CALIDORE STRING QUARTET JEFFREY MYERS, violin RYAN … · in the quartet firmament, the Calidore...

FRIDAY EVENING, APRIL 13, 2018, AT 7:30 3,821ST CONCERT

Alice Tully Hall, Starr Theater, Adrienne Arsht StageHome of The Chamber Music Society of Lincoln Center

CALIDORE STRING QUARTET JEFFREY MYERS, violin RYAN MEEHAN, violin JEREMY BERRY, viola ESTELLE CHOI, cello

FELIX MENDELSSOHN

(1809–1847)

DMITRI SHOSTAKOVICH

(1906–1975)

LUDWIG VAN BEETHOVEN

(1770–1827)

Quartet in D major for Strings, Op. 44, No. 1 (1838) Molto allegro vivace Menuetto: Un poco allegretto Andante espressivo ma con moto Presto con brio

Quartet No. 9 in E-flat major for Strings, Op. 117 (1964) Moderato con moto Adagio Allegretto Adagio Allegro

INTERMISSION

Quartet in C major for Strings, Op. 59, No. 3, "Razumovsky" (1806) Introduzione: Andante con moto—Allegro vivace Andante con moto quasi allegretto Menuetto: Grazioso Allegro molto

PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES.Photographing, sound recording, or videotaping this performance is prohibited.

www.ChamberMusicSociety.org

ABOUT TONIGHT’S PROGRAMDear Listener,

We are very proud today to present one of the brightest new stars in the quartet firmament, the Calidore String Quartet. The quartet’s impressive accomplishments in less than a decade of existence would be the envy of any ensemble: read about them in the program biography, and do visit the quartet’s stunning web site for current information about its appearances on multiple continents.

The Calidore has chosen a program for this concert—its first full-evening appearance on the Tully stage—which scales lofty heights of the quartet literature. To simply say that all three works are exciting would be a terrible understatement: it could be argued that Beethoven’s third “Razumovsky” quartet, which concludes the concert, offers the most thrilling finale of any string quartet, and that the program’s companion works, leading up to the Beethoven, could not have been imagined without Ludwig having set the bar so high.

While both Mendelssohn and Beethoven explore multiple moods and dimensions in their works, it is tonight’s Shostakovich that encompasses the widest range of emotions. With the 20th century’s virtually unrestricted freedom of tonality, rhythmic complexity, and instrumental potential at his fingertips, Shostakovich mined the depths of human experience (which were mighty deep in Russia under Stalin) to produce 15 quartets of unparalleled intensity, sincerity, and drama. It was rare for Shostakovich to conclude a chamber work on a high-spirited note, but this Ninth Quartet leaves audiences energized, breathless, and invigorated. In doing so, this quartet of Shostakovich is the perfect companion for Beethoven, who always triumphed at day’s end, and for Mendelssohn, whose perpetual positive spirit has made his music food for the soul, for music lovers everywhere.

Enjoy the performance,

David Finckel Wu HanARTISTIC DIRECTORS

The Chamber Music Society of Lincoln Center

If you told us when we started learning our first string quartet together seven years ago (which happened to be Mendelssohn’s Op. 13) that hours of practice and performance would all lead to gracing the famed Alice Tully stage, we would think it unbelievable. Mendelssohn still holds a special place in our hearts as a composer whom we’ve studied closely and have felt most attached to over the development of our ensemble. Having learned all six of his fantastic quartets, we have come to crave the flair and ease with which Mendelssohn writes for all voices. His pieces are a pleasure to learn and perform. While each quartet has a unique energy and message, the triumph of the Op. 44, No. 1 can uplift the most sour of moods and bring joy and light to a world that so desperately needs it.

—Estelle Choi, Calidore String Quartet

NOTES ON THE PROGRAM

Mendelssohn was quite probably the most professionally successful musician of the 19th century. His career showed none of the reverses, disappointments, or delays that were the rule for the other great Romantic composers; indeed, it was precisely the overwork and exhaustion to meet the demands for his presence and his performances that led to his untimely death at the age of 38. The most intensely busy time of his life was ushered in by his appointment in 1835 as the administrator, music director, and conductor of the Leipzig

Gewandhaus concerts. In very short order, he raised the quality of musical life in Leipzig to equal that of any city in Europe, and in 1842 he founded the local conservatory to maintain his standards of excellence. He toured, guest conducted, and composed incessantly, and on March 28, 1837, took on the additional responsibilities of family life when he married Cécile Jeanrenaud. “A conscientious chronicle of Mendelssohn’s next few years [after 1835] would merely weary the reader,” noted the late George Marek in his biography of the composer. “It would link work with more work, string success after success, place tribute next to tribute, and enumerate an ever larger register of acquaintances and friends.”

The first child of the Mendelssohns’ marriage, Carl Wolfgang Paul, was born on February 7, 1838. (Felix completed the E-flat Quartet, Op. 44, No. 3 just the day before.) Cécile fell seriously

FELIX MENDELSSOHN Born February 3, 1809, in Hamburg. Died November 4, 1847, in Leipzig.

Composed in 1838. First CMS performance on October 27,

1972, by violinists Hiroko Yajima and Charles Treger, violist Walter Trampler, and cellist Leslie Parnas.

Duration: 30 minutes

Quartet in D major for Strings, Op. 44, No. 1


ill after the delivery, however, and the following months were an anxious time for the family. By June, she had recovered sufficiently for Mendelssohn to fulfill his commitment to conduct at the Lower Rhine Festival in Cologne, but he hurried back to Leipzig, collected his growing brood (the couple had five children during the ten years of their happy marriage), and spent the summer in Berlin. It was there that he composed a setting of the Psalm 95, B-flat Cello Sonata, Andante and Presto agitato for Piano, and D major Quartet, Op. 44, No. 1. The completed score of the quartet was dated on July 24, 1838.

