russian panorama: part iii · five easy pieces for piano, four hands from jewish folk poetry for...

The Chamber Music Society of Lincoln Center is deeply grateful to the Carmel Cultural Endowment for the Arts for its generous sponsorship of the Winter Festival.

TUESDAY EVENING, MARCH 19, 2019, AT 7:30 3,940TH CONCERT

Alice Tully Hall, Starr Theater, Adrienne Arsht StageHome of the Chamber Music Society of Lincoln Center

MANÉ GALOYAN, sopranoSARA COUDEN, altoARSENY YAKOVLEV, tenor

GILBERT KALISH, pianoGILLES VONSATTEL, pianoCHAD HOOPES, violinCLIVE GREENSMITH, cello

ANTON RUBINSTEIN

(1829–1894)

NIKOLAI RIMSKY-KORSAKOV

(1844–1908)

IGOR STRAVINSKY

(1882–1971)

“Romance” from Six Soirées à Saint-Petersbourg for Violin and Piano, Op. 44, No. 1 (1860)HOOPES, KALISH

Three Songs for Voice and Piano Eastern Song: the Nightingale and the Rose,

Op. 2, No. 2 (1865–66) Summer Night’s Dream, Op. 56, No. 2 (1898) The Clouds Begin to Scatter, Op. 42, No. 3 (1897)GALOYAN, KALISH

Five Easy Pieces for Piano, Four Hands (1917) Andante Española Balalaika Napolitana GalopKALISH, VONSATTEL

PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES.Photographing, sound recording, or videotaping this performance is prohibited.

program continued on next page

RUSSIAN PANORAMA: PART III

DMITRI SHOSTAKOVICH

(1906-1975)

PETER TCHAIKOVSKY

(1840–1893)

From Jewish Folk Poetry for Soprano, Alto, Tenor, and Piano, Op. 79 (1948) Lament over the Death of a Small Child Thoughtful Mother and Aunt Cradle Song Before a Long Separation Warning The Deserted Father Song of Misery Winter The Good Life Young Girl's Song HappinessGALOYAN, COUDEN, YAKOVLEV, KALISH

INTERMISSION

Trio in A minor for Piano, Violin, and Cello, Op. 50 (1881–82) Pezzo elegiaco: Moderato assai Tema con variazioni—Variazione finale e codaVONSATTEL, HOOPES, GREENSMITH

PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES.Photographing, sound recording, or videotaping this performance is prohibited.

The Chamber Music Society acknowledges with sincere appreciation Ms. Tali Mahanor’s generous long-term loan of the Hamburg Steinway & Sons model “D” concert grand piano.

ABOUT TONIGHT'S PROGRAMDear Listener,

Welcome to Russian Panorama. In our Winter Festival’s four programs, we are thrilled to present 17 works by 14 composers, spanning 147 years. Beginning with the festival’s first work, Glinka’s Trio pathétique of 1832, Russia’s rich musical history unfolds. Our composers—their lives, their friends, their societies and cultures of their times—create a panorama of Russia that encompasses a history fraught with extremes. From the days of the gilded empire through the revolutions and into the Soviet era, Russian music not only reported on current events but often even foretold the future: When, in 1914, Alexander Scriabin composed his Vers la flamme (Towards the flame) the fiery destruction he depicted was not far off.

The contrasts between the festival’s composers could not be greater, even among those living in the same eras. From Mily Balakirev, who founded “The Five” or “The Mighty Handful” of composers devoted exclusively to Russian nationalism in the 19th century, to Peter Ilyich Tchaikovsky and Anton Rubinstein who lived at the same time and espoused Western European musical traditions, Russian composers, viewed in perspective, paint a vivid picture of the country’s diverse traditions and influences, external and internal. And of course, those composers of the 20th century who lived through the revolutions and into the era of Joseph Stalin and beyond, tell a very different story of a country totally changed.

Within our festival, surprises and delights await you. While many may have enjoyed, for example, Tchaikovsky’s famous Piano Trio, it’s likely that far fewer listeners have experienced the monumental piano quintet by Sergei Taneyev, student of Tchaikovsky and teacher of Rachmaninov. That’s enough credentials right there to make one curious, and we can promise that this magnificent work, which has recently become part of the standard chamber repertoire, will both enchant and astound. Few as well know the music of Prokofiev’s closest and longest friend, Nikolai Myaskovsky, who composed 27 symphonies and whose 13th and final string quartet will be given a definitive performance by the incomparable Borodin String Quartet.

As we conclude this comprehensive welcome letter with much yet to be explored, we suggest you avail yourselves of the extensive program notes herein, and to delve into the history and cultures of this awe-inspiring country through its powerfully expressive music.

Enjoy the concerts,

David Finckel Wu HanARTISTIC DIRECTORS

www.ChamberMusicSociety.org

LEARN MORE: Visit the Watch and Listen section of the CMS website to hear returning lecturer Michael Parloff give an overview of Russia's rich musical tapestry, from the time of Mikhail Glinka to that of Dmitri Shostakovich.

NOTES ON THE PROGRAM“Romance” from Six Soirées à Saint-Petersbourg for Violin and Piano, Op. 44, No. 1

ANTON RUBINSTEIN Born November 28, 1829, in Vikhvatintsï,

Ukraine. Died November 20, 1894, in Peterhof, Russia.

SOMETHING TO KNOW: Rubinstein was a prolific composer and renowned pianist who both shaped and criticized Russian musical culture.

SOMETHING TO LISTEN FOR: This piece was originally written for piano solo but its emotionally expressive melody became so popular that it was arranged for many other instruments.

“Russians call me German, Germans call me Russian, Jews call me a Christian, Christians a Jew. Pianists call me a composer, composers call me a pianist. The classicists think me a futurist, and the futurists call me reactionary. My conclusion is that I am neither fish nor fowl—a pitiful individual.”

