chamber music festival and institute · renaissance, benjamin britten and ralph vaughan williams....

The Sixteenth Season: Creative CapitalsJuly 13–August 4, 2018

CHAMBER MUSIC FESTIVAL AND INSTITUTE

subscribe at www.musicatmenlo.org | 650-331-0202

Dear Friends,

A city is the embodiment of a civilized society.

Throughout history, cities have enticed our most bril-

liant, visionary, and restless souls seeking to pursue

artistic destinies in stimulating environments. While

the Grand Canyon and Niagara Falls are indeed natu-

ral wonders, great cities are indisputably among the

most significant achievements of humankind, works of art in themselves.

This season, seven iconic cities serve as our festival’s musical stages: London,

Paris, St. Petersburg, Leipzig, Berlin, Budapest, and Vienna. The music that has

emanated from these cultural centers largely forms the canon of Western music,

comprising an astonishingly diverse repertoire spanning some three hundred

years. It is with enormous excitement that we prepare to transport ourselves

to these incredible locales, through the music we’ll perform, by listening to

AudioNotes, and by attending the three Encounters, which will delve deeply into

each city’s history and culture. The vivid contextual background of our seven cit-

ies will bring us inside the composers’ worlds, providing us with a deeper, more

intuitive understanding of their music.

Among the coming festival’s many highlights are four Carte Blanche Concerts,

whose repertoire echoes the season theme; an array of returning favorite per-

formers as well as Music@Menlo debut artists; an innovative new mini-series

combining International Program performers and main-stage artists; the festi-

val’s first sculptor as this season’s Visual Artist; and the exciting announcement

of a new incarnation of the Winter Series. All of these newsworthy features

are accompanied by the festival’s signature components: ear-opening master

classes, fascinating Café Conversations, jaw-dropping Prelude Performances, and

heartwarming Koret Young Performers Concerts. And then, of course, there are

the parties!

As our seven cities attracted so many immortal composers, we hope that the very

special world of Music@Menlo holds a similar attraction, year after year, for listen-

ers of all ages and backgrounds. The gates of our own inspiring city are always

open—please come inside!

David Finckel and Wu Han

Artistic Directors

The Martin Family Artistic Directorship

WELCOME TO MUSIC@MENLO

2

3subscribe at www.musicatmenlo.org | 650-331-0202

Contents

Welcome

2 Welcome from the Artistic Directors

4 Festival Introduction

Concerts

6 Concert Programs

20 Carte Blanche Concerts

23 Overture Concerts

25 Prelude Performances and

Koret Young Performers Concerts

26 Music@Menlo:Focus 2018–2019

38 Festival Calendar

Discovery and Engagement

22 Michael Steinberg Encounter Series

23 AudioNotes

23 Music@Menlo LIVE

23 Broadcasting

24 Chamber Music Institute

25 Prelude Performances and

Koret Young Performers Concerts

25 Café Conversations and Master Classes

33 Music@Menlo Patron Travel

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

4 subscribe at www.musicatmenlo.org | 650-331-0202


Time and again, from fourteenth-century Florence to fin-de-siècle Paris and New York during the Harlem Renaissance, Western civilization’s greatest artistic triumphs have emerged from the fertile ground of thriving metropolises. Fueled by the exchange of ideas and the incubation of great art, leading artists and innovators have gathered, turning these cities into cultural epicenters. Music@Menlo’s 2018 season celebrates seven of Western music’s most flourishing creative capitals—London, Paris, St. Petersburg, Leipzig, Berlin, Budapest, and Vienna. Many of history’s greatest composers have helped to define the spirit of these flagship cities through their music.

ARTISTS

PianoMichael Brown

Gloria Chien

Gilbert Kalish

Hyeyeon Park

Jon Kimura Parker

Gilles Vonsattel

Wu Han

ViolinAaron Boyd

Ivan Chan†

Bella Hristova

Paul Huang

Alexi Kenney*

Kristin Lee

Amy Schwartz Moretti*

Arnaud Sussmann

Wu Jie

Angelo Xiang Yu*

ViolaRoberto Díaz

Matthew Lipman

Paul Neubauer

Richard O’Neill

CelloDmitri Atapine

Efe Baltacigil*

Nicholas Canellakis

David Finckel

David Requiro*

Keith Robinson

BassScott Pingel

Calidore String QuartetJeffrey Myers, violin

Ryan Meehan, violin

Jeremy Berry, viola

Estelle Choi, cello

WoodwindsDemarre McGill, flute

Stephanie McNab, flute*

Stephen Taylor, oboe

Jose Franch-Ballester, clarinet

Anthony McGill, clarinet

Peter Kolkay, bassoon

BrassKevin Rivard, horn

VoiceLyubov Petrova, soprano*

Sara Couden, contralto

Kang Wang, tenor*

Encounter LeadersAra Guzelimian

John R. Hale*

Michael Parloff

*Music@Menlo debut†Guest artist-faculty

The Monumental Entrance at the Place de la Concorde, Exposition Universelle, Paris, 1900, lithograph. Private collection/The Stapleton Collection/Bridgeman Images

CREATIVE CAPITALS

5


“The Houses of Parliament at Night,” City of Westminster, London, black-and-white photo. Photo credit: HIP/Art Resource, NY

For some two hundred years following the death of Henry Purcell, England failed to produce a composer of international merit. The German critic Oscar A. H. Schmitz famously derided the nation as Das Land ohne Musik (“The land without music”). But throughout the eighteenth and nineteenth centuries, England nevertheless remained fertile creative ground; London in particular attracted many of the continent’s greatest composers—from Handel and Mendelssohn to Edvard Grieg—who in turn helped make that city one of the Western world’s musical capitals. Music@Menlo 2018’s opening program cel-ebrates London’s cosmopolitan musical energy, juxtaposing these expatriate masters with two fresh voices of English music’s early twentieth-century renaissance, Benjamin Britten and Ralph Vaughan Williams.

CONCERT PROGRAM I

LONDON

George Frideric Handel (1685–1759)Concerto Grosso in D Major, op. 6, no. 5,

HWV 323 (1739)

Felix Mendelssohn (1809–1847)Fugue in E-flat Major for String Quartet,

op. 81, no. 4 (1827)

Ralph Vaughan Williams (1872–1958)Songs of Travel (1901, 1904)

Benjamin Britten (1913–1976)Suite for Violin and Piano, op. 6 (1934–1935)

Edvard Grieg (1843–1907)Holberg Suite for Strings, op. 40 (1884,

arr. 1885)

ARTISTSKang Wang, tenor; Hyeyeon Park, harpsichord;

Gloria Chien, Gilbert Kalish, pianos;

Paul Huang, Amy Schwartz Moretti,

Arnaud Sussmann, Wu Jie, Angelo Xiang Yu,

violins; Roberto Díaz, Matthew Lipman, violas;

Dmitri Atapine, Efe Baltacigil, David Finckel,

cellos; Scott Pingel, bass

SATURDAY, JULY 146:00 p.m., The Center for Performing Arts

at Menlo-Atherton

Tickets: $72/$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 Festival8:30 p.m., following the concert

Join the Artistic Directors, festival musicians,

and friends on July 14 to celebrate the

season’s first concert at an outdoor catered

dinner reception on the Menlo School

campus.

(Tickets: $75. Advance purchase required.)

7


No city captivates the imagination quite like Paris. For generations, the world’s leading artists, writers, and thinkers—to say nothing of its young lovers and starry-eyed dreamers—have flocked to La Ville Lumière. Her splendor has inspired some of the Western world’s most innovative cinema, elegant cuisine, and irresistible music. Towards the turn of the century, after opera had domi-nated French musical life for decades, Camille Saint-Saëns, César Franck, and others led a resurgence of chamber music. In their wake came some of the twentieth century’s most refreshing musical voices, from Jean Françaix to Francis Poulenc and the enfants terribles of Les Six.

CONCERT PROGRAM II

PARIS

Camille Saint-Saëns (1835–1921)Piano Trio no. 1 in F Major, op. 18 (1864)

Francis Poulenc (1899–1963)Sextet for Wind Quintet and Piano, op. 100

(1932–1939)

Jean Françaix (1912–1997)String Trio (1933)

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

ARTISTSDemarre McGill, flute; Stephen Taylor, oboe;

Jose Franch-Ballester, clarinet; Peter Kolkay,

bassoon; Kevin Rivard, horn; Jon Kimura Parker,

Wu Han, pianos; Paul Huang, Angelo Xiang Yu,

violins; Matthew Lipman, viola; Dmitri Atapine,

Efe Baltacigil, cellos

TUESDAY, JULY 177:30 p.m., The Center for Performing Arts

at Menlo-Atherton


age thirty


at Menlo-Atherton




see pp. 24–25.

Jean Beraud (1849–1935). Outside the Vaudeville Theatre, Paris, nineteenth century, oil on canvas. Private collection/Photo © Christie’s Images/Bridgeman Images


Built in 1703 by Peter the Great to be a cosmopolitan, Western-style metropolis, St. Petersburg emerged over subsequent decades as the center of Russian musical culture. It was in St. Petersburg that Mikhail Glinka, the progenitor of Russia’s classical music tradition, built his career. Glinka’s disciple Mily Balakirev likewise settled in the Russian capital, where he spearheaded the Russian vanguard known as the Mighty Handful. In 1862, Anton Rubinstein founded the St. Petersburg Conservatory, which remains Russian music’s foremost educational institution, producing such towering artists as Anton Arensky and Dmitry Shostakovich, whose works are featured in this program.

