lullabies that Lorca mentioned in his famous lecture, since it tells of a baby, abandoned by its Gypsy mother, whose father may or may not build it a cradle. Lorca often performed his best-remembered song “Anda, jaleo” (Come, clap hands—or “have a good time,” or “make a commotion”) in his lectures and in his play La zapatera prodigiosa . La Argentinita made “Ande, jaleo” a dramatic popular dance when she toured in the 1930s and ’40s—she once called it a “romance of the smugglers of the nineteenth century” and a dance about “the cavaliers of the Sierra in their, fights, loves, and adieus.” Fit with explosive lyrics, it became a powerful resistance song during the Spanish Civil War, then resurfaced after Franco’s time as a flamenco number. With its repeating bass line and jaunty rhythms—together with Lorca’s occasionally piquant harmonic inflections—the folk version tells of a hunter tracking down his beloved who’s been taken away, and of the conflict between shooting to kill a dove (symbolic of her if she’s been unfaithful) and the pain it will cause him. Following pieces by Tárrega and Albéniz (see below), the evening’s second Lorca set begins with the Salamancan folk song “Los mozos de Monleón” (The Boys of Monleón). The music’s outward simplicity—with some sung and some recited text—belies the dramatic ending to its tale of boys going to a bullfight. For “Zorongo” Lorca took sensual Andalusian dance music—said to date back to the Moors—and fitted it with his own verses for La Argentinita to sing; he also imbued his guitar introduction with a plethora of parallel chords. The music’s quickly repeating patterns mingled with slowing phrases have made it a popular addition to flamenco tradition. The fifteenth-century “La morillas de Jaén” (The Three Moorish Girls of Jaén) unfolds with a simple chordal accompaniment and characteristic melodic ornaments. Its patterned introduction and interludes in 3/8 meter contrast with the tune itself, which mixes 6/8, 4/4, and 2/4 to reflect the declamatory style of the text. The vivacious “Sevillanas del Siglo XVIII” (Sevillanas of the Eighteenth Century) takes its name from the fast, triple meter, major-mode couples dance from Seville, which originated as an Andalusian variant of the Castilian seguidilla. The dance is typically performed to a traditional type of verses of four or seven lines with footwork reflecting the animated rhythms of the guitar, castanet, or tambourine. Triana and La Macarena in the poem refer to neighborhoods in Seville, Triana being associated in particular with flamenco. In the concert’s second half, the jaunty style of Lorca’s “La Tarrera” provides a marked contrast to the pensive style of the opening “Aranjuez, ma pensée” by Rodrigo. One might be tempted to ascribe it to the difference between the southern Andalusian style and that of the area in central Spain where Aranjuez lies (to which Rodrigo pays tribute), except that “La Tarara” has often been traced back to Castilian roots. It is such an old children’s song (there’s a Spanish saying that something is “as old as Tarara”) that it has many regional variants, and Lorca may have picked up one in Analusia. The protagonist, “La Tarara,” is a free-spirited, dancing, flirting girl (some say alma gitano or Gypsy soul) who likes to wear all manner of crazy clothing—some versions have her wearing pants completely covered in buttons or a white dress on Maundy Thursday in addition to the verses with frills and bells. More recently she has been seen as a cross-dresser. In any case, this remains one of Lorca’s most lively and popular songs, here arranged by Emilio de Torre and transcribed by Sharon Isbin. © Jane Vial Jaffe Return to Parlance Program Notes

October 14, 2018: Garrick Ohlsson, piano JOHANNES BRAHMS (1833-1897) Variations on an Original Theme, op. 21, no. 1 and Variations on a Hungarian Song, op. 21, no. 2 October 14, 2018: Garrick Ohlsson, piano Brahms wrote to his friend Elisabet von Herzogenberg, “I have a singular affection for the variation form, and I believe that this form still compels our talent and ability.” His fondness stemmed in large part from his training in piano and composition with Eduard Marxsen, who stressed above all the importance of being able to vary a theme and whose own output contains a plethora of pieces in variation form. Brahms’s entire body of work is permeated with variation techniques, but the variation form itself also looms large—eight individual sets of variations and ten movements within larger works. These span four decades, from his Variations on a Theme by R. Schumann Variations of 1854 (or his Variations on a Hungarian Song if he indeed began them in 1853) to the variation movement in his E-flat Clarinet Sonata of 1894. Alongside the musical evidence, Brahms’s verbal statements make it clear that he preferred “strict” variation form over “fantasy” variations that strayed too far from the structure of the theme. Further, he said, within each discrete variation the resemblance to the theme, even if subtle, should be recognizable and not “found only with the eyes.” Nevertheless, he clearly allowed for great leeway within each distinct variation and showed remarkable ingenuity in his overall organization within a set. Brahms composed the two sets of Opus 21 variations in different waves of inspiration—the Variations on an Original Theme by February of 1857, preceded by the Variations on a Hungarian Song by 1856. On the surface they share little beside their form and D major key, yet in both instances Brahms groups together the minor-mode variations as a unit, connects many of the major-mode