george crumb at 90: part i...please turn off cell phones and other electronic devices....

This concert is made possible, in part, by The Aaron Copland Fund for Music, The Gladys Krieble Delmas Foundation, the Francis Goelet Charitable Lead Trusts, the Axe-Houghton Foundation, and the National Endowment for the Arts.

The Chamber Music Society acknowledges with sincere appreciation Ms. Tali Mahanor’s generous long-term loan of the Hamburg Steinway & Sons model “D” concert grand piano.

SUNDAY AFTERNOON, APRIL 14, 2019, AT 5:00 3,954TH CONCERT

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

TONY ARNOLD, sopranoGLORIA CHIEN, pianoGILBERT KALISH, pianoKRISTIN LEE, violinMIHAI MARICA, celloTARA HELEN O'CONNOR, fluteVICTOR CACCESE, percussionDANIEL DRUCKMAN, percussionAYANO KATAOKA, percussionEDUARDO LEANDRO, percussionIAN DAVID ROSENBAUM, percussion

GEORGE CRUMB(b. 1929)

CRUMB

Three Early Songs for Voice and Piano (1947)  Night  Let It Be Forgotten Wind ElegyARNOLD, KALISH

Four Nocturnes (Night Music II) for Violin and Piano (1964)  Notturno I: Serenamente  Notturno II: Scorrevole, vivace possibile  Notturno III: Contemplativo  Notturno IV: Con un sentimento di nostalgiaLEE, CHIEN

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

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GEORGE CRUMB AT 90: PART I

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American Songbook III: Unto the Hills for Soprano, Amplified Piano, and Four Percussionists (2001)  Poor Wayfaring Stranger  All the Pretty Little Horses (An Appalachian Lullaby)  Ten Thousand Miles  Ev'ry Night When the Sun Goes In  Appalachian Epiphany: A Psalm for Sunset and Dusk (Instrumental Interlude)

  a) Down in the Valley b) Hush, Little Baby (An Appalachian Lullaby)

  Black, Black, Black is the Color The Riddle  Poor Wayfaring Stranger (Echo)ARNOLD, KALISH, DRUCKMAN, ROSENBAUM, KATAOKA, LEANDRO

INTERMISSION

Processional for Piano (1983)KALISH

Vox Balaenae (Voice of the Whale) for Three Masked Players (1971)  Vocalise (. . . for the beginning of time)  Variations on Sea-Time  Archeozoic (Variation I)  Proterozoic (Variation II)  Paleozoic (Variation III)  Mesozoic (Variation IV)  Cenozoic (Variation V)  Sea Nocturne (. . . for the end of time)O'CONNOR, MARICA, CHIEN

KRONOS-KRYPTOS for Percussion Quintet (CMS Co-Commission, World Premiere) (2018)  Easter Dawning  A Ghostly Barcarolle  Drummers of the Apocalypse Appalachian EchoesDRUCKMAN, KATAOKA, ROSENBAUM, LEANDRO, CACCESE

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

KRONOS-KRYPTOS was commissioned by the Chamber Music Society of Lincoln Center and The Irving and Verna Fine Fund in the Library of Congress.

ABOUT TONIGHT'S PROGRAMDear Listener,

We welcome you to our George Crumb celebration. If we could ask every one of you what brought you to these concerts, we would undoubtedly collect an interesting variety of answers. We’d find those who know Crumb’s music and likely many who have never heard a note. Perhaps some of you have heard Crumb with us right here, as his music has been programmed by CMS in New York and on tour extensively. Of course one good reason to be here is to participate in an historic occasion: not only an unprecedented two-concert opportunity to immerse oneself in Crumb’s sound world, but also to honor him and his work, and to literally sit in the company of one of America’s most important composers and a musical voice for the ages. 

During our formative musical years, the name of George Crumb was on the tip of the music industry’s tongue. Coming from Charleston, West Virginia, and having trained not in America’s most prominent conservatories, he was somewhat of an outlier, and had been building a career primarily as a teacher. Crumb burst onto the scene in 1970 with his iconic work Ancient Voices of Children, which was commissioned by the Coolidge Foundation and premiered at the Library of Congress. The piece, and the composer, caught the imagination of listeners across a broad spectrum, appealing to the many who felt alienated by the confrontational attitude of many of the day’s contemporary composers and their various movements and schools. Recalling for us first-hand the Crumb phenomenon of that era has been pianist Gilbert Kalish, who played the Ancient Voices premiere and recorded the work, which sold an astounding 70,000 copies. 

The music of some composers lasts, and that of many doesn’t. In our view, it comes down to a combination of substance and appeal, and the more substance there is in a composer’s work, the greater chance it has of inviting repeated hearings. Crumb’s music comes to the stage bearing enormous amounts of both: his extraordinary imagination has led him to invent sounds and ways of playing the instruments; his artistry and technique spellbinds his listeners; his curiosity feeds on multiple sources of inspiration, from poetry to the songs of whales. His music is spiritual without adhering to any particular faith, and continues to speak to the many who yearn for transformative experiences that take them to a more rarified world. In this way, Crumb may count among his musical comparisons composers such as Webern, Ives, Scriabin, Messiaen, Pärt, and Gorecki, but George Crumb is still very much his own artist, on his own path, with a faithful and ever-growing legion of followers. 

(continued)

www.ChamberMusicSociety.org

George Crumb: A Life in Six Compositions

Three Early Songs for Voice and Piano

GEORGE CRUMB  Born October 24, 1929, in Charleston, West Virginia.

SOMETHING TO KNOW: Crumb dedicated these songs to his girlfriend and later wife, Elizabeth, who sang the premiere.

SOMETHING TO LISTEN FOR: The piano part in the last song evokes gusts of wind and ends with the stillness of sleep.

Of all the early works George Crumb lists in his catalog, some going back to when he was 15 or so, only this set of songs has he wanted to publish. The reasons may be partly personal: the set was first sung by his high-school sweetheart, Elizabeth May Brown, soon to be his wife, and he brought it out again much later for Jan DeGaetani, who had played a big part in getting his music known. But also, besides giving us some sense of where he was coming from—Debussy, Appalachian folk song—the songs indicate a little of where he 

was going, in their high piano textures, ostinatos, and fifths suggestive of medieval music. The first song even engages with that favorite Crumbian topic of night.

Perhaps the young composer had been introduced to the poems—by Southey and by Sara Teasdale (for the second and third songs)—in English class, for this was still the work of a teenager, graduating from high school the same year to enter the music and fine arts college in his home town of Charleston, West Virginia.  u

Composed in 1947.  Tonight is the fi rst CMS performance of these songs.

  Duration: 6 minutes

David Finckel              Wu HanARTISTIC DIRECTORS

Mr. Crumb: if you have the occasion to read this, we hope we’ve done you justice in words as we strive to do for you on our stages. Thank you for the incomparable gifts you have given to music, and to our world, and Happy Birthday from all of us. 

Enjoy the concerts,

The Chamber Music Society of Lincoln Center

Four Nocturnes (Night Music II) for Violin and Piano

GEORGE CRUMBComposed in 1964.

SOMETHING TO KNOW: This piece evokes all the unexpected sounds of night, with the instruments often in their highest and lowest registers and lots of plucking, knocking, and special techniques.

