music@menlo 2014 season brochure

The Twelfth Season: Around DvorákJuly 18–August 9, 2014

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Welcome to Music@Menlo

Dear Friends:

It is hardly an exaggeration to say that the music of Antonín Dvořák is loved everywhere by everyone.Audiences crave Dvořák’s beautiful melodies and heart-touching harmo-nies, and we revel in the opportunity he provides performers to express our passions unabashedly. We are therefore thrilled to announce our

twelfth festival season that examines the works of and around this Bohemian mastermind, in Music@Menlo’s signature thematic style.

During the festival’s three weeks, Dvořák will be surrounded by composers who were his neighbors, mentors, musical ancestors, and descendants. His immediately accessible language seamlessly connects the elite Western European cultures with the colorful, folk-inspired worlds to his East. For example, we’ll be hearing from Dvořák’s invaluable advisor and admirer Brahms, who was as interested in middle European music as Dvořák was in the great Viennese traditions. Smetana, the father of Czech classical music, will share our stage with Janáček, who so compellingly brought Dvořák’s unique language into modern times. And, we’ll venture all the way to America, where music profoundly benefitted from Dvořák’s presence and inspiration.

Please join our extraordinary selection of masterful performers and lecturers, a conglomerate of the world’s most gifted chamber music students, and Music@Menlo’s incomparable family of friends for an unforgettable Dvořák experience.

David Finckel and Wu HanArtistic DirectorsThe Martin Family Artistic Directorship

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ContentsWelcome

2 Welcome from the Artistic Directors

4 Festival Introduction

Concerts6 Concert Programs

14 Carte Blanche Concerts

19 Prelude Performances and

Koret Young Performers Concerts

22 2014–2015 Winter Series

36 Festival Calendar

Discovery and Engagement16 Michael Steinberg Encounter Series

18 Chamber Music Institute

19 Prelude Performances and

Koret Young Performers Concerts

20 Café Conversations and Master Classes

20 Chamber Music Institute Open House

20 Listening Room

21 AudioNotes

21 Music@Menlo LIVE

21 Music@Menlo Travel

21 Recording and Broadcasting

Artists5 2014 Artist Roster

24 Visual Artist

25 Performer Biographies

Ticket and Patron Information30 Join Music@Menlo

32 Reserving Your Summer Festival Tickets

32 Summer Festival Subscriber Information

34 The Festival Campus and Performance Venues

35 Map, Locations, and Parking

35 For Visitors to Our Area

36 Festival Calendar


As the Romantic era progressed into the modern age, Western music saw an unfolding dynamic between the Viennese Classical tradition and the passionate nationalist expressions of a generation of Central European composers.By the turn of the twentieth century, Vienna had secured ownership of the definitive musical tradition, catalyzed by an incredible lineage of composers from Haydn and Beethoven to Brahms and Schoenberg. At the same time, while still under the rule of the Austro-Hungarian Empire, composers of the Czech lands, Hungary, and Romania proudly asserted their native identities as only composers could—through music.

At the center of this dialectic was Antonín Dvořák, the self-described simple Czech musikant who nonetheless garnered the respect of the paragon of Viennese musical society, Johannes Brahms. Dvořák fluently integrated the dual traditions of Western Classicism and Central European folk music, and his influence and popularity would be felt as far as the United States. Music@Menlo’s 2014 season charts the

rich variety of Dvořák’s musical firmament. Over the course of eight colorful Concert Programs that revolve Around Dvořák, this festival season promises a thrilling journey to Vienna, Prague, and other fascinating musical destinations along the way.

Around Dvořák

ARTISTSPIANOGloria ChienArnaldo Cohen*Gilbert KalishAnne-Marie McDermottHyeyeon ParkJuho PohjonenDina Vainshtein* Gilles VonsattelWu Han


As the Romantic era progressed into the modern age, Western music saw an unfolding dynamic between the Viennese Classical tradition and the passionate nationalist expressions of a generation of Central European composers.

rich variety of Dvořák’s musical firmament. Over the course of eight colorful Concert Programs that revolve Around Dvořák, this festival season promises a thrilling journey to Vienna, Prague, and other fascinating musical destinations along the way.

Statue of Antonín Dvořák overlooking Prague Castle from the Rudolfinum.Photo credit: Richard John Seymour

DANISH STRING QUARTETFrederik Øland, violinRune Tonsgaard Sørensen, violinAsbjørn Nørgaard, violaFredrik Schøyen Sjölin, cello

ESCHER STRING QUARTETAdam Barnett-Hart, violinAaron Boyd, violin*Pierre Lapointe, violaDane Johansen, cello

ARTISTSPIANOGloria ChienArnaldo Cohen*Gilbert KalishAnne-Marie McDermottHyeyeon ParkJuho PohjonenDina Vainshtein* Gilles VonsattelWu Han

VIOLINBenjamin BeilmanSunmi ChangNicolas Dautricourt*Jorja FleezanisErin KeefeKristin LeeSean LeeYura LeeAlexander Sitkovetsky*Arnaud Sussmann

VIOLASunmi ChangYura LeePaul Neubauer

CELLODmitri AtapineDavid FinckelNarek Hakhnazaryan*Keith Robinson

BASSScott Pingel

WOODWINDSSooyun Kim, fluteAlexander Fiterstein, clarinet*Anthony McGill, clarinetStephen Taylor, oboePeter Kolkay, bassoon

BRASSKevin Rivard, horn

VOICERandall Scarlata, baritone

PERCUSSIONFlorian ConzettiChristopher FrohAyano KataokaIan Rosenbaum

ENCOUNTER LEADERSDavid Beveridge*Ara GuzelimianWilliam Lobkowicz*Michael Parloff

*Music@Menlo debut


Concert Program II

Viennese Roots

Artist unknown.Nelahozeves, Czechoslovakia. Engraving. Alfredo Dagli Orti/The Art Archive at Art Resource, NY

The 2014 season begins on a festive note, bookended by Mozart’s brilliant Serenata notturna and Bartók’s Divertimento for Strings—an equally jubilant work, but of a distinctly different time, place, and character. Indeed, the rich traditions represented by these two large-scale works—Viennese Classicism on the one hand and Eastern European nationalism on the other—come together in the work of Antonín Dvořák, whose Opus 51 Quartet contains the flowing lyri-cism, rhythmic flair, and singular accent that characterize the best of the Czech Romantic’s work. The influence of Dvořák’s legacy is audible in the Three Madrigals of his artistic heir Bohuslav Martinů.

Complementing the irresistible influence of his Czech musical heritage, Dvořák likewise aspired to write music of broader, more universal appeal. The foundation of Viennese Classicism that Dvořák drew upon, including the traditions of Haydn, Mozart, and Beethoven, is more deeply explored in this summer’s second Concert Program. “Viennese Roots” begins with music by the father of the Classical style, Joseph Haydn, whose contributions to the piano-trio literature elevated the genre from light salon music to chamber music of the highest sophistication. Franz Schubert inherited the tradition culti-vated by Haydn and ushered it into the Romantic generation of the nineteenth century. The tradition is further explored in Dvořák’s Bass Quintet, which realizes the potential of this new aesthetic.

The 2014 season begins on a festive note, as Mozart’s delightful Sere-nata notturna leads seamlessly to Dvořák’s pastoral Opus 51 Quartet. Dvořák’s powerful utilization of folk idioms is a tradition inherited by Martinů and Bartók, as evidenced by Martinů’s Three Madrigals and Bartók’s jubilant Divertimento for Strings. Indeed, the rich traditions represented by these works—Viennese Classicism on the one hand and Central European nationalism on the other—come together in the world of Antonín Dvořák, whose flowing lyricism, rhythmic flair, and singular accent characterize the best of the two worlds.

WOLFGANG AMADEUS MOZART (1756–1791)Serenade in D Major for String Orchestra, K. 239, Serenata

notturna (1776)

ANTONÍN DVOŘÁK (1841–1904)String Quartet no. 10 in E-flat Major, op. 51 (1878–1879)

BOHUSLAV MARTINŮ (1890–1959)Three Madrigals for Violin and Viola, H. 313 (1950)

BÉLA BARTÓK (1881–1945)Divertimento for String Orchestra, Sz. 113, BB 118 (1939)

ARTISTSSunmi Chang, Jorja Fleezanis, Erin Keefe, Kristin Lee, Sean Lee, violins; Paul Neubauer, viola; Scott Pingel, bass; Wu Han, timpani; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello; Escher String Quartet: Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Dane Johansen, cello

SATURDAY, JULY 196:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $68/$58 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. 18–19.

Fête the Festival8:30 p.m., following the concertJoin the Artistic Directors, festival musicians, and friends on July 19 to celebrate the season’s first concert at an outdoor catered dinner reception on the Menlo School campus. (Tickets: $65. Advance purchase required.)

Concert Program I

Dvořák in Context


Artist uknown.Mirror gallery, Schönbrunn Palace, Vienna, Austria, nineteenthth century. Watercolor. Gianni Dagli Orti/The Art Archive at Art Resource, NY

Concert Program II

Viennese Roots

Artist unknown.Nelahozeves, Czechoslovakia. Engraving. Alfredo Dagli Orti/The Art Archive at Art Resource, NY

Complementing the irresistible influence of his Czech musical heritage, Dvořák likewise aspired to write music of broader, more universal appeal. The foundation of Viennese Classicism that Dvořák drew upon, including the traditions of Haydn, Mozart, and Beethoven, is more deeply explored in this summer’s second Concert Program. “Viennese Roots” begins with music by the father of the Classical style, Joseph Haydn, whose contributions to the piano-trio literature elevated the genre from light salon music to chamber music of the highest sophistication. Franz Schubert inherited the tradition culti-vated by Haydn and ushered it into the Romantic generation of the nineteenth century. The tradition is further explored in Dvořák’s Bass Quintet, which realizes the potential of this new aesthetic.

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

FRANZ SCHUBERT (1797–1828)Impromptu in A-flat Major, D. 899, no. 4 (op. 90) (1827)Rondo brillant in b minor for Piano and Violin, D. 895 (1826)

ANTONÍN DVOŘÁK (1841–1904)String Quintet no. 2 in G Major, op. 77 (1875, rev. 1888)

ARTISTSGloria Chien, Gilbert Kalish, pianos; Erin Keefe, Kristin Lee, Sean Lee, violins; Paul Neubauer, viola; Dmitri Atapine, David Finckel, cellos; Scott Pingel, bass

SUNDAY, JULY 206:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $68/$58 full price; $30/$20 under age thirty

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

TUESDAY, JULY 228:00 p.m., Stent Family Hall, Menlo SchoolTickets: $78 full price; $35 under age thirty

Prelude Performance* 5:30 p.m., Martin Family Hall, Menlo School





Fête the Festival8:30 p.m., following the concertJoin the Artistic Directors, festival musicians, and friends on July 19 to celebrate the season’s first concert at an outdoor catered dinner reception on the Menlo School campus. (Tickets: $65. Advance purchase required.)


Concert Program IV

Beethoven’s FriendsConcert Program III

Lobkowicz Legacy

Střekov Castle, a historic monument owned by the Lobkowicz family.Photo credit: Marie Lasáková

In the orbit of such a universal genius as Ludwig van Beethoven existed numerous composers who captured the attention of Vienna. Anton Reicha, a Czech forebear to Antonín Dvořák and an intimate of Beethoven’s from their teenage years, achieved considerable renown in his lifetime as a composer, theorist, and pedagog; his extensive catalog of solo, chamber, and orchestral music reveals a composer of great originality in his own right. Reicha’s Clarinet Quintet, a rarely heard gem of the literature, demonstrates a win-ning Classical sensibility and a keen melodic imagination worthy of his most prominent contemporaries. The prodigiously gifted Johann Nepomuk Hummel was likewise regarded in his lifetime as one of Europe’s greatest composers and arguably its finest pianist. Though Beethoven’s emergence in Vienna eclipsed Hummel’s own ascent, the two would nevertheless maintain a close, if rivalrous, friendship. More importantly, not even Beethoven’s imposing shadow could blot out the brilliance of Hummel’s musical language, as encoun-tered in his colorful Septet for Winds, Strings, and Piano.

Members of the Lobkowicz family, one of the most prominent Bohe-mian lineages dating back to the fourteenth century, have ranked for generations among the Western world’s most significant arts patrons. The seventh Prince Lobkowicz, Joseph Franz Maximilian, was a benefactor to Haydn and Beethoven and was the dedicatee of Haydn’s Opus 77 string quartets, nicknamed the Lobkowicz Quartets. Beethoven, too, dedicated numerous works to the prince, including his Opuses 18 and 74 quartets, the song cycle An die ferne Geliebte, and his Third, Fifth, and Sixth Symphonies. Presented in conjunction with Encounter II (see p. 17), led by William Lobkowicz—Maximilian’s modern heir and trustee of the Lobkowicz family’s trove of musical manuscripts—Concert Program III celebrates the Lobkowicz family’s rich cultural legacy.

JOSEPH HAYDN (1732–1809)String Quartet in G Major, op. 77, no. 1, Hob. III: 81 (1799)

LUDWIG VAN BEETHOVEN (1770–1827)String Quartet no. 10 in E-flat Major, op. 74, Harp (1809)

LUDWIG VAN BEETHOVENAn die ferne Geliebte for Voice and Piano, op. 98 (1816)

LUDWIG VAN BEETHOVENString Quartet no. 1 in F Major, op. 18, no. 1 (1799)

ARTISTSRandall Scarlata, baritone; Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello

FRIDAY, JULY 258:00 p.m., Stent Family Hall, Menlo SchoolTickets: $78 full price; $35 under age thirty

Prelude Performance*5:30 p.m., Martin Family Hall, Menlo School




Concert Program IV

Beethoven’s Friends

Střekov Castle, a historic monument owned by the Lobkowicz family.Photo credit: Marie Lasáková

Ludwig van Beethoven playing the piano for friends.Albert Gräfle (1807–1889). Photogravure.Muller Collection/The New York Public Library for the Performing Arts

In the orbit of such a universal genius as Ludwig van Beethoven existed numerous composers who captured the attention of Vienna. Anton Reicha, a Czech forebear to Antonín Dvořák and an intimate of Beethoven’s from their teenage years, achieved considerable renown in his lifetime as a composer, theorist, and pedagog; his extensive catalog of solo, chamber, and orchestral music reveals a composer of great originality in his own right. Reicha’s Clarinet Quintet, a rarely heard gem of the literature, demonstrates a win-ning Classical sensibility and a keen melodic imagination worthy of his most prominent contemporaries. The prodigiously gifted Johann Nepomuk Hummel was likewise regarded in his lifetime as one of Europe’s greatest composers and arguably its finest pianist. Though Beethoven’s emergence in Vienna eclipsed Hummel’s own ascent, the two would nevertheless maintain a close, if rivalrous, friendship. More importantly, not even Beethoven’s imposing shadow could blot out the brilliance of Hummel’s musical language, as encoun-tered in his colorful Septet for Winds, Strings, and Piano.

ANTON REICHA (1770–1836)Quintet in B-flat Major for Clarinet and String Quartet, op. 89 (1820)

LUDWIG VAN BEETHOVEN (1770–1827)Quintet in E-flat Major for Piano and Winds, op. 16 (1796)

JOHANN NEPOMUK HUMMEL (1778–1837)Septet no. 1 for Flute, Oboe, Horn, Viola, Cello, Bass, and Piano,

op. 74 (1817)

ARTISTSGilbert Kalish, Juho Pohjonen, pianos; Sooyun Kim, flute; Anthony McGill, clarinet; Stephen Taylor, oboe; Peter Kolkay, bassoon; Kevin Rivard, horn; Nicolas Dautricourt, Arnaud Sussmann, violins; Sunmi Chang, Paul Neubauer, violas; Keith Robinson, cello; Scott Pingel, bass

SUNDAY, JULY 276:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $68/$58 full price; $30/$20 under age thirty

TUESDAY, JULY 298:00 p.m., Stent Family Hall, Menlo SchoolTickets: $78 full price; $35 under age thirty



FRIDAY, JULY 258:00 p.m., Stent Family Hall, Menlo SchoolTickets: $78 full price; $35 under age thirty





Concert Program VI

Transitions

Thomas Hart Benton (1889–1975).Threshing Wheat, 1938–1939. Lithograph.© VAGA, NY.Photo credit: Art Resource, NY

Concert Program V

American Visions

Concert Program VI presents the parallel unfolding of Viennese and Bohemian traditions at the turn of the nineteenth century. Although some chided Brahms in his final years as old-fashioned, works like his Six Intermezzi would be vindicated by such Viennese avant-garde voices as Arnold Schoenberg and Anton Webern, who credited Brahms’s late music as predictive of their own. Indeed, Webern’s early and late miniatures on this program weave a majes-tic connection between Romantic and modern aesthetics. Dvořák’s Opus 48 String Sextet demonstrates the fully developed voice of the Bohemian master, likewise reimagined in unprecedented ways by his contemporary Leoš Janáček.