The opening movement of the D major Quartet, brilliant, virtuosic, and nearly orchestral in sonority, is energized by a lusty impetuosity and rhythmic verve that seem about to burst the Classical simplicity of its sonata form. The first violin introduces the movement’s main theme, a bounding melody begun with a quickly ascending phrase that in earlier decades would have been called a “rocket motive.” The movement’s vigor slackens only briefly for the presentation of the

complementary theme, a hymnal melody in a slightly sad tonality. The development section, based on the main theme, makes prominent use of the “rocket motive.” With only a brief respite to allow for the recall of the second theme, the high level of energy carries through the recapitulation to the end of the movement.

As a foil to the powerful opening Allegro, Mendelssohn placed next not the expected vivacious scherzo but a gentle Menuetto. The outer sections of the movement are lilting and graceful, while the central trio is marked by ceaseless flowing ribbons of eighth notes. The most tender sentiments of the quartet are touched on in the bittersweet Andante. The music is disposed in sonatina form (sonata without a development section): the lyrical main theme is given by the violin above a discreet pizzicato accompaniment in the lower strings; the second theme, again initiated by the violin, employs a sustained note in the cello and an undulating counterpoint in the inner voices as background. The finale was inspired by the fiery Italian tarantella. u

In 1948, Shostakovich, Prokofiev, and many other important Soviet

composers were condemned for threatening the stability of the nation with their “formalistic” music. Through Andrei Zhdanov, head of the Union of Soviet Composers and the official mouthpiece for the government, it was made known that any experimental or modern or abstract or difficult music was no longer acceptable for consumption by the country’s masses. Only simplistic music glorifying the State, the land, and the people would

DMITRI SHOSTAKOVICH Born September 25, 1906, in St. Petersburg. Died August 9, 1975, in Moscow.

Composed in 1964. Premiered on November 20, 1964, in

Moscow by the Beethoven Quartet. First CMS performance on December 14,

2005, by the Miami String Quartet. Duration: 26 minutes

Quartet No. 9 in E-flat major for Strings, Op. 117


be performed: symphonies, operas, chamber music—any forms involving too much mental stimulation—were out; movie music, folk song settings, and patriotic cantatas were in.

Shostakovich saw the iron figure of Joseph Stalin behind the purge of 1948, as he was convinced it had been for an earlier one in 1936. After the 1936 debacle, Shostakovich responded with the Fifth Symphony, and kept composing through the war years, even becoming a world figure representing the courage of the Soviet people with the lightning success of his Seventh Symphony (“Leningrad”) in 1941. The 1948 censure was, however, almost more than Shostakovich could bear. He determined that he would go along with the Party prerogative for pap, and withhold all of his substantial works until the time when they would be given a fair hearing—when Stalin was dead. About the only music Shostakovich made public between 1948 and 1953 was that for films, most of which dealt with episodes in Soviet history (The Fall of Berlin, The Memorable Year 1919), and some patriotic vocal works (The Sun Shines Over Our Motherland and Song of the Forests, which won the 1949 Stalin Prize). The only significant works he released during that half-decade were the 24 Preludes and Fugues for Piano. The other compositions of the time—First Violin Concerto, Songs on Jewish Folk Poetry, Fourth and Fifth String Quartets—were all withheld until later years.

With the death of Stalin on March 5, 1953 (ironically, Prokofiev died on the same day), Shostakovich and all of the Soviet Union felt an oppressive burden lift. The thaw came gradually, but there did return to the country’s artistic life a more amenable attitude toward art, one that allowed significant works to again be produced and performed. Shostakovich, whose genius had been

shackled by Stalin’s repressive artistic policies, set to work on the great Tenth Symphony, and composed steadily thereafter until his death two decades later. The creations of his later years are sharply divided into two seemingly antithetical streams, though each reveals a fundamental aspect of Shostakovich as man and artist. One series of works, including the Symphonies No. 11 (“The Year 1905,” extolling Lenin) and No. 12 (“1917”), cantatas, film music, patriotic marches, and choruses, and instrumental scores in a popular vein (the Piano Concerto No. 2, for example), is for public consumption and the fulfillment of his duties as “People’s Artist of the U.S.S.R.,” a title conferred upon him in 1954. Paralleling these noisy, jingoistic entries is a large repertory of pieces that are both profound and personal: the magnificent and disturbing last symphonies (No. 13, “Babi Yar,” based on Yevtushenko’s searing poem about the German army’s massacre of 70,000 Jews near Kiev in September 1941; No. 14, settings of 11 texts dealing with death; and No. 15, one of the most stark and moving orchestral documents of the 20th century), the First Violin Concerto, the songs on verses of Alexander Blok and Michelangelo Buonarroti, and, perhaps most significant of all, the last ten of his 15 string quartets. As had Beethoven, Shostakovich used the medium of the string quartet as the bearer of his most intimate and deep-seated feelings, a

As had Beethoven, Shostakovich used the medium of the string quartet as the bearer of his most intimate and deep-seated feelings.