SOMETHING TO LISTEN FOR: The third nocturne ends with “Rain-Death Music,” marked delicatissimo.

Crumb left West Virginia in 1950 for graduate studies at the University of Illinois at Champaign-Urbana with Eugene Weigel, a pupil of Hindemith, and then at Ann Arbor with Ross Lee Finney. He was developing new enthusiasms: Bartók and Mahler—an unlikely couple, perhaps, but these were both composers who opened music to the outdoors, whether of village songs and nocturnal creatures or of tavern and parade ground. Along the way, the budding musician had a year in East Berlin studying with Boris Blacher, though perhaps gaining more from the opera available nightly.

All the time he was, of course, composing—mostly chamber pieces, of which only his Sonata for Solo Cello (1955) has been published. There are glimpses of his future here, and still more so in the nocturnal section of the orchestral Variazioni (1959) that was his doctoral thesis, composed when he was already teaching at Boulder. After that work, however, the catalog is bare until the sudden self-discovery he made in his Five Pieces for Piano, completed in November 1962. All at once, he found a palette of evocative sounds made by plucking strings, holding them down at certain points to release harmonics, or 

attaching a paperclip to generate a fizz of metallic resonances. He also found he would need amplification to project these ephemeral sonorities, which were opening a new sense of time as non-progressive: suspended, floating, or rapidly flicking from one state to another.

The following year, he expanded his new language in Night Music I for a trio on keyboards and percussion with a soprano in two of the seven movements singing poems by another important acquisition to his imaginative universe, Federico García Lorca. The year after that came this second “night music,” a sequence of four short movements—the whole opus lasts only around ten minutes—in which violin and piano wander together through the night. There may be the sense of one calling to the other, as at the very beginning, but more often the two conjoin, for in Crumb’s universe both can produce pizzicatos, glissandos, harmonics, and noises made by tapping on the instrument’s body.

Out at night, our ears may have more acuity than our eyes, and the invitation here is first of all to listen as if in darkness, then to imagine. We may feel we experience threads of faint light, sounds echoing from the 

  First CMS performance on February 5,  2009, by violinist Yoon Kwon and pianist Gilbert Kalish.



distance or else immediately present: insect noises, bird calls, things moving, bells. Meanwhile, on the formal level, the music is proceeding rather in the way of a sonata, with a scherzo (the toccata-like second piece, having a middle section of broken music), a slow 

movement (the third piece, ending with what the composer in the score calls “rain-death music”—a description to appear again the following year in his first book of Lorca-setting Madrigals), and a finale that immediately recalls the opening movement.  u

We fast forward here to the first decade of the present century, when Crumb’s big project was his American Songbook series. This, over the years from 2001 to 2010, came to comprise seven volumes, each with eight to ten songs and maybe an instrumental piece, scored for a regular ensemble of percussion quartet and amplified piano. Unto the Hills, though placed third in the collection, was the first to be written, and it sticks closest to home, as if the psalmist’s words (“I will lift up mine eyes unto the hills”) could have referred to the Blue Ridge Mountains of West Virginia.

Of this work, subtitled “Songs of Yearning, Sadness, and Innocence,” the composer has written:

“The original impulse to compose a cycle of Appalachian folk song settings came about through a suggestion of my daughter Ann, who had long been interested in American folk music and in particular those haunting tunes 

associated with Appalachia. She hoped I might find inspiration for an extended work suitable for concert performance. In undertaking the task I was, in a sense, returning to my own Appalachian roots. Indeed, these beautiful and haunting melodies were always a part of my musical psyche, and in many of my earlier compositions I had quoted fragments of these tunes as a sort of symbolic and very personal musical ‘signature.’ This present work represents a selection of my very favorite pieces of the genre—pieces as varied as the darkly brooding ‘Poor Wayfaring Stranger,’ the heart-breaking intonations of an emerging blues style in the Southern Appalachian ‘Ev’ry Night When the Sun Goes In,’ and the light-hearted and playful little song entitled ‘The Riddle.’ In confronting these songs head-on, so to speak, I determined to leave the beautiful melodies intact (only occasionally 

American Songbook III: Unto the Hills for Soprano, Amplified Piano, and Four Percussionists

GEORGE CRUMBComposed in 2001, rev. 2005.

SOMETHING TO KNOW: This was the first of the seven American Songbooks  that Crumb composed, and it’s dedicated to songs from Appalachia, where Crumb grew up.

SOMETHING TO LISTEN FOR: Crumb writes, “In the matter of the folk song texts, I found a huge variety of alternate versions and my daughter and I simply chose our favorites.”

  Tonight is the first complete CMS performance of this piece.



Circle Music from Appalachian Epiphany:A Psalm for Sunset and Dusk (Instrumental Interlude)

“spreading” the metrics for a more spacious effect or compressing the bar for greater momentum) since one could not hope to “improve” on their pristine perfection. In the matter of the folk song texts, I found a huge variety of alternate versions and my daughter and I simply chose our favorites. I have attempted to heighten the expressiveness of this music by scoring the work for a rather unusual ‘orchestra’ consisting of a quartet of 

percussionists (who play a number of rather unconventional instruments in addition to the more common ones) and amplified piano. By means of a wide range of timbres and textures together with the use of an extended chromaticism and occasionally unusual rhythmic patterns, I have attempted to bring out the psychological depth and mysticism and also the humor (both whimsical and ironic) inherent in Appalachian folklore.”  u


In the 1970s, Crumb returned several times to the piano, which was not only his own instrument but also, as he had discovered, a rich timbral resource. Piano works of this period, all developing the possibilities he had discovered in the Five Pieces and Four Nocturnes of the previous decade, include his two Makrokosmos sets for amplified solo piano (1972–73), each a half-hour sequence of 12 pieces for the signs of the Zodiac.

Then, in 1983, he set himself the challenge of writing simply for two hands playing at the keyboard in the normal way, with no delving inside the piano in search of the unusual, and no amplification. The result is a change of emphasis, from color, in music that tends to be either still or speedy, to harmony, in a state of continuous steady motion. Setting up a pulse that will be maintained to the end almost without interruption, the hands begin by picking out a descending motif, of whole-tone groups separated by a minor third: F–E♭–D♭–B♭–A♭–G♭. Once sounded, 

each note goes on being re-sounded, building up a complex harmony of G♭ major. We are at once in Debussy territory, so that this advance, by a composer now in his mid-50s, is also a return; and the Debussy connection was evidently in Crumb’s mind, for he writes of the composition as “an experiment in harmonic chemistry,” quoting a comment of Debussy’s on his piano piece Reflets dans l’eau. As the chemistry proceeds, through changes of keynote and color within the pulsing, small figures related to the original motif appear, like—to change the metaphor—fish leaping from a pond or seen below the surface. Around halfway through, the harmony returns to where it was at the opening; towards the end, the original motif creeps back in.

Crumb includes in an appendix six short alternative sequences bringing in some of his non-standard sounds. Pianists can choose to include these echoes of the familiarly unfamiliar or keep the piece in its pristine strangeness.  u

Processional for Piano


SOMETHING TO KNOW: Processional is one of multiple works that Crumb dedicated to pianist Gilbert Kalish.

SOMETHING TO LISTEN FOR: This is one of Crumb’s few piano pieces that is written to be played mostly on the keys.