Having achieved great renown for cultivating a distinctly Czech musi-cal idiom, Antonín Dvořák accepted an invitation in 1891 to lead the National Conservatory in New York and guide a rising generation of American composers. Upon arrival, he experienced the overt musical patriotism of such composers as Sousa and Gottschalk and eventually found exciting potential for a truly American voice through Native and African American melodies, rhythms, and harmonies. Leading by example, Dvořák composed his famous symphony From the New World and American-inspired chamber music including this program’s Sonatina for Violin and Piano. The jovial spirit of Dvořák was echoed by American revolutionary Charles Ives, whose songs lifted this unfolding folk idiom to new heights. Continuing to mine America’s folk music in the Dvořák tradition, modern innovator George Crumb turned his kaleidoscopic ear to the American songbook, reimagining such tunes as “Swing Low, Sweet Chariot” into ethereal soundscapes.

LOUIS MOREAU GOTTSCHALK (1829–1869)The Union for Solo Piano, op. 48 (1862)

ANTONÍN DVOŘÁK (1841–1904)Sonatina in G Major for Violin and Piano, op. 100 (1893)

CHARLES IVES (1874–1954)Selected Songs for Baritone and Piano

GEORGE CRUMB (b. 1929)American Songbook II: A Journey beyond Time (2003)

ARTISTS Randall Scarlata, baritone; Gilbert Kalish, Gilles Vonsattel, Wu Han, pianos; Arnaud Sussmann, violin; Florian Conzetti, Christopher Froh, Ayano Kataoka, Ian Rosenbaum, percussion

THURSDAY, JULY 318:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $68/$58 full price; $30/$20 under age thirty


Concert Program VI

Transitions

Thomas Hart Benton (1889–1975).Threshing Wheat, 1938–1939. Lithograph.© VAGA, NY.Photo credit: Art Resource, NY

Josef Albers (1888–1976).Bowers, ca. 1929. Glass. © ARS, NY. Photo credit: Albers Foundation/Art Resource, NY

Concert Program VI presents the parallel unfolding of Viennese and Bohemian traditions at the turn of the nineteenth century. Although some chided Brahms in his final years as old-fashioned, works like his Six Intermezzi would be vindicated by such Viennese avant-garde voices as Arnold Schoenberg and Anton Webern, who credited Brahms’s late music as predictive of their own. Indeed, Webern’s early and late miniatures on this program weave a majes-tic connection between Romantic and modern aesthetics. Dvořák’s Opus 48 String Sextet demonstrates the fully developed voice of the Bohemian master, likewise reimagined in unprecedented ways by his contemporary Leoš Janáček.

JOHANNES BRAHMS (1833–1897)Six Intermezzi, op. 118 (1893)

ANTON WEBERN (1883–1945)Two Early Pieces (1899); Three Little Pieces (1914)

LEOŠ JANÁČEK (1854–1928)Concertino (1925)

ANTONÍN DVOŘÁK (1841–1904)String Sextet in A Major, op. 48 (1878)

ARTISTSHyeyeon Park, Juho Pohjonen, Wu Han, pianos; Alexander Fiterstein, clarinet; Peter Kolkay, bassoon; Kevin Rivard, horn; Sunmi Chang, Nicolas Dautricourt, Arnaud Sussmann, violins; Yura Lee, violin/viola; Paul Neubauer, viola; Dmitri Atapine, David Finckel, Narek Hakhnazaryan, cellos

FRIDAY, AUGUST 18:00 p.m., Stent Family Hall, Menlo SchoolTickets: $78 full price; $35 under age thirty


SATURDAY, AUGUST 28:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $68/$58 full price; $30/$20 under age thirty



THURSDAY, JULY 318:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $68/$58 full price; $30/$20 under age thirty


Concert Program VIII

Bridging Dvořák

The 2014 season concludes with a linear perspective on Dvořák’s art, from the work of Bohemia’s musical patriarch, Smetana, to the voices of modern Hungarian and Czech composers. Follow-ing Smetana’s evocative Bohemian fantasie, the program offers Dohnányi’s dynamic Serenade for String Trio. Encouraged by none other than Dvořák as a child, Erwin Schulhoff would emerge as one of the most original voices of his generation, only to fall victim to the Nazi regime during the Second World War. The resolute strains of his haunting and visceral String Sextet are answered by Dvořák’s transcendent Piano Quintet, one of the most beloved works of the literature.

Concert Program VII

Hungarica

Alongside Dvořák and his countrymen, who were fueled by their interest in Czech folk traditions, the composers of nearby Hungary likewise mined the richness of their own musical heritage. Most famously, Béla Bartók—regarded today as history’s first ethnomusi-cologist—and his colleague Zoltán Kodály researched and recorded peasant music with the aim of developing a distinctively Hungarian musical identity. Continuing Bartók and Kodály’s development of Hungarian music, Liszt and Dohnányi wedded the late Romantic tradition with their own singular voices. György Ligeti, one of the twentieth century’s most inventive enfants terribles, extended the legacy of Hungarian music with a daringly modern flair.

FRANZ LISZT (1811–1886)Grand duo concertant sur la romance de “Le marin” for Violin and

Piano, S. 128 (1849)

BÉLA BARTÓK (1881–1945)Selected Duos for Two Violins, Sz. 98 (1931)

ZOLTÁN KODÁLY (1882–1967)Serenade for Two Violins and Viola (1920)

GYÖRGY LIGETI (1923–2006)Sonata for Solo Cello (1953)

ERNÖ DOHNÁNYI (1877–1960)Piano Quintet no. 1 in c minor, op. 1 (1895)

ARTISTSGloria Chien, Wu Han, pianos; Benjamin Beilman, Nicolas Dautricourt, Jorja Fleezanis, Alexander Sitkovetsky, violins; Paul Neubauer, viola; Narek Hakhnazaryan, David Finckel, cellos

TUESDAY, AUGUST 58:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $68/$58 full price; $30/$20 under age thirty

Dance of the Gypsies in Granada, Spain. Four women dance to guitar.© Bettmann/Corbis


Concert Program VIII

Bridging Dvořák

The 2014 season concludes with a linear perspective on Dvořák’s art, from the work of Bohemia’s musical patriarch, Smetana, to the voices of modern Hungarian and Czech composers. Follow-ing Smetana’s evocative Bohemian fantasie, the program offers Dohnányi’s dynamic Serenade for String Trio. Encouraged by none other than Dvořák as a child, Erwin Schulhoff would emerge as one of the most original voices of his generation, only to fall victim to the Nazi regime during the Second World War. The resolute strains of his haunting and visceral String Sextet are answered by Dvořák’s transcendent Piano Quintet, one of the most beloved works of the literature.

BEDŘICH SMETANA (1824–1884)Andantino (Bohemian fantasie) from Z domoviny (From the

Homeland), JB 1: 118 (1880)

ERNÖ DOHNÁNYI (1877–1960)Serenade for String Trio, op. 10 (1902)

ERWIN SCHULHOFF (1894–1942)String Sextet (1920–1924)

ANTONÍN DVOŘÁK (1841–1904)Piano Quintet no. 2 in A Major, op. 81, B. 155 (1887)

ARTISTSAnne-Marie McDermott, piano; Benjamin Beilman, Nicolas Dautricourt, Alexander Sitkovetsky, violins; Yura Lee, Paul Neubauer, violas; Dmitri Atapine, Narek Hakhnazaryan, cellos

FRIDAY, AUGUST 88:00 p.m., Stent Family Hall, Menlo SchoolTickets: $78 full price; $35 under age thirty


SATURDAY, AUGUST 98:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $68/$58 full price; $30/$20 under age thirty



TUESDAY, AUGUST 58:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $68/$58 full price; $30/$20 under age thirty

Dance of the Gypsies in Granada, Spain. Four women dance to guitar.© Bettmann/Corbis

Edgar K. Frank.Pedestrians walk on the fourteenth-century bridge to and from the city. Charles Bridge, Prague, Bohemia, February 2, 1917. NGS Image Collection/ The Art Archive at Art Resource, NY


CARTE BLANCHE CONCERT I:

Escher String QuartetWednesday, July 23, 8:00 p.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty

The four string quartets of Alexander von Zemlinsky represent one of the most powerful cycles of the modern quartet literature. Com-posed over a period spanning four decades, the cycle chronicles critical points of the composer’s life and career. Following the Romantically Brahmsian First Quartet, the Second, written in response to a spurned marriage proposal, turns turbulent. In his Third Quartet, Zemlinsky departs from his earlier tonal language towards an Expressionist idiom influenced by his famous brother-in-law, Arnold Schoenberg. The final quartet is written as an homage to Zemlinsky’s pupil and dear friend, Alban Berg.

ALEXANDER VON ZEMLINSKY (1871–1942)String Quartet no. 1, op. 4 (1896)String Quartet no. 2, op. 15 (1913–1915)String Quartet no. 3, op. 19 (1924)String Quartet no. 4, op. 25 (1936)

ARTISTSEscher String Quartet: Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Dane Johansen, cello



CARTE BLANCHE CONCERT II:

Arnaldo Cohen, pianoSunday, July 27, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty

Celebrated pianist Arnaldo Cohen makes his Music@Menlo debut with a tour de force of impassioned Romantic expression. The first half of the program is given over to the music of two Baroque masters, reimagined by their nineteenth-century heirs: Bach’s spellbinding d minor Chaconne transcribed by Italian composer and piano virtuoso Ferruccio Busoni and Brahms’s majestic Variations and Fugue on a Theme by Handel. Four scherzi by Fryderyk Chopin conclude the program. A far cry from the short, spirited bagatelles typically classified as scherzi, they are as devilish for the fingers as they are riveting to the ear.

JOHANN SEBASTIAN BACH (1685–1750)Chaconne in d minor, BWV 1004 (arr. Ferruccio Busoni, ca. 1895)

JOHANNES BRAHMS (1833–1897)Variations and Fugue on a Theme by Handel, op. 24 (1861)

FRYDERYK CHOPIN (1810–1849)Scherzo no. 1 in b minor, op. 20 (ca. 1835)Scherzo no. 2 in b-flat minor, op. 31 (1837)Scherzo no. 3 in c-sharp minor, op. 39 (1839)Scherzo no. 4 in E Major, op. 54 (1842–1843)

Carte Blanche Concerts

Music@Menlo’s series of four artist-curated recitals showcases solo and collaborative performances designed by our festival artists.


CARTE BLANCHE CONCERT I:

Escher String QuartetWednesday, July 23, 8:00 p.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty

The four string quartets of Alexander von Zemlinsky represent one of the most powerful cycles of the modern quartet literature. Com-posed over a period spanning four decades, the cycle chronicles critical points of the composer’s life and career. Following the Romantically Brahmsian First Quartet, the Second, written in response to a spurned marriage proposal, turns turbulent. In his Third Quartet, Zemlinsky departs from his earlier tonal language towards an Expressionist idiom influenced by his famous brother-in-law, Arnold Schoenberg. The final quartet is written as an homage to Zemlinsky’s pupil and dear friend, Alban Berg.

ALEXANDER VON ZEMLINSKY (1871–1942)String Quartet no. 1, op. 4 (1896)String Quartet no. 2, op. 15 (1913–1915)String Quartet no. 3, op. 19 (1924)String Quartet no. 4, op. 25 (1936)

ARTISTSEscher String Quartet: Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Dane Johansen, cello



CARTE BLANCHE CONCERT II:

Arnaldo Cohen, pianoSunday, July 27, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty

Celebrated pianist Arnaldo Cohen makes his Music@Menlo debut with a tour de force of impassioned Romantic expression. The first half of the program is given over to the music of two Baroque masters, reimagined by their nineteenth-century heirs: Bach’s spellbinding d minor Chaconne transcribed by Italian composer and piano virtuoso Ferruccio Busoni and Brahms’s majestic Variations and Fugue on a Theme by Handel. Four scherzi by Fryderyk Chopin conclude the program. A far cry from the short, spirited bagatelles typically classified as scherzi, they are as devilish for the fingers as they are riveting to the ear.

JOHANN SEBASTIAN BACH (1685–1750)Chaconne in d minor, BWV 1004 (arr. Ferruccio Busoni, ca. 1895)

JOHANNES BRAHMS (1833–1897)Variations and Fugue on a Theme by Handel, op. 24 (1861)

FRYDERYK CHOPIN (1810–1849)Scherzo no. 1 in b minor, op. 20 (ca. 1835)Scherzo no. 2 in b-flat minor, op. 31 (1837)Scherzo no. 3 in c-sharp minor, op. 39 (1839)Scherzo no. 4 in E Major, op. 54 (1842–1843)

CARTE BLANCHE CONCERT III:

Yura Lee, violin, and Dina Vainshtein, pianoWednesday, July 30, 8:00 p.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty

Violinist Yura Lee returns to Music@Menlo, joined by pianist Dina Vainshtein in her festival debut, for a colorful program juxtaposing Czech and Hungarian folk-inflected works for violin and piano. The rich textures of George Enescu’s Impressions d’enfance exquisitely preface Dvořák’s beguiling Opus 75 Romantic Pieces. The music of the Hungarian Jenő Hubay and the Czech Josef Suk, each among the leading composer-virtuosos of their generation, demands complete mastery of the instrument, giving voice to folk-like melodies with lyri-cism and dazzling virtuosity in equal parts. The program concludes with Bartók’s riveting First Violin Sonata, one of the most hallowed works of the modern violin repertoire.

GEORGE ENESCU (1881–1955)Impressions d’enfance for Violin and Piano, op. 28 (1940)

ANTONÍN DVOŘÁK (1841–1904)Romantic Pieces for Violin and Piano, op. 75 (1887)

JENŐ HUBAY (1858–1937)Scènes de la Csárda no. 3, op. 18 (1885)

JOSEF SUK (1874–1935)Four Pieces for Violin and Piano, op. 17 (1900)

BÉLA BARTÓK (1881–1945)Sonata no. 1 for Violin and Piano, Sz. 75, op. 84 (1921)



CARTE BLANCHE CONCERT IV:

Gilles Vonsattel, pianoSunday, August 3, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $70 full price; $30 under age thirty

Praised by the New York Times as “a pianist well worth watching,” Gilles Vonsattel follows his 2013 festival debut with a recital program centered on themes of nationalism and revolution. The program begins with two groundbreaking works by Beethoven: Six Bagatelles and the Moonlight Sonata. Liszt’s Funérailles, written in memory of the crushing of the Hungarian Revolution of 1848, signals the awaken-ing of a new national voice. Janáček’s Sonata 1.X.1905 is of a similar elegiac nature, mourning the death of a slain Czech protester. The program concludes with Saint-Saëns’s exotic Africa fantasy and Fred-eric Rzewski’s Winnsboro Cotton Mill Blues, based on a workers’ song

from the Industrial Revolution.

LUDWIG VAN BEETHOVEN (1770–1827) Six Bagatelles, op. 126 (1824)Piano Sonata no. 14 in c-sharp minor, op. 27, no. 2, Moonlight (1801)

FRANZ LISZT (1811–1886)Funérailles from Harmonies poétiques et religieuses (1849)

LEOŠ JANÁČEK (1854–1928)Sonata 1.X.1905 (1905–1906)

CAMILLE SAINT-SAËNS (1835–1921)Africa in g minor for Solo Piano (1891)

FREDERIC RZEWSKI (b. 1938) Winnsboro Cotton Mill Blues (1980)

Join Gilles Vonsattel for a picnic lunch. A gourmet boxed lunch may be reserved with your ticket order for $18.


ENCOUNTER I:

Dvořák at the Crossroads of the Nations led by David BeveridgeFriday, July 18, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty

Despite his humble self-identification as “a simple Bohemian musikant,” Antonín Dvořák in fact pos-sessed a richly complex musical identity, nurtured by the multinational and multiethnic environment of the Austro-Hungarian Empire, where he grew up. With a craftsmanship rooted in the Viennese Clas-sical tradition of Mozart, Beethoven, and Schubert, Dvořák further developed his musical style in some of his mature works under the mentorship of Brahms. He likewise turned an eager ear to inspirations from diverse cultures ranging from Russia through his native Czech lands and the British Isles all the way to African American spirituals of the United States. At this season’s opening Encounter, leading Dvořák scholar David Beveridge probes the emergence of this quintessential Romantic voice, whose universal appeal has continued to enchant listeners for more than a century.

Michael Steinberg Encounter SeriesThe Encounter series, Music@Menlo’s signature multimedia symposia led by classical music’s most renowned authorities, embodies the fes-tival’s context-rich approach to musical discovery and adds an integral dimension to the Music@Menlo experience. The 2014 festival season’s four Encounters explore the multifaceted world of Antonín Dvořák, providing audiences context for the season’s eight Concert Programs. Using musical examples and drawing upon other art forms and cul-tural phenomena, this summer’s Encounter Leaders explore musical traditions of Eastern and Western Europe, providing an essential com-ponent of the festival experience for longtime music lovers and new listeners alike. The Encounter series is named in memory of Michael Steinberg, the eminent musicologist and Music@Menlo guiding light.

