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The Fifteenth-Anniversary Season: The Glorious ViolinJuly 14–August 5, 2017
CHAMBER MUSIC FESTIVAL AND INSTITUTE
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Dear Friends,
In celebration of Music@Menlo’s fifteenth
season, we are delighted to once more offer a
festival that illuminates the art of chamber music
in a uniquely engrossing way. This summer, we
will focus not on a composer or musical style
but rather on an instrument whose evolution in
the hands of master makers and immortal composers constitutes one of music’s
richest stories: the violin.
A miracle of technology that has not required an upgrade for over three hundred
years, the violin has been a driving force in the flowering of musical art. After the
Cremonese master Antonio Stradivari perfected its design in the early eighteenth
century, the violin had a newfound power to sing, dazzle, and entrance that
enabled composers to realize their musical dreams. No musical genre is more
indebted to the modern violin family than chamber music. Just imagine: without
the innovations of Andrea Amati, the leading inventor of the violin family, we
would have no Beethoven quartets, Brahms sextets, or Shostakovich trios!
From the innovative composer-performers of the Baroque period, through the
technical wizards of the Romantic era, to the pioneers of instrumental expression
in the twentieth century, Music@Menlo’s 2017 season celebrates the synergies
between immortal composers and the great violinists. Seven Concert Programs,
augmented by an extraordinary series of five Carte Blanche Concerts, trace and
illuminate the in-tandem evolution of violin playing and musical composition.
This festival’s programs would not be possible without Music@Menlo’s evolv-
ing family of the finest violinists of our time. With a specially selected group
of virtuoso violinists tackling the violin repertoire’s most demanding works, we
have incomparable performances on the summer horizon. Add to the mixture
the exceptional Escher String Quartet, pianists Orion Weiss and Juho Pohjonen,
violists Roberto Díaz and Hsin-Yun Huang, cellists Nicholas Canellakis, Clive
Greensmith, and Keith Robinson, and the renowned French hornist Radovan
Vlatkovic, and we have a festival of truly extraordinary depth and excitement.
Furthermore, an unprecedented series of five Encounters, hosted by a diverse
cast of Encounter Leaders, illuminates the violin’s history in greater depth than
even we thought possible.
Please join us for this exhilarating festival, where the violin and its makers, play-
ers, and composers are celebrated in all their splendor.
David Finckel and Wu Han
Artistic Directors
The Martin Family Artistic Directorship
Welcome to Music@Menlo
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Contents
Welcome
2 Welcome from the Artistic Directors
4 Festival Introduction
Concerts
6 Concert Programs
20 Carte Blanche Concerts
25 Prelude Performances and
Koret Young Performers Concerts
26 Music@Menlo Winter Series 2017–2018
38 Festival Calendar
Discovery and Engagement
22 Michael Steinberg Encounter Series
23 AudioNotes
23 Music@Menlo LIVE
23 Music@Menlo Patron Travel
23 Recording and Broadcasting
24 Chamber Music Institute
25 Prelude Performances and
Koret Young Performers Concerts
25 Café Conversations and Master Classes
Artists
5 Artist Roster
27 Visual Artist
27 Artist Biographies
Ticket and Patron Information
32 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
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Music@Menlo’s 2017 season examines the unfolding of music through the lens of the violin, an instrument whose makers, players, and composers shaped the very evolution of music itself. The violin family first appeared in the early sixteenth century (see illustration at left) and is among a handful of tools whose design has remained unchanged for over three cen-turies. After Stradivari perfected the art of violin making in the early eighteenth century, it was the synergy between master composers and virtuoso violinists that drove instrumental music forward.
Beginning in the violin’s earliest days with works of fantastic ingenuity, we will hear music’s unfolding all the way to the present day, when great virtuosi of the violin continue to inspire compositions for an instrument with unrivaled musical possibilities.
ARTISTS
Piano
Gloria Chien
Peter Dugan*
Gilbert Kalish
Hyeyeon Park
Juho Pohjonen
Yekwon Sunwoo*
Orion Weiss*
Wu Han
Violin
Benjamin Beilman
Ivan Chan†
Chad Hoopes*
Bella Hristova*
Paul Huang
Soovin Kim
Jessica Lee
Sean Lee
Yura Lee
Amy Schwartz Moretti*
Arnaud Sussmann
Danbi Um
Viola
Roberto Díaz
Hsin-Yun Huang
Paul Neubauer
Richard O’Neill
Cello
Dmitri Atapine
Nicholas Canellakis
David Finckel
Clive Greensmith
Keith Robinson
Bass
Scott Pingel
Escher String Quartet
Adam Barnett-Hart, violin
Aaron Boyd, violin
Pierre Lapointe, viola
Brook Speltz, cello
Brass
Radovan Vlatkovic, horn*
Encounter Leaders
Aaron Boyd
Fred Child
Christopher H. Gibbs
Ray Iwazumi*
Soovin Kim
*Music@Menlo debut†Guest artist-faculty
Gaudenzio Ferrari (1475–1546).Musical Angels, fresco. Saronno, Italy. Photo credit: Scala/Art Resource, NY
The Glorious Violin
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The Dream, engraving by James Marshal for the Violin Sonata in g minor, Devil’s Trill, by Giuseppe Tartini (1692–1770). Zenetorteneti Muzeum. © DeAgostini Picture Library/Art Resource, NY
ConCerT ProgrAM I
The Path to Bach “ One night…I dreamed that I had sold my soul to the Devil…I gave him
my violin out of curiosity; but I was amazed to hear him play a sonata so miraculous and beautiful…that it exceeded all flights of imagination.”
—giuseppe Tartini
The 2017 festival journey begins in the generation before J. S. Bach: through the ingenuity of such composer-
virtuosi as Carlo Farina, Marco Uccellini, and Pietro Antonio Locatelli, the violin evolved from the modest fiddle
of street musicians to the voice of musical nobility. Next to the works of these early innovators, Concert Program
I features one of the iconic masterpieces of the instrument’s repertoire, Tartini’s famous Devil’s Trill Sonata. The
latter half of the program brings together the Baroque period’s most influential composers—Arcangelo Corelli,
Antonio Vivaldi, and Johann Sebastian Bach—whose sea-parting concerti simultaneously crowned a king of
instruments and defined a musical era.
Carlo Farina (ca. 1604–1639)Capriccio stravagante (1627)
Marco Uccellini (ca. 1603–1680)Sonata no. 18 for Two Violins from Sonatas,
Correnti, and Arias, op. 4 (1645)
Giovanni Battista Vitali (1632–1692)Passagallo primo from Varie partite del passemezo,
ciaccona, capricii, e passagalli for Two Violins and Continuo, op. 7 (1682)
Pietro Antonio Locatelli (1695–1764)Concerto in g minor from L’arte del violino, op. 3,
no. 6 (1733)
Giuseppe Tartini (1692–1770)Sonata in g minor, Devil’s Trill (ca. 1714)
Arcangelo Corelli (1653–1713)Concerto grosso in g minor, op. 6, no. 8,
Christmas Concerto (1714)
Antonio Vivaldi (1678–1741) Concerto in D Major for Two Violins, Two Cellos,
Strings, and Continuo, rV 564 (before 1742)
Johann Sebastian Bach (1685–1750) Double Violin Concerto in d minor, BWV 1043
(1730–1731)
ARTISTSGloria Chien, Gilbert Kalish, Hyeyeon Park, Wu Han,
harpsichords; Adam Barnett-Hart, Aaron Boyd,
Soovin Kim, Amy Schwartz Moretti, Arnaud Sussmann,
violins; Hsin-Yun Huang, Pierre Lapointe,
Amy Schwartz Moretti, violas; Dmitri Atapine,
Keith Robinson, Brook Speltz, cellos;
Scott Pingel, bass
SATURdAy, JULy 156:00 p.m., The Center for Performing Arts at
Menlo-Atherton
Tickets: $70/$62 full price; $30/$20 under age thirty
Prelude Performance*
3:30 p.m., The Center for Performing Arts at
Menlo-Atherton
*Prelude Performances feature young artists from the
Chamber Music Institute. Admission is free. For more
information, see pp. 24–25.
Fête the Festival
8:30 p.m., following the concert
Join the Artistic Directors, festival musicians, and
friends on July 15 to celebrate the season’s first
concert at an outdoor catered dinner reception at
the Menlo Park Arrillaga Family Recreation Center.
(Tickets: $65. Advance purchase required.)
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ConCerT ProgrAM II
The Classical Style
Franz Joseph Haydn (1732–1809) rehearsing a string quartet, Wien Museum Karlsplatz, Vienna, Austria. © DeAgostini Picture Library/Art Resource, NY
Giovanni Battista Viotti (1755–1824) Duetto for Solo Violin (1821)
Franz Joseph Haydn (1732–1809) Piano Trio in e-flat Major, Hob XV: 29 (1797)
Wolfgang Amadeus Mozart (1756–1791) Violin Sonata in A Major, K. 526 (1787)
Rodolphe Kreutzer (1766–1831) Étude no. 22 in B-flat Major from Forty-Two Études
and Caprices for Solo Violin (1796)
Ludwig van Beethoven (1770–1827)String Quintet in C Major, op. 29 (1801)
ARTISTSGloria Chien, Gilbert Kalish, pianos; Soovin Kim,
Amy Schwartz Moretti, Arnaud Sussmann, violins;
Hsin-Yun Huang, Pierre Lapointe, violas; David Finckel,
Keith Robinson, cellos
SUndAy, JULy 166:00 p.m., The Center for Performing Arts at
Menlo-Atherton
Tickets: $70/$62 full price; $30/$20 under age thirty
TUeSdAy, JULy 187:30 p.m., Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
Prelude Performance*
5:00 p.m., Martin Family Hall, Menlo School
*Prelude Performances feature young artists from the
Chamber Music Institute. Admission is free. For more
information, see pp. 24–25.
“ Though not above ‘borrowing’ some idiomatic traits from Kreutzer, Viotti, and Rode, Beethoven transformed them from mere ‘display’ material to the embellishments of great musical ideas.”
—Boris Schwarz
As Haydn and Mozart crystallized the Classical tradition that Beethoven would inherit and transform, the
performers of their day likewise developed ever more sophisticated instrumental techniques. Such violinists as
Giovanni Battista Viotti and Ignaz Schuppanzigh fueled these great composers’ innovations, empowering them
to create music of heretofore unimagined subtlety and complexity. Alongside Haydn, Mozart, and Beethoven,
Concert Program II spotlights Viotti, who played a seminal role in defining the instrument’s tradition in England
and France, as well as one of his musical heirs, Rodolphe Kreutzer—the dedicatee of Beethoven’s most fiendish
violin sonata and a skilled composer in his own right. These performers’ technical prowess inspired music of
newfound resplendence from the day’s finest composers in Haydn and Mozart. Beethoven’s audacious creations,
in turn, would challenge even Vienna’s most skilled virtuosi, likewise elevating the instrumental tradition to new
heights.