  First CMS performance on April 30, 2015, by pianist Gilbert Kalish.


HEAR MORE GILBERT KALISH: Visit the Watch and Listen section of the CMS website for many performances by Gilbert Kalish, including Charles Ives's monumental Concord Sonata.


The period that immediately followed Crumb’s move in 1965 from Boulder to the University of Pennsylvania brought a creative upsurge, beginning with an immediate response to his new East Coast environment in Eleven Echoes of Autumn, 1965 for mixed quartet. In 1967, the year of his début recording (Night Music I on the CRI label), he produced a first orchestral work in his mature style, Echoes of Time and the River, which won him a Pulitzer Prize. Then, in 1969–71, came the compositions that caught attention worldwide, especially Black Angels (to be performed at Tuesday’s concert), Ancient Voices of Children, setting Lorca for mezzo-soprano, boy soprano, and seven-piece ensemble, and this present work, scored for piano, flute, and cello.

Crumb, like many people, was deeply struck by the 1970 album Songs of the Humpback Whale, which introduced to human auditors these deep-sea vocalizations as recorded a decade or more previously off the coast of Bermuda by Frank Watlington (who was being employed by the U.S. Navy at the time to listen out for Russian submarines) and, following him, two academic zoologists, Roger 

and Katharine Payne. Vox Balaenae was a creative response, drawing on cetacean singing not only as a musical influence but also for its poetic aura, in particular with regard to antiquity. Where we human beings have no music much more than a thousand years old, it is very possible that whales have been singing very much as they do now for millions of years. Crumb could thus have his work plumb not only the depths of the ocean but also those of time.

In the span of a mere 20 minutes or so, the piece proceeds from the beginning of time to its end, by way of the four billion years of life’s evolution on earth, as customarily divided into eons: the Archaeozoic (nowadays generally called “Archaean”), when the only living forms were blue-green algae and bacteria; the Proterozoic, when there were protists, or single-celled creatures; the Paleozoic, marked by much more complex animals (e.g. trilobites) and plants; the Mesozoic, the era of dinosaurs and tree ferns; and the Cenozoic, the most recent 65 million years, through which the landscape of life has been the more familiar one of mammals, birds, bony fish, insects, and flowering plants.

Vox Balaenae (Voice of the Whale) for Three Masked Players

GEORGE CRUMBComposed in 1971.  Premiered on March 17, 1972, at the  Library of Congress in Washington, D.C.,  by the New York Camerata.

SOMETHING TO KNOW: Vox Balaenae was inspired by the sounds of the humpback whale, and the three players wear masks to signify “nature dehumanized.”

SOMETHING TO LISTEN FOR: Parodies of the famous motives from Strauss’s Also sprach Zarathustra occur toward the beginning and end of the piece.

  First CMS performance on April 1, 1983, by flutist Paula Robison, cellist David Finckel, and pianist Samuel Sanders.



To help effect this hundred-trillion-fold compression of time (or expansion, if we imagine the composition as a “chronoscope,” giving us imaginative access to a huge sweep in a brief while), Crumb needed to defamiliarize the performing situation, which he did by suggesting deep-blue lighting and, for the musicians, half-masks. The piece is, however, atmospheric enough as a pure listening experience, besides being estranged from the norms by 

its novel sounds and the amplification used to make them heard.

The opening ‘Vocalise’ is surely that of the humpback whale, recreated by the flutist, who for a good while performs alone. Though we cannot know what whale song means to whales, to human ears its raw timbre and slow glissandos sound like the wailing or moaning of a being in desolation. Crumb projects the song through the double lens of non-western human music—an improvisation 

Voice of the Whale, like most of Crumb’s pieces, uses special effects that create unique and otherworldly sounds. The opening of the first variation, Archeozoic, employs two of them—the seagull effect and chisel-piano:

Score example courtesy of C.F. Peters Corporation


from the Islamic world, perhaps—and contemporary instrumental techniques, especially that of singing into the instrument. Both these lenses will be in operation through most of the piece.

Towards the end of the “Vocalise,” the other two musicians enter, and stay for the cello to sing the “Sea Theme” in high harmonics, punctuated by bass-register strummings on the piano’s strings. These two instruments also contribute the first variation, where the cellist delivers super-high glissandos while the pianist, playing with a chisel on the strings, gives something the impression of a tack piano that can achieve glissandos. The Proterozoic variation takes place over a low piano drone; the Paleozoic comes with a burst of light and oscillating 

fifths springing from Indonesian metal percussion. Marked “exultantly,” the Mesozoic eon brings more quasi-tack piano (a glass rod has been placed on the strings) with stirring melodic calls from flute and cello together. Then in the Cenozoic we hear the insects and birds (flute part) of more modern times, with the jubilant piano chords from the close of the “Vocalise.”

One might feel that the “Sea Theme” has been lost through these colorful variations, but it is suddenly restored at the start of the finale by the flutist and cellist whistling. As this “Sea-Nocturne” continues, shimmering and pentatonic, and with antique cymbals in play, it takes an East Asian, star-sound course into the furthest future.  u

We end with Crumb’s most recent composition, but one that already has some history, for its opening movement is an arrangement of a piece he wrote more than a quarter of a century ago for the Guild of Carillonneurs in North America. Their instrument, the carillon, is an array of bells, most often placed in the tower of a church, played by way of a keyboard. Crumb wrote “Easter Dawning” as a pealing of bells mostly in the top two octaves of the standard four-octave carillon, 

and this is now reproduced by an assembly almost entirely of metal percussion instruments, some pitched (glockenspiel and antique cymbals on the top layer, vibraphones and tubular bells below), some not. The marking, as for the original carillon piece, is: “Joyously resounding!”

As its title suggests, “A Ghostly Barcarolle” brings a change of atmosphere. Many of the same instruments are in play, but there are some new ones (water being poured 

KRONOS-KRYPTOS for Percussion Quintet


SOMETHING TO KNOW: The first movement is based on a piece that Crumb wrote for carillon in 1992.

SOMETHING TO LISTEN FOR: The final movement recalls fragments of folk songs, including some that were featured in American Songbook III.

  Tonight is the world premiere of this piece.  Duration: 15 minutes


—Paul Griffiths

into a bucket, pulsing maraca and Tibetan prayer stones, flexatone, Caribbean steel pans), all playing at a pianissimo as melodies are passed on amid tremulous noises. The barcarolle rhythm of three times three sixteenth notes to the measure moves in and out of focus.

This switches to a fast five-beat measure for “Drummers of the Apocalypse,” where the marking is: “Thunderous, implacable!” The movement is largely for unpitched instruments: drums, of course, but also cymbals and tam tams, guiros (rubbed ribbed objects) and claves (wooden slats struck together). Eventually, however, the drumming and the yelling call up high chimes from antique cymbals, and the flexatone comes in “like a scream!”

The slow finale, “Appalachian Echoes,” characteristically looks out to the heavens—the subtitle is “The Cosmic Music of a Starlit Night”—and back home. Two of the players, on vibraphone and Japanese temple bells, with metal resonances and whispering, project a phrase that keeps rotating (“like a wheel,” Crumb suggests) between the silence out of which it starts and the silence in to which it folds. Meanwhile, the other three musicians alternate “Wafting Melodies” (including two heard before in this concert) with what the composer Wagnerianly calls “Forest Murmurs,” being impressions of cicada, owl, frog, songbird, and wind, plus a recollection of “Easter Dawning.”

