Music@Menlo 2013 Festival Brochure by Claire Graham

The Eleventh Season: From Bach July 18â&#x20AC;&#x201C;August 10, 2013

WELCOME TO MUSIC@MENLO Dear Friends,

The most transformative musical experiences of our own lives inevitably surface at Music@Menlo. Whether they inspire a single concert or provide context for an entire festival, we bring you these musical revelations with tremendous excitement. This we promise you: if you find it at Music@Menlo, it has a story deeply rooted in our personal history. Such an experience occurred for us during Music@Menlo’s ninth festival, which illustrated Brahms’s wide range of musical sources and influences. A program opened with an eloquent performance of Bach’s Second Suite for Solo Cello and then moved to works by composers indebted to both Bach and Brahms. Bach is a composer we had long revered, and we spoke excitedly of this concert’s extraordinary effect. Had the music of Bach—which unquestionably laid the foundations for the flowering of classical music through the present day—transformed the works which followed it, by composers including Schoenberg and Harbison? Or had Bach’s music, through its cosmic logic, simply opened our ears to hearing everything that followed it more clearly and vividly? These questions blossomed into our dream of an entire Music@Menlo season programmed in this special way, and in due time From Bach was born. Once again, Music@Menlo is proud to offer a rich festival experience to be found nowhere else. What better way to inaugurate our second decade than with concerts that begin with works by a composer without equal, created at the glorious dawn of great music? Please join us,

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

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CONTENTS Welcome 2

Welcome from the Artistic Directors

Festival Introduction

Concerts 6

Concert Programs

Carte Blanche Concerts

19 Prelude Performances and Koret Young Performers Concerts 22

2013â&#x20AC;&#x201C;2014 Winter Series

Festival Calendar

Discovery and Engagement 16

Michael Steinberg Encounter Series

Chamber Music Institute

19 Prelude Performances and Koret Young Performers Concerts 20

CafĂŠ Conversations and Master Classes

Open House

Listening Room

AudioNotes

Music@Menlo LIVE

Recording and Broadcasting

Artists 5

2013 Artist Roster

Visual Artist

Performer Biographies

Ticket and Patron Information 30

Join Music@Menlo

Reserving Your Summer Festival Tickets

Summer Festival Subscriber Information

34 The Festival Campus and Performance Venues 35

Map, Locations, and Parking

For Visitors to Our Area

Festival Calendar

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FROM BACH

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Music@Menlo’s 2013 season, From Bach, celebrates the timeless work of Johann Sebastian Bach, the composer whose profound legacy has shaped Western music over the two and a half centuries since his death. To the ears of many modern listeners, the canon begins with Bach, and arguably every major musical innovation has borne his influence. Whether in the craftsmanship of composers from Haydn to Mendelssohn, the sonic magnitude of Brahms, Bartók, and Shostakovich, or even the sensual allure of Debussy, Richard Strauss, and George Gershwin, Bach’s legacy endures. This season, Music@Menlo examines that legacy, mining the depths of Bach’s art from the perspective of the generations of great composers who followed. ARTISTS Piano Gloria Chien Derek Han Jeffrey Kahane Gilbert Kalish Hyeyeon Park Gilles Vonsattel* Wu Han Violin Benjamin Beilman Sunmi Chang* Jorja Fleezanis Soovin Kim* Kristin Lee Sean Lee Arnaud Sussmann Ian Swensen Joseph Swensen

Ingo Bracke (b. 1972). Inversus F, 2008. Light installation, Bachhaus Eisenach, Germany. Photo: Studiokybra

Viola Sunmi Chang* Mark Holloway* Paul Neubauer Richard O’Neill Arnaud Sussmann

Cello Dmitri Atapine Carter Brey Colin Carr David Finckel Laurence Lesser Bass Charles Chandler Scott Pingel Harp Bridget Kibbey Danish String Quartet* Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello Orion String Quartet Daniel Phillips, violin Todd Phillips, violin Steven Tenenbom, viola Timothy Eddy, cello

Vocalist Elizabeth Futral, soprano* Percussion Christopher Froh Ayano Kataoka Ian Rosenbaum* Woodwinds Tara Helen O’Connor, flute Alan Kay, clarinet* James Austin Smith, oboe Marc Goldberg, bassoon Brass Nicole Cash, French horn* Kevin Rivard, French horn* David Washburn, trumpet Encounter Leaders Patrick Castillo Ara Guzelimian Stuart Isacoff Michael Parloff *Music@Menlo debut

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CONCERT PROGRAM I

PIANO/PIANO

Johann Sebastian Bach was lauded in his own lifetime as a virtuoso organist, and his impeccable writing for keyboard distinguishes such masterpieces as his Concerto for Two Harpsichords. The sonic breadth that Bach imagined, afforded by two modern Steinway pianos, is given voice in this explosive piano-centric performance—an anachronistic testament to the timeless resonance of Bach’s art. Schubert’s Rondo in A Major for Piano, Four Hands, coaxes orchestral immensity from one keyboard, and Schumann’s Andante and Variations likewise exploits an alchemical ensemble of two pianos, two cellos, and horn to ravishing effect. The program concludes with the pathbreaking Sonata for Two Pianos and Percussion of Béla Bartók, one of the towering geniuses of early twentieth-century modernism, and who counted Bach among his essential influences. JOHANN SEBASTIAN BACH (1685–1750)