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Statue of Felix Mendelssohn near Thomaskirche, Leipzig. Photo credit: Albrecht Neumeister, 2009
“ The compositions of the virtuosi are necessary for the instrumental art, because the composer (alone) cannot conceive that such effects are possible unless he has before him a model, a guide…”
—eugène Ysaÿe
Concert Program III continues the festival’s journey from the Classical period into the nineteenth century. The
program offers Beethoven’s final violin sonata as its point of departure into the new era—following a nod to the
French virtuoso Pierre Rode, another of Viotti’s disciples and the sonata’s dedicatee. In the generation following
Beethoven, Louis Spohr would become a standard-bearer for the German violin tradition, introducing expres-
sive innovations such as those heard in his Double String Quartet that gave Romanticism its musical soul. The
program continues with music by Ferdinand David, Spohr’s prize pupil and muse to the German tradition’s most
brilliant medium, Felix Mendelssohn, whose Opus 3 Piano Quartet closes the program.
Pierre Rode (1774–1830) Caprice no. 3 in g Major from Vingt-quatre caprices
en forme d’études for Solo Violin (ca. 1815)
Ludwig van Beethoven (1770–1827)Violin Sonata no. 10 in g Major, op. 96 (1812)
Louis Spohr (1784–1859) Double String Quartet no. 1 in d minor, op. 65
(1823)
Ferdinand david (1810–1873) Caprice in c minor from Six Caprices for Solo Violin,
op. 9, no. 3 (1839)
Felix Mendelssohn (1809–1847) Piano Quartet no. 3 in b minor, op. 3 (1825)
ARTISTSJuho Pohjonen, Wu Han, pianos; Adam Barnett-Hart,
Aaron Boyd, Soovin Kim, Jessica Lee, Sean Lee,
Arnaud Sussmann, violins; Roberto Díaz,
Pierre Lapointe, violas; Dmitri Atapine,
Keith Robinson, Brook Speltz, cellos
THURSdAy, JULy 207:30 p.m., Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
Prelude Performance*
5:00 p.m., Martin Family Hall, Menlo School
*Prelude Performances feature young artists from the
Chamber Music Institute. Admission is free. For more
information, see pp. 24–25.
SATURdAy, JULy 226:00 p.m., The Center for Performing Arts at
Menlo-Atherton
Tickets: $70/$62 full price; $30/$20 under age thirty
ConCerT ProgrAM III
German Virtuosity
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Johann Martin von Rohden (1778–1868). Capriccio View of the Ruins of Heidelberg Castle, oil on canvas. Private collection/Photo © Christie’s Images/Bridgeman Images
“ Joachim was the crown of the evening…he played with such poetry, such perfection, with so much soul in every note…Never before did I receive such an unforgettable impression from a virtuoso.”
—Clara Schumann
The sheer brilliance of Mendelssohn’s musical achievements would inspire an emerging generation of Romantics.
Robert Schumann considered him “the first musician of the day…He plays with everything…with such ease, deli-
cacy, and art, with such mastery throughout.” An equal mastery would bless Schumann’s disciple Johannes Brahms,
whose catalogue of chamber music stands without peer in their generation. A catalyst to the artistic triumphs of
these and other composers, the violinist Joseph Joachim equally towers as one of German Romanticism’s most
consequential figures. A protégé of Mendelssohn’s, Joachim would come to personify the German school of violin
playing and served as muse to Schumann and Brahms in the creation of their greatest works for violin. Concert
Program IV surrounds Joachim with signature works by these composers, culminating in Brahms’s poetic Horn Trio.
ConCerT ProgrAM IV
In Joachim’s Orbit
Felix Mendelssohn (1809–1847) Lied ohne Worte (Song without Words) in D Major
for Cello and Piano, op. 109 (1845)
Robert Schumann (1810–1856) Adagio and Allegro in A-flat Major for Horn and
Piano, op. 70 (1849)
Robert Schumann Piano Trio no. 3 in g minor, op. 110 (1851)
Joseph Joachim (1831–1907) romance, op. 2, no. 1 (ca. 1850)
Johannes Brahms (1833–1897) Horn Trio in e-flat Major, op. 40 (1865)
ARTISTSRadovan Vlatkovic, horn; Gloria Chien, Gilbert Kalish,
Juho Pohjonen, pianos; Paul Huang, Yura Lee, violins;
Keith Robinson, cello
SUndAy, JULy 236:00 p.m., The Center for Performing Arts at
Menlo-Atherton
Tickets: $70/$62 full price; $30/$20 under age thirty
MondAy, JULy 247:30 p.m., Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
Prelude Performance*
5:00 p.m., Martin Family Hall, Menlo School
*Prelude Performances feature young artists from the
Chamber Music Institute. Admission is free. For more
information, see pp. 24–25.
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Henri Le Sidaner (1862–1939). Sunday, 1898, oil on canvas. Musée de la Chartreuse, Douai, France. Photo credit: Erich Lessing/Art Resource, NY
ConCerT ProgrAM V
French Luminaries
Jean-Marie Leclair (1697–1764) Sonata in e minor for Two Violins, op. 3, no. 5
(1730)
eugène ysaÿe (1858–1931) Rêve d’enfant (A Child’s Dream), op. 14
(ca. 1895–1900)
César Franck (1822–1890) Violin Sonata in A Major (1886)
Claude debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889)
Gabriel Fauré (1845–1924) Piano Quartet no. 1 in c minor, op. 15 (1876–1879,
rev. 1883)
ARTISTSGilbert Kalish, Hyeyeon Park, Orion Weiss, Wu Han,
pianos; Chad Hoopes, Arnaud Sussmann, violins;
Paul Neubauer, viola; Clive Greensmith, cello
FRIdAy, JULy 287:30 p.m., Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
Prelude Performance*
5:00 p.m., The Center for Performing Arts at
Menlo-Atherton
*Prelude Performances feature young artists from the
Chamber Music Institute. Admission is free. For more
information, see pp. 24–25.
SATURdAy, JULy 296:00 p.m., The Center for Performing Arts at
Menlo-Atherton
Tickets: $70/$62 full price; $30/$20 under age thirty
“ To play the violin is rather easy, it is even banal…But to feel, to palpitate, to make vibrate—not the instrument but the soul of the instrument…that power cannot be acquired, it is a gift of God!”
—eugène Ysaÿe
As violinists from the Baroque period throughout the nineteenth century nurtured Germany’s violin tradition,
generations of French virtuosi likewise cultivated a distinct national style. Concert Program V begins with the
Sonata in e minor for Two Violins by Jean-Marie Leclair, the first great violinist of the French school, who came
to be celebrated as “the French Corelli.” Over a century later, the Belgian violinist, composer, and conductor
Eugène Ysaÿe, who combined Joachim’s intellect with Paganini’s flair, would set listeners aflame with his intrepid
approach to the instrument. In addition to composing his own masterpieces, Ysaÿe served as inspiration through
his brilliant playing for composers from César Franck and Gabriel Fauré to Claude Debussy.
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Photo of Fritz Kreisler from the personal collection of William Primrose held at the Primrose International Viola Archive, Brigham Young University, Provo, Utah
ConCerT ProgrAM VI
The Age of Expression
WedneSdAy, AUGUST 27:30 p.m., The Center for Performing Arts at
Menlo-Atherton
Tickets: $70/$62 full price; $30/$20 under age thirty
Prelude Performance*
5:00 p.m., The Center for Performing Arts at
Menlo-Atherton
*Prelude Performances feature young artists from the
Chamber Music Institute. Admission is free. For more
information, see pp. 24–25.
Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881)
ottorino Respighi (1879–1936) Violin Sonata in b minor (1917)
eugène ysaÿe (1858–1931) Sonata in e minor for Solo Violin, op. 27, no. 4
(1924)
Fritz Kreisler (1875–1962) String Quartet in a minor (1919)
ARTISTSOrion Weiss, piano; Benjamin Beilman, Paul Huang,
Danbi Um, violins; Paul Neubauer, viola;
Nicholas Canellakis, Clive Greensmith, cellos
“ Technique is decidedly not the main essential of the concert violinist’s equipment. Sincerity and personality are the main essentials.”
—Fritz Kreisler
The generation of virtuosi that emerged in the early twentieth century, headed by the preternaturally gifted Fritz
Kreisler, charted new frontiers in the violin’s expressive potential. As the art of the violin was reimagined, so inevita-
bly was the music written for it, as composers created music expressly for the soulful practitioners of the new style.
Concert Program VI features music by Borodin, Respighi, Ysaÿe, and even Kreisler himself—works that illustrate the
age of expression’s transformative effect on how composers would forever approach the instrument.
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A boy in a Gypsy orchestra playing in Budapest, Hungary, 1930s, black and white photo. United Archives/Nolte/Bridgeman Images
ConCerT ProgrAM VII
National Flavors“ There is no top. There are always further h eights to reach.” —Jascha Heifetz
Music@Menlo’s 2017 festival season finale offers a colorful survey of violin playing across the Western world.
The vitality of modern Bohemia is heard in Martinu’s ingenious duo, while the visceral influence of the great Rus-
sian school of string playing is evident in Shostakovich’s Prelude and Scherzo for String Octet, completed while
the composer was still a teenager. Composer Erno Dohnányi drew from his native Hungary’s folk traditions in
his Ruralia hungarica, while American composer John Corigliano’s Red Violin Caprices glorify the instrument with
a distinctly modern voice. The program concludes with the thrilling String Octet by the Romanian composer,
violinist, pianist, and conductor George Enescu.
Bohuslav Martinu (1890–1959)Duo no. 1 for Violin and Cello (1927)
John Corigliano (Born 1938) Red Violin Caprices (1999)
erno dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante)
from Ruralia hungarica, op. 32c (1924)
dmitry Shostakovich (1906–1975) Prelude and Scherzo for String octet, op. 11
(1924–1925)
George enescu (1881–1955) String octet in C Major, op. 7 (1900)
ARTISTSHyeyeon Park, piano; Bella Hristova, Soovin Kim,
Arnaud Sussmann, Danbi Um, violins; Paul Neubauer,
Richard O’Neill, violas; Dmitri Atapine,
Nicholas Canellakis, David Finckel,
Clive Greensmith, cellos
SATURdAy, AUGUST 56:00 p.m., The Center for Performing Arts at
Menlo-Atherton
Tickets: $70/$62 full price; $30/$20 under age thirty
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Carte Blanche Concerts
CArTe BlAnCHe ConCerT I
Paganini’s Incomparable Caprices Sean lee, violin; Peter Dugan, pianoFriday, July 21, 7:30 p.m.
Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
To this day, Paganini’s Twenty-Four Caprices represent the Mount Everest
of violin technique. Violinist Sean Lee, in a rarely encountered feat
of virtuosity, performs the entire cycle of Paganini’s caprices, with
Music@Menlo debut pianist Peter Dugan offering the beautiful
accompaniments composed by none other than Robert Schumann.
niccolò Paganini (1782–1840)Twenty-Four Caprices for Solo Violin, op. 1 (ca. 1805)
(piano accompaniment by robert Schumann)
CArTe BlAnCHe ConCerT II
Quartet Connections escher String Quartet: Adam Barnett-Hart, Aaron Boyd, violins; Pierre lapointe, viola; Brook Speltz, celloSunday, July 23, 10:30 a.m.
Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
As Mozart responded to the quartets of Haydn with his own master-
pieces, so did Dvorák challenge the high standard set by Brahms with
string quartets of quintessential Bohemian spirit. The Escher String
Quartet brings its dual mastery of style and technique to a program
juxtaposing several immortal composers, each at the apex of his cham-
ber music achievement.
