the seventeenth season: incredible decades · 2019. 2. 24. · the seventeenth season: incredible...

The Seventeenth Season: Incredible DecadesJuly 12–August 3, 2019

CHAMBER MUSIC FESTIVAL AND INSTITUTE

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Dear Friends,

Music is indeed a wonder of our world. Although it is rooted in science, music nevertheless has its greatest effect on our emotions. All who par-ticipate in music have undoubtedly experienced moments of common curiosity about this art form: how does it work? How did it come to be? Why am I so affected by it?

Music@Menlo is eternally driven by these compelling questions. In past seasons, our festival has focused its lens on music from many angles. In the process, all of us—from listeners to performers and the entire festival com-munity—have moved closer to the mysterious core of our art. Relishing the

joy of the search, discovery, and enlightenment, we neither expect nor even hope to find the single answer. But classical music’s vast depth and variety continue to provide us with summer after sum-mer of new paths to explore as well as unforgettable experiences along the way.

The story of classical music is both long and ongoing. It can be told in part within a single concert or over a whole season of programs. In the coming summer, Music@Menlo will reveal music’s extraordinary evolution in seven chapters, each a program dedicated to an especially rich and con-sequential decade. We’ll experience the ascent of Bach to the commanding throne of the Baroque era; the propulsive career that made Beethoven, during his lifetime, the world’s most famous musi-cian; the artistic maelstrom of the Roaring Twenties; and much more.

Joining us for this journey will be Music@Menlo’s signature selection of the most brilliant artists we know, performing in our Concert Programs, Carte Blanche Concerts, and Overture Concert. Our Encounters this season are especially illuminative of our seven Incredible Decades: don’t miss Music@Menlo’s rare opportunity to pair your concert experiences with entertaining, in-depth lec-tures on the music and its surrounding history. A new roster of ever-more-astounding International Program artists waits in the wings to thrill us, as does the vibrant legion of Young Performers, always melting hearts and showing us the bright future of our art form.

We are so excited about this summer. The combination of artists, the music and its context, and the incomparable Music@Menlo spirit never ceases to surpass our very high expectations. We hope you’ll be a part of it.

Best wishes,

David Finckel and Wu Han Artistic Directors The Martin Family Artistic Directorship

WELCOME TO MUSIC@MENLO

Front and back cover art by 2019 season Visual Artist Klari Reis. For more information, see p. 26.Front cover: 150 Piece Hypo, mixed media and epoxy polymer within petri dishes, steel rods Back cover: Artificial Knowing, mixed media and epoxy polymer within a petri dish

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ContentsWelcome

2 Welcome from the Artistic Directors

4 Festival Introduction

Concerts6 Concert Program and Encounter Series

20 Carte Blanche Concerts

22 Overture Concert

24 Prelude Performances and

Koret Young Performers Concerts

25 Music@Menlo:Focus 2019–2020

38 Festival Calendar

Discovery and Engagement22 AudioNotes

22 Music@Menlo LIVE

22 Broadcasting

23 Chamber Music Institute

24 Prelude Performances and

Koret Young Performers Concerts

24 Café Conversations and Master Classes

33 Music@Menlo Patron Travel

Artists5 Artist Roster

26 Visual Artist

26 Artist Biographies

Ticket and Patron Information32 Join Music@Menlo

34 Reserving Your Summer Festival Tickets

34 Summer Festival Subscriber Information

36 The Festival Campus and Performance Venues

37 For Visitors to Our Area

37 Map and Parking

38 Festival Calendar


INCREDIBLE DECADES


From the dawn of the Age of Enlightenment to the present day, the story of Western culture has been told by our greatest artists, writers, and thinkers. So have history’s finest composers, attuned to the zeitgeist of their respective eras, captured the spirit of their times in sound. Music@Menlo’s 2019 season illuminates the evolution of the chamber music tradition over three hundred years by focusing on seven Incredible Decades—each an extraordinary chapter in which history’s most insightful composers chronicled the tectonic shifts in the world around them.

Through music illustrating the zenith of Classicism in the 1790s, the 1840s epicenter of Romanticism, the vitality of the fin de siècle, and more, the festival’s seventeenth season celebrates decades that encapsulate the dynamism of both an art form and the cultural winds that have powered its evolution.

ARTISTSPianoGloria ChienGilbert KalishHyeyeon ParkJuho PohjonenStephen PrutsmanGilles VonsattelWu Han

ViolinAdam Barnett-HartAaron BoydIvan Chan†Chad HoopesSoovin KimJessica LeeKristin LeeArnaud SussmannJames Thompson*Angelo Xiang Yu

ViolaHsin-Yun HuangPierre LapointePaul NeubauerRichard O’NeillArnaud Sussmann

CelloDmitri AtapineDavid FinckelDavid RequiroKeith RobinsonBrook Speltz

BassPeter Lloyd*

Escher String QuartetAdam Barnett-Hart, violinDanbi Um, violinPierre Lapointe, violaBrook Speltz, cello

Schumann Quartet*Erik Schumann, violinKen Schumann, violinLiisa Randalu, violaMark Schumann, cello

WoodwindsTara Helen O’Connor, fluteJames Austin Smith, oboeHugo Souza, oboe*Stephen Taylor, oboeRomie de Guise-Langlois, clarinetTommaso Lonquich, clarinet*Peter Kolkay, bassoon

BrassMark Almond, horn*Kevin Rivard, horn

VoiceNikolay Borchev, baritone

PercussionAyano Kataoka

Encounter LeadersBruce AdolpheAra GuzelimianMichael ParloffR. Larry Todd

*Music@Menlo festival debut†Guest artist-faculty

Bottom left: Paolo Uccello (1397–1475). Canonical Clock, 1443, fresco. Scala/Art Resource, NY. Others: iStock

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At the hands of Corelli, Vivaldi, Handel, and others, the music of the Baroque era reached new heights of complexity and expressive depth. But by the early eigh-teenth century, one supreme artist had emerged who would be recognized as history’s greatest composer three centuries later. The summer’s opening program brings together a colorful selection of music composed between 1710 and 1720, setting the stage for Bach’s resplendent First Brandenburg Concerto.

CONCERT PROGRAM I

1710–1720: Bach Ascending


CONCERT PROGRAM I

Bach AscendingEvaristo Felice Dall’Abaco (1675–1742)

Trio Sonata in A Major, op. 3, no. 12 (1712)

Georg Philipp Telemann (1681–1767)Violin Concerto in a minor, TWV 51: a1 (ca. 1708–1716)

Arcangelo Corelli (1653–1713)Concerto Grosso in D Major, op. 6, no. 1 (1714)

George Frideric Handel (1685–1759)Suite no. 1 in F Major, HWV 348, from Water Music (1717)

Tomaso Albinoni (1671–1751)Double Oboe Concerto in C Major, op. 7, no. 2 (1715)

Antonio Vivaldi (1678–1741) Concerto in g minor for Two Cellos, Strings, and Continuo,

RV 531 (after 1710)

Johann Sebastian Bach (1685–1750) Brandenburg Concerto no. 1 in F Major, BWV 1046 (before 1721)

ARTISTSJames Austin Smith, Hugo Souza, Stephen Taylor, oboes; Peter Kolkay, bassoon; Mark Almond, Kevin Rivard, horns; Gloria Chien, Hyeyeon Park, Wu Han, harpsichords; Adam Barnett-Hart, Aaron Boyd, Soovin Kim, Arnaud Sussmann, James Thompson, violins; Pierre Lapointe, Paul Neubauer, violas; Dmitri Atapine, David Finckel, Brook Speltz, cellos; Peter Lloyd, bass

SATURDAY, JULY 136:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $74/$64/$54 full price; $30/$20/$15 under age thirty

Prelude Performance* 3:30 p.m., The Center for Performing Arts at Menlo-Atherton

* Prelude Performances feature young artists from the Cham-ber Music Institute. Admission is free. For more information, see pp. 23–24.

Fête the Festival8:30 p.m., following the concertJoin the Artistic Directors, festival musicians, and friends on July 13 to toast the season’s first concert at an outdoor catered dinner reception on the Menlo School campus. (Tickets: $75. Advance purchase required.)Antoine Coysevox (1640–1720). The Allegory of Fame astride Pegasus,

1701–1702, Carrara marble. Place de la Concorde, Paris,France. Photo credit: Timothy McCarthy Archive/Art Resource

Michael Steinberg Encounter SeriesThe Encounter series, Music@Menlo’s signature multimedia sym-posia, embodies the festival’s context-rich approach to musical discovery and adds dimension and depth to the Music@Menlo experience. The 2019 festival season’s four Encounters, led by experts in their fields, connect the unique contributions of each of the festival’s Incredible Decades to the evolution of chamber music, providing audiences with context for the season’s seven Concert Programs. The Encounter series is named in memory of Michael Steinberg, the eminent musicologist and Music@Menlo guiding light.

ENCOUNTER I

Bach Ascending/Beethoven Launched, 1710–1800 Led by Ara GuzelimianFriday, July 12, 7:30 p.m. | Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

Through such luminaries as Vivaldi, Handel, and Bach, the early eighteenth century saw the creation of music of unprecedented splendor and complexity. By the century’s end, a new vanguard of composers—Haydn, Mozart, and Beethoven—had reinvented music again, fashioning a language at once elegant and power-fully expressive. Ara Guzelimian, Provost and Dean of the Juilliard School, leads this summer’s first Encounter, focusing on two decades—1710–1720 and 1790–1800—that catalyzed the inno-vations that, in short order, would forever define the course of Western classical music.


CONCERT PROGRAM II

1790–1800: Beethoven LaunchedMozart’s death in 1791 marked an abrupt end to one of history’s most incandescent artistic careers. The following year, the twenty-two-year-old Beethoven traveled to Vienna, where, under Haydn’s tutelage, he inherited—and then transformed—the Classical tradition. This dynamic program offers a snapshot of the eighteenth century’s final decade, when Haydn, the elder statesman of the Classical era, gave way to the voice of a new century.


