music@menlo · shostakovich composed the trio in c minor (published as his opus 8) while still a...

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Music@Menlo

Montrose Trio

November 12, 2017

JON KIMURA PARKER, piano MARTIN BEAVER, violin

CLIVE GREENSMITH, cello

About Music@Menlo One of the world’s foremost chamber music festivals and institutes, Music@Menlo promotes the enjoyment and understanding of classical music by encouraging audience members, artists, and young musicians to engage deeply with great music.

Under the artistic leadership of David Finckel and Wu Han, Music@Menlo combines world-class chamber music performances, extensive audience engagement, and intensive training for young artists in its Chamber Music Institute in an effort to enrich and further build the chamber music community of Silicon Valley and the San Francisco Bay Area. Music@Menlo’s unique approach enhances concert programs by creating an immersive experience through numerous opportunities for deepening and intensifying listeners’ understanding and enjoyment of the music. With a context-rich atmosphere and powerful engagement between its audience and the music, Music@Menlo has set a new standard for chamber music festivals worldwide.

David Finckel and Wu Han, Artistic Directors

Music@Menlo Artistic Directors David Finckel and Wu Han are among today’s most influential classical musicians. Named Musical America Musicians of the Year, the cellist and pianist have appeared at many of the world’s most prestigious venues and music festivals. Also Artistic Directors of the Chamber Music Society of Lincoln Center in New York, David Finckel and Wu Han are widely recog-nized for their initiatives in expanding audiences for classical music and for guiding the careers of countless young musicians.

Music@MenloBoardAnn S. Bowers Oliver A. Evans Paul M. GinsburgJerome GuillenEff W. MartinBetsy MorgenthalerCamilla SmithTrine SorensenDavid Finckel and Wu Han,

Artistic Directors Allen I. Lantor, ex officioEdward P. Sweeney,

Executive Director, ex officio

Darren H. Bechtel, emeritusLeonard Edwards, emeritus Earl Fry, emeritus Kathleen G. Henschel, emeritaMichael J. Hunt, emeritusHugh Martin, emeritusWilliam R. Silver, emeritus

AdministrationDavid Finckel and Wu Han,

Artistic DirectorsEdward P. Sweeney,

Executive DirectorPatrick Castillo,

Audience Engagement DirectorClaire Graham,

Communications DirectorMatthew Gray, Development AssociateMarianne R. LaCrosse,

General Manager and Education Programs Director

Nathan Paer, Artistic AdministratorLee Ramsey, Development DirectorTaylor Smith,

Patron Engagement ManagerDaphne Wong, Director of Artistic Operations

Music@Menlo2017–2018 Winter Series

Montrose Trio Sunday, November 12, 2017, 6:00 p.m.

The Center for Performing Arts at Menlo-Atherton

DMITRY SHOSTAKOVICH (1906–1975)

Piano Trio no. 1 in c minor, op. 8 (1923)

LUDWIG VAN BEETHOVEN (1770–1827)

Piano Trio in E-flat Major, op. 1, no. 1 (1794)

AllegroAdagio cantabileScherzo: Allegro assaiFinale: Presto

INTERMISSION

JOHANNES BRAHMS (1833–1897)

Piano Trio no. 1 in B Major, op. 8 (1853–1854, rev. 1889)

Allegro con brioScherzo: Allegro moltoAdagioFinale: Allegro

Jon Kimura Parker, piano; Martin Beaver, violin; Clive Greensmith, cello

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PROGRAM NOTES

DMITRY SHOSTAKOVICH(Born September 12/25, 1906, St. Petersburg; died August 9, 1975, Moscow)

Piano Trio no. 1 in c minor, op. 8Composed: 1923

Published: Unpublished during Shostakovich’s lifetime. The posthumously published edition was assembled from multiple manuscript sources, with the final twenty-two measures of the piano part supplied by Boris Tishchenko (Shostakovich’s student).