Wolfgang Amadeus Mozart (1756–1791) String Quartet in B-flat Major, K. 458, The Hunt (1784)
Johannes Brahms (1833–1897) String Quartet no. 3 in B-flat Major, op. 67 (1875)
Franz Joseph Haydn (1732–1809)String Quartet in g Major, op. 76, no. 1, Hob. III: 75 (ca. 1797)
Antonín dvorák (1841–1904)String Quartet no. 13 in g Major, op. 106 (1895)
Please join the Escher String Quartet for a picnic lunch following the
concert. A gourmet boxed lunch may be reserved with your ticket order
for $18.
Music@Menlo’s 2017 Carte Blanche series celebrates today’s art of string playing at its finest, in the hands of the festival’s incomparable performers.
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CArTe BlAnCHe ConCerT III
Violin Universe Yura lee, violinWednesday, July 26, 7:30 p.m.
Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
Violinist Yura Lee performs an astounding array of works for solo violin,
ranging from the adventurous musical experiments of the pre-Baroque
era to examples of the most infectiously appealing folk styles of violin
playing heard today. Concluding with Bach’s monumental Chaconne, this
program is a one-of-a-kind celebration of the violin’s endless potential
and timeless popularity.
Heinrich Ignaz Franz von Biber (1644–1704)Passacaglia in g minor for Solo Violin, The Guardian Angel, from The
Mystery Sonatas (ca. 1674–1676)
Bluegrass Fiddling (To be announced from the stage)
eugène ysaÿe (1858–1931) Sonata in g Major for Solo Violin, op. 27, no. 5 (1924)
George enescu (1881–1955) Ménétrier (Fiddler) from Impressions d’enfance, op. 28 (1940)
Henrich Wilhelm ernst (1814–1865)grand Caprice on Schubert’s Der Erlkönig for Solo Violin, op. 26 (1854)
norwegian Fiddling (To be announced from the stage)
Johann Sebastian Bach (1685–1750)Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)
CArTe BlAnCHe ConCerT IV
romantic Voices Danbi Um, violin; orion Weiss, piano; with Paul Huang, violinSunday, July 30, 6:00 p.m.
Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
Violinist Danbi Um embodies the tradition of the great Romantic style,
her natural vocal expression coupled with virtuosic technique. Partnered
by pianist Orion Weiss, making his Music@Menlo debut, she offers a
program of music she holds closest to her heart, a stunning variety of
both favorites and delightful discoveries.
ernest Bloch (1880–1959) Violin Sonata no. 2, Poème mystique (1924)
George enescu (1881–1955) Violin Sonata no. 3 in a minor, op. 25, Dans le caractère populaire
roumain (In Romanian Folk Character) (1926)
erich Wolfgang Korngold (1897–1957) Four Pieces from the Incidental Music to Shakespeare’s Much Ado
about Nothing, op. 11 (1918–1919)
Jeno Hubay (1858–1937)Scènes de la csárda no. 3, op. 18, Maros vize (The River Maros)
(ca. 1882–1883)
Fritz Kreisler (1875–1962) Midnight Bells (after richard Heuberger’s Midnight Bells from The
Opera Ball) (1923)
ernest Bloch Avodah (1929)
Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913)
Pablo de Sarasate (1844–1908) Navarra (Spanish Dance) for Two Violins and Piano, op. 33 (1889)
CArTe BlAnCHe ConCerT V
A Tribute to Fritz Kreisler Benjamin Beilman, violin; Yekwon Sunwoo, pianoThursday, August 3, 7:30 p.m.
Stent Family Hall, Menlo School
Tickets: $80 full price; $35 under age thirty
The charismatic violinist Benjamin Beilman has long been a disciple of the
incomparable art of the great Viennese master Fritz Kreisler. Beilman’s
extraordinary celebration of Kreisler’s art features pianist Yekwon
Sunwoo, making his Music@Menlo debut, and includes music that
inspired Kreisler as both a performer and a composer as well as a host
of Kreisler’s most famous and beloved works.
Fritz Kreisler (1875–1962) Praeludium and Allegro (1910)
Aucassin and Nicolette (1917)
Johann Sebastian Bach (1685–1750)Prelude from Partita no. 3 in e Major, BWV 1006 (arr. Kreisler) (1720)
Arcangelo Corelli (1653–1713)Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)
Giovanni Battista Viotti (1755–1824) Violin Concerto no. 22 in a minor (arr. Kreisler) (ca. 1793–1794)
Fritz Kreisler La gitana (1917)
Lotus Land (after Cyril Scott’s opus 47 number 1) (1922)
Tambourin chinois, op. 3 (1910)
nikolay Rimsky-Korsakov (1844–1908) Hymn to the Sun from The Golden Cockerel (arr. Kreisler) (1919)
Fritz Kreisler Viennese Rhapsodic Fantasietta (1941–1942)
22 subscribe at www.musicatmenlo.org | 650-331-0202
Michael Steinberg encounter Series
The encounter series, Music@Menlo’s signature multimedia symposia, embod-ies the festival’s context-rich approach to musical discovery, adding dimension, depth, and context for the season’s seven Concert Programs and five Carte Blanche Concerts. The 2017 festival season’s five
encounters, each led by experts in their fields, explore the intriguing history of the violin, beginning with the instrument’s earliest makers, performers, and com-posers and continuing all the way to the present day. The encounter series is named in memory of Michael Steinberg, the eminent musicologist and Music@Menlo guiding light.
enCoUnTer I
From the Birth of the Violin to J. S. Bach and the glory of Cremona Led by Aaron BoydFriday, July 14, 7:30 p.m.
Martin Family Hall, Menlo School
Tickets: $48 full price; $20 under age thirty
With antecedents shared by numerous cultures reaching back to human-
kind’s earliest and most primitive music, the modern violin appeared in a
sleepy Northern Italian town in the mid-sixteenth century, creating one of
the great miracles of Western art. In the opening Encounter of the summer,
Escher String Quartet violinist Aaron Boyd traces the violin’s history from
its hazy origins to its apogee at the hands of Antonio Stradivari, Antonio
Vivaldi, and J. S. Bach, examining the creative synergy between the instru-
ment’s earliest performers and composers.
enCoUnTer III
The Devil’s Violinist: niccolò Paganini Led by Soovin KimWednesday, July 19, 7:30 p.m.
Martin Family Hall, Menlo School
Tickets: $48 full price; $20 under age thirty
Niccolò Paganini, a near-mythic figure whose fiendish abilities left listen-
ers, performers, and composers equally awestruck, raised the technical
standard of violin playing to stratospheric heights. This summer’s third
Encounter, led by violin virtuoso Soovin Kim, will delve into Paganini’s
intriguing life and work, ultimately revealing how Paganini’s magnificent
legacy has endured throughout history and thrives to this day through
his astonishing compositions.
Please see page 23 for image captions.
enCoUnTer IV
Towards the Age of expression Led by Ray IwazumiThursday, July 27, 7:30 p.m.
Martin Family Hall, Menlo School
Tickets: $48 full price; $20 under age thirty
A generation of virtuosi in the second half of the nineteenth century, led
by Wieniawski and Vieuxtemps, opened the eyes and ears of the public
to a new realm of expressive potential and artistic projection for the
violin. Transcendental technique in the service of art then reached its
height with the great Belgian violinist Eugène Ysaÿe, who inspired a new
generation of virtuosi led by Kreisler, Elman, Heifetz, and many others.
At this summer’s fourth Encounter, violinist and Juilliard School professor
Ray Iwazumi explores the flowering of expression of the violin during this
consequential period in Western music history.
enCoUnTer V
The Violin Today Led by Fred ChildTuesday, August 1, 7:30 p.m.
Martin Family Hall, Menlo School
Tickets: $48 full price; $20 under age thirty
Fred Child, popular host of the American Public Media® radio program
Performance Today®, moderates the summer’s final Encounter, featuring
an elite panel of Music@Menlo violinists and the incomparable violin
maker Samuel Zygmuntowicz. This in-depth discussion of modern violin
making, performance, and pedagogy will include violinists who have
studied with the greatest virtuosi of our time, with lineage dating all the
way back to Joseph Joachim, providing a uniquely engrossing opportunity
to hear the perspectives of today’s finest performers—pointing directly
toward the future of the majestic violin tradition.
enCoUnTer II
The emergence of the Classical Tradition in Musical Style and Performance Led by Christopher H. GibbsSunday, July 16, 3:00 p.m.
Martin Family Hall, Menlo School
Tickets: $48 full price; $20 under age thirty
This summer’s second Encounter explores the concurrent advance-
ment of performance practice, compositional innovation, and Viennese
musical culture during the Classical and early Romantic eras. Scholar
Christopher H. Gibbs returns to Music@Menlo to lead audiences in an
overview of the emergence of the Classical style at the hands of Haydn,
Mozart, and Beethoven—also revealing the astounding contributions of
violinist Ignaz Schuppanzigh, a friend and colleague of Beethoven’s, to
the musical life of Vienna.
23subscribe at www.musicatmenlo.org | 650-331-0202
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). Produced 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.com, Classical Archives, and Spotify.
Audionotes AudioNotes are Music@Menlo’s innovative series of preconcert listener
guides intended to provide greater insight into the music as well as the
performers’ perspectives prior to the concert experience. AudioNotes—
provided free of charge—offer cultural and historical context highlighted
by musical examples and interviews with festival artists. Each
AudioNotes recording enhances the concert experience by giving listen-
ers an informed perspective in advance of the performance and provides
the foundation for a rich and rewarding musical journey.
AudioNotes are available on CD or as downloadable MP3s.
See order form for details.
Music@Menlo Travel Music@Menlo invites you to join festival artists and patrons on specially
curated musical journeys around the world. With local experts, festival
artists, and distinguished lecturers, Music@Menlo’s travel programs offer
patrons incomparable insider access to some of the most significant
historical and cultural landmarks while they enjoy a musical listening
experience like no other. This fall, Music@Menlo travels to northern Italy,
the epicenter of violin evolution, for a once-in-a-lifetime musical explora-
tion featuring Music@Menlo Artistic Directors Wu Han and David Finckel
and other favorite festival artists.
If you are interested in learning more about Music@Menlo’s travel
programs, please contact edward Sweeney at (650) 330-2138 or
edward@musicatmenlo.org.
Photo by Victor Grigas
Encounter image captions, from I to V: Plaque in memory of the work of Johann Sebastian Bach in Köthen. Inscription: Joh. Seb. Bach created imperishable works of art here in the years 1717–1723 But be worth it. Photo: Ralf Lotys, https://commons.wikimedia.org/wiki/File:2008-01_K%C3%B6then_(Anhalt)_23.jpg
Concert hall in the Razumovsky Palace, Vienna, Austria, site of the first performance of the Razumovsky Quartets by Ludwig van Beethoven, nineteenth century. Photo credit: Erich Lessing/Art Resource, NY
Anonymous. Fiddlestick versus Broomstick, 1831. Paganini standing on a chair with a fiddle in one hand and bow in the other. Around the table sit John Key (Lord Mayor of London), Henry Brougham, Charles (Earl) Grey, and Lord John Russell. The freedom of the city was presented to Lord John Russell at the Mansion House on July 9, 1831; Paganini was invited to play a concerto
Eugène Ysaÿe in Russia, 1883, by W. Wysochi. Bibliothèque royale de Belgique
Samuel Zygmuntowicz shapes a violin arch in his Brooklyn, New York, studio. Photo credit: Lilian Finckel, 2016
recording and Broadcasting recording Producer
Six-time Grammy Award-winning
recording producer da-Hong
Seetoo returns to Music@Menlo
for a fifteenth consecutive season
to record the festival concerts for
release on the Music@Menlo LIVE
label. A Curtis Institute– and
Juilliard School–trained violinist,
Da-Hong 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 Sha-
ham; 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 Sym-
phony Orchestra; and David Finckel and Wu Han for the ArtistLed label.