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Antonín Dvořák (1841–1904). Bronze sculpture.Prague. Courtesy of Angela Gavagai

Discovery and Engagement

Encounters

Chamber Music Institute

Prelude Performances and Koret Young Performers Concerts

Master Classes

Café Conversations

Chamber Music Institute Open House

Listening Room

AudioNotes

Music@Menlo LIVE

Music@Menlo Travel

Recording and Broadcasting

2014–2015 Winter Series

Visual Artist


ENCOUNTER I:

Dvořák at the Crossroads of the Nations led by David BeveridgeFriday, July 18, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty

Despite his humble self-identification as “a simple Bohemian musikant,” Antonín Dvořák in fact pos-sessed a richly complex musical identity, nurtured by the multinational and multiethnic environment of the Austro-Hungarian Empire, where he grew up. With a craftsmanship rooted in the Viennese Clas-sical tradition of Mozart, Beethoven, and Schubert, Dvořák further developed his musical style in some of his mature works under the mentorship of Brahms. He likewise turned an eager ear to inspirations from diverse cultures ranging from Russia through his native Czech lands and the British Isles all the way to African American spirituals of the United States. At this season’s opening Encounter, leading Dvořák scholar David Beveridge probes the emergence of this quintessential Romantic voice, whose universal appeal has continued to enchant listeners for more than a century.

ENCOUNTER II:

A Royal Tradition led by William LobkowiczThursday, July 24, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty

The Lobkowicz family, one of the oldest noble lineages of the Kingdom of Bohemia, dating from the fourteenth century, has been renowned for generations as great advocates of the arts and culture. Its musical patronage extended to such composers as Gluck, Haydn, and Beethoven, who dedicated his Opus 18 string quartets and Eroica, Fifth, and Pastoral Symphonies, among other works, to the seventh Prince Lobkowicz. The fam-ily’s current heir, William Lobkowicz, leads this summer’s second Encounter, discussing the history of his family’s seat and its magnificently extensive collection, including priceless manuscripts, musical instruments, and historic archives. The evening promises an incomparable opportunity to explore Western music history from a wholly unique perspective. Lobkowicz will reveal the dramatic story of his family’s collection, its robbery, and its eventual return.

Prelude Performance* 5:30 p.m., Stent Family Hall, Menlo School

ENCOUNTER III:

From Exoticism to Folklorism: The Quest for Musical Authenticity led by Michael ParloffSunday, August 3, 6:00 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty

For eighteenth- and nineteenth-century compos-ers from Haydn to Liszt, Hungarian Gypsy music represented the exotic, as well as freedom from constricting Western mores. Over time, though, the genre veered toward more caricatured, com-mercialized forms of musical expression. During the early twentieth century, composer-ethnomusicologists such as Béla Bartók, Zoltán Kodály, and Leoš Janáček rejected the popularized style hongrois. Armed with Edison phonographs and wax cylinders, they visited the villages of “greater Hungary” in search of a more undiluted style of music making. From this rich soil of indigenous Eastern European peasant music, they developed a synthesis of pure “East-ern” folk idioms and traditional Western musical forms. In the season’s third Encounter, Michael Parloff will explore the progression from the exoticism of the style hongrois to the authenticity of folk-based, modernist musical languages.

ENCOUNTER IV:

Forbidden Music led by Ara GuzelimianThursday, August 7, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty

The global rupture of World War II had as profound an impact on musical life as it did on other facets of society. At Theresienstadt, a Nazi concentration camp propagandized as a thriving cultural enclave, the composers Viktor Ullmann, Hans Krása, and Gideon Klein were among those Jewish artists whose work was used to conceal the atrocities suffered throughout the prison. The Czech composer Erwin Schulhoff was likewise silenced by the war, dying in a concentration camp in Bavaria. The lives of those who survived tell a story, also. Schoenberg, Bartók, Korngold, Hindemith, and others fled war-ravaged Europe for America; their displacement indelibly altered the course of music history. At this season’s final Encounter, Ara Guzelimian probes this inescap-able aspect of the arc of Central European music, exploring the traumatic ripple effect that would be felt across the Western world, from Berlin, Prague, and Vienna to Hollywood and New York.

Prelude Performance* 5:30 p.m., Stent Family Hall, Menlo School

Michael Steinberg Encounter SeriesThe Encounter series, Music@Menlo’s signature multimedia symposia led by classical music’s most renowned authorities, embodies the fes-tival’s context-rich approach to musical discovery and adds an integral dimension to the Music@Menlo experience. The 2014 festival season’s four Encounters explore the multifaceted world of Antonín Dvořák, providing audiences context for the season’s eight Concert Programs. Using musical examples and drawing upon other art forms and cul-tural phenomena, this summer’s Encounter Leaders explore musical traditions of Eastern and Western Europe, providing an essential com-ponent of the festival experience for longtime music lovers and new listeners alike. The Encounter series is named in memory of Michael Steinberg, the eminent musicologist and Music@Menlo guiding light.

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Antonín Dvořák (1841–1904). Bronze sculpture.Prague. Courtesy of Angela Gavagai

Nelahozeves Castle, Czech Republic. Image of a historic monument owned by the Roudnice branch of the Lobkowicz family

Musicologist John A. Lomax (left) and Uncle Rich Brown at the home of Mrs. Julia Killingsworth near Sumterville, Alabama. Photo by Ruby Terrill Lomax, October 1940. Prints and Photographs Division, Library of Congress

A concert in the “community house” at Terezin (Theresienstadt) concentration camp, August 1944. Still from propaganda film The Fuhrer Gives a City to the Jews (Der Führer schenkt den Juden eine Stadt). bpk, Berlin/Art Resource, NY


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 per-forming great music from the chamber music repertoire.

Prelude Performances feature the Institute’s International Program art-ists; Koret Young Performers Concerts feature the students of the Young Performers Program. Both series are free and open to the public.

Prelude Performances ScheduleFeaturing the Institute’s International Program artists.

Saturday, July 19, 3:30 p.m., The Center for Performing Arts at Menlo-Atherton

Sunday, July 20, 3:30 p.m., The Center for Performing Arts at Menlo-Atherton

Tuesday, July 22, 5:30 p.m., Martin Family Hall, Menlo School

Wednesday, July 23, 5:30 p.m., Martin Family Hall, Menlo School

Thursday, July 24, 5:30 p.m., Stent Family Hall, Menlo School

Friday, July 25, 5:30 p.m., Martin Family Hall, Menlo School

Monday, July 28, 5:30 p.m., Stent Family Hall, Menlo School



Friday, August 1, 5:30 p.m., Martin Family Hall, Menlo School

Saturday, August 2, 5:30 p.m., The Center for Performing Arts at Menlo-Atherton

Monday, August 4, 5:30 p.m., Stent Family Hall, Menlo School

Thursday, August 7, 5:30 p.m., Stent Family Hall, Menlo School



Prelude Performances are generously supported by Chandler B. and Oliver A. Evans.

Koret Young Performers Concerts ScheduleFeaturing the students of the Young Performers Program.





Music@Menlo’s Chamber Music Institute has become one of the top-tier summer programs in the United States for string players and pianists. The Institute brings together talented young musicians and a world-class roster of performing artists for an intensive three-week training program, consisting of the International Program for preprofessional artists (ages eighteen to twenty-nine) and the Young Performers Program for pre- and early-conservatory-level students (ages nine to eighteen). These exceptional young artists are culled 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. Institute 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 and performances—always free and open to the public—offers listeners an opportunity to witness the fostering of great traditions and the exchange of new 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 contribu-tions to the Ann S. Bowers Young Artist Fund. The coaching faculty is generously supported by Paul and Marcia Ginsburg.

2014 Young Performers Program Faculty

Dmitri Atapine Nicolas DautricourtSunmi Chang Sean LeeGloria Chien Hyeyeon Park

Chamber Music Institute

David Finckel and Wu Han, Artistic DirectorsGloria Chien, Institute DirectorGilbert Kalish, International Program Director


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 per-forming great music from the chamber music repertoire.

Prelude Performances feature the Institute’s International Program art-ists; Koret Young Performers Concerts feature the students of the Young Performers Program. Both series are free and open to the public.

Prelude Performances ScheduleFeaturing the Institute’s International Program artists.


Sunday, July 20, 3:30 p.m., The Center for Performing Arts at Menlo-Atherton



Thursday, July 24, 5:30 p.m., Stent Family Hall, Menlo School

Friday, July 25, 5:30 p.m., Martin Family Hall, Menlo School

Monday, July 28, 5:30 p.m., Stent Family Hall, Menlo School





Monday, August 4, 5:30 p.m., Stent Family Hall, Menlo School

Thursday, August 7, 5:30 p.m., Stent Family Hall, Menlo School



Prelude Performances are generously supported by Chandler B. and Oliver A. Evans.

Koret Young Performers Concerts ScheduleFeaturing the students of the Young Performers Program.




In response to the popularity of these events, a ticket is required for all Prelude Performances and Koret Young Performers Concerts. Free tickets can be requested at will call beginning one hour prior to the start of each concert or reserved in advance online at www.musicatmenlo.org starting at 9:00 a.m. on the day of the event. Seating is by general admission. Members of the Bach Circle ($1,000) and above enjoy advance ticket reservations for one free concert of their choice. Members of the Beethoven Circle ($10,000) and above enjoy advance ticket reservations for all free concerts. For reserved seating opportunities, please see Premium Seating on p. 30.



AudioNotes AudioNotes are Music@Menlo’s innovative series of preconcert listener guides intended to provide greater insight into the music as well as the performers’ perspectives prior to the concert experience. AudioNotes—provided free of charge with each advance ticket order—offer cultural and historical context highlighted by musical examples and interviews with festival artists. Each AudioNotes disc enhances the concert experience by giving listeners an informed perspective in advance of the performance and provides the foun-dation for a rich and rewarding musical journey.

AudioNotes are available in CD or downloadable-MP3 format. See order form for details.

Chamber Music Institute Open House Day On Thursday, July 24, Music@Menlo welcomes the entire com-munity of patrons, music educators, and prospective students and their parents to a free behind-the-scenes peek at what goes on during an average day in the Chamber Music Institute. Experience Music@Menlo from the standpoint of the many young musicians participating in the program. Start your day with a Q & A session with Institute faculty members and the festival Artistic Directors at 9:30 a.m., after which you can observe coachings, take part in a master class with violinist Arnaud Sussmann at 11:45 a.m., and meet the entire Institute faculty. Finish your day by enjoying a Prelude Performance at 5:30 p.m.

Listening Room Music@Menlo’s popular Listening Room series will return for a fifth season, hosted by Patrick Castillo, Audience Engagement Director. On select afternoons throughout the festival, Castillo will be the guide through an exploration of audio and video recordings of a variety of repertoire—ranging from symphonic works and operas to recently composed music. Each Listening Room event is designed to complement the season’s concert offerings and contribute to Music@Menlo’s context-rich brand of musical exploration.

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 vari-ety of topics related to music and the arts. These forums showcase the wide-ranging expertise, generosity, and imagination of our artists and provide further insight into their remarkable careers and musical experiences.

Master classes offer an opportunity to witness the artist-faculty members imparting their knowledge, art, and expertise to the next generation of performers. In master classes, Chamber Music Institute participants are coached in preparation for their Prelude

Performances and Koret Young Performers Concerts. The insight gained from observing the nuanced process of preparing a piece of music for performance deepens audiences’ appreciation of the concert experience.

Café Conversations and master classes are free and open to the public, taking place each weekday of the festival season at 11:45 a.m. at Menlo School. 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.

Café Conversations and Master Classes

Music@Menlo Travel Music@Menlo Artistic Directors David Finckel and Wu Han invite you to join them on specially curated musical journeys around the world. With local experts, festival artists, and distinguished lecturers, Music@Menlo’s travel programs offer patrons incomparable insider access to some of the most significant historical and cultural land-marks while they enjoy a musical listening experience like no other. This spring, Music@Menlo travels from Italy to Croatia aboard the luxurious Corinthian cruise ship. In the fall, David Finckel and Wu Han lead a once-in-a-lifetime musical exploration through Prague.

If you are interested in learning more about Music@Menlo’s travel programs, please contact Annie Rohan at (650) 330-2133 or [email protected].


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 record-ings have been hailed as “without question the best CDs I have ever heard” (Positive Feedback Online). Produced by Grammy Award-winning engineer Da-Hong Seetoo using state-of-the-art recording technology, Music@Menlo LIVE CDs offer “hours of world-class chamber music performed by top-ranked players and captured for posterity by a first-rate sound engineer” (Strings).

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 through iTunes, Amazon.com, and Classical Archives.

Recording and Broadcasting Recording Producer

Six-time Grammy Award-winning recording producer Da-Hong Seetoo returns to Music@Menlo for a twelfth consecutive season to record the festival concerts for release on the Music@Menlo LIVE label. A Curtis Institute– and Juil-liard School–trained violinist, Da-Hong Seetoo has emerged

as one of a handful of elite audio engineers, using his own custom-designed microphones, monitor speakers, and computer software.

His recent clients include the Borromeo, Escher, Emerson, Miró, and Tokyo String Quartets; the Beaux Arts Trio; pianists Daniel Baren-boim, Yefim Bronfman, Derek Han, and Christopher O’Riley; violinist Gil Shaham; cellist Truls Mørk; the Chamber Music Society of Lincoln Center; the Chicago Symphony Orchestra under David Zinman; the Evergreen Symphony (Taipei, Taiwan); the New York Philharmonic under Lorin Maazel; the ProMusica Chamber Orchestra (Columbus, Ohio); the Royal Philharmonic Orchestra under Carlos Miguel Prieto; the Singapore Symphony Orchestra; and David Finckel and Wu Han for the ArtistLed label. His recording with the Emerson String Quar-tet for Deutsche Grammophon, Intimate Letters, garnered the 2010 Grammy Award for Best Chamber Music Performance.

American Public MediaAmerican Public Media is the leading producer of classical music program-ming for public radio. This summer, Music@Menlo is proud to welcome the

return of American Public Media as the festival’s exclusive broadcast partner. Performances from the festival will air nationwide on Ameri-can Public Media’s Performance Today®, the largest daily classical music program in the United States, which airs on 260 stations and reaches more than 1.3 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 often participate in the festival as event mod-erators and educators. Go online to www.americanpublicmedia.org for archived performances, photos, and interviews.

AudioNotes AudioNotes are Music@Menlo’s innovative series of preconcert listener guides intended to provide greater insight into the music as well as the performers’ perspectives prior to the concert experience. AudioNotes—provided free of charge with each advance ticket order—offer cultural and historical context highlighted by musical examples and interviews with festival artists. Each AudioNotes disc enhances the concert experience by giving listeners an informed perspective in advance of the performance and provides the foun-dation for a rich and rewarding musical journey.

AudioNotes are available in CD or downloadable-MP3 format. See order form for details.

Chamber Music Institute Open House Day On Thursday, July 24, Music@Menlo welcomes the entire com-munity of patrons, music educators, and prospective students and their parents to a free behind-the-scenes peek at what goes on during an average day in the Chamber Music Institute. Experience Music@Menlo from the standpoint of the many young musicians participating in the program. Start your day with a Q & A session with Institute faculty members and the festival Artistic Directors at 9:30 a.m., after which you can observe coachings, take part in a master class with violinist Arnaud Sussmann at 11:45 a.m., and meet the entire Institute faculty. Finish your day by enjoying a Prelude Performance at 5:30 p.m.

Listening Room Music@Menlo’s popular Listening Room series will return for a fifth season, hosted by Patrick Castillo, Audience Engagement Director. On select afternoons throughout the festival, Castillo will be the guide through an exploration of audio and video recordings of a variety of repertoire—ranging from symphonic works and operas to recently composed music. Each Listening Room event is designed to complement the season’s concert offerings and contribute to Music@Menlo’s context-rich brand of musical exploration.

Music@Menlo Travel Music@Menlo Artistic Directors David Finckel and Wu Han invite you to join them on specially curated musical journeys around the world. With local experts, festival artists, and distinguished lecturers, Music@Menlo’s travel programs offer patrons incomparable insider access to some of the most significant historical and cultural land-marks while they enjoy a musical listening experience like no other. This spring, Music@Menlo travels from Italy to Croatia aboard the luxurious Corinthian cruise ship. In the fall, David Finckel and Wu Han lead a once-in-a-lifetime musical exploration through Prague.

If you are interested in learning more about Music@Menlo’s travel programs, please contact Annie Rohan at (650) 330-2133 or [email protected].