CONCERT PROGRAM III

ST. PETERSBURG

Mikhail Glinka (1804–1857)Trio pathétique in d minor for Clarinet,

Bassoon, and Piano (1832)

Anton Arensky (1861–1906)Quartet no. 2 in a minor for Violin, Viola,

and Two Cellos, op. 35 (1894)

Mily Balakirev (1837–1910)Octet for Winds, Strings, and Piano, op. 3

(1855–1856)

Dmitry Shostakovich (1906–1975)From Jewish Folk Poetry, op. 79 (1948)

ARTISTSLyubov Petrova, soprano; Sara Couden,

contralto; Kang Wang, tenor; Demarre McGill,

flute; Stephen Taylor, oboe; Jose Franch-

Ballester, clarinet; Peter Kolkay, bassoon;

Kevin Rivard, horn; Michael Brown,

Gilbert Kalish, pianos; Aaron Boyd,

Arnaud Sussmann, violins; Matthew Lipman,

Paul Neubauer, violas; David Finckel,

David Requiro, cellos; Scott Pingel, bass


at Menlo-Atherton


age thirty

The General Staff Building on Palace Square, St. Petersburg. Photo credit: Albrecht Neumeister, 2016

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When Georg Philipp Telemann turned down the post of Leipzig Music Director and Cantor, the city begrudgingly offered the position to its second choice: Johann Sebastian Bach. Bach’s years in Leipzig produced some of the greatest music ever composed—from the St. Matthew Passion and Mass in b minor to scores of keyboard concerti—thus cementing that city’s place as one of music history’s most important locales. A century later, two of the Romantic era’s greatest composers would likewise call Leipzig home: Felix Mendelssohn, who served as Director of the Leipzig Gewandhaus Orchestra and founded the Leipzig Conservatory, and Robert Schumann, whose mighty Piano Quintet con-cludes this summer’s fourth Concert Program.

CONCERT PROGRAM IV

LEIPZIG

Johann Sebastian Bach (1685–1750)Keyboard Concerto in d minor, BWV 1052

(ca. 1738–1739)

Georg Philipp Telemann (1681–1767)Canary Cantata, TWV 20: 37 (1737)

Felix Mendelssohn (1809–1847) Andante and Variations for Piano, Four

Hands, op. 83a (1844)

Robert Schumann (1810–1856) Piano Quintet in E-flat Major, op. 44 (1842)

ARTISTSSara Couden, contralto; Gilbert Kalish,

harpsichord; Michael Brown, Hyeyeon Park,

pianos; Aaron Boyd, Alexi Kenney, violins;

Matthew Lipman, Paul Neubauer, violas;

David Requiro, Keith Robinson, cellos;

Scott Pingel, bass

WEDNESDAY, JULY 257:30 p.m., Stent Family Hall, Menlo School

Tickets: $82 full price; $35 under age thirty

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

THURSDAY, JULY 267:30 p.m., The Center for Performing Arts

at Menlo-Atherton


age thirty


at Menlo-Atherton




see pp. 24–25.

Friedrich Werner (1690–1778). View of the City of Leipzig from the South East, ca. 1750, colored engraving.Stadtgeschichtliches Museum Leipzig, Germany/Bridgeman Images


Through the eighteenth and nineteenth centuries, Berlin emerged and then handily secured its status as one of Europe’s most vital cultural centers. It was to Berlin that the aging J. S. Bach traveled in 1747, where King Frederick the Great issued the contrapuntal challenge that yielded Bach’s monumental Musical Offering. Mozart and Beethoven subsequently appeared at the same court, before Friedrich Wilhelm II; Mozart honored the King of Prussia (and amateur cellist) with his Prussian Quartets, notable for their virtuosic cello parts, while Beethoven composed his first two cello sonatas for the occasion. Concert Program V concludes with the Piano Trio no. 2 in c minor by Mendelssohn, who spent his formative years in the German capital.

CONCERT PROGRAM V

BERLIN

Ludwig van Beethoven (1770–1827)Cello Sonata in F Major, op. 5, no. 1 (1796)

Wolfgang Amadeus Mozart (1756–1791)String Quartet in D Major, K. 575, Prussian

(1789)

Johann Sebastian Bach (1685–1750)Selections from Musical Offering, BWV 1079

(1747)

Felix Mendelssohn (1809–1847) Piano Trio no. 2 in c minor, op. 66 (1845)

ARTISTSStephanie McNab, flute; Gilles Vonsattel,

Wu Han, pianos; Arnaud Sussmann, violin;

David Finckel, David Requiro, cellos; Calidore

String Quartet: Jeffrey Myers, Ryan Meehan,

violins; Jeremy Berry, viola; Estelle Choi, cello


at Menlo-Atherton


age thirty

SUNDAY, JULY 296:00 p.m., Stent Family Hall, Menlo School


Prelude Performance* 3:30 p.m., Martin Family Hall, Menlo School




see pp. 24–25.

Nikolaus Braun (1900–1980). Street Scene in Berlin, 1921, oil on conglomerate. Photo credit: Erich Lessing/Art Resource, NY


Western composers from Haydn and Mozart to Brahms were irresistibly drawn to the folk music of Central Europe, infusing some of their most popular works with its infectious spirit. With Hungarian music’s own nationalist movement in the early twentieth century, Hungary—and especially its capital, Budapest—assumed even greater importance in the Western classical tradition. Ernő Dohnányi, one of the twentieth century’s most gifted and versatile musicians, was moreover the first elite Hungarian artist who chose to train at the Budapest Academy of Music rather than studying abroad. His countrymen Béla Bartók and Zoltán Kodály—the progenitors of a nationalist Hungarian compositional language—followed suit, establishing Budapest as the epicenter of Hungary’s musical culture. Concert Program VI features the work of these three giants of Hungarian music and their heir apparent, the modernist master György Ligeti.

CONCERT PROGRAM VI

BUDAPEST

Zoltán Kodály (1882–1967)Duo for Violin and Cello, op. 7 (1914)

Béla Bartók (1881–1945)String Quartet no. 5 (1934)

György Ligeti (1923–2006) Ballad and Dance for Two Violins (1950)

Ernő Dohnányi (1877–1960)Sextet in C Major for Winds, Strings, and

Piano, op. 37 (1935)

ARTISTSAnthony McGill, clarinet; Kevin Rivard, horn;

Gilles Vonsattel, piano; Bella Hristova,

Wu Jie, violins; Matthew Lipman, viola;

Nicholas Canellakis, David Requiro, cellos;

Calidore String Quartet: Jeffrey Myers,

Ryan Meehan, violins; Jeremy Berry, viola;

Estelle Choi, cello

TUESDAY, JULY 317:30 p.m., The Center for Performing Arts

at Menlo-Atherton


age thirty


at Menlo-Atherton




see pp. 24–25.

“Budapest at Night,” 1936, black-and-white photo. © SZ Photo/Scherl/Bridgeman Images


The 2018 season’s final Concert Program celebrates Vienna—from the Classical era into the twentieth century, the indisputable capital of the Western musical world. It was in Vienna that the Salzburg-born wunderkind Wolfgang Amadeus Mozart found his place among the pantheon of great artists and where, after Mozart’s death at the age of thirty-five, Beethoven traveled to “receive Mozart’s spirit from Haydn’s hands.” Vienna remained the seat of Western music through the Romantic era in a period bookended by Schubert and Brahms. When, in the twentieth century, the iconoclast Arnold Schoenberg sought to “ensure the supremacy of German music for the next hundred years,” his coterie fittingly became known as the Second Viennese School.

CONCERT PROGRAM VII

VIENNA

Wolfgang Amadeus Mozart (1756–1791)Andante and Variations in G Major for Piano,

Four Hands, K. 501 (1786)

Johannes Brahms (1833–1897)Piano Quintet in f minor, op. 34 (1862)

Franz Schubert (1797–1828)Allegro in a minor for Piano, Four Hands,

op. 144, D. 947, Lebensstürme (1828)

Arnold Schoenberg (1874–1951)Verklärte Nacht (Transfigured Night) for

String Sextet, op. 4 (1899)

ARTISTSGloria Chien, Gilbert Kalish, Wu Han, pianos;

Bella Hristova, Kristin Lee, Arnaud Sussmann,

violins; Matthew Lipman, Richard O’Neill,

violas; Nicholas Canellakis, David Requiro,

cellos

THURSDAY, AUGUST 27:30 p.m., Stent Family Hall, Menlo School


SATURDAY, AUGUST 46:00 p.m., The Center for Performing Arts

at Menlo-Atherton


age thirty

Interior of a Café, twentieth century, watercolor.Historisches Museum der Stadt Wien. De Agostini Picture Library/A. Dagli Orti/Bridgeman Images


Carte Blanche Concerts

CARTE BLANCHE CONCERT I

PAUL HUANG, VIOLIN; WU HAN, PIANOSunday, July 15, 6:00 p.m. Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty

The brilliant young violinist Paul Huang returns to Music@Menlo, joining Artistic Codirector Wu

Han in a program of Romantic violin sonatas. The program begins with Beethoven’s Sonata in G

Major, op. 30, no. 3, a work that finds the composer on the cusp of his celebrated “heroic” style,

soon to single-handedly usher music into the Romantic period. The exquisite d minor Sonata of

Johannes Brahms, Beethoven’s heir apparent, follows. Alongside the works of these guardians of

the Viennese tradition, the program offers Bartók’s signature Hungarian Folk Tunes and concludes

with the Parisian esprit of Saint-Saëns’s First Violin Sonata.

Ludwig van Beethoven (1770–1827)Violin Sonata in G Major, op. 30, no. 3 (1801–1802)

Johannes Brahms (1833–1897)Violin Sonata in d minor, op. 108 (1886–1888)

Béla Bartók (1881–1945)Hungarian Folk Tunes (arr. Szigeti in 1926 from Bartók’s For Children)

Camille Saint-Saëns (1835–1921)Violin Sonata no. 1 in d minor, op. 75 (1885)

CARTE BLANCHE CONCERT II

CALIDORE STRING QUARTET Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry, viola; Estelle Choi, celloThursday, July 19, 7:30 p.m. Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty

No genre more powerfully emblematizes Vienna’s hallowed chamber music tradition than the

string quartet. Joseph Haydn, the father of the Classical style, turned the string quartet medium

into the lingua franca of Western chamber music. The form was thereafter revolutionized by his

student Beethoven, whose imposing cycle of sixteen quartets remains the bedrock of the literature

today. Quartets by Haydn and Beethoven (the dazzling third Razumovsky Quartet) bookend Carte

Blanche Concert II. At the center of the program are two works by Anton Webern, the Expression-

ist genius of the Second Viennese School.