MUSIC FOR A LATER AGEBeethoven's Op. 59 Quartets, though they later became some of his most popular chamber works, were greeted at first with some of the strongest antagonism that his music ever excited. His student Carl Czerny reported, “When Schuppanzigh’s quartet first played the F major Quartet [No. 1], they laughed and were convinced Beethoven was playing a joke on them and that it was not the quartet he had promised.” “Surely you do not consider this music?” asked the bemused violinist Felix Radicati. “Not for you,” replied the confident composer, “but for a later age.” When Beethoven was told that Schuppanzigh was complaining about the difficulty of the violin parts, he grumbled, “Does he really suppose that I think of his puling little fiddle when the spirit speaks to me and I compose something?” The powerful style of the “Eroica” of 1804 that also infused these scores, with their intense emotional expression and formal concentration, was still revolutionary and puzzling to Beethoven’s contemporaries in 1806. It would soon mark him as the most visionary musical artist of his time.

—Dr. Richard E. Rodda

musical window into his soul. The wealth of thought and the clarity of expression in these quartets is nothing short of staggering, and as an oeuvre they are matched in the 20th century only by those of Béla Bartók.

The Ninth Quartet was composed quickly during the early summer of 1964, one of the busiest periods of Shostakovich’s life. His 1932 opera Lady Macbeth of Mzensk, the work that provided the excuse for his condemnation in 1936, was enjoying a fine international success in its 1956 revision, and he traveled to London and Zagreb to oversee productions in those cities at the beginning of the new year. Also in the early months of 1964,

he continued his teaching duties at the Leningrad Conservatory, attended music festivals in Gorky and Tashkent, completed the background score for a film of Hamlet, took care of some affairs for the Union of Soviet Composers in Rostov-on-Don, met with Benjamin Britten during that composer’s visit to Moscow, and composed. Following the May Day celebrations in Moscow, Shostakovich spent a week at his dacha in Zhukovka, recovering from his travels, enjoying the time with his wife, Irina, and beginning the Quartet No. 9. He completed the work at the end of the month (after two more weeks away from home), and dedicated the score to his wife. The premiere was given in the


Count Andreas Kyrillovitch Razumovsky was one of the most prominent figures

in Viennese society, politics, and art at the turn of the 19th century. Born in 1752 to a singer at the Russian court, he ingratiated himself with a number of women of lofty station and entered the diplomatic corps at age 25. He was assigned to several European capitals, in which he made his reputation, according to one contemporary account, “less through his skill at diplomacy than through his lavish expenditure and his love affairs with ladies of the highest

LUDWIG VAN BEETHOVEN Born December 16, 1770, in Bonn. Died March 26, 1827, in Vienna.

Composed in 1806. Premiered in February 1807 in Vienna. First CMS performance on April 1, 1983,

by the Emerson String Quartet. Duration: 30 minutes

Quartet in C major for Strings, Op. 59, No. 3, “Razumovsky”

Small Hall of the Moscow Conservatory on November 20, 1964 by the Beethoven Quartet, the ensemble that introduced most of Shostakovich’s quartets during its long musical alliance with him.

Vassily Shirinsky, first violinist of the Beethoven Quartet, wrote that the Ninth Quartet shows “grandeur, drama ... a certain austerity.” The work’s five movements (fast–slow–fast–slow–fast) are unified by their sharing of thematic fragments and by their uninterrupted connection one with the next. The opening Moderato is based on two themes: a doleful, wandering motive introduced by the first violin above a murmuring figure that courses incessantly throughout the movement; and a slightly grotesque little march from the cello. An octave-leap figure is spun from the march melody and combined with the principal themes for the balance of the movement. The succeeding Adagio, using a melody of curious modal leadings, is a poignant dialogue between the first violin and the viola. The following scherzo is constructed in symmetrical “arch” form: A–B–C–B–A. The central trio, enlisting a dance-like strain chided

throughout by soft trills, is flanked by music of quick rhythms shared by all the instruments (and played without mutes). The opening and closing sections (muted) are based on a cheeky tune with a goodly number of nose-thumbing, intentional wrong notes.

The fourth movement is music of stone and ice, and creates a certain bleak beauty at which Shostakovich was unexcelled. The lower strings give out a frozen chorale in octaves and thirds while the first violin emits timid, undulating sighs. The violin then posits a melody that tries to soar upward only to collapse back almost immediately upon itself to be met by the angry snappings of the second violin in a horrific transformation of the chorale theme. The process is repeated by the viola, but, despite the hollow howls of the lower strings, the first violin sings a brief, mournful incantation in its highest register before, drained of energy and enthusiasm, it again gives itself up to sighs and silence. The finale is a vast sonata form (main theme in fast triple meter; subsidiary theme in duple) incorporating motives from the earlier movements. u


standing, not excluding the Queen of Naples.” In 1788 in Vienna, Razumovsky married Elizabeth, Countess of Thun and sister of Prince Lichnowsky, one of Beethoven’s most devoted patrons. Four years later, he was assigned as Russian ambassador to Vienna, whose sybaritic life style perfectly suited his personality. Razumovsky was also an accomplished violinist who indulged his interest in music by taking lessons from Haydn, playing in chamber concerts, and sponsoring the performance of works in his residence.

In the spring of 1806, he took over from Prince Lichnowsky the patronage of the string quartet headed by Ignaz Schuppanzigh and commissioned Beethoven to write three new pieces that would be played in the grand palace he was building on the Danube Canal near the Prater. Beethoven, who had not composed a string quartet since the six numbers of Op. 18 in 1800, gladly accepted the proposal and

immediately set to work. (Beethoven, always looking for new sources of patronage, did not take lightly the fact that Razumovsky was an intimate of such powerful figures as Metternich and von Gentz.) In honor of (or, perhaps, at the request of) his Russian patron, Beethoven included in the first two quartets of the Op. 59 set traditional Russian themes.