Dedication: Tatiana I. Glivenko

First performance: December 1923, St. Petersburg Conservatory; first public perfor-mance: March 20, 1925, Moscow Conservatory

Other works from this period: Suite in f-sharp minor for Two Pianos, op. 6 (1922); Two Fables of Krïlov for Mezzo-Soprano and Orchestra, op. 4 (1922); Symphony no. 1 in f minor, op. 10 (1924–1925)

Approximate duration: 13 minutes

Any mention of “Shostakovich’s Piano Trio,” as if he wrote only one, refers by default to the Trio in e minor, op. 67. It’s a fair enough assumption. The e minor Trio, composed in 1944, encapsulates much of Shostakovich’s artistic identity, synonymous as his name has become with the intensity of his musical response to his sociopolitical climate. The work is an elegy to the young Russian intellectual Ivan Sollertinsky, a confidant to the composer with whom he weathered the oppression of Stalin’s regime. It is a powerful work and has rightly become one of Shostakovich’s most highly regarded chamber pieces.

But the Opus 67 Piano Trio is actually Shostakovich’s second piano trio—and as with other prominent composers’ lesser-known juvenilia (cf. Gustav Mahler’s Piano Quartet), examination of the Piano Trio no. 1 is both informative for the historian and satisfying for the listener.

Shostakovich composed the Trio in c minor (published as his Opus 8) while still a stu-dent at the St. Petersburg Conservatory. Like other products of his adolescence (the Prelude and Scherzo for String Octet, completed two years later, offers another fine example), the trio not only shows the promise of a gifted young composer but, more than that, presages the hallmarks of his later maturity.

A passive listener might find the trio’s constant shifts in tempo erratic and disorient-ing. However, the work’s fragmented shape, essential to its overall character, is held together by its musical materials. The most important of these appears in the first measure. The cello presents a simple motif—three descending half-steps (G-flat–F–E)—which is echoed by the violin (C–B–A-sharp) to commence a long, sinewy melody of its own. Those three notes contain the trio’s genetic code.

The piece abruptly picks up speed, and hints of the sardonic smirk that charac-terizes much of Shostakovich’s later work appear. Just as abruptly, the Andante

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PROGRAM NOTES

music returns, now hypnotically centered on the opening three-note motif. In these slower sections, the trio exhibits the lyric sensibility that would later serve such elegiac works as Shostakovich’s Eighth String Quartet. At the following Allegro episode, the cello parlays the descending three-note motif into a clipped, staccato melody. The tempo quickens, momentum builds—then suddenly brakes to Adagio once again. The cello transforms the Allegro staccato melody into a slow, legato utterance, marked piano, espressivo; the piano punctuates the Adagio pas-sage with soft, undulating chords.

This figure continues into the subsequent Andante section, as the cello introduces a new melodic idea. What follows is the trio’s most beguiling music—yet the attentive listener will observe recurrences of the three-note motif, like Waldo mischievously hiding behind the set of a love scene. The legato version of the previous melody returns, now in the violin and somehow suggesting a wry smile. The ear suspects a sly duplicity, as though the cello’s earlier heartfelt utterance were not wholly sincere.

From here, the trio builds steadily—Moderato, then Allegro, and finally Prestissimo fantastico—with the three-note motif continuing to permeate the music’s constantly evolving textures. Shostakovich indulges in a brief remembrance of the opening Andante before arriving at the trio’s radiant climax. But by this time, the ear is dizzy from Shostakovich’s wiles. The soaring strings and triumphantly clanging piano chords—signals, one would think, of jubilation—should, perhaps, be met warily.

Such subterfuge would later become an existentially vital part of Shostakovich’s craft. In 1937, following official criticism of his opera Lady Macbeth of the Mtsensk District, Shostakovich designed his Fifth Symphony to outwardly gratify the Communist Party while furtively expressing his political angst. The Piano Trio in c minor, composed in Shostakovich’s eighteenth year, contains early signs of the technique and artistic fortitude on which his greatness would be founded.

—© 2016 Patrick Castillo

LUDWIG VAN BEETHOVEN(Born in Bonn, baptized December 17, 1770; died March 26, 1827, Vienna)

Piano Trio in E-flat Major, op. 1, no. 1 Composed: 1794

Published: 1795, Vienna

Dedication: Carl von Lichnowsky

First performance: Detailed in the notes below

Other works from this period: Rondo in B-flat Major for Piano and Orchestra, WoO 6 (1793); Piano Trio in G Major, op. 1, no. 2 (1794–1795); Piano Trio in c minor, op. 1, no. 3 (1794–1795); String Quintet in E-flat Major, op. 4 (1795); Piano Concerto no. 1 in C Major, op. 15 (1795)