Among the most influential figures in 19th century Russian music, Anton Rubinstein was far from pitiful. A man of almost too many talents, he excelled in many fields—as educator, organizer, entrepreneur, conductor, virtuoso showman, and yes, composer. Probably his most important service to the cause of Russian music was the establishment of the country’s first conservatory in St. Petersburg in 1862. But Rubinstein made an even stronger mark as one of the most celebrated piano virtuosos of his day. Franz Liszt so admired Rubinstein’s forceful and dramatic keyboard style that he called him another Ludwig van Beethoven—“Van II.”

As a composer, the prolific Rubinstein produced 20 operas, five piano concertos, six symphonies, and a large body of chamber and piano music. But he rejected the Russian “nationalist” aesthetic of the St. Petersburg “Mighty Fistful” composers with whom he had fundamental artistic (and personal) differences. Instead, he cultivated a European and cosmopolitan style that reflected his own training in Berlin and was heavily influenced by the music of Mendelssohn and Schumann.

The opening “Romance” of the short piano pieces gathered in the Six Soirées à Saint-Petersbourg sounds especially Mendelssohnian, with its gently rolling accompaniment and sweetly sentimental main theme. When Rubinstein played this intimate and nostalgic tribute to the elegant city that became his adopted home, audiences would reportedly swoon in ecstasy. Subsequently, the “Romance” was arranged for a wide variety of chamber and orchestral forces, including this one for violin and piano. u

Composed in 1860.  Tonight is the first CMS performance of 

this piece. Duration: 4 minutes

The Chamber Music Society of Lincoln Center

(Eastern Song: the Nightingale and the Rose) Op. 2, No. 2 was one of Rimsky’s earliest—and most beguiling—efforts, composed in February 1866, at age 21. Set to a short poem by the peasant “poet of the people” Aleksei Koltsov (1809–42), it compares two melancholy visions of unrequited love: between a nightingale and a silent rose, and a young troubadour and his unaware beloved. The song opens with an extended piano solo that establishes the exotic “Orientalist” atmosphere (highly chromatic and ornamented, with characteristically raised intervals) that Rimsky-Korsakov would perfect years later in the symphonic poem Scheherazade.

Rimsky-Korsakov turned to the verses of Apollon Maikov (1821–97), for (Summer Night’s Dream) Op. 56, No. 2, his last romans. Maikov’s poem is an erotic dream fantasy in which the female narrator imagines she is visited one warm summer night by a seducer who appears from the bushes outside her window. At first she shyly resists, but then succumbs to his charms. The song’s musical climax comes as she awakens, alone, with her hair undone,

and wonders, “I don’t know what happened to me!”

Like so many other Russian composers, Rimsky-Korsakov loved the poetry of Alexander Pushkin (1799–1837), Russia’s “national poet.” He set 20 songs, and three operas, to Pushkin texts. The poem “The Clouds Begin to Scatter” was written in 1820, at the beginning of Pushkin’s period of exile, when he was sent away to southern Russia by Tsar Nicholas I because of his political activities. The cryptic setting seems to be the Black Sea coast, probably the Crimea. As the narrator admires the nighttime sky, his thoughts wander with melancholy nostalgia to an earlier time and a mysterious romantic liaison.

One of Rimsky-Korsakov’s most accomplished songs,

(The Clouds Begin to Scatter) Op. 42, No. 3 features a prominent and “unusually difficult” (in his own words) piano accompaniment that shimmers with oscillating figures evoking the rapid scudding of clouds across the star-filled heavens. The gently swaying vocal line grows slowly to a powerful catharsis on the word davno (“long ago”), in a searing moment of grief and regret over lost love and youth (although Pushkin was only 21 at the time). u

Three Songs for Voice and Piano

NIKOLAI RIMSKY-KORSAKOV Born March 18, 1844, in Tikhvin, Russia. Died June 21, 1908, in Lyubensk, Russia.

Composed in 1866, 1898, and 1897.

SOMETHING TO KNOW: Rimsky-Korsakov wrote about 80 songs, many either while he was in his early 20s or in a later burst in 1897–98.

SOMETHING TO LISTEN FOR: The piano accompaniment in “The Clouds Begin to Scatter” features groups of gently repeating notes that depict receding clouds.

  Tonight is the first CMS performance of these songs.

Duration: 12 minutes


Five Easy Pieces for Piano, Four Hands

From Jewish Folk Poetry for Soprano, Alto, Tenor, and Piano, Op. 79

IGOR STRAVINSKY Born June 17, 1882, in Oranienbaum,

Russia. Died April 6, 1971, in New York.

DMITRI SHOSTAKOVICH Born September 25, 1906, in St. Petersburg. Died August 9, 1975, in Moscow.

Composed in 1948.

Composed in 1917.  Tonight is the first CMS performance of 

this piece. Duration: 6 minutes

First CMS performance on March 15, 2009, by vocalists Dina Kuznetsova, Irina Mishura, and Roger Honeywell, and pianist Gilbert Kalish.


Far from the chaos of World War I and revolutionary Russia, living in the peaceful Swiss town of Morges on Lake Geneva, Stravinsky tossed off these five delightful small pieces for four-hand piano duet for his children Theodore and Ludmila (Mika) in early 1917. The duets have “an easy right hand for amateurs little practiced in the use of the instrument,” Stravinsky commented, “the whole burden of the composition being concentrated in the left-hand part.”

The lazy pace and circular melodic line of the dreamy opening Andante strongly resemble the music of Eric

Satie, with which Stravinsky had recently become familiar. In the Española we hear a spicy reminiscence of Stravinsky’s trip to Spain the previous summer, dense with dizzy syncopation and stomping cross-rhythms. The simple C major melody of Balalaika imitates the “tinny” plucked sound of the beloved Russian folk instrument. Napolitana is a vigorous rendition of an Italian dance, with an insistent ostinato in the left hand part. Galop concludes the set, an infectious naughty can-can in A-B-A form whose perpetual motion and modal scales recall the urban carnival style of Petrushka. u

SOMETHING TO KNOW: Stravinsky wrote these pieces for his children Theodore (age 10) and Ludmila (age 8) while living in Switzerland during World War I.

SOMETHING TO LISTEN FOR: The last movement, a Galop with trio, has a raucous, cheeky melody and high-pitched interjections from the first piano part.