The Razumovsky Quartet No. 3 in C major opens with an almost motionless introduction, influenced, perhaps, in its harmonic acerbity by the beginning of Mozart’s “Dissonant” Quartet. The mood brightens with the presentation of the main theme by the unaccompanied first violin, and there ensues a powerful movement in fully developed sonata form. Dark currents of feeling pulse beneath the rippling surface of the Andante: “A lament [that] searches many shadowy corners,” wrote Vincent d’Indy of this music; J.W.N. Sullivan thought that it presents “some forgotten and alien despair;” a “mystery of the primitive” concluded Joseph Kerman of it. The third movement, nominally a Minuet, is of a Romantic sensibility that leaves far behind the elegance and simple grace of its model. A tentative coda bridges to the whirlwind finale, a showpiece of laser-sharp ensemble precision that fuses the presentation–development–return plan of sonata form with the breathless imitations of a densely packed, meticulously constructed fugue. u

© 2018 Dr. Richard E. Rodda

The Razumovsky Quartet No. 3 opens with an almost motionless introduction, influenced, perhaps, by the beginning of Mozart’s “Dissonant” Quartet.


ABOUT THE ARTISTS

CALIDORE QUARTET Estelle Choi, cello; Jeffrey Myers, violin; Jeremy Berry, viola; Ryan Meehan, violin The Calidore String Quartet’s “deep reserves of virtuosity and irrepressible dramatic instinct” (New York Times) and “balance of intellect and expression” (Los Angeles Times) have won it accolades across the globe. The Calidore String Quartet—violinists Jeffrey Myers and Ryan Meehan, violist Jeremy Berry, and cellist Estelle Choi—made international headlines as the winner of the $100,000 Grand Prize of the 2016 and inaugural M-Prize International Chamber Music Competition, the largest prize for chamber music in the world. Also in 2016, the quartet became the first North American ensemble to win the Borletti-Buitoni Trust Fellowship and was named BBC Radio 3 New Generation Artists, an honor that brings with it recordings, international radio broadcasts, and appearances in Britain’s most prominent venues and festivals. Most recently the Calidore was honored with a 2017 Lincoln Center Emerging Artist Award. This season continues the Calidore’s three-year residency with the Chamber Music Society of Lincoln Center’s CMS Two program. Highlights of the 2017–18 season include debuts at the Kennedy Center and in Boston, Philadelphia, Paris, Brussels, Cologne, and Barcelona, as well as returns to Wigmore Hall and the Verbier Festival. As protégés of the Emerson Quartet, the Calidore will perform a joint program with the Emersons at the Ravinia Festival as well as series in Portland, Ann Arbor, and Southern California. The Calidore String Quartet regularly performs in the most prestigious venues throughout North America, Europe, and Asia such as Carnegie Hall, Lincoln Center, Wigmore Hall, Berlin Konzerthaus, Seoul’s Kumho Arts Hall, and at many significant festivals, including Verbier, Ravinia, Mostly Mozart, Music@Menlo, Rheingau, East Neuk, and Festspiele Mecklenburg-Vorpommern. In addition to winning the M-Prize,

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CLASSICAL EVOLUTIONFRIDAY, APRIL 27, 2018, 7:30 PM ALICE TULLY HALL

This program of favorites by Mozart, Weber, and Brahms reveals the multi-dimensional ingenuity of the Classical style.

SCHUMANN QUARTETSUNDAY, APRIL 29, 2018, 5:00 PM ALICE TULLY HALL

The Schumann Quartet presents a program of indispensable favorites plus an intriguing contemporary tribute to Robert Schumann, by the masterful Berlin composer Aribert Reimann.

UPCOMING CONCERTS AT CMS

the quartet has won grand prizes in virtually all the major US chamber music competitions, including the Fischoff, Coleman, Chesapeake, and Yellow Springs competitions, and captured top prizes at the 2012 ARD Munich International String Quartet Competition and Hamburg International Chamber Music Competition. The Calidore String Quartet has released three commercial recordings, the most recent of which features quartets by Tchaikovsky and Mendelssohn recorded live in concert at the 2016 Music@Menlo festival. The ensemble’s other recordings include a debut album of quartets by Mendelssohn and Haydn and an album on the French label Editions Hortus, with music commemorating the World War I centennial. Since 2016 the Calidore serves as visiting guest artists at the University of Delaware. Formed in 2010 at the Colburn School of Music, the quartet has studied with the Emerson Quartet, David Finckel, Andre Roy, Arnold Steinhardt, Günther Pichler, Gerhard Schulz, Guillaume Sutre, Gabor Takacs-Nagy, Paul Coletti, Ronald Leonard, Clive Greensmith, Martin Beaver, and the Quatuor Ebène. Using an amalgamation of “California” and “doré” (French for “golden”), the ensemble’s name represents a reverence for the diversity of culture and the strong support it received from its home, Los Angeles, California, the “golden state.”

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The Chamber Music Society of Lincoln Center (CMS) is known for the extraordinary quality of its performances, its inspired programming, and for setting the benchmark for chamber music worldwide: no other chamber music organization does more to promote, to educate, and to foster a love of and appreciation for the art form. Whether at its home in Alice Tully Hall at Lincoln Center, on leading stages throughout North America, or at prestigious venues in Europe and Asia, CMS brings together the very best international artists from an ever-expanding roster of more than 130 artists per season, to provide audiences with the kind of exhilarating concert experiences that have led to critics calling CMS "an exploding star in the musical firmament" (The Wall Street Journal). Many of these extraordinary performances are livestreamed, broadcast on radio and television, or made available on CD and DVD, reaching thousands of listeners around the globe each season.