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PROGRAM NOTES

For his first published works, completed within three years of his traveling from his native Bonn to Vienna, the musical capital of the Western world, Beethoven chose a set of three piano trios: two genial, major-key works and the blustery Trio no. 3 in c minor, a key which would become one of the composer’s calling cards. With some dozen or more chamber works already under his belt, composed in Bonn and during his early days in Vienna, the publication of these trios as his Opus 1 represented a bold and deliberate decision. Beethoven’s teacher, Joseph Haydn, had played a groundbreaking role in the elevation of the piano trio genre from light salon music (little more than a keyboard sonata with violin doubling the melody and cello doubling the left hand) to chamber music of the highest sophistication. In choosing Haydn’s signature medium to announce himself to Viennese audiences, the notoriously headstrong Beethoven—whom, moreover, Haydn hardly nurtured with the kind of paternal warmth that, for instance, Mozart had shown to his students—put the public on notice that an impor-tant new musical voice was here to be reckoned with.

Beethoven dedicated the trios, significantly, not to Haydn but to the Prince Carl von Lichnowsky, the patron in whose home the works were first performed. Beethoven was joined for the occasion by violinist Ignaz Schuppanzigh and cellist Anton Kraft, two of Vienna’s most prominent chamber musicians. (Before his debut as a composer, Beethoven had already made his mark as a virtuoso pianist. His take-no-prisoners energy at the keyboard became the stuff of legend. Simply put, Vienna had never before heard a pianist like Beethoven. Contemporary accounts noted the “tremendous power, character, unheard-of bravura, and facility” of Beethoven’s playing. Images have endured of the ferocious virtuoso requiring an assistant to pull broken strings out of the instrument as he played.) Vienna’s musical elite, including Haydn, turned up for the performance.

As Beethoven subsequently prepared the trios for publication, Haydn advised that he withhold the Trio in c minor, feeling it out of step with Viennese tastes; when that trio proved the most popular of the set, Beethoven suspected Haydn of jealousy and professional sabotage. It is also telling that he forewent the custom of appending “pupil of Haydn” to his name in the published score. Despite the burgeoning tensions between master and pupil, Beethoven’s Opus 1 trios are nevertheless audibly indebted to Haydn, as well as to Mozart, as the first of these trios, in E-flat, calls to mind the character of Mozart’s Piano Quartet in E-flat Major, K. 493.

The Allegro first movement’s opening theme is marked by a series of ascending arpeg-gios—a gesture known as the “Mannheim rocket”—separated by three chords. The Mannheim rocket was fashionable at the time, named for its frequent use by compos-ers associated with the Mannheim court orchestra to show off the brilliant virtuosity of that celebrated “army of generals.” Before proceeding to the second theme, the trio offers a glimpse of Beethoven’s obsessive developmental tendencies, fully real-ized in later works: the three instruments toss the Mannheim rocket gesture back and forth, each extending it in turn while another voice comments. Another series of three chords, at double the note value of those in the opening measures, fol-lowed by a simple legato line, signals the arrival of the second theme group, which in turn unfolds as a generous succession of affable melodic ideas. The short but sure-handed development section and subsequent recapitulation confirm Beethoven’s total integration of the formal model set by Haydn and Mozart.


PROGRAM NOTES

The tender Adagio cantabile is a rondo, shaded with remarkable subtlety and expres-sive nuance. Consider the second episode, in e-flat minor: following a thoughtful utterance in the piano, the violin presents an ascending melody—a prayer of supplica-tion, perhaps—soon taken up by the cello. But the mood of this passage is short-lived: the atmosphere turns suddenly sentimental and then assertive, all within the span of a few measures. While this slow movement may not break any new ground in its formal structure, a subtle but powerful sense of drama nevertheless plays out, framed by seemingly innocuous (but, indeed, deeply felt) music.

The scherzo shows a restraint perhaps unexpected in the first published scherzo from such a youthful firebrand as Beethoven in 1794. But likewise does this movement demonstrate some of the propensities that would come to define Beethoven’s voice over the following decades, such as his obsessive working-over of short motivic cells and shockingly abrupt dynamic contrasts.