SOMETHING TO KNOW: Shostakovich wrote this work in 1948, soon after he received an official denunciation from the Soviet government. It had to wait until after the death of Stalin for a public premiere.

SOMETHING TO LISTEN FOR: Winter, the last of Shostakovich's first group of songs, is a sort-of climax of the cycle with all three singers intoning impassioned long lines.

When did you begin playing the violin?I started playing the violin when I was about three-and-a-half years old. I started because I have two older sisters that play and I would sit on my mom’s lap and kind-of watch them play and practice from when I was about one or two. I was absolutely obsessed with the violin—I had to have a violin and I think I attempted to attack my sisters and take their violins from them on several occasions because I wanted one so badly. So I started playing the violin and here I am now.

What advice do you have for young musicians? Advice for aspiring musicians—well, advice for aspiring young people in general—find something that you’re passionate about that you love and just go for it. You need to ultimately hold yourself to the highest standard because if you’re excellent at something, you have a passion for something, there’s no excuse to settle for anything less than excellence. Keep yourself to the highest standard. To watch Chad Hoopes's entire video profile, visit the Watch and Listen section of the CMS website.


To watch Chad Hoopes's entire video profile, visit the Watch and Listen section of the CMS website.

“The distinguishing feature of Jewish music is the ability to build a jolly melody on sad intonations,” Dmitri Shostakovich is reported to have told a friend. “Why does a man strike up a jolly song? Because he feels sad at heart.”

This sort of black humor—“laughter through tears”—struck a deep chord in Shostakovich. Anti-semitism and the diffi cult historical experience of the Jewish people in Tsarist Russia, the USSR and elsewhere profoundly disturbed him, especially since many of his close friends and colleagues were Jewish and he saw fi rst-hand the injustices and humiliation they suffered at the hands of Stalin and Hitler. Shostakovich incorporated Jewish themes into numerous major works: the Second Piano Trio (1944), the First Violin Concerto (1947), From Jewish Folk Poetry (1948),

the Fourth String Quartet (1949), and the “Babi yar” Symphony No. 13 (1962).

When Shostakovich began composing From Jewish Folk Poetry, in the summer of 1948, his personal and professional fortunes were at perhaps their lowest ebb. Earlier in the year, he had been attacked (along with Prokofi ev and others) as a dangerous “formalist” at a series of congresses of Soviet composers. The consequences were far-reaching; most of Shostakovich’s works were banned from public performance, and he lost his prestigious teaching positions at Moscow and Leningrad conservatories.

At this time, too, a new wave of anti-semitism was building in the USSR. In early 1948, Solomon Mikhoels, renowned star of the Soviet Yiddish theater, the country’s leading Jewish cultural fi gure, 

Q&A WITH CHAD HOOPES


was murdered on Stalin’s orders in what was made to look like a traffic accident.

That Shostakovich chose this dangerous moment to compose a compassionate and moving vocal cycle on Jewish folk song texts can only be seen as a remarkable act of courage and solidarity. Shostakovich found the texts in a recently published anthology, translated from Yiddish into Russian. The first eight of the eleven songs were composed quickly, between August 1 and August 29, 1948. The remaining three were completed a few months later, in mid-October. Stylistically and thematically, these songs (“A Good Life,” “Young Girl’s Song,” “Happiness”) apparently extoll the virtues of Soviet collective farm life, in a radical thematic departure from the first eight. 

Whether these last three songs, set in the simplistic “socialist realist” style demanded of Soviet composers, were intended as vicious parodies, or whether Shostakovich actually believed they would help ease the cycle’s official acceptance, is not entirely clear. Three of the first eight songs contain elements of folk humor, but the remaining five present melancholy and desolate pictures (especially “Song of Misery” and the evocative “Winter”) of the impoverished and woeful existence of Russian Jews.

Shostakovich knew a public performance was impossible in 1948. The public premiere came only on January 15, 1955, at the Glinka Hall in Leningrad, almost two years after Stalin’s death. u

Tchaikovsky wrote this massive and turbulent masterpiece “to the memory of a great artist”: his mentor and sometimes tormentor Nikolai Rubinstein, who had died in March 1881. With Rubinstein, the founder of the Moscow Conservatory, Tchaikovsky had a difficult but rewarding relationship. Of their long friendship, Tchaikovsky said that “when he has been drinking, Rubinstein likes to say that he

feels a tender passion for me, but when he is sober, he can annoy me to the point of tears and insomnia.”

Although Tchaikovsky claimed to dislike the combination of piano with violin and cello (this is the only piece he wrote for that ensemble), he set to work on the trio with particular enthusiasm in Rome in late 1881 and early 1882. Since Rubinstein had been such a notable

Trio in A minor for Piano, Violin, and Cello, Op. 50

PETER TCHAIKOVSKY Born May 7, 1840, in Votkinsk, Russia. Died November 6, 1893, in St. Petersburg.

Composed in 1881–82.

First CMS performance on December 15, 1972, by pianist Jorge Bolet, violinist Charles Treger, and cellist Leslie Parnas.


SOMETHING TO KNOW: Tchaikovsky wrote this work in memory of Nikolai Rubinstein, his mentor at the Moscow Conservatory.

SOMETHING TO LISTEN FOR: Tchaikovsky featured the part for piano, Rubinstein’s instrument, with writing of particular depth and virtuosity.


pianist, and such an important influence on Tchaikovsky’s own career as pianist and composer for the instrument, he created an elaborate and demanding piano part. His patron, Nadezhda von Meck, had also requested a piece for piano trio for her resident trio, whose pianist at the time was the young Claude Debussy, employed as tutor to her children.