Concerto for Two Pianos in C Major, BWV 1061 (1732–1735)

FRANZ SCHUBERT (1797–1828)

Rondo in A Major for Piano, Four Hands, op. 107, D. 951 (1828)

ROBERT SCHUMANN (1810–1856)

Andante and Variations for Two Pianos, Two Cellos, and Horn, op. 46 (1843)

BÉLA BARTÓK (1881–1945)

Sonata for Two Pianos and Percussion, BB 115 (1937)

ARTISTS

Kevin Rivard, French horn; Gloria Chien, Derek Han, Gilbert Kalish, Hyeyeon Park, Wu Han, pianos; Soovin Kim, Kristin Lee, Sean Lee, Arnaud Sussmann, violins; Sunmi Chang, Mark Holloway, violas; David Finckel, Laurence Lesser, cellos; Scott Pingel, bass; Christopher Froh, Ian Rosenbaum, percussion

FRIDAY, JULY 19

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirty Prelude Performance* 5:30 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.

Ann Sperry (1934–2008). My Piano 10. Made from parts of the artist’s childhood Sohmer spinet. Courtesy of Paul Sperry 6

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Kai Rösler (b. 1957). St. Thomas Church, Leipzig, 2010, where Bach was Music Director from 1723 to 1750

CONCERT PROGRAM II

QUARTET DIMENSIONS The string quartet medium, arguably the spinal column of the chamber music literature, did not exist in Bach’s lifetime. Yet even here, Bach’s legacy is inescapable. The fugues of his seminal The Well-Tempered Clavier inspired no less a genius than Mozart, who arranged a set of them for string quartet. The influence of Bach’s architectural mastery permeates the ingenious Quinten Quartet of Joseph Haydn, the father of the modern string quartet, and even Dmitry Shostakovich’s Piano Quintet, composed nearly two hundred years after Bach’s death. The centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang eines Genesenen an die Gottheit (“A Convalescent’s Holy Song of Thanksgiving to the Divinity”)—recalls another Bachian signature: the Baroque master’s sacred chorales.

JOHANN SEBASTIAN BACH (1685–1750)/ WOLFGANG AMADEUS MOZART (1756–1791)

ARTISTS

JOSEPH HAYDN (1732–1809)

SUNDAY, JULY 21

Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405

String Quartet in d minor, op. 76, no. 2, Quinten (1796)

DMITRY SHOSTAKOVICH (1906–1975)

Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello 6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirty

Piano Quintet in g minor, op. 57 (1940)

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet no. 15 in a minor, op. 132 (1825)

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CL Droplet Blues by Nicholas Monu

BE CONCERT PROGRAM III

STRING VARIATIONS

Concert Program III illuminates the limitless splendor of the string ensemble genre, as first realized by Bach in his effervescent Third Brandenburg Concerto, scored for trios of violins, violas, and cellos. Representing one of the Baroque master’s warmest sonic creations, the work invites listeners to revel in the luminescence of string instruments. The lush String Sextet from Richard Strauss’s Capriccio weaves an exquisite tapestry from one sinewy Romantic line to the next; Shostakovich’s Third String Quartet offers a more piquant perspective on the string literature. The program concludes with Mozart’s Divertimento of 1788, a masterpiece for string trio as beguiling in character as it is epic in breadth.

JOHANN SEBASTIAN BACH (1685–1750)

Brandenburg Concerto no. 3 in G Major, BWV 1048 (1721)

RICHARD STRAUSS (1864–1949)

String Sextet from Capriccio, op. 85 (1940–1941)

DMITRY SHOSTAKOVICH (1906–1975)

String Quartet no. 3 in F Major, op. 73 (1946)

WOLFGANG AMADEUS MOZART (1756–1791) Divertimento in E-flat Major, K. 563 (1788)

ARTISTS

Wu Han, harpsichord; Jorja Fleezanis, Soovin Kim, Kristin Lee, Sean Lee, Frederik Øland, Arnaud Sussmann, violins; Mark Holloway, Paul Neubauer, Asbjørn Nørgaard, violas; Dmitri Atapine, Colin Carr, Laurence Lesser, Fredrik Schøyen Sjölin, cellos

WEDNESDAY, JULY 24

8:00 p.m., Stent Family Hall, Menlo School Tickets: $77 full price; $35 under age thirty Prelude Performance* 5:30 p.m., Martin Family Hall, Menlo School Mingle with the Musicians 10:30 p.m., Stanford Park Hotel’s Menlo Grill (Dutch treat) Visit with the Concert Program III musicians for dinner or a drink or just to say hello. Please RSVP to 650-330-2141 or elizabeth@musicatmenlo.org.

THURSDAY, JULY 25

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirty Prelude Performance* 5:30 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.