variations through melodic figuration, and concludes with a grand finale that returns to elements of the first variation. The differences in the two sets have much to do with his choice of themes—in the first case an expressive original theme written with an eye toward its potential for myriad sophisticated variations, and in the second an existing Hungarian song, which lent itself to a more melody-oriented and often extroverted treatment. Both themes, in different ways, show his penchant for metric play. The lovely theme of the Variations on an Original Theme unfolds in two nine-bar halves—each with a regular four-bar phrase plus an irregular five-bar phrase, a configuration he maintains almost throughout. The first two variations grow out of a gentle left-hand figuration that draws on the harmonic framework even as it contains references to the melodic outline. Brahms includes a nice hemiola (shift between groups of three pulses and two) toward the end of the first variation, and in the second he subtly introduces new harmonies. The third and fourth bring back the theme’s feature of a repeating bass note (pedal tone) with quiet, fluid chordal patterns above—tied over bar lines in the third and in a spate of little two-chord units in the fourth. Variation 5 introduces a delicate canon in contrary motion and Variation 6 scampers off like quicksilver but in gentle arching phrases. Variation 7 is remarkable for its spare, leaping textures. Brahms forcefully unleashes the minor mode in Variation 8 in a texture that quickly alternates right and left hands—something he would return to many times in his career. Variation 9 brings the set’s tempestuous climax, abetted by ominous left-hand rumbles that derive from the original pedal tones. Variation 10 remains agitated even as it recedes from the previous peak. The major mode returns with Variation 11, which is striking for its insistence on the pedal tone in the form of long trills. Brahms varies the repeats in this variation and adds an expansive coda that recalls earlier variations before subsiding peacefully. Brahms first jotted down the theme of the Variations on a Hungarian Song in January 1853 while concertizing with Hungarian violinist Ede Rémenyi, who provided him with a rich store of his country’s tunes. That April Brahms sent a set of three piano settings of Hungarian tunes to another Hungarian violinist, Joseph Joachim, who was to have a longer and much closer association with Brahms. The second of these settings became the theme for the present set of variations, which Brahms sent to Joachim in July of 1865, following up with a revised version in 1857. What especially attracted Brahms was the theme’s alternating measures of 3/4 and 4/4, a kind of metric play that fascinated him as much as it did Marxsen, whose formal tutelage he had just left to tour with Reményi. Brahms maintains the metric alternation through his first eight variations, returning to it at the conclusion of the extended finale. Following his presentation of the brief eight-measure theme in strong chords, Brahms immediately shifts to the minor mode for Variations 1 through 6. Their brevity allows only a glimpse at some fascinating characters—grandiose, lightly chordal, fleeting, imposing, ruminating (with some cimbalon-like accompaniment), and scampering. The switch to major at Variation 7 brings a supremely delicate variation over “quasi pizzicato” left hand. Throughout Brahms retains a melodic connection to the theme, sometimes altered subtly and sometimes migrating into another voice (Variations 2, 7, and 8 in part). The smoothing out of the meter begins in Variation 8, which is fascinating for its texture of little grace notes in the upper left-hand. Variations 9 through 12 retain the expressive vein with increasingly elaborate figuration building to the capping Variation 13 with its kaleidoscopic further variations, excursions to B-flat major and minor, and triumphant recall of the theme. We would be remiss not to mention that Brahms waited until 1861 to send both sets of variations to his publisher Simrock, who issued them in two volumes under the same opus number in March of the following year. The first public performance of the Variations on an Original Theme did not occur until October 31, 1865, when Clara Schumann presented them in Frankfurt am Main. The English pianist Florence May, Brahms’s student and biographer, gave the first public performance of the Variation on a Hungarian Song in London on March 25, 1874. © 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

SUNDAY, MAY 15, 2016 AT 3 PM Stephanie Blythe, mezzo-soprano; Craig Terry, piano BUY TICKETS STEPHANIE BLYTHE, MEZZO-SOPRANO “Carnegie Hall is no place for cabaret songs, an art form that thrived in Parisian cafes and Berlin nightclubs. Yet, on Friday the mezzo-soprano Stephanie Blythe, who can do anything, turned Carnegie’s 2,800-seat Stern Auditorium into her personal cabaret haunt.” – New York Times , May 17, 2015 CRAIG TERRY, PIANIST Lauded for his “sensitive and stylish” (The New York Times ) and “superb” (Opera News ) playing, pianist Craig Terry is Music Director of the Ryan Opera Center at Lyric Opera of Chicago. FEATURING ABOUT THE PERFORMANCE BUY TICKETS Join legendary mezzo-soprano Stephanie Blythe and pianist Craig Terry as they take the audience on a musical journey through the American Songbook, sharing gems from some of the greatest composers and lyricists of their age, including Irving Berlin, Saul Chaplin and Sammy Cahn, Harry Warren and Mack Gordon, Jerome Kern and B.G. DeSylva, Harold Arlen, George Gershwin and Johnny Mercer. From tender loves songs to passionate torch songs to melodies that remind us to always “to look for the silver lining,” they defined their generation and helped see our country through the Great Depression and two World Wars. This will be a memorable afternoon of music making and a celebratory conclusion to Parlance Chamber Concert’s 9th season! PROGRAM AS LONG AS THERE ARE SONGS Stephanie Blythe will announce the program selections from the stage. Program Notes See Stephanie Blythe and Craig Terry perform “We’ll Meet Again” on PBS