CONCERT PROGRAM II

Beethoven LaunchedJoseph Haydn (1732–1809)

Piano Trio in d minor, Hob. XV: 23 (1795)

Wolfgang Amadeus Mozart (1756–1791)String Quintet in E-flat Major, K. 614 (1791)

Ludwig van Beethoven (1770–1827)Trio in B-flat Major for Clarinet, Cello, and Piano, op. 11 (1797)

Ludwig van BeethovenQuintet in E-flat Major for Winds and Piano, op. 16 (1796)

ARTISTSStephen Taylor, oboe; Tommaso Lonquich, clarinet; Peter Kolkay, bassoon; Kevin Rivard, horn; Gilbert Kalish, Wu Han, pianos; Adam Barnett-Hart, Aaron Boyd, Soovin Kim, violins; Pierre Lapointe, Paul Neubauer, violas; David Finckel, Brook Speltz, cellos

WEDNESDAY, JULY 177:30 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $74/$64/$54 full price; $30/$20/$15 under age thirty

Photo by Rodrigo Rodriguez on Unsplash

ENCOUNTER I

Bach Ascending/Beethoven Launched, 1710–1800 Led by Ara GuzelimianFriday, July 12, 7:30 p.m. | Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

Through such luminaries as Vivaldi, Handel, and Bach, the early eighteenth century saw the creation of music of unprecedented splendor and complexity. By the century’s end, a new vanguard of composers—Haydn, Mozart, and Beethoven—had reinvented music again, fashioning a language at once elegant and power-fully expressive. Ara Guzelimian, Provost and Dean of the Juilliard School, leads this summer’s first Encounter, focusing on two decades—1710–1720 and 1790–1800—that catalyzed the inno-vations that, in short order, would forever define the course of Western classical music.


CONCERT PROGRAM III

1820–1830: CLASSICAL TWILIGHTIn their final years, Beethoven and Schubert produced works of unparalleled importance to Western music history. Beethoven’s late works demonstrated such far-reaching vision that the composer himself conceded to his contempo-raries, “They are not for you, but for a later age.” During this same period, Schubert quietly but assuredly created a musical language of new-found expressive intensity. Concert Program III brings together valedictory statements by these two giants, each written a year before the com-poser’s death: Beethoven’s final string quartet and Schubert’s epic Winterreise.


Caspar David Friedrich (1774–1840). Two Men Contemplating the Moon, ca. 1825–1830, oil on canvas. Metropolitan Museum of Art; public domain

CONCERT PROGRAM III

Classical TwilightLudwig van Beethoven (1770–1827)

String Quartet in F Major, op. 135 (1826)

Franz Schubert (1797–1828)Winterreise, op. 89, D. 911 (1827)

ARTISTSNikolay Borchev, baritone; Wu Han, piano; Escher String Quartet: Adam Barnett-Hart, Danbi Um, violins; Pierre Lapointe, viola; Brook Speltz, cello

FRIDAY, JULY 197:30 p.m., Stent Family Hall, Menlo SchoolTickets: $84 full price; $35 under age thirty

Prelude Performance* 5:00 p.m., Martin Family Hall, Menlo School

SUNDAY, JULY 216:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $74/$64/$54 full price; $30/$20/$15 under age thirty



ENCOUNTER II

Schubert’s Winterreise and Classical Twilight, 1820–1830 Led by Michael ParloffThursday, July 18, 7:30 p.m. | Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

Winterreise, composed over roughly the final year and a half of Schubert’s life, not only stands as the crowning achievement of the composer’s oeuvre of lieder, it ranks among the greatest triumphs of the Western canon at large. As a complement to Concert Program III, returning Encounter Leader Michael Parloff considers this singular masterpiece and its enduring resonance as well as Schubert’s relationship with Beethoven, the other great luminary of the 1820s.

Prelude Performance* 5:00 p.m., Stent Family Hall, Menlo School


CONCERT PROGRAM IV

1840-1850: ROMANTIC REVOLUTION

By the mid-nineteenth century, the Romantic age had reached its apex. The turbulence of the 1840s, from the conquest of the American West to the European revolutions of 1848, is vividly reflected in the decade’s impassioned music. In the works of Mendelssohn, Schumann, and Chopin—each a quintessential Romantic voice in his artistic matu-rity—we encounter the era’s unrestrained emotion and blinding virtuosity in full bloom.


CONCERT PROGRAM IV

Romantic RevolutionRobert Schumann (1810–1856)

Piano Trio no. 1 in d minor, op. 63 (1847)

Frédéric Chopin (1810–1849)Cello Sonata in g minor, op. 65 (1845–1846)

Felix Mendelssohn (1809–1847)String Quintet no. 2 in B-flat Major, op. 87 (1845)

ARTISTSJuho Pohjonen, piano; Jessica Lee, Angelo Xiang Yu, violins; Hsin-Yun Huang, Arnaud Sussmann, violas; Dmitri Atapine, David Requiro, Keith Robinson, cellos

THURSDAY, JULY 257:30 p.m., Stent Family Hall, Menlo SchoolTickets: $84 full price; $35 under age thirty


FRIDAY, JULY 267:30 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $74/$64/$54 full price; $30/$20/$15 under age thirty


Barricades on the Alexanderplatz in Berlin during the Night of March 18 to 19, 1848, ca. 1848, color lithograph. Photo: Knud Petersen, Kunstbibliothek, Staatliche Museen, Berlin, Germany. Photo credit: BPK/Art Resource, NY

ENCOUNTER III

Romantic Revolution/Moscow to Montmartre, 1840–1900 Led by R. Larry ToddWednesday, July 24, 7:30 p.m. | Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

Celebrated scholar and Mendelssohn biographer R. Larry Todd makes his eagerly anticipated return to Music@Menlo to lead this summer’s third Encounter, examining two fertile decades of European chamber music—the 1840s and 1890s. He will focus on the German Romantics Mendelssohn, Schumann, and Brahms and the creative French, Slavic, and Russian responses of Debussy, Josef Suk, and Rachmaninov. Pivoting between the middle and end of the nineteenth century, Encounter III explores the full range of continuities and discontinuities in the rich tradi-tion of chamber music.



CONCERT PROGRAM V

1890–1900: MOSCOW TO MONTMARTRE As the twentieth century approached, German and Austrian dominance of Western music began to fade, giving way to a galaxy of voices from France, Russia, Bohemia, and beyond. The late music of Brahms, emblematic of German Romanti-cism, serves as an anchor in this program of music that spotlights a cosmopolitan collection of com-posers of the era.


CONCERT PROGRAM V

Moscow to MontmartreJosef Suk (1874–1935)

Piano Quartet in a minor, op. 1 (1891)

Claude Debussy (1862–1918)String Quartet in g minor, op. 10 (1893)

Johannes Brahms (1833–1897)Three Intermezzos for Piano, op. 117 (1892)

Sergei Rachmaninov (1873–1943)Suite no. 1 for Two Pianos, op. 5, Fantaisie-tableaux (1893)

ARTISTSGilbert Kalish, Gilles Vonsattel, Wu Han, pianos; Kristin Lee, violin; Hsin-Yun Huang, viola; David Requiro, cello; Schumann Quartet: Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; Mark Schumann, cello

SATURDAY, JULY 276:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $74/$64/$54 full price; $30/$20/$15 under age thirty

Konstantin Yuon (1875–1958). The New Planet, 1921, tempera on cardboard. Tretyakov Gallery, Moscow, Russia. Photo credit: Scala/Art Resource, NY

ENCOUNTER III

Romantic Revolution/Moscow to Montmartre, 1840–1900 Led by R. Larry ToddWednesday, July 24, 7:30 p.m. | Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

Celebrated scholar and Mendelssohn biographer R. Larry Todd makes his eagerly anticipated return to Music@Menlo to lead this summer’s third Encounter, examining two fertile decades of European chamber music—the 1840s and 1890s. He will focus on the German Romantics Mendelssohn, Schumann, and Brahms and the creative French, Slavic, and Russian responses of Debussy, Josef Suk, and Rachmaninov. Pivoting between the middle and end of the nineteenth century, Encounter III explores the full range of continuities and discontinuities in the rich tradi-tion of chamber music.



CONCERT PROGRAM VI

1920–1930: THE ROARING TWENTIESIn 1921, Hitler rose to power, Russian influence expanded in the east, the Miss America pageant was born, and, for the first time, baseball was heard on the radio. The Great Gatsby, F. Scott Fitzgerald’s immortal documentation of the hedo-nistic Jazz Age, was published in 1925. Four years later, Wall Street crashed, bringing a decade of prosperity to an end. These years likewise saw Romanticism’s cinematic legacy come to life in the music of Erich Wolfgang Korngold, while national-ist fervor found voice in Ravel’s Basque rhythms and Bartók’s folk-inspired modernism. Half a world away, a young George Gershwin emerged as an icon of the Roaring Twenties in the United States.


