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< Back Franz Schubert Quartet No. 14 in D minor, D. 810 (Death and the Maiden ) Program Notes Previous Next

MUSIC FROM THE TIME OF CERVANTES, ARRANGED FOR FOUR GUITARS “Music from the Time of Cervantes” (arr. W. Kanengiser) November 19, 2017: Los Angeles Guitar Quartet Jácaras – Anonymous (17th century) El Villano – Antonio Martín y Coll Diferéncias Sobre Las Folias – Antonio Martín y Coll Chacona (“La Vida Bona”) – Juan Arañéz Oy Comamos – Juan de Encina In March 2009, LAGQ debuted the theatrical production “The Ingenious Gentleman Don Quixote” with British actor/comedian John Cleese. Interweaving tales from the classic novel with arrangements of pieces that Cervantes could have heard in his lifetime, it melded music and storytelling. Tonight’s recital includes selections from this production. Jácaras is an anonymous canción (“No hay que decir primor”) from the 17th century. With raucous strumming and castanets imitating horses’ hooves, it accompanies Don Quixote’s departure from his farm to become an adventuring knight. El Villano (“The Rustic”) is a country dance from the anthology “Flores de Música” collected by Antonio Martín y Coll. It introduces Sancho Panza, Quixote’s trusty squire. Diferéncias Sobre Las Folias is a set of variations contrasting on the famous harmonic progression, Folias de Espana. It tells of the famous argument between knight and squire, and of their reconciliation. Chacona (“La Vida Bona”), from the Libro Segunda de Tonos y Villancicos (1624) by Juan Arañes, is one of the most celebrated early examples of the form. The chacona, which by Bach’s time had become one of the most noble and profound of all dance forms, was a suggestive and prohibited danza in 1500s Spain, almost their version of our macarena. It features the lines, “here’s to the good life, good little life: let’s do the Chacona”). Oy comamos y bebamos is a four-voice villancico from the Cancionero Palacio, written by Juan de Encina. The opening stanza is “Hoy comamos y bebamos, y cantemos y holguemos, que mañana ayunaremos” (Today we eat and drink, and sing and make merry, for tomorrow we must fast”). It serves as a fitting epilogue for Don Quixote’s quixotic character. Return to Parlance Program Notes