The trio has an unusual structure, in only two long movements: Pezzo elegiaco (elegiac piece) and Theme with Variations. A soulful, melancholy, almost symphonic A minor melody dominates the first movement, constructed in sonata form with a contrasting, lighter second theme

in the dominant major key. After an exhaustive and inventive development section, the first theme returns, played by the violinist on the G string, to the accompaniment of funereal chords in the piano. The second movement spins 12 complex and diverse variations (including a waltz, a furious fugue, and a mazurka) on a theme that Tchaikovsky allegedly remembered hearing from peasant singers during one of his walks in the countryside with Rubinstein. A coda marked Lugubre (lugubrious) follows, bringing back the resonant main theme of the first movement, now transformed into a majestic funeral march that gradually trails off to one dramatic final note in the piano.  u

Harlow Robinson is the author of Sergei Prokofiev: A Biography and Russians in Hollywood: Hollywood’s Russians, and a frequent annotator and lecturer for the Boston Symphony, Aspen

Music Festival, Los Angeles Philharmonic, and Lincoln Center.

SARA COUDEN Praised by Opera News for her “unusually rich and resonant” voice, contralto Sara Couden has already established herself as a premiere interpreter of operatic, chamber, and song repertoire. Highlights of her 2018–19 season include a return to the Metropolitan Opera to cover Marta and Pantalis (Mefistofele), Dejainira (Hercules) and Irene (Theadora) at the Staunton Music Festival, Testo in Stradella’s La Susanna with Heartbeat Opera and Opera Lafayette, Israelitish Man

(Judas Maccabaeus) with Philharmonia Baroque, Sir Karl Jenkins’s Stabat Mater with Distinguished Concert Artists International at Carnegie Hall, Bach’s St. Matthew Passion with True Concord Voices, and a third summer at the Marlboro Music Festival. In previous seasons, she toured Japan with Maestro Masaaki Suzuki in Bach’s B minor Mass and covered Erste Magd (Elektra) at the Metropolitan Opera. She has also appeared as Third Lady (Die Zauberflöte) with the Los Angeles Philharmonic, Dryade (Ariadne auf Naxos) with West Edge Opera, and the Alto Soloist in Mahler’s Second Symphony with the Santa Cruz Symphony. She recently completed the Lindemann Young Artist Program at the Metropolitan Opera and made her Metropolitan Opera debut as Albine (Thaïs) in 2017. She has been a fellow at the Marlboro Music Festival, Music@Menlo, Music Academy of the West, and the Institute for Young Dramatic Voices, and holds a master’s degree from the San Francisco Conservatory of Music and an AD in Early Music, Chamber Music, and Oratorio from Yale University.

ABOUT THE ARTISTS

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MANÉ GALOYAN Rising Armenian soprano Mané Galoyan recently completed her residency with the Houston Grand Opera Studio. In the 2018–19 season, she sings Violetta with the Glyndebourne Festival on tour and Gilda in Rigoletto with Kentucky Opera and Wolf Trap Opera. Symphonic engagements include Rachmaninov’s The Bells with James Gaffigan and The Dallas Symphony, as well as with Andrés Orozco-Estrada and the Houston Symphony. In the summer, she will make her role

debut as Musetta in La bohème at Des Moines Metro Opera and perform Mahler’s Second Symphony under the baton of Robert Spano. Next season she will debut at the Metropolitan Opera as Chloë in Pique Dame, and she’ll perform Gilda in Rigoletto at Houston Grand Opera. Her extensive concert performances include Pergolesi’s Stabat Mater, Schubert’s Mass in G and Mass in C, Vivaldi’s Gloria, and Haydn’s Lord Nelson Mass, all with the Armenian National Chamber Orchestra, as well as the Fauré Requiem with the Armenian National Philharmonic Orchestra. She is a winner of numerous international competitions, including First Prize in the 27th Eleanor McCollum Competition and Concert of Arias with Houston Grand Opera, Third Prize in the XV International Tchaikovsky Competition, and first prize in the Bibigul Tulegenova International Singing Competition in Kazakhstan. Ms. Galoyan holds two degrees from the Yerevan State Komitas Conservatory in Armenia, where she was named the 2013 winner of the President of the Republic of Armenia Youth Prize. She currently resides in Houston and is a student of Stephen King.

CLIVE GREENSMITH Clive Greensmith has a distinguished career as soloist, chamber musician, and teacher. From 1999 until 2013 he was a member of the world-renowned Tokyo String Quartet, giving over one hundred performances each year in the most prestigious international venues, including New York’s Carnegie Hall, Sydney Opera House, London’s Southbank Centre, Paris Châtelet, Berlin Philharmonie, Vienna Musikverein, and Suntory Hall in Tokyo. As a soloist, he has performed with the London Symphony Orchestra,

Royal Philharmonic Orchestra, Seoul Philharmonic, and the RAI Orchestra of Rome. He has also performed at the Aspen Music Festival, Marlboro Music Festival, La Jolla Summerfest, Santa Fe Chamber Music Festival, the Ravinia Festival, the Salzburg Festival in Austria, Edinburgh Festival in Scotland, Pacific Music Festival in Japan, and the Hong Kong Arts Festival. During a career spanning over 25 years, Mr. Greensmith has built up a catalogue of landmark recordings, most notably the complete Beethoven string quartet cycle for Harmonia Mundi with the Tokyo String Quartet. Mr. Greensmith studied at the Royal Northern College of Music in England with American cellist Donald McCall. He continued his studies at the Cologne Musikhochschule in Germany with Boris Pergamenschikow. After his 15-year residency with the Tokyo String Quartet at Yale University, he was appointed Co-Director of Chamber Music and Professor of Cello at the Colburn School in Los Angeles in 2014. Mr. Greensmith is a founding member of the Montrose Trio with pianist Jon Kimura Parker and violinist Martin Beaver.