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CONCERT PROGRAM IV

PRELUDES AND FUGUES

Bach elevated the simple construct of prelude and fugue to profound heights. More than an academic two-part structure, the prelude and fugue, in Bach’s hands, spoke to something deeply human. The prelude is an invitation into Bach’s fantastical imagination, and the fugue is an extension of the prelude’s expression into the formal complexity of Bach’s contrapuntal mindscape. That Bach’s preludes and fugues captivated Haydn and Mozart is evident in their writing; two centuries later, Britten and Shostakovich, too, would call on the same Bachian tradition to give voice to a wholly distinct worldview. JOHANN SEBASTIAN BACH (1685–1750)

Selections from The Well-Tempered Clavier (1722)

WOLFGANG AMADEUS MOZART (1756–1791) Adagio and Fugue in c minor, K. 546 (1788)

JOSEPH HAYDN (1732–1809)

String Quartet in f minor, op. 20, no. 5 (1772)

FELIX MENDELSSOHN (1809–1847)

Capriccio in e minor, op. 81, no. 3 (1843)

DMITRY SHOSTAKOVICH (1906–1975)

Prelude and Fugue no. 4 in e minor, op. 87 (1951)

CLAUDE DEBUSSY (1862–1918)

Selections from Préludes, Book 1 (1909–1910)

GEORGE GERSHWIN (1898–1937)

Three Preludes for Violin and Piano (transcribed by Heifetz) (1923–1926)

BENJAMIN BRITTEN (1913–1976)

Prelude and Fugue for Eighteen Strings, op. 29 (1943)

ARTISTS

Gilles Vonsattel, piano; Sunmi Chang, Jorja Fleezanis, Kristin Lee, Sean Lee, Arnaud Sussmann, Ian Swensen, violins; Mark Holloway, Paul Neubauer, violas; Colin Carr, Laurence Lesser, cellos; Charles Chandler, Scott Pingel, basses; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello

SATURDAY, JULY 27

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirty Prelude Performance* 5:30 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.

Anonymous, nineteenth century. Naerøyfjord, Norway, ca. 1890. Photograph. Adoc-photos/Art Resource, NY subscribe at www.musicatmenlo.org

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Paul Klee (1879–1940). Abstract Trio, 1923. Watercolor and transferred printing ink on paper, bordered with gouache and ink. © ARS, NY

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TRIO TRANSFORMATIONS

Like the string quartet, the piano trio is a musical tradition that came into its own only after Bach’s death. Nevertheless, the piano trio repertoire remains indebted to Bach’s art. His sonatas for violin and keyboard—typically performed with cello augmenting the continuo, and which C. P. E. Bach referred to as “harpsichord trios”—set a model for keyboard-and-strings writing that Mozart and Brahms would affirm in subsequent generations. A hallowed tradition beautifully disintegrates in Café Music, Paul Schoenfield’s crack at “a kind of high-class dinner music,” which draws on Bach, Brahms, and Broadway.

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JOHANN SEBASTIAN BACH (1685–1750) Trio Sonata no. 4 in c minor, BWV 1017 (1720)

WOLFGANG AMADEUS MOZART (1756–1791) Piano Trio in G Major, K. 496 (1786)

JOHANNES BRAHMS (1833–1897)

Piano Trio no. 3 in c minor, op. 101 (1886)

PAUL SCHOENFIELD (b. 1947) Café Music (1987)

ARTISTS

Jeffrey Kahane, piano/harpsichord; Joseph Swensen, violin; Carter Brey, cello

WEDNESDAY, JULY 31

8:00 p.m., Stent Family Hall, Menlo School Tickets: $77 full price; $35 under age thirty Prelude Performance* 5:30 p.m., Martin Family Hall, Menlo School

THURSDAY, AUGUST 1

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirty Prelude Performance* 5:30 p.m., The Center for Performing Arts at Menlo-Atherton

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* * Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

CONCERT PROGRAM VI

FRENCH CONNECTIONS

Bach is often considered the patriarch of a Germanic tradition, a lineage fulfilled by Haydn, Mozart, Beethoven, Schubert, and Brahms. Echoes of his music’s structural rigor are encountered in the thematic complexity and formal perfection of these later Classical and Romantic era composers. But equally vibrant in Bach’s language are the elegance, color, and romance that characterize the music of France more than a century later. The bewitching spirit of Bach’s French Suites surfaces in Saint-Saëns’s seductive Fantaisie and Debussy’s ethereal Sonata for Flute, Viola, and Harp. César Franck’s powerful Piano Quintet presents a climactic synthesis of French color and German Romanticism. JOHANN SEBASTIAN BACH (1685–1750)

French Suite no. 5 for Solo Piano, BWV 816 (1722)

CAMILLE SAINT-SAËNS (1835–1921)

Fantaisie in A Major for Violin and Harp, op. 124 (1907)

CLAUDE DEBUSSY (1862–1918)

Sonata for Flute, Viola, and Harp (1915)

MARCEL TOURNIER (1879–1951)

Suite for Flute, Violin, Viola, Cello, and Harp, op. 34 (1929)

CÉSAR FRANCK (1822–1890) Piano Quintet (1880)

ARTISTS ink.