His recording with the Emerson String Quartet for Deutsche Gram-
mophon, Intimate Letters, garnered the 2010 Grammy Award for Best
Chamber Music Performance.
American Public Media®
American Public Media® is the leading
producer of classical music program-
ming for public radio. This summer,
Music@Menlo is proud to welcome
American Public Media® once again as the festival’s exclusive broadcast
partner. Performances 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. Fred Child, host of Performance
Today®, will lead the festival’s final Encounter this summer. Go online
to www.YourClassical.org for archived performances, photos,
and interviews.
Photo by Victor Grigas
iStock
24 subscribe at www.musicatmenlo.org | 650-331-0202
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 artists 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 Perfor-
mances and Koret Young Performers Concerts featuring the Institute’s
aspiring young artists. The Chamber Music Institute’s series of master
classes and performances—always free and open to the public—offers
listeners an opportunity 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 contributions to the
Ann S. Bowers Young Artist Fund.
Chamber Music Institute David Finckel and Wu Han ArTISTIC DIreCTorS
Gloria Chien InSTITUTe DIreCTor
Gilbert Kalish InTernATIonAl ProgrAM DIreCTor
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Prelude Performances and Koret Young Performers Concerts
Prelude Performance Schedule
Featuring the Institute’s International Program artists.
Saturday, July 15, 3:30 p.m., Menlo-Atherton*
Tuesday, July 18, 5:00 p.m., Martin Family Hall
Wednesday, July 19, 5:00 p.m., Stent Family Hall
Thursday, July 20, 5:00 p.m., Martin Family Hall
Friday, July 21, 5:00 p.m., Menlo-Atherton*
Monday, July 24, 5:00 p.m., Martin Family Hall
Wednesday, July 26, 5:00 p.m., Martin Family Hall
Thursday, July 27, 5:00 p.m., Stent Family Hall
Friday, July 28, 5:00 p.m., Menlo-Atherton*
Sunday, July 30, 3:30 p.m., Martin Family Hall
Tuesday, August 1, 5:00 p.m., Stent Family Hall
Wednesday, August 2, 5:00 p.m., Menlo-Atherton*
Friday, August 4, 5:00 p.m., Menlo-Atherton*
Koret young Performers Concert Schedule
Featuring the students of the Young Performers Program.
Saturday, July 22, 1:00 p.m., Menlo-Atherton*
Saturday, July 29, 1:00 p.m., Menlo-Atherton*
Saturday, August 5, 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 Concerts. 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. Mem-
bers of the Bach Circle ($1,000) and above enjoy Advance Ticketing for one
Prelude Performance or Koret Young Performers Concert of their choice.
Members of the Beethoven Circle ($10,000) and above enjoy Advance
Ticketing for all Prelude Performances and Koret Young Performers Con-
certs. For reserved seating opportunities, please see Premium Seating
information on p. 32.
*The Center for Performing Arts at Menlo-Atherton
Café Conversations and Master Classes Beginning on July 17, each weekday throughout the festival, Music@Menlo
offers midday events including the popular Café Conversations and
master classes. Café Conversations feature select festival artists dis-
cussing a variety of topics related to music and the arts. These forums
showcase the wide-ranging expertise, generosity, and imagination of
our artists and provide further insight into their remarkable careers and
musical experiences.
Master classes offer an opportunity 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 insight gained from observ-
ing the nuanced process of preparing a piece of music for performance
deepens audiences’ appreciation of the concert experience.
Each weekday of the festival season features a Café Conversation or
master class at 11:45 a.m. on the Menlo School campus. Reservations
are not necessary or available for these midday events, which are free
and open to the public. 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 Monday through Friday from July 17 through August 4, Music@Menlo
invites you to experience the Chamber Music Institute by observing
coachings or watching a master class or Café Conversation on the
Menlo School campus. Daily schedules of open coachings 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 music from the chamber music repertoire.
For both series, free tickets are required and may be reserved in advance on the day of the concert.
26 subscribe at www.musicatmenlo.org | 650-331-0202
Music@Menlo Winter Series 2017–2018Music@Menlo’s Winter Series offers listeners the opportunity to experience the festival’s signature chamber music programming throughout the year.
Montrose Trio Shostakovich, Beethoven, and BrahmsSunday, November 12, 2017, 6:00 p.m.
The Center for Performing Arts at Menlo-Atherton
Tickets: $52/$47 full price; $25/$20 under age thirty
Virtuoso pianist Jon Kimura Parker and former Tokyo String Quartet mem-
bers Martin Beaver and Clive Greensmith open the 2017–2018 Winter Series,
performing a program of Shostakovich, Beethoven, and Brahms that offers
a rare opportunity to revel in the youthful yet unmistakably refined crafts-
manship of these composers’ very first forays into composing for piano trio.
Beginning with Shostakovich’s beguiling Piano Trio no. 1 in c minor followed
by Beethoven’s simply joyful Opus 1 Number 1 Trio, the program concludes
with Brahms’s own First Piano Trio in B Major in an enchanting survey of
some of the earliest works of the composers’ extensive oeuvres.
dmitry Shostakovich (1906–1975)Piano Trio no. 1 in c minor, op. 8 (1923)
Ludwig van Beethoven (1770–1827)Piano Trio in e-flat Major, op. 1, no. 1 (1794)
Johannes Brahms (1833–1897)Piano Trio no. 1 in B Major, op. 8 (1854, rev. 1889)
ARTISTSJon Kimura Parker, piano; Martin Beaver, violin; Clive Greensmith, cello
The Chamber Music Society of lincoln Center Brahms and DvorákFriday, January 19, 2018, 7:30 p.m.
Location TBD
Tickets: $52/$47 full price; $25/$20 under age thirty
This riveting program juxtaposes two musical giants of Romanticism:
Antonín Dvorák and Johannes Brahms. Contemporaries and friends,
Dvorák and Brahms drew inspiration from each other, and it was to
Brahms’s Gypsy-inspired Hungarian Dances that Dvorák turned for his own
Slavonic Dances, which has been a sure-fire hit with audiences ever since
its premiere. Brahms’s c minor Piano Trio—a work of searing intensity and
epic proportions—is featured before intermission, while Dvorák’s Piano
Quintet in A Major, one of the finest piano quintets in the repertoire,
brings the program to a thrilling close. Joining Chamber Music Society of
Lincoln Center and Music@Menlo Artistic Codirector pianist Wu Han for
this program is a cohort of some of the most exciting young artists on the
distinguished CMS roster: pianist Michael Brown, violinists Paul Huang and
Chad Hoopes, violist Matthew Lipman, and cellist Dmitri Atapine.
Antonín dvorák (1841–1904)Selected Slavonic Dances for Piano, Four Hands (1878, 1886)
Johannes Brahms (1833–1897)Piano Trio no. 3 in c minor, op. 101 (1886)
Johannes Brahms Selected Hungarian Dances for Piano, Four Hands (1868, 1880)
Antonín dvorákPiano Quintet in A Major, op. 81, B. 155 (1887)
ARTISTSMichael Brown, Wu Han, pianos; Chad Hoopes, Paul Huang, violins;
Matthew Lipman, viola; Dmitri Atapine, cello
Schumann Quartet Haydn, Bartók, and SchumannFriday, April 20, 2018, 7:30 p.m.
Location TBD
Tickets: $52/$47 full price; $25/$20 under age thirty
Music@Menlo’s 2017–2018 Winter Series culminates in a dramatically
varied program performed by the sensational Schumann Quartet in its
Music@Menlo debut. The Schumann Quartet, composed of three charis-
matic brothers named Schumann and the stunning violist Liisa Randalu,
enjoys a thriving career in Europe and through its recent engagements on
our shores is off to the start of an equally vibrant U.S. presence. Offering
delights for music lovers of all tastes, the program opens with Haydn’s
Sunrise Quartet and is followed by Bartók’s String Quartet no. 2, written
by the composer in seclusion outside of Budapest during the First World
War. The program closes with Robert Schumann’s deeply expressive
String Quartet in F Major, which was published along with two additional
string quartets as the composer’s Opus 41.
Franz Joseph Haydn (1732–1809)String Quartet in B-flat Major, op. 76, no. 4, Sunrise (1797)
Béla Bartók (1881–1945)String Quartet no. 2, op. 17 (1914–1917)
Robert Schumann (1810–1856)String Quartet in F Major, op. 41, no. 2 (1842)
ARTISTSErik Schumann, Ken Schumann, violins; Liisa Randalu, viola;
Mark Schumann, cello
Order your Winter Series tickets when you place your order for summer festival tickets. Become a Winter Series Subscriber and save $15 on the three-concert
series, plus get a 10 percent discount on Music@Menlo merchandise.
Winter Series tickets will be mailed in late August, after the festival.
27subscribe at www.musicatmenlo.org | 650-331-0202
Front cover, back cover, and upper left: marbled paper by Enrico Giannini
Upper photo: Samuel Zygmuntowicz carving a cello scroll: a design based on old geometrical proportions, with a practical purpose. Photo credit: Lilian Finckel, 2016
Lower photo: Enrico Giannini in his studio in Florence, Italy. Photo credit: Lilian Finckel, 2017
Music@Menlo founding Artistic Directors cellist
david Finckel and pianist Wu Han rank among the
most esteemed and influential classical musicians
in the world today. Recipients of Musical America’s
Musicians of the Year award, they bring unmatched
talent, energy, imagination, and dedication to their
multifaceted endeavors as concert performers,
recording artists, educators, artistic administrators,
and cultural entrepreneurs. In high demand as individ-
uals and as a duo, they appear each season at a host
of the most prestigious venues and concert 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 Lincoln
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 nineteen albums has won wide-
spread 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 since 2013, they have 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 initia-
tives, they have achieved universal renown for their
passionate commitment to nurturing the careers
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
enrico Giannini was born
into a long-standing family
tradition of artistic book-
binding in Florence, Italy.
Under the watchful eyes of
his father and grandfather,
he began as an apprentice
in the Giannini workshop
when he was just eleven
years old. In the 1960s, he started experimenting with
new techniques of marbleizing paper and researched
alternative materials for new products. His paper
designs and artistic bookbindings have been
displayed in shows in the United States, Japan,
and Italy, and he has taught several generations of
students. He still creates new designs in his studio in
Florence and collaborates with his daughter, Maria,
who runs the family business, Giulio Giannini e Figlio,
in Piazza dei Pitti in Florence.
Music@Menlo’s Visual Artist is generously supported
by Libby and Craig Heimark.