Kronos–Kryptos = Time-Code – time coded, perhaps, by sound into image and memory.  u

GEORGE CRUMB AT 90 – PART IITUESDAY, APRIL 16, 2019, 7:30 PM ALICE TULLY HALL

CMS’s tribute to George Crumb continues with a second program that reveals the composer in all his kaleidoscopic creativity. Works include Black Angels, The Ghosts of Alhambra (Spanish Songbook I), and Music for a Summer Evening (Makrokosmos III).

FROM MENDELSSOHNSUNDAY, APRIL 28, 2019, 5:00 PM ALICE TULLY HALL

Mendelssohn’s combined mastery of melody, form, counterpoint, and the chamber idiom was admired and imitated by composers for generations to come. In a program bookended by works of Mendelssohn, we hear works by his admirers Schumann, Brahms, and Tchaikovsky.

UPCOMING CONCERTS AT CMS


TONY ARNOLD  Tony Arnold is internationally acclaimed as a leading proponent of contemporary music in concert and recording, a “convincing, mesmerizing soprano” (Los Angeles Times). Her unique blend of vocal virtuosity and communicative warmth, combined with wide-ranging skills in education and leadership, were recognized with the 2015 Brandeis Creative Arts Award, given in appreciation of “excellence in the arts and the lives and works of distinguished, active American artists.” Her 

extensive chamber music repertory includes major works written for her by Georges Aperghis, Eric Chasalow, George Crumb, Nathan Davis, Brett Dean, Jason Eckardt, Gabriela Lena Frank, Fredrick Gifford, David Gompper, Jesse Jones, Josh Levine, David Liptak, Philippe Manoury, Carlos Sanchez-Gutierrez, Christopher Theofanidis, Ricardo Zohn-Muldoon, and John Zorn. She is a member of the intrepid International Contemporary Ensemble. With more than 30 discs to her credit, she has recorded a broad segment of the modern vocal repertory with esteemed chamber music colleagues. She received a 2006 Grammy nomination for her recording of George Crumb’s Ancient Voices of Children (Bridge Records). She is a first-prize laureate of the Gaudeamus International and the Louise D. McMahon competitions. A graduate of Oberlin College and Northwestern University, Ms. Arnold was twice a fellow of the Aspen Music Festival as both a conductor and singer. She currently teaches at the Peabody Conservatory and the Tanglewood Music Center.

VICTOR CACCESE  Victor Caccese is the founder of the Brooklyn-based percussion quartet Sandbox Percussion. As a member of Sandbox, he has performed over 150 concerts worldwide and taught at institutions such as The Peabody Conservatory, The Curtis Institute, Michigan State University, Furman University, Vanderbilt University, University of Kansas, and University of Massachusetts Amherst. He has collaborated with composers such as Amy Beth Kirsten, Andy Akiho, Chris Theofanidis, 

David Crowell, James Wood, John Luther Adams, and Thomas Kotcheff. Last fall, with Sandbox Percussion, he premiered a concerto by composer Viet Cuong with the Albany Symphony. This summer he will teach and perform at the fourth annual NYU Sandbox Percussion Seminar, a chamber music festival accepting students from around the world to study and perform some of today’s leading contemporary percussion pieces. Also a composer and arranger, he has written a number of pieces for percussion. His works have been performed by Sandbox Percussion more than 50 times throughout the United States. Mr. Caccese holds degrees from the Peabody Conservatory and the Yale School of Music. He serves on faculty at the Dwight Conservatory in Manhattan and is a visiting artist at University of Massachusetts Amherst with Sandbox Percussion as the ensemble in residence. He performs on Pearl/Adams instruments, Vic Firth drumsticks, and Remo drumheads.

ABOUT THE ARTISTS

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GLORIA CHIEN  Taiwanese-born pianist Gloria Chien has one of the most diverse musical lives as a noted performer, concert presenter, and educator. She was selected by the Boston Globe as one of its Superior Pianists of the year, "… who appears to excel in everything." She made her orchestral debut at the age of 16 with the Boston Symphony Orchestra with Thomas Dausgaard, and performed again with the BSO with Keith Lockhart. In recent seasons she has performed as a recitalist and chamber musician 

at Alice Tully Hall, the Library of Congress, the Phillips Collection, the Kissingen Sommer festival, the Dresden Chamber Music Festival, and the National Concert Hall in Taiwan. An alum of The Bowers Program (formerly CMS Two), she performs frequently with the Chamber Music Society of Lincoln Center. In 2009 she launched String Theory, a chamber music series at the Hunter Museum of American Art in downtown Chattanooga, that has become one of Tennessee’s premier classical music presenters. The following year she was appointed Director of the Chamber Music Institute at the Music@Menlo festival by Artistic Directors David Finckel and Wu Han. In 2017, she joined her husband, violinist Soovin Kim, as Co-Artistic Director of the Lake Champlain Chamber Music Festival in Burlington, Vermont. Ms. Chien received her bachelor’s, master’s, and doctoral degrees from the New England Conservatory of Music as a student of Russell Sherman and Wha-Kyung Byun. She holds the position of artist-in-residence at Lee University in Cleveland, Tennessee. She is a Steinway Artist.

DANIEL DRUCKMAN  Percussionist Daniel Druckman is active as a soloist, chamber and orchestral musician, and recording artist, concertizing throughout the United States, Europe, and Japan. He has appeared as soloist with the Los Angeles Philharmonic, the American Composer’s Orchestra, the New York Philharmonic’s Horizons concerts, the San Francisco Symphony’s “New and Unusual Music Series,” and in recital in New York, Los Angeles, San Francisco, and Tokyo. He has been a member of the New 

York Philharmonic since 1991, where he serves as Associate Principal Percussionist, and has made numerous guest appearances with the Chamber Music Society of Lincoln Center, the Da Capo Chamber Players, the American Brass Quintet, the Group for Contemporary Music, Orpheus, Steve Reich and Musicians, and the Philip Glass Ensemble. An integral part of New York’s new music community, both as soloist and as a member of the New York New Music Ensemble and Speculum Musicae, he has premiered works by Milton Babbitt, Elliott Carter, Jacob Druckman, Aaron Jay Kernis, Oliver Knussen, Poul Ruders, Joseph Schwantner, Ralph Shapey, and Charles Wuorinen. Recent solo recordings include Elliott Carter’s Eight Pieces for Four Timpani on Bridge Records and Jacob Druckman’s Reflections on the Nature of Water on Koch International. Born and raised in New York City, Mr. Druckman attended The Juilliard School, where he received both bachelor’s and master’s degrees. He is a faculty member of The Juilliard School, where he serves as chairman of the percussion department and director of the percussion ensemble.