Education remains at the heart of CMS's mission. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, CMS has created multi-faceted education and audience development programs to bring chamber music to people from a wide range of backgrounds, ages, and levels of musical knowledge. CMS also believes in fostering and supporting the careers of young artists through the CMS Two program, which provides ongoing performance opportunities to a select number of highly gifted young instrumentalists and ensembles. As this venerable institution approaches its 50th anniversary season in 2020, its commitment to artistic excellence and to serving the art of chamber music, in everything that it does, is stronger than ever.

ABOUT THE CHAMBER MUSIC SOCIETY

David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive Director

ADMINISTRATIONKeith Kriha, Administrative DirectorMartin Barr, ControllerSusan Mandel, Executive and

Development Assistant

ARTISTIC PLANNING & PRODUCTIONBeth Helgeson, Director of

Artistic Planning and AdministrationKari Fitterer, Director of

Artistic Planning and TouringJen Augello, Operations ManagerLaura Keller, Editorial ManagerSarissa Michaud, Production

ManagerGrace Parisi, Production and

Education Associate

DEVELOPMENTSharon Griffin, Director of

DevelopmentFred Murdock, Associate Director,

Special Events and Young PatronsJanet Barnhart, Manager of

Institutional GivingJoe Hsu, Manager, Development

Operations and ResearchJulia Marshella, Manager of

Individual Giving, PatronsErik Rego, Manager of

Individual Giving, Friends

EDUCATIONBruce Adolphe, Resident Lecturer and

Director of Family ConcertsDerek Balcom, Director of Education

MARKETING/SUBSCRIPTIONS/ PUBLIC RELATIONS

Emily Holum, Director of Marketing and Communications

Trent Casey, Director of Digital Content

Desmond Porbeni, Associate Director, Audience and Customer Services

Marlisa Monroe, Public Relations Manager

Melissa Muscato, Marketing Content Manager

Natalie Dixon, Audience and Customer Services Associate

Sara Ricci, Marketing AssistantBrett Solomon, Subscription and

Ticketing Services Assistant

Administration


Artists of the 2017–18 SeasonTony Arnold, sopranoSusanna Phillips, sopranoTamara Mumford, mezzo-sopranoNicholas Phan, tenorNikolay Borchev, baritoneNathan Gunn, baritoneInon Barnatan, pianoAlessio Bax, pianoMichael Brown, piano*Gloria Chien, pianoLucille Chung, pianoGilbert Kalish, pianoSebastian Knauer, pianoAnne-Marie McDermott, pianoJuho Pohjonen, pianoGilles Vonsattel, pianoOrion Weiss, pianoWu Han, pianoWu Qian, piano*Michael Sponseller, harpsichordKenneth Weiss, harpsichordAdam Barnett-Hart, violinBenjamin Beilman, violinAaron Boyd, violinNicolas Dautricourt, violinAugustin Hadelich, violinChad Hoopes, violin*Bella Hristova, violinPaul Huang, violin*Ani Kavafian, violinIda Kavafian, violinErin Keefe, violinKristin Lee, violinSean Lee, violinYura Lee, violin/violaCho-Liang Lin, violinDaniel Phillips, violinTodd Phillips, violinAlexander Sitkovetsky, violinArnaud Sussmann, violinDanbi Um, violin*Roberto Díaz, violaMark Holloway, violaPierre Lapointe, violaMatthew Lipman, viola*Paul Neubauer, violaRichard O’Neill, violaDmitri Atapine, cello*Efe Baltacıgil, celloNicholas Canellakis, celloColin Carr, celloTimothy Eddy, cello

David Finckel, celloClive Greensmith, celloGary Hoffman, celloJakob Koranyi, celloMihai Marica, celloDavid Requiro, celloKeith Robinson, celloBrook Speltz, celloPaul Watkins, celloTimothy Cobb, double bassJoseph Conyers, double bassAnthony Manzo, double bassEdgar Meyer, double bassElizabeth Hainen, harpSooyun Kim, fluteRobert Langevin, fluteTara Helen O’Connor, fluteRansom Wilson, fluteCarol Wincenc, fluteRandall Ellis, oboeJames Austin Smith, oboeStephen Taylor, oboeRomie de Guise-Langlois, clarinetAlexander Fiterstein, clarinetTommaso Lonquich, clarinet*Ricardo Morales, clarinetDavid Shifrin, clarinetMarc Goldberg, bassoonPeter Kolkay, bassoonDaniel Matsukawa, bassoonBram van Sambeek, bassoonDavid Jolley, hornJulie Landsman, hornJeffrey Lang, hornJennifer Montone, hornEric Reed, hornStewart Rose, hornRadovan Vlatković, hornBrandon Ridenour, trumpetIan David Rosenbaum, percussionAyano Kataoka, percussion

CALIDORE STRING QUARTET* Jeffrey Myers, violin Ryan Meehan, violin Jeremy Berry, viola Estelle Choi, cello

DAEDALUS QUARTET Min-Young Kim, violin Matilda Kaul, violin Jessica Thompson, viola Thomas Kraines, cello

DANISH QUARTET Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

ESCHER STRING QUARTET Adam Barnett-Hart, violin Danbi Um, violin Pierre Lapointe, viola Brook Speltz, cello

JUILLIARD STRING QUARTET Joseph Lin, violin Ronald Copes, violin Roger Tapping, viola Astrid Schween, cello

MIRÓ QUARTET Daniel Ching, violin William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello

ORION STRING QUARTET Daniel Phillips, violin Todd Phillips, violin Steven Tenenbom, viola Timothy Eddy, cello

SCHUMANN QUARTET* Erik Schumann, violin Ken Schumann, violin Liisa Randalu, viola Mark Schumann, cello