The exposition of the sonata-form Presto finale recalls Haydn in its mischievous sense of humor, right from its opening gesture: cheeky ascending leaps of a tenth in the piano. The music that follows, with its rhythmic pep and effervescent energy, might evoke children at play, as does the extended recapitulation. But the movement’s development section unleashes a sudden outburst beyond even Haydn’s most forward-looking Sturm-und-Drang moments. Cast into relief against the innocuous material that comes before and after, this music’s ferocity is only further intensified. The moment passes quickly but makes an indelible impression. It is as though Beethoven offers but a taste of what he has up his sleeve.


JOHANNES BRAHMS(Born May 7, 1833, Hamburg; died April 3, 1897, Vienna)

Piano Trio no. 1 in B Major, op. 8Composed: 1853–1854, rev. 1889

Published: 1854, rev. 1891, by Simrock

First performance: October 13, 1855, Danzig (revised version: January 10, 1890, Budapest)

Other works from this period: Sonata no. 3 in f minor for Solo Piano, op. 5 (1853); Piano Concerto no. 1 in d minor, op. 15 (1854–1859); Piano Quartet no. 3 in c minor, op. 60 (1855–1875); Violin Sonata no. 3 in d minor, op. 108 (1886–1888)


In 1853—the same momentous year in which he met Robert and Clara Schumann—the twenty-year-old Brahms set to work on what would become one of his grandest contributions to the chamber music repertoire: the Piano Trio in B Major, op. 8. Though Brahms had by this time produced numerous chamber works, all were withheld from publication. A notorious perfectionist, Brahms famously burned

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PROGRAM NOTES

countless manuscripts throughout his career that did not meet his uncompromising standards. The Opus 8 Trio is the first chamber work that Brahms saw fit to publish—and even in this case, he returned to the work and made revisions to it more than three decades later. Curiously, Brahms allowed both versions to remain in publication; the 1889 revision is the version commonly heard today.

Departing from the piano trios of Haydn and Mozart, which typically comprise three movements, Brahms’s Opus 8 echoes the symphonic breadth of Beethoven’s four-movement trios.

The opening Allegro con brio begins with a broad, stately theme, begun by the piano and continued in the cello’s tenor register. This music steadily unfolds towards an emphatic proclamation by all three instruments, quickly foiled by a hushed transfor-mation of the theme. The piano quietly introduces the second theme: this music, too, quickly expands in a series of long, breathless melodies, each flowing organi-cally into the next. The great melodic wealth of the exposition yields an equally rich development section, where Brahms transfigures the movement’s thematic material to explore broad expressive terrain.

In contrast to the first movement’s majestic carriage, the scherzo gallops at a light and mischievous gait. In true Romantic fashion, Brahms sets the fleet-footed theme in emotive extremes, alternating whispered restraint with dramatic exclamations. The trio section offers another expressive contrast, offsetting the scherzo’s austerity with a sentimental Viennese waltz.

The sublime Adagio begins as a call-and-response between spacious chords in the piano and expressive utterances in the strings. As these two elements unite, a new, plaintive melody emerges in the cello. The music of the opening returns, transfigured.

The cello sets the fourth movement Allegro in motion with an unsettled waltz. Echoing the dialectic of the scherzo movement, the finale juxtaposes this agile Viennese waltz with music of a more vigorous, Germanic flavor: an extroverted second theme sung forth by the piano and accentuated by the cello’s insistent syncopation. The dialogue between these two musical ideas develops freely and intensifies towards the trio’s assertive conclusion.

Even in Brahms’s 1889 revision, the Opus 8 Trio captures the passion and ambition of Brahms in his youth. While Brahms revised melodic ideas and the trio’s overall scale (the revision is shortened by nearly one third), the spirit of the original work—its essence that foreshadowed one of the nineteenth century’s foremost musical voices—is in no way suppressed.


PROGRAM NOTES

ARTIST BIOGRAPHIES


ABOUT THE TRIOFormed in 2014, Montrose Trio is a collaboration stemming from a long and fruitful relationship between pianist Jon Kimura Parker and the Tokyo String Quartet. Parker was the quartet’s final guest pianist, and a backstage conversation with violinist Martin Beaver and cellist Clive Greensmith led to Montrose Trio’s creation.

Named after Château Montrose, a storied Bordeaux wine long favored after con-certs, with a nod to the Montrose Arts District of Houston and the street in Winnipeg where Beaver was raised, Montrose Trio has quickly established a reputation for performances of the highest distinction. In 2015 the Washington Post raved about its “absolutely top-notch music making, as fine as one could ever expect to hear…poised to become one of the top piano trios in the world.”