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GILBERT KALISH  The profound influence of pianist Gilbert Kalish as an educator and pianist in myriad performances and recordings has established him as a major figure in American music-making. In 2002 he received the Richard J. Bogomolny National Service Award for his significant and lasting contribution to the chamber music field and in 2006 he was awarded the Peabody Medal by the Peabody Conservatory for his outstanding contributions to music in America. He was the pianist of the Boston Symphony 

Chamber Players for 30 years, and was a founding member of the Contemporary Chamber Ensemble, a group that flourished during the 1960s and 70s in support of new music. He is particularly well-known for his partnership of many years with mezzo-soprano Jan DeGaetani, as well as for current collaborations with soprano Dawn Upshaw and cellists Timothy Eddy and Joel Krosnick. As an educator and performer he has appeared at the Banff Centre, the Steans Institute at Ravinia, the Marlboro Music Festival, and Music@Menlo, where he serves as the international program director of the Chamber Music Institute. He also served as chairman of the Tanglewood faculty from 1985 to 1997. His discography of some 100 recordings embraces both the classical and contemporary repertories; of special note are those made with Ms. DeGaetani and that of Ives’s Concord Sonata. A distinguished professor at Stony Brook University, Mr. Kalish has performed with the Chamber Music Society of Lincoln Center since 2004.

AYANO KATAOKA  Percussionist Ayano Kataoka is known for her brilliant and dynamic technique, as well as the unique elegance and artistry she brings to her performances. The first percussionist to be chosen for The Bowers Program (formerly CMS Two), she has collaborated with many of the world’s most respected artists, including Emanuel Ax, Jaime Laredo, Ani Kavafian, David Shifrin, and Jeremy Denk. She gave the world premiere of Bruce Adolphe’s Self Comes to Mind for cello and two percussionists 

with cellist Yo-Yo Ma at the American Museum of Natural History in 2009. She presented a solo recital at Tokyo Opera City Recital Hall which was broadcast on NHK, the national public station of Japan. Her performances can also be heard on the Deutsche Grammophon, Naxos, New World, Bridge, New Focus, and Albany record labels. Since 2013 she has toured the United States and Mexico extensively as a percussionist for Cuatro Corridos, a chamber opera led by soprano Susan Narucki and Mexican author Jorge Volpi that addresses human trafficking across the U.S.-Mexican border. The recording of Hebert Vazquez’s Azucena, the first scene of Cuatro Corridos, on Bridge Records was nominated for a Latin Grammy in the Best Contemporary Composition category. A native of Japan, Ms. Kataoka began her marimba studies at age five, and percussion at 15. She received her artist diploma degree from Yale University, where she studied with marimba virtuoso Robert van Sice. She is currently an associate professor at University of Massachusetts Amherst.

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EDUARDO LEANDRO  Eduardo Leandro is the artistic director of the Contemporary Chamber Players and the new music ensemble at Stony Brook University, where he is also associate professor in percussion. He has conducted ensembles such as Camerata Aberta in Brazil, Ensembles Namascae in France, and the New York New Music Ensemble, Stony Brook Symphony Orchestra, Talea, and Sequitur Ensembles in the United States. As a percussionist he has performed as soloist and with ensembles in Europe, Asia, 

and the Americas. He is part of the Percussion Duo Contexto, which is ensemble-in-residence at the Centre Internacional de Percussion in Geneva and has premiered dozens of works and recorded several CDs. He has performed in music festivals throughout the world such as the Suita Music Festival in Osaka, Ferienkurse fur Neue Muzik Darmstadt, Festspiel in Salzburg, Ars Musica in Brussels, Archipel in Geneva, Nits de Altea in Spain, Espinho Music Meeting in Portugal, Izmir Music Festival in Turkey, Athenaeum Concert Series in Helsinki, and Festival d’Automne in Paris. Born in Belo Horizonte, Brazil, Mr. Leandro attended the Sao Paulo State University, the Rotterdam Conservatory in the Netherlands, and Yale University, studied conducting with Gustav Meier and David Gier, and percussion with John Boudler, Jan Pustjens, and Robert van Sice. He is a guest lecturer at the Peabody Conservatory, regular faculty at Yellow Barn Summer Institute in Vermont, and faculty at the Winter Festival in Campos do Jordão and the Summer Academy at Femusc, both in Brazil.

KRISTIN LEE  Recipient of a 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and Astral Artists’ 2010 National Auditions, Kristin Lee is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. She has appeared with top orchestras such as The Philadelphia Orchestra, St. Louis Symphony, New Jersey Symphony, St. Paul Chamber Orchestra, the Ural Philharmonic 

of Russia, the Korean Broadcasting Symphony, and in recital on many of the world’s finest stages including Carnegie Hall, David Geffen Hall, Kennedy Center, Kimmel Center, Phillips Collection, Metropolitan Museum of Art, Louvre Museum, Korea’s Kumho Art Gallery, and the Ravinia Festival. An accomplished chamber musician, she has appeared with Camerata Pacifica, Music@Menlo, La Jolla Festival, Medellín Festicámara of Colombia, the El Sistema Chamber Music festival of Venezuela, and the Sarasota Music Festival. She is the concertmaster of the Metropolis Ensemble, with which she premiered Vivian Fung’s Violin Concerto, written for her, which appears on Fung’s CD Dreamscapes (Naxos) and won the 2013 Juno Award. Born in Seoul, Ms. Lee moved to the United States to study under Sonja Foster and soon after entered The Juilliard School’s Pre-College. She holds a master’s degree from The Juilliard School under Itzhak Perlman. An alum of The Bowers Program (formerly CMS Two), she is a member of the faculty of the Aaron Copland School of Music at Queens College and the co-founder and artistic director of Emerald City Music in Seattle.

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MIHAI MARICA  Romanian-born cellist Mihai Marica is a First Prize winner of the “Dr. Luis Sigall” International Competition in Viña del Mar, Chile and the Irving M. Klein International Competition, and is a recipient of Charlotte White’s Salon de Virtuosi Fellowship Grant. He has performed with orchestras such as the Symphony Orchestra of Chile, Xalapa Symphony in Mexico, the Hermitage State Orchestra of St. Petersburg in Russia, the Jardins Musicaux Festival Orchestra in Switzerland, the Louisville Orchestra, and 

the Santa Cruz Symphony in the US. He has also appeared in recital performances in Austria, Hungary, Germany, Spain, Holland, South Korea, Japan, Chile, the United States, and Canada. A dedicated chamber musician, he has performed at the Chamber Music Northwest, Norfolk, and Aspen music festivals where he has collaborated with such artists as Ani Kavafian, Ida Kavafian, David Shifrin, André Watts, and Edgar Meyer, and is a founding member of the award-winning Amphion String Quartet. A recent collaboration with dancer Lil Buck brought forth new pieces for solo cello written by Yevgeniy Sharlat and Patrick Castillo. This season he joins the acclaimed Apollo Trio. Mr. Marica studied with Gabriela Todor in his native Romania and with Aldo Parisot at the Yale School of Music where he was awarded master’s and artist diploma degrees. He is an alum of The Bowers Program (formerly CMS Two).