SHANGHAI QUARTET Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello

KALICHSTEIN-LAREDO-ROBINSON TRIO Joseph Kalichstein, piano Jaime Laredo, violin Sharon Robinson, cello

SITKOVETSKY TRIO Wu Qian, piano Alexander Sitkovetsky, violin Isang Enders, cello

James P. O'Shaughnessy, ChairmanElinor L. Hoover, Chairman ElectRobert Hoglund, TreasurerPeter W. Keegan, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinLinda S. DainesPeter DuchinPeter Frelinghuysen (1941–2018)Jennifer P.A. GarrettWilliam B. GinsbergPhyllis GrannPaul B. GridleyWalter L. HarrisPhilip K. HowardPriscilla F. KauffVicki KelloggJeehyun KimHelen Brown Levine

John L. LindseyTatiana PouschineRichard PrinsDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserDavid SimonJoost F. ThesselingSuzanne E. VaucherAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinMarit GrusonCharles H. HamiltonHarry P. KamenPaul C. LambertDonaldson C. Pillsbury (1940–2008)William G. SeldenAndrea W. Walton

GLOBAL COUNCILHoward DillonCarole G. Donlin John FouheyCharles H. HamiltonRita HauserJudy KosloffMike McKoolSeth NovattJoumana RizkMorris RossabiSusan SchuurTrine SorensenShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth,

Founding Artistic Director

Directors and Founders


Contributors to the Annual Fund provide vital support for the Chamber Music Society's wide-ranging artistic and educational programs. We gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their generous gifts. We also thank those donors who support the Chamber Music Society through the Lincoln Center Corporate Fund.

ANNUAL FUND

LEADERSHIP GIFTS ($50,000 and above)The Chisholm FoundationHoward Gilman FoundationWilliam and Inger G. GinsbergDr. and Mrs. Victor GrannEugene and Emily GrantJerome L. Greene FoundationMr. and Mrs. Paul B. GridleyRita E. and Gustave M. HauserElinor and Andrew Hoover

Jane and Peter KeeganSusan Carmel LehrmanLincoln Center Corporate FundNational Endowment for the ArtsNew York State Council on the ArtsStavros Niarchos FoundationThe New York Community TrustMr. and Mrs. James P. O'ShaughnessyBlanchette Hooker Rockefeller Fund

The Fan Fox and Leslie R. Samuels Foundation, Inc.

Ellen Schiff Elizabeth W. SmithThe Alice Tully FoundationElaine and Alan WeilerThe Helen F. Whitaker Fund

GUARANTORS ($25,000 to $49,999)Ann Bowers,

in honor of Dmitri AtapineThomas Brener and Inbal Segev-BrenerSally D. and Stephen M. Clement, IIIJoseph M. CohenJoyce B. CowinLinda S. DainesEstate of Anthony C. GoochGail and Walter HarrisFrank and Helen Hermann FoundationRobert and Suzanne Hoglund

Harry P. KamenEstate of Peter L. KennardAndrea Klepetar-FallekBruce and Suzie KovnerMetLife FoundationRichard Prins and Connie SteensmaNew York City Department of

Cultural AffairsDr. Annette U. RickelDr. Beth Sackler and Mr. Jeffrey CohenJudith and Herbert Schlosser

David SimonMr. and Mrs. Erwin StallerWilliam R. Stensrud and

Suzanne E. VaucherJoost and Maureen ThesselingTiger Baron FoundationMr. and Mrs. Jarvis WilcoxKathe and Edwin WilliamsonShannon Wu and Joseph Kahn

BENEFACTORS ($10,000 to $24,999)The Achelis and Bodman FoundationAnonymous (2)Ronald AbramsonEstate of Marilyn Apelson Jonathan Brezin and Linda KeenColburn FoundationCon EdisonThe Gladys Krieble Delmas FoundationHoward Dillon and Nell Dillon-ErmersThe Lehoczky Escobar Family David Finckel and Wu HanJohn and Marianne FouheySidney E. Frank Foundation

Mr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Hamilton Generation FundIrving Harris FoundationMichael Jacobson and Trine SorensenPriscilla F. KauffVicki and Chris KelloggJeehyun KimHelen Brown LevineDouglas M. LibbyMillbrook Vineyards & WineryMr. Seth Novatt and Ms. Priscilla Natkins

Marnie S. PillsburyTatiana PouschineDr. and Mrs. Richard T. RosenkranzMrs. Robert SchuurFred and Robin SeegalSeth Sprague Educational and

Charitable FoundationJoe and Becky StockwellCarlos Tome and Theresa KimSusan and Kenneth WallachMrs. Andrea W. Walton

PLATINUM PATRONS ($5,000 to $9,999)Anonymous (2)Mr. James A. Attwood and

Ms. Leslie K. WilliamsWilliam and Julie Ballard Murat BeyazitJoan BennyNathalie and Marshall CoxRobert and Karen DesjardinsValerie and Charles DikerCarole DonlinJohn and Jody EastmanMrs. Barbara M. Erskine

Mr. Lawrence N. Field and Ms. Rivka SeidenMr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationMarlene Hess and James D. Zirin, in loving

memory of Donaldson C. PillsburyThe Hite FoundationAlfred and Sally JonesC.L.C. Kramer FoundationJonathan E. LehmanLeon Levy FoundationDr. and Mrs. Michael N. MargoliesJane and Mary Martinez

Mr. and Mrs. H. Roemer McPhee, in memory of Catherine G. Curran

The Robert and Joyce Menschel Family Foundation

Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperThomas A. and Georgina T. Russo