ALESSIO BAX, PIANO Pianist Alessio Bax is praised for creating “a ravishing listening experience” with his lyrical playing, insightful interpretations, and dazzling facility. “His playing quivers with an almost hypnotic intensity,” says Gramophone magazine, leading to “an out-of-body experience” (Dallas Morning News). First Prize winner at the Leeds and Hamamatsu international piano competitions – and a 2009 Avery Fisher Career Grant recipient – he has appeared as soloist with over 100 orchestras, including the London and Royal Philharmonic orchestras, the Dallas and Houston symphonies, the NHK Symphony in Japan, the St. Petersburg Philharmonic with Yuri Temirkanov, and the City of Birmingham Symphony Orchestra with Sir Simon Rattle. During the 2013-14 season, Bax returns to the Dallas Symphony under Jaap van Zweden at Bravo! Vail and in Dallas, and to the UK’s Southbank Sinfonia, with whom he recorded a pair of Mozart piano concertos. He also appears with conductor Hannu Lintu in Finland, the Los Angeles Chamber Orchestra under Hans Graf, the Berkeley Symphony, the Santa Barbara Chamber Orchestra, and as concerto soloist at the Grant Park Music Festival in Chicago. He tours South America with violinist Joshua Bell, and returns to Lincoln Center for Chamber Music Society concerts, a Great Performers duo recital with pianist Lucille Chung, and a solo recital in a new Chamber Music Society series – in addition to solo recitals in Dallas and Tokyo. Bax and Chung also perform together in Washington, DC and in Hong Kong, Toronto, and on tour in Canada. Among the highlights of Bax’s recent seasons were appearances with the St. Petersburg Philharmonic under Temirkanov, the Dallas Symphony under van Zweden, and the Royal Philharmonic Orchestra in the UK; there were debuts at Washington’s Kennedy Center, New York’s Carnegie Hall, the Metropolitan Museum of Art, and the 92nd Street Y, plus performances with the Chamber Music Society of Lincoln Center. During the summer of 2013, Bax participated in nine different festivals, with return appearances in the Bravo! Vail, Bridgehampton, Lexington, and Bard music festivals, and his first residency with Bay Chamber Concerts in Maine as recipient of the 2013 Andrew Wolf Chamber Music Award. In 2013 Bax also received Lincoln Center’s Martin E. Segal Award, which recognizes young artists of exceptional accomplishment. Fall marks the release of a duo disc with Lucille Chung, presenting Stravinsky’s original four-hand version of the ballet Petrouchka as well as music by Brahms and Piazzolla. His celebrated discography for Signum Classics includes Alessio Bax plays Mozart(Piano Concertos K. 491 and K. 595), Alessio Bax plays Brahms (Gramophone “Critic’s Choice”), Rachmaninov: Preludes and Melodies (American Record Guide “Critics’ Choice 2011”), and Bach Transcribed; and for Warner Classics, Baroque Reflections(Gramophone “Editor’s Choice”). He performed Beethoven’s “Hammerklavier” Sonata for maestro Daniel Barenboim in the PBS-TV documentary Barenboim on Beethoven: Masterclass, available as a DVD box set on the EMI label. His performances have been broadcast live on the BBC (UK); CBC (Canada); RAI (Italy); RTVE (Spain); NHK (Japan); WDR, NDR, and Bayerischer Rundfunk (Germany); American Public Media’s “Performance Today”; WQXR (New York); WGBH (Boston); WETA (Washington, DC); and Sirius-XM satellite radio, among many others. Hailed by International Piano as “a pianist of refreshing depth,” Bax’s extensiveconcerto repertoire has led to performances with such esteemed conductors as Marin Alsop, Sergiu Commisiona, Vernon Handley, Pietari Inkinen, Jonathan Nott, Vasily Petrenko, Sir Simon Rattle, Yuri Temirkanov, and Jaap van Zweden. His international festival appearances include London’s International Piano Series (Queen Elizabeth Hall); the Verbier Festival in Switzerland; England’s Aldeburgh and Bath festivals; and the Ruhr Klavier-Festival, Beethovenfest Bonn, and Schloss Elmau in Germany. He has also appeared multiple times at such U.S. festivals as Bravo! Vail, Bard Music Festival, and Music@Menlo, and has given recitals in major music halls around the world, including Rome, Milan, Madrid, Mexico City, Paris, London, Tel Aviv, Tokyo, Seoul, Hong Kong, New York, and Washington, DC. An active chamber musician, Bax has collaborated with Emanuel Ax, Joshua Bell, Sol Gabetta, Steven Isserlis, and Jörg Widmann, among others. Alessio Bax graduated with top honors at the record age of 14 from the conservatory of his hometown in Bari, Italy, where he studied with Angela Montemurro. He studied in France with François-Joël Thiollier and attended the Chigiana Academy in Siena under Joaquín Achúcarro. In 1994 he moved to Dallas to continue his studies with Achúcarro at SMU’s Meadows School of the Arts, and he is now on the teaching faculty there. He and his wife, pianist Lucille Chung, reside in New York City. Alessio Bax is a Steinway artist.

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.