TARA HELEN O'CONNOR  Tara Helen O’Connor is a charismatic performer noted for her artistic depth, brilliant technique, and colorful tone spanning every musical era. Winner of an Avery Fisher Career Grant and a two-time Grammy nominee, she was the first wind player to participate in The Bowers Program (then called CMS Two). A Wm. S. Haynes flute artist, she regularly appears at the Santa Fe Chamber Music Festival, Music@Menlo, the Chamber Music Festival of the Bluegrass, Spoleto USA, Chamber Music 

Northwest, Mainly Mozart Festival, Music from Angel Fire, the Banff Centre, the Great Mountains Music Festival, Chesapeake Music Festival, Rockport Chamber Music Festival in Massachusetts, Bay Chamber Concerts, and the Bravo! Vail Music Festival. A much sought after chamber musician and soloist, she is a founding member of the Naumburg Award-winning New Millennium Ensemble, and a member of the woodwind quintet Windscape and the legendary Bach Aria Group. She has premiered hundreds of new works and has collaborated with the Orion String Quartet, St. Lawrence Quartet, and Emerson Quartet. She has appeared on A&E’s Breakfast with the Arts, Live from Lincoln Center, and has recorded for Deutsche Grammophon, EMI Classics, Koch International, CMS Studio Recordings with the Chamber Music Society, and Bridge Records. She is associate professor of flute, head of the wind department, and coordinator of classical music studies at Purchase College. Additionally, she is on the faculty of Bard College and the Manhattan School of Music and is a visiting artist at the Royal Conservatory of Music in Toronto.

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IAN DAVID ROSENBAUM  Praised for his “excellent” and “precisely attuned” performances  by the New York Times, percussionist Ian David Rosenbaum has developed a musical breadth far beyond his years. He made his Kennedy Center debut in 2009 and later that year garnered a special prize created for him at the Salzburg International Marimba Competition. He joined The Bowers Program (formerly CMS Two) in 2012 as only the second percussionist in the program’s history. He has appeared at the Bay Chamber, 

Bridgehampton, Chamber Music Northwest, Music@Menlo, Norfolk, and Yellow Barn festivals. Highlights of the 2018-19 season include performances of Viet Cuong’s concerto Re(new)al with Sandbox Percussion and four orchestras, a 10-day tour of China with The Percussion Collective, and an extended run at the Edinburgh Fringe Festival with the Pittsburgh New Music Ensemble. In 2017 he released his first full-length solo album, Memory Palace, on VIA Records. It features five commissions from the last several years and includes collaborations with Brooklyn Rider and Gina Izzo. He is a member of Sandbox Percussion, HOWL, the Pittsburgh New Music Ensemble, Foundry, and Metropolis Ensemble. He has recorded for the Bridge, Innova, Naxos, and Starkland labels and is on the faculty of the Dwight School in Manhattan. Mr. Rosenbaum performs on Pearl/Adams instruments, Vic Firth mallets, and Remo drumheads.

ADDITIONAL CONCERT STAFF Lighting Designer: Joshua Benghiat Sound Designer: Sascha von Oertzen Percussion Manager: Jessica Tsang

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Elinor L. Hoover, ChairRobert Hoglund, Vice ChairJoost F. Thesseling, Vice Chair Peter W. Keegan, TreasurerPaul B. Gridley, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinLinda S. DainesPeter DuchinJennifer P.A. GarrettWilliam B. GinsbergPhyllis GrannWalter L. HarrisPhilip K. HowardPriscilla F. KauffVicki KelloggHelen Brown LevineJohn L. LindseyJames P. O'ShaughnessyTatiana Pouschine

Richard T. PrinsDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserCharles S. SchregerDavid SimonSuzanne E. VaucherSusan S. WallachAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinPeter Frelinghuysen (1941–2018) Marit GrusonCharles H. HamiltonHarry P. KamenPaul C. LambertDonaldson C. Pillsbury (1940–2008)William G. SeldenAndrea W. Walton

GLOBAL COUNCILBrett BachmanJulie BallardHoward DillonCarole G. Donlin John FouheyCharles H. HamiltonRita HauserLinda KeenJudy KosloffMike McKoolSassona NortonSeth NovattGuilford RobinsonMorris RossabiSusan SchuurTrine SorensenShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth, 

Founding Artistic Director

Directors and Founders

David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive DirectorADMINISTRATIONKeith Kriha, Administrative DirectorGreg Rossi, ControllerMert Sucaz, Executive and

Development Assistant

ARTISTIC PLANNING & PRODUCTIONBeth Helgeson, Director of

Artistic Planning and AdministrationKari Fitterer, Director of

Artistic Planning and TouringLaura Keller, Editorial ManagerSarissa Michaud, Production ManagerGrace Parisi, Education and

Operations Manager Yumi Tamashiro, Operations Manager Schuyler Tracy, Touring CoordinatorArianna de la Cruz, Artistic and

Production Intern

DEVELOPMENTMarie-Louise Stegall, Director of

DevelopmentFred Murdock, Associate Director,

Special Events and Young PatronsJoe 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 Concerts

MARKETING/SUBSCRIPTIONS/ PUBLIC RELATIONS

Emily Graff, Director of Marketing and Communications

Trent Casey, Director of Digital ContentMelissa Muscato, Assistant Director,

Marketing and Digital ContentNatalie Dixon, Manager, Audience and

Customer ServicesSara Norton, Marketing AssociateJesse Limbacher, Audience and

Customer Services AssociateJoshua Mullin, Digital Content

AssistantJoel Schimek, Ticketing Assistant

Administration

The Chamber Music Society of Lincoln Center (CMS) is known for setting the benchmark for chamber music worldwide. 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. Many of its superior performances are live streamed on the CMS website, broadcast on radio and television, or made available as digital albums and CDs. CMS also fosters and supports the careers of young artists through The Bowers Program (formerly CMS Two), which provides ongoing performance opportunities to highly gifted young instrumentalists and ensembles. As CMS approaches its 50th anniversary season in 2019–20, its commitment to artistic excellence and to serving the art of chamber music is stronger than ever.

ABOUT THE CHAMBER MUSIC SOCIETY

www.ChamberMusicSociety.orgwww.ChamberMusicSociety.org

CELEBRATING 50 YEARS

Subscriptions on sale now.

WWW.CHAMBERMUSICSOCIETY.ORG

2019-2020 SEASON


The Bowers Program

Tony Arnold, sopranoMané Galoyan, sopranoJoélle Harvey, sopranoJennifer Johnson Cano, mezzo-

sopranoSara Couden, altoArseny Yakovlev, tenorNikolay Borchev, baritoneRandall Scarlata, baritoneYunpeng Wang, baritoneRyan Speedo Green, bass-baritoneInon Barnatan, pianoAlessio Bax, pianoMichael Brown, pianoGloria Chien, pianoLucille Chung, pianoGilbert Kalish, pianoHenry Kramer, pianoAnne-Marie McDermott, pianoPedja Muzijevic, pianoJon Kimura Parker, pianoJuho Pohjonen, pianoStephen Prutsman, pianoGilles Vonsattel, pianoOrion Weiss, pianoShai Wosner, pianoWu Han, pianoWu Qian, pianoPaolo Bordignon, harpsichordKenneth Weiss, harpsichordBenjamin Beilman, violinNicolas Dautricourt, violinChad Hoopes, violinDaniel Hope, violinBella Hristova, violinPaul Huang, violinAni Kavafian, violinIda Kavafian, violinErin Keefe, violinKristin Lee, violin