Joseph Haydn (1732–1809)String Quartet in G Major, op. 54, no. 1, Hob. III: 58 (1788)

Anton Webern (1883–1945)Fünf Sätze for String Quartet, op. 5 (1909)

Langsamer Satz for String Quartet (1905)

Ludwig van Beethoven (1770–1827)String Quartet in C Major, op. 59, no. 3, Razumovsky (1806)

The 2018 Carte Blanche Concerts, curated by the festival artists themselves, offer an intimate tour of this season’s Creative Capitals.


CARTE BLANCHE CONCERT III

DMITRI ATAPINE, CELLO; HYEYEON PARK, PIANOSunday, July 22, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty

Music@Menlo audience favorites and husband-and-wife duo Dmitri Atapine and Hyeyeon Park

complement the season’s itinerary with a three-part recital program of some of Western music’s

most relentlessly peripatetic composers. Alongside pieces by such iconic figures as Beethoven and

Boccherini, the program offers lesser-known gems by the Russian cellist and composer Karl Dav-

idoff (who encountered Schumann and Mendelssohn in Leipzig before returning to St. Petersburg),

John Field (an Irish composer who emigrated to Russia), and others. Carte Blanche Concert III

concludes with Chopin’s dazzling Introduction and Polonaise brillante.

CARTE BLANCHE CONCERT IV

PAUL NEUBAUER, VIOLA; MICHAEL BROWN, PIANOSunday, July 29, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $82 full price; $35 under age thirty

Preeminent violist Paul Neubauer and the outstanding young pianist Michael Brown join forces for

the season’s final Carte Blanche Concert. The program brings together masterworks of the twenti-

eth-century repertoire for viola and piano, from Dmitry Shostakovich’s powerful Viola Sonata—the

Russian master’s final composition, completed weeks before his death—to the stunning Romance

of the English composer Benjamin Dale. The program concludes with a sampling of the delectable

salon music of Georges Boulanger.

Krzysztof Penderecki (Born 1933)Cadenza for Solo Viola (1984)

Dmitry Shostakovich (1906–1975)Viola Sonata, op. 147 (1975)

Ernest Bloch (1880–1959)Suite hébraïque (1951)

Benjamin Dale (1885–1943)Romance from Suite for Viola and Piano, op. 2 (1906)

Mana-Zucca (1885–1981) Hakinoh (Lament), op. 186 (1956)

Georges Boulanger (1893–1958)Salon Pieces for Viola and Piano

PROLOGUEAlfred Schnittke (1934–1998)

Musica Nostalgica (1992)

PART 1: THE CELLO STORYLuigi Boccherini (1743–1805)

Cello Sonata in A Major, G. 4 (1772)

Ludwig van Beethoven (1770–1827)Seven Variations in E-flat Major on “Bei

Männern, welche Liebe fühlen” from Mozart’s Die Zauberflöte, WoO 46 (1801)

Karl Davidoff (1838–1889)Allegro de concert, op. 11 (1862)

PART 2: LONDON’S ORBITAlfredo Piatti (1822–1901)

Caprice on a Theme from Pacini’s Niobe for Solo Cello, op. 22 (1865)

John Field (1782–1837)Nocturne no. 5 in B-flat Major for Solo Piano

(1817)

Frank Bridge (1879–1941)Cello Sonata (1913–1917)

PART 3: EASTERN EUROPEBohuslav Martinů (1890–1959)

Variations on a Theme of Rossini (1942)

Zoltán Kodály (1882–1967)Sonatina for Cello and Piano (1921)

Frédéric Chopin (1810–1849)Introduction and Polonaise brillante in C Major,

op. 3 (1829–1830)

Please join the artists for a picnic lunch follow-

ing the concert. A gourmet boxed lunch may be

reserved with your ticket order for $20.


Michael Steinberg

Encounter SeriesThe Encounter series, Music@Menlo’s signature multimedia symposia, embodies the festival’s context-rich approach to musical discovery and adds dimension and depth to the Music@Menlo experience. The 2018 festival season’s three Encounters, led by experts in their fields, offer immersive visits to the cultural centers at the heart of the festival, providing audiences with context for the season’s seven Concert Programs and four Carte Blanche Concerts. The Encounter series is named in memory of Michael Steinberg, the eminent musicologist and Music@Menlo guiding light.

ENCOUNTER I

LONDON, PARIS, AND ST. PETERSBURG Led by Michael ParloffFriday, July 13, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

While London, Paris, and St. Petersburg have

historically shared numerous cross-cultural

connections—from the inevitable cultural

exchange across the English Channel to Italian

opera’s equal seduction of English and Russian

audiences—each city has nurtured a distinct

musical identity. London, the capital of the

country once derided as “the land without

music,” today rivals Paris as one of Western

music’s quintessential locales. Once a musical

desert, St. Petersburg similarly rose over

generations to have tremendous cultural

influence. Returning Encounter Leader Michael

Parloff opens the 2018 season, guiding audi-

ences on a tour of these three intriguing

cosmopolises.

ENCOUNTER II

LEIPZIG AND BERLIN Led by Ara GuzelimianFriday, July 20, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

Leipzig catalyzed arguably the greatest cor-

pus in Western music history, as J. S. Bach’s

music directorship in that city produced

the St. Matthew Passion, Mass in b minor, and

sheaves of chamber and orchestral works

that remain vital to the repertoire. Bach’s

greatest champion in the following century,

Felix Mendelssohn, added to Leipzig’s proud

musical tradition, establishing a conserva-

tory and building its orchestra into one of

the world’s finest. Meanwhile, one hundred

miles to the north, a succession of Prussian

monarchs received the likes of Bach, Mozart,

and Beethoven, fueling Berlin’s rise to equal

cultural significance. For this summer’s second

Encounter, Ara Guzelimian charts the ascen-

dancy of Germany’s twin musical epicenters.


at Menlo-Atherton

ENCOUNTER III

BUDAPEST AND VIENNA Led by John R. HaleFriday, July 27, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $52 full price; $25 under age thirty

One reigned for two centuries as the

undisputed capital of Western music, nour-

ishing composers from Haydn, Mozart, and

Beethoven to Schoenberg, Webern, and Berg.

The other rose to prominence on a national-

ist wave fueled by the groundbreaking work

of Bartók, Kodály, and others. Despite their

close proximity and cultural kinship, Vienna

and Budapest and their musical histories offer

a tale of two cities, separated by tradition and

aesthetic. Scholar John R. Hale makes his

Music@Menlo debut, leading the season’s final

Encounter—an engrossing exploration of these

two enchanting Central European capitals.

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

* Prelude Performances feature young artists

from the Chamber Music Institute. Admission

is free. For more information, see pp. 24–25.

Charles F. Borup. “Piccadilly Circus, London, at Night,” black-and-white photo. From Penrose’s Pictorial Annual 1908–1909, An Illustrated Review of the Graphic Arts, volume 14, edited by William Gamble and published by A. W. Penrose, London, 1908–1909. Photo credit: HIP/Art Resource, NY

Bach portrait, Thomaskirche, Leipzig, photo. © Bednorz Images/Bridgeman Images

“Schoenbrunn Palace in Vienna,” 1936, black-and-white photo. © SZ Photo/Scherl/Bridgeman Images


AudioNotes AudioNotes, available as downloadable MP3s, are Music@Menlo’s

innovative series of preconcert listener guides intended to provide

greater insight into the music as well as the performers’ perspec-

tives. 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 listeners an informed perspective

in advance of the performance and provides the foundation for a

rich and rewarding musical journey.

Music@Menlo LIVE Music@Menlo LIVE, the festival’s exclusive recording label, has

been praised as “the most ambitious recording project of any

classical music festival in the world” (San Jose Mercury News)

and its recordings have been hailed as “without question the

best CDs I have ever heard” (Positive Feedback Online). Pro-

duced by Grammy Award-winning engineer Da-Hong Seetoo

using state-of-the-art recording technology, Music@Menlo

LIVE releases feature select concert recordings representing

Music@Menlo’s signature thematic programming.

Music@Menlo LIVE recordings are available for sale

throughout the season at festival concert venues and online

at www.musicatmenlo.org. They are also available for digital

download and streaming through iTunes, Amazon.com,

Classical Archives, and Spotify.

American Public Media®

American Public Media® is the

leading producer of classical

music programming for public

radio. This summer, Music@Menlo

is proud to welcome American Public Media® once again as

the festival’s exclusive broadcast partner. 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. Hosts

and producers from American Public Media® have participated

in the festival as event moderators and educators. Go online to

www.YourClassical.org for archived performances, photos, and

interviews.

Overture ConcertsMusic@Menlo is excited to inaugurate the Overture Concerts, in which the International Program artists collaborate with festival

main-stage artists for the first time. Two performances in Stent Family Hall will include all eleven spectacular International Program

performers, who will be joined by pianist Wu Han, violinist Arnaud Sussmann, violist Matthew Lipman, and the Calidore String Quartet.

These concerts function as an “overture” to the future of chamber music: world-renowned festival artists will share their knowledge,

experience, and traditions with the burgeoning International Program musicians as they perform together, bringing the freshest

perspectives to these events. The artists will collectively bridge the gap between the traditions of the past, the master performers of

today, and the flourishing of the art form in the future. Please join us to experience the fruits of their collaboration and to witness a

glimpse of the bright future of chamber music.

Tuesday, July 24, 7:30 p.m. Stent Family Hall, Menlo School

Joseph Haydn (1732–1809)Piano Trio in C Major, Hob. XV: 27 (1797)

Antonín Dvořák (1841–1904)Piano Quintet in A Major, op. 81, B. 155 (1877)

Featuring Arnaud Sussmann, violin, and Wu Han, piano, with

musicians from the Chamber Music Institute’s International

Program.

Wednesday, August 1, 7:30 p.m. Stent Family Hall, Menlo School

Wolfgang Amadeus Mozart (1756–1791)Piano Quartet in g minor, K. 478 (1785)

Felix Mendelssohn (1809–1847) String Octet in E-flat Major, op. 20 (1825)

Featuring Matthew Lipman, viola, and the Calidore String

Quartet: Jeffrey Myers, Ryan Meehan, violins; Jeremy Berry,

viola; and Estelle Choi, cello, with musicians from the Chamber

Music Institute’s International Program.