HSIN-YUN HUANG, VIOLA Hsin-Yun Huang is firmly established since 1993 as one of the leading violists of her generation. Virtually simultaneously, in that year, she won the top prizes in the ARD International Music Competition in Munich and the highly prestigious Bunkamura Orchard Hall Award, which included a scholarship grant, and concerto and recital appearances in Japan. Ms. Huang was also the youngest-ever gold medalist in the 1988 Lionel Tertis International Competition on the Isle of Man. As a result of these and other successes, she has been telecast in concerto appearances with the Bavarian Radio Orchestra in Munich, the Zagreb Soloists in Paris and the Tokyo Philharmonic in Tokyo; other significant appearances include live broadcast performances with the Berlin Radio Symphony, the Russian State Philharmonic, and the National Symphony of Taiwan, among others. Recent solo highlights included collaboration with London Sinfonia in South America, with Naumberg Orchestra in Central Park, with ICE at Miller Theater, and with Children Orchestra Society at Alice Tully Hall. A native of Taiwan, Ms. Huang currently resides in New York, and is an active soloist and chamber musician in the U.S., the Far East, and Europe. She has participated in various prominent chamber music festivals, including the Rome Chamber Music Festival, Music@Menlo, Moritzburg Festival in Dresden, Spoleto Festivals in Italy as well as Charleston, SC, Cartagena Festival in Colombia, Chamber Music Northwest, the Marlboro Music Festival, Prussia Cove, England, St. Nazaire in France, Bridgehampton, the El Paso Chamber Music Festival, the Vancouver Chamber Music Festival, Festival de Divonne in France, the Appalachian Festival, the Rockport Chamber Music Festival, the Salt Bay Chamberfest, the Newport Festival, and many others. She has collaborated with artists such as Yo-Yo Ma, Jaime Laredo, Joshua Bell, Joseph Suk, Menahem Pressler, the Guarneri, Juilliard, Brentano, Orion, St. Lawrence, and the Johannes String Quartets. She has recorded Mozart Quintet with the Brentann String Quartet and presented the Mozart Quintets with them under the auspices of Carnegie Hall in 2007. Ms. Huang has recently embarked on a series of major commissioning projects for solo viola and chamber ensemble. In July 2006, she premiered a new work from Houston-based Taiwanese composer Shih-Hui Chen, Shu Shon Key (Remembrance) with the Broyhill Chamber Ensemble at An Appalachian Summer Festival in North Carolina. The work was co-commissioned by the festival along with Chinese Performing Arts, and has received performances at Boston’s Jordan Hall and Da Camera of Houston, the Evergreen Symphony Orchestra has commissioned a version of the work for solo viola and orchestra. A new work from Steven Mackey, also for solo viola and chamber ensemble, received its premiere at the Aspen Music Festival in the summer of 2007. Subsequent performances included presentations by the Fulcrum Point New Music Project in Chicago, the International Viola Congress 2008, the La Jolla Summer Festival, and at Princeton University. A new disc, Viola Viola, containing both works, will be released by Bridge Record in the fall of 2012. Ms. Huang was a member of the Borromeo String Quartet from 1994–2000. With the Quartet, she participated in festivals worldwide and in such prominent venues as New York’s Alice Tully Hall, London’s Wigmore Hall, Berlin’s Philharmonie, and Japan’s Casals Hall. In 1998, the Borromeo String Quartet was awarded the prestigious Cleveland Quartet Award and was chosen by the Chamber Music Society of Lincoln Center to be members of “CMS Two” and featured in a “Live from Lincoln Center” telecast. She is currently a founding member of the Variation String Trio with violinist Jennifer Koh and cellist Wilhelmina Smith. Hsin-Yun Huang came to England at the age of fourteen to study at the Yehudi Menuhin School with David Takeno. She continued her studies at the Curtis Institute in Philadelphia with Michael Tree, where she earned her Bachelor of Music degree, and at the Juilliard School with Samuel Rhodes, where she earned her Master of Music. She is a dedicated teacher and currently serves on the faculties of the Juilliard School and the Curtis Institute of Music.

ROBERT SCHUMANN (1810-1856) String Quartet No. 3 in A, Op. 41/3 January 14, 2024: Goldmund Quartet In reviewing a prizewinning quartet by Julius Schapler in 1842, Schumann observed that “the quartet has come to a standstill. Who does not know the quartets of Haydn, Mozart, and Beethoven, and who would wish to say anything against them? . . . the later generation, after all this time, has not been able to produce anything comparable. [Georges] Onslow alone met with success, and later Mendelssohn.” The canonization of the quartets of the great Classical masters left the composers of Schumann’s age feeling inadequate. Schumann and Brahms were each to publish three string quartets but only after suppressing several earlier ventures in the genre. Schumann apparently began one quartet in 1838 and three more the following year; none of these survives, unless certain ideas from them reappeared in the Opus 41 quartets of 1842. Schumann’s method of approaching the level of the Classical masters was to study their quartets intensely, as recorded in his household diary in the spring of 1842. The diary also reveals his depressed mood at the time, associated with his wife Clara’s extended concert tour; he mentions drinking too much and his inability to compose. Suddenly, however, his creative powers took over with such force that five shorts weeks after beginning the first of the Opus 41 quartets on June 4, all three were completed. He announced them to his wife Clara as “three children, barely born, and already completed and beautiful,” and arranged for a private performance of all three for Clara’s twenty-third birthday on September 13. The individuality of these quartets is remarkable in light of their having been composed one on top of the other. The Third Quartet takes up the key in which the First Quartet ended. The descending interval of a fifth that opens the A major Quartet’s brief slow introduction is often associated with Clara, but also may owe something to the opening of Beethoven’s Piano Sonata, op. 31, no. 3. The falling fifth also introduces the main theme of the Allegro molto moderato and makes an appearance in the second theme. This interval (or its inversion as a rising fourth) assumes a prominent role throughout the work. The F-sharp minor second movement, instead of a scherzo, takes the form of a theme and variations, though the theme is not revealed until after three variations. The theme when finally presented, appears as a canon between the first violin and the viola, at a slower tempo. This and other contrapuntal sections in the Opus 41 Quartets reflect Schumann’s self-prescribed study of fugal techniques during the gloomy period of Clara’s absence. The passionate slow movement gives off a restless quality owing to its frequent changes of key. The dotted rhythm so prominent in the second violin part is then featured in the last movement. Schumann’s inspired finale combines the form of a rondo with that of a scherzo and trio, and includes certain elements of sonata form. Its scherzo-like features are welcome as Schumann had earlier used a theme and variation movement instead of a scherzo. The movement particularly contrasts the two keys of A major and F major, again taking up the discussion of these two keys that concerns the entire Opus 41 “cycle.” The key of A major is positively affirmed in a brilliant coda. © Jane Vial Jaffe Return to Parlance Program Notes