Family FundMartin and Ruby VogelfangerPaul and Judy WeislogelNeil Westreich

Artistic Directors Circle

Patrons

GOLD PATRONS ($2,500 to $4,999)AnonymousNasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichAmerican Friends of Wigmore HallJoan AmronJames H. ApplegateAxe-Houghton FoundationLawrence B. Benenson

American Chai TrustConstantin R. BodenMr. and Mrs. John D. CoffinThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerVirginia Davies and Willard TaylorSuzanne DavidsonMr. and Mrs. Joseph W. Donner Helen W. DuBoisJudy and Tony Evnin

Dr. and Mrs. Fabius N. FoxMrs. Beatrice FrankFreudenberg ArtsDiana G. FriedmanEgon R. GerardEdda and James GillenFrederick L. JacobsonKenneth Johnson and Julia TobeyPaul KatcherEd and Rosann Kaz


Mr. and Mrs. Hans KilianMr. and Mrs. Robert W. KleinschmidtJudy and Alan KosloffChloë A. KramerHenry and Marsha LauferHarriet and William LembeckJennifer ManocherianMartin and Lucille Murray Sassona Norton and Ron Filler

Mr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda SchultzPeter and Sharon SchuurMichael W. SchwartzCarol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. Singer

Diane Smook and Robert PeduzziGary So, in honor of Sooyun KimSally WardwellPatricia and Lawrence WeinbachLarry Wexler and Walter BrownJanet Yaseen and the

Honorable Bruce M. KaplanNoreen and Ned Zimmerman

YOUNG PATRONS* ($500+)Jordan C. AgeeRaoul Boisset Jamie ForsethRobert J. HaleyYoshiaki David KoLiana and Joseph Lim

Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason Nong

Eren Erdemgil Sahin and Erdem SahinShu-Ping ShenJonathan U.R. Smith Erin SolanoMr. Nick Williams and Ms. Maria DoerflerRebecca Wui and Raymond Ko

SILVER PATRONS ($1,500 to $2,499)Anonymous (5)Alan AgleHarry E. AllanLawrence H. AppelBrett Bachman and Elisbeth ChallenerDr. Anna BalasBetsy Shack BarbanellLillian BarbashMr. and Mrs. William G. BardelCaryl Hudson BaronRichard L. BaylesMr. and Mrs. T. G. BerkAdele BilderseeJudith Boies and Robert ChristmanCahill Cossu Noh and RobinsonCharles and Barbara BurgerJeff and Susan CampbellAllan and Carol CarltonDale C. Christensen, Jr.Judith G. ChurchillBetty CohenMarilyn and Robert CohenMr. Mark Cohen, in memory of May LazerAlan and Betsy Cohn FoundationJon Dickinson and Marlene BurnsJoan DyerThomas E. Engel, Esq.Mr. Arthur FergusonHoward and Margaret FluhrMr. Andrew C. Freedman and

Ms. Arlie SulkaMr. and Mrs. Burton M. Freeman

Rosalind and Eugene J. GlaserJudith HeimerCharles and Nancy HoppinDr. Beverly Hyman and

Dr. Lawrence BirnbachBill and Jo Kurth JagodaDr. Felisa B. KaplanKeiko and Steven B. Kaplan,

in honor of Paul HuangStephen and Belinda Kaye Thomas C. KingPatricia Kopec Selman and Jay E. SelmanDr. and Mrs. Eugene S. KraussEdith KubicekRichard and Evalyn LambertCraig Leiby and Thomas ValentinoDr. Donald M. LevineJames Liell Walter F. and Phyllis Loeb Family Fund

of the Jewish Communal FundDr. Edward S. LohNed and Francoise MarcusCarlene and Anders MaxwellEileen E. McGann Sheila Avrin McLean and David McLeanIlse MelamidMerrick Family FundMr. and Mrs. Leigh MillerBernice H. MitchellAlan and Alice ModelAlex PagelBarbara A. Pelson

Charles B. RaglandMr. Roy Raved and Dr. Roberta LeffDr. Hilary Ronner and Mr. Ronald FeimanJoseph and Paulette RoseDiana and Michael RothenbergMarie von SaherDavid and Sheila RothmanSari and Bob SchneiderDelia and Mark SchulteMr. David Seabrook and

Dr. Sherry Barron-SeabrookJill S. SlaterMorton J. and Judith SloanAnnaliese SorosDr. Margaret Ewing SternDeborah F. StilesAlan and Jaqueline StuartSusan Porter TallJoseph C. TaylorErik and Cornelia ThomsenJudith and Michael Thoyer Leo J. TickSalvatore and Diane VaccaMr. and Mrs. Joseph ValenzaPierre and Ellen de VeghDr. Judith J. Warren and

Dr. Harold K. GoldsteinAlex and Audrey WeintrobRobert Wertheimer and Lynn SchackmanTricia and Philip WintererGro V. and Jeffrey S. Wood Cecil and Gilda Wray

PRESTO ($1,000 to $1,499)

ALLEGRO ($600 to $999)

Anonymous (5)Bialkin Family FoundationMaurice and Linda Binkow Philanthropic

Fund of the United Jewish FoundationAnn S. ColeAllyson and Michael ElyMr. Stephen M. FosterKris and Kathy HeinzelmanDr. and Mrs. Wylie C. HembreeAlice Henkin Mr. and Mrs. James R. Houghton

Thomas Frederick JamboisLeeds Family FoundationThe David Minkin FoundationDot and Rick NelsonChristine PishkoMimi Poser James B. RanckMs. Kathee RebernakMs. Linda C. RoseMr. David Rosner