CONCERT PROGRAM VI

The Roaring TwentiesSergei Prokofiev (1891–1953)

Five Melodies for Violin and Piano, op. 35bis (1925)

Maurice Ravel (1875–1937)Sonata for Violin and Cello (1920–1922)

Béla Bartók (1881–1945)String Quartet no. 3 (1927)

George Gershwin (1898–1937)Lullaby for String Quartet (ca. 1919–1920)

Erich Wolfgang Korngold (1897–1957)Piano Quintet in E Major, op. 15 (1921)

ARTISTSGloria Chien, Stephen Prutsman, pianos; Chad Hoopes, Kristin Lee, Arnaud Sussmann, violins; Richard O’Neill, viola; David Requiro, Keith Robinson, cellos; Schumann Quartet: Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; Mark Schumann, cello

WEDNESDAY, JULY 317:30 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $74/$64/$54 full price; $30/$20/$15 under age thirty



Manuel Orazi (1860–1934). Paris by Night, a Dance Club in Montmartre from L’Amour et l’Esprit Gaulois by Edmond Haraucourt, ca. 1925, color engraving. Bridgeman Images

ENCOUNTER IV

The Roaring Twenties/Music at the Millennium, 1920–2000 Led by Bruce AdolpheTuesday, July 30, 7:30 p.m. | Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

The first commercial radio appeared in 1920, and by 1929 there were twelve million families tuning in daily and going to the movies weekly. Some one hundred million phonograph records were sold in 1927, as jazz took the United States and the world by storm. Classical composers, too, were listening to jazz and took notes, literally. Music in the 1920s saw a fresh fusion of classical and popular styles, yet national traits were still a major factor. Ravel had a crush on the Gershwins’ music but remained French even as he wrote the blues. By the 1990s, the commingling of classical and popular idioms had become standard fare, and a new, accessible modern music emerged, particularly in the United States. Composer, writer, educator, and performer extraordinaire Bruce Adolphe closes this summer’s Encounter series, guiding audiences in an exploration of the Roaring Twen-ties and the dawn of the new millennium.



CONCERT PROGRAM VII

1990–2000: MUSIC AT THE MILLENNIUM

A brilliant mosaic of musical voices illuminated the twentieth century’s final decade. Compos-ers had a myriad of influences in their ears, from the world’s folk traditions to rock and roll. While such luminaries as Krzysztof Penderecki helped us process the traumas of the past century, a new generation looked anxiously and eagerly to a dawning horizon. This summer’s final Concert Program presents the uncompromising modern-ism, yesteryear Romanticism, and forward-looking audacity of music at the turn of the century.


CONCERT PROGRAM VII

Music at the MillenniumJohn Adams (Born 1947)

Road Movies for Violin and Piano (1995)

Bright Sheng (Born 1955)Concertino for Clarinet and String Quartet (1994)

Krzysztof Penderecki (Born 1933)String Trio (1990–1991)

Mark O’Connor (Born 1961)F. C.’s Jig for Violin and Viola (1992–1993)

Bruce Adolphe (Born 1955)Couple (1998)

Steven Mackey (Born 1956)Micro-Concerto (1999)

ARTISTSTara Helen O’Connor, flute; Romie de Guise-Langlois, clarinet; Gloria Chien, Hyeyeon Park, Wu Han, pianos; Chad Hoopes, Soovin Kim, Kristin Lee, Arnaud Sussmann, violins; Paul Neubauer, Richard O’Neill, violas; David Finckel, David Requiro, Keith Robinson, cellos; Ayano Kataoka, percussion

SATURDAY, AUGUST 36:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $74/$64/$54 full price; $30/$20/$15 under age thirty

The Hubble Space Telescope, photographed by an astronaut from the Space Shuttle Atlantis in 2009

ENCOUNTER IV

The Roaring Twenties/Music at the Millennium, 1920–2000 Led by Bruce AdolpheTuesday, July 30, 7:30 p.m. | Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

The first commercial radio appeared in 1920, and by 1929 there were twelve million families tuning in daily and going to the movies weekly. Some one hundred million phonograph records were sold in 1927, as jazz took the United States and the world by storm. Classical composers, too, were listening to jazz and took notes, literally. Music in the 1920s saw a fresh fusion of classical and popular styles, yet national traits were still a major factor. Ravel had a crush on the Gershwins’ music but remained French even as he wrote the blues. By the 1990s, the commingling of classical and popular idioms had become standard fare, and a new, accessible modern music emerged, particularly in the United States. Composer, writer, educator, and performer extraordinaire Bruce Adolphe closes this summer’s Encounter series, guiding audiences in an exploration of the Roaring Twen-ties and the dawn of the new millennium.



Carte Blanche Concerts

CARTE BLANCHE CONCERT I

Soovin Kim, violin; Gloria Chien, pianoSunday, July 14, 6:00 p.m. Stent Family Hall, Menlo School Tickets: $84 full price; $35 under age thirty

The husband-and-wife duo of violinist Soovin Kim and pianist Gloria Chien opens the 2019 season’s Carte Blanche Concerts with a richly varied, multicultural program of music composed between 1910 and 1930. Following Ravel’s blues-inflected Violin Sonata, the program offers music by Bartók and Ives, the patriarchs of the modern musical traditions of Hungary and the United States. The concert concludes with the enchanting Nocturne and Tarantella by the celebrated Polish composer Karol Szymanowski.

Maurice Ravel (1875–1937)Violin Sonata no. 2 (1923–1927)

Béla Bartók (1881–1945)Violin Sonata no. 2 (1922)

Charles Ives (1874–1954)Violin Sonata no. 2 (ca. 1914–1917)

Anton Webern (1883–1945)Four Pieces for Violin and Piano, op. 7 (1910, 1914)

Karol Szymanowski (1882–1937)Nocturne and Tarantella for Violin and Piano, op. 28 (1915)

CARTE BLANCHE CONCERT II

Juho Pohjonen, pianoSaturday, July 20, 6:00 p.m. Stent Family Hall, Menlo School Tickets: $84 full price; $35 under age thirty

Nine years after making his Music@Menlo debut with a sensational solo recital, pianist Juho Pohjonen offers another Carte Blanche Concert, juxtaposing two visionaries of keyboard music from their respective eras: Jean-Philippe Rameau, France’s preeminent composer of the eighteenth century, and the Russian iconoclast Aleksandr Scriabin.

Jean-Philippe Rameau (1683–1764)Nouvelles suites de pièces de clavecin (New Suites of Harpsichord Pieces) (ca. 1729–1730)

Aleksandr Scriabin (1871–1915)Piano Sonata no. 6, op. 62 (1911–1912)

Aleksandr ScriabinPiano Sonata no. 8, op. 66 (1912–1913)

Aleksandr ScriabinPiano Sonata no. 10, op. 70 (1912–1913)

The 2019 Carte Blanche Concerts, curated by the festival artists themselves, offer a colorful journey through masterworks composed across centuries and continents.



CARTE BLANCHE CONCERT III

Schumann QuartetSunday, July 28, 6:00 p.m. Stent Family Hall, Menlo School Tickets: $84 full price; $35 under age thirty

The Schumann Quartet makes its festival debut with a thoughtful survey of the string quartet literature. The program brings together music from a diverse spectrum of voices and spans German Romanti-cism, early modernism, and American minimalism. This mosaic of musical styles is held together by the timeless music of J. S. Bach, via Mozart’s arrangements of fugues from The Well-Tempered Clavier.

CARTE BLANCHE CONCERT IV

Tara Helen O’Connor, flute; Stephen Prutsman, pianoThursday, August 1, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $74 full price; $30 under age thirty

The season’s final Carte Blanche Concert features flutist Tara Helen O’Connor and pianist and composer Stephen Prutsman in an enchanting selection of music spanning nearly three centuries. Beginning with Bach’s Sonata in g minor for Flute and Keyboard, the program traverses the Roman-tic era via Schubert and Fauré and arrives in the twenty-first century with music by Belinda Reynolds and the West Coast premiere of Prutsman’s own Voyage to the Moon.

Johann Sebastian Bach (1685–1750)Sonata in g minor for Flute and Keyboard, BWV 1020 (before 1735; attributed to C. P. E. Bach)

Belinda Reynolds (Born 1967)Share for Alto Flute and Piano (2003)

Franz Schubert (1797–1828)Introduction and Variations on Trockne Blumen for Flute and Piano, op. 160, D. 802 (1824)

Gabriel Fauré (1845–1924)Fantaisie for Flute and Piano, op. 79 (1898)

Walter Gieseking (1895–1956)Sonatine for Flute and Piano (1935)

Stephen Prutsman (Born 1960)Voyage to the Moon for Flutes, Piano, and Silent Film (2019) (West Coast premiere)

*Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 23–24.

Johann Sebastian Bach (1685–1750)Fugue in E-flat Major from The Well-

Tempered Clavier (Book II), BWV 876 (ca. 1740; arr. Mozart in 1782 as Fugue no. 2, K. 405)

Felix Mendelssohn (1809–1847)Capriccio in e minor for String Quartet,

op. 81, no. 3 (1843)

Johann Sebastian BachFugue in c minor from The Well-Tempered

Clavier (Book II), BWV 871 (ca. 1740; arr. Mozart in 1782 as Fugue no. 1, K. 405)

Philip Glass (Born 1937)String Quartet no. 2, Company (1983)

Johann Sebastian BachFugue in D Major from The Well-Tempered


Dmitry Shostakovich (1906–1975)Two Pieces for String Quartet (1931)

Johann Sebastian BachFugue in d minor from The Well-Tempered


Anton Webern (1883–1945)Six Bagatelles for String Quartet, op. 9 (1911,

1913)

Johann Sebastian BachFugue in E Major from The Well-Tempered


Leoš Janáček (1854–1928)String Quartet no. 2, Intimate Letters (1928)

Schumann Quartet: Erik Schumann, Ken Schumann, violins; Liisa Randalu, viola; Mark Schumann, cello



AudioNotes AudioNotes, available as downloadable MP3s, are Music@Menlo’s innovative series of preconcert listener guides intended to provide greater insight into the music as well as the perform-ers’ perspectives. AudioNotes—provided free of charge—offer cultural and historical context highlighted by musical examples and interviews with festival artists. Each AudioNotes record-ing enhances the concert experience by giving listeners an informed perspective in advance of the performance and provides the foundation for a rich and rewarding musical journey.

Music@Menlo LIVE Music@Menlo LIVE, the festival’s exclusive recording label, has been praised as “the most ambitious recording project of any classical music festival in the world” (San Jose Mercury News) and its recordings have been hailed as “without question the best CDs I have ever heard” (Positive Feedback Online). Pro-duced by Grammy Award-winning engineer Da-Hong Seetoo using state-of-the-art recording technology, Music@Menlo LIVE releases feature select concert recordings representing Music@Menlo’s signature thematic programming.