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CHAD HOOPES American violinist Chad Hoopes has remained a consistent and versatile performer with many of the world’s leading orchestras since winning First Prize at the Young Artists Division of the Yehudi Menuhin International Violin Competition. He is a 2017 recipient of Lincoln Center’s Avery Fisher Career Grant. Highlights of past and present seasons include performances with The Philadelphia Orchestra, Orchestre de Paris, Konzerthausorchester Berlin, Vancouver Symphony

Orchestra, and Orchestre National du Capitole de Toulouse. He has performed with leading orchestras including the San Francisco, Pittsburgh, Houston, and National symphonies, as well as the Minnesota Orchestra, and National Arts Centre Orchestra in Canada. An alum of The Bowers Program (formerly CMS Two), he frequently performs with the Chamber Music Society of Lincoln Center. He has additionally given recitals at the Ravinia Festival, the Tonhalle Zürich, the Louvre, and at Lincoln Center in New York City. His debut recording with the MDR Leipzig Radio Symphony Orchestra under Kristjan Järvi featured the Mendelssohn and Adams concertos, and his next recording will feature Bernstein’s Violin Sonata with pianist Wayne Marshall. He is a frequent guest artist at the Menuhin Festival in Gstaad, Switzerland, the Rheingau Festival, and at Festspiele Mecklenburg-Vorpommern, where he was named the winner of the prestigious Audience Award. Born in Florida, Mr. Hoopes attended the Cleveland Institute of Music and the Kronberg Academy under the guidance of Professor Ana Chumachenco, who remains his mentor. He plays the 1991 Samuel Zygmuntowicz, ex Isaac Stern violin.

GILBERT KALISH  The profound influence of pianist Gilbert Kalish as an educator and pianist in myriad performances and recordings has established him as a major figure in American music-making. In 2002 he received the Richard J. Bogomolny National Service Award for his significant and lasting contribution to the chamber music field and in 2006 he was awarded the Peabody Medal by the Peabody Conservatory for his outstanding contributions to music in America. He was the pianist of the Boston Symphony

Chamber Players for 30 years, and was a founding member of the Contemporary Chamber Ensemble, a group that flourished during the 1960s and ’70s in support of new music. He is particularly well-known for his partnership of many years with mezzo-soprano Jan DeGaetani, as well as for current collaborations with soprano Dawn Upshaw and cellists Timothy Eddy and Joel Krosnick. As an educator and performer he has appeared at the Banff Centre, the Steans Institute at Ravinia, the Marlboro Music Festival, and Music@Menlo, where he serves as the international program director of the Chamber Music Institute. He also served as chairman of the Tanglewood faculty from 1985 to 1997. His discography of some 100 recordings embraces both the classical and contemporary repertories; of special note are those made with Ms. DeGaetani and that of Ives’s Concord Sonata. A distinguished professor at Stony Brook University, Mr. Kalish has performed with the Chamber Music Society of Lincoln Center since 2004.

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GILLES VONSATTEL Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality. He is the recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award, and winner of the Naumburg and Geneva competitions. He has appeared with the Munich Philharmonic, Orchestre Symphonique de Montréal, Boston Symphony, and San Francisco Symphony, and performed recitals and chamber music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo!

Vail, Chamber Music Northwest, La Roque d’Anthéron, Music@Menlo, the Lucerne festival, and Spoleto USA. Deeply committed to the performance of contemporary music, he has premiered numerous works both in the United States and Europe and worked closely with notable composers such as Jörg Widmann, Heinz Holliger, and George Benjamin. Recent and upcoming projects include appearances with the Chicago Symphony (Bernstein’s Age of Anxiety), Gothenburg Symphony (Messiaen’s Turangalîla Symphonie), Orchestra della Svizzera Italiana (Berg’s Kammerkonzert), Mozart concertos with the Vancouver Symphony and Florida Orchestra, as well as multiple appearances with the Chamber Music Society. An alum of The Bowers Program (formerly CMS Two), Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School. He is on the faculty of the University of Massachusetts at Amherst.

ARSENY YAKOVLEV Tenor Arseny Yakovlev made his debut at the Bolshoi Theatre in Moscow in Strauss’s Der Rosenkavalier in 2012. He was also heard in a number of other supporting roles in operas including La Traviata, Carmen, Le Nozze di Figaro, The Maid of Orleans, and Iolanta. In 2016 he sang his first performance of Lensky in Eugene Onegin in Belgrade. In the same year, he made his debut with the Latvian National Opera in Riga in the same role. He made his Spanish opera debut in Mallorca last spring as Macduff

in Macbeth. In 2017, he was heard at the Dutch National Opera in an operatic concert, and made his German operatic debut as Lensky at the Frankfurt Opera. This season he debuts at the Metropolitan Opera as the Messenger in Aida. He also debuts at the Semperoper Dresden as Ismaele in a new production of Nabucco, conducted by Omer Welber. Next season, the tenor reprises the same role for his debut at the Bayerische Staatsoper in Munich. Born in Moscow to a family of musicians, Mr. Yakovlev studied voice at the Tchaikovsky Moscow Conservatory and continued his vocal studies at the Academy of Choral Arts under Dmitry Vdovin. He was then invited to join the Young Artists Program at the Bolshoi Opera in Moscow, where he continued his studies with Maestro Vdovin. He appears by kind permission of The Metropolitan Opera Lindemann Young Artist Development Program.

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Elinor L. Hoover, ChairRobert Hoglund, Vice ChairJoost F. Thesseling, Vice Chair Peter W. Keegan, TreasurerPaul B. Gridley, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinLinda S. DainesPeter DuchinJennifer P.A. GarrettWilliam B. GinsbergPhyllis GrannWalter L. HarrisPhilip K. HowardPriscilla F. KauffVicki KelloggHelen Brown LevineJohn L. LindseyJames P. O'ShaughnessyTatiana Pouschine

Richard PrinsDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserCharles SchregerDavid SimonSuzanne E. VaucherSusan S. WallachAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinPeter Frelinghuysen (1941–2018) Marit GrusonCharles H. HamiltonHarry P. KamenPaul C. LambertDonaldson C. Pillsbury (1940–2008)William G. SeldenAndrea W. Walton

GLOBAL COUNCILHoward DillonCarole G. Donlin John FouheyCharles H. HamiltonRita HauserLinda KeenJudy KosloffMike McKoolSassona NortonSeth NovattMorris RossabiSusan SchuurTrine SorensenShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth,

Founding Artistic Director

Directors and Founders

The Bowers Program

The Bowers Program (formerly CMS Two) provides a unique three-year opportunity for some of the finest young artists from around the globe, selected through highly competitive auditions,  to be immersed as equals in everything CMS does.Lise de la Salle, pianoFrancisco Fullana, violinAlexi Kenney, violinAngelo Xiang Yu, violinDavid Requiro, celloXavier Foley, double bassAdam Walker, fluteSebastian Manz, clarinet