Charles S. Schreger Monique and Robert SchweichRobert A. SilverEsther Simon Charitable TrustBarbaralee Diamonstein-Spielvogel and

Ambassador Carl SpielvogelAndrea and Lubert StryerMs. Jane V. TalcottHerb and Liz TulchinJill and Roger WittenFrank Wolf

Anonymous (1)Sophia Ackerly and Janis BuchananMrs. Albert Pomeroy BedellBrian Carey and Valerie TomaselliDorothy and Herbert FoxMrs. Margherita S. FrankelDorothy F. GlassMiriam GoldfineAbner S. GreeneSharon GurwitzEvan and Florence JanovicPete Klosterman

Peter KrollLinda LarkinBarbara and Raymond LeFebvreMr. Stanley E. LoebJane and John Loose Thomas Mahoney and Emily Chien,

in honor of Paul and Linda Gridley Linda and Tom Marshella, in memory

of Donald F. HumphreyDr. and Mrs. Richard R. NelsonAmanda ReedLisa and Jonathan Sack

Diana and John SidtisAnthony R. SokolowskiMr. and Mrs. Myron Stein,

in honor of Joe CohenDr. Charles and Mrs. Judith

Lambert SteinbergMr. David P. StuhrSherman TaishoffMr. and Mrs. George WadeWillinphila Foundation

*as of March 28, 2018

Friends

*For more information, call (212) 875-5216 or visit chambermusicsociety.org/yp


The Chamber Music Society wishes to express its deepest gratitude for The Daniel and Joanna S. Rose Studio, which was made possible by

a generous gift from the donors for whom the studio is named.

CMS is grateful to JoAnn and Steve Month for their generous contribution of a Steinway & Sons model "D" concert grand piano.

The Chamber Music Society's performances on American Public Media's Performance Today program are sponsored by MetLife Foundation.

CMS extends special thanks to Arnold & Porter for its great generosity and expertise in acting as pro bono Counsel.

CMS gratefully recognizes Shirley Young for her generous service as International Advisor.

CMS wishes to thank Covington & Burling for acting as pro bono Media Counsel.

CMS is grateful to Holland & Knight LLP for its generosity in acting as pro bono international counsel.

This season is supported by public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State

Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council.

From the Chamber Music Society's first season in 1969–70, support for this special institution has come from those who share a love of chamber music and a vision for the Society's future.

While celebrating our 48th Anniversary Season this year we pay tribute to the distinguished artists who have graced our stages in thousands of performances. Some of you were here in our beloved Alice Tully Hall when the Chamber Music Society's first notes were played. Many more of you are loyal subscribers and donors who, like our very first audience, are deeply passionate about this intimate art form and are dedicated to our continued success.

Those first steps 48 years ago were bold and ambitious. Please join your fellow chamber music enthusiasts in supporting CMS by calling the Membership Office at (212) 875-5782, or by donating online at www.ChamberMusicSociety.org/support. Thank you for helping us to continue to pursue our important mission, and for enabling the Chamber Music Society to continue to present the finest performances that this art form has to offer.

The Chamber Music Society gratefully recognizes those individuals, foundations, and corporations whose estate gifts and exceptional support of the Endowment Fund ensure a firm financial base for the Chamber Music Society's continued artistic excellence. For information about gifts to the Endowment Fund, please contact Executive Director Suzanne Davidson at (212) 875-5779.

MAKE A DIFFERENCE

THE CHAMBER MUSIC SOCIETY ENDOWMENT

Lila Acheson Wallace Flute ChairMrs. John D. Rockefeller III

Oboe ChairEstate of Anitra Christoffel-Pell Charles E. Culpeper Clarinet ChairFan Fox & Leslie R. SamuelsViolin ChairMrs. William Rodman Fay Viola ChairAlice Tully and Edward R.

Wardwell Piano ChairEstate of Robert C. AckartEstate of Marilyn ApelsonMrs. Salvador J. AssaelEstate of Katharine BidwellThe Bydale FoundationEstate of Norma ChazenJohn & Margaret Cook FundEstate of Content Peckham CowanCharles E. Culpeper FoundationEstate of Catherine G. Curran

Mrs. William Rodman FayThe Hamilton FoundationEstate of Mrs. Adriel HarrisEstate of Evelyn HarrisThe Hearst FundHeineman FoundationMr. and Mrs. Peter S. HellerHelen Huntington Hull FundEstate of Katherine M. HurdAlice Ilchman Fund

Anonymous Warren Ilchman

Estate of Peter L. Kennard Estate of Jane W. KitselmanEstate of Charles Hamilton

NewmanMr. and Mrs. Howard Phipps, Jr.Donaldson C. Pillsbury FundEva Popper, in memory of Gideon StraussMrs. John D. Rockefeller 3rd

Daniel and Joanna S. RoseEstate of Anita SalisburyFan Fox & Leslie R. Samuels

FoundationThe Herbert J. Seligmann

Charitable TrustArlene Stern TrustEstate of Arlette B. SternEstate of Ruth C. SternElise L. Stoeger Prize for

Contemporary Music, bequest of Milan Stoeger

Estate of Frank E. Taplin, Jr.Mrs. Frederick L. TownleyMiss Alice TullyLila Acheson WallaceLelia and Edward WardwellThe Helen F. Whitaker FundEstate of Richard S. ZeislerHenry S. Ziegler

CALIDORE STRING QUARTET JEFFREY MYERS, violin RYAN … · in the quartet firmament, the Calidore...

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Transcript of CALIDORE STRING QUARTET JEFFREY MYERS, violin RYAN … · in the quartet firmament, the Calidore...