Tickets: $32. Young Patrons Society members receive two complimentary tickets, and Young Patrons Leadership Circle members receive four complimentary tickets to either Overture performance.


Music@Menlo’s Chamber Music Institute has become one

of the top-tier summer programs in the world for string play-

ers and pianists. The Institute brings together exceptionally

talented young musicians and a world-class roster of per-

forming artists for an intensive three-week training program,

consisting of the International Program for preprofessional

artists (ages eighteen to twenty-nine) and the Young Perform-ers Program for pre- and early-conservatory-level students

(ages nine to eighteen). These extraordinary young artists are

selected from top preparatory and conservatory programs

across the United States and abroad. Students work closely

with the festival’s artist-faculty in coachings, master classes,

and various other educational activities. Highlights include the

immensely popular Prelude Performances and Koret Young

Performers Concerts featuring the Institute’s aspiring young

artists. The Chamber Music Institute’s series of master classes,

Café Conversations, and performances—always free and open

to the public—offers listeners opportunities to witness the fos-

tering 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 con-

tributions to the Ann S. Bowers Young Artist Fund.

Music@Menlo is thrilled to announce the launch of the Overture Concerts, a unique addition to the festival’s musical offerings. During the 2018 festival, audiences will have two not-to-be-missed opportunities to hear the extraordinary young artists of the Chamber Music Institute’s International Program perform alongside select main-stage Music@Menlo festival artists. More information on these exciting new con-certs is available on p. 23.

Chamber Music Institute David Finckel and Wu Han ARTISTIC DIRECTORS

Gloria Chien INSTITUTE DIRECTOR

Gilbert Kalish DIRECTOR, INTERNATIONAL PROGRAM

Arnaud Sussmann ASSOC. DIRECTOR, INTERNATIONAL PROGRAM


Prelude Performances and Koret Young Performers Concerts

Prelude Performance Schedule

Featuring the Institute’s International Program artists.

Saturday, July 14, 3:30 p.m., Menlo-Atherton*

Sunday, July 15, 3:30 p.m., Martin Family Hall

Tuesday, July 17, 5:00 p.m., Menlo-Atherton*

Wednesday, July 18, 5:00 p.m., Martin Family Hall

Thursday, July 19, 5:00 p.m., Martin Family Hall

Friday, July 20, 5:00 p.m., Menlo-Atherton*


Wednesday, July 25, 5:00 p.m., Martin Family Hall

Thursday, July 26, 5:00 p.m., Menlo-Atherton*

Friday, July 27, 5:00 p.m., Stent Family Hall


Tuesday, July 31, 5:00 p.m., Menlo-Atherton*

Friday, August 3, 5:00 p.m., Menlo-Atherton*

Koret Young Performers Concert Schedule

Featuring the students of the Young Performers Program.



Saturday, August 4, 1:00 p.m., Menlo-Atherton*

In response to the popularity of these events, a ticket is required

for all Prelude Performances and Koret Young Performers Con-

certs. Free tickets can be requested at will call beginning one

hour prior to the start of each concert or reserved in advance

online at www.musicatmenlo.org starting at 9:00 a.m. on the

day of the event. Seating is by general admission. Members of

the 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. For reserved seating oppor-

tunities, please see Premium Seating information on p. 34.

*The Center for Performing Arts at Menlo-Atherton

Café Conversations and Master Classes Beginning on July 16, each weekday throughout the festival,

Music@Menlo offers midday events including the popular Café

Conversations and master classes. Café Conversations feature

select festival artists discussing a variety of topics related to music

and the arts. These forums showcase the wide-ranging expertise

and imagination of our artists and provide further insights into

their remarkable careers and musical experiences.

Master classes offer opportunities to witness members of the

artist-faculty impart their knowledge, art, and expertise to the

next generation of performers. In master classes, Chamber

Music Institute participants are coached in preparation for their

Prelude Performances and Koret Young Performers Concerts.

The insights gained from observing the nuanced process of

preparing a piece of music for performance deepen audiences’

appreciation of the concert experience.

Each weekday of the festival season features a Café Conversa-

tion or master class at 11:45 a.m. on the Menlo School campus.

Reservations are not required. During the festival season,

please consult your festival program book or visit our website

at www.musicatmenlo.org for a detailed schedule of master

classes and Café Conversation topics.

Open Coachings Music@Menlo invites you to experience the Chamber Music

Institute by observing select coachings on the Menlo School

campus, Monday through Friday from July 16 through August 3.

Daily coaching schedules can be found at the festival Welcome

Center.

The festival’s preconcert and afternoon Prelude Performances and Koret Young Performers Concerts showcase the extraordinary young

artists of the Chamber Music Institute and are an integral part of Music@Menlo’s educational mission. These inspiring concerts have become

some of the season’s most anticipated events. Experience these young artists performing great works from the chamber music repertoire.

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


Music@Menlo is delighted to announce our new off-season initiative—Music@Menlo:Focus.

A reimagining of our Winter Series, this new venture will offer listeners opportunities to experience the festival’s signature chamber music programming and immersive educational content during the year in a bold, brand-new form.

For the inaugural season, two popular Music@Menlo artists each will curate multiday residencies. Please join us this November and in May 2019 to witness Guest Curators Hyeyeon Park and Arnaud Sussmann as they launch Music@Menlo:Focus, featuring out-reach and intellectually captivating “Behind the Music” events and culminating in two enthralling performances in a new concert venue, St. Bede’s Episcopal Church in Menlo Park.

SHAKESPEARE AND GOETHE WITH HYEYEON PARKTo open the 2018–2019 Music@Menlo:Focus residencies,

Music@Menlo is proud to present Shakespeare and Goethe—a

magical exploration of literary allusions in music. As the cul-

mination of this residency, an all-star cast of five artists will

join forces on November 9 in St. Bede’s Church to bring to

life timeless literature-inspired masterpieces by Beethoven,

Mendelssohn, Schubert, Liszt, and Brahms. This must-see per-

formance and its associated events will shine new light on the

dramatic impact that Macbeth, A Midsummer Night’s Dream,

Faust, and Werther had on the inventiveness and imagination of

some of the greatest chamber music authors of all time.

Behind the Music Thursday, November 8, 2018, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $30 full price; $15 under age thirty

Concert Program Friday, November 9, 2018, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park Tickets: $52/$47 full price; $25/$20 under age thirty

Ludwig van Beethoven (1770–1827)Piano Trio in D Major, op. 70, no. 1, Ghost (1808)

Felix Mendelssohn (1809–1847)Nocturne and Scherzo from A Midsummer Night’s Dream for

Piano, Four Hands, op. 61 (1843)

Franz Schubert (1797–1828)Gretchen am Spinnrade and Erlkönig (arr. Liszt, 1837–1838)

Johannes Brahms (1833–1897)Piano Quartet no. 3 in c minor, op. 60 (1855–1856, 1874)

ARTISTSHyeyeon Park, Jon Kimura Parker, pianos; Cho-Liang Lin, violin;

Matthew Lipman, viola; David Finckel, cello

FOLK TALES WITH ARNAUD SUSSMANNThis program was built around a unique and rather unusual

instrumentation for string trio—two violins and a viola—seldom

heard in a full chamber music program. Featuring staples of the

repertoire, Antonín Dvořák’s magnificent Miniatures and Terzetto

and Zoltán Kodály’s delightfully folksy Serenade, the program

also offers rarely performed music by Belgian composer and

violinist Eugène Ysaÿe and Russian composer Sergei Taneyev. The

richness and variety in the music will surprise and delight you, as

will the project’s intimate educational style. Violist extraordinaire

and festival favorite Paul Neubauer will be joined onstage by vir-

tuoso violinists Pamela Frank and Arnaud Sussmann.

Behind the Music Thursday, May 2, 2019, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $30 full price; $15 under age thirty

Concert Program Friday, May 3, 2019, 7:30 p.m. St. Bede’s Episcopal Church, Menlo Park Tickets: $52/$47 full price; $25/$20 under age thirty

Antonín Dvořák (1841–1904)Miniatures for Two Violins and Viola, op. 75a (1887)

Eugène Ysaÿe (1858–1931)Le Londres in a minor for Two Violins and Viola (ca. 1914–1916)

Zoltán Kodály (1882–1967)Serenade for Two Violins and Viola, op. 12 (1919–1920)

Sergei Taneyev (1856–1915)Trio in D Major for Two Violins and Viola, op. 21 (1907)

Antonín DvořákTerzetto in C Major for Two Violins and Viola, op. 74 (1887)

ARTISTSPamela Frank, Arnaud Sussmann, violins; Paul Neubauer, viola


Cover: Nero, 1984, limestone. Photo by EPW Studio/Maris Hutchinson

Top: Tabatinga, 1984, limestone. Photo by EPW Studio/Maris Hutchinson

Bottom: Gonzalo Fonseca with Great Jones Street, 1994. Photo by Ovak Arslanian

Back cover: La trucha de Maria, 1985, Persian travertine. Photo by EPW Studio/Maris Hutchinson

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, imagi-

nation, and dedication to their multifaceted

endeavors as concert performers, recording

artists, educators, artistic administrators, and

cultural entrepreneurs. In high demand as indi-

viduals 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 multi-

tude of other educational initiatives, they have

achieved universal renown for their passionate

commitment to nurturing the careers of count-

less 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

Gonzalo Fonseca (1922–1997) understood sculpture as a microcosmic

way to engage civilization and weave together past and future. Inte-

grating the forms that he encountered in his extensive travel, Fonseca

resisted the narrower tracks of mid-twentieth-century Modernist

sculpture and instead dedicated himself to expanding its landscape.

He carved his stones himself, without the aid of assistants, and often

worked with found stone. Uruguayan-born, he divided the majority

of his life between Manhattan and a hilltop studio among the quar-

ries and stone-working communities in Northern Tuscany. Gonzalo

Fonseca produced hundreds of paintings and drawings and executed

a number of monumental public works. A documentary focused on

Fonseca, titled Membra Disjecta: Gonzalo Fonseca and the Heart of Stone, comes out in 2018. For

further information, visit www.gonzalofonseca.com.