Sean Lee, violinYura Lee, violin/violaCho-Liang Lin, violinDaniel Phillips, violinPhilip Setzer, violinAlexander Sitkovetsky, violinArnaud Sussmann, violinDanbi Um, violinMisha Amory, violaMark Holloway, violaHsin-Yun Huang, violaMatthew Lipman, violaPaul Neubauer, violaRichard O'Neill, violaDmitri Atapine, celloEfe Baltacıgil, celloNicholas Canellakis, celloTimothy Eddy, celloDavid Finckel, celloClive Greensmith, celloJakob Koranyi, celloMihai Marica, celloKeith Robinson, celloInbal Segev, celloNicholas Tzavaras, celloPaul Watkins, celloTimothy Cobb, double bassJoseph Conyers, double bassAnthony Manzo, double bassDavid Starobin, guitarBridget Kibbey, harpSooyun Kim, fluteTara Helen O'Connor, fluteRansom Wilson, fluteRandall Ellis, oboeJames Austin Smith, oboeStephen Taylor, oboeRomie de Guise-Langlois, clarinetTommaso Lonquich, clarinetAnthony McGill, clarinet

Ricardo Morales, clarinetDavid Shifrin, clarinetMarc Goldberg, bassoonPeter Kolkay, bassoonDaniel Matsukawa, bassoonDavid Byrd-Marrow, hornDavid Jolley, hornJennifer Montone, hornEric Reed, hornStewart Rose, hornBrandon Ridenour, trumpetDavid Washburn, trumpetVictor Caccese, percussionDaniel Druckman, percussionAyano Kataoka, percussionEduardo Leandro, percussionIan David Rosenbaum, percussion

BORODIN QUARTET  Ruben Aharonian, violin  Sergei Lomovsky, violin Igor Naidin, viola  Vladimir Balshin, cello

EMERSON STRING QUARTET  Eugene Drucker, violin  Philip Setzer, violin  Lawrence Dutton, viola  Paul Watkins, cello

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

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

The Bowers Program (formerly CMS Two) provides a unique three-year opportunity for some of the finest young artists from around the globe, selected through highly competitive auditions,  to be immersed as equals in everything CMS does.Lise de la Salle, pianoFrancisco Fullana, violinAlexi Kenney, violinAngelo Xiang Yu, violinDavid Requiro, celloXavier Foley, double bassAdam Walker, fluteSebastian Manz, clarinet

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

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

ARTISTS OF THE 2018–19 SEASON


GOLD PATRONS ($2,500 to $4,999)Nasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichAmerican Friends of Wigmore HallJoan AmronJames H. ApplegateAxe-Houghton FoundationBrett Bachman and Elisbeth ChallenerConstantin R. BodenJill Haden CooperThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerVirginia Davies and Willard Taylor

Suzanne DavidsonMr. and Mrs. Joseph W. Donner Helen W. DuBoisRachel and Melvin EpsteinMr. Lawrence N. Field Dr. and Mrs. Fabius N. FoxMr. Andrew C. Freedman and  Ms. Arlie Sulka

Freudenberg Arts FoundationDiana G. FriedmanEgon R. GerardEdda and James GillenMr. and Mrs. Philip HowardKenneth Johnson and Julia Tobey

Paul KatcherEd and Rosann KazChloë A. KramerHenry and Marsha LauferHarriet and William LembeckDr. Edward S. LohJennifer ManocherianNed and Francoise MarcusDr. and Mrs. Michael N. MargoliesSheila Avrin McLean and David McLeanMr. and Mrs. Leigh MillerMartin and Lucille Murray Brian and Erin Pastuszenski Susan B. Plum 

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 Achelis and Bodman FoundationAnn S. BowersCarmel Cultural Endowment for the ArtsThe Chisholm FoundationJoyce B. CowinHoward Gilman FoundationDr. and Mrs. Victor GrannEugene and Emily GrantThe Jerome L. Greene FoundationMr. and Mrs. Paul B. Gridley

Rita E. and Gustave M. HauserThe Hearst Foundation, Inc.Elinor and Andrew HooverJane and Peter KeeganLincoln Center Corporate FundNational Endowment for the ArtsThe New York Community TrustNew York State Council on the ArtsStavros Niarchos FoundationMr. and Mrs. James P. O'Shaughnessy

Blanchette Hooker Rockefeller FundThe 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)Thomas Brener and Inbal Segev-BrenerEstate of Anitra Christoffel-PellSally D. and Stephen M. Clement, IIIJoseph M. CohenLinda S. DainesJenny and Johnsie GarrettWilliam and Inger G. GinsbergMarion Goldin Charitable Gift FundGail and Walter HarrisFrank and Helen Hermann FoundationRobert and Suzanne Hoglund

Vicki and Chris KelloggAndrea Klepetar-FallekBruce and Suzie KovnerMetLife FoundationNew York City Department of Cultural AffairsMarnie S. Pillsbury in honor of  Donaldson C. Pillsbury

Richard Prins and Connie SteensmaDr. Annette U. RickelDr. Beth Sackler and Mr. Jeffrey CohenCharles S. Schreger

David SimonMr. and Mrs. Erwin StallerWilliam R. Stensrud and  Suzanne E. Vaucher

Joost and Maureen ThesselingTiger Baron FoundationSusan S. and Kenneth L. WallachMr. and Mrs. Jarvis WilcoxKathe and Edwin WilliamsonShannon Wu and Joseph Kahn

BENEFACTORS ($10,000 to $24,999)Anonymous (4)Ronald AbramsonWilliam and Julie Ballard Jonathan Brezin and Linda KeenThe Byers Family TrustColburn FoundationCon EdisonNathalie and Marshall CoxThe Gladys Krieble Delmas FoundationRobert and Karen DesjardinsHoward Dillon and Nell Dillon-ErmersCarole DonlinThe Lehoczky Escobar Family 

Judy and Tony EvninDavid Finckel and Wu HanJohn and Marianne FouheySidney E. Frank FoundationMr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Hamilton Generation FundIrving Harris FoundationFrederick L. JacobsonMichael Jacobson and Trine SorensenPriscilla F. KauffJeehyun Kim

Judy and Alan KosloffHelen Brown LevineSassona Norton and Ron FillerMr. Seth Novatt and Ms. Priscilla NatkinsTatiana PouschineGilbert Scharf Family FoundationJudith and Herbert SchlosserMrs. Robert SchuurJoe and Becky StockwellVirginia B. Toulmin FoundationMrs. Andrea W. Walton

PLATINUM PATRONS ($5,000 to $9,999)Anonymous (2)Murat BeyazitThe Jack Benny Family FoundationJanine Brown and Alex Simmons Jr.Mr. and Mrs. John D. CoffinMrs. Barbara M. ErskineMr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationNaava and Sanford GrossmanMarlene Hess and James D. Zirin, in loving memory of Donaldson C. Pillsbury

The Hite FoundationAlfred and Sally JonesMr. and Mrs. Hans KilianJonathan E. LehmanLeon Levy FoundationJane and Mary MartinezMr. and Mrs. H. Roemer McPhee,  in memory of Catherine G. Curran

Achim and Colette Moeller Anju Narula Linda and Stuart Nelson

Mr. and Mrs. Howard Phipps, Jr.Eva PopperThomas A. and Georgina T. Russo  Family Fund

Lynn StrausMartin and Ruby VogelfangerPaul and Judy WeislogelNeil Westreich

Artistic Directors Circle

Patrons


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

ALLEGRO ($600 to $999)

Anonymous (6)American Chai TrustArgos Fund of the Community Foundation of New Jersey

William Benedict and Dorothy Sprague Maurice S. and Linda G. Binkow Philanthropic Fund