Lilian Finckel is a New
York–based artist working
in photography, ceramics,
and mixed media. Her work
is documentary in nature,
and her multidisciplinary
practice moves through the
archival lens. In Hand is an
exhibition she developed in
2016 and 2017; it seeks to draw parallels between two
artistic masters, bookbinder and paper designer Enrico
Giannini and violin maker Samuel Zygmuntowicz,
revealing the intricate dexterities of each historic
craft. Lilian Finckel graduated from Barnard College,
Columbia University with a degree in art history and
visual arts in 2016.
Visual Artist: enrico giannini
In Hand: Skill and Artistry in the Italian TraditionA documentary exhibition by Lilian Finckel
28 subscribe at www.musicatmenlo.org | 650-331-0202
Acclaimed as a “splendid, elegant cellist,” dmitri Atapine has appeared on some of the world’s
foremost stages and is a frequent guest at festivals around the globe. A member of the Cham-
ber Music Society of Lincoln Center’s CMS Two, he has also garnered top prizes at the Carlos
Prieto, Plowman, and Premio Vittorio Gui competitions. Atapine is the Artistic Director of the
Argenta Concert Series and is a professor at the University of Nevada, Reno. He holds a doc-
torate 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 performing the Brahms Concerto in Alice Tully Hall with the Juilliard
Symphony in 2002. He studied with Pinchas Zukerman and Joel Smirnoff.
In the 2016–2017 season, violinist Benjamin Beilman performs as soloist with the Phila-
delphia Orchestra and the Chicago Symphony, as well as with the symphony orchestras of
Detroit, San Diego, Atlanta, and Grand Rapids. Making recital debuts in San Francisco and
Vancouver this season, he also frequently performs at chamber music festivals, including
Music@Menlo, Music from Angel Fire, and Chamber Music Northwest, as well as the Bridge-
hampton, Marlboro, Santa Fe, Seattle, and Sedona Chamber Music Festivals. Beilman is the
recipient of the prestigious Borletti-Buitoni Trust Fellowship for 2014, a 2012 Avery Fisher
Career Grant, and a 2012 London Music Masters Award.
Violinist Aaron Boyd enjoys a versatile career as a soloist, chamber musician, and recording art-
ist and concertizes throughout the United States, Europe, Russia, and Asia. As a violinist of the
Escher String Quartet, Boyd was a recipient of the 2013 Avery Fisher Career Grant and appears
regularly as an Artist of the Chamber Music Society of Lincoln Center. He has participated
in the Marlboro, La Jolla, Bridgehampton, and Prussia Cove festivals. Previously on the violin
faculty of Columbia University and the University of Arizona, Aaron Boyd now lives in New York
with his family. He plays the “ex-Stopak” Matteo Goffriller violin, made in Venice in 1700.
Hailed as a “superb young soloist” (New Yorker), nicholas Canellakis has become one of
the most sought-after and innovative cellists of his generation. Canellakis recently made his
Carnegie Hall concerto debut with the American Symphony Orchestra and is an Artist of the
Chamber Music Society of Lincoln Center, with which he performs regularly in Alice Tully Hall
and on tour throughout the United States and abroad. He has participated in many of the
world’s leading music festivals, including Santa Fe, La Jolla, Music@Menlo, Ravinia, Verbier,
Mecklenburg, Bridgehampton, Moab, Sarasota, and Aspen. He is a graduate of the Curtis
Institute of Music and New England Conservatory and is on faculty at the Brooklyn College
Conservatory of Music.
The Cleveland Plain Dealer asserted that violinist Ivan Chan’s “…tonal sweetness is matched
by impeccable taste, purposeful energy, and an unerring sense of phrasing.” A member of the
Miami String Quartet from 1995 to 2010, Chan is currently Senior Lecturer in String Chamber
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 Conservatory, Ravinia’s Steans
Institute, Morningside Music Bridge, and Beijing’s Central Conservatory. In 2017, Chan will be
on faculty at Music@Menlo, the Meadowmount School of Music, and the 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 Chattanooga, 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. Gloria Chien is an Artist-in-Residence at Lee University in Tennessee and is an Artist of
the Chamber Music Society of Lincoln Center.
Fred Child is the host of the American Public Media® radio program Performance Today®, the most
listened-to classical music radio show in America. Child is also the commentator and announcer
for Live from Lincoln Center on PBS, the only live performing arts series on television. He was
cohost of Carnegie Live, a three-year series of national broadcasts from America’s premier concert
venue, and has hosted numerous other live national broadcasts, including significant events from
New York, Los Angeles, London, and Boston, as well as the Aspen Music Festival. Fred Child also
hosted NPR’s Creators at Carnegie, a program with wide-ranging performers in concert, and was
previously Music Director and Director of Cultural Programming at WNYC in New York.
A violist of international reputation, Roberto díaz is President and CEO of the Curtis Institute
of Music. As a teacher of viola at Curtis and former Principal Violist of the Philadelphia Orches-
tra, Díaz has already had a significant impact on American musical life and continues to do so
in his dual roles as performer and educator. He has appeared as an orchestral soloist and recit-
alist in major cities around the globe and has worked with many of the leading conductors and
composers of our time. A celebrated chamber artist and recitalist, Roberto Díaz is a member of
the Díaz Trio and performs frequently on tour in programs featuring Curtis students.
Pianist Peter dugan, hailed by the Washington Post as a “formidable soloist,” makes his debut
this season with the San Francisco Symphony under the baton of Michael Tilson Thomas.
Dugan recently gave his Weill Hall debut recital with baritone John Brancy, presented by
Carnegie Hall. A sought-after crossover artist, he has performed in duos and trios with art-
ists ranging from Itzhak Perlman and Joshua Bell to Jesse Colin Young and Glenn Close. Peter
Dugan holds master and bachelor of music degrees from the Juilliard School, where he studied
under Matti Raekallio and currently serves on the piano faculty of the Evening Division.
Festival Artist Biographies
29subscribe at www.musicatmenlo.org | 650-331-0202
The escher String Quartet is an Artist of the Chamber Music Society of Lincoln Center and
has made a distinctive impression throughout Europe, with recent debuts at the Amsterdam
Concertgebouw, the Berlin Konzerthaus, London’s Kings Place, the Slovenian Philharmonic Hall,
and the Auditorium du Louvre. Alongside its growing European profile, the Escher continues to
flourish in its home country, performing at Alice Tully Hall in New York, the Kennedy Center
in Washington, D.C., and the Ravinia and Caramoor festivals. The Escher String Quartet is cur-
rently the String Quartet-in-Residence at Southern Methodist University in Dallas, Texas.
Christopher H. Gibbs is the James H. Ottaway Jr. Professor of Music at Bard College, Coartis-
tic Director of the Bard Music Festival, and Executive Editor of the Musical Quarterly. He edited
The Cambridge Companion to Schubert, coedited Franz Liszt and His World and Franz Schubert
and His World, and is the author of The Life of Schubert. He is the coauthor, with Richard
Taruskin, of The Oxford History of Western Music, College Edition. Since 2000, he has written
the program notes for the Philadelphia Orchestra.
Cellist Clive Greensmith joined the Tokyo String Quartet in 1999 and has performed with
the quartet at the most prestigious venues and concert series across the globe. As a soloist, he
has appeared with the London Symphony Orchestra, the Royal Philharmonic, the Seoul Phil-
harmonic, and the RAI Orchestra of Rome, among others. Greensmith has performed at the
Marlboro Music Festival, the Salzburg Festival, the Edinburgh Festival, the Pacific Music Festi-
val, the Sarasota Music Festival, and Music@Menlo. He is a founding member of the Montrose
Trio with pianist Jon Kimura Parker and violinist Martin Beaver, and he is currently Professor of
Cello and Codirector of Chamber Music at the Colburn School.
Described by the New York Times as “[an] impressive…prodigiously talented [musician with]
enormous stamina and [a] brilliant, zippy sound,” twenty-two-year-old American violinist Chad
Hoopes appears regularly in concert halls throughout the world. In the 2015–2016 season, he was
the Munich Symphony Orchestra’s first Artist-in-Residence. Recent debuts include the Philadelphia
Orchestra, National Symphony Orchestra, Konzerthausorchester Berlin, and Orchestre de Paris.
In spring 2016, Hoopes made his London debut at the Royal Festival Hall with the National Youth
Orchestra of Great Britain and conductor Kristjan Järvi. His debut CD with the MDR Leipzig Radio
Symphony Orchestra (Mendelssohn and Adams concerti) was released in spring 2014.
Winner of the 2013 Avery Fisher Career Grant, violinist Bella Hristova received First Prize in
the 2009 Young Concert Artists International Auditions and the 2007 Michael Hill Interna-
tional Violin Competition. As a soloist, she has performed alongside Pinchas Zukerman and
the Orchestra of St. Luke’s at Lincoln Center and with the New York String Orchestra under
Jaime Laredo at Carnegie Hall. She has been a featured performer at Australia’s Musica Viva,
Music@Menlo, Music from Angel Fire, Chamber Music Northwest, the Santa Fe Chamber Music
Festival, and the Marlboro Music Festival. Her most recent projects include her recording Bella
Unaccompanied and the commission of Second String Force from Joan Tower.
Violist Hsin-yun Huang has been a soloist with the Berlin Radio Orchestra, the Tokyo Phil-
harmonic, Zagreb Soloists, and the London Sinfonia, among many others, and she performs
regularly at festivals including Marlboro, Spoleto, Rome, and Santa Fe. She was a member of
the Borromeo String Quartet from 1994 to 2000. A native of Taiwan, Huang first came to
international attention as the gold medalist and youngest competitor in the 1988 Lionel Tertis
International Viola Competition. She received degrees from the Curtis Institute of Music and
the Juilliard School and currently serves on the faculty of both schools.
Taiwanese-American violinist Paul Huang’s recent and upcoming engagements include debuts with
the Houston, Pacific, and Omaha Symphonies, the Santa Barbara Chamber Orchestra, and the Loui-
siana and Seoul Philharmonics, as well as return engagements with the Detroit, Alabama, and Bilbao
Symphonies and the national symphonies of Mexico and Taiwan. The recipient of a prestigious Avery
Fisher Career Grant in 2015, Huang has performed recitals at Lincoln Center, the Kennedy Center,
the Phillips Collection, the Gardner Museum, the Seoul Arts Center in Korea, and the Louvre in Paris.
He plays the Guarneri del Gesù Cremona 1742 “ex-Wieniawski” violin, on loan through the Stradivari
Society, and is a member of the Chamber Music Society of Lincoln Center’s CMS Two.
Violinist and lecturer Ray Iwazumi is widely respected as both an expert on the Franco-
Belgian violin school and a performer of uncommon musicianship and integrity. Iwazumi
shares his expertise through lectures and lecture-performances and has published several
articles, particularly about the solo sonatas of Ysaÿe, in the Strad, MLA Notes, and other publi-
cations. He has catalogued the rare materials related to Ysaÿe at the Juilliard School, is active
as an editor and music research consultant, and is on the faculty at the Juilliard School. He has
edited the Scherzo-Tarantella of Wieniawski and the Vieuxtemps Violin Concerto in a minor
for G. Henle Verlag. http://www.rayiwazumi.com.