Classical TraditionsSunday, November 16, 2014, 4:00 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirty

Music@Menlo’s 2014–2015 Winter Series begins with a program tracing the Classical tradition into the twentieth century. After the program begins with Mozart, the composer under whose pen the Classical style fully crystallized, violinist Kristin Lee and pianist Gloria Chien offer the fiery Kreutzer Sonata of Beethoven, the torch-bearer of Viennese Classicism at the dawn of a new era. Though composed more than a century later, Erich Wolfgang Korngold’s cinematic Piano Quintet harkens back to the tradition of Haydn, Mozart, and Beethoven, appropriating the most cherished qualities of their music—its formal elegance, melodic beauty, and effortless charm—for listeners of modern times.

WOLFGANG AMADEUS MOZART (1756–1791)Trio in E Major for Piano, Violin, and Cello, K. 542 (1788)

LUDWIG VAN BEETHOVEN (1770–1827)Sonata in A Major for Violin and Piano, op. 47, Kreutzer (1802–1803)

ERICH WOLFGANG KORNGOLD (1897–1957) Quintet in E Major for Piano, Two Violins, Viola, and Cello,

op. 15 (1921)

ARTISTSGloria Chien, piano; Kristin Lee, Sean Lee, violins; Richard O’Neill, viola; Mihai Marica, cello

Music@Menlo Winter Series

Enjoy Music@Menlo’s incomparable chamber music programming throughout the year, performed by both familiar festival favorites and distinguished artists making their unforgettable Music@Menlo debuts. The 2014–2015 season will comprise three Sunday afternoon performances, featuring a variety of the world’s finest artists.

November 16, 2014 The Center for Performing Arts at Menlo-Atherton

February 22, 2015 Schultz Cultural Arts Hall, Oshman Family JCC, Palo Alto (Note: different venue)

May 17, 2015 The Center for Performing Arts at Menlo-Atherton

Order your Winter Series tickets when you place your order for summer festival tickets! See the brochure order form for details.

Become a Winter Series Subscriber and save $10 on the three-concert series, plus get a 10 percent discount on Music@Menlo merchandise. Winter Series tickets will be mailed in late August, after the festival.


Classical TraditionsSunday, November 16, 2014, 4:00 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirty

Music@Menlo’s 2014–2015 Winter Series begins with a program tracing the Classical tradition into the twentieth century. After the program begins with Mozart, the composer under whose pen the Classical style fully crystallized, violinist Kristin Lee and pianist Gloria Chien offer the fiery Kreutzer Sonata of Beethoven, the torch-bearer of Viennese Classicism at the dawn of a new era. Though composed more than a century later, Erich Wolfgang Korngold’s cinematic Piano Quintet harkens back to the tradition of Haydn, Mozart, and Beethoven, appropriating the most cherished qualities of their music—its formal elegance, melodic beauty, and effortless charm—for listeners of modern times.

WOLFGANG AMADEUS MOZART (1756–1791)Trio in E Major for Piano, Violin, and Cello, K. 542 (1788)

LUDWIG VAN BEETHOVEN (1770–1827)Sonata in A Major for Violin and Piano, op. 47, Kreutzer (1802–1803)

ERICH WOLFGANG KORNGOLD (1897–1957) Quintet in E Major for Piano, Two Violins, Viola, and Cello,

op. 15 (1921)

ARTISTSGloria Chien, piano; Kristin Lee, Sean Lee, violins; Richard O’Neill, viola; Mihai Marica, cello

Jerusalem QuartetSunday, February 22, 2015, 4:00 p.m. Schultz Cultural Arts Hall, Oshman Family JCC, Palo Alto* Tickets: $50 full price; $25 under age thirty

Praised for its “passion, precision, warmth, and a gold blend,” the acclaimed Jerusalem Quartet makes its eagerly anticipated Music@Menlo debut, performing an afternoon of masterworks from the string quartet repertoire. Opening with the charming Rider Quartet by Joseph Haydn, the patriarch of the string quartet tradi-tion, the program continues with Bartók’s gripping Fourth Quartet. Schumann, who carefully studied the string quartets of Mozart, Beethoven, and Haydn before writing his own, embraces the Classi-cal tradition in his passionate Third Quartet.

JOSEPH HAYDN (1732–1809)String Quartet in g minor, op. 74, no. 3, Rider (1793)

BÉLA BARTÓK (1881–1945)String Quartet no. 4, BB 95 (1928)

ROBERT SCHUMANN (1810–1856)String Quartet in A Major, op. 41, no. 3 (1842)

ARTISTSJerusalem Quartet: Alexander Pavlovsky, Sergei Bresler, violins; Ori Kam, viola; Kyril Zlotnikov, cello

*Please note different location.

Clarinet Celebration Sunday, May 17, 2015, 4:00 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirty

Clarinetists David Shifrin and Romie de Guise-Langlois partner with violinist Arnaud Sussmann and pianist Hyeyeon Park to present an exceptional program of delightful works for clarinet and ensemble. Mendelssohn’s animated Opus 114 Concert Piece is followed by the lyrical Sonata for Clarinet and Piano by Leonard Bernstein. The program continues with two of the most revered works for clarinet, violin, and piano—Bartók’s Contrasts and Schoenfield’s Clarinet Trio—followed by Poulenc’s Sonata for Two Clarinets. Stravinsky’s L’histoire du soldat Suite presents an enthralling prelude to the virtuosic Il convegno duo by the Italian Romantic Amilcare Ponchielli.

FELIX MENDELSSOHN (1809–1847)Concert Piece for Clarinet, Basset Horn, and Piano, op. 114 (1832)

LEONARD BERNSTEIN (1918–1990)Sonata for Clarinet and Piano (1941–1942)

BÉLA BARTÓK (1881–1945)Contrasts for Clarinet, Violin, and Piano, BB 116 (1938)

PAUL SCHOENFIELD (b. 1947)Trio for Clarinet, Violin, and Piano (1986)

FRANCIS POULENC (1899–1963)Sonata for Two Clarinets, FP 7 (1918, rev. 1945)

IGOR STRAVINSKY (1882–1971)Suite from L’histoire du soldat (The Soldier’s Tale) (1919)

AMILCARE PONCHIELLI (1834–1886)Il convegno (The Meeting) for Two Clarinets and Piano (1868)

ARTISTSDavid Shifrin, Romie de Guise-Langlois, clarinets; Hyeyeon Park, piano; Arnaud Sussmann, violin


Tracey Adams was born in Los Angeles, California, in 1954. She works predominantly in the medium of encaustic. Originally trained as a musician, Adams completed her master’s degree at New England Conservatory of Music in Boston in 1980. Concurrently, she studied painting at the

School of the Museum of Fine Arts in Boston. She has had solo shows at the Monterey Museum of Art, the Fresno Museum of Art, and the Santa Cruz Museum of Art and History. In 2003, she was invited to the Slovak Republic, where she exhibited at the Andy Warhol Museum in Medzilaborce, a project supported by artist’s grants from the U.S. Department of State and the Ministry of Culture, Slovak Republic. She is also a recipient of an Artist’s Grant from the Community Foundation of

the Monterey Peninsula. Her work is featured in Authentic Visual Voices (Catherine Nash, 2013) and Embracing Encaustic (Linda Womack, 2014).

In 2014, Adams’s work will be included in a traveling group exhibition, Swept Away, at the Hunterdon Art Museum in Clinton, New Jersey. Her work will also be part of an exhibition, The Circle Game, at the Tucson Museum of Art through September 7 and SHIFT: Five Decades of Con-temporary California Painting at the Monterey Museum of Art through September 22.

Tracey Adams lives and works in Carmel, California. www.traceyadamsart.com

Music@Menlo’s Visual Artist is generously supported by Libby and Craig Heimark.

Join us on Tuesday, July 29, for a special Café Conversation with Tracey Adams (11:45 a.m., Stent Family Hall), and meet the artist at an in-person morning discussion during the annual Caruso Coffee (see p. 30 for more information on donor benefits). Adams’s work will be displayed on cam-pus throughout the festival.

Visual Artist: Tracey Adams

Cover: Revolution 34, 2007, 18 x 54 in., encaustic on three panels. Collection of Alan MarkesichBack cover: Lumenins 27B, 2014, 40 x 40 in., encaustic and oil on panelUpper left: Revolution 23, 2007, 20 x 30 in., encaustic on panel. Collection of Elise Waters OloniaUpper right: Revolution 50, 2008, 48 x 24 in., encaustic on panel. Collection of the Crocker Art Museum, Sacramento

Cellist David Finckel and pianist Wu Han, Musical America’s 2012 Musicians of the Year, rank among the most esteemed and influ-ential classical musicians in the world today. The talent, energy, imagination, and dedication they bring to their multifaceted endeavors as concert performers, recording artists, educators, artistic administrators, and cultural entrepreneurs go unmatched. In high demand year after year among chamber music audiences worldwide, the duo has appeared each season at the most prestigious venues and concert series across the United States and around the world to unanimous critical acclaim. For thirty-four years, David Finckel served

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


Join us on Tuesday, July 29, for a special Café Conversation with Tracey Adams (11:45 a.m., Stent Family Hall), and meet the artist at an in-person morning discussion during the annual Caruso Coffee (see p. 30 for more information on donor benefits). Adams’s work will be displayed on cam-pus throughout the festival.

Cover: Revolution 34, 2007, 18 x 54 in., encaustic on three panels. Collection of Alan MarkesichBack cover: Lumenins 27B, 2014, 40 x 40 in., encaustic and oil on panelUpper left: Revolution 23, 2007, 20 x 30 in., encaustic on panel. Collection of Elise Waters OloniaUpper right: Revolution 50, 2008, 48 x 24 in., encaustic on panel. Collection of the Crocker Art Museum, Sacramento

Cellist David Finckel and pianist Wu Han, Musical America’s 2012 Musicians of the Year, rank among the most esteemed and influ-ential classical musicians in the world today. The talent, energy, imagination, and dedication they bring to their multifaceted endeavors as concert performers, recording artists, educators, artistic administrators, and cultural entrepreneurs go unmatched. In high demand year after year among chamber music audiences worldwide, the duo has appeared each season at the most prestigious venues and concert series across the United States and around the world to unanimous critical acclaim. For thirty-four years, David Finckel served

as cellist of the Grammy Award-winning Emerson String Quartet. David Finckel and Wu Han’s wide-ranging musical innovations include the launch of ArtistLed (www.artistled.com), classical music’s first musician-directed and Internet-based recording company, whose catalog of sixteen albums has won widespread critical acclaim. They are the founding Artistic Directors of Music@Menlo and have served as Artistic Directors of the Chamber Music Society of Lincoln Center since 2004. In 2011, David Finckel and Wu Han were named Artistic Directors of Chamber Music Today, an annual festival held in Korea, and David Finckel was recently named Artistic Director and honoree

of the Mendelssohn Fellowship, which identifies young Korean musi-cians and promotes chamber music in Korea. In these capacities, as well as through a multitude of other education initiatives, such as their newly created chamber music studio at the Aspen Music Festival and School, they have achieved universal renown for their passionate commitment to nurturing the careers of countless young artists. David Finckel and Wu Han reside in New York. For more information, please visit www.davidfinckelandwuhan.com.

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


Acclaimed as a “splendid, elegant cellist,” Dmitri Atapine has appeared on some of the world’s foremost stages, and his recordings can be found on the Naxos, Urtext Digital, and Blue Griffin labels. Atapine is a top-prize winner at the Carlos Prieto, Plowman, and Premio Vittorio Gui competitions, among many others. He is the Artis-tic Director of the Ribadesella Festival and Argenta Concert Series and is a cello professor at the Uni-versity of Nevada, Reno.

In 2012, violinist Benjamin Beilman received an Avery Fisher Career Grant and a London Music Masters Award. He also captured First Prize at the 2010 Young Concert Artists International Auditions and YCA’s Helen Armstrong Violin Fellowship. This season’s highlights include his concerto debut at Carnegie Hall in addition to concerto debuts with the London Philharmonic, Los Angeles Chamber Orchestra, and Chicago Philharmonic. He is a graduate of the Curtis Institute of Music and a member of CMS Two at the Chamber Music Society of Lincoln Center.

Musicologist David R. Beveridge taught and lec-tured at various American colleges and universities before settling permanently in the Czech Republic in 1993. He is working on the most comprehensive treatment ever of the life and work of Antonín Dvořák. He has published numerous articles on the topic and is editor and coauthor of the book Rethinking Dvorák: Views from Five Countries. In 2013 he won an award from the Hlávka Foundation for his book on relationships among Dvorák, archi-tect Josef Hlávka, and their wives.

As the laureate of both the 2007 International Markneukirchen and Sion-Valais International Violin Competitions, violinist/violist Sunmi Chang has performed worldwide to much acclaim as a soloist and chamber musician. An active chamber musician, Chang won First Prize at the Plowman Chamber Music Competition and has collaborated with many renowned artists. Currently she plays with the St. Paul Chamber Orchestra, having won a position there in 2009. Chang holds the Leslie Hsu and Rick Lenon Violin Chair for 2014.

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, and was appointed Director of the Chamber Music Institute at Music@Menlo in 2010. A Steinway artist, she has recorded for Chandos Records and recently released a CD with clarinet-ist Anthony McGill. Gloria Chien is an Associate Professor at Lee University and is a member of the Chamber Music Society of Lincoln Center’s CMS Two.

Brazilian-born pianist Arnaldo Cohen came to prominence after winning First Prize at the Busoni International Piano Competition. He performs world-wide with orchestras such as the London Philharmonic, the Bavarian Radio Symphony Orchestra, the Phila-delphia Orchestra, and the Cleveland Orchestra. He is a frequent recording artist, with recent discs including recitals and all the piano concerti of Liszt and Rach-maninov. Cohen is Artistic Director of the Portland Piano International Series and holds a full professorship at the Jacobs School of Music at Indiana University.

Percussionist Florian Conzetti performs as a soloist and chamber music collaborator. He has appeared at the Astoria Music Festival, Cascadia Composers Concerts, Cal Performances, and Stanford Live; per-formed with the San Francisco Contemporary Music Players, the Berkeley Contemporary Chamber Players, Alarm Will Sound, and the Meridian Arts Ensemble; and recorded solo and chamber music works for the Innova and Albany labels. Conzetti is Artistic Codirec-tor of Northwest New Music and teaches at Portland State University and Linfield College.

Technical skill as well as a fresh approach to familiar repertoire have become the trademarks of the Danish String Quartet. Among its honors are the Carl Nielsen Prize, the Twentieth-Century Prize, the Beethoven Prize, the Sidney Griller Award, and the Menton Festival Prize. The Danish String Quartet was the Danish Radio Artist-in-Residence, and its recordings have been released on the Dacapo label. In 2013–2014, the quartet joined the Chamber Music Society of Lincoln Center’s prestigious CMS Two.

French violinist Nicolas Dautricourt is a member of the Chamber Music Society of Lincoln Center’s CMS Two program and has appeared with the Orchestre National de France, Sinfonia Varsovia, and the Nice Philharmonic. Dautricourt has won awards from the Henryk Wieniawski Competition in Poznań and the Jeunesses Musicales Competition in Belgrade, among others, and is Artistic Director of Les Moments Musicaux de Gerberoy. Dautricourt holds the Marilyn and Boris Wolper Violin Chairin honor of Philip Setzer for 2014.

The Escher String Quartet has received acclaim for its individual sound, inspired artistic decisions, and unique cohesiveness. The quartet has performed at prestigious venues and festivals across the United States and overseas, including Lincoln Center, the Kennedy Center, and the Louvre, as well as the Ravinia and Caramoor festivals and La Jolla Summer-Fest. One of BBC’s renowned New Generation Artists, the quartet is now an Artist of the Chamber Music Society of Lincoln Center. Recent releases include the complete Zemlinsky quartets on the Naxos label.

Recipient of a prestigious Avery Fisher Career Grant in 2009, clarinetist Alexander Fiterstein has been praised by the New York Times for possessing a “beautiful liquid clarity.” He is a First Prize winner of the Carl Nielsen International Clarinet Competition and the Aviv Competitions in Israel and is a winner of the Young Concert Artists International Auditions. Fiterstein is a founding member of the Zimro Project and is an Artist of the Chamber Music Society of Lincoln Center. He serves as clarinet professor at the University of Minnesota, Twin Cities.

In September 2009, violinist Jorja Fleezanis embarked on a new career path as Professor of Orchestral Studies and Violin at the Indiana Univer-sity Jacobs School of Music, after holding the post of Concertmaster of the Minnesota Orchestra for twenty years. Commissioned works for her include Nicholas Maw’s Sonata for Solo Violin; Aaron Jay Kernis’s Brilliant Sky, Infinite Sky, commissioned by the Schubert Club; and John Adams’s Violin Concerto and John Tavener’s Ikon of Eros, both commissioned by the Minnesota Orchestra.

Committed to influencing and expanding the rep-ertoire for solo percussion through commissions and premieres, percussionist Christopher Froh collaborates with leading composers as a member of the San Francisco Contemporary Music Players, Empyrean Ensemble, and San Francisco Chamber Orchestra. His solo performances stretch from Rome to Tokyo to Istanbul and are recorded on the Albany, Bridge, Equilibrium, and Innova labels. He is currently on the faculty at the University of California at Davis.