Music@Menlo LIVE recordings are available for sale throughout the season at festival concert venues and online at www.musicatmenlo.org. They are also available for digital download and streaming through iTunes, Amazon, Classical Archives, and Spotify.

American Public Media®American Public Media® is the leading producer of classical music programming for public radio. This summer,

Music@Menlo is proud to welcome American Public Media® once again as the festival’s exclusive broadcast partner. Perfor-mances from the festival will air nationwide on the American Public Media® radio program Performance Today®, the largest daily classical music program in the United States, which airs on 260 stations and reaches more than one million people each week, and via Classical 24®, a live classical music service broadcast on 250 stations and distributed by Public Radio International. Hosts and producers from American Public Media® have participated in the festival as event moderators and educators. Go online to www.YourClassical.org for archived performances, photos, and interviews.

Overture ConcertIn 2018, Music@Menlo inaugurated the Overture Concerts, in which the International Program artists collaborated with fes-tival main-stage artists for the first time. This season, all eleven spectacular International Program performers will be joined by violinist Soovin Kim, violist Richard O’Neill, and cellist Keith Robinson for a thrilling performance at the Center for Performing Arts at Menlo-Atherton.

This concert functions as an “overture” to the future of chamber music: world-renowned festival artists will share their knowledge, experience, and traditions with the burgeoning International Pro-gram musicians as they perform together, bringing the freshest perspectives to these events. The artists will collectively bridge the gap between the traditions of the past, the master perform-ers of today, and the flourishing of the art form in the future. Please join us to experience the fruits of their collaboration and to witness a glimpse of the bright future of chamber music.

Friday, August 2, 7:30 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $34 full price; $15 under age thirty

Ludwig van Beethoven (1770–1827)Piano Trio in G Major, op. 1, no. 2 (1794–1795)

Johannes Brahms (1833–1897)String Sextet no. 2 in G Major, op. 36 (1864–1865)

César Franck (1822–1890)Piano Quintet in f minor (1879)

Featuring Soovin Kim, violin; Richard O’Neill, viola; and Keith Robinson, cello; with musicians from the Chamber Music Institute’s International Program.


Music@Menlo’s Chamber Music Institute has become one of the top-tier summer programs in the world for string players and pianists. The Institute brings together exceptionally talented young musicians and a world-class roster of performing art-ists for an intensive three-week training program, consisting of the International Program for preprofessional artists (ages eighteen to twenty-nine) and the Young Performers Program for pre- and early-conservatory-level students (ages nine to eighteen). These extraordinary young artists are selected from top preparatory and conservatory programs across the United States and abroad. Students work closely with the festival’s artist-faculty in coachings, master classes, and various other

educational activities. Highlights include the immensely popular Prelude Performances and Koret Young Performers Concerts featuring the Institute’s aspiring young artists. The Chamber Music Institute’s series of master classes, Café Conversations, and performances—always free and open to the public—offers listeners opportunities to witness the fostering of great traditions and the exchange of ideas between today’s most accomplished artists and classical music’s next generation.

The Chamber Music Institute and its International Program and Young Performers Program participants are supported by contri-butions to the Ann S. Bowers Young Artist Fund.

David Finckel and Wu Han Artistic Directors

Gloria Chien Institute Director

Gilbert Kalish Director, International Program

Arnaud Sussmann Associate Director, International Program

Chamber Music Institute


Prelude Performances and Koret Young Performers Concerts

Prelude Performance Schedule

Featuring the Institute’s International Program artists.

Saturday, July 13, 3:30 pm., Menlo-Atherton*Sunday, July 14, 3:30 p.m., Martin Family HallTuesday, July 16, 5:00 p.m., Stent Family HallThursday, July 18, 5:00 p.m., Stent Family HallFriday, July 19, 5:00 p.m., Martin Family HallSunday, July 21, 3:30 p.m., Menlo-Atherton*Tuesday, July 23, 5:00 p.m., Martin Family HallWednesday, July 24, 5:00 p.m., Stent Family HallThursday, July 25, 5:00 p.m., Menlo-Atherton*Sunday, July 28, 3:30 p.m., Martin Family HallTuesday, July 30, 5:00 p.m., Stent Family HallWednesday, July 31, 5:00 p.m., Menlo-Atherton*

Koret Young Performers Concert Schedule

Featuring the students of the Young Performers Program.

Saturday, July 20, 1:00 p.m., Menlo-Atherton*Saturday, July 27, 1:00 p.m., Menlo-Atherton*Saturday, August 3, 1:00 p.m., Menlo-Atherton*In response to the popularity of these events, a ticket is required for all Prelude Performances and Koret Young Performers Con-certs. Free tickets can be requested at will call beginning one hour prior to the start of each concert or reserved in advance online at www.musicatmenlo.org starting at 9:00 a.m. on the day of the event. Seating is by general admission. Members of the Compos-ers Circle ($1,000) and above enjoy Advance Ticketing for one Prelude Performance or Koret Young Performers Concert of their choice. Members of the Composers Circle at the $10,000 level and above enjoy Advance Ticketing for all Prelude Performances and Koret Young Performers Concerts. For reserved seating opportunities, please see Premium Seating information on p. 34.

*The Center for Performing Arts at Menlo-Atherton

Café Conversations and Master Classes Beginning on July 15, each weekday throughout the festival, Music@Menlo offers midday events including the popular Café Conversations and master classes. Café Conversations feature select festival artists discussing a variety of topics related to music and the arts. These forums showcase the wide-ranging expertise and imagination of our artists and provide further insights into their remarkable careers and musical experiences.

Master classes offer opportunities to witness members of the artist-faculty impart their knowledge, art, and expertise to the next generation of performers. In master classes, Chamber Music Institute participants are coached in preparation for their Prelude Performances and Koret Young Performers Concerts. The insights gained from observing the nuanced process of preparing a piece of music for performance deepen audiences’ appreciation of the concert experience.

Each weekday of the festival season features a Café Conversa-tion or master class at 11:45 a.m. on the Menlo School campus. Reservations are not required. During the festival season, please consult your festival program book or visit our website at www.musicatmenlo.org for a detailed schedule of master classes and Café Conversation topics.

Open Coachings Music@Menlo invites you to experience the Chamber Music Institute by observing select coachings on the Menlo School campus, Monday through Friday from July 15 through August 2. Daily coaching schedules can be found at the festival Welcome Center.

The festival’s preconcert and afternoon Prelude Performances and Koret Young Performers Concerts showcase the extraordinary young artists of the Chamber Music Institute and are an integral part of Music@Menlo’s educational mission. These inspiring concerts have become some of the season’s most anticipated events. Experience these young artists performing great works from the chamber music repertoire.

For both series, free tickets are required and may be reserved on the day of the concert.


The Music@Menlo:Focus Residencies offer lis-teners opportunities to experience the festival’s signature chamber music programming and immersive educational content during the year in a bold, brand-new form. This season, four popular Music@Menlo artists will curate two multiday residencies. Please join Guest Curators Gloria Chien and Soovin Kim this November and Michael Brown and Nicholas Canellakis in May 2020 for two thrilling Music@Menlo:Focus Residencies, each featuring outreach and an intellectually captivating Behind the Music event and culminating in an enthralling performance in St. Bede’s Episcopal Church in Menlo Park.

Art under a Tombstone with Gloria Chien and Soovin KimIt is hard to believe that Tchaikovsky’s wondrous ballet music was being written only decades before the events of the Russian Revolution of 1917. The subsequent horrific chapter of Russian political history radically altered the course of one of the great musical and literary cultures of the world. This residency explores Russia’s transformation and the period of Soviet repres-sion through the music of Tchaikovsky and Shostakovich, poems of Aleksandr Blok, and life stories of Alexander Solzhenitsyn, as told by his son, pianist and conductor Ignat Solzhenitsyn.

BEHIND THE MUSIC Thursday, November 7, 2019, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $30 full price; $15 under age thirty

CONCERT PROGRAM Friday, November 8, 2019, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park Tickets: $55/$45 full price; $25/$20 under age thirty

Dmitry Shostakovich (1906–1975)Piano Trio no. 1 in c minor, op. 8 (1923)

Dmitry ShostakovichSeven Romances on Poems of Aleksandr Blok for Soprano,

Piano, Violin, and Cello, op. 127 (1967)

Pyotr Ilyich Tchaikovsky (1840–1893)Piano Trio in a minor, op. 50 (1881–1882)

ARTISTSHyunah Yu, soprano; Gloria Chien, Ignat Solzhenitsyn, pianos; Soovin Kim, violin; David Finckel, cello

The Soul of the Americas with Michael Brown and Nicholas CanellakisThe Soul of the Americas celebrates the rich tapestry of musical influences across North and South America, featuring the works of seven iconic composers. Aaron Copland’s El Salón México and George Gershwin’s Cuban Overture were directly inspired by their travels to those respective countries. Leonard Bernstein was an ardent champion of Latin American music, including the music of Brazilian Heitor Villa-Lobos and Argentinian Alberto Ginastera. Osvaldo Golijov settled in the United States but his music draws on his Argentinian roots. Samuel Barber was enamored with diverse musical styles, as seen through his nostalgic Souvenirs. Curated by Michael Brown and Nicholas Canellakis, who are joined by Orion Weiss and Ian David Rosenbaum, this program features unique combinations of piano, cello, and percussion and will take listeners on a sizzling journey through both hemispheres.