Pianist Gilbert Kalish’s profound influence on the musical community as a performer, educa-
tor, 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 Distinguished Professor and Head of Performance Activities at Stony
Brook University. He was previously a faculty member and Chair of the Faculty at the Tangle-
wood Music Center. Kalish received the American Composers Forum’s Champion of New Music
Award in 2017.
Clive Greensmith holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2017.
Paul Huang holds the Marilyn and Boris Wolper Violin Chair in honor of Philip Setzer for 2017.
30 subscribe at www.musicatmenlo.org | 650-331-0202
Violinist Soovin Kim is an exciting player who has built on the early successes of his prize-
winning years to emerge as a mature and communicative artist. Kim enjoys a broad musical
career, performing repertoire such as Bach sonatas and Paganini caprices for solo violin and
Mozart and Vivaldi concerti without conductor, as well as Romantic concerti, sonatas for violin
and piano ranging from Beethoven to Ives, and world-premiere works almost every season.
For two months each year, he performs as the first violinist of the Johannes String Quartet.
Soovin Kim is the founder and Artistic Director of the Lake Champlain Chamber Music Festival
(LCCMF) in Burlington, Vermont, and serves on the faculty of New England Conservatory.
Canadian violist Pierre Lapointe is a member of the Escher String Quartet. He earned a
doctoral degree from Manhattan School of Music in 2012 for his dissertation on Zemlinsky’s
Second String Quartet. His main teachers were Yaela Hertz Berkson, Calvin Sieb, Paul Yar-
brough, and Lawrence Dutton. Since 2010, Pierre Lapointe has played on a viola ingeniously
designed and made by Christophe Landon.
Violinist Jessica Lee, Grand Prize winner of the 2005 Concert Artists Guild International Competi-
tion and Assistant Concertmaster of the Cleveland Orchestra, has performed around the world
as soloist with the Pilsen Philharmonic, Gangnam Symphony, 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 CMS Two, Jessica Lee has appeared at the Bridge-
hampton, Santa Fe, Seoul Spring, Olympic, and Music@Menlo festivals.
Violinist Sean Lee has attracted audiences around the world with his lively performances of
the classics. A recipient of the 2016 Avery Fisher Career Grant, Lee is one of only a few violin-
ists who perform Niccolò Paganini’s Twenty-Four Caprices in concert, and his YouTube series,
Paganini POV, continues to draw attention for its insight for aspiring young violinists. An Artist
of the Chamber Music Society of Lincoln Center, Lee currently teaches at the Juilliard School’s
Pre-College Division as well as the Perlman Music Program, where he was also a student. He
performs on a violin originally made for violinist Ruggiero Ricci in 1999 by David Bague.
Violinist yura Lee has appeared as a soloist with many major orchestras, including the New
York Philharmonic, Chicago Symphony, Baltimore Symphony, Cleveland Orchestra, Detroit
Symphony, San Francisco Symphony, Los Angeles Philharmonic, Monte Carlo Philharmonic,
Hong Kong Philharmonic, and Tokyo Philharmonic, to name a few. As a chamber musician, Lee
regularly takes part in the Marlboro, Salzburg, Verbier, La Jolla SummerFest, Seattle, Caramoor,
Ravinia, Kronberg, and Aspen music festivals, among many others. She teaches both violin
and viola at the Mason Gross School of the Arts at Rutgers University and divides her time
between New York City and Berlin.
Known for her music career of broad versatility, violinist Amy Schwartz Moretti is Director of
the McDuffie Center for Strings, the Caroline Paul King Chair in Strings at the Mercer University
Townsend School of Music, and former Concertmaster of the Oregon Symphony and Florida
Orchestra. She is a member of the Ehnes String Quartet and maintains an active performing
schedule of solo, chamber, and concertmaster activities. In addition to her recordings and
international performances, she curates the Fabian Concert Series in Macon, Georgia. Through
the generous efforts of the Stradivari Society, she plays the 1744 G. B. Guadagnini violin
known as the “Canadian.”
Violist Paul neubauer’s exceptional musicality and effortless playing led the New York Times to
call him “a master musician.” Appointed Principal Violist of the New York Philharmonic at age
twenty-one, he has appeared as soloist with over one hundred orchestras including the New York,
Los Angeles, and Helsinki Philharmonics; the National, St. Louis, Detroit, Dallas, San Francisco,
and Bournemouth Symphonies; and the Santa Cecilia, English Chamber, and Beethovenhalle
Orchestras. He has premiered viola concerti by Bartók (the revised version of the Viola Concerto),
Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower
and recorded for Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical.
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, Vladimir 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 chamber music in South
Korea through his chamber music initiative, DITTO. Elliott Carter, John Harbison, and Huang Ruo have
dedicated works to him. The first violist to receive the Artist Diploma from Juilliard, Richard O’Neill
was honored with a Proclamation from the New York City Council. He runs marathons for charity.
A prizewinner at numerous international competitions including Oberlin, Ettlingen, Hugo
Kauder, Prix Amadèo, Premio Vittorio Gui, Plowman, and Corpus Christi, pianist Hyeyeon Park
has been presented at the Dame Myra Hess Recital Series, Trinity Wall Street, Bargemusic,
and the Phillips Collection, among others. Selected as a 2012 Artist of the Year by the Seoul
Arts Center, Park has appeared as a soloist and chamber musician on major concert stages,
performing with orchestras such as the Seoul Philharmonic, Seoul Symphony, KNUA Chamber
Orchestra, Incheon Philharmonic, and Gangnam Symphony, to name a few. Hyeyeon Park is
currently a professor of piano at the University of Nevada, Reno.
Festival Artist Biographies
31subscribe at www.musicatmenlo.org | 650-331-0202
Scott Pingel’s career has included serving as the San Francisco Symphony’s Principal Bass
for twelve years, in addition to positions such as Principal Bass of the Charleston Symphony
Orchestra and Guest Principal with the National Arts Centre Orchestra in Canada, among
others. As a chamber musician, he can be heard in venues around the country with groups
such as the Chamber Music Society of Lincoln Center and on radio programs including NPR’s
Performance Today®. Formerly active as a jazz musician, Pingel performed in clubs from New
York to Stockholm. He was previously a tenured Associate Professor of Music at the University
of Michigan and is currently a faculty member of the San Francisco Conservatory of Music.
Celebrated as one of Finland’s most outstanding pianists, Juho Pohjonen is widely praised for his
stellar musicianship and distinctive interpretations of a broad range of repertoire from Bach to
Salonen. He has appeared with the Los Angeles Philharmonic, the San Francisco, Danish National,
Finnish Radio, and Swedish Radio Symphonies, the Scottish Chamber Orchestra, and the Lahti
Symphony, with which he toured Japan. Pohjonen has been presented on recital series in Car-
negie’s Zankel Hall and at the Kennedy Center and in Vancouver, San Francisco, and Detroit. Season
highlights include his Vancouver Symphony debut, his third invitation to the Atlanta Symphony
Orchestra, and chamber programs at Lincoln Center’s Alice Tully Hall and the Library of Congress.
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, 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.
The cellist of the Escher String Quartet, Los Angeles native Brook Speltz has performed 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.
Pianist yekwon Sunwoo won the 2015 International German Piano Award Competition
in Frankfurt and the 2014 Vendome Competition at the Verbier Festival, among others. He
has performed as a soloist with numerous international orchestras such as the Baltimore
Symphony Orchestra and the Houston Symphony Orchestra. He has given recitals at Carnegie
Hall, Hamarikyu Asahi Hall in Tokyo, Wigmore Hall in London, and the Salle Cortot and Radio
France in Paris. Recently, he has performed at the Französische Friedrichstadtkirche in Berlin,
Alte Oper in Frankfurt, Theater Bonn, and Kursaal Bad Cannstatt in Stuttgart.
Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann debuts in the
2016–2017 season with the Vancouver Symphony, Pacific Symphony, and Alabama Symphony,
among other orchestras. 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 Cham-
ber 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.
Violinist danbi Um has appeared as soloist with the Israel Symphony, Vermont Symphony, Herzliya
Chamber Orchestra, Auckland Philharmonic, and Dartmouth Symphony and in venues such as Alice
Tully Hall, the Harris Theater, the Kennedy Center, the Perelman Theater at the Kimmel Center, the Isa-
bella Stewart Gardner Museum, Kumho Art Hall, the Tel Aviv Museum of Art, Saratoga Springs, and
Bennett Gordon Hall at the Ravinia Festival, as well as for the Seattle Chamber Music Society. She is a
winner of Astral Artists’ 2015 National Auditions, a prizewinner in the Menuhin and Michael Hill Inter-
national Competitions, and a member of the Chamber Music Society of Lincoln Center’s CMS Two.
She has performed at festivals such as Marlboro, Ravinia, Music@Menlo, Yellow Barn, and Caramoor.
One of the leading instrumentalists of his generation, French hornist Radovan Vlatkovic has
traveled the globe performing extensively as a soloist and popularizing the horn as a recording
artist. He has played with the best orchestras around the world and was the Artistic Director
of the September Chamber Music Festival in Maribor, Slovenia. Vlatkovic played first perfor-
mances of works by Elliott Carter, Sofia Gubaidulina, and Heinz Holliger, and most recently
he premiered the Horn Concerto written for him by Krzysztof Penderecki. His extensive
recordings have been awarded prestigious prizes. In 2014, Vlatkovic received an Honorary
Membership of the Royal Academy of Music (Hon RAM).
One of the most sought-after soloists in his generation, American pianist orion Weiss has per-
formed with many of the major American orchestras, including the Chicago Symphony, Boston
Symphony, Los Angeles Philharmonic, and New York Philharmonic. Also an enthusiastic chamber
musician, Weiss performs regularly with his wife, pianist Anna Polonsky, violinists James Ehnes and
Arnaud Sussmann, and cellist Julie Albers, as well as ensembles including the Pacifica Quartet. He
has appeared across the United States at Lincoln Center, the Ravinia Festival, the Sheldon Concert
Hall, the Seattle Chamber Music Festival, La Jolla SummerFest, Chamber Music Northwest, the Bard
Music Festival, the Bridgehampton Chamber Music Festival, the Kennedy Center, and Spivey Hall.
Brooklyn-based violin maker Samuel Zygmuntowicz was already a prizewinning sculptor
before he began his instrument-making studies at age thirteen. His violins have won the high-
est honors including double gold medals for violin tone and workmanship. Since 1985, he has
made commissioned instruments for such performers as Cho-Liang Lin, Joshua Bell, Maxim
Vengerov, Yo-Yo Ma, Leila Josefowicz, David Finckel, and the Emerson String Quartet. He is also
an acoustics researcher and Creative Director of Strad3D.org, with a team of scientists, violin
makers, and musicians. The quest is to move past myths to understand what a violin does and
not just what it looks like or costs.
Orion Weiss holds the Kathleen G. Henschel Piano Chair in honor of Wu Han for 2017.
32 subscribe at www.musicatmenlo.org | 650-331-0202
In addition to the benefits at your membership level, you will enjoy the benefits associated with all previous levels.