Visual Artist: Gonzalo Fonseca


Described as a cellist whose “playing is highly

impressive throughout” (Strad), Dmitri Atapine has

appeared at leading venues around the world. He

has performed with the Chamber Music Society of

Lincoln Center, where he is a member of the CMS

Two program, and is a frequent guest at festivals including

Music@Menlo, Chamber Music Northwest, La Musica Sarasota, the

Pacific Music Festival, Aldeburgh, and Aix-en-Provence. Professor

of cello at the University of Nevada, Reno, and Artistic Director of

Apex Concerts, Dmitri Atapine holds a doctoral degree from the

Yale School of Music, where he studied with Aldo Parisot.

Turkish cellist Efe Baltacigil recently made his debut

with the Berlin Philharmonic and Sir Simon Rattle

alongside his brother, Fora. He also performed

Tchaikovsky’s Rococo Variations with the Seattle

Symphony, after which the Seattle Times lauded his

“sublimely natural, so easily virtuosic, phenomenal, effortless

musicianship.” Recent appearances as soloist include Brahms’s

Double Concerto with violinist David Coucheron and the Norwe-

gian Radio Orchestra and Richard Strauss’s Don Quixote with the

Seattle Symphony. A member of the East Coast Chamber

Orchestra, he was Associate Principal Cellist of the Philadelphia

Orchestra until 2011 and is currently Principal Cellist of the Seattle

Symphony.

Violinist Aaron Boyd enjoys a versatile career as

soloist, chamber musician, lecturer, teacher, and

recording artist and concertizes throughout the

United States, Europe, Russia, and Asia. He appears

regularly as an Artist of the Chamber Music Society

of Lincoln Center and has participated in the Marl-

boro, Music@Menlo, La Jolla, Bridgehampton, and Prussia Cove

festivals. Previously on the violin faculties of Columbia University

and the University of Arizona, Aaron Boyd now serves as Director

of Chamber Music and Professor of Practice in Violin at the Mead-

ows School of the Arts at Southern Methodist University in Dallas,

Texas.

Pianist-composer Michael Brown has been hailed

by the New York Times as “one of the leading

figures in the current renaissance of performer-

composers.” Winner of a 2015 Avery Fisher Career

Grant, he appears regularly with the Seattle, Albany,

Maryland, New Haven, and Erie Symphony Orchestras and with

the Chamber Music Society of Lincoln Center. He was selected by

pianist András Schiff to perform across the United States and

Europe. As Composer-in-Residence for the New Haven

Symphony for the 2017–2019 seasons, he has been commis-

sioned to write a new symphony. For more information, please

visit michaelbrownmusic.com.

The Calidore String Quartet’s “deep reserves of

virtuosity and irrepressible dramatic instinct” (New

York Times) have won the ensemble accolades

across the globe and firmly established it as one of

the finest chamber music ensembles performing

today. The quartet regularly performs in the most prestigious

venues throughout North America, Europe, and Asia such as

Carnegie Hall, Lincoln Center (as members of the Chamber Music

Society of Lincoln Center’s CMS Two program), Wigmore Hall, the

Konzerthaus Berlin, and Seoul’s Kumho Arts Hall, as well as at many

significant festivals, including Verbier, Ravinia, Mostly Mozart,

Music@Menlo, Rheingau, East Neuk, and Festspiele Mecklenburg-

Vorpommern. In addition to winning the M-Prize International

Chamber Music Competition and the Borletti-Buitoni Trust

Fellowship, the Calidore String Quartet has won Grand Prizes in

virtually all the major U.S. chamber music competitions, including

the Fischoff, Coleman, Chesapeake, and Yellow Springs chamber

music competitions, and the ARD International and Hamburg

International competitions.

Hailed by the New Yorker as a “superb young soloist,”

Nicholas Canellakis has become one of the most

sought-after and innovative cellists of his generation.

Canellakis recently made his Carnegie Hall concerto

debut, performing with the American Symphony

Orchestra in Isaac Stern Auditorium. He is an Artist of the Chamber

Music Society of Lincoln Center, with which he performs regularly

in Alice Tully Hall and on tour. He is also a regular guest artist at

many of the world’s leading music festivals, including Santa Fe, La

Jolla, Music@Menlo, Ravinia, Bridgehampton, Mecklenburg, Hong

Kong, Moab, and Saratoga Springs.

The Cleveland Plain Dealer asserted that violinist

Ivan Chan’s “…tonal sweetness is matched by impec-

cable taste, purposeful energy, and an unerring

sense of phrasing.” A member of the Miami String

Quartet from 1995 to 2010, Chan is currently Associ-

ate Professor of Chamber Music, Violin, and Viola 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 Central Conservatory. In 2018, Chan will be on

faculty at Music@Menlo 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 Direc-

tor 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.

Sara Couden, contralto, is so excited to be returning

to Music@Menlo. Highlights from this past season

include Brahms’s Alto Rhapsody at the Staunton

Music Festival, Petr Eben’s Loveless Songs for Voice

and Viola, performed with Kim Kashkashian at the

Marlboro Music Festival, Third Lady in a concert of highlights from

The Magic Flute with the Los Angeles Philharmonic, the role of

Albine in the Metropolitan Opera’s fall production of Thaïs, soloist

in Schoenberg’s version of Das Lied von der Erde with the New

York chamber group Cantata Profana, soloist in Beethoven’s

Symphony no. 9 with the Tucson, Charleston, Charlotte, and San

Francisco Symphonies, and a program of Bach cantatas through

the Philadelphia Chamber Music Society.

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 Orchestra, Díaz has already had a

significant impact on American musical life, and he

continues to do so in his dual roles as performer and educator. He

has appeared as an orchestral soloist and recitalist in major cities

around the globe and has worked with many of the leading con-

ductors 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.

Multiple award–winning Spanish clarinetist

Jose Franch-Ballester (FrAHnk Bai-yess-TAIR) has

performed to great acclaim in venues across the

United States and abroad. He appears regularly

with the Chamber Music Society of Lincoln Cen-

ter, serves as Principal Clarinet of California’s Camerata

Pacifica, and founded Jose Franch-Ballester i amics (and

friends), an organization that presents concerts in his native

Valencia, Spain. Franch-Ballester has commissioned, pre-

miered, and performed works by numerous contemporary

composers. Also a dedicated music educator, he serves as

Assistant Professor of Clarinet and Chamber Music at the

Festival Artist Biographies


University of British Columbia in Vancouver, Canada. Jose

Franch-Ballester is represented in the Americas by Sciolino

Artist Management, www.samnyc.us.

Ara Guzelimian has served as Provost and Dean

of the Juilliard School since August 2006, where

he works closely with the President in overseeing

the faculty, curriculum, and artistic planning of

the distinguished performing arts conservatory in

all three of its divisions—dance, drama, and music. Previously,

he was Senior Director and Artistic Advisor of Carnegie Hall,

Artistic Administrator of the Aspen Music Festival and School in

Colorado, Artistic Director of the Ojai Festival in California, and

Artistic Administrator of the Los Angeles Philharmonic. He

currently serves on the Music Visiting Committee of the

Morgan Library and Museum in New York City and is an

Artistic Consultant for the Marlboro Music Festival and

School in Vermont.

John R. Hale is an archaeologist at the University

of Louisville, with degrees in archaeology from

Yale and Cambridge. Hale’s fieldwork ranges from

the Delphic Oracle in Greece to a Paleo-Christian

church in Portugal. Underwater investigations

include ancient shipwrecks at Caesarea Maritima in Israel and

submerged Maya ruins in Guatemala. His discoveries have been

published in Antiquity and Scientific American, and his book on

the ancient Athenian navy, Lords of the Sea, was published by

Viking Penguin. Fascinated by music from an early age, John

Hale also joined an interdisciplinary team that reconstructed and

performed on an ancient Greek salpinx, or trumpet.

In violinist Bella Hristova’s 2017–2018 season,

she performs Beethoven’s ten sonatas for piano

and violin in a recital tour of New Zealand with

Michael Houstoun, performs chamber music, and

appears as soloist with orchestras nationwide.

Her extensive festival appearances include Chamber Music

Northwest and the Marlboro Music Festival. Her noteworthy

recording Bella Unaccompanied was released on A. W. Tone-

gold Records, and her awards include a 2013 Avery Fisher

Career Grant and First Prize in the 2009 Young Concert Artists

International Auditions. She attended the Curtis Institute of

Music, where she worked with Ida Kavafian and Steven Tenen-

bom. Bella Hristova plays a 1655 Nicolò Amati violin.

The recipient of a 2015 Avery Fisher Career Grant

and a 2017 Lincoln Center Award for Emerging

Artists, Taiwanese-American violinist Paul Huang is quickly gaining attention for his eloquent music

making. The 2017–2018 season sees Huang’s

White Nights Festival debut with the Mariinsky Orchestra under

Valery Gergiev, as well as many other engagements here and

abroad. In the summer of 2018, he appears at various U.S.

summer festivals and makes his recital debut at the Lucerne

Festival. He continues his association with the Chamber Music

Society of Lincoln Center throughout the season and returns

to Camerata Pacifica as its Principal Artist. He won the 2011

Young Concert Artists International Auditions. Paul Huang

plays the Guarneri del Gesù Cremona 1742 ex-Wieniawski

violin, on loan through the Stradivari Society.

Pianist Gilbert Kalish’s profound influence on the

musical community as a performer, educator, and

recording artist has established him as a major

figure in American music making. He was pianist

of the Boston Symphony Chamber Players for

thirty years, was a founding member of the Contemporary

Chamber Ensemble, and is an Artist of the Chamber Music

Society of Lincoln Center. Kalish is Distinguished Professor and

Head of Performance Activities at Stony Brook University. He

was previously a faculty member and Chair of the Faculty at

the Tanglewood Music Center. Kalish received the American

Composers Forum’s Champion of New Music Award in 2017.