BEHIND THE MUSIC Thursday, May 7, 2020, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $30 full price; $15 under age thirty

CONCERT PROGRAM Friday, May 8, 2020, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park Tickets: $55/$45 full price; $25/$20 under age thirty

Aaron Copland (1900–1990)El Salón México for Solo Piano (1932–1936; arr. Bernstein, 1941)

Leonard Bernstein (1918–1990)Three Meditations from Mass (version for piano, cello, and

percussion) (1978)

Samuel Barber (1910–1981)Souvenirs for Piano, Four Hands, op. 28 (1951–1952)

Osvaldo Golijov (Born 1960)Mariel for Cello and Marimba (1999)

Heitor Villa-Lobos (1887–1959)Divagação for Cello, Piano, and Drum (1946)

Heitor Villa-LobosA maré encheu from Guia prático for Solo Piano (1932)O Polichinelo from A prole do bebê for Solo Piano (1918)

Alberto Ginastera (1916–1983)Pampeana no. 2, Rhapsody for Cello and Piano, op. 21 (1950)

George Gershwin (1898–1937)Cuban Overture for Piano, Four Hands, and Percussion (1932;

four hands version arr. Gershwin, 1933)

ARTISTSMichael Brown, Orion Weiss, pianos; Nicholas Canellakis, cello; Ian David Rosenbaum, percussion


Top: Berry Bowl, mixed media and epoxy polymer within a petri dish

Music@Menlo founding Artistic Directors cel-list David Finckel and pianist Wu Han rank among the most esteemed and influential classical musicians in the world today. Recipi-ents of Musical America’s Musicians of the Year award, they bring unmatched energy, imagination, and integrity to their multifaceted endeavors as concert performers, artistic direc-tors, recording artists, educators, and cultural entrepreneurs. In high demand as individuals and as a duo, they appear each season at a host of the most prestigious venues and con-cert series across the United States and around the world.

Since 2004, David Finckel and Wu Han have together held the prestigious position of Artistic Director of the Chamber Music Society of Lin-coln Center, the world’s largest presenter and producer of chamber music, programming and

performing under its auspices worldwide. Their wide-ranging musical innovations include the launch of ArtistLed (www.artistled.com), classical music’s first musician-directed and Internet-based recording company, whose catalogue of twenty albums has won widespread critical acclaim. In 2011, David Finckel and Wu Han were named Artistic Directors of Chamber Music Today, an annual festival held in Seoul, South Korea, and from 2013 to 2018, they led the Finckel-Wu Han Chamber Music Studio at the Aspen Music Festival and School. In these capacities, as well as through a multitude of other educational initiatives, they have received universal praise for their passionate commitment to nurturing the artistic growth of countless young artists. David Finckel and Wu Han reside in New York City. For more information, please visit www.davidfinckelandwuhan.com.

Artistic Directors: David Finckel and Wu Han The Martin Family Artistic Directorship

San Francisco artist Klari Reis grew up in the Menlo Park area down the road from her concert pianist grandmother Kató Mendelssohn Reis (born January 29, 1919; died August 15, 2017). As a descendant of the famous composer, she found that music and creativity seemed to come naturally. Reis uses reflective epoxy polymer to depict microscopic images. The effect is hopeful, almost playful, belying the serious nature of the subject matter. Her petri-dish installations are supported by steel rods and sit at varying degrees of distance from the wall, evoking depth and motion. Working with biotech companies in the San Francisco Bay Area, Reis uses organic cellular imagery and natural reactions to explore our complex rela-

tionship with today’s biotech industry. To learn more, visit www.klariart.com.

Visual Artist: Klari Reis


Composer and lecturer Bruce Adolphe’s music is performed by Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Daniel Hope, Fabio Luisi, the Brentano String Quartet, Wash-ington National Opera, the Metropolitan Opera Guild, and sixty orchestras worldwide. Known to millions of Americans from his weekly public radio broadcast, Piano Puzzler, Bruce Adolphe has been Resident Lecturer and Director of the Meet the Music! family concerts at the Chamber Music Society of Lincoln Center since 1992. He is also Composer-in-Residence at the Brain and Creativity Institute and Artistic Director of Off the Hook Arts in Colorado. He is the author of three books, including The Mind’s Ear: Exercises for Improving the Musical Imagination.

Mark Almond joined the San Francisco Opera Orchestra as Coprincipal French Horn in 2016. While studying medicine at Cambridge and Oxford Universities, he became Principal Horn of the European Union Youth Orchestra, performed in the finals of the BBC Young Musician of the Year competition, won the silver medal of the Shell London Symphony Orchestra Scholarship, performed with the London Symphony Orchestra, and was appointed Third Horn with the Philharmonia Orchestra of London. He has since played Guest Principal with numerous ensembles including the Los Angeles Philharmonic, the Philharmonia Orchestra, the City of Birmingham Symphony Orches-tra, and the Royal Philharmonic Orchestra. He is an experienced pulmonologist and internal medicine physician and has a Ph.D. in immunology and virology.

Described as a cellist whose “playing is highly impressive throughout” (Strad), Dmitri Atapine has appeared at leading venues around the world. He regularly performs with the Chamber Music Society of Lincoln Center and is a frequent guest at festivals including Music@Menlo, Chamber Music Northwest, and La Musica in Sarasota, among others. He has released multiple recordings, among them a world premiere of works by Lowell Liebermann. Professor of cello at the University of Nevada, Reno, and Artistic Director of Apex Concerts and Ribadesella Chamber Music Festival, Dmitri Atapine holds a doctoral degree from the Yale School of Music, where he studied with Aldo Parisot.

American violinist Adam Barnett-Hart has attracted worldwide attention for his sensitive musicianship and inspired artistry. As the founding first violinist of the Escher String Quartet, he has performed in many of the most prestigious venues and festivals around the world including Alice Tully Hall and Carnegie Hall in New York, the Kennedy Center, the Ravinia and Caramoor Festivals, Wigmore Hall, the Louvre, and the Concertgebouw. As a soloist, Barnett-Hart made his debut perform-ing the Brahms Concerto in Alice Tully Hall with the Juilliard Symphony in 2002. He studied with Pinchas Zukerman and Joel Smirnoff.

Russian baritone Nikolay Borchev started his career as a Principal at the Bavarian State Opera at a very young age and then was a member at the Vienna State Opera for two seasons. With both companies, he has been singing all the main roles of his Fach, such as Papageno/Die Zauberflöte, Guglielmo/Così fan tutte, and Figaro/Il barbiere di Siviglia. Meanwhile, he is a sought-after singer, performing his widespread repertoire in guest engagements throughout Europe, including at Covent Garden in London, the Cologne Opera, La Monnaie in Brussels, the Munich State Opera, and the Amsterdam Concertge-bouw as well as in Utrecht and with the Moscow Philharmonic Society.

Violinist Aaron Boyd enjoys a varied career as a soloist, chamber musician, lecturer, teacher, and recording artist and concertizes throughout the United States, Europe, Russia, and Asia. He appears regularly as a Season Artist of the Chamber Music Society of Lincoln Center and has participated in the Marlboro, Music@Menlo, La Jolla, Bridgehampton, Prussia Cove, and Aspen festivals. Previously on the violin faculties of Columbia University and the University of Arizona, Aaron Boyd now serves as Director of Chamber Music and Professor of Practice in Violin at the Mead-ows School of the Arts at Southern Methodist University in Dallas, Texas.

The Cleveland Plain Dealer asserted that violinist Ivan Chan “…is a musician-leader of prodigious gifts…his tonal sweetness is matched by impeccable taste, purpose-ful energy, and an unerring sense of phrasing.” Bronze medalist of the Fourth Quadrennial International Violin Competition of Indianapolis and first violinist of the Miami String Quartet from 1995 to 2010, Chan is currently Associate Professor of Music at the Hong Kong Academy for Performing Arts. As a visiting artist, he has taught at the Curtis Institute of Music, the Juilliard School, New England Conserva-tory, Ravinia’s Steans Institute, the New York String Orchestra Seminar, Morningside Music Bridge, and Beijing Central Conservatory. In the summer of 2019, Chan will continue his teaching roles at the Music@Menlo Chamber Music Institute and Kent/Blossom Music Festival.

Deemed one of the Superior Pianists of the Year (Boston Globe), Gloria Chien is founding Artistic Director of String Theory, a chamber music series in Chatta-nooga, Tennessee, and was appointed Director of the Chamber Music Institute at Music@Menlo in 2010. A Steinway Artist, she has recorded for Chandos Records and released a CD with clarinetist Anthony McGill in 2010. A former member of the Bowers Program (formerly known as CMS Two), Gloria Chien is an Artist-in- Residence at Lee University in Tennessee and is an Artist of the Chamber Music Society of Lincoln Center.

Clarinetist Romie de Guise-Langlois has appeared as soloist with the Houston Symphony, the Guanajuato Symphony Orchestra, and Ensemble ACJW and at Fes-tival Mozaic and Banff Centre for Arts and Creativity. An avid chamber musician, she has performed with Musicians from Marlboro and at the Chamber Music Soci-ety of Lincoln Center, the Philadelphia and Boston Chamber Music Societies, and Chamber Music Northwest, among others. She has performed for Orpheus Cham-ber Orchestra, the Orchestra of St. Luke’s, NOVUS NY, and the Knights Chamber Orchestra. A native of Montreal, Romie de Guise-Langlois earned degrees from McGill University and the Yale School of Music. She is an alumna of Ensemble Con-nect, CMS Two, and Astral Artists and is currently Assistant Professor of Clarinet at UMass Amherst.