Performers CirclePaganini ($100–$249) Members enjoy:• CODA, Music@Menlo’s donors-only e-newsletter – enjoy behind-the-
scenes stories, special offers, and engaging musical content curated
just for you
• Receiving the festival brochure in advance of the general public
• Recognition as a supporter in the festival program book
Joachim ($250–$499) Members enjoy:• A 10 percent discount on Music@Menlo merchandise
Caruso ($500–$999) Members enjoy:• The Caruso Coffee – savor a late-morning breakfast and panel discus-
sion during the festival on an intriguing musical topic
Composers Circle Bach ($1,000–$2,499) Members enjoy:• Concierge Services – order tickets first during a special early access
period, utilize no-fee exchanges, and receive dedicated assistance
through a donors-only phone line throughout the year
• Prelude/KYPC Advance Ticketing – skip the line and reserve up to four
general-admission tickets to one Chamber Music Institute performance
of your choice at least one day prior to the performance
• The Festival Season Preview – learn about the season to come in advance
of the general public at this private spring performance and reception
• The Bach BBQ – join festival artists, Institute participants, and friends
at this popular mid-summer festival event
• The Music@Menlo Calendar – enjoy stunning festival photos and keep
track of Music@Menlo events with this limited-edition calendar avail-
able in the spring
Haydn ($2,500–$4,999) Members enjoy:• Premium Seating – upgrade any two tickets of your choice to include
assigned seating reflecting your preferences
• The Haydn Circle Dinner Party – mingle with festival musicians and
friends at this casual post-concert dinner party
• Two complimentary beverage passes to use at a performance during
the festival
Mozart ($5,000–$9,999) Members enjoy:• Premium Seating – upgrade a total of four tickets
• Mozart at Midday – enjoy the company of friends and musicians at a
delightful afternoon reception during the festival
• A Mozart Circle Dinner Party – get to know the Artistic Directors and
musicians at one of our private post-concert dinner parties
Beethoven ($10,000–$24,999) Members enjoy:• Premium Seating – upgrade a total of eight tickets
• Prelude/KYPC Advance Ticketing – reserve up to four general-admission
seats for every Chamber Music Institute performance (reserve at least one
day in advance)
• Concert Dedication – in recognition of your generosity, a summer festi-
val performance will be dedicated to you
• The Beethoven Circle Dinner Party – savor delectable food and drink
while mingling with the Artistic Directors, festival musicians, and Insti-
tute faculty at this elegant patron-hosted post-concert dinner
Patrons Circle esterházy ($25,000–$49,999) Members enjoy:• Premium Seating – upgrade a total of twelve tickets
• Season Dedication – enjoy recognition on a special dedication poster
at the concert hall during the season and in the festival program book
• The Patrons Circle Season Announcement – join the Artistic Directors
for an exclusive, private in-home concert and dinner in the spring
where the next festival theme is unveiled
• The Patrons Circle Dinner Party – fine wine, exquisite food, and an inti-
mate, private home setting are hallmarks of this post-concert dinner
with the Artistic Directors, festival artists, and Institute faculty
Carnegie ($50,000–$99,999) Members enjoy:• Premium Seating – upgrade a total of sixteen tickets
• Customized benefits and recognition
Medici ($100,000+) Members enjoy:• Premium, reserved seating for you and your guests at all events
• The opportunity to host a private concert in your home with festival
artists and your friends
Music@Menlo Membership Become a Member by making a contribution to Music@Menlo’s Annual Fund.
33subscribe at www.musicatmenlo.org | 650-331-0202
Supporting Music@MenloGifts to the Annual FundGifts to the Annual Fund support the critical daily operations of the festi-
val and are acknowledged through membership benefits.
Sponsor a Student with a Gift to the Ann S. Bowers young Artist Fund Sponsorships provide essential support for the talented young musi-
cians who participate in Music@Menlo’s Chamber Music Institute.
Sponsors nourish the future of classical music by enabling students to
come to Music@Menlo to experience an inspiring and rigorous learning
environment with a world-class roster of artist-faculty members and
an exceptional student-faculty ratio. Sponsors also play a critical role
in the lives of these extraordinary young artists by helping them realize
their lifelong personal and professional ambitions. Sponsorships are
available for International Program participants ($15,000) and Young
Performers ($7,500), and partial sponsorships are also welcome. Spon-
sors 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.
Gifts to the Music@Menlo FundInitially funded by the Tenth-Anniversary Campaign, the Music@Menlo
Fund holds board-designated funds to support long-term financial
health and for special projects. Please contact us to learn more about
making a special gift or pledge to the Music@Menlo Fund and to learn
about special recognition opportunities.
Ways to GiveGifts of Cash: Gifts may be made online 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.
Pledges: Gifts may be pledged and paid in increments comfortable for
you. Please contact us for more information.
employer Matching Gifts: Many companies match donations by their
employees and retirees. Contact your employer’s human resources
department to find out more. As a program of Menlo School,
Music@Menlo is an eligible 501(c)(3) educational institution.
Isaac Stern Circle: Planned commitments and charitable trusts and
annuities help champion the future of chamber music. Please speak with
us about your specific interests and talk with your estate planning advi-
sor to learn more.
Gifts of Securities: A gift of appreciated stock may offer valuable tax
benefits. Please contact your financial advisor for more information.
To learn more, please call Taylor Smith at 650-330-2030 or email
taylor@musicatmenlo.org.
34 subscribe at www.musicatmenlo.org | 650-331-0202
Ways to orderMail: Music@Menlo Tickets 50 Valparaiso Avenue Atherton, CA 94027
Phone: 650-331-0202
Fax: 650-330-2016
online: www.musicatmenlo.org
Music@Menlo box office hours:Before July 10: Monday–Friday, 10:00 a.m.–4:00 p.m.
July 10–August 5: Daily, 9:00 a.m.–4:00 p.m.
get the Best Seats!SupportMembers of the Bach Circle ($1,000) and above receive Advance Ticket-
ing for one Prelude Performance or Koret Young Performers Concert of
your choice and 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. Members of the Haydn Circle
($2,500) and above also receive Premium Seating reservations for the
best seats in the hall. Order by April 18 for priority ticketing.
SubscribeSummer Festival Subscribers receive Subscriber priority ticketing. Sub-
scriber orders are filled immediately after VIP priority orders and before
single-ticket orders. Order by May 2 for Subscriber priority ticketing. (To
learn more, see the description on this page.)
order earlySingle-ticket orders are filled in the order they are received, after Bach
Circle and above Member and Subscriber priority ticketing windows
have closed. Order early to get the best seats in our reserved-seating
venues and to get tickets to concerts that sell out quickly!
2017 Summer Festival Subscription offeringsBecome a Music@Menlo Summer Festival Subscriber and enjoy exclusive
benefits, personalized services, and special savings throughout the entire
festival.
Your Subscriber discount extends to all additional ticket purchases you
make throughout the 2017 summer season! Subscribers also enjoy free
ticket exchanges for the 2017 summer season. Subscriber benefits include
the following:
• Special savings: Receive a 5 percent or a 10 percent discount on all
your ticket purchases throughout the festival.
• Priority ticketing: Get your order filled before non-Subscribers for
improved seats and access to concerts that sell out quickly.
• Free ticket exchanges: Easily exchange your tickets within the same
season free of charge.
Choose-your-own Summer Festival Mini SubscriptionSave 5 percent on your summer festival ticket order and subsequent
ticket purchases throughout the summer festival when you purchase any
combination of four or five ticketed festival concerts or Encounters, and
receive the above benefits.
Choose-your-own Summer Festival Full SubscriptionSave 10 percent on your summer festival ticket order and subsequent
ticket purchases throughout the summer festival when you purchase any
combination of six or more ticketed festival concerts or Encounters, and
receive the above benefits.
Summer Festival Immersion SubscriptionImmerse yourself in the music for the complete Music@Menlo experience!
Purchase tickets to all summer festival Concert Programs and Encounters and
receive the above benefits, a 10 percent discount on your tickets through-
out the summer, a 10 percent discount on Music@Menlo merchandise, and
a complimentary boxed set of the 2017 Music@Menlo LIVE CDs when they
are released later in the year.
reserving Your Summer Festival Tickets
35subscribe at www.musicatmenlo.org | 650-331-0202
More Ticketing InformationMembers of the Bach Circle and Above (contributors of $1,000 or more to the 2017 Annual Fund)
Your priority ticket order (placed by April 18) will be filled before all other
ticket orders (based on giving level; see p. 32 for more information). For
your first summer festival ticket order, pay festival Subscriber or non-
Subscriber handling fees, as noted below. Then, enjoy waived handling
fees for all additional ticket purchases or exchanges throughout the 2017
summer festival.
Summer Festival Subscribers (purchasing tickets to four or more ticketed summer festival concerts or
Encounters)
Receive a 5 percent (Summer Festival Mini Subscribers) or a 10 percent
(Summer Festival Full Subscribers/Immersion Subscribers) discount on
all ticket purchases throughout the 2017 summer festival and have your
advance order (placed by May 2) filled before non-Subscriber orders (see
p. 34 for more information). A $10-per-order handling fee applies to
each original order. Subscribers pay no handling fees on ticket exchanges
throughout the 2017 summer festival. Subsequent new ticket purchases
(not exchanges) will incur the standard $6-per-order handling fee.
Summer Festival non-Subscribers/Single-Ticket orders A $6 handling fee applies to any order of three or fewer concerts or
Encounters (including the Winter Series, see p. 26). A $3-per-ticket han-
dling fee applies to exchanges.
discounted Tickets for Those under Age ThirtyMusic@Menlo is committed to making tickets available at a greatly
reduced rate for audience members under the age of thirty. Prices vary by
event and venue and are listed on the order form. Proof of age is required.
Seating for Paid eventsSeating is reserved for all Concert Programs and Carte Blanche Concerts in
Stent Family Hall and the Center for Performing Arts at Menlo-Atherton.
Seating is by general admission for all Encounters and all free events,
including Prelude Performances, Koret Young Performers Concerts, Café
Conversations, and master classes. For reserved-seating events, seats are
assigned on a best-available basis at the time the order is filled. Priority
orders placed by April 18 for Bach Circle and above Members and by May 2
for Subscribers are filled according to giving level and Subscriber status. See
p. 32 for information about Premium Seating for Haydn Circle ($2,500) and
above Members.
Receiving your Summer Festival Tickets Tickets will be mailed beginning in mid-June. For ticket orders placed after
that, tickets will be mailed within approximately five business days. For
ticket orders placed fewer than seven days prior to a performance, tickets
will be held at will call. (For Winter Series tickets, see p. 26.)
Ticket Returns, exchanges, and donationsWe welcome ticket returns for a credit, exchange, or donation. You
may return your ticket up to twenty-four hours prior to a performance
for a ticket credit (to be used within the same season), an immedi-
ate exchange, or a tax-deductible donation. Ticket exchanges are
complimentary for Summer Festival Subscribers and Members of the
Bach Circle ($1,000) and above. All other exchanges are subject to a
$3-per-ticket fee. There is never a fee to donate your ticket. Proof of
the return must be provided by returning the original tickets or tearing
them in half and sending an image of the torn tickets by fax, scan, or
digital photograph. We cannot refund tickets, except in the case of a
canceled event. All programs and artists are subject to change without
notice.