Montrose Trio gave its debut performance for the Chamber Music Society of Detroit, with subsequent performances at Wolf Trap, in Montreal, and at the Santa Fe Chamber Music Festival. Its 2015–2016 season included concerts in Philadelphia, New York, Vancouver, Portland, Eugene, Baltimore, Jacksonville, Durham, Detroit, Buffalo, and La Jolla and at the Hong Kong Chamber Music Festival.

Pianist Jon Kimura Parker performs with major North American orchestras on a regular basis, including recent concerto performances with the orchestras of New York, Chicago, and Philadelphia. In the 2016–2017 season, he appeared with the orchestras of Indianapolis, Pittsburgh, Ottawa, Vancouver, Toronto, Colorado, and Washington, D.C. He also appears in Off the Score, an experimental group with legendary Police drummer Stewart Copeland. He is Artistic Advisor of the Orcas Island Chamber Music Festival and Professor of Piano at the Shepherd School of Music at Rice University in Houston.

Violinist Martin Beaver has appeared as soloist with the orchestras of San Francisco, Indianapolis, Montreal, and Toronto and in Belgium and Portugal. A top-prize winner at the international violin competitions of Indianapolis and Montreal, he studied with Danchenko, Gingold, and Szeryng. Beaver was a founding member of the Toronto String Quartet and Triskelion and was the first violinist of the Tokyo String Quartet for eleven years. He is currently on faculty at the Colburn School in Los Angeles.

Cellist Clive Greensmith has performed as soloist with the London Symphony, the Royal Philharmonic, the English Chamber Orchestra, the Mostly Mozart Orches-tra, the Seoul Philharmonic, and the RAI Orchestra in Rome. He has worked with distinguished musicians including András Schiff, Claude Frank, and Steven Isserlis and won prizes in the Premio Stradivari held in Cremona, Italy. Greensmith was the cellist of the Tokyo String Quartet for fourteen years and is currently on faculty at the Colburn School in Los Angeles.

In 2016–2017, Montrose Trio performed in cities including Cleveland, Indianapo-lis, Portland, Houston, Phoenix, and Toronto. For more information, please see montrosetrio.com.

ARTIST BIOGRAPHY

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Road, Palo AltoStarbucks, Santa Cruz

Avenue, Menlo ParkStarbucks, Sharon Park

Drive, Menlo ParkStarbucks, Woodside

Road, Redwood CitySubway, Menlo ParkSubway, Woodside Road,

Redwood CityTarget, Redwood CityThe Willows MarketWoodside Bakery and Cafe

City of Menlo Park

Music@Menlo is grateful to the City of Menlo Park for its support of our performances at the Center for Performing Arts at Menlo-Atherton.

Menlo School

Music@Menlo would like to extend special thanks to Head of School Than Healy, the Board of Trustees, faculty, staff, students, and the entire Menlo School community for their continuing enthusiasm and support.

Hotel Partners Music@Menlo is grate-ful for the support of the Stanford Park Hotel, Crowne Plaza Palo Alto, and Residence Inn Mar-riott Hotel.

Restaurant PartnerMusic@Menlo is proud to partner with LB Steak/Left Bank Brasserie for the 2017/18 season.

Did you know? Ticket sales cover only 15 percent of Music@Menlo’s expenses.Contributions from individuals like you make it possible for us to present the artistic and educational programming you love. Please support Music@Menlo today with a fully tax-deductible gift to the Annual Fund. To learn more about Annual Fund donor benefits or to make a gift, go online to www.musicatmenlo.org/support/annual-fund, or contact Lee Ramsey, Development Director at 650-330-2133 or [email protected].


www.musicatmenlo.org 13* Deceased

THANK YOU – MUSIC@MENLO FUND

Music@Menlo is grateful to the following individuals and organizations for their contributions to the Music@Menlo Fund through the Tenth-Anniversary Campaign. Leadership Circle ($100,000+)

AnonymousThe Estate of Avis

Aasen-HullAnn S. BowersChandler B. &

Oliver A. EvansPaul & Marcia GinsburgMichael Jacobson &

Trine SorensenThe Martin Family

FoundationBill & Lee Perry

$10,000–$99,999

Anonymous Darren H. BechtelJim & Mical BrenzelIris & Paul BrestTerri BullockMichèle & Larry CorashKaren & Rick DeGoliaThe David B. and Edward