Ara Guzelimian is Provost and Dean of the Juilliard School, where he oversees the faculty, curriculum, and artistic planning of the distinguished perform-ing arts conservatory in all three of its divisions: dance, drama, and music. He previously served as Senior Director and Artistic Advisor of Carnegie Hall from 1998 to 2006. In the past he has served as Artistic Administrator of the Los Angeles Phil-harmonic and the Aspen Music Festival and School and as Artistic Director of the Ojai Festival.

Armenian cellist Narek Hakhnazaryan—winner of the prestigious XIV International Tchaikovsky Competition—recently debuted with the Chicago Symphony and the Orchestra of St. Luke’s. In 2013–2014, he is appearing in recital at Carnegie Hall and throughout the United States. He was mentored by Mstislav Rostropovich and studied with Laurence Lesser. Hakhnazaryan holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2014.

Festival Performer Biographies


French violinist Nicolas Dautricourt is a member of the Chamber Music Society of Lincoln Center’s CMS Two program and has appeared with the Orchestre National de France, Sinfonia Varsovia, and the Nice Philharmonic. Dautricourt has won awards from the Henryk Wieniawski Competition in Poznań and the Jeunesses Musicales Competition in Belgrade, among others, and is Artistic Director of Les Moments Musicaux de Gerberoy. Dautricourt holds the Marilyn and Boris Wolper Violin Chairin honor of Philip Setzer for 2014.

The Escher String Quartet has received acclaim for its individual sound, inspired artistic decisions, and unique cohesiveness. The quartet has performed at prestigious venues and festivals across the United States and overseas, including Lincoln Center, the Kennedy Center, and the Louvre, as well as the Ravinia and Caramoor festivals and La Jolla Summer-Fest. One of BBC’s renowned New Generation Artists, the quartet is now an Artist of the Chamber Music Society of Lincoln Center. Recent releases include the complete Zemlinsky quartets on the Naxos label.

Recipient of a prestigious Avery Fisher Career Grant in 2009, clarinetist Alexander Fiterstein has been praised by the New York Times for possessing a “beautiful liquid clarity.” He is a First Prize winner of the Carl Nielsen International Clarinet Competition and the Aviv Competitions in Israel and is a winner of the Young Concert Artists International Auditions. Fiterstein is a founding member of the Zimro Project and is an Artist of the Chamber Music Society of Lincoln Center. He serves as clarinet professor at the University of Minnesota, Twin Cities.

In September 2009, violinist Jorja Fleezanis embarked on a new career path as Professor of Orchestral Studies and Violin at the Indiana Univer-sity Jacobs School of Music, after holding the post of Concertmaster of the Minnesota Orchestra for twenty years. Commissioned works for her include Nicholas Maw’s Sonata for Solo Violin; Aaron Jay Kernis’s Brilliant Sky, Infinite Sky, commissioned by the Schubert Club; and John Adams’s Violin Concerto and John Tavener’s Ikon of Eros, both commissioned by the Minnesota Orchestra.

Committed to influencing and expanding the rep-ertoire for solo percussion through commissions and premieres, percussionist Christopher Froh collaborates with leading composers as a member of the San Francisco Contemporary Music Players, Empyrean Ensemble, and San Francisco Chamber Orchestra. His solo performances stretch from Rome to Tokyo to Istanbul and are recorded on the Albany, Bridge, Equilibrium, and Innova labels. He is currently on the faculty at the University of California at Davis.

Ara Guzelimian is Provost and Dean of the Juilliard School, where he oversees the faculty, curriculum, and artistic planning of the distinguished perform-ing arts conservatory in all three of its divisions: dance, drama, and music. He previously served as Senior Director and Artistic Advisor of Carnegie Hall from 1998 to 2006. In the past he has served as Artistic Administrator of the Los Angeles Phil-harmonic and the Aspen Music Festival and School and as Artistic Director of the Ojai Festival.

Armenian cellist Narek Hakhnazaryan—winner of the prestigious XIV International Tchaikovsky Competition—recently debuted with the Chicago Symphony and the Orchestra of St. Luke’s. In 2013–2014, he is appearing in recital at Carnegie Hall and throughout the United States. He was mentored by Mstislav Rostropovich and studied with Laurence Lesser. Hakhnazaryan holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2014.

Pianist Gilbert Kalish’s profound influence on the musi-cal 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 mem-ber of the Contemporary Chamber Ensemble, and is an Artist of the Chamber Music Society of Lincoln Center. Kalish is Distinguished Professor and Head of Perfor-mance Activities at Stony Brook University. He was previously a faculty member and Chair of the Faculty at the Tanglewood Music Center.

Known for her artistic versatility, Ayano Kataoka was the first percussionist to be chosen for the Chamber Music Society of Lincoln Center’s CMS Two program. She has collaborated with Yo-Yo Ma, Emanuel Ax, Jaime Laredo, Ani Kavafian, and David Shifrin. Her solo recital at the Tokyo Opera City Recital Hall was broadcast on NHK, Japan’s national public radio. She is currently a faculty member of the University of Massachusetts Amherst.

American violinist Erin Keefe, winner of a 2006 Avery Fisher Career Grant, has also won the Grand Prize in the Valsesia Musica, Toruń, Schadt, and Corpus Christi competitions and the silver medal in the Carl Nielsen, Sendai, and Gyeongnam com-petitions. She has performed with orchestras in the United States, Japan, Korea, Germany, Italy, Denmark, and Poland and is Concertmaster of the Minnesota Orchestra. She has recorded for Naxos and Deutsche Grammophon. Erin Keefe is an Artist of the Chamber Music Society of Lincoln Center.

Winner of the Georg Solti Foundation Career Grant, Sooyun Kim has been praised as “a rare virtuoso of the flute” by Libération. Since her concerto debut with the Seoul Philharmonic Orchestra at age ten, she has enjoyed a flourishing career as a collabora-tor and soloist, performing in the world’s most prestigious venues. This past summer she served as an Artist-in-Residence with the Danish Chamber Players in Fuglsang, Denmark. Kim is an Artist of the Chamber Music Society of Lincoln Center.

Bassoonist Peter Kolkay is a recipient of both an Avery Fisher Career Grant and First Prize at the Concert Artists Guild Competition. An Artist of the Chamber Music Society of Lincoln Center, Kolkay is also on the faculty of the Blair School of Music at Vanderbilt University. A dedicated performer of new music, he recently premiered Joan Tower’s bassoon concerto Red Maple. His first solo album, BassoonMusic (CAG Records), features works by twenty-first-century American composers.

Violinist Kristin Lee has performed with major orchestras including the St. Louis Symphony, Rochester Philharmonic, and Juilliard Orchestra and given recitals throughout the United States, South Korea, Italy, Russia, and France. She gradu-ated from the Juilliard School under Itzhak Perlman and Donald Weilerstein and is currently an Artist of the Chamber Music Society of Lincoln Center and on faculty at the Aaron Copland School of Music at Queens College.

With performances described by the New York Times as “breathtakingly beautiful,” violinist Sean Lee is quickly gaining recognition as one of today’s most talented rising artists, having received prizes in the Premio Paganini International Violin Competition and the Young Concert Artists International Auditions. His recent EMI Classics recording reached the Top Twenty on the iTunes Top Classical Albums list. An equally involved chamber musician, Lee is performing from 2012 to 2015 as a CMS Two Artist at the Chamber Music Society of Lincoln Center.


Violinist/violist Yura Lee, recipient of a prestigious Avery Fisher Career Grant, is enjoying an international career that spans almost two decades. As a soloist, she has appeared with virtually every major orchestra in the country and has given recitals worldwide. At age twelve she was the youngest ever recipient of the NPR Debut Artist of the Year prize. She won First Prize at the 2013 ARD Competition (Germany) and holds countless other international awards. Lee is an Artist of the Chamber Music Society of Lincoln Center as a violinist and a violist.

William Lobkowicz traces his family’s ancestry back over seven centuries as princes of the Holy Roman Empire and High Chancellors of the Kingdom of Bohemia. Since returning to Bohemia in 1990, he has been responsible for reclaiming his family’s philan-thropic heritage, founding the Lobkowicz Collections Foundation and L. E. Holdings, as well as Lobkowicz Events Management, which manages and operates four family castles in the Czech Republic. He is a board member and Executive Committee member of the American Chamber of Commerce in Prague.

American pianist Anne-Marie McDermott is a con-summate artist who balances a versatile career as a soloist and collaborator, performing one hundred concerts annually. She tours with her piano quartet, Opus One, and as a duo with violinist Nadja Salerno-Sonnenberg. McDermott is Artistic Director of the famed Bravo! Vail Valley Music Festival in Colorado, as well as the Ocean Reef Chamber Music Festival in Florida and the Avila Chamber Music Celebration in Curaçao. She has been an Artist of the Chamber Music Society of Lincoln Center since 1995.

Anthony McGill, Principal Clarinet of the Metro-politan Opera Orchestra since 2004, was chosen to perform with Yo-Yo Ma, Itzhak Perlman, and Gabri-ela Montero at President Obama’s inauguration in January of 2009. His performances throughout the world as a recitalist, chamber musician, and soloist with orchestra consistently receive rave reviews. From Chicago, McGill attended the Curtis Institute of Music and is a recipient of an Avery Fisher Career Grant, as well as the first Sphinx Medal of Excellence.

Violist Paul Neubauer has appeared with over one hundred orchestras throughout the world, including the New York, Los Angeles, and Royal Liverpool Philharmonics; the National, St. Louis, Detroit, Dallas, and San Francisco Symphonies; and the Santa Cecilia, English Chamber, and Beethovenhalle Orchestras. He has been featured on CBS’s Sunday Morning and A Prairie Home Companion with Garrison Keillor. At age twenty-one, he was the youngest principal string player in the history of the New York Philharmonic.

Described as a pianist “with power, precision, and tremendous glee” by Gramophone, Hyeyeon Park was selected as a 2012 Artist of the Year by the Seoul Arts Center. She has appeared as a soloist and chamber musician worldwide and is a prize-winner of numerous international competitions, including Oberlin, Ettlingen, Hugo Kauder, Maria Canals, Prix Amadèo, and Corpus Christi. Park is an Assistant Professor of Piano at the University of Nevada, Reno, and she can be heard on the Blue Griffin, Urtext Digital, HM, and Naxos labels.

Principal Flutist of the Metropolitan Opera Orches-tra from 1977 until 2008, Michael Parloff has been heard regularly as a lecturer, recitalist, chamber musician, and concerto soloist throughout North America, Europe, and Japan. He is the founder and Artistic Director of Parlance Chamber Concerts, which promotes the appreciation and understand-ing of classical music in Northern New Jersey. Parloff has recorded extensively with the Metro-politan Opera for Deutsche Grammophon, Sony Classical, London, and Philips.

Principal Bass of the San Francisco Symphony since 2004, Scott Pingel previously served as Principal Bass of the Charleston Symphony Orchestra and as Guest Principal with the National Arts Centre Orchestra in Canada. As a chamber musician, he can often be heard on radio programs including NPR’s Performance Today. Formerly active as a jazz musician, Pingel performed in venues from New York to Stockholm. Currently, he is a faculty mem-ber of the San Francisco Conservatory of Music.

Juho Pohjonen has attracted great attention as one of Finland’s most intriguing and talented pianists. His 2004 debut at Carnegie’s Weill Hall was selected as one of the most memorable concert events heard in New York that year by the New York Times. Last season’s highlights include international tours with the Chamber Music Society of Lincoln Center and debut performances with the Louisiana Philharmonic. Pohjonen recently debuted at the Aspen Music Festival and has given recitals in Dresden, Hamburg, Vancouver, Hong Kong, Warsaw, and throughout the United States. Pohjonen holds the Kathleen G. Henschel Piano Chairin honor of Wu Han for 2014.

Known for his “delicious quality of tone,” Kevin Rivard, Coprincipal Horn of the San Francisco Opera Orchestra and Principal Horn of the San Francisco Ballet Orchestra, has performed with Orpheus Chamber Orchestra and the Chamber Music Society of Lincoln Center, among others. His awards include Grand Prize at the Concours International d’Interprétation Musicale in Paris, the International Horn Competition of America, and the Farkas Horn Competition. Rivard is a horn professor at California State University East Bay.

Cellist Keith Robinson is a founding member of the Miami String Quartet and an active chamber musician, recitalist, and soloist. Winner of the 1989 PACE Clas-sical Artist of the Year Award, he has recorded for the Blue Griffin, BMG, CRI, Musical Heritage Society, and Pyramid recording labels. With the Miami String Quar-tet, he was a member of the Chamber Music Society of Lincoln Center’s CMS Two program and has won the Concert Artists Guild, London String Quartet, and Fischoff Chamber Music competitions.

Praised for his “excellent” and “precisely attuned” per-formances by the New York Times, percussionist Ian David Rosenbaum has developed a musical breadth far beyond his years. He made his Kennedy Center debut in 2009 and garnered a special prize created for him at the Salzburg International Marimba Competition. Recently joining the CMS Two roster at the Chamber Music Society of Lincoln Center, Rosenbaum is a mem-ber of Le Train Bleu, Novus NY, the Sandbox percussion quartet, and Time Travelers. He has recorded for the Bridge, Innova, and Naxos labels and is a faculty mem-ber of the Dwight School in Manhattan.

Festival Performer Biographies


Principal Flutist of the Metropolitan Opera Orches-tra from 1977 until 2008, Michael Parloff has been heard regularly as a lecturer, recitalist, chamber musician, and concerto soloist throughout North America, Europe, and Japan. He is the founder and Artistic Director of Parlance Chamber Concerts, which promotes the appreciation and understand-ing of classical music in Northern New Jersey. Parloff has recorded extensively with the Metro-politan Opera for Deutsche Grammophon, Sony Classical, London, and Philips.

Principal Bass of the San Francisco Symphony since 2004, Scott Pingel previously served as Principal Bass of the Charleston Symphony Orchestra and as Guest Principal with the National Arts Centre Orchestra in Canada. As a chamber musician, he can often be heard on radio programs including NPR’s Performance Today. Formerly active as a jazz musician, Pingel performed in venues from New York to Stockholm. Currently, he is a faculty mem-ber of the San Francisco Conservatory of Music.

Juho Pohjonen has attracted great attention as one of Finland’s most intriguing and talented pianists. His 2004 debut at Carnegie’s Weill Hall was selected as one of the most memorable concert events heard in New York that year by the New York Times. Last season’s highlights include international tours with the Chamber Music Society of Lincoln Center and debut performances with the Louisiana Philharmonic. Pohjonen recently debuted at the Aspen Music Festival and has given recitals in Dresden, Hamburg, Vancouver, Hong Kong, Warsaw, and throughout the United States. Pohjonen holds the Kathleen G. Henschel Piano Chairin honor of Wu Han for 2014.

Known for his “delicious quality of tone,” Kevin Rivard, Coprincipal Horn of the San Francisco Opera Orchestra and Principal Horn of the San Francisco Ballet Orchestra, has performed with Orpheus Chamber Orchestra and the Chamber Music Society of Lincoln Center, among others. His awards include Grand Prize at the Concours International d’Interprétation Musicale in Paris, the International Horn Competition of America, and the Farkas Horn Competition. Rivard is a horn professor at California State University East Bay.

Cellist Keith Robinson is a founding member of the Miami String Quartet and an active chamber musician, recitalist, and soloist. Winner of the 1989 PACE Clas-sical Artist of the Year Award, he has recorded for the Blue Griffin, BMG, CRI, Musical Heritage Society, and Pyramid recording labels. With the Miami String Quar-tet, he was a member of the Chamber Music Society of Lincoln Center’s CMS Two program and has won the Concert Artists Guild, London String Quartet, and Fischoff Chamber Music competitions.

Praised for his “excellent” and “precisely attuned” per-formances by the New York Times, percussionist Ian David Rosenbaum has developed a musical breadth far beyond his years. He made his Kennedy Center debut in 2009 and garnered a special prize created for him at the Salzburg International Marimba Competition. Recently joining the CMS Two roster at the Chamber Music Society of Lincoln Center, Rosenbaum is a mem-ber of Le Train Bleu, Novus NY, the Sandbox percussion quartet, and Time Travelers. He has recorded for the Bridge, Innova, and Naxos labels and is a faculty mem-ber of the Dwight School in Manhattan.

Praised by the New York Times as “an intelligent and communicative singer” with a “compelling desire to bring texts to life,” baritone Randall Scarlata enjoys a lively career encompassing opera, recital, chamber music, and works for voice and orchestra. His reper-toire spans four centuries and fifteen languages, and he has given world premieres of works by George Crumb, Ned Rorem, and Christopher Theofanidis, among others. An international award winner and Fulbright Scholar, Scarlata serves on the faculty of West Chester University and SUNY Stony Brook.