Tara Helen O’Connor, flute; Bridget Kibbey, harp; Gilles Vonsattel, Wu Han, pianos; Kristin Lee, Arnaud Sussmann, Ian Swensen, violins; Paul Neubauer, Richard O’Neill, violas; Dmitri Atapine, David Finckel, cellos

FRIDAY, AUGUST 2

8:00 p.m., Stent Family Hall, Menlo School Tickets: $77 full price; $35 under age thirty

SATURDAY, AUGUST 3

8:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirty Prelude Performance* 5:30 p.m., The Center for Performing Arts at Menlo-Atherton Mingle with the Musicians 10:30 p.m., Stanford Park Hotel’s Menlo Grill (Dutch treat) Visit with the Concert Program VI musicians for dinner or a drink or just to say hello. Please RSVP to 650-330-2141 or elizabeth@musicatmenlo.org. * Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

Jean Béraud (1849–1935). Dinner at les Ambassadeurs, Hôtel de Crillon, Paris, 1880. Alfredo Dagli Orti/The Art Archive at Art Resource, NY subscribe at www.musicatmenlo.org

Th of B Wi Ob av AM bun the Th and hei

Closing bars of the unfinished quadruple fugue from The Art of Fugue, with the final note by Philipp Emanuel Bach. Bildarchiv Preussischer Kulturbesitz, Berlin/Art Resource, NY

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FR CONCERT PROGRAM VII

JOHANN SEBASTIAN BACH (1685–1750)

The music of Johann Sebastian Bach has provided generations of listeners with an inexhaustible source of nourishment. It has captivated us with its sheer sonic beauty; its technical perfection ceaselessly provokes our intellectual curiosity; and in its magical expression of the inexpressible, Bach’s music, above all else, uplifts the soul. There is no clearer or more distilled illustration of these qualities than The Art of Fugue. Bach’s final work, left unfinished at the time of the composer’s death, occupies a hallowed place in the classical music literature. This monumental cycle of fugues and canons, arranged for string quartet and wind quintet, represents the summation of Bach’s artistry.

ARTISTS

DIE KUNST DER FUGE

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Die Kunst der Fuge (The Art of Fugue), BWV 1080 (before 1742; rev. ca. 1745 and 1748–1749) (arr. Samuel Baron)

Tara Helen O’Connor, flute; Alan Kay, clarinet; James Austin Smith, oboe; Marc Goldberg, bassoon; Nicole Cash, French horn; Orion String Quartet: Daniel Phillips, Todd Phillips, violins; Steven Tenenbom, viola; Timothy Eddy, cello

TUESDAY, AUGUST 6

8:00 p.m., Stent Family Hall, Menlo School Tickets: $77 full price; $35 under age thirty Prelude Performance* 5:30 p.m., Martin Family Hall, Menlo School

WEDNESDAY, AUGUST 7

8:00 p.m., Stent Family Hall, Menlo School Tickets: $77 full price; $35 under age thirty Prelude Performance* 5:30 p.m., Martin Family Hall, Menlo School * Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

CONCERT PROGRAM VIII

THE SOLO VOICE

The season comes to a riveting close as we celebrate the exuberance of Bach’s music for solo instruments and the virtuosity of the soloist. With its origins as an orchestral concerto, Bach’s Concerto for Violin and Oboe revels in the novelty of a double concerto, a masterly example of a virtuosic pairing of strings and wind instruments. Schubert’s Rondo in A Major equally captures the essence of the virtuosic violin with its rambunctious finale. Mozart wrote his Twelfth Piano Concerto shortly after the death of Bach’s son Carl Philipp Emanuel, a close friend and mentor. The program concludes with the Double Concerto for Violin, Piano, and String Quartet by Felix Mendelssohn, one of the most devoted heirs of Bach’s legacy, responsible for launching the modern Bach revival. JOHANN SEBASTIAN BACH (1685–1750)

Concerto for Violin and Oboe in c minor, BWV 1060 (ca. 1736)

FRANZ SCHUBERT (1797–1828)

Rondo in A Major for Violin and String Quartet, D. 438 (1816)

WOLFGANG AMADEUS MOZART (1756–1791) Piano Concerto no. 12 in A Major, K. 414 (1782)

FELIX MENDELSSOHN (1809–1847)

Double Concerto in d minor for Violin, Piano, and String Quartet (1823)

ARTISTS

James Austin Smith, oboe; Gilbert Kalish, Wu Han, pianos; Hyeyeon Park, harpsichord; Benjamin Beilman, Sunmi Chang, Jorja Fleezanis, Kristin Lee, Sean Lee, Arnaud Sussmann, violins; Richard O’Neill, viola; Dmitri Atapine, David Finckel, cellos; Scott Pingel, bass

FRIDAY, AUGUST 9

8:00 p.m., Stent Family Hall, Menlo School Tickets: $77 full price; $35 under age thirty

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

SATURDAY, AUGUST 10

6:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirty

Prelude Performance* 3:30 p.m., The Center for Performing Arts at Menlo-Atherton Fête the Festival 8:30 p.m., following the concert Join the Artistic Directors, festival musicians, and friends on August 10 to celebrate the season finale at an outdoor catered dinner reception at the Palo Alto Art Center. (Tickets: $65. Advance purchase required. Please see order form.)

* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

Samuel H. Gottscho (1875–1971). Fireworks at the World’s Fair, 1939. Gelatin silver print. The Museum of the City of New York/Art Resource, NY subscribe at www.musicatmenlo.org

CARTE BLANCHE CONCERTS

Music@Menlo’s series of artist-curated recitals showcases individual festival musicians and their singular musical passions. CARTE BLANCHE CONCERT I:

Percussion Complexities: Christopher Froh, Ayano Kataoka, and Ian Rosenbaum Saturday, July 20, 8:00 p.m.* The Center for Performing Arts at Menlo-Atherton Tickets: $50/$40 full price; $25/$20 under age thirty The Carte Blanche series begins with an unprecedented complement to the season’s offerings of wind, string, and keyboard repertoire. Portrayed through an array of percussion instruments, the vitality of the Baroque master’s legacy in the twentieth century is brilliantly apparent through works such as Tōru Takemitsu’s evocative Rain Tree and Steve Reich’s seminal masterpiece, Drumming, evoking primitive sensations and visceral excitement in rhythmic energy. JOHANN SEBASTIAN BACH (1685–1750) Transcription for Percussion

ALEJANDRO VIÑAO (b. 1951)

Selections from Book of Grooves (2011)

MAURICIO KAGEL (1931–2008) Selection from Rrrrr (1982)

CONLON NANCARROW (1912–1997)

Piece for Tape (arr. Dominic Murcott) (1955)

THIERRY DE MEY (b. 1956) Table Music (1998)

TŌRU TAKEMITSU (1930–1996) Rain Tree (1982)

NEBOJSA ZIVKOVIC (b. 1962)

Trio per uno for Percussion Trio (1995)

JOHN CAGE (1912–1992) In a Landscape (1948)

STEVE REICH (b. 1936) Drumming (1970–1971)

ARTISTS

Christopher Froh, Ayano Kataoka, Ian Rosenbaum, percussion

*Saturday, July 20, is Open House Day. See p. 20 for more information. 14

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CARTE BLANCHE CONCERT II:

Sunday, July 21, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $75 full price; $35 under age thirty

Sun Ste Tic

Violinist Soovin Kim makes his Music@Menlo debut with a formidable recital program traversing the evolution of the solo violin repertoire. Biber’s Mystery Sonatas are known to have inspired Bach in writing his own Sonatas for Solo Violin, whose equal parts of artistry and athleticism paved the way for the pyrotechnic virtuosity of Paganini and Ysaÿe, a tradition extended into the twenty-first century.

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The Solo Violin: Soovin Kim, violin

HEINRICH IGNAZ FRANZ VON BIBER (1664–1704) Passacaglia (Sonata XVI from Mystery Sonatas) (ca. 1674)

GEORG PHILIPP TELEMANN (1681–1767) Fantasia no. 9 in b minor (1735)

JOHANN SEBASTIAN BACH (1685–1750) Sonata no. 3 in C Major, BWV 1005 (1720)

NICCOLÒ PAGANINI (1782–1840)

Caprices for Solo Violin, op. 1, nos. 1, 3, 6, 7, 11, 14, and 24 (ca. 1817)

HEINRICH WILHELM ERNST (1812–1865)

Variations on “The Last Rose of Summer” (1864)

EUGÈNE YSAŸE (1858–1931)

Sonata no. 6 in E Major (1923)

BÉLA BARTÓK (1881–1945)

Sonata for Solo Violin, Sz. 117, BB 124 (1944)

JOHN HARBISON (b. 1938)

Four Songs of Solitude, nos. 1 and 2 (1985)

ESA-PEKKA SALONEN (b. 1958) Lachen verlernt (2002)

JÖRG WIDMANN (b. 1973) Étude III (2002)

ARTIST

Soovin Kim, violin Carte Blanche Concert II features a lunch-break intermission. A gourmet boxed lunch may be reserved for $18. Please see order form.

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CARTE BLANCHE CONCERT III:

CARTE BLANCHE CONCERT IV:

CARTE BLANCHE CONCERT V:

Sunday, July 28, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $75 full price; $35 under age thirty

Sunday, July 28, 6:00 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirty

Sunday, August 4, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $75 full price; $35 under age thirty

Cellist Colin Carr, who inaugurated Music@Menlo’s Carte Blanche Concert series in 2004 with an unforgettable marathon performance of the complete Bach Cello Suites, revisits two of them here—the victorious Third Suite and the austere Fifth—as part of the 2013 season’s Bachian journey. The Bach Suites, bedrock works in the cello’s solo repertoire, set a precedent that would guide composers for generations, as evidenced by the Sonata for Solo Cello of the Hungarian composer and ethnomusicologist Zoltán Kodály, composed in 1915.

Violinist Jorja Fleezanis curates and leads this summer’s fourth Carte Blanche Concert, examining music’s mysterious power to give voice to the human condition, from our darkest and most introspective moments to our most radiant. Devoutly religious and spending much of his creative life in service of the church, Bach viewed even human tribulation as a vessel for spiritual fulfillment. The exuberance of even a secular work such as the Violin Concerto in E Major can only be heard as an expression of praise and profound joy. Likewise, the deeply spiritual Messiaen’s Theme and Variations offers a plaintive melody ecstatically transfigured. Mozart’s moody g minor String Quintet casts these joyful expressions in stark relief, and the program culminates in Handel’s Eternal Source of Light Divine and Bach’s transcendent Jauchzet Gott in allen Landen. A cohort of festival artists joins Jorja Fleezanis in this multifaceted look at the depth of Bach’s art and the greater power of music to lift the spirit.