Ann S. ColeColleen F. ConwayAllyson and Michael ElyJudi FlomMr. Stephen M. FosterDorothy and Herbert FoxMr. David B. Freedlander 

Lisa A. Genova, in honor of  Suzanne and Robert Hoglund

Robert M. Ginsberg Family Foundation Sharon GurwitzKris and Kathy HeinzelmanMr. and Mrs. James R. HoughtonThomas Frederick JamboisPatricia Lynn Lambrecht Leeds Family FoundationJane and John LooseThomas Mahoney and Emily Chien,  in honor of Paul and Linda Gridley

The David Minkin FoundationDot and Rick Nelson

Lorna PowerMs. Kathee RebernakAmanda Reed and Frances WoodMr. David RitterDr. Robert SilverEsther Simon Charitable TrustBarbaralee Diamonstein-Spielvogel and 

Hon. Carl SpielvogelMs. Claudia SpiesAndrea and Lubert StryerMr. David P. StuhrMs. Jane V. TalcottTricia and Philip WintererFrank Wolf

Sophia Ackerly and Janis BuchananBrian Carey and Valerie TomaselliMrs. Margherita S. FrankelDorothy F. GlassAbner S. GreeneMs. Kaori Kitao Pete KlostermanPeter KrollFrederick and Ivy KushnerBarbara and Raymond LeFebvre

Kathy Mele Merrill Family FundDeborah MintzGil and Anne Rose Family Fund Lisa and Jonathan SackMonique and Robert SchweichAnthony R. SokolowskiMr. and Mrs. Myron Stein,  in honor of Joe Cohen

Charles R. Steinberg and  Judith Lambert Steinberg

Sherman TaishoffSusan Porter TallMr. and Mrs. George WadeBarry Waldorf and Stanley GotlinAlden Warner and Pete Reed

(as of March 27, 2019)

Friends

YOUNG PATRONS* ($500 to $2,500)Anonymous (1)Jordan C. AgeeSamuel Coffin and Tobie CornejoJamie ForsethSusanna GoldfingerLawrence GreenfieldRobert J. HaleyYoshiaki David KoMatt LaponteBrian P. Lei

Liana and Joseph Lim Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason NongAndrew M. PoffelEren Erdemgil Sahin and Erdem SahinShu-Ping Shen

Jonathan U.R. Smith Erin SolanoAndrea VogelJonathan WangMr. Nick Williams and Ms. Maria DoerflerRebecca Wui and Raymond KoMatthew Zullo

SILVER PATRONS ($1,500 to $2,499)Anonymous (4)Alan AgleHarry E. AllanLawrence H. AppelDr. Anna BalasBetsy Shack BarbanellLillian BarbashMr. and Mrs. William G. BardelCaryl Hudson BaronMr. and Mrs. T. G. BerkDon and Karen Berry Adele BilderseeJudith Boies and Robert ChristmanAnn and Paul BrandowEric Braverman and Neil BrownCahill Cossu Noh and RobinsonCharles and Barbara BurgerJeff and Susan CampbellAllan and Carol CarltonDale C. Christensen, Jr.Judith G. ChurchillBetty CohenMarilyn and Robert CohenBetsy Cohn, in honor of Suzanne DavidsonJon Dickinson and Marlene BurnsJoan DyerThomas E. Engel, Esq.Mr. Arthur FergusonHoward and Margaret FluhrBurton M. FreemanCynthia FriedmanJoan and Jeremy Frost

Rosalind and Eugene J. GlaserAlberta Grossman, in honor of  Lawrence K. Grossman 

Judith HeimerDr. and Mrs. Wylie C. HembreeCharles and Nancy HoppinDr. Beverly Hyman and  Dr. Lawrence Birnbach

Bill and Jo Kurth Jagoda, in honor of  David Finckel and Wu Han

Dr. Felisa B. KaplanStephen and Belinda Kaye Thomas C. KingDr. and Mrs. Eugene S. KraussEdith KubicekRichard and Evalyn LambertCraig Leiby and Thomas ValentinoDr. Donald M. LevineFran LevineJames Liell Walter F. and Phyllis Loeb Family Fund  of the Jewish Communal Fund

Kenneth LoganCarlene and Anders MaxwellEileen E. McGann Ilse MelamidMerrick Family FundBernice H. MitchellAlan and Alice ModelLinda and Bill MusserBarbara A. PelsonCharles B. RaglandMr. Roy Raved and Dr. Roberta Leff

Mark and Pat RochkindDr. Hilary Ronner and Mr. Ronald FeimanJoseph and Paulette RoseDede and Michael RothenbergMarie von SaherDrs. Eslee Samberg and Eric MarcusDavid and Sheila RothmanSari and Bob SchneiderDelia and Mark SchulteMr. David Seabrook and  Dr. Sherry Barron-Seabrook

Jill S. SlaterJudith and Morton SloanAnnaliese SorosDr. Margaret Ewing SternWarren and Susan SternDeborah F. StilesAlan and Jaqueline StuartErik and Cornelia ThomsenMichael and Judith Thoyer Leo J. TickHerb and Liz TulchinMr. and Mrs. Salvatore VaccaMr. and Mrs. Joseph ValenzaPierre and Ellen de VeghDr. Judith J. Warren and  Dr. Harold K. Goldstein

Alex and Audrey WeintrobRobert Wertheimer and Lynn SchackmanJill and Roger WittenGro V. and Jeffrey S. Wood Cecil and Gilda Wray

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

Mr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda SchultzPeter and Sharon SchuurMichael W. SchwartzFred and Robin Seegal

Carol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. SingerDiane Smook and Robert PeduzziGary So, in honor of Sooyun KimSally WardwellPatricia and Lawrence Weinbach

Larry Wexler and Walter BrownDeborah and David Winston,  in memory of May Winston

Janet Yaseen and the  Honorable Bruce M. Kaplan

Sandra and Franklin ZieveNoreen and Ned Zimmerman


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 City Department of Cultural Affairs, in partnership with the City Council; and the New York State Council on

the Arts, with the support of Governor Andrew M. Cuomo and the New York State Legislature.

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 49th 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 49 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 ChairAnn S. Bowers,  The Bowers Program

Mrs. John D. Rockefeller III  Oboe Chair

Charles E. Culpeper Clarinet ChairFan Fox & Leslie R. Samuels Violin Chair

Mrs. William Rodman Fay  Viola Chair

Alice Tully and Edward R.  Wardwell Piano Chair

Estate of Robert C. AckartEstate of Marilyn ApelsonMrs. Salvador J. AssaelEstate of Katharine BidwellThe Bydale FoundationEstate of Norma ChazenEstate of Anitra Christoffel-Pell John & Margaret Cook FundEstate of Content Peckham CowanCharles E. Culpeper Foundation

Estate of Catherine G. CurranMrs. William Rodman FayMarion Goldin Charitable Gift FundThe 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 Newman

Mr. and Mrs. Howard Phipps, Jr.Donaldson C. Pillsbury FundEva Popper, in memory of  Gideon Strauss

Mrs. John D. Rockefeller 3rdDaniel and Joanna S. RoseEstate of Anita SalisburyFan Fox & Leslie R. Samuels Foundation

The Herbert J. Seligmann  Charitable Trust

Arlene 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

george crumb at 90: part i...please turn off cell phones and other electronic devices....

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