The recipient of a 2016 Avery Fisher Career

Grant, violinist Alexi Kenney has been named “a

talent to watch” (New York Times). His win at

the 2013 Concert Artists Guild Competition at

the age of nineteen led to a critically acclaimed

Carnegie Hall debut recital at Weill Hall. High-

lights of Kenney’s 2017–2018 season include debuts with the

Detroit, Columbus, California, and Amarillo Symphonies and

recitals with pianist Renana Gutman on Carnegie Hall’s Dis-

tinctive Debuts series and at the Phillips Collection in

Washington, D.C., Lee University in Tennessee, and the Green

Music Center at Sonoma State University in California. He joins

the Chamber Music Society of Lincoln Center’s CMS Two pro-

gram beginning in the 2018–2019 season.

Bassoonist Peter Kolkay is the recipient of an

Avery Fisher Career Grant and First Prize winner

of the Concert Artists Guild Competition. An Art-

ist of the Chamber Music Society of Lincoln

Center, Kolkay is also Associate Professor of Bas-

soon at the Blair School of Music at Vanderbilt University,

where he was a Chancellor’s Faculty Fellow from 2015 to 2017.

Upcoming highlights include the premiere of a work for bas-

soon and string quartet by Mark-Anthony Turnage. Peter

Kolkay studied with Frank Morelli, John Hunt, Jean Barr, and

Monte Perkins. Born in Naperville, Illinois, he now calls down-

town Nashville, Tennessee, home.

Recipient of a 2015 Avery Fisher Career Grant and

a top-prize winner of the 2012 Walter W. Naum-

burg Competition and the Astral Artists’ 2010

National Auditions, Kristin Lee is a violinist of

remarkable versatility and impeccable technique

who enjoys a vibrant career as a soloist, recitalist, chamber

musician, and educator. Lee has appeared as soloist with top

orchestras such as the Philadelphia Orchestra, St. Louis Sym-

phony, New Jersey Symphony, St. Paul Chamber Orchestra,

Ural Philharmonic of Russia, and Korean Broadcasting Sym-

phony. An accomplished chamber musician, she is an Artist of

the Chamber Music Society of Lincoln Center and has

appeared at festivals such as Music@Menlo, La Jolla Summer-

Fest, Medellín Festicámara of Colombia, the El Sistema

Chamber Music Festival of Venezuela, and the Sarasota Music

Festival, among others. She is a faculty member of the Aaron

Copland School of Music at Queens College and the

cofounder and Artistic Director of Emerald City Music in Seat-

tle, Washington.

Winner of a 2015 Avery Fisher Career Grant,

American violist Matthew Lipman has performed

as soloist with the Minnesota, Illinois Philhar-

monic, Grand Rapids Symphony, Wisconsin

Chamber, and Juilliard Orchestras and given

recitals at the Greene Space in New York City and the Phillips

Collection in Washington, D.C. His recording of Mozart’s

Sinfonia concertante with Sir Neville Marriner and the Academy

of St. Martin in the Fields topped the classical charts last year,

and he has been profiled by PBS and NPR and the Strad and

BBC Music magazines. This year he will release a solo debut

album on Cedille Records. A Teaching Assistant at Juilliard,

Matthew Lipman performs on a 1700 Goffriller viola on loan

through the RBP Foundation.

Considered among the top solo, chamber, and

orchestral musicians today, Anthony McGill is

now in his fourth season as Principal Clarinet of

the New York Philharmonic, having previously

been Principal Clarinet of the Metropolitan Opera

Orchestra and Associate Principal of the Cincinnati Symphony.

Performances as recitalist, chamber musician, and soloist with

orchestras throughout the United States, Europe, Asia, and

South Africa consistently receive rave reviews. As an educator,

McGill is on the faculties of the Juilliard School, the Curtis

Institute of Music, the Peabody Conservatory, Manhattan

School of Music, and the Bard College Conservatory. A native

of Chicago, Anthony McGill attended the Curtis Institute of

Music and is the recipient of an Avery Fisher Career Grant as

well as the first Sphinx Medal of Excellence.


Demarre McGill, Principal Flute of the Seattle Sym-

phony, is an internationally recognized recitalist and

chamber and orchestral musician. He has appeared

as soloist with the orchestras of Philadelphia, Pitts-

burgh, Dallas, and Baltimore and most recently

served as Acting Principal Flute of the Metropolitan Opera

Orchestra. Winner of an Avery Fisher Career Grant, McGill has

participated in chamber music festivals around the globe and,

along with clarinetist Anthony McGill and pianist Michael McHale,

founded the McGill/McHale Trio. A native of Chicago, Demarre

McGill received degrees from both the Curtis Institute of Music

and Juilliard and is Visiting Assistant Professor of Flute at the Uni-

versity of Cincinnati College-Conservatory of Music.

Stephanie McNab has been the Piccolo Chair of the

San Francisco Opera Orchestra since 2002. In addi-

tion, she frequently performs as a guest artist with

the San Francisco Symphony, San Francisco Ballet,

and the St. Louis Symphony. Former orchestral

appointments include the Buffalo Philharmonic, New Mexico

Symphony, and Long Beach (California) Symphony. McNab has

been a featured soloist with the Los Angeles Philharmonic, at the

Carmel Bach Festival, and in recital at Cal Tech’s Dabney Hall. A

native of Los Angeles, she studied under Sheridon Stokes at UCLA

and subsequently worked with Anne Zentner, Mark Sparks, and

Kazuo Tokito.

Recognized as a deeply expressive artist and

known for her musical career of broad versatility,

violinist Amy Schwartz Moretti is Director of the

McDuffie Center for Strings at Mercer University’s

Townsend School of Music and former Concert-

master of the Oregon Symphony and Florida Orchestra. She is a

member of the internationally acclaimed Ehnes String Quartet,

curates the Fabian Concert Series in Macon, Georgia, and main-

tains an active performing schedule of solo, chamber, and

concertmaster appearances. Through the generous efforts of

the Stradivari Society of Chicago, she plays the 1744 G. B. Gua-

dagnini violin. Born in Wisconsin and raised in North Carolina

and California, Moretti lives in Georgia with her husband and

two sons, enjoying all aspects of motherhood, especially Satur-

day soccer matches.

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 Phil-

harmonics; 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 (revised version of his 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 nomi-

nee, 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, he was honored with a Proclamation from the New

York City Council. He runs marathons for charity.

Selected as an Artist of the Year by the Seoul Arts

Center, Hyeyeon Park has been described as a pia-

nist “with power, precision, and tremendous glee”

(Gramophone). She is a prizewinner of numerous

international competitions, including Oberlin,

Ettlingen, Hugo Kauder, Maria Canals, Prix Amadèo, and Corpus

Christi, and her performances have been broadcast on KBS and

EBS television (Korea) and RAI3 (Italy), WQXR (New York), WFMT

(Chicago), WBJC (Baltimore), and WETA (Washington, D.C.) radio.

She is Artistic Director of Apex Concerts (Nevada) and a professor

of piano at the University of Nevada, Reno. Her first solo CD,

Klavier 1853, has been released on the Blue Griffin label.

Hyeyeon Park holds the Alan and Corinne Barkin Piano Chair for 2018.

Pianist Jon Kimura Parker recently appeared as

soloist with the orchestras of Chicago and Phila-

delphia and at Carnegie Hall and the Kennedy

Center. He is a founding member of the Montrose

Trio and founded Off the Score with legendary

Police drummer Stewart Copeland. Professor of piano at Rice

University, Artistic Advisor of the Orcas Island Chamber Music

Festival, and Artistic Director of the Honens International Piano

Competition, Jon Kimura Parker studied with Edward Parker,

Keiko Parker, Lee Kum-Sing, Marek Jablonski, and Adele Marcus.

He is an Officer of the Order of Canada.

Jon Kimura Parker holds the Kathleen G. Henschel Piano Chair in honor of Wu Han for 2018.

Principal Flutist of the Metropolitan Opera

Orchestra from 1977 until his retirement in 2008,

Michael Parloff is the founder and Artistic

Director of Parlance Chamber Concerts in Ridge-

wood, New Jersey. As a lecturer, conductor, and

teacher, he has appeared at major concert venues, festivals,

and conservatories in the United States and abroad, including

the Chamber Music Society of Lincoln Center, Music@Menlo,

the Juilliard School, Yale University, and Tanglewood. He is

also a frequent lecturer for the French cruise line Ponant.

Michael Parloff has been a faculty member at Manhattan

School of Music since 1985.

Opera News hails Lyubov Petrova as a “soprano of

ravishing, changeable beauty, blazing high notes,

and magnetic stage presence.” In the 2017–2018

season, she sings her first performances of Freia in

Das Rheingold with both the London Philharmonic

and the Odense Symphony Orchestra, in addition to returning to

the Metropolitan Opera for its productions of Le nozze di Figaro

and Così fan tutte. Petrova made her Metropolitan Opera debut

as Zerbinetta in Ariadne auf Naxos and has since returned for

numerous other roles. Last season, she sang her first perfor-

mances of Tatyana in Eugene Onegin with Florida Grand Opera,

Sophie in Der Rosenkavalier at the Bolshoi Theatre in Moscow,

and Sofya in Prokofiev’s Semyon Kotko with Vladimir Jurowski

conducting the Radio Filharmonisch Orkest at the

Concertgebouw.

Scott Pingel’s career has included serving as the

San Francisco Symphony’s Principal Bass for thir-

teen 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.

Festival Artist Biographies


First Prize winner of the 2008 Naumburg Interna-

tional Violoncello Competition, David Requiro

(pronounced re-KEER-oh) is recognized as one of

today’s finest cellists. Requiro has appeared as

soloist with the Tokyo Philharmonic, National

Symphony Orchestra, Seattle Symphony, and numerous orches-

tras across North America. He has performed with the Chamber

Music Society of Lincoln Center, Seattle Chamber Music Society,

and Jupiter Symphony Chamber Players and is a founding

member of the Baumer String Quartet. The Chamber Music

Society of Lincoln Center appointed him to its prestigious CMS

Two residency program beginning in 2018. David Requiro has

been Assistant Professor of Cello at the University of Colorado

Boulder since 2015.

David Requiro holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2018.