2019-2020 SEASON Welcome to the 2019 — 2020 season of Parlance Chamber Concerts! On October 27 , our inaugural concert will showcase the dynamic Quartetto di Cremona , one of the most exciting chamber ensembles on the international stage. Recipients of the 2019 Franco Buitoni Award in recognition of their exceptional contribution to promoting Italian chamber music throughout the world, the ensemble’s program will feature string quartets by Verdi, Puccini, Boccherini, and Respighi . Our December 15 event will spotlight music from three of Igor Stravinsky ’s iconic theater works. Pianist Andrew Tyson will perform the dazzling Piano Suite from the 1911 ballet Petrushka . Tyson will then join violinist Benjamin Beilman for Stravinsky’s charming and witty Suite Italienne from the neoclassic 1919 ballet Pulcinella . The afternoon will culminate in a fully narrated, choreographed performance of Stravinsky’s seminal 1918 chamber theater work, The Soldier’s Tale . Seven superb musicians will join renowned actor-narrator Benjamin Luxon in the Faustian tale of a young soldier who makes a deal with the Devil. On January 19 , the celebrated English pianist Paul Lewis will perform music by Beethoven and Schubert . Internationally regarded as one of the most poetic artists of his generation, Lewis’s recital will feature three works by Beethoven, including the “Moonlight” Sonata in C# minor , and Schubert’s sublime Sonata in G Major , which Robert Schumann called “Schubert’s most perfect sonata in form and conception.” On February 16 , the luminous Metropolitan Opera soprano Ying Fang will collaborate with pianist Ken Noda . One of the Met’s fastest-rising young singers, Ying Fang has been called “a star in the making” by the New York Times. Her recital will include a selection of best-loved opera arias and songs by Händel, Mozart, Schubert, Bizet, and Rachmaninoff . On March 22 , America’s foremost organ virtuoso, Paul Jacobs , will celebrate Bach’s 335th birthday with a recital of towering masterpieces for The King of Instruments. The Grammy Award-winning organist will perform Bachian favorites including Sheep Safely Graze , the sparkling Trio Sonata in E minor , and the powerful C-minor Passacaglia and Fugue . On May 3 , two of today’s most scintillating young violinists, Paul Huang and Danbi Um , will join forces with the superb Finnish pianist Juho Pohjonen in an electrifying program of rarely performed masterpieces. The concert will include exhilarating works by Beethoven, Erich Wolfgang Korngold, Pablo Sarasate , and a specially commissioned trio by the award-winning young American composer Chris Rogerson . On June 6 and June 7 , the season will culminate with the triumphant return of the Pinchas Zukerman Trio . The star-studded ensemble will celebrate the 250th anniversary of Beethoven’s birth with a special weekend residency that will include a Saturday afternoon masterclass and two all-Beethoven concerts on Saturday evening and Sunday afternoon . Highlights will include performances of the “Spring” violin sonata, A-major cello sonata , and the “Ghost” and “Archduke” piano trios . Michael Parloff Programs and artists are subject to change 2019-2020 SEASON October 27, 2019 Il Quartetto Di Cremona An Italian Journey December 15, 2019 Stravinsky! Ballet & Theater Music January 19, 2020 Paul Lewis, piano Beethoven and Schubert February 16, 2020 Ying Fang, soprano Ken Noda, piano March 22, 2020 Paul Jacobs, organ Bach’s Birthday Concert May 3, 2020 Paul Huang & Danbi Um, violins Juho Pohjonen, piano June 6 & 7 2020 Pinchas Zukerman Trio All-Beethoven Weekend Residency 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

LAUREN SCANIO, FLUTE Flutist Lauren Scanio's performances exhibit an adventurously eclectic range of repertoire, spanning from the baroque to the contemporary. As an active freelancer in the New York metropolitan area, she frequently appears as a substitute with the New York Philharmonic and the New York City Ballet. Her engagements also include performances with Syracuse Symphoria, Festival Napa Valley, APEX Ensemble, the New World Symphony, the Buffalo Philharmonic Orchestra, and the National Repertory Orchestra in Breckenridge, Colorado. Her orchestral artistry is featured on John Williams and Yo-Yo Ma’s 2022 album, A Gathering of Friends , as well as the PBS broadcast Live from Lincoln Center: Celebrating Sondheim in 2020. As a chamber musician, Ms. Kelly has collaborated with the New York Philharmonic Woodwind Quintet for their Very Young People’s concert series, the Sylvan Winds, and Seven Hills Chamber Music in Lynchburg, Virginia. She has also recorded under the Dreyer-Gaido label as part of a flute/viola/harp trio for the project Opus 961, which highlights works by contemporary Lebanese composers. A founding member of the “Third Rail Duo,” she presented monthly recitals on the Sunday Afternoon Classical series at the Morgan Library and Museum for three seasons. Ms. Scanio holds a Master of Music degree from The Juilliard School and a Bachelor’s degree from the Manhattan School of Music.