Distinguished cellist Laurence Lesser, renowned for his probing explorations of the Bach Suites in concert and on recordings, completes this summer’s cycle of Bach’s Cello Suites in a provocative program. The concert pairs the iconic First Suite with German composer Paul Hindemith’s Sonata for Solo Cello, an essay in bold modernism and instrumental fluency. Bach’s glorious Fourth Suite serves as the program’s centerpiece. The final set bookends Italian master Luigi Dallapiccola’s Ciaccona, Intermezzo, and Adagio with the severe Second Suite and the thrilling Sixth Suite.

Cello Evolutions I: Colin Carr, cello

JOHANN SEBASTIAN BACH (1685–1750)

Suite no. 3 in C Major for Solo Cello, BWV 1009 (ca. 1720) Suite no. 5 in c minor for Solo Cello, BWV 1011 (ca. 1720)

ZOLTÁN KODÁLY (1882–1967)

Sonata for Solo Cello, op. 8 (1915)

ARTIST

Colin Carr, cello

Into the Light: Jorja Fleezanis, violin

JOHANN SEBASTIAN BACH (1685–1750)

Violin Concerto in E Major, BWV 1042 (ca. 1723)

WOLFGANG AMADEUS MOZART (1756–1791) String Quintet no. 4 in g minor, K. 516 (1787)

OLIVIER MESSIAEN (1908–1992)

Theme and Variations for Violin and Piano (1932)

GEORGE FRIDERIC HANDEL (1685–1759) Eternal Source of Light Divine, HWV 74 (1713)

JOHANN SEBASTIAN BACH

Jauchzet Gott in allen Landen, BWV 51 (ca. 1730)

Cello Evolutions II: Laurence Lesser, cello

JOHANN SEBASTIAN BACH (1685–1750)

Suite no. 1 in G Major for Solo Cello, BWV 1007 (ca. 1720)

PAUL HINDEMITH (1895–1963) Sonata for Solo Cello (1923)

GEORGE CRUMB (b. 1929) Sonata for Solo Cello (1955)

JOHANN SEBASTIAN BACH

Suite no. 4 in E-flat Major for Solo Cello, BWV 1010 (ca. 1720) Suite no. 2 in d minor for Solo Cello, BWV 1008 (ca. 1720)

LUIGI DALLAPICCOLA (1904–1975)

Ciaccona, Intermezzo, and Adagio (1945)

JOHANN SEBASTIAN BACH

Suite no. 6 in D Major for Solo Cello, BWV 1012 (ca. 1720)

ARTIST

Laurence Lesser, cello

ARTISTS

Elizabeth Futral, soprano; David Washburn, trumpet; Gloria Chien, piano/ harpsichord; Hyeyeon Park, harpsichord; Jorja Fleezanis, Kristin Lee, Sean Lee, violins; Arnaud Sussmann, violin/viola; Sunmi Chang, Paul Neubauer, violas; Dmitri Atapine, Laurence Lesser, cellos

Carte Blanche Concert V features a lunch-break intermission. A gourmet boxed lunch may be reserved for $18. Please see order form.

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DISCOVERY AND ENGAGEMENT ENCOUNTERS CHAMBER MUSIC INSTITUTE PRELUDE PERFORMANCES AND KORET YOUNG PERFORMERS CONCERTS MASTER CLASSES CAFÉ CONVERSATIONS OPEN HOUSE LISTENING ROOM AUDIONOTES MUSIC@MENLO LIVE RECORDING AND BROADCASTING 2013–2014 WINTER SERIES VISUAL ARTIST

Michael Steinberg Encounter Series The Encounter series, Music@Menlo’s signature multimedia symposia led by classical music’s most renowned authorities, embodies the festival’s contextrich approach to musical discovery and adds an integral dimension to the Music@Menlo experience. The 2013 festival season’s four Encounters explore the multifaceted power of music, giving audiences context for the season’s eight Concert Programs. Using musical examples and drawing upon other art forms and cultural phenomena, this summer’s Encounter Leaders explore Bach’s vast influences, providing an essential component 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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ENCOUNTER I:

In the Beginning... There Was Bach led by Ara Guzelimian Thursday, July 18, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty Bach’s influence on the entire trajectory of musical history is immense. More than three hundred years after his birth, musicians are still coming to terms with a legacy that remains vibrant, central, and defining. How has our understanding of Bach shifted over the generations? What do performers gain by grappling with the Olympian challenges of playing Bach? What resonance does Bach carry for composers in the twentieth and twenty-first centuries? Join us in this season-opening overview as we examine this enduring legacy and its significance in our time. Become a Member of the Bach Circle and join us for the first annual Bach Circle BBQ, a special Bach Circle event to launch the festival season, prior to the opening Encounter. For more information about becoming a Bach Circle Member, see p. 30.

ENCOUNTER II:

Keyboard Evolution: How Bach’s Instruments Became the Modern Piano led by Stuart Isacoff

ENCOUNTER III:

The Art of Late Bach: Exploring Musical Offering and The Art of Fugue led by Michael Parloff

Friday, July 26, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty

Sunday, August 4, 6:00 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty

The keyboards prominent in J. S. Bach’s time— clavichords, harpsichords, and organs—slowly gave way in popularity to the piano, which was virtually unknown until Mozart brought it to the forefront in the 1780s. As composers, yet under the spell of Bach, were drawn to the possibilities afforded by the warmth and nuanced dynamics of this new instrument, they discovered it to be the perfect vehicle for an emerging Classical style. At this summer’s second Encounter, pianist and writer Stuart Isacoff will explore both the origins and the evolution of the piano and its literature.