< Back Félicien David La Nuit (arr. Vieuxtemps) for viola and piano Program Notes Previous Next

SUNDAY, OCTOBER 27, 2019 AT 3 PM QUARTETTO DI CREMONA AN ITALIAN JOURNEY BUY TICKETS QUARTETTO DI CREMONA “It’s a rare blend: breadth of sound and capriciousness combined with perfect tuning and ensemble has the players sounding absolutely of one voice… Nothing less than life-affirming.” — Grammophone FEATURING ABOUT THE PERFORMANCE BUY TICKETS The inaugural concert of the 2019 – 2020 season will showcase one of the most exciting chamber ensembles on the international stage. The Quartetto di Cremona received the 2019 Franco Buitoni Award in recognition of their exceptional contribution to promoting Italian chamber music throughout the world. Their musical journey will feature string quartets by four of Italy’s greatest composers. PROGRAM Luigi Boccherini Quartet in C, Op. 2, No. 6 Program Notes Giuseppe Verdi Quartet in E minor Program Notes Giacomo Puccini Crisantemi Program Notes Ottorino Respighi Quartet in D Program Notes Watch the Quartetto Di Cremona perform the first movement of Giuseppe Verdi’s Quartet in E minor:

FELIX MENDELSSOHN (1809-1847) Trio No 2 in C Minor, Op. 66 for violin, cello, and piano April 19, 2009 – Elmar Oliveira, violin; Rafael Figueroa, cello; John Novacek, piano Felix Mendelssohn was born 200 years ago into a wealthy, German Jewish family. His grandfather was the celebrated philosopher Moses Mendelssohn, and his father, Abraham, was a successful banker. Raised in Berlin, Felix and his beloved sister Fanny were both formidable child prodigies, brought up in a rich cultural milieu where their talents could flourish. Mendelssohn’s remarkable musical abilities were encouraged by his loving parents, who enabled him to hear his early pieces performed at home by a private orchestra for their associates, who included the intellectual elite of Berlin. By his middle teens Mendelssohn was composing works of stunning maturity and originality. His Octet for Strings and Overture to A Midsummer Night’s Dream, composed at 16 and 17 respectively, rank among his most celebrated and popular works. In addition to his compositional talent, Mendelssohn was blessed with a warm, benevolent personality and a wide range of extra-musical enthusiasms. His close friend, the conductor/composer Sir Jules Benedict wrote of him, “In society, apart from musical subjects, nothing could be more entertaining or animated than Mendelssohn’s conversation on literary topics. The works of Shakespeare and other eminent British poets were quite as familiar to him as those of his own country; and, although his accent was slightly tinctured by his German origin, he spoke as well as wrote the English language with great facility and purity. He sketched from nature and also painted very well; and, indeed, he might be said to possess every social accomplishment.” Among his many enthusiasms was a lifelong passion for the music of Johann Sebastian Bach. Mendelssohn made history as a conductor when, at the age of 20, he presided over a performance of Bach’s St. Matthew Passion, the first major European revival of Bach’s long-neglected music. Mendelssohn’s love of Bach is reflected in the noble chorale tune that dominates much of the final movement of the Piano Trio in C Minor. His second piano trio, Op. 66, was completed in 1845, two years before the end of his short life. The piece is laid out on a large scale, featuring soaring, lyrical melodies and intricate, virtuosic passagework for the three instruments. Mendelssohn, who played piano in the first performances, was joined by the famous violinist/composer Louis Spohr, to whom the piece is dedicated. The first movement starts in a restless, urgent hush, the mysterious atmosphere propelled by rapidly rising and falling figures in the piano. This section eventually gives way to a sunnier, more rhapsodic duet for violin and cello. The atmosphere vacillates between emotional poles, culminating in a stormy, C minor coda. In contrast to the agitation of the first movement, Mendelssohn offers a warmly reassuring Song Without Words in E-flat major as the basis of the second movement. Throughout his life Mendelssohn composed Lieder ohne Worte for solo piano, often as gifts to his sister Fanny. This movement begins with a glowing piano solo, strongly reminiscent of the style of these intimate works, and continues with a gentle, lilting duet for violin and cello. The adjective “Mendelssohnian,” signifying youthfulness and gossamer, fairyland textures, is well-applied to the third movement, a minor key Scherzo, which Mendelssohn himself described as “a trifle nasty to play.” The brisk, sparkling music provides challenges for all of the instrumentalists but particularly the pianist. Like many of Mendelssohn’s scherzos, the short movement whizzes along at breakneck speed, finally vanishing down a misty, pizzicato-strewn path. The spirited finale strings together a series of contrasting themes, beginning with a sweeping cello melody in C minor. The most striking of the themes is the noble, chorale-like third episode. Although the tune is apparently of Mendelssohn’s own invention, it is similar in atmosphere and harmonization to many of Bach’s chorales. The movement builds to a crowning restatement of the chorale tune in a glorious C major, bringing the piece – and Parlance Chamber Concerts’ second season – to a grand, celebratory conclusion. By Michael Parloff Return to Parlance Program Notes