Festival Artist Biographies


The members of the Escher String Quartet serve as Season Artists of the Chamber Music Society of Lincoln Center and have made a distinctive impression throughout Europe, performing at venues such as the Amsterdam Concertgebouw, the Berlin Konzerthaus, London’s Kings Place, the Tel Aviv Museum of Art, the Slovenian Phil-harmonic Hall, the Auditorium du Louvre, and Les Grands Interprètes series in Geneva. Last season, the quartet toured with CMS to China. The current season sees another extensive European tour, including debuts at Musik- und Kunstfreunde Heidelberg, deSingel Antwerp, Budapest’s Kamara.hu Festival, and Bath Mozartfest. Alongside its growing success in Europe, the Escher continues to flourish in its home country, performing at Alice Tully Hall in New York, the Kennedy Center in Washington, D.C., Chamber Music San Francisco, and the Ravinia, Caramoor, and Music@Menlo festivals. The Escher String Quartet is currently String Quartet-in-Residence at Southern Methodist University in Dallas, Texas, and Tuesday Musical in Akron, Ohio.

Ara Guzelimian has served since August 2006 as Provost and Dean of the Juilliard School, where he works closely with the President in overseeing the faculty, curricu-lum, and artistic planning of the distinguished performing arts conservatory in all three of its divisions—dance, drama, and music. Previously, he was Senior Director and Artis-tic Advisor of Carnegie Hall, Artistic Administrator of the Aspen Music Festival and School in Colorado, Artistic Director of the Ojai Festival in California, and Artistic Administrator of the Los Angeles Philharmonic. He is an Artistic Consultant for the Marlboro Music Festival and School in Vermont and has taught recently at Banff Cen-tre for Arts and Creativity in Canada.

Acclaimed by critics worldwide for his exceptional talent and magnificent tone, American violinist Chad Hoopes has been appearing with numerous ensembles throughout the world since winning First Prize at the Young Artist Division of the Yehudi Menuhin International Violin Competition. He has performed with major orchestras such as the Philadelphia Orchestra, San Francisco Symphony, Orchestre de Paris, Queensland Symphony Orchestra, Konzerthausorchester Berlin, Vancouver Symphony Orchestra, and Orchestre Philharmonique de Monte-Carlo and has made acclaimed recital debuts at the Kennedy Center, Lincoln Center, the Louvre in Paris, and the Tonhalle in Zürich, among others. He performs regularly with the prestigious Chamber Music Society of Lincoln Center.

Highlights of violist Hsin-Yun Huang’s 2017–2018 season included performances as soloist under the batons of David Robertson, Osmo Vänskä, Xian Zhang, and Maxi-miano Valdés in Beijing, Taipei, and Bogotá. She is also the first solo violist to be presented in the National Centre for the Performing Arts in Beijing and was featured as a faculty member with Yo-Yo Ma and his new initiative in Guangzhou. In addition to winning the gold medal in the 1988 Lionel Tertis International Viola Competition, Hsin-Yun Huang was the top-prize winner in the ARD International Competition in Munich in 1993. She received degrees from the Juilliard School and the Curtis Insti-tute of Music and now serves on the faculties of both schools.

Pianist Gilbert Kalish’s profound influence on the musical community as a per-former, educator, and recording artist has established him as a major figure in American music making. He was pianist of the Boston Symphony Chamber Players for thirty years, was a founding member of the Contemporary Chamber Ensemble, and is an Artist of the Chamber Music Society of Lincoln Center. Kalish is Distin-guished Professor and Head of Performance Activities at Stony Brook University. He was previously a faculty member and Chair of the Faculty at the Tanglewood Music Center. Kalish received the American Composers Forum’s Champion of New Music Award in 2017.

Percussionist Ayano Kataoka is known for her brilliant and dynamic technique as well as the unique elegance and artistry she brings to her performances. She is Associate Professor of Percussion at the University of Massachusetts Amherst and has been a Season Artist of the Chamber Music Society of Lincoln Center since 2006, when she was chosen as the first percussionist for the society’s presti-gious Bowers Program (formerly known as CMS Two). She has collaborated with many outstanding artists, including cellist Yo-Yo Ma, pianists Emanuel Ax and Gilbert Kalish, soprano Dawn Upshaw, violinist Ani Kavafian, and clarinetist David Shifrin.

Violinist Soovin Kim enjoys a broad musical career, regularly performing Bach sona-tas and Paganini caprices for solo violin, sonatas for violin and piano ranging from Beethoven to Ives, Mozart and Haydn concerti and symphonies as a conductor, and world-premiere works almost every season. Among his many commercial record-ings are his acclaimed disc of Paganini’s Twenty-Four Caprices and a two-disc set of Bach’s complete solo violin works to be released in 2019. When he was twenty years old, Soovin Kim received First Prize at the Paganini International Violin Competition. He is the founder and Coartistic Director of the Lake Champlain Chamber Music Festival in Burlington, Vermont, and is on the faculty of New England Conservatory.

Bassoonist Peter Kolkay is a recipient of a 2004 Avery Fisher Career Grant and won First Prize at the Concert Artists Guild International Competition in 2002. An Artist of the Chamber Music Society of Lincoln Center, Kolkay is also Associate Professor of Bassoon at the Blair School of Music at Vanderbilt University. He has commissioned and premiered solo and chamber works by composers such as Mark-Anthony Turnage, Joan Tower, and Elliott Carter. A native of Naperville, Illinois, Peter Kolkay studied at Lawrence University, the Eastman School of Music, and Yale. He calls the Melrose neighborhood of Nashville, Tennessee, home.

Pierre Lapointe is the violist of the Escher String Quartet, founding the group in 2005 with violinists Adam Barnett-Hart and Wu Jie and cellist Andrew Janss. In 2012, Lapointe completed a thesis on Zemlinsky’s Second Quartet to earn a doctorate from Manhattan School of Music and finished almost simultaneously a recording project of all four Zem-linsky string quartets on the Naxos label. Before devoting himself entirely to the viola, Pierre Lapointe played the violin and studied composition. His main teachers were Yaëla Hertz Berkson, Calvin Sieb, and Lawrence Dutton. Since 2015, he has been teaching chamber music at Southern Methodist University in Dallas, Texas.



Violinist Jessica Lee, Grand Prize winner of the 2005 Concert Artists Guild Interna-tional Competition and Assistant Concertmaster of the Cleveland Orchestra, has performed around the world as soloist with the Pilsen Philharmonic, Gangnam Sym-phony, and Malaysia Festival Orchestra, as well as the Houston, Grand Rapids, Richmond, and Modesto Symphonies. As a recitalist, she has performed at the Rudolfinum in Prague, Weill Hall at Carnegie Hall, and the Phillips Collection and the Kennedy Center in Washington, D.C. A longtime member of the Johannes String Quartet and the Chamber Music Society of Lincoln Center’s Bowers Program (for-merly CMS Two), Jessica Lee has appeared at the Bridgehampton, Santa Fe, Seoul Spring, Olympic, and Music@Menlo festivals.

An Avery Fisher Career Grant recipient and a top-prize winner of the Walter W. Naumburg Competition, Kristin Lee is a violinist of remarkable versatility and impeccable technique. Lee has soloed with the Philadelphia Orchestra, St. Louis Symphony, and St. Paul Chamber Orchestra and has performed at Carnegie Hall, Avery Fisher Hall, and the Kennedy Center. She is an Artist of the Chamber Music Society of Lincoln Center and the Artistic Director of Emerald City Music. Kristin Lee holds a master’s degree from the Juilliard School, where she studied with Itzhak Perl-man and Donald Weilerstein and taught as Perlman’s assistant as a Starling Fellow.

A native of Philadelphia, bassist Peter Lloyd is a graduate of the Curtis Institute of Music. He joined the Philadelphia Orchestra during his final year at Curtis, perform-ing there for more than eight seasons before becoming Principal Bass of the Minnesota Orchestra, a position he held from 1986 to 2007. As a chamber musician, he has performed with the Guarneri String Quartet, Jamie Laredo at the 92nd Street Y, and the Chamber Music Society of Lincoln Center and at the Marlboro Music Fes-tival, among many others. Peter Lloyd is Professor of Double Bass and Chamber Music at the Colburn Conservatory.

Praised by reviewers for his “passion, sumptuous tone, magical finesse, and dazzling virtuosity,” Italian-born Tommaso Lonquich is solo clarinetist with Ensemble Midt-Vest in Denmark and an Artist of the Chamber Music Society of Lincoln Center. He has appeared on the world’s most prestigious stages, partnering with Ani and Ida Kavafian, Gilles Vonsattel, Gilbert Kalish, Nicolas Dautricourt, Yura Lee, Charles Nei-dich, David Shifrin, and the Danish String Quartet. He is Artistic Codirector of Kantoratelier, a vibrant cultural space in Florence, and has given master classes at the Juilliard School, Manhattan School of Music, and SUNY Purchase, among others.

Violist Paul Neubauer’s exceptional musicality and effortless playing led the New York Times to call him “a master musician.” In 2018 he made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the U.S. premiere of the newly discov-ered Impromptu for Viola and Piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia was released on Signum Records, and his recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos.

The recipient of an Avery Fisher Career Grant, a two-time Grammy nominee, and the first wind player chosen to participate in the Bowers Program (formerly CMS Two), flutist Tara Helen O’Connor is a Season Artist of the Chamber Music Society of Lincoln Center. A Wm. S. Haynes flute artist, O’Connor regularly participates at the Santa Fe Chamber Music Festival, Music@Menlo, Spoleto Festival USA, Chamber Music Northwest, Music from Angel Fire, Banff Centre, Rockport Music, Bay Cham-ber Concerts, the Great Mountains Music Festival, and the Bravo! Vail Valley Music Festival. She has recorded for Deutsche Grammophon, EMI Classics, Koch Interna-tional, CMS Studio Recordings with the Chamber Music Society of Lincoln Center, and Bridge Records.

An Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Grant recipient, violist Richard O’Neill has appeared as soloist with the London and Los Angeles Philharmonics and the BBC Symphony with Andrew Davis, Vladi-mir Jurowski, and Yannick Nézet-Séguin. He is a Universal/Deutsche Grammophon recording artist, and his albums have sold over 200,000 copies. An Artist of the Chamber Music Society of Lincoln Center, he has introduced thousands to cham-ber music in South Korea through his chamber music initiative, DITTO. Lera Auerbach, Elliott Carter, John Harbison, and Huang Ruo have dedicated works to him. The first violist to receive the Artist Diploma from Juilliard, he was honored with a Proclamation from the New York City Council. He runs marathons for charity.