As Bach entered his final years, he found himself increasingly at odds with the emerging musical fashions of the Enlightenment. His unrivaled mastery of fugal technique counted for little at a time when simple, homophonic textures were all the rage. Bach’s response was to concentrate even more on his mission to rescue what he considered music’s highest level of achievement from future oblivion. In The Art of Fugue and Musical Offering, he set out to explore and demonstrate every conceivable possibility of fugal and canonic technique. Taken together, they represent the apotheosis of polyphony and the crowning glory of Bach’s art. Michael Parloff will explore the history and musical specifics of these two unparalleled masterworks.

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

* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19. Bach memorial erected by Mendelssohn in 1843, Leipzig

Ettore Simonetti (1857–1909). Concert at the Time of Mozart, 1853. Scala/Art Resource, NY

Anonymous, eighteenth century. Frederick the Great of Prussia. Bridgeman-Giraudon/Art Resource, NY

ENCOUNTER IV:

The Passion According to Sebastian Bach led by Patrick Castillo Thursday, August 8, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirty This season’s final Encounter explores the role of spirituality in Bach’s life and art. Religion represented an all-encompassing dimension of Bach’s worldly experience, from the influence of his spirituality on his personal life to that of the church on the course of his career. In his music, too, we encounter the centrality of Bach’s faith to his identity. Considering the profound connection between what Bach believed in, who he was, and what he created, Music@Menlo Artistic Administrator Patrick Castillo will discuss a quintessential component of Bach’s oeuvre: his sacred vocal music, including the cantatas, passions, and other works. In addition, we will also consider how Bach’s worldview, as shaped by his faith, affected his instrumental secular works—and, indeed, his musical identity at large. Prelude Performance* 5:30 p.m., Stent Family Hall, Menlo School

St. Thomas Church, Leipzig

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CHAMBER MUSIC INSTITUTE David Finckel and Wu Han, Artistic Directors Gloria Chien, Institute Director Gilbert Kalish, International Program Director

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Th M Music@Menlo’s Chamber Music Institute has become one of the top-tier summer programs in the United States for string players and pianists. Concurrent with the festival, the Institute brings together talented young musicians and a world-class roster of performing artists for an intensive training program, consisting of the International Program for preprofessional artists and the Young Performers Program for pre- and early-conservatory-level students. These exceptional young artists are culled from top preparatory and conservatory programs across the United States and abroad. Students work 18

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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 contributions to the Ann S. Bowers Young Artist Fund. The coaching faculty is generously supported by Paul and Marcia Ginsburg.

2013 Young Performers Program Faculty Dmitri Atapine Sunmi Chang Gloria Chien

Kristin Lee Sean Lee Hyeyeon Park

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PRELUDE PERFORMANCES AND KORET YOUNG PERFORMERS CONCERTS The festival’s preconcert Prelude Performances and afternoon Koret Young Performers Concerts showcase the extraordinary young artists of the Chamber Music Institute and are an integral part of the festival’s educational mission. These inspiring concerts have become some of Music@Menlo’s most anticipated events. Experience these young artists performing great music from the chamber music repertoire.

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

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

Saturday, August 10, 3:30 p.m., The Center for Performing Arts at Menlo-Atherton

Prelude Performances Schedule

Tuesday, August 6, 5:30 p.m., Martin Family Hall, Menlo School Wednesday, August 7, 5:30 p.m., Martin Family Hall, Menlo School Thursday, August 8, 5:30 p.m., Stent Family Hall, Menlo School Friday, August 9, 5:30 p.m., Martin Family Hall, Menlo School

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

Featuring the Institute’s International Program artists.

Koret Young Performers Concerts Schedule

Friday, July 19, 5:30 p.m., The Center for Performing Arts at Menlo-Atherton

Featuring the students of the Young Performers Program.

Saturday, July 20, 5:30 p.m., Martin Family Hall, Menlo School Monday, July 22, 5:30 p.m., Stent Family Hall, Menlo School Wednesday, July 24, 5:30 p.m., Martin Family Hall, Menlo School

Saturday, July 27, 1:00 p.m., The Center for Performing Arts at Menlo-Atherton Saturday, August 3, 1:00 p.m., The Center for Performing Arts at Menlo-Atherton

Thursday, July 25, 5:30 p.m., The Center for Performing Arts at Menlo-Atherton

Saturday, August 10, 12:00 p.m., The Center for Performing Arts at Menlo-Atherton

Friday, July 26, 5:30 p.m., Stent Family Hall, Menlo School

In response to the popularity of these events, a free 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. New this year: Members of the Bach Circle ($1,000) enjoy advance reservations for one free concert of their choice. Members of the Beethoven Circle ($10,000) and above enjoy advance reservations for all free concerts.