Russian violinist Alexander Sitkovetsky has performed with the Netherlands Philharmonic, London’s Philharmonia, the Royal Philharmonic, the Konzerthausorchester Berlin, the Tucson Symphony Orchestra, the St. Petersburg Symphony Orchestra, and the Academy of St. Martin in the Fields. Together with pianist Wu Qian and cellist Leonard Elschenbroich, he performs in the Sitkovetsky Piano Trio, regularly appearing in England at Wigmore Hall and across Europe. Alexander Sitkovetsky is a member of CMS Two at the Chamber Music Society of Lincoln Center.

Winner of a 2009 Avery Fisher Career Grant, violin-ist Arnaud Sussmann has appeared with the New York Philharmonic and the American Symphony and recently toured Israel. Winner of the Andrea Postacchini and Vatelot/Rampal Competitions, he studied under Itzhak Perlman and was his Teaching Assistant for two years. Sussmann is an Artist of the Chamber Music Society of Lincoln Center and appears regularly at festivals nationwide. Suss-mann’s first solo CD, with pianist Orion Weiss, will be released this summer on the Telos Music label.

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 solo oboist with the New York Wood-wind Quintet, the Orchestra of St. Luke’s, the St. Luke’s Chamber Ensemble (for which he has served as Codi-rector of Chamber Music), the American Composers Orchestra, the New England Bach Festival Orchestra, and Speculum Musicae, and he is Coprincipal Oboist of Orpheus Chamber Orchestra. He is a faculty member of the Juilliard, Yale, and Manhattan schools of music.

Pianist Dina Vainshtein has collaborated with some of the most promising musicians around the world, from Alice Tully Hall and Weill Recital Hall in New York City to the Caramoor Festival, the Ravinia Festival, and the Music Academy of the West in Santa Barbara and tours of Japan, China, Europe, and Russia. She received the Special Prize for Best Collaborative Pianist at the 1998 Tchaikovsky International Competition. For nearly a decade, Vainshtein has been affiliated with New Eng-land Conservatory. She has released recordings on the Naxos label.

Winner of a 2008 Avery Fisher Career Grant, Swiss pianist Gilles Vonsattel is a musician of uncommon versatility. An Artist of the Chamber Music Society of Lincoln Center, Vonsattel captured the top prize at the prestigious Naumburg International Piano Competi-tion in 2002 and has appeared on the world’s most renowned stages. He has premiered works by compos-ers such as Ned Rorem and Nico Muhly, and his recent recording was named one of Time Out New York’s Classical Albums of the Year. He is Assistant Professor of Piano at the University of Massachusetts Amherst. Vonsattel holds the Karen and Rick DeGolia Piano Chair for 2014.


Performers CircleWelcome to the Music@Menlo community!

Paganini ($100–$249) Members enjoy:• receiving the festival brochure and reserving your festival tickets

in advance of the general public

• acknowledgment in the festival program book

Joachim ($250–$499) Members enjoy:• a 10 percent discount on Music@Menlo merchandise, including

LIVE CDs

Caruso ($500–$999) Members enjoy:• the Caruso Coffee: Join us for a late-morning breakfast and panel

discussion about behind-the-scenes aspects of the festival.

Composers CircleEnjoy free-concert reservations, VIP ticketing, and special events.

Bach ($1,000–$2,499) Members enjoy:• priority ticket fulfillment and VIP ticket services 1

• advance ticket reservations for one free concert of your choice 2

• the Festival Season Preview: Be among the first to learn about the season to come at this private spring performance and reception.

• the Bach BBQ: Celebrate the festival season at the annual Bach BBQ. Join the Artistic Directors, artists, and Chamber Music Insti-tute faculty and students at a casual barbecue among friends.

Haydn ($2,500–$4,999) Members enjoy:• a total of two Premium Seating reservations 3

• the Chamber Music Institute Private Recital and Luncheon: Enjoy a private student performance, with lunch.

• the Haydn Circle Post-Concert Dinner with Festival Friends: Mingle with the Artistic Directors, festival musicians, and festival friends at this casual post-concert dinner reception.

Mozart ($5,000–$9,999) Members enjoy:• a total of four Premium Seating reservations 3

• a concert dedication, acknowledged in the festival program book

• the Garden Party: Enjoy the outdoors and the company of festival musicians and friends at the annual Garden Party—hosted by a fellow patron.

• a Mozart Circle Dinner Party: Enjoy one Mozart Circle post-concert dinner party, hosted by a fellow patron, with the Artistic Directors, artists, and close festival friends. 4

Beethoven ($10,000–$24,999) Members enjoy:• a total of eight Premium Seating reservations 3

• advance ticket reservations for all free concerts 2

• acknowledgment on season dedication concert-hall signage and the program book dedication page

• the Beethoven Circle Dinner Party: Join the Artistic Directors, festival musicians, and Institute faculty and staff for an inner-circle post-concert dinner party, hosted by the board.

Patrons CircleEnjoy customized recognition, intimate dinners, and the annual Patrons Circle Season Announcement.

Esterházy ($25,000–$49,999) Members enjoy:• a total of twelve Premium Seating reservations 3

• a personalized program book, signed by Artistic Directors David Finckel and Wu Han

• the Patrons Circle Season Announcement: Join the Artistic Direc-tors for the Patrons Circle Season Announcement—a private, in-home concert and dinner in the spring where the programming for the next festival is unveiled. You are the first to know!

• the Patrons Circle Festival Dinner: Enjoy this intimate post-concert Sun-day dinner with the Artistic Directors, festival artists, and Institute faculty.

Carnegie ($50,000–$99,999) Members enjoy:• a total of sixteen Premium Seating reservations 3

• customized benefits and recognition

Medici ($100,000+) Members enjoy:• Premium Seating reservations for you and your guests at all events 3

• the opportunity to host a private concert in your home with festi-val artists and your friends

Please note:1 VIP ticket orders are filled before those of Subscribers and the general public according to level of giving. VIP ticket services also include no-fee ticket exchanges and dedicated-staff assistance.

2 Advance ticket reservations provide tickets for general-admission seat-ing at a free concert and may be used for up to four people. Contact VIP ticket services at least one day in advance to reserve your unassigned free ticket. See Premium Seating reservations (Haydn Circle and above) for assigned seating opportunities.

3 A Premium Seating reservation provides special seating consideration for a paid or free concert of your choice. A ticket is required for each performance for which you wish to use your Premium Seating request. Specific seats cannot be guaranteed; all Premium Seating reservations are assigned seats, including in otherwise unreserved halls.

4 Please choose one of the Mozart Circle Dinner Parties offered during the summer. Space is limited and based on availability at the time of your RSVP.

Music@Menlo Membership Circles Become a Member by making a contribution to Music@Menlo’s Annual Fund. Supporting

Music@Menlo

Gifts to the Annual FundGifts to the Annual Fund support the critical daily operations of the festival and are acknowledged through membership benefits.

Sponsor a Student with a Gift to the Ann S. Bowers Young Artist Fund Sponsorships provide essential support for the more than forty talented young musicians who participate in Music@Menlo’s Cham-ber Music Institute. Sponsors nourish the future of classical music by enabling students to come to Music@Menlo to experience an inspiring and rigorous learning environment, a world-class roster of artist-faculty members, and an exceptional student-faculty ratio. Sponsors also play a critical role in the lives of these extraordinary young artists by helping them realize their lifelong personal and professional ambitions. Sponsorships are available at multiple levels and sponsors enjoy the same benefits as contributors to the Annual Fund as well as special opportunities to get to know their student. Please contact us to learn how to become a sponsor.

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

In addition to the benefits at your membership level, you will enjoy the benefits associated with all previous levels. All summer festival event invitations will be mailed in June.


Beethoven ($10,000–$24,999) Members enjoy:• a total of eight Premium Seating reservations 3

• advance ticket reservations for all free concerts 2

• acknowledgment on season dedication concert-hall signage and the program book dedication page

• the Beethoven Circle Dinner Party: Join the Artistic Directors, festival musicians, and Institute faculty and staff for an inner-circle post-concert dinner party, hosted by the board.

Patrons CircleEnjoy customized recognition, intimate dinners, and the annual Patrons Circle Season Announcement.

Esterházy ($25,000–$49,999) Members enjoy:• a total of twelve Premium Seating reservations 3

• a personalized program book, signed by Artistic Directors David Finckel and Wu Han

• the Patrons Circle Season Announcement: Join the Artistic Direc-tors for the Patrons Circle Season Announcement—a private, in-home concert and dinner in the spring where the programming for the next festival is unveiled. You are the first to know!

• the Patrons Circle Festival Dinner: Enjoy this intimate post-concert Sun-day dinner with the Artistic Directors, festival artists, and Institute faculty.

Carnegie ($50,000–$99,999) Members enjoy:• a total of sixteen Premium Seating reservations 3

• customized benefits and recognition

Medici ($100,000+) Members enjoy:• Premium Seating reservations for you and your guests at all events 3

• the opportunity to host a private concert in your home with festi-val artists and your friends

Please note:1 VIP ticket orders are filled before those of Subscribers and the general public according to level of giving. VIP ticket services also include no-fee ticket exchanges and dedicated-staff assistance.

2 Advance ticket reservations provide tickets for general-admission seat-ing at a free concert and may be used for up to four people. Contact VIP ticket services at least one day in advance to reserve your unassigned free ticket. See Premium Seating reservations (Haydn Circle and above) for assigned seating opportunities.

3 A Premium Seating reservation provides special seating consideration for a paid or free concert of your choice. A ticket is required for each performance for which you wish to use your Premium Seating request. Specific seats cannot be guaranteed; all Premium Seating reservations are assigned seats, including in otherwise unreserved halls.

4 Please choose one of the Mozart Circle Dinner Parties offered during the summer. Space is limited and based on availability at the time of your RSVP.

Supporting Music@Menlo

Gifts to the Annual FundGifts to the Annual Fund support the critical daily operations of the festival and are acknowledged through membership benefits.

Sponsor a Student with a Gift to the Ann S. Bowers Young Artist Fund Sponsorships provide essential support for the more than forty talented young musicians who participate in Music@Menlo’s Cham-ber Music Institute. Sponsors nourish the future of classical music by enabling students to come to Music@Menlo to experience an inspiring and rigorous learning environment, a world-class roster of artist-faculty members, and an exceptional student-faculty ratio. Sponsors also play a critical role in the lives of these extraordinary young artists by helping them realize their lifelong personal and professional ambitions. Sponsorships are available at multiple levels and sponsors enjoy the same benefits as contributors to the Annual Fund as well as special opportunities to get to know their student. Please contact us to learn how to become a sponsor.

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

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

Pledges: Gifts may be pledged and paid in increments comfortable for you. Please contact us for more information.

Employer Matching Gifts: Many companies match donations by their employees and retirees. Contact your employer’s human resources department to find out more. Music@Menlo is an eligible 501(c)3 educational institution.

Corporate Partnerships/In-Kind Gifts: The festival has expenses in the areas of wine, catering, air travel, and transportation. Contribu-tions of goods and services greatly reduce our operating costs and offer promotional benefits for your business.

Planned Gifts: Planned commitments and charitable trusts and annuities help champion the future of chamber music. Please speak with us about your specific interests and talk with your estate plan-ning advisor to learn more.

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

To learn more, please call Annie Rohan, Institutional Advancement Director, at 650-330-2133 or email [email protected].


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2014 Order Form

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Get the Best Seats!SupportMembers of the Bach Circle ($1,000) and above receive advance ticket reservations for one free concert of your choice and VIP priority ticketing—these ticket orders are filled first, ensuring ticket availability for the most popular concerts and securing priority seats, based on giving level. Members of the Haydn Circle ($2,500) and above also receive Premium Seating reservations for the best seats in the hall. Order by April 30 for priority ticketing.

SubscribeSummer Festival Subscribers receive Subscriber priority ticketing. Subscriber orders are filled immediately after VIP priority orders and before single-ticket orders. Order by May 13 for Subscriber pri-ority ticketing. (To learn more, see the description on this page.)

Order EarlyAll other ticket orders are filled in the order they are received, after Bach Circle and above Member and Subscriber orders are filled. Order early to enjoy priority seats in our reserved-seating venues and to get tickets to concerts that sell out quickly!

Ways to OrderMail: Music@Menlo Tickets Phone: 650-331-0202 50 Valparaiso Avenue Fax: 650-330-2016 Atherton, CA 94027 Online: www.musicatmenlo.org

Music@Menlo ticket services hours: Before July 14: Monday–Friday, 10:00 a.m.–4:00 p.m. July 14–August 9: Daily, 9:00 a.m.–4:00 p.m.

2014 Summer Festival Subscription OfferingsBecome a Music@Menlo Summer Festival Subscriber and enjoy exclusive benefits, personalized services, and special savings throughout the entire festival!

Your Subscriber discount extends to all additional ticket purchases you make throughout the 2014 summer season! Subscribers also enjoy free ticket exchanges for the 2014 summer season. Subscriber benefits include the following:

• Special savings: Receive a 5 percent or a 10 percent discount on all your ticket purchases throughout the festival!

• Priority ticketing: Get your orders filled before non-Subscribers for improved seats and access to concerts that sell out quickly.

• Free ticket exchanges: Easily exchange your tickets within the same season free of charge.

• Ticket replacement: Enjoy lost-ticket insurance in case you ever misplace or forget your tickets.

Choose-Your-Own Summer Festival Mini SubscriptionSave 5 percent on your summer festival ticket order and subse-quent ticket purchases throughout the summer festival when you purchase any combination of four or five ticketed festival concerts or Encounters, and receive the above benefits.

Choose-Your-Own Summer Festival Full SubscriptionSave 10 percent on your summer festival ticket order and subse-quent ticket purchases throughout the summer festival when you purchase any combination of six or more ticketed festival concerts or Encounters, and receive the above benefits.

Summer Festival Immersion SubscriptionImmerse yourself in the music for the complete Music@Menlo experi-ence! Purchase tickets to all summer festival Concert Programs and Encounters and receive the above benefits, a 10 percent discount on your tickets throughout the summer, a 10 percent discount on Music@Menlo merchandise, and a complimentary boxed set of the 2014 Music@Menlo LIVE CDs when they are released later in the year.

Reserving Your Summer Festival Tickets

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sele

ct o

ne s

umm

er fe

stiv

al s

ubsc

riptio

n di

scou

nt b

elow

, if a

pplic

able

.

(Lea

rn m

ore

on p

. 32.

)

5% o

ff: C

hoos

e-Yo

ur-O

wn

Sum

mer

Fes

tival

Min

i Sub

scrip

tion

I hav

e ch

osen

a c

ombi

natio

n of

any

four

or fi

ve fe

stiv

al C

once

rt P

rogr

ams,

Car

te B

lanc

he C

once

rts,

and

Enc

ount

ers.

10%

off

: Cho

ose-

Your

-Ow

n Su

mm

er F

estiv

al F

ull S

ubsc

riptio

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bscr

iber

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coun

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$ _

____

____

I hav

e ch

osen

a c

ombi

natio

n of

any

six

or m

ore

fest

ival

Con

cert

Pro

gram

s, C

arte

Bla

nche

Con

cert

s, a

nd E

ncou

nter

s.

(% D

isco

unt

x F

estiv

al T

icke

t Tot

al)

10%

off

: Sum

mer

Fes

tival

Imm

ersi

on S

ubsc

riptio

n

I hav

e ch

osen

all

fest

ival

Con

cert

Pro

gram

s (I

–VIII

, my

choi

ce o

f dat

es)

and

all E

ncou

nter

s (I

–IV

).

4 SU

PPO

Rt t

hE

MU

SIC

YOU

LO

vE!

Tick

et s

ales

fund

less

than

20

per

cent

of M

usic

@M

enlo

’s p

rogr

amm

ing,

whi

ch in

clud

es a

ll In

stitu

te a

ctiv

ities

and

free

con

cert

s.

Your

con

trib

utio

ns m

ake

Mus

ic@

Men

lo p

ossi

ble.

Ple

ase

cons

ider

mak

ing

a gi

ft w

ith y

our t

icke

t ord

er—

than

k yo

u! (

Lear

n m

ore

on p

p. 3

0–3

1.)

I wou

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ke to

mak

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gift

to th

e 20

14 A

nnua

l Fun

d.

Ann

ual F

und

Gift

: +

$ __

____

___

5 h

an

dLI

nG

FEE

Ple

ase

sele

ct th

e ap

plic

able

han

dlin

g fe

e. (

Lear

n m

ore

on p

. 33.

)

$10

per

ord

er to

talin

g fo

ur o

r mor

e ev

ents

(W

inte

r Ser

ies

or s

umm

er c

once

rts

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ncou

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s).