Selected as an Artist of the Year by the Seoul Arts Center, Hyeyeon Park has been described as a pianist “with power, precision, and tremendous glee” (Gramophone). She is a prizewinner of numerous international competitions, including Oberlin, Ettlingen, Hugo Kauder, Maria Canals, Prix Amadèo, and Corpus Christi, and her performances have been broadcast on KBS and EBS television (Korea) and RAI3 (Italy), WQXR (New York), WFMT (Chicago), WBJC (Baltimore), and WETA (Washing-ton, D.C.) radio. She is Artistic Director of Apex Concerts (Nevada) and a professor of piano at the University of Nevada, Reno. Her first solo CD recording, Klavier 1853, has been released on the Blue Griffin label.

Principal Flutist of the Metropolitan Opera Orchestra from 1977 until his retirement in 2008, Michael Parloff is the founder and Artistic Director of Parlance Chamber Concerts in Ridgewood, New Jersey. As a lecturer, conductor, and teacher, he has appeared at major concert venues, festivals, and conservatories in the United States and abroad, including the Chamber Music Society of Lincoln Center, Music@Menlo, the Juilliard School, Yale University, and Tanglewood. He is also a frequent lecturer for the French cruise line Ponant. Michael Parloff has been a faculty member at Man-hattan School of Music since 1985.


An ardent exponent of Scandinavian music, pianist Juho Pohjonen performs widely in Europe, Asia, and North America with symphony orchestras and chamber ensem-bles and in recital. During the 2018–2019 season, he appears as soloist with the Nashville, Pacific, Bay Atlantic, and Duluth Superior symphony orchestras. He enjoys an ongoing association with the Chamber Music Society of Lincoln Center and is an alumnus of the Bowers Program (formerly CMS Two). Other highlights this season include his recital debut at the 92nd Street Y in New York, a European tour in Febru-ary, and concerts in Toronto and Alicante, Spain. His recent recordings include Romantic repertoire with cellist Inbal Segev on Avie Records and works in honor of Finland’s centennial as pianist of the Sibelius Trio on Yarlung Records. Juho Pohjonen holds the Alan and Corinne Barkin Piano Chair for 2019.

Active as a classical and jazz pianist and composer, Stephen Prutsman began per-forming in his teens with several art rock bands and was a regular on a nationally syndicated gospel television show. A medal winner at the International Tchaikovsky Competition in Moscow and the Queen Elisabeth Competition in Brussels in the 1990s, he has served as Artistic Partner with the St. Paul Chamber Orchestra and Artistic Direc-tor of the Cartagena International Music Festival. He is also a composer and arranger, and his music has been performed by leading classical and popular artists, including the Kronos and St. Lawrence quartets, Tom Waits, Leon Fleisher, Dawn Upshaw, and the Silk Road Ensemble. Passionate about the plight of the developmentally disabled, Stephen Prutsman cofounded the nonprofit organization Autism Fun Bay Area. Stephen Prutsman holds the Kathleen G. Henschel Piano Chair in honor of Wu Han for 2019.

First Prize winner of the 2008 Naumburg International Violoncello Competition, David Requiro (pronounced re-KEER-oh) is recognized as one of today’s finest cel-lists. Requiro has appeared as soloist with the Tokyo Philharmonic, National Symphony Orchestra, Seattle Symphony, and numerous orchestras across North America. He has performed with the Chamber Music Society of Lincoln Center, Seattle Chamber Music Society, and Jupiter Symphony Chamber Players and is a founding member of the Baumer String Quartet. The Chamber Music Society of Lincoln Center appointed him to its prestigious Bowers Program (formerly CMS Two) beginning in the 2018–2019 season. David Requiro has been Assistant Professor of Cello at the University of Colorado Boulder since 2015.

Known for his “delicious quality of tone,” Kevin Rivard, Coprincipal Horn of the San Francisco Opera Orchestra and Principal Horn of the San Francisco Ballet Orchestra, has performed with Orpheus Chamber Orchestra, the Metropolitan Opera Orchestra, the Philadelphia Orchestra, and the Chamber Music Society of Lincoln Center, among others. His awards include Grand Prize at the Concours International d’Interprétation Musicale in Paris, the International Horn Competition of America, and the Farkas Horn Competition. Kevin Rivard has participated in the Sarasota Music Festival, Norfolk Chamber Music Festival, Verbier Festival, and Santa Fe Opera.

Cellist Keith Robinson is a founding member of the Miami String Quartet and has been active as a chamber musician, recitalist, and soloist since his graduation from the Curtis Institute of Music. His most recent recording, released on Blue Griffin Records with pianist Donna Lee, features Mendelssohn’s complete works for cello and piano. As a member of the Miami String Quartet, he has recorded for the BMG, CRI, Musical Heritage Society, and Pyramid recording labels, was a member of the Chamber Music Society of Lincoln Center’s CMS Two (now the Bowers Program), and won the Concert Artists Guild, London String Quartet, and Fischoff chamber music competitions. He plays a Carlo Tononi cello made in Venice and dated 1725.

Lauded as “personal and profound” (BBC Music Magazine), “among the best quar-tets in the world” (Süddeutsche Zeitung), and “one of the most exciting string quartets of the present day” (Fono Forum), the Schumann Quartet is having an exciting season highlighted by its three-year residency at the Chamber Music Soci-ety of Lincoln Center in New York City, which began back in December 2016. Furthermore, the quartet will go on tour in Israel and twice in the United States, give guest performances at festivals in Germany, Austria, France, the Netherlands, and Bulgaria, and perform concerts in London, Amsterdam, Vienna, Hamburg, and Ber-lin. The quartet’s current album, Intermezzo, has been hailed enthusiastically both at home and abroad and is celebrated as a worthy successor to its award-winning Landscapes album. Among other prizes, the latter received the Jahrespreis der Deutschen Schallplattenkritik and five Diapasons and was selected as Editor’s Choice by BBC Music Magazine.

Six-time Grammy Award-winning recording producer Da-Hong Seetoo returns to Music@Menlo for a seventeenth consecutive season to record the festival concerts for release on the Music@Menlo LIVE label. A Curtis Institute– and Juilliard School–trained violinist, Seetoo has emerged as one of a handful of elite audio engineers, using his own custom-designed microphones, monitor speakers, and computer software. His recent clients include the Borromeo, Escher, Emerson, Miró, and Tokyo String Quartets; the Beaux Arts Trio; pianists Daniel Barenboim, Yefim Bronfman, Derek Han, and Christopher O’Riley; violinist Gil Shaham; cellist Truls Mørk; the Chamber Music Society of Lincoln Center; the Chicago Symphony Orchestra under David Zinman; the Evergreen Symphony (Taipei, Taiwan); the New York Philharmonic under Lorin Maazel; the ProMusica Chamber Orchestra (Columbus, Ohio); the Royal Philharmonic Orchestra under Carlos Miguel Prieto; the Singapore Symphony Orchestra; and David Finckel and Wu Han for the ArtistLed label.

Praised for his “virtuosic,” “dazzling,” and “brilliant” performances (New York Times) and his “bold, keen sound” (New Yorker), oboist James Austin Smith performs new and old music across the United States and around the world. Smith is an Artist of the Chamber Music Society of Lincoln Center and a member of the International Contemporary Ensemble (ICE), Decoda, and the Poulenc Trio, as well as Artistic Director of Tertulia, a chamber music series that takes place in restaurants in New York City and San Francisco. He is a member of the faculties of Stony Brook Univer-sity and Manhattan School of Music. Find him @jaustinsmith on Instagram.



Brazilian oboist Hugo Souza is the Acting Oboe Professor at Escola de Música da UFRN in Natal, Brazil. As an avid double-reed educator and performer, he cofounded the Brazilian Double Reed Society in 2016, which strives to further the professional and artistic careers of its associates by promoting activities such as competitions, conferences, and research. As a performer, he has participated in the Orfeu faculty chamber music series at UFRN, which offered free chamber music concerts to the public. He is also a founding member of Trio InVentus and a D.M.A. candidate at the Eastman School of Music in the studio of Dr. Richard Killmer.

The cellist of the Escher String Quartet, Los Angeles native Brook Speltz has per-formed as a soloist, chamber musician, and recitalist throughout the United States, Canada, Latin America, Europe, and Asia. Since winning First Prize in the Ima Hogg Competition, he has performed as a soloist with the Houston Symphony, Colorado Music Festival Orchestra, and International Contemporary Ensemble, among others, and is a regular performer at England’s IMS Prussia Cove and on tour with Musicians from Marlboro. Based in New York City, Speltz tours and performs with ensembles such as SHUFFLE Concert and the East Coast Chamber Orchestra and on the Omega Ensemble series.Brook Speltz holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2019.

Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann recently made his solo debut with the Mariinsky Theatre Orchestra (under Valery Gergiev), Vancouver Symphony, Pacific Symphony, and Alabama Symphony, among others. He has appeared previously with the American Symphony Orchestra, Stamford Symphony, Chattanooga Symphony, Minnesota Sinfonia, Jerusalem Symphony, and Paris Chamber Orchestra. A dedicated chamber musician, he has been affiliated with the Chamber Music Society of Lincoln Center since 2006 and regularly appears with it in New York and on tour. Born in Strasbourg, France, and based now in New York City, Arnaud Sussmann trained at the Conservatoire de Paris and the Juilliard School with Boris Garlitsky and Itzhak Perlman.