C. Goodstein FoundationSue & Bill GouldLibby & Craig HeimarkKathleen G. HenschelLeslie Hsu & Rick LenonMichael J. Hunt &

Joanie Banks-HuntThe Kaz Foundation,

in memory of Steve Scharbach

Jeehyun KimHugh MartinWilliam F. Meehan IIIBetsy MorgenthalerDr. Condoleezza RiceThe Shrader-Suriyapa

FamilyIn memory of Michael

SteinbergMarcia & Hap WagnerMelanie & Ronald

WilenskyMarilyn & Boris* Wolper

$1,000–$9,999

Anonymous (3)Judy & Doug AdamsEileen & Joel BirnbaumKathleen & Dan BrenzelDr. & Mrs.

Melvin C. BrittonSherry Keller BrownChris ByrnePatrick Castillo

Jo & John De LucaDelia EhrlichMike & Allyson ElyScott & Carolyn Feamster Suzanne Field &

Nicholas SmithDavid Finckel & Wu HanJoan & Allan FischEarl & Joy FryBetsy & David Fryberger Karen & Ned Gilhuly Laura & Peter HaasAdele M. HayutinKris KlintMargy & Art Lim,

in memory of MyrnaRobinson, Don DeJongh,and Pat Blankenburg

Mary LoreyCarol & Mac MacCorkleLawrence Markosian &

Deborah BaldwinGladys & Larry MarksDrs. Michael & Jane

Marmor/Marmor Foundation

Brian P. McCuneCarol & Doug MelamedNancy & DuBose

MontgomeryGeorge* & Holde MullerMusic@Menlo Chamber

Music Institute Faculty Members, 2010–2012

Linda & Stuart Nelson, in honor of David Finckel & Wu Han

Rebecca & John NelsonShela & Kumar Patel Anne PeckBill & Paula PowarRobert & Diane ReidLaurose & Burton RichterBarry & Janet RobbinsAnnie E. RohanBarry Rosenbaum &

Eriko MatsumotoGordon Russell &

Dr. Bettina McAdooBill & Joan SilverJim & Mary SmithAbe & Marian Sofaer Edward & Kathy SweeneyVivian SweeneyEllen & Mike TurbowJoe & Anne WelshPeter & Georgia

Windhorst Elizabeth WrightFrank Yang

$100–$999

Anonymous (3)Matthew & Marcia AllenAlan & Corinne BarkinMillie & Paul BergMark Berger & Candace

DeLeoMelanie Bieder & Dave

Wills John & Lu BinghamBill BlankenburgJocelyn & Jerome BlumJoan BrodovskyMarda Buchholz Louise Carlson & Richard

Larrabee Malkah & Donald*

CarothersHazel Cheilek Dr. Denise ChevalierSandra & Chris ChongRobert & Ann Chun Alison ClarkBetsy & Nick* ClinchNeal & Janet CoberlyNorm & Susan ColbJacqueline M. & Robert H.

CowdenAnne DauerGordon & Carolyn

DavidsonMiriam DeJonghEdma DumanianLeonard & Margaret

EdwardsThomas & Ellen EhrlichAlan M. EisnerSherrie & Wallace* EpsteinMaria & George ErdiMichael FeldmanTom & Nancy FieneBruce & Marilyn FogelLawrence & Leah

FriedmanLulu & Larry Frye, in honor

of Eff & Patty MartinRose GreenEdie & Gabe GronerJerome GuillenHelen & Gary HarmonElsa & Raymond Heald Erin L. HursonMelissa JohnsonAndrea G. Julian Meredith KaplanDr. Ronald & Tobye KayeYeuen Kim & Tony LeeSusan & Knud KnudsenHilda Korner

Mimi & Alex Kugushev Daniel LazareJoan & Philip LeightonLois & Paul LevineRaymond Linkerman &