CALIDORE STRING QUARTET Jeffrey Myers, violin Ryan Meehan, violin Jeremy Berry, viola Estelle Choi, cello

SCHUMANN QUARTET Erik Schumann, violin Ken Schumann, violin Liisa Randalu, viola Mark Schumann, cello

David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive DirectorADMINISTRATIONKeith Kriha, Administrative DirectorGreg Rossi, ControllerMert Sucaz, Executive and

Development Assistant

ARTISTIC PLANNING & PRODUCTIONBeth Helgeson, Director of

Artistic Planning and AdministrationKari Fitterer, Director of

Artistic Planning and TouringLaura Keller, Editorial ManagerSarissa Michaud, Production ManagerGrace Parisi, Education and

Operations Manager Schuyler Tracy, Touring CoordinatorArianna de la Cruz, Artistic and

Production Intern

DEVELOPMENTMarie-Louise Stegall, Director of

DevelopmentFred Murdock, Associate Director,

Special Events and Young PatronsJoe Hsu, Manager, Development

Operations and ResearchJulia Marshella, Manager of

Individual Giving, PatronsErik Rego, Manager of

Individual Giving, Friends

EDUCATIONBruce Adolphe, Resident Lecturer and

Director of Family Concerts

MARKETING/SUBSCRIPTIONS/ PUBLIC RELATIONS

Emily Graff, Director of Marketing and Communications

Trent Casey, Director of Digital ContentMelissa Muscato, Assistant Director,

Marketing and Digital ContentNatalie Dixon, Manager, Audience and

Customer ServicesSara Norton, Marketing AssociateJesse Limbacher, Audience and

Customer Services AssociateJoshua Mullin, Digital Content

AssistantJoel Schimek, Ticketing Assistant

Administration


GOLD PATRONS ($2,500 to $4,999)Anonymous (2)Nasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichAmerican Friends of Wigmore HallJoan AmronJames H. ApplegateAxe-Houghton FoundationBrett Bachman and Elisbeth ChallenerLawrence B. BenensonConstantin R. BodenJill Haden CooperThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerVirginia Davies and Willard Taylor

Suzanne DavidsonMr. and Mrs. Joseph W. Donner Helen W. DuBoisRachel and Melvin EpsteinMr. Lawrence N. Field Dr. and Mrs. Fabius N. FoxMr. Andrew C. Freedman and

Ms. Arlie SulkaDiana G. FriedmanEgon R. GerardEdda and James GillenMr. and Mrs. Philip HowardKenneth Johnson and Julia TobeyPaul KatcherEd and Rosann KazChloë A. Kramer

Henry and Marsha LauferHarriet and William LembeckDr. Edward S. LohJennifer ManocherianNed and Francoise MarcusDr. and Mrs. Michael N. MargoliesSheila Avrin McLean and David McLeanMr. and Mrs. Leigh MillerMartin and Lucille Murray Brian and Erin Pastuszenski Susan B. Plum Mr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda SchultzPeter and Sharon Schuur

Contributors to the Annual Fund provide vital support for the Chamber Music Society's wide-ranging artistic and educational programs. We gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their generous gifts. We also thank those donors who support the Chamber Music Society through the Lincoln Center Corporate Fund.

ANNUAL FUND

LEADERSHIP GIFTS ($50,000 and above)The Achelis and Bodman FoundationCarmel Cultural Endowment for the ArtsThe Chisholm FoundationJoyce B. CowinHoward Gilman FoundationDr. and Mrs. Victor GrannEugene and Emily GrantThe Jerome L. Greene FoundationMr. and Mrs. Paul B. Gridley

Rita E. and Gustave M. HauserThe Hearst Foundation, Inc.Elinor and Andrew HooverJane and Peter KeeganLincoln Center Corporate FundNational Endowment for the ArtsThe New York Community TrustNew York State Council on the ArtsStavros Niarchos Foundation

Mr. and Mrs. James P. O'ShaughnessyBlanchette Hooker Rockefeller FundThe Fan Fox and Leslie R. Samuels

Foundation, Inc.Ellen Schiff Elizabeth W. SmithThe Alice Tully FoundationElaine and Alan WeilerThe Helen F. Whitaker Fund

GUARANTORS ($25,000 to $49,999)Ann Bowers, in honor of Alexi KenneyThomas Brener and Inbal Segev-BrenerEstate of Anitra Christoffel-PellSally D. and Stephen M. Clement, IIIJoseph M. CohenLinda S. DainesJenny and Johnsie GarrettWilliam and Inger G. GinsbergMarion Goldin Charitable Gift FundGail and Walter HarrisFrank and Helen Hermann Foundation

Robert and Suzanne HoglundVicki and Chris KelloggAndrea Klepetar-FallekBruce and Suzie KovnerMetLife FoundationNew York City Department of Cultural AffairsMarnie S. Pillsbury in honor of

Donaldson C. PillsburyRichard Prins and Connie SteensmaDr. Annette U. RickelDr. Beth Sackler and Mr. Jeffrey Cohen

Charles S. SchregerDavid SimonMr. and Mrs. Erwin StallerWilliam R. Stensrud and

Suzanne E. VaucherJoost and Maureen ThesselingTiger Baron FoundationSusan and Kenneth WallachMr. and Mrs. Jarvis WilcoxKathe and Edwin WilliamsonShannon Wu and Joseph Kahn

BENEFACTORS ($10,000 to $24,999)Anonymous (4)Ronald AbramsonJonathan Brezin and Linda KeenColburn FoundationCon EdisonNathalie and Marshall CoxThe Gladys Krieble Delmas FoundationRobert and Karen DesjardinsHoward Dillon and Nell Dillon-ErmersCarole DonlinThe Lehoczky Escobar Family Judy and Tony Evnin