Stephen Taylor holds the Mrs. John D. Rockefeller Solo Oboe Chair with the Cham-ber Music Society of Lincoln Center and is Principal Oboist of the Orchestra of St. Luke’s, St. Luke’s Chamber Ensemble, American Composers Orchestra, the New England Bach Festival, and Orpheus Chamber Orchestra. His regular festival appearances include Caramoor, Sebago-Long Lake, Music from Angel Fire, Music@Menlo, Norfolk, Santa Fe, Aspen, and Chamber Music Northwest. Stephen Taylor has been awarded a Performer’s Grant from the Fromm Foundation at Har-vard University and is on the faculties of the Yale School of Music and Manhattan School of Music. Obsessed with buoyancy, he spends as much time as possible on his old wooden boats in Maine.

Violinist James Thompson is currently an Artist Diploma candidate at the Cleveland Institute of Music working with Jaime Laredo, having studied previously with William Preucil and Paul Kantor. Thompson regularly performs for top-tier chamber music festivals around the country, including Music@Menlo, the Perlman Music Program, and the Taos School of Music. Alongside his performance career, James Thompson is forming a strong reputation as a private instructor and chamber music coach. He views his work with young people as an immensely important aspect of his calling as a musician and is grateful to have the opportunity to share with everyone the joy he has found making music.

R. Larry Todd is Arts & Sciences Professor at Duke University. His books include Mendelssohn: A Life in Music, “likely to be the standard biography for a long time to come” (New York Review of Books), and Fanny Hensel: The Other Mendelssohn, which received the ASCAP Slonimsky Award. A fellow of the Guggenheim Founda-tion and National Humanities Center, he edits the Master Musicians Series (Oxford University Press). With Nancy Green, Todd has issued the complete cello/piano works of the Mendelssohns for JRI Recordings. Among his recent projects are the books Discovering Music (OUP) and, with Marc Moskovitz, Beethoven’s Cello: Five Revolutionary Sonatas and Their World (Boydell & Brewer) and, with Nancy Green, the video Exploring Beethoven’s Cello Sonatas, available on YouTube.

Swiss-born American pianist Gilles Vonsattel is the recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award and winner of the Naum-burg and Geneva competitions. He has appeared with the Munich Philharmonic, Orchestre Symphonique de Montréal, Boston Symphony, and San Francisco Sym-phony and performed recitals and chamber music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo! Vail Valley, Chamber Music Northwest, La Roque d’Anthéron, Music@Menlo, the Lucerne Festival, and Spoleto USA. As an Artist of the Chamber Music Society of Lincoln Center, Gilles Vonsattel regularly performs at Alice Tully Hall and on tour throughout the United States and internationally.

Winner of the prestigious Yehudi Menuhin International Violin Competition in 2010, violinist Angelo Xiang Yu has received consistent critical acclaim and enthusiastic audience response worldwide for his astonishing technique and exceptional musi-cal maturity. In March 2017, he was chosen to participate in the Chamber Music Society of Lincoln Center’s Bowers Program (formerly CMS Two). In North America, his recent and upcoming orchestral engagements include appearances with the orchestras of Pittsburgh, Toronto, Vancouver, and Houston. Also an active recitalist and chamber musician, he has appeared in recital in Berlin, Paris, Beijing, Singapore, Shanghai, Auckland, Chicago, Pittsburgh, and Boston and has performed at the world’s leading summer music festivals, including the Verbier and Bergen Festivals.


Gifts to the Annual FundSupport the critical daily operations of the festival and Chamber Music Institute with a gift to the Annual Fund today. Gifts are acknowledged through membership benefits.

Sponsor a Student with a Gift to the Ann S. Bowers Young Artist FundPlay a pivotal role in the lives of these extraordinary young musi-cians by making the life-changing experience of studying at Music@Menlo’s Chamber Music Institute possible. Sponsors enjoy the same benefits as contributors to the Annual Fund as well as special opportunities to get to know their student. Please contact us to learn how to become a Sponsor.

Planned Giving through the Isaac Stern CircleInclude Music@Menlo in your estate plans to leave a lasting leg-acy of music. Please speak with us about your specific interests and talk with your estate planning advisor to learn more.

Young Patrons SocietyPatrons under forty are invited to join the Young Patrons Society. Members enjoy access to discounted tickets and invitations to special receptions. Please visit our website to learn more about the Young Patrons Society.

Gifts to the Music@Menlo FundThe Music@Menlo Fund, initially funded by the Tenth-Anniversary Campaign, holds board-designated funds to support the orga-nization’s long-term financial health and special projects. Please contact us to learn more about making a special gift or pledge to the Fund.

VolunteerVolunteers provide essential support to the festival, including ushering and hosting artists or seasonal staff members in their homes.

Ways to GiveGifts of Cash: Gifts may be made at www.musicatmenlo.org or by phone at 650-330-2030 or may be mailed to Music@Menlo at 50 Valparaiso Avenue, Atherton, CA 94027.

Gifts of Securities: A gift of appreciated stock may offer valu-able tax benefits. Please contact your financial advisor for more information.

Pledges: Gifts may be pledged and paid in increments comfort-able for you.

Employer Matching Gifts: Employer matching gifts are a great way to double or triple your impact! Many companies match gifts for retirees as well as current employees. Contact your employer’s human resources department to find out more.

Music@Menlo is a program of Menlo School, a registered 501(c)(3) nonprofit educational institution.

For more information on supporting Music@Menlo, please contact Edward Sweeney at 650-330-2030 or [email protected].

Support the music you love with a gift to Music@Menlo today!Did you know that ticket sales make up less than 15 percent of Music@Menlo’s budget?


Become a Member by making a contribution to the Annual FundYour gift to Music@Menlo will:

• Subsidize each and every event produced during our summer festival

• Underwrite free community programming, including:

– Prelude Performances – Koret Young Performers Concerts – Master classes – Café Conversations – Open coaching sessions

• Provide a world-class educational experience for forty young and emerging artists in our Chamber Music Institute

• Fund year-round chamber music activities, including:

– Music@Menlo:Focus Residencies – Classroom and community outreach during our annual

Winter Residency

Only Members of Music@Menlo enjoy special benefits and VIP access. Join one of our membership circles today!

Performers Circle ($100–$999)Welcome to the Music@Menlo community!

Composers Circle ($1,000–$24,999)Enjoy special events with festival artists and the Artistic Directors, advance reservations for the Chamber Music Institute perfor-mances, and VIP ticketing.

Patrons Circle ($25,000+)Members of the Patrons Circle play a vital role in the support of Music@Menlo and are recognized through the Season Dedica-tion as well as intimate opportunities to engage with festival artists and the annual Patrons Circle Season Announcement event.

For a complete listing of donor levels and details of the benefits included, please visit www.musicatmenlo.org/membership or contact Edward Sweeney at 650-330-2030 or [email protected].

Music@Menlo Travel October 27–November 4, 2019: Florence, ItalyMusic@Menlo invites you to embark on a specially curated journey. With festival artists, expert guides, and distinguished lecturers, Music@Menlo’s travel program offers our patrons incomparable insider access to significant historical and cul-tural landmarks and musical experiences like no other. This fall, Music@Menlo will travel to Florence, the heart of Italy’s Tuscany region and the birthplace of the Italian Renaissance, for an adventure in music, art, and food. In the company of musicians, we will explore this extraordinary city that boasts more art trea-sures than any other city in the Western world.

If you are interested in learning more about Music@Menlo’s travel program, please contact Edward Sweeney at 650-330-2030 or [email protected].

Music@Menlo Membership


Get the Best Seats!SupportMembers of the Composers Circle at the $1,000 level and above receive VIP priority ticketing—VIP ticket orders are filled first, ensuring ticket availability for the most popular concerts and securing priority seats, based on giving level. Composers Circle and above Members also receive Advance Ticketing for one Prelude Performance or Koret Young Performers Concert of their choice. Order by February 25 for VIP priority ticketing.

Members of the Composers Circle at the $2,500 level and above receive Premium Seating reservations for the best seats in the hall (see next page for more details). The number of Premium Seating reservations is dependent on giving level. Order by Febru-ary 25 for VIP priority ticketing.

SubscribeSummer Festival Subscribers receive Subscriber priority ticketing with a purchase of four or more paid events. Subscriber orders are filled immediately after VIP priority orders and before single-ticket orders. Order by March 12 for Subscriber priority ticketing.

Order EarlySingle-ticket orders are filled in the order they are received, after the VIP and Subscriber priority ticketing windows have closed. Order early to get the best seats and to get tickets to concerts that sell out quickly!

2019 Summer Festival SubscriptionsBecome a Music@Menlo Summer Festival Subscriber and enjoy exclusive benefits, personalized service, and special savings throughout the entire festival. Subscriber benefits include the following:

• Priority ticketing: Get your order filled before non-Subscribers for improved seats and access to concerts that sell out quickly. Order by March 12 for Subscriber priority ticketing.

• Special savings: Receive a 5 percent or a 10 percent discount on your order and all additional ticket purchases throughout the festival.

• Free ticket exchanges: Easily exchange your tickets within the 2019 summer festival free of charge.

Subscription Levels: Choose Your OwnFestival Mini Subscription (4–5 Events*)• Save 5 percent on your ticket order and subsequent festival

ticket purchases.

Festival Full Subscription (6+ Events*)• Save 10 percent on your ticket order and subsequent festival

ticket purchases.

Immersion Subscription (All Events**)• Save 10 percent on your ticket order and subsequent festival

ticket purchases.

• Receive a 10 percent discount on Music@Menlo merchandise.

• Receive the complete set of recordings of 2019 Music@Menlo LIVE when it is released later in the year.

Subscriber FeesA $10-per-order handling fee applies to each original order. Sub-scribers pay no handling fees on ticket exchanges throughout the 2019 summer festival. Subsequent new ticket purchases (not exchanges) will incur the standard $6-

the seventeenth season: incredible decades · 2019. 2. 24. · the seventeenth season: incredible...

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