Known for his “delicious quality of tone,”

Kevin Rivard, Coprincipal Horn of the San Fran-

cisco Opera Orchestra and Principal Horn of the

San Francisco Ballet Orchestra, has performed

with Orpheus Chamber Orchestra, the Metropoli-

tan Opera Orchestra, the Philadelphia Orchestra, and the

Chamber Music Society of Lincoln Center, among others. His

awards include Grand Prize at the Concours International

d’Interprétation Musicale in Paris, the International Horn Com-

petition of America, and the Farkas Horn Competition. Kevin

Rivard has participated in the Sarasota Music Festival, the

Norfolk Chamber Music Festival, the Verbier Festival, and

the Santa Fe Opera.

Cellist Keith Robinson is a founding member of

the Miami String Quartet and has been active as a

chamber musician, recitalist, and soloist since his

graduation from the Curtis Institute of Music. His

most recent recording, released on Blue Griffin

Records with pianist Donna Lee, features Mendelssohn’s com-

plete works for cello and piano. As a member of the Miami

String Quartet, he has recorded for the BMG, CRI, Musical Heri-

tage Society, and Pyramid recording labels, was a member of

the Chamber Music Society of Lincoln Center’s CMS Two pro-

gram, 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.

Six-time Grammy Award-winning recording pro-

ducer Da-Hong Seetoo returns to Music@Menlo

for a sixteenth consecutive season to record the

festival concerts for release on the Music@Menlo

LIVE label. A Curtis Institute– and Juilliard School–

trained violinist, Seetoo has emerged as one of a handful of elite

audio engineers, using his own custom-designed microphones,

monitor speakers, and computer software. His recent clients

include the Borromeo, Escher, Emerson, Miró, and Tokyo String

Quartets; the Beaux Arts Trio; pianists Daniel Barenboim, Yefim

Bronfman, Derek Han, and Christopher O’Riley; violinist Gil 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 Philhar-

monic under Lorin Maazel; the ProMusica Chamber Orchestra

(Columbus, Ohio); the Royal Philharmonic Orchestra under Car-

los Miguel Prieto; the Singapore Symphony Orchestra; and

David Finckel and Wu Han for the ArtistLed label.

Winner of a 2009 Avery Fisher Career Grant, vio-

linist Arnaud Sussmann debuted 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, Chatta-

nooga Symphony, Minnesota Sinfonia, Jerusalem Symphony,

and Paris Chamber Orchestra. A dedicated chamber musician,

he has been affiliated with the Chamber Music Society of Lin-

coln Center since 2006 and regularly appears with it in New

York and on tour. Born in Strasbourg, France, and based now in

New York City, Arnaud Sussmann trained at the Conservatoire

de Paris and the Juilliard School with Boris Garlitsky and Itzhak

Perlman.

Stephen Taylor, one of the most sought-after

oboists in the country, holds the Mrs. John D.

Rockefeller III Solo Oboe Chair at the Chamber

Music Society of Lincoln Center. He is a soloist

with the New York Woodwind Quintet, Orchestra

of St. Luke’s, St. Luke’s Chamber Ensemble, the American Com-

posers Orchestra, the New England Bach Festival Orchestra, and

Speculum Musicae and is Coprincipal Oboist of Orpheus Cham-

ber Orchestra. His regular festival appearances include Spoleto,

Aldeburgh, Caramoor, Bravo! Vail Valley, Music from Angel Fire,

Norfolk, Santa Fe, Aspen, and Chamber Music Northwest.

Trained at the Juilliard School, Stephen Taylor is a member of its

faculty as well as those of the Yale School of Music and Manhat-

tan School of Music.

Swiss-born American pianist Gilles Vonsattel is

the recipient of an Avery Fisher Career Grant and

the Andrew Wolf Chamber Music Award and win-

ner of the Naumburg and Geneva competitions.

He has appeared with the Munich Philharmonic,

Orchestre Symphonique de Montréal, Boston Symphony, and

San Francisco Symphony and performed recitals and chamber

music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo!

Vail Valley, Chamber Music Northwest, La Roque d’Anthéron,

Music@Menlo, the Lucerne Festival, and Spoleto USA. As an

Artist of the Chamber Music Society of Lincoln Center, Gilles

Vonsattel regularly performs at Alice Tully Hall and on tour

throughout the United States and internationally.

In the 2017–2018 season, Australian-Chinese

tenor Kang Wang will sing Mitrane in Semiramide

at the Metropolitan Opera as well as cover Arturo

in Lucia di Lammermoor and the tenor solo in

Verdi’s Requiem, after a successful role and

house debut last season as Narraboth in Strauss’s Salome. He

will sing Rossini’s Stabat Mater with the London Philharmonic

and Mendelssohn’s Elijah with the San Antonio Symphony and

will present a solo recital at the National Conservatory of Mos-

cow. Upcoming engagements include Alfredo in La traviata for

his Welsh National Opera debut and Rodolfo in La bohème at

Austin Lyric Opera. He is a third-year member of the Linde-

mann Young Artist Development Program of the Metropolitan

Opera.

Violinist Wu Jie has garnered unprecedented

international success as both a chamber and solo

musician. She cofounded the Escher String

Quartet in 2005 and played with that ensemble

until 2012. From 2013 to 2016, Wu Jie taught

many violin and viola students in Manhattan School of Music’s

Precollege Division, and many of her students are now in pres-

tigious schools such as the Curtis Institute of Music, Yale, and

the Cleveland Institute of Music. Her main teachers include

Pinchas Zukerman, Patinka Kopec, Eleonora Turovsky, Lei Fang,

and Robert Mann. In 2012, Wu Jie married Escher String

Quartet violist Pierre Lapointe and they now have a lovely son

named Arthur.

Winner of the prestigious Yehudi Menuhin Interna-

tional Violin Competition, violinist Angelo Xiang Yu

has won the enthusiastic response of audiences

worldwide for his astonishing technique, exquisite

tone, and exceptional maturity. His recent and

upcoming engagements include concerto performances with

the Pittsburgh, Toronto, Vancouver, Colorado, North Carolina,

Alabama, Charlotte, and Houston symphonies and a tour with

the New Zealand Symphony throughout the country. He has

performed in world-renowned venues such as the Konzerthaus

Berlin, the Louvre Auditorium, Beijing’s National Centre for the

Performing Arts, Singapore’s Victoria Theatre and Concert Hall,

the Oslo Opera House, Auckland Town Hall, Jordan Hall, and

Boston Symphony Hall. Yu currently performs on a 1729 Stradi-

varius violin generously on loan from an anonymous donor.


Gifts to the Annual FundGifts to the Annual Fund support the critical daily operations of

the festival and Chamber Music Institute and are acknowledged

through membership benefits.

Sponsor a Student with a Gift to the Ann S. Bowers Young Artist FundPlay a critical role in the lives of these extraordinary young

musicians by enabling the life-changing experience of studying

at Music@Menlo’s Chamber Music Institute. Sponsors enjoy

the same benefits as contributors to the Annual Fund as well as

special opportunities to get to know their student. Please con-

tact us to learn how to become a Sponsor.

Planned Giving through the Isaac Stern CircleInclude Music@Menlo in your estate plans to leave a lasting leg-

acy of music. Please speak with us about your specific interests

and talk with your estate planning advisor to learn more.

Young Patrons SocietyPatrons under forty are invited to join the Young Patrons Society

in its inaugural year. Members enjoy complimentary Overture

Concert tickets and invitations to special receptions. Please visit

our website to learn more about the Young Patrons Society.

Gifts to the Music@Menlo FundThe Music@Menlo Fund, initially funded by the Tenth-Anniversary

Campaign, holds board-designated funds to support long-term

financial health and special projects. Please contact us to learn

more about making a special gift or pledge to the Fund.

VolunteerVolunteers provide critical support to the festival, including

ushering and hosting artists or seasonal staff members in their

homes.

Ways to GiveGifts of Cash: Gifts may be made at www.musicatmenlo.org or

by phone at 650-330-2030 or may be mailed to Music@Menlo

at 50 Valparaiso Avenue, Atherton, CA 94027.

Gifts of Securities: A gift of appreciated stock may offer

valuable tax benefits. Please contact your financial advisor for

more information.

Pledges: Gifts may be pledged and paid in increments

comfortable for you.

Employer Matching Gifts: Employer matching gifts are a great

way to double or triple your impact! Many companies match

gifts for retirees as well as current employees. Contact your

employer’s human resources department to find out more.

Music@Menlo is a program of Menlo School, a registered

501(c)3 educational institution.

For more information on supporting Music@Menlo, please

contact Lee Ramsey, Development Director, at 650-330-2133

or [email protected].

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


Music@Menlo MembershipBecome a Member by making a contribution to the Annual Fund

Your gift to Music@Menlo will:

• Subsidize each and every event produced during our summer

festival

• Underwrite free community programming, including:

– Prelude Performances

– Koret Young Performers Concerts

– Master classes

– Café Conversations

– Open coaching sessions

• Provide a world-class educational experience for forty young

and emerging artists in our Chamber Music Institute

• Fund year-round chamber music activities, including:

– Music@Menlo:Focus residency concerts

– Classroom and community outreach during our Winter

Residency program

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

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

Composers Circle ($1,000–$24,999)Enjoy special events with festival artists and the Artistic Direc-

tors, advance reservations for the Chamber Music Institute

performances, and VIP ticketing.

Patrons Circle ($25,000+)Members of the Patrons Circle play a vital role in the support of

Music@Menlo and are recognized through the Season Dedica-

tion, as well as intimate opportunities to engage with festival

artists and the annual Patrons Circle Season Announcement

event.

For a complete listing of donor levels and details of the benefits

included, please visit www.musicatmenlo.org/membership or

contact Lee Ramsey, Development Director, at 650-330-2133


Music@Menlo Travel September 16–25, 2018: London & ParisMusic@Menlo invites you to embark on a specially curated

musical journey. With festival artists, expert guides, and dis-

tinguished lecturers, Music@Menlo’s travel program offers our

patrons incomparable insider access to significant historical

and cultural landmarks and musical experiences like no other.