CYNTHIA PHELPS, VIOLA “Not only does Cynthia Phelps produce one of the richest, deepest viola timbres in the world, she is a superb musician” (Seattle Post-Intelligencer). Principal Violist of the New York Philharmonic, Ms. Phelps has distinguished herself both here and abroad as one of the leading instrumentalists of our time. The recipient of numerous honors and awards, including the 1988 Pro Musicis International Award and first prize at both the Lionel Tertis International Viola Competition and the Washington International String Competition, she has captivated audiences with her compelling solo and chamber music performances. She is “a performer of top rank…the sounds she drew were not only completely unproblematical –technically faultless, generously nuanced– but sensuously breathtaking” (The Boston Globe). Ms. Phelps performs throughout the world as soloist with orchestras, including the Minnesota Orchestra, New York Philharmonic, San Diego Symphony, Orquesta Sinfonica de Bilbao, and Hong Kong Philharmonic. She has appeared in recital in Paris, Rome, Los Angeles, Boston and Washington, and at New York’s Alice Tully Hall, London’s Wigmore Hall, and St. David’s Hall in Cardiff, Wales. She has also been heard on National Public Radio’s St. Paul Sunday Morning, Radio France, and RAI in Italy, and has been featured on The MacNeil/Lehrer News Hour, and CBS Sunday Morning. Ms. Phelps has performed internationally as a collaborator with such artists as Isaac Stern, Itzak Perlman, Pinchas Zukerman, Yo-Yo Ma, Lynn Harrell, and Yefim Bronfman, among many others. A much sought-after chamber musician, she performs regularly with the Chamber Music Society of Lincoln Center, New York’s Bargemusic, the Boston Chamber Music Society, and Music From Copland House. Ms. Phelps has performed with the Guarneri, American, Brentano, and Prague String Quartets, the Kalichstein-Robinson-Laredo Trio, and at the Mostly Mozart, Marlboro, Seattle, Bridgehampton, Ravinia, La Jolla, Santa Fe, Bravo!Colorado, Naples, Cremona, Schleswig-Holstein, and Chamber Music Northwest Festivals. Ms. Phelps regularly receives enthusiastic reviews for her performances as soloist with the New York Philharmonic; works she has performed include Berlioz’s Harold in Italy, the Bartok Viola Concerto and Strauss’s Don Quixote, the Benjamin Lees Concerto for String Quartet, and the recent premiere of a concerto written for her by Sofia Gubaidulina. Recent performances have included a New York Philharmonic International tour featuring the Gubaidulina, a new work written for her by composer Steven Paulus (commissioned by the Tucson Winter Chamber Music Festival), and return solo engagements with the Hong Kong Philharmonic, the San Diego Symphony and numerous other orchestras. This season, Ms. Phelps appears in virtually every major concert hall in New York City, including performances with the American String Quartet, the Kalichstein-Robinson-Laredo trio, and mezzo-soprano Suzanne Mentzer. She also performs in recital in La Jolla, as well as on tour with violinist Ida Kavafian and cellist Ronald Thomas. She looks forward to a new viola concerto written for her by Richard Danielpour. Her solo debut recording is on Cala Records, and can also be heard on the Marlboro Recording Society, Polyvideo, Nuova Era, Virgin Classics, and Covenant labels. Ms. Phelps and her husband, cellist Ronald Thomas, reside in New Jersey and have three children, Lili, Christinia, and Caitlin.