$6 p

er o

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tota

ling

thre

e or

few

er e

vent

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inte

r Ser

ies

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umm

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____

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nFI

RM t

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atIO

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___

____

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se c

harg

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y cr

edit

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mEx

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____

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____

____

____

____

____

____

____

____

___

C

RED

IT C

AR

D N

UM

BER

EX

P. D

ATE

C

VV

CO

DE

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

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____

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SI

GN

ATU

RE

Mus

ic@

Men

lo ti

cket

ser

vice

s ho

urs:

Befo

re J

uly

14: M

onda

y–Fr

iday

, 10

:00

a.m

.–4:

00

p.m

. Ju

ly 14

–Aug

ust 9

: Dai

ly, 9

:00

a.m

.–4:

00

p.m

.

For q

uest

ions

, ple

ase

call

Mus

ic@

Men

lo’s

tick

et s

ervi

ces

office

at

650

-331

-020

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mai

l tic

kets

@m

usic

atm

enlo

.org

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isit

us o

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e at

w

ww

.mus

icat

men

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rg.

We’

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lway

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k yo

u fo

r you

r ord

er.

We

look

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ard

to s

eein

g

you

this

sum

mer

!

2014 Order Form

I pre

fer t

o be

con

tact

ed b

y

p

hone

e

mai

l

I

do

not w

ish

to re

ceiv

e

in

form

atio

n in

the

mai

l

from

oth

er s

elec

t art

s

or

gani

zatio

ns.

(You

r pho

ne n

umbe

r and

em

ail

are

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r sha

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)

CH

AMB

ER M

USI

C F

ESTI

VAL

AND

INST

ITU

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• Free ticket exchanges: Easily exchange your tickets within the same season free of charge.

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vEn

UE

SEat

InG

Ma

PSRe

serv

ed S

eatin

g—Se

atin

g fo

r pai

d co

ncer

ts is

re

serv

ed a

t the

Cen

ter f

or P

erfo

rmin

g A

rts

at M

enlo

-A

ther

ton

and

Sten

t Fam

ily H

all (

new

this

yea

r!).

Seat

ing

is b

y ge

nera

l adm

issi

on in

Mar

tin F

amily

Hal

l an

d fo

r all

Prel

ude

Perf

orm

ance

s an

d Ko

ret Y

oung

Pe

rfor

mer

s Co

ncer

ts. T

icke

t ord

ers

are

fille

d in

the

fol-

low

ing

orde

r: 1)

Mem

bers

of t

he B

ach

Circ

le (

$1,0

00

) an

d ab

ove,

bas

ed o

n le

vel o

f giv

ing;

2)

Subs

crib

ers,

in

the

orde

r the

y w

ere

rece

ived

; and

3)

indi

vidu

al ti

cket

bu

yers

, in

the

orde

r the

y w

ere

rece

ived

. For

con

cert

s in

rese

rved

-sea

ting

venu

es, s

eats

are

ass

igne

d on

a

best

-ava

ilabl

e ba

sis

at th

e tim

e th

e or

der i

s fil

led.

Stag

e

A S

eatin

g

Sten

t Fa

mily

Hal

l M

enlo

Sch

ool,

Ath

erto

n (1

48 s

eats

)

PREL

Ud

E PE

RFO

RMa

nCE

S a

nd

KO

REt

YOU

nG

PER

FORM

ERS

COn

CERt

SA

mon

g th

e fe

stiv

al’s

mos

t bel

oved

eve

nts,

Mus

ic@

Men

lo’s

FR

EE P

relu

de P

erfo

rman

ces

and

Kore

t You

ng P

erfo

rm-

ers

Conc

erts

sho

wca

se th

e ex

citin

g yo

ung

artis

ts o

f the

Ch

ambe

r Mus

ic In

stitu

te. I

n re

spon

se to

the

popu

larit

y of

th

ese

even

ts, a

free

tick

et is

requ

ired

for a

ll Pr

elud

e Pe

r-fo

rman

ces

and

Kore

t You

ng P

erfo

rmer

s Co

ncer

ts. F

ree

ticke

ts c

an b

e re

ques

ted

at w

ill c

all b

egin

ning

one

hou

r pr

ior t

o th

e st

art o

f eac

h co

ncer

t or r

eser

ved

in a

dvan

ce

onlin

e at

ww

w.m

usic

atm

enlo

.org

sta

rtin

g at

9:0

0 a.

m. o

n th

e da

y of

the

even

t. Se

atin

g is

by g

ener

al a

dmiss

ion.

To

lear

n ab

out r

eser

ving

tick

ets

in a

dvan

ce o

f the

gen

eral

pu

blic

, ple

ase

see

p. 3

0.

Stag

e

Mar

tin F

amily

Hal

l M

enlo

Sch

ool,

Ath

erto

n (2

20 s

eats

)

A S

eatin

g

ADA

Acc

essi

bilit

y

Mus

ic@

Men

lo’s

per

form

ance

ven

ues

are

whe

elch

air

ac

cess

ible

. Pat

rons

requ

iring

spe

cial

sea

ting

acco

mm

odat

ions

sho

uld

requ

est

them

at

the

time

of p

urch

ase.

For

any

acc

essi

bilit

y qu

estio

ns o

r re

ques

ts, p

leas

e co

ntac

t th

e tic

ket

serv

ices

team

at

650

-331

-020

2.

Stag

e

A S

eatin

g(o

rche

stra

)

A

Seat

ing

A

Seat

ing

B S

eatin

g(r

ear

orch

estr

a)

B S

eatin

g

B S

eatin

g

B S

eatin

g

B S

eatin

g

The

Cen

ter

for

Perf

orm

ing

A

rts

at M

enlo

-Ath

erto

n

(492

sea

ts)

A S

eatin

g

venu

e se

atin

g m

aps

are

not d

raw

n to

sca

le.

SELE

Ct Y

OU

R tI

CKEt

S P

leas

e in

dica

te th

e qu

antit

y of

tick

ets

and

pric

e le

vel/

sect

ion

belo

w.

X In

dica

tes

conc

erts

with

spe

cial

lunc

h or

din

ner e

vent

s.

A S

eatin

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Seat

ing

A S

eatin

g B

Seat

ing

Tota

l

FESt

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L CO

nCE

Rt P

ROG

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S (p

p. 6

–13)

Fu

ll Pr

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U

nder

age

thi

rty*

Conc

ert P

rogr

am I:

Dvo

řák

in C

onte

xt

X

Sat,

July

19 /

6:0

0 p

.m. /

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lo-A

ther

ton

$68

× __

__

$58

× __

__

$30

× _

___

$2

0 ×

___

_ $_

____

_

Conc

ert P

rogr

am II

: Vie

nnes

e Ro

ots

Su

n, J

uly

20 /

6:0

0 p

.m. /

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lo-A

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ton

$68

× __

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× __

__

$30

× _

___

$2

0 ×

___

_ $_

____

_

Tu

e, J

uly

22 /

8:0

0 p

.m. /

Ste

nt F

amily

Hal

l $7

8 ×

____

$35

× __

__

$_

____

_

Conc

ert P

rogr

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I: Lo

bkow

icz

Lega

cy

Fr

i, Ju

ly 2

5 /

8:0

0 p

.m. /

Ste

nt F

amily

Hal

l $7

8 ×

____

$35

× __

__

$_

____

_

Sa

t, Ju

ly 2

6 /

8:0

0 p

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$68

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$2

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Conc

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rogr

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thov

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Frie

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Su

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27 /

6:0

0 p

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lo-A

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$68

× __

__

$58

× __

__

$30

× _

___

$2

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$___

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Tu

e, J

uly

29 /

8:0

0 p

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Hal

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8 ×

____

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× __

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____

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Conc

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rogr

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: Am

eric

an V

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Th

u, J

uly

31 /

8:0

0 p

.m. /

Men

lo-A

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$68

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$58

× __

__

$30

× _

___

$2

0 ×

___

_

$___

___

Conc

ert P

rogr

am V

I: Tr

ansi

tions

Fri,

Aug

ust 1

/ 8

:00

p.m

. / S

tent

Fam

ily H

all

$78

× __

__

$3

5 ×

____

$___

___

Sa

t, A

ugus

t 2 /

8:0

0 p

.m. /

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lo-A

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ton

$68

× __

__

$58

× __

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$30

× _

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$2

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____

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Conc

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rogr

am V

II: H

unga

rica

Tu

e, A

ugus

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8:0

0 p

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lo-A

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ton

$68

× __

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$30

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$2

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____

_

Conc

ert P

rogr

am V

III: B

ridgi

ng D

vořá

k

Fri,

Aug

ust 8

/ 8

:00

p.m

. / S

tent

Fam

ily H

all

$78

× __

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5 ×

____

$___

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Sa

t, A

ugus

t 9 /

8:0

0 p

.m. /

Men

lo-A

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$68

× __

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× __

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$2

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CaRt

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COn

CERt

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p. 14

–15)

Fu

ll Pr

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U

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age

thi

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Cart

e Bl

anch

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sche

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Qua

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W

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23 /

8:0

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Hal

l $7

0 ×

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____

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Cart

e Bl

anch

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t II:

Arn

aldo

Coh

en, p

iano

Sun,

Jul

y 27

/ 10

:30

a.m

. / S

tent

Fam

ily H

all

$70

× _

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$30

× _

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$___

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Cart

e Bl

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e Co

ncer

t III:

Yur

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e an

d Di

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ains

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W

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30 /

8:0

0 p

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Cart

e Bl

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e Co

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Gill

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onsa

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, pia

no

X

Sun,

Aug

ust 3

/ 10

:30

a.m

. / S

tent

Fam

ily H

all

$70

× _

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$3

0 ×

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$_

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_

EnCO

Un

tERS

(pp

. 16–

17)

Full

Pric

e

Und

er a

ge t

hirt

y*

Enco

unte

r I: D

vořá

k at

the

Cros

sroa

ds o

f the

Nat

ions

Fri,

July

18 /

7:3

0 p

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Mar

tin F

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Hal

l $4

5 ×

____

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× _

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$___

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Enco

unte

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A R

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Tra

ditio

n

Th

u, J

uly

24 /

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0 p

.m. /

Mar

tin F

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Hal

l $4

5 ×

____

$20

× _

___

$___

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Enco

unte

r III:

Fro

m E

xotic

ism

to F

olkl

oris

m:

The

Que

st fo

r Mus

ical

Aut

hent

icity

Sun,

Aug

ust 3

/ 6

:00

p.m

. / M

artin

Fam

ily H

all

$45

× __

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$2

0 ×

___

_

$_

____

_

Enco

unte

r IV:

For

bidd

en M

usic

Thu,

Aug

ust 7

/ 7

:30

p.m

. / M

artin

Fam

ily H

all

$45

× __

__

$2

0 ×

___

_

$___

___

SUM

MER

FES

TIVA

L TI

CKET

TO

TAL:

$_

____

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X SP

ECIa

L Ev

EntS

Fu

ll Pr

ice

U

nder

age

thi

rty*

X Fê

te th

e Fe

stiv

al

Sat

, Jul

y 19

/ 8

:30

p.m

. / M

enlo

Sch

ool C

ampu

s $6

5 ×

____

$65

× __

__

$_

____

_

X Ca

rte

Blan

che

IV: P

ost-

Conc

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ourm

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nch

S

un, A

ugus

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Men

lo S

choo

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8 ×

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Pl

ease

not

e: S

peci

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vent

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not

cou

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war

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stiv

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ubsc

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ns.

SP

ECIA

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ENT

TICK

ET T

OTA

L:

$___

____

2014

–201

5 W

IntE

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(pp.

22–

23)

Full

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Thre

e-Co

ncer

t Sub

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ave

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014

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eb. 2

2, 2

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ay 17

, 20

15

$140

× _

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× _

___

$65

× __

__

$55

× __

__

$___

___

Clas

sica

l Tra

ditio

ns

Su

n, N

ovem

ber 1

6 /

4:0

0 p

.m. /

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lo-A

ther

ton

$50

× _

___

$45

× __

__

$25

× __

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$20

× _

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$___

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Jeru

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m Q

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Su

n, F

ebru

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22 /

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19.



Priority Ticketing, Ticket Discounts, and Handling FeesMembers of the Bach Circle and Above (contributors of $1,000 or more to the 2014 Annual Fund)Your priority ticket order (placed by Wednesday, April 30) will be filled before all other ticket orders (based on giving level; see p. 30 for more information). For your first summer festival ticket order, pay festival Subscriber or non-Subscriber handling fees, as noted below. Then, enjoy waived handling fees for all additional ticket purchases or exchanges throughout the 2014 summer festival.

Summer Festival Subscribers (purchasing tickets to four or more ticketed summer festival concerts or Encounters) Receive a 5 percent (Summer Festival Mini Subscribers) or a 10 percent (Summer Festival Full Subscribers/Immersion Subscribers) discount on all ticket purchases throughout the 2014 summer festi-val and have your advance order (placed by Tuesday, May 13) filled before non-Subscriber orders (see p. 32 for more information). A $10-per-order handling fee applies to each original order. Subscrib-ers pay no handling fees on ticket exchanges throughout the 2014 summer festival. Subsequent new ticket purchases (not exchanges) will incur the standard $6-per-order handling fee.

Summer Festival Non-Subscribers/Single-Ticket Orders A $6 handling fee applies to an order of three or fewer concerts or Encounters (including the Winter Series, see p. 22). A $3-per-ticket handling fee applies to exchanges.

Discounted Tickets for Those Under Age ThirtyMusic@Menlo is committed to making tickets available at a greatly reduced rate for audience members under the age of thirty. Prices vary by event and venue and are listed on the order form. Proof of age is required.

Seating for Paid EventsSeating is reserved for all Concert Programs and Carte Blanche Concerts in Stent Family Hall (new this year!) and the Center for Performing Arts at Menlo-Atherton. Seating is by general admission for all Encounters and all free events, including Prelude Performances, Koret Young Performers Concerts, Café Conversations, and master classes. For reserved-seating events, seats are assigned on a best-available basis at the time the order is filled. Priority orders placed by April 30 for Bach Circle and above Members and by May 13 for Subscribers are filled according to giving level and Subscriber status. See p. 30 for informa-tion about Premium Seating for Haydn Circle and above Members.

Receiving Your Summer Festival Tickets Tickets will be mailed beginning in mid-June. For ticket orders placed after that, tickets will be mailed within approximately five business days. For ticket orders placed fewer than seven days prior to a performance, tickets will be held at will call. (For Winter Series tickets, see p. 22.)

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 donation. Ticket exchanges are compli-mentary for Summer Festival Subscribers and Members of the Bach

Circle ($1,000) and above. All other exchanges are subject to a $3-per-ticket fee. There is never a fee to donate your ticket. Proof of the return must be provided by returning the original tickets or tearing them in half and sending an image of the torn tickets by fax, scan, or digital photograph. We cannot refund tickets, except in the case of a canceled program. All programs and artists are subject to change without notice.

Ticket Reservations for Prelude Performances and Koret Young Performers ConcertsOnline ticket reservations are available for Prelude Performances and Koret Young Performers Concerts and can be made at www.musicatmenlo.org on the day of the event after 9:00 a.m. Free tickets can also be requested in person at will call beginning one hour prior to the start of each concert. Members of the Bach Circle ($1,000) and above enjoy advance ticket reservations for one free concert of their choice. Members of the Beethoven Circle ($10,000) and above enjoy advance ticket reservations for all free concerts. Ticket reservations are general admission. For reserved seats, Mem-bers of the Haydn Circle ($2,500) and above may use their Premium Seating reservations (see p. 30 for donor benefit information).

Will Call and Ticket Services at the Venue Will call and on-site ticket services at each venue open one hour before the start of any ticketed event. Tickets for all Music@Menlo paid events may be ordered at on-site ticket services.

Questions For questions about tickets or your order, please contact ticket ser-vices at 650-331-0202, email [email protected], or visit www.musicatmenlo.org.

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form

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Con

cert

s sc

hedu

le o

n p.

19.



Menlo School, one of the nation’s leading independent college- preparatory schools, 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 Conversations, master classes, and other Institute activities.

Menlo School’s commitment to learning and its welcoming atmo-sphere and beautiful grounds make it the ideal environment for

audiences, Institute students, and the festival’s artist-faculty to share ideas and realize Music@Menlo’s educational mission, which serves festival audiences, Menlo School students, and the next gen-eration 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 classical music into the Menlo School classrooms with a series of special performances, discussions, and classroom presentations designed to introduce Menlo School students to a broad selection of chamber music

masterpieces, all in the context of curricula ranging from American literature to foreign language studies.

Festival Welcome CenterMusic@Menlo’s Welcome Center serves as a place for artists, stu-dents, audiences, 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. Located on the Menlo School campus on the ground floor of Stent Family Hall (beneath Spieker Ballroom), the Welcome Center is open daily throughout the festival.

The Festival Campus and Performance Venues

Performance VenuesIn 2014, Music@Menlo offers audiences a 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 multimedia facility, offers up-close enjoyment from every seat for Encounters (see pp. 16–17), select Prelude Performances (see pp. 18–19), master classes, and Café Conversations (see p. 20).