This fall, Music@Menlo will journey to two of the Creative

Capitals presented in the 2018 festival: London and Paris. With

Artistic Directors David Finckel and Wu Han and other festival

artists, we will explore the extraordinary musical and cultural

legacies of these two great cities.

If you are interested in learning more about Music@Menlo’s

travel program, please contact Lee Ramsey at 650-330-2133



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 HoursBefore July 9: Monday–Friday, 10:00 a.m.–4:00 p.m.

July 9–August 4: Daily, 9:00 a.m.–4:00 p.m.

Get the Best Seats!SupportMembers of the Bach Circle ($1,000) and above receive VIP

priority ticketing—VIP ticket orders are filled first, ensuring

ticket availability for the most popular concerts and securing

priority seats, based on giving level. Bach Members and above

also receive Advance Ticketing for one Prelude Performance or

Koret Young Performers Concert of their choice. Members of the Haydn Circle ($2,500) and above receive Premium Seating

reservations for the best seats in the hall. The number of Pre-

mium Seating reservations is dependent on giving level. Order

by April 2 for VIP priority ticketing .

SubscribeSummer Festival Subscribers receive Subscriber priority ticket-

ing with a purchase of four or more paid events. Subscriber

orders are filled immediately after VIP priority orders and before

single-ticket orders. Order by April 17 for Subscriber priority

ticketing.

Order EarlySingle-ticket orders are filled in the order they are received,

after the VIP and Subscriber priority ticketing windows have

closed. Order early to get the best seats and to get tickets to

concerts that sell out quickly!

2018 Summer Festival SubscriptionsBecome a Music@Menlo Summer Festival Subscriber and enjoy

exclusive benefits, personalized services, and special savings

throughout the entire festival. Subscriber benefits include the

following:

• Priority ticketing: Get your order filled before non-Subscribers

for improved seats and access to concerts that sell out quickly.

Order by April 17 for Subscriber priority ticketing.

• Special savings: Receive a 5 percent or a 10 percent discount

on your order and all additional ticket purchases throughout

the festival.

• Free ticket exchanges: Easily exchange your tickets for the

2018 summer festival free of charge.

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

ticket purchases.

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

ticket purchases.

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

ticket purchases.

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

• Receive the complete set of recordings of 2018 Music@Menlo

LIVE when it is released later in the year.

Subscriber FeesA $10-per-order handling fee applies to each original order.

Subscribers pay no handling fees on ticket exchanges

throughout the 2018 summer festival. Subsequent new ticket

purchases (not exchanges) will incur the standard $6-per-order

handling fee.

* Concert Programs, Carte Blanche Concerts, Encounters, and Overture Concerts

** All Concert Programs and Encounters

Reserving Your Summer Festival Tickets


More Ticketing InformationMembers of the Bach Circle and Above (contributors of $1,000 or more to the 2018 Annual Fund)

Your VIP priority ticket order (placed by April 2) will be filled

before all other ticket orders (priority based on giving level). For

your first summer festival ticket order, pay festival Subscriber or

non-Subscriber handling fees ($10 handling fee for subscrip-

tions or a $6 handling fee for single-ticket orders). Then, enjoy

waived handling fees for all additional ticket purchases or

exchanges throughout the 2018 summer festival.

Premium Seating and Advance TicketingPremium Seating allows Members of the Haydn Circle ($2,500)

and above to upgrade some of their tickets to include assigned

seating reflecting their preferences. Premium Seating can be

applied to any paid event and/or Prelude Performances and

Koret Young Performers Concerts. 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.

For more information about Advance Ticketing or Premium

Seating, please visit www.musicatmenlo.org/membership or

contact Lee Ramsey at [email protected] or 650-330-2133.

Seating PoliciesSeating is reserved for all paid ticketed events: Encounters,

Overtures, Concert Programs, and Carte Blanche Concerts.

Starting in 2018, seating will be reserved for Encounters. For

reserved-seating events, seats are assigned on a best-available

basis at the time the order is filled. Seating is by general admission

for all free events, including Prelude Performances, Koret Young

Performers Concerts, Café Conversations, and master classes.

Premium Seating is available for Haydn Circle ($2,500) and above

Members for Prelude Performances and Koret Young Performers

Concerts.

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. Proof of age may be required.

Single-Ticket Orders A $6 handling fee applies to any order of three or fewer

concerts or Encounters. A $3-per-ticket handling fee applies to

exchanges.

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.

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.

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 immediate exchange, or a tax-deductible dona-

tion. Ticket exchanges are subject to a $3-per-ticket fee, which

is waived for Summer Festival Subscribers and Members of

the Bach Circle ($1,000) and above. There is never a fee to

donate your ticket. Proof of the return must be provided. All

programs and artists are subject to change without notice.

Tickets cannot be exchanged, credited, or donated on the day

of the event. We cannot refund tickets, except in the case of a

canceled event.

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 or by calling the ticketing

line 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. Ticket reservations are general

admission.

AccessibilityAccessible seating is available at each venue and can be

ordered online, by phone, or by mail. If ordering online or by

mail, please indicate that accessible seating is required. For

questions about accessibility, please contact patron services.

Questions For questions about tickets or your order, please call patron

services at 650-331-0202, email [email protected], or

visit www.musicatmenlo.org.

Reserving Your Summer Festival Tickets


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 rehearsals and coachings,

while Martin Family Hall and Stent Family Hall’s Spieker Ballroom

provide intimate settings for music as well as for Café Conversa-

tions, master classes, and other Institute activities.

Menlo School’s commitment to learning and its welcoming

atmosphere and beautiful grounds make it the ideal envi-

ronment for audiences, Institute students, and the festival’s

artist-faculty to share ideas and realize Music@Menlo’s educa-

tional mission, which serves festival audiences, Menlo School

students, and the next generation of chamber musicians.

During the school year, Music@Menlo supports Menlo School’s

commitment to instilling creative-thinking skills in all of its

students. Music@Menlo’s annual Winter Residency brings clas-

sical music into the Menlo School classrooms with a series of

special performances, discussions, and classroom presenta-

tions 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 2018, Music@Menlo offers audiences the chance to hear

great chamber 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 listening experience in the intimate setting

for which chamber music was intended.

Martin Family Hall, Menlo School’s versatile 220-seat multi-

media facility, 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, acousti-

cally ideal for chamber 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 events at the Center for

Performing Arts at Menlo-Atherton, Stent Family Hall, and Martin

Family Hall is reserved. Seating 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 ven-

ues 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


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 Penin-

sula. 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 Shopping 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.

ST. BEDE’SEPISCOPALCHURCH

PHOTO CREDITS Music@Menlo photographs (pp. 2–3, 23–25, and 32–37): Carlin Ma. Travel programs (p. 33): iStock Photo. David Finckel and Wu Han (pp. 2 and 27): Lisa-Marie Mazzucco. Paul Huang (p. 20): Marco Borggreve. Wu Han (p. 20): Lisa-Marie Mazzucco. Calidore String Quartet (p. 20): Michael Hershkowitz. Dmitri Atapine and Hyeyeon Park (p. 21): Heather Woodson-Gammon. Paul Neubauer (p. 21): Tristan Cook. Michael Brown (p. 21): Jamie Beck. Arnaud Sussmann and Hyeyeon Park (p. 26): Carlin Ma. Hyeyeon Park (p. 26): courtesy of the University of Nevada, Reno. Jon Kimura Parker (p. 26): Tara McMullen. Cho-Liang Lin (p. 26): Sophie Zhai. Matthew Lipman (p. 26): Jiyang Chen. David Finckel (p. 26): Lisa-Marie Mazzucco. Arnaud Sussmann (pp. 26 and 31): Matt Dine. Pamela Frank (p. 26): Nicolas Lieber. Paul Neubauer (pp. 26 and 31): Tristan Cook. Gonzalo Fonseca (p. 27): Ovak Arslanian. Dmitri Atapine (p. 28): Do Hyung Kim. Efe Baltacigil (p. 28): Christian Steiner. Aaron Boyd (p. 28): Carlin Ma. Michael Brown (p. 28): Neda Navaee. Calidore String Quartet, Nicholas Canellakis (p. 28): Sophie Zhai. Ivan Chan (p. 28): Zheng Yang. Gloria Chien (p. 28): Lisa-Marie Mazzucco. Sara Couden (p. 28): Dario Acosta. Roberto Díaz (p. 28): Alisa Garin. Jose Franch-Ballester (p. 28): Ashleigh Taylor Photography. Ara Guzelimian (p. 29): Rosalie O’Connor. John R. Hale (p. 29): Joan Vandertoll. Bella Hristova (p. 29): Lisa-Marie Mazzucco. Paul Huang (p. 29): Marco Borggreve. Gilbert Kalish (p. 29): Anneliese Varaldieve. Alexi Kenney (p. 29): Yang Bao. Peter Kolkay (p. 29): Jim McGuire. Kristin Lee (p. 29): Sophie Zhai. Matthew Lipman (p. 29): Jiyang Chen. Anthony McGill (p. 29): David Finlayson. Demarre McGill (p. 30): Teresa Berg. Stephanie McNab (p. 30): Norbert Brein-Kozakewycz. Amy Schwartz Moretti (p. 30): Angela Morris. Paul Neubauer (p. 30): Tristan Cook. Richard O’Neill (p. 30): CREDIA. Hyeyeon Park (p. 30): D. H. Kim. Jon Kimura Parker (p. 30): Shayne Gray. Michael Parloff (p. 30): Elizabeth Veneskey. Lyubov Petrova (p. 30): Ronnie Nelson. Scott Pingel (p. 30): Matthew Washburn. David Requiro (p. 31): Brian Hatton. Kevin Rivard (p. 31): Chris Hardy. Keith Robinson (p. 31): Tara McMullen. Da-Hong Seetoo, Stephen Taylor (p. 31): Christian Steiner. Gilles Vonsattel (p. 31): Marco Borggreve. Wu Jie (p. 31): Tristan Cook. Angelo Xiang Yu (p. 31): Kate Lemmon.

Art direction and design: Nick Stone, www.nickstonedesign.com

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Nonprofit Org.

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Menlo Park, CA

Permit No. 149

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