Ticket Reservations for Prelude Performances and Koret young Performers ConcertsOnline ticket reservations are available for Prelude Performances and Koret
Young Performers Concerts and can be made at www.musicatmenlo.org on
the day of the event starting at 9:00 a.m. Free tickets can also be requested
in person at will call beginning one hour prior to the start of each concert.
Members of the Bach Circle ($1,000) and above enjoy Advance Ticketing
for one Prelude Performance or Koret Young Performers Concert of their
choice. Members of the Beethoven Circle ($10,000) and above enjoy
Advance Ticketing for all Prelude Performances and Koret Young Performers
Concerts. Ticket reservations are general admission. For reserved seats,
Members of the Haydn Circle ($2,500) and above may use their Premium
Seating reservations (see p. 32 for donor benefit information).
Will Call and Ticket Services at the Venue Will call and on-site ticket services at each venue open one hour before
the start of any ticketed event. Tickets for all Music@Menlo paid events
may be ordered at on-site ticket services.
Questions For questions about tickets or your order, please call patron services
at 650-331-0202, email tickets@musicatmenlo.org, or visit
www.musicatmenlo.org.
reserving Your Summer Festival Tickets
36 subscribe at www.musicatmenlo.org | 650-331-0202
Menlo School is one of the nation’s leading independent college-
preparatory schools and has been the home of Music@Menlo since its
inaugural season in 2003. The Menlo School campus is host to many of
the festival concerts, the Encounter series, and Music@Menlo’s Chamber
Music Institute. The school’s classrooms offer an ideal setting for rehears-
als and coachings, while Martin Family Hall and Stent Family Hall’s
Spieker Ballroom provide intimate settings for music as well as for Café
Conversations, master classes, and other Institute activities.
Menlo School’s commitment to learning and its welcoming atmosphere
and beautiful grounds make it the ideal environment for audiences,
Institute students, and the festival’s artist-faculty to share ideas and
realize Music@Menlo’s educational mission, which serves festival audi-
ences, Menlo School students, and the next generation of chamber
musicians.
During the school year, Music@Menlo supports Menlo School’s commit-
ment to instilling creative-thinking skills in all of its students. Music@Menlo’s
annual Winter Residency brings classical music into the Menlo School
classrooms with a series of special performances, discussions, and classroom
presentations designed to introduce Menlo School students to a broad
selection of chamber music masterpieces, all in the context of curricula
ranging from American literature to foreign language studies.
Festival Welcome CenterMusic@Menlo’s Welcome Center is open daily throughout the festival.
The Welcome Center serves as a place for artists, students, audience
members, and festival guests to connect during the festival. Visitors to
the Welcome Center can purchase concert tickets and get information
about the festival’s many offerings and events.
Performance VenuesIn 2017, Music@Menlo offers audiences the chance to hear great cham-
ber music in three unique concert spaces:
Stent Family Hall, on the Menlo School campus, is, in the words of one
festival artist, “one of the world’s most exquisite chamber music spaces.” The
hall’s elegant Spieker Ballroom, with seating for 148 guests, provides a listen-
ing experience in the intimate setting for which chamber music was intended.
Martin Family Hall, Menlo School’s versatile 220-seat multimedia facil-
ity, offers up-close enjoyment from every seat for Encounters (see p. 22),
select Prelude Performances (see pp. 24–25), master classes, and Café
Conversations (see p. 25).
The Center for Performing Arts at Menlo-Atherton, open since 2009, is
the Peninsula’s first state-of-the-art concert hall, acoustically ideal for cham-
ber music. With an architectural design inspired by the neighboring oak tree
grove and an intimate interior, the 492-seat hall is located in close proximity
to downtown Menlo Park on the campus of Menlo-Atherton High School.
Reserved Seating—Seating for paid concerts at the Center for Performing
Arts at Menlo-Atherton and Stent Family Hall is reserved. Seating in Martin
Family Hall and for all free events, including Prelude Performances and Koret
Young Performers Concerts, is by general admission. Venue seating maps and
more information on reserved seating can be found on the order form, and
directions to the venues appear on the opposite page.
Stent Family Hall
Martin Family Hall
The Center for Performing Arts at Menlo-Atherton
Music@Menlo’s Home: Menlo School The Festival Campus and Performance Venues
37subscribe at www.musicatmenlo.org | 650-331-0202
For Visitors to our AreaLocation: Atherton and Menlo Park are situated adjacent to each other on
the San Francisco Peninsula, midway between San Francisco and San Jose.
Getting here: The San Francisco Bay Area is served by three international
airports: San Francisco, San Jose, and Oakland. Atherton and Menlo Park
are within forty-five minutes of each. Caltrain services Menlo Park and
nearby Palo Alto for a direct link to San Francisco.
Weather: In July and August, it almost never rains on the Peninsula. Days
are dry and warm, frequently in the low eighties, and evenings can be
cool, sometimes in the high fifties.
Shopping and dining: The towns of Menlo Park and Palo Alto offer
tree-lined streets featuring distinctive boutiques, shops, and outstanding
eateries serving cuisine to suit any taste. Also nearby, the Stanford Shop-
ping Center in Palo Alto is an upscale open-air mall.
Accommodations: Comfortable and welcoming hotels are available
in a variety of price ranges in Menlo Park and Palo Alto. Visit
www.musicatmenlo.org for more information and useful links
to area websites.
Directions and ParkingMenlo School, Stent Family Hall, and Martin Family Hall all are
located at 50 Valparaiso Avenue in Atherton, between El Camino Real
and Alameda de las Pulgas, at the Atherton/Menlo Park border. Parking is
plentiful and free on the school’s campus.
The Center for Performing Arts at Menlo-Atherton is located on
the campus of Menlo-Atherton High School at 555 Middlefield Road in
Atherton, near the intersection of Middlefield Road and Ravenswood
Avenue. Parking is free.
Caltrain
AT H E R T O N
M E N L O P A R K
P A L O A LT O
Cowper St.
THE CENTER FOR PERFORMING ARTS
AT MENLO-ATHERTON
Rave
nsw
ood
Ringwoo
d Ave
Willo
w Rd.
PHoTo CRedITS Music@Menlo photographs (pp. 2–3, 24, 25, 32–37): Carlin Ma. Travel programs (p. 23): iStock. David Finckel and Wu Han (p. 27): Lisa-Marie Mazzucco. Escher String Quartet (pp. 20, 29): Sophie Zhai. Yura Lee (pp. 21, 30): Giorgia Bertazzi. Danbi Um (p. 21): Ah-Hyun Cho. Orion Weiss (pp. 21, 31): Jacob Blickenstaff. Benjamin Beilman (pp. 21, 28): Giorgia Bertazzi. Yekwon Sunwoo (p. 21): Bonsook Koo. Michael Steinberg (p. 22): Tristan Cook. Montrose Trio (p. 26): Jerry Zolynsky. Artists of the Chamber Music Society of Lincoln Center (p. 26): Tristan Cook. Schumann Quartet (p. 26): Kaupo Kikkas. Enrico Giannini (p. 27): Cy DeCosse. Dmitri Atapine (p. 28): Do Hyung Kim. Adam Barnett-Hart, Gloria Chien (p. 28): Lisa-Marie Mazzucco. Aaron Boyd (p. 28): Carlin Ma. Nicholas Canellakis (p. 28): Sophie Zhai. Ivan Chan (p. 28): Zheng Yang. Fred Child (p. 28): American Public Media. Roberto Díaz (p. 28): Alisa Garin. Peter Dugan (p. 28): Gerard Collett. Christopher H. Gibbs (p. 29): John Galayda. Clive Greensmith (p. 29): Philip Pirolo. Chad Hoopes, Bella Hristova (p. 29): Lisa-Marie Mazzucco. Hsin-Yun Huang (p. 29): Lin Li. Paul Huang (p. 29): Marco Borggreve. Ray Iwazumi (p. 29): Damiano Rosa. Gilbert Kalish (p. 29): Anneliese Varaldieve. Soovin Kim (p. 30): Woo-Ryong Chai. Pierre Lapointe (p. 30): Lisa-Marie Mazzucco. Jessica Lee (p. 30): Jodi Buren. Sean Lee (p. 30): Eric Ryan Anderson. Amy Schwartz Moretti (p. 30): Angela Morris. Paul Neubauer (p. 30): Bernard Mindich. Richard O’Neill (p. 30): CREDIA. Hyeyeon Park (p. 30): D. H. Kim. Scott Pingel (p. 31): Matthew Washburn. Juho Pohjonen (p. 31): J. Henry Fair. Keith Robinson (p. 31): Tara McMullen. Brook Speltz (p. 31): Maia Cabeza. Yekwon Sunwoo (p. 31): Taeuk Kang. Arnaud Sussmann (p. 31): Matt Dine. Danbi Um (p. 31): Vanessa Briceno. Radovan Vlatkovic (p. 31): Branko Hrkac. Samuel Zygmuntowicz (p. 31): Isaiah Tanenbaum.Art direction and design: Nick Stone, www.nickstonedesign.com
1. Menlo School: 50 Valparaiso Ave., Atherton
2. The Center for Performing Arts at Menlo-Atherton: 555 Middlefield Road, Atherton
1
2
MAP noT dRAWn
To SCALe
38 subscribe at www.musicatmenlo.org | 650-331-0202
dat
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39subscribe at www.musicatmenlo.org | 650-331-0202
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e C
ente
r fo
r Pe
rfor
min
g A
rts
at M
enlo
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erto
n ($
70/$
62)
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nts
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eekd
ay o
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egin
ning
on
July
17,
fea
ture
s ei
ther
a m
aste
r cl
ass
wit
h th
e C
ham
ber
Mus
ic In
stit
ute’
s yo
ung
arti
sts
or a
Caf
é C
onve
rsat
ion.
Mas
ter
clas
ses
and
C
afé
Con
vers
atio
ns a
re o
ffer
ed a
t 11
:45
a.m
. on
the
cam
pus
of M
enlo
Sch
ool.
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e ev
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ival
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taile
d sc
hedu
le o
f m
aste
r cl
asse
s an
d C
afé
Con
vers
atio
n to
pics
(re
serv
atio
ns a
re n
ot n
eces
sary
or
avai
labl
e).
Spec
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han
ks
Mus
ic@
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lo is
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illia
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lora
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lett
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unda
tio
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ddit
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port
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vide
d by
the
Mar
gulf
Fo
unda
tio
n, K
ore
t Fo
unda
tio
n Fu
nds,
U
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rust
, and
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man
y in
divi
dual
s an
d or
gani
zati
ons
that
sha
re t
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stiv
al’s
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ion.
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ffic
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Ste
inw
ay H
ambu
rg g
rand
pia
nos
to M
usic
@M
enlo
201
7.
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Mar
gulf
Fo
unda
tio
n
RID
GE
VI
NE
YA
RD
S
on M
onte
Bel
lo R
idge
over
look
ing
the
peni
nsul
a
408.8
67.
3233
ww
w.r
idgew
ine.
com
Ope
n fo
r ta
stin
gSa
turd
ay &
Sun
day,
11
- 5
Sinc
e 19
62tra
ditio
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-mad
e w
ines
from
Cal
iforn
ia’s
fines
t old
vin
es
dat
e
F I F T E E N T H A N N I V E R S A R Y
Menlo School50 Valparaiso Avenue Atherton, California 94027
www.musicatmenlo.org (650) 331-0202
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