David Finckel and Wu HanJohn and Marianne FouheySidney E. Frank FoundationMr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Hamilton Generation FundIrving Harris FoundationFrederick L. JacobsonMichael Jacobson and Trine SorensenPriscilla F. KauffJeehyun Kim

Judy and Alan KosloffHelen Brown LevineSassona Norton and Ron FillerMr. Seth Novatt and Ms. Priscilla NatkinsTatiana PouschineGilbert ScharfJudith and Herbert SchlosserMrs. Robert SchuurJoe and Becky StockwellCarlos Tome and Theresa KimVirginia B. Toulmin FoundationMrs. Andrea W. Walton

PLATINUM PATRONS ($5,000 to $9,999)Anonymous (1)William and Julie Ballard Murat BeyazitThe Jack Benny Family FoundationJanine Brown and Alex Simmons Jr.Mr. and Mrs. John D. CoffinMrs. Barbara M. ErskineMr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationNaava and Sanford Grossman

Marlene Hess and James D. Zirin, in loving memory of Donaldson C. Pillsbury

The Hite FoundationAlfred and Sally JonesMr. and Mrs. Hans KilianJonathan E. LehmanLeon Levy FoundationJane and Mary MartinezMr. and Mrs. H. Roemer McPhee,

in memory of Catherine G. CurranAchim and Colette Moeller

Anju Narula Linda and Stuart NelsonMr. and Mrs. Howard Phipps, Jr.Eva PopperThomas A. and Georgina T. Russo

Family FundLynn StrausMartin and Ruby VogelfangerPaul and Judy WeislogelNeil Westreich

Artistic Directors Circle

Patrons


PRESTO ($1,000 to $1,499)

ALLEGRO ($600 to $999)

Anonymous (6)American Chai TrustArgos Fund of the Community Foundation

of New JerseyRichard L. BaylesWilliam Benedict and Dorothy Sprague Maurice S. and Linda G. Binkow

Philanthropic FundAnn S. ColeColleen F. ConwayAllyson and Michael ElyJudi FlomMr. Stephen M. FosterDorothy and Herbert FoxMr. David B. Freedlander

Lisa A. Genova, in honor of Suzanne and Robert Hoglund

Robert M. Ginsberg Family Foundation Sharon GurwitzKris and Kathy HeinzelmanAlice HenkinMr. and Mrs. James R. HoughtonThomas Frederick JamboisPatricia Lynn Lambrecht Leeds Family FoundationThomas Mahoney and Emily Chien,

in honor of Paul and Linda GridleyThe David Minkin FoundationLinda Musser Dot and Rick Nelson

Mimi PoserLorna PowerMs. Kathee RebernakAmanda Reed and Frances WoodMr. David RitterDiana and John SidtisDr. Robert SilverEsther Simon Charitable TrustBarbaralee Diamonstein-Spielvogel and

Hon. Carl SpielvogelMs. Claudia SpiesAndrea and Lubert StryerMs. Jane V. TalcottTricia and Philip WintererFrank Wolf

Sophia Ackerly and Janis BuchananBrian Carey and Valerie TomaselliMrs. Margherita S. FrankelDorothy F. GlassAbner S. GreenePete KlostermanPeter KrollFrederick and Ivy KushnerBarbara and Raymond LeFebvreMr. Stanley E. Loeb

Jane and John LooseMerrill Family FundDeborah MintzDr. and Mrs. Richard R. NelsonGil and Anne Rose Family Fund Lisa and Jonathan SackMonique and Robert SchweichAnthony R. SokolowskiMr. and Mrs. Myron Stein,

in honor of Joe Cohen

Charles R. Steinberg and Judith Lambert Steinberg

Mr. David P. StuhrSherman TaishoffSusan Porter TallMr. and Mrs. George WadeBarry Waldorf and Stanley GotlinAlden Warner and Pete Reed

(as of February 25, 2019)

Friends

YOUNG PATRONS* ($500 to $2,500)Anonymous (1)Jordan C. AgeeSamuel Coffin and Tobie CornejoJamie ForsethSusanna GoldfingerLawrence GreenfieldRobert J. HaleyYoshiaki David KoMatt LaponteBrian P. Lei

Liana and Joseph Lim Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason NongAndrew M. PoffelEren Erdemgil Sahin and Erdem SahinShu-Ping Shen

Jonathan U.R. Smith Erin SolanoAndrea VogelJonathan WangMr. Nick Williams and Ms. Maria DoerflerRebecca Wui and Raymond KoMatthew Zullo

SILVER PATRONS ($1,500 to $2,499)Anonymous (4)Alan AgleHarry E. AllanLawrence H. AppelDr. Anna BalasBetsy Shack BarbanellLillian BarbashMr. and Mrs. William G. BardelCaryl Hudson BaronMr. and Mrs. T. G. BerkDon and Karen Berry Adele BilderseeJudith Boies and Robert ChristmanAnn and Paul BrandowEric Braverman and Neil BrownCahill Cossu Noh and RobinsonCharles and Barbara BurgerJeff and Susan CampbellAllan and Carol CarltonDale C. Christensen, Jr.Judith G. ChurchillBetty CohenMarilyn and Robert CohenBetsy Cohn, in honor of Suzanne DavidsonJon Dickinson and Marlene BurnsJoan DyerThomas E. Engel, Esq.Mr. Arthur FergusonHoward and Margaret FluhrCynthia FriedmanJoan and Jeremy FrostRosalind and Eugene J. Glaser

Alberta Grossman, in honor of Lawrence K. Grossman

Judith HeimerDr. and Mrs. Wylie C. HembreeCharles and Nancy HoppinDr. Beverly Hyman and

Dr. Lawrence BirnbachBill and Jo Kurth Jagoda, in honor of

David Finckel and Wu HanDr. Felisa B. KaplanStephen and Belinda Kaye Thomas C. KingPatricia Kopec Selman and Jay E. SelmanDr. and Mrs. Eugene S. KraussEdith KubicekRichard and Evalyn LambertCraig Leiby and Thomas ValentinoDr. Donald M. LevineFran LevineJames Liell Walter F. and Phyllis Loeb Family Fund

of the Jewish Communal FundKenneth LoganCarlene and Anders MaxwellEileen E. McGann Ilse MelamidMerrick Family FundBernice H. MitchellAlan and Alice ModelBarbara A. PelsonCharles B. RaglandMr. Roy Raved and Dr. Roberta LeffMark and Pat Rochkind