The Center for Performing Arts at Menlo-Atherton, opened in 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 concerts at the Center for Performing Arts at Menlo-Atherton and Stent Family Hall is reserved. Seating in Martin Family Hall and for all free events, including Prelude Performances and Koret Young Performers Concerts, is by general admission. Venue seating maps and more information on reserved seating can be found on the order form, and directions to the venues appear on this page.

Stent Family Hall

Martin Family Hall

The Center for Performing Arts at Menlo-Atherton

The Festival Home: Menlo School


masterpieces, all in the context of curricula ranging from American literature to foreign language studies.

Festival Welcome CenterMusic@Menlo’s Welcome Center serves as a place for artists, stu-dents, audiences, 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. Located on the Menlo School campus on the ground floor of Stent Family Hall (beneath Spieker Ballroom), the Welcome Center is open daily throughout the festival.

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 interna-tional airports: San Francisco, San Jose, and Oakland. Atherton and Menlo Park are within forty-five minutes of each. Caltrain services Menlo Park and nearby Palo Alto for a direct link to San Francisco.

Weather: In July and August, it almost never rains on the Peninsula. Days are dry and warm, frequently in the low eighties, and evenings can be cool, sometimes in the high fifties.

Shopping and eating: The towns of Menlo Park and Palo Alto offer tree-lined streets featuring distinctive boutiques, shops, and out-standing 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 Raven-swood Avenue. Parking is free in the adjacent lot.

CalTrain

A T H E R T O N

M E N L O P A R K

P A L O A L T O

Cowper St.

THE CENTER FOR PERFORMING ARTS

AT MENLO-ATHERTON

Rave

nsw

ood

Ringwoo

d Ave

Willo

w Rd.

PHOTO CREDITS Music@Menlo photographs: pp. 2–3, 14 (Adam Barnett-Hart), 15 (Yura Lee), 16, 18, 19, 20, 22, 30, 31, 32, 33, 34, and 35: Tristan Cook with Brian Benton and Diana Lake. pp. 14 (Escher String Quartet) and 23 (Sean Lee and Kristin Lee; David Shifrin, Anne-Marie McDermott, and Romie de Guise-Langlois): Tristan Cook, courtesy of the Chamber Music Society of Lincoln Center. Artist portraits: Danish String Quartet (p. 26): Caroline Bittencourt. Juho Pohjonen (p. 28): Marco Borggreve. Jerusalem String Quartet (p. 23), Ayano Kataoka (p. 27), Chris Froh, Ayano Kataoka, and Ian Rosenbaum (p. 20), and Michael Parloff (p. 28): Tristan Cook. Benjamin Beilman (p. 26): Benjamin Ealovega. Arnaud Sussmann (p. 29): Nyght Falcon. Ian Rosenbaum (p. 29): Matt Fried. Kevin Rivard (p. 29): Heather George. David Beveridge (p. 26): Zdenek Hrabica. Jorja Fleezanis (p. 27): courtesy of Indiana State University. Sooyun Kim (p. 27): Andrew Kim. Gloria Chien (p. 26), David Finckel and Wu Han (p. 25), and Erin Keefe (p. 27): Lisa-Marie Mazzucco. Keith Robinson (p. 29): Tara McMullen. Paul Neubauer (p. 28): Bernard Mindich. Escher String Quartet (p. 26): Laura Rose. Ara Guzelimian (p. 27): Peter Schaaf. Anthony McGill (p. 28): Katie Smith. Sunmi Chang (p. 26): courtesy of the Saint Paul Chamber Orchestra. Da-Hong Seetoo (p. 21) and Stephen Taylor (p. 29): Christian Steiner.

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

1. Menlo School: 50 Valparaiso Ave., Atherton

2. The Center for Performing Arts at Menlo-Atherton: 555 Middlefield Road, Atherton

1

2

MAP NOT DRAWN TO SCALE

Performance VenuesIn 2014, Music@Menlo offers audiences a 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 multimedia facility, offers up-close enjoyment from every seat for Encounters (see pp. 16–17), select Prelude Performances (see pp. 18–19), master classes, and Café Conversations (see p. 20).

The Center for Performing Arts at Menlo-Atherton, opened in 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 concerts at the Center for Performing Arts at Menlo-Atherton and Stent Family Hall is reserved. Seating in Martin Family Hall and for all free events, including Prelude Performances and Koret Young Performers Concerts, is by general admission. Venue seating maps and more information on reserved seating can be found on the order form, and directions to the venues appear on this page.

Stent Family Hall

Martin Family Hall

The Center for Performing Arts at Menlo-Atherton


Date

Free E

vent

sPa

id Ev

ents

Mus

ic@

Men

lo C

alen

dar

July

18–A

ugus

t 9, 2

014

Frida

y,

July

18

7:30 p

.m.

Enco

unte

r I: D

vorá

k at t

he Cr

ossro

ads o

f the

Nat

ions,

led by

Dav

id B

ever

idge

Ma

rtin F

amily

Hall

($45

)

Satu

rday

, Ju

ly 19

3:3

0 p.m

. Pr

elude

Perfo

rman

ce

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton

6:

00 p.

m.

Conc

ert P

rogr

am I:

Dvor

ák in

Cont

ext

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton (

$68/

$58)

8:30

p.m

. Fê

te th

e Fes

tival

Menlo

Scho

ol Ca

mpu

s ($6

5)

Sund

ay,

July

20

3:30 p

.m.

Prelu

de Pe

rform

ance

Th

e Cen

ter f

or Pe

rform

ing A

rts at

Men

lo-At

herto

n

6:00

p.m

. Co

ncer

t Pro

gram

II: V

ienne

se Ro

ots

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton (

$68/

$58)

Mond

ay,

July

21

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

4:

15 p.

m.

Liste

ning

Room

with

Patri

ck Ca

stillo

Ma

rtin

Fam

ily H

all

Tues

day,

Ju

ly 22

11:

45 a.

m.

Maste

r Clas

s/Caf

é Con

versa

tion*

Ma

rtin

Fam

ily H

all

5:30 p

.m.

Prelu

de Pe

rform

ance

Ma

rtin

Fam

ily H

all

8:

00 p.

m.

Conc

ert P

rogr

am II:

Vien

nese

Root

s St

ent F

amily

Hall

($78

)

Wedn

esda

y,

July

23

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

5:3

0 p.m

. Pr

elude

Perfo

rman

ce

Marti

n Fa

mily

Hall

8:

00 p.

m.

Carte

Blan

che C

once

rt I: E

sche

r Stri

ng Q

uarte

t St

ent F

amily

Hall

($70

)

Thur

sday

, Ju

ly 24

Cham

ber M

usic

In

stitu

te O

pen H

ouse

11:

45 a.

m.

Maste

r Clas

s* w

ith A

rnau

d Su

ssm

ann,

violi

n Ma

rtin

Fam

ily H

all

5:30 p

.m.

Prelu

de Pe

rform

ance

St

ent F

amily

Hall

7:3

0 p.m

. En

coun

ter I

I: A Ro

yal T

radi

tion,

led

by W

illiam

Lobk

owicz

Ma

rtin F

amily

Hall

($45

)

Frida

y,

July

25

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

5:3

0 p.m

. Pr

elude

Perfo

rman

ce

Marti

n Fa

mily

Hall

8:

00 p.

m.

Conc

ert P

rogr

am III

: Lob

kowi

cz Le

gacy

St

ent F

amily

Hall

($78

)

Satu

rday

, Ju

ly 26

1:0

0 p.m

. Ko

ret Y

oung

Perfo

rmer

s Con

cert

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton

8:

00 p.

m.

Conc

ert P

rogr

am III

: Lob

kowi

cz Le

gacy

Th

e Cen

ter f

or Pe

rform

ing A

rts at

Men

lo-At

herto

n ($6

8/$5

8)

Sund

ay,

July

27

10:30

a.m

. Ca

rte B

lanch

e Con

cert

II: A

rnald

o Coh

en, p

iano

Sten

t Fam

ily H

all ($

70)

6:

00 p.

m.

Conc

ert P

rogr

am IV

: Bee

thov

en’s

Frien

ds

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton (

$68/

$58)

Mond

ay,

July

28

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

4:

15 p.

m.

Liste

ning

Room

with

Patri

ck Ca

stillo

Ma

rtin

Fam

ily H

all

5:30 p

.m.

Prelu

de Pe

rform

ance

Sten

t Fam

ily H

all

Tues

day,

Ju

ly 29

11:

45 a.

m.

Café

Conv

ersa

tion*

with

Visu

al Ar

tist T

race

y Ada

ms

Sten

t Fam

ily H

all

5:30 p

.m.

Prelu

de Pe

rform

ance

Ma

rtin

Fam

ily H

all

8:

00 p.

m.

Conc

ert P

rogr

am IV

: Bee

thov

en’s

Frien

ds

Sten

t Fam

ily H

all ($

78)

Wedn

esda

y,

July

30

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

5:3

0 p.m

. Pr

elude

Perfo

rman

ce

Marti

n Fa

mily

Hall

8:

00 p.

m.

Carte

Blan

che C

once

rt III

: Yur

a Lee

, viol

in, a

nd D

ina V

ainsh

tein

, pian

o St

ent F

amily

Hall

($70

)

Thur

sday

, Ju

ly 31

11:

45 a.

m.

Maste

r Clas

s/Caf

é Con

versa

tion*

Ma

rtin

Fam

ily H

all

8:00

p.m

. Co

ncer

t Pro

gram

V: A

mer

ican V

ision

s Th

e Cen

ter f

or Pe

rform

ing A

rts at

Men

lo-At

herto

n ($6

8/$5

8)

Date

Free E

vent

sPa

id Ev

ents


Frida

y,

July

18

7:30 p

.m.

Enco

unte

r I: D

vorá

k at t

he Cr

ossro

ads o

f the

Nat

ions,

led by

Dav

id B

ever

idge

Ma

rtin F

amily

Hall

($45

)

Satu

rday

, Ju

ly 19

3:3

0 p.m

. Pr

elude

Perfo

rman

ce

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton

6:

00 p.

m.

Conc

ert P

rogr

am I:

Dvor

ák in

Cont

ext

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton (

$68/

$58)

8:30

p.m

. Fê

te th

e Fes

tival

Menlo

Scho

ol Ca

mpu

s ($6

5)

Sund

ay,

July

20

3:30 p

.m.

Prelu

de Pe

rform

ance

Th

e Cen

ter f

or Pe

rform

ing A

rts at

Men

lo-At

herto

n

6:00

p.m

. Co

ncer

t Pro

gram

II: V

ienne

se Ro

ots

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton (

$68/

$58)

Mond

ay,

July

21

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

4:

15 p.

m.

Liste

ning

Room

with

Patri

ck Ca

stillo

Ma

rtin

Fam

ily H

all

Tues

day,

Ju

ly 22

11:

45 a.

m.

Maste

r Clas

s/Caf

é Con

versa

tion*

Ma

rtin

Fam

ily H

all

5:30 p

.m.

Prelu

de Pe

rform

ance

Ma

rtin

Fam

ily H

all

8:

00 p.

m.

Conc

ert P

rogr

am II:

Vien

nese

Root

s St

ent F

amily

Hall

($78

)

Wedn

esda

y,

July

23

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

5:3

0 p.m

. Pr

elude

Perfo

rman

ce

Marti

n Fa

mily

Hall

8:

00 p.

m.

Carte

Blan

che C

once

rt I: E

sche

r Stri

ng Q

uarte

t St

ent F

amily

Hall

($70

)

Thur

sday

, Ju

ly 24

Cham

ber M

usic

In

stitu

te O

pen H

ouse

11:

45 a.

m.

Maste

r Clas

s* w

ith A

rnau

d Su

ssm

ann,

violi

n Ma

rtin

Fam

ily H

all

5:30 p

.m.

Prelu

de Pe

rform

ance

St

ent F

amily

Hall

7:3

0 p.m

. En

coun

ter I

I: A Ro

yal T

radi

tion,

led

by W

illiam

Lobk

owicz

Ma

rtin F

amily

Hall

($45

)

Frida

y,

July

25

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

5:3

0 p.m

. Pr

elude

Perfo

rman

ce

Marti

n Fa

mily

Hall

8:

00 p.

m.

Conc

ert P

rogr

am III

: Lob

kowi

cz Le

gacy

St

ent F

amily

Hall

($78

)

Satu

rday

, Ju

ly 26

1:0

0 p.m

. Ko

ret Y

oung

Perfo

rmer

s Con

cert

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton

8:

00 p.

m.

Conc

ert P

rogr

am III

: Lob

kowi

cz Le

gacy

Th

e Cen

ter f

or Pe

rform

ing A

rts at

Men

lo-At

herto

n ($6

8/$5

8)

Sund

ay,

July

27

10:30

a.m

. Ca

rte B

lanch

e Con

cert

II: A

rnald

o Coh

en, p

iano

Sten

t Fam

ily H

all ($

70)

6:

00 p.

m.

Conc

ert P

rogr

am IV

: Bee

thov

en’s

Frien

ds

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton (

$68/

$58)

Mond

ay,

July

28

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

4:

15 p.

m.

Liste

ning

Room

with

Patri

ck Ca

stillo

Ma

rtin

Fam

ily H

all

5:30 p

.m.

Prelu

de Pe

rform

ance

Sten

t Fam

ily H

all

Tues

day,

Ju

ly 29

11:

45 a.

m.

Café

Conv

ersa

tion*

with

Visu

al Ar

tist T

race

y Ada

ms

Sten

t Fam

ily H

all

5:30 p

.m.

Prelu

de Pe

rform

ance

Ma

rtin

Fam

ily H

all

8:

00 p.

m.

Conc

ert P

rogr

am IV

: Bee

thov

en’s

Frien

ds

Sten

t Fam

ily H

all ($

78)

Wedn

esda

y,

July

30

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

5:3

0 p.m

. Pr

elude

Perfo

rman

ce

Marti

n Fa

mily

Hall

8:

00 p.

m.

Carte

Blan

che C

once

rt III

: Yur

a Lee

, viol

in, a

nd D

ina V

ainsh

tein

, pian

o St

ent F

amily

Hall

($70

)

Thur

sday

, Ju

ly 31

11:

45 a.

m.

Maste

r Clas

s/Caf

é Con

versa

tion*

Ma

rtin

Fam

ily H

all

8:00

p.m

. Co

ncer

t Pro

gram

V: A

mer

ican V

ision

s Th

e Cen

ter f

or Pe

rform

ing A

rts at

Men

lo-At

herto

n ($6

8/$5

8)

Frida

y,

Augu

st 1

11:

45 a.

m.

Maste

r Clas

s/Caf

é Con

versa

tion*

Ma

rtin

Fam

ily H

all

5:30 p

.m.

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rform

ance

Ma

rtin

Fam

ily H

all

8:

00 p.

m.

Conc

ert P

rogr

am V

I: Tra

nsiti

ons

Sten

t Fam

ily H

all ($

78)

Satu

rday

, Au

gust

2

1:00 p

.m.

Kore

t You

ng Pe

rform

ers C

once

rt Th

e Cen

ter f

or Pe

rform

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rts at

Men

lo-At

herto

n

5:30 p

.m.

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de Pe

rform

ance

Th

e Cen

ter f

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rform

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rts at

Men

lo-At

herto

n

8:

00 p.

m.

Conc

ert P

rogr

am V

I: Tra

nsiti

ons

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton (

$68/

$58)

Sund

ay,

Augu

st 3

10

:30 a.

m.

Carte

Blan

che C

once

rt IV

: Gille

s Von

satte

l, pian

o St

ent F

amily

Hall

($70

) Pic

nic L

unch

($18)

6:

00 p.

m.

Enco

unte

r III:

From

Exot

icism

to Fo

lklor

ism, le

d by

Mich

ael P

arloff

Ma

rtin F

amily

Hall

($45

)

Mond

ay,

Augu

st 4

11:

45 a.

m.

Maste

r Clas

s/Caf

é Con

versa

tion*

Ma

rtin

Fam

ily H

all

4:15

p.m

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teni

ng Ro

om w

ith Pa

trick

Casti

llo

Marti

n Fa

mily

Hall

5:3

0 p.m

. Pr

elude

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rman

ce St

ent F

amily

Hall

Tues

day,

Au

gust

5

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

Marti

n Fa

mily

Hall

8:

00 p.

m.

Conc

ert P

rogr

am V

II: H

unga

rica

The C

ente

r for

Perfo

rming

Arts

at M

enlo-

Athe

rton (

$68/

$58)

Wedn

esda

y,

Augu

st 6

11:

45 a.

m.

Maste

r Clas

s/Caf

é Con

versa

tion*

Ma

rtin

Fam

ily H

all

Thur

sday

, Au

gust

7

11:45

a.m

. Ma

ster C

lass/C

afé C

onve

rsatio

n*

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n Fa

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5:3

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. Pr

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. En

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music@menlo 2014 season brochure

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