< Back Amilcare Ponchielli Quartetto for woodwinds & piano accompaniment Seth Morris, flute; Elaine Douvas, oboe; Anton Rist, B-flat clarinet, Jessica Phillips, E-flat clarinet; Bryan Wagorn, piano Program Notes Previous Next

SUNDAY, DECEMBER 13, 2015 AT 3 PM Kristin Lee, violin; Paul Watkins, cello; Gilles Vonsattel, piano BUY TICKETS GILLES VONSATTEL, PIANO Winner of 2008 Avery Fisher Career Grant “Mr. Vonsattel used his razor-sharp technique to make the older works sound as adventurous as the more recent ones.” – The New York Times PAUL WATKINS, CELLO “Britain’s finest cellist, Watkins’ account [of the Elgar concerto] seems the best to have appeared on disc for years. It has intensity, presence and warmth.” — The Guardian KRISTIN LEE, VIOLIN “Kristin Lee gave a sterling performance…the performance was beautifully integrated and seamless.” — Oberon’s Grove FEATURING ABOUT THE PERFORMANCE BUY TICKETS In an afternoon of Beethoven’s most beloved chamber works, violinist Kristen Lee and pianist Gilles Vonsattel (both winners of the coveted Avery Fisher Career Grant) will join forces with Paul Watkins , the Emerson String Quartet’s acclaimed cellist. Korean-American violinist Kristin Lee is an artist of remarkable musicality and impeccable technique. She enjoys a vibrant career as a soloist, recitalist, and chamber musician and is equally noted for her growing reputation in collaborations with various genres of music. Paul Watkins joined the famed Emerson String Quartet in May 2013 and enjoys a distinguished career both as cellist and conductor. In 2009 he became the first-ever Music Director of the English Chamber Orchestra. The Swiss-born American pianist Gilles Vonsattel has been called “a wanderer between worlds.” Comfortable with an enormous range of repertoire, Vonsattel displays a musical curiosity and sense of adventure that has gained him admirers the world over. PROGRAM Ludwig van Beethoven Sonata No. 4 in C, Op. 102, for cello & piano Program Notes Ludwig van Beethoven Sonata No. 9 in A, Op. 47 (Kreutzer) for violin & piano Program Notes Ludwig van Beethoven Trio in D, Op. 70, No. 1 (Ghost) for violin, cello, & piano Program Notes Beethoven’s 9th violin sonata: The Kreutzer or the Bridgetower? Kristin Lee and Michael Mizrah - Beethoven Sonata No. 9 (Kreutzer), last movement (Phillips Gallery, Washington DC) Paul Watkins - Lincoln Center Chamber Music Society Profile Gilles Vonsattel and Arnaud Sussmann - Mozart Violin Sonata in E minor, Mvt 2 (Parlance Chamber Concerts) Gilles Vonsattel - Brahms Piano Quintet in F minor, Mvt. 3 (Parlance Chamber Concerts)

LIAM BOISSERT, OBOE Oboist Liam Boisset has performed with many of the most reputable orchestras around the United States. He regularly performs with the Metropolitan Opera and has recently served as guest Principal Oboe with the Saint Paul Chamber Orchestra and the Detroit Symphony Orchestra. During the 2019-2020 season, he also joined the Los Angeles Philharmonic on two international tours as Principal Oboe. He can be heard playing both oboe and English horn in The Witcher on Netflix. In addition to his fruitful performance career, Mr. Boisset is a passionate educator, and has taught masterclasses and lessons at The Juilliard School, Mannes School of Music at The New School, San Francisco Conservatory of Music, Aspen Music Festival and School, and Oberlin Conservatory. During the heart of the pandemic, he co-founded the online teaching platform, Aperto Oboe Academy, to connect with and mentor promising young oboists from around the globe. He currently serves on the faculty of Princeton University’s Department of Music.