Carol EisenbergDrs. John & Penny LoebDavid E. Lorey, in memory

of Jim LoreySusie MacLeanFrank Mainzer &

Lonnie ZwerinRobert March & Lisa

LawrenceValerie J. MarshallSally Mentzer, in memory

of Myrna Robinson and Lois Crozier Hogle

Ellen MezzeraBill Miller & Ida Houby,

in memory of Lois MillerThomas & Cassandra

MoorePeter & Liz NeumannNeela PatelLynn & Oliver PieronDavid & Virginia PollardAnn RatcliffeHana Rosenbaum Sid & Susan RosenbergElizabeth Salzer Birgit & Daniel SchettlerElaine & Thomas

SchneiderGerry & Coco SchoenwaldNancy G. SchrierArmand A. Schwartz Jr.Steven E. ShladoverJudy & Lee ShulmanEdgar Simons Alice SklarBetty SwansonBarbara TamGolda TatzIsaac ThompsonJana & Mark TuschmanJack & Margrit VanderrynDr. George & Bay WestlakeSallie & Jay WhaleyLyn & Greg WilburBryant & Daphne WongRonald & Alice Wong

Gifts under $100

Anonymous (3)Susan BermanVeronica Breuer


14 Music@Menlo

THANK YOU – MUSIC@MENLO FUNDMarjorie CassinghamConstance CrawfordDavid Fox & Kathy WosikaSandra GiffordAndrew GoldsteinLaura GreenBarbara Gullion &

Franck Avril Jennifer Hartzell &

Donn R. MartinMargaret HarveyMark HeisingAbe KleinHiroko KomatsuAmy LadenMarcia Lowell LeonhardtCarol & Harry LouchheimBen MathesJames E. McKeownJanet McLaughlinMichael Mizrahi, in honor

of Ann Bowers Merla Murdock

Joan NortonRossannah & Alan ReevesShirley ReithNancy & Norm RossenEd & Linda Selden Helena & John ShackletonCharlotte SiegelAlice SmithDenali St. AmandMisa & Tatsuyuki TakadaMargaret WunderlichChris Ziegler

Matching Gifts

Abbott Fund Matching Grant Plan

ChevronThe William and Flora

Hewlett FoundationIBM Matching Grants

ProgramMicrosoft Matching Grants

Program

Community Foundations and Donor-Advised Funds

The Jewish Community Federation and Endowment Fund

Jewish Family and Children’s Services

The Marin Community Foundation

Schwab Charitable Fund The Silicon Valley

Community Foundation



COMING UP AT MUSIC@MENLO

CHAMBER MUSIC SOCIETY OF LINCOLN CENTERBrahms and Dvořak

Friday, January 19, 2018, 7:30 p.m. The Center for Performing Arts at Menlo-Atherton

Tickets: $52/$47 full price; $25/$20 under age thirty

Dvořák and Brahms drew inspiration from each other, and Dvořák turned to Brahms’s Gypsy-inspired Hungarian Dances for his Slavonic Dances, featured on this uplifting program alongside Brahms’s c minor Piano Trio and Dvořák’s Piano Quintet in A Major. Featured pianist Wu Han is Artistic Codirector of the Chamber Music Society of Lincoln Center and Music@Menlo. Joining her for this program are some of the most exciting young artists on the CMS roster: pianist Michael Brown, violinists Paul Huang and Chad Hoopes, violist Matthew Lipman, and cellist Dmitri Atapine.

Music@Menlo’s 2017–2018 Winter Series culminates in a dramatically varied program performed by the Schumann Quartet. The quartet enjoys a thriving career in Europe and through its recent engagements is off to the start of an equally vibrant U.S. presence. The program opens with Haydn’s Sunrise Quartet, followed by Bartók’s String Quartet no. 2, and closes with Robert Schumann’s expressive String Quartet in F Major.

SCHUMANN QUARTET

Haydn, Bartók, and Schumann

Friday, April 20, 2018, 7:30 p.m. Schultz Cultural Arts Hall, Oshman Family JCC, Palo Alto

Tickets: $52/$47 full price; $25/$20 under age thirty

Winter Series 2017–2018

Tickets: www.musicatmenlo.org / 650-331-0202

David Finckel and Wu Han, Artistic Directors

Edward P. Sweeney, Executive Director 50 Valparaiso Avenue • Atherton, California 94027 • 650-330-2030

www.musicatmenlo.org

CHAMBER MUSIC FESTIVAL AND INSTITUTE

music@menlo · shostakovich composed the trio in c minor (published as his opus 8) while still a...

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