Dr. Hilary Ronner and Mr. Ronald FeimanJoseph and Paulette RoseDede and Michael RothenbergMarie von SaherDrs. Eslee Samberg and Eric MarcusDavid and Sheila RothmanSari and Bob SchneiderDelia and Mark SchulteMr. David Seabrook and

Dr. Sherry Barron-SeabrookJill S. SlaterJudith and Morton SloanAnnaliese SorosDr. Margaret Ewing SternWarren and Susan SternDeborah F. StilesAlan and Jaqueline StuartErik and Cornelia ThomsenJudith and Michael Thoyer Leo J. TickHerb and Liz TulchinMr. and Mrs. Salvatore VaccaMr. and Mrs. Joseph ValenzaPierre and Ellen de VeghDr. Judith J. Warren and

Dr. Harold K. GoldsteinAlex and Audrey WeintrobRobert Wertheimer and Lynn SchackmanJill and Roger WittenGro V. and Jeffrey S. Wood Cecil and Gilda Wray

*For more information, call (212) 875-5216 or visit chambermusicsociety.org/yp

Michael W. SchwartzFred and Robin SeegalCarol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. SingerDiane Smook and Robert Peduzzi

Gary So, in honor of Sooyun KimSally WardwellPatricia and Lawrence WeinbachLarry Wexler and Walter BrownDeborah and David Winston,

in memory of May Winston

Janet Yaseen and the Honorable Bruce M. Kaplan

Sandra and Franklin ZieveNoreen and Ned Zimmerman


The Chamber Music Society wishes to express its deepest gratitude for The Daniel and Joanna S. Rose Studio, which was made possible by

a generous gift from the donors for whom the studio is named.

CMS is grateful to JoAnn and Steve Month for their generous contribution of a Steinway & Sons model "D" concert grand piano.

The Chamber Music Society's performances on American Public Media's Performance Today program are sponsored by MetLife Foundation.

CMS extends special thanks to Arnold & Porter for its great generosity and expertise in acting as pro bono Counsel.

CMS gratefully recognizes Shirley Young for her generous service as International Advisor.

CMS wishes to thank Covington & Burling for acting as pro bono Media Counsel.

CMS is grateful to Holland & Knight LLP for its generosity in acting as pro bono international counsel.

This season is supported by public funds from the National Endowment for the Arts; the New York City Department of Cultural Affairs, in partnership with the City Council; and the New York State Council on

the Arts, with the support of Governor Andrew M. Cuomo and the New York State Legislature.

From the Chamber Music Society's first season in 1969–70, support for this special institution has come from those who share a love of chamber music and a vision for the Society's future.

While celebrating our 49th Anniversary Season this year we pay tribute to the distinguished artists who have graced our stages in thousands of performances. Some of you were here in our beloved Alice Tully Hall when the Chamber Music Society's first notes were played. Many more of you are loyal subscribers and donors who, like our very first audience, are deeply passionate about this intimate art form and are dedicated to our continued success.

Those first steps 49 years ago were bold and ambitious. Please join your fellow chamber music enthusiasts in supporting CMS by calling the Membership Office at (212) 875-5782, or by donating online at www.ChamberMusicSociety.org/support. Thank you for helping us to continue to pursue our important mission, and for enabling the Chamber Music Society to continue to present the finest performances that this art form has to offer.

The Chamber Music Society gratefully recognizes those individuals, foundations, and corporations whose estate gifts and exceptional support of the Endowment Fund ensure a firm financial base for the Chamber Music Society's continued artistic excellence. For information about gifts to the Endowment Fund, please contact Executive Director Suzanne Davidson at (212) 875-5779.

MAKE A DIFFERENCE

THE CHAMBER MUSIC SOCIETY ENDOWMENT

Lila Acheson Wallace Flute ChairMrs. John D. Rockefeller III

Oboe ChairCharles E. Culpeper Clarinet ChairFan Fox & Leslie R. Samuels

Violin ChairMrs. William Rodman Fay

Viola ChairAlice Tully and Edward R.

Wardwell Piano ChairEstate of Robert C. AckartEstate of Marilyn ApelsonMrs. Salvador J. AssaelEstate of Katharine BidwellThe Bydale FoundationEstate of Norma ChazenEstate of Anitra Christoffel-Pell John & Margaret Cook FundEstate of Content Peckham CowanCharles E. Culpeper FoundationEstate of Catherine G. Curran

Mrs. William Rodman FayMarion Goldin Charitable Gift FundThe Hamilton FoundationEstate of Mrs. Adriel HarrisEstate of Evelyn HarrisThe Hearst FundHeineman FoundationMr. and Mrs. Peter S. HellerHelen Huntington Hull FundEstate of Katherine M. HurdAlice Ilchman Fund

Anonymous Warren Ilchman

Estate of Peter L. Kennard Estate of Jane W. KitselmanEstate of Charles Hamilton

NewmanMr. and Mrs. Howard Phipps, Jr.Donaldson C. Pillsbury FundEva Popper, in memory of

Gideon Strauss

Mrs. John D. Rockefeller 3rdDaniel and Joanna S. RoseEstate of Anita SalisburyFan Fox & Leslie R. Samuels

FoundationThe Herbert J. Seligmann

Charitable TrustArlene Stern TrustEstate of Arlette B. SternEstate of Ruth C. SternElise L. Stoeger Prize for

Contemporary Music, bequest of Milan Stoeger

Estate of Frank E. Taplin, Jr.Mrs. Frederick L. TownleyMiss Alice TullyLila Acheson WallaceLelia and Edward WardwellThe Helen F. Whitaker FundEstate of Richard S. ZeislerHenry S. Ziegler

russian panorama: part iii · five easy pieces for piano, four hands from jewish folk poetry for...

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