Saturday, July 27, 5:30 p.m., The Center for Performing Arts at Menlo-Atherton Monday, July 29, 5:30 p.m., Stent Family Hall, Menlo School Wednesday, July 31, 5:30 p.m., Martin Family Hall, Menlo School Thursday, August 1, 5:30 p.m., The Center for Performing Arts at Menlo-Atherton Saturday, August 3, 5:30 p.m., The Center for Performing Arts at Menlo-Atherton

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CAFÉ CONVERSATIONS AND MASTER CLASSES

OPEN HOUSE

On Saturday, July 20, Music@Menlo welcomes the community to take part in a series of festival events at Menlo School. This daylong event affords audiences the opportunity to become a part of the festival’s daily music-making activities, in addition to meeting fellow music lovers from the festival community. The day kicks off with a Q & A Coffee at 8:30 a.m. with Artistic Directors David Finckel and Wu Han. Open rehearsals—on this day only—and open coachings allow audiences to observe festival artists and Chamber Music Institute students in the process of preparing great chamber music repertoire for performance. Other activities include the season’s first Café Conversation, with the season’s Visual Artist, Sebastian Spreng, at 11:45 a.m. in Martin Family Hall and an optional buffet lunch with festival artists and Institute musicians at 1:00 p.m. ($15). The evening features a Prelude Performance (5:30 p.m., Martin Family Hall, free tickets required) and Carte Blanche Concert I: Percussion Complexities at the Center for Performing Arts at Menlo-Atherton (8:00 p.m., tickets required, $50/$40; see p. 14). Each weekday throughout the festival, and on Open House Day (July 20), Music@Menlo offers midday events including the popular Café Conversations and master classes. Café Conversations feature the festival’s artist roster discussing a variety of topics related to music and the arts. These forums showcase the wide-ranging expertise, generosity, and imagination of our artists and provide further insight into their remarkable careers and musical experiences. Master classes offer an opportunity to witness the artist-faculty members imparting their art, inspiration, and expertise to the next generation of performers. In master classes, Chamber Music Institute participants are coached in preparation for their Prelude 20

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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 and on Open House Day (July 20) at 11:45 a.m. at Menlo School. Café Conversations and master classes are live-streamed on the Music@Menlo website. 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.

LISTENING ROOM

Music@Menlo’s popular Listening Room series will return for a fourth season, hosted by festival Artistic Administrator Patrick Castillo. 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. (Free)

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RECORDING AND BROADCASTING Recording Producer

Six-time Grammy Award-winning recording producer Da-Hong Seetoo returns to Music@Menlo for an eleventh consecutive season to record the festival concerts for release on the Music@Menlo LIVE label. A Curtis Institute– and Juilliard School–trained violinist, Da-Hong Seetoo has emerged as one of a handful of elite audio engineers, using his own custom-designed microphones, monitor speakers, and computer software. His recent clients include the Borromeo, Escher, Emerson, Miró, and Tokyo String Quartets; the Beaux Arts Trio; pianists Daniel Barenboim, Yefim Bronfman, Derek Han, and Christopher O’Riley; violinist Gil 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 Quartet for Deutsche Grammophon, Intimate Letters, garnered the 2010 Grammy Award for Best Chamber Music Performance.

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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 foundation for a rich and rewarding musical journey. AudioNotes are available in CD or downloadable-MP3 format. See order form for details.

MUSIC@MENLO LIVE

Music@Menlo LIVE, the festival’s exclusive recording label, has been praised as “the most ambitious recording project of any classical music festival in the world” (San Jose Mercury News) and its recordings have been hailed as “without question the best CDs I have ever heard” (Positive Feedback Online). Produced by Grammy Awardwinning 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.

American Public Media American Public Media is the leading producer of classical music programming for public radio. This summer, Music@Menlo is proud to welcome the return of American Public Media as the festival’s exclusive broadcast partner. Performances from the festival will air nationwide on American 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 moderators and educators. Go online to www.americanpublicmedia.org for archived performances, photos, and interviews. subscribe at www.musicatmenlo.org

MUSIC@MENLO WINTER SERIES Music@Menlo’s Winter Series offers listeners the opportunity to experience the festival’s signature chamber music programming throughout the year, deepening the festival’s presence as one of the Bay Area’s leading cultural institutions. Following the success of the first three Winter Series seasons, the 2013–2014 season will comprise three Sunday afternoon performances at the Center for Performing Arts at Menlo-Atherton, featuring a variety of repertoire performed by many of the festival’s favorite artists. Join us for all three programs—October 13, 2013; February 9, 2014; and May 11, 2014!

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

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

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Emerson String Quartet

Pianists in Paris

Alessio Bax, piano

Sunday, October 13, 2013 4:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirty

Sunday, February 9, 2014 4:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirty

Sunday, May 11, 2014 4:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirty

Dubbed “America’s greatest quartet” by Time magazine, the renowned Emerson String Quartet, featuring its newest member, cellist Paul Watkins, returns to Music@Menlo’s Winter Series. The foursome presents an afternoon of music by three of the quartet literature’s most seminal composers. Haydn’s Opus 20 quartets represented a breakthrough in the composer’s quartet writing; the set’s g minor Quartet demonstrates the innovative spirit that would establish Haydn as the father of the string quartet. Shostakovich’s penultimate quartet, penned near the end of the composer’s life, complements Haydn’s Classical idiom with a distinctly modern tongue. The program concludes with Mendelssohn’s deeply expressive Opus 80 Quartet, likewise composed during the composer’s final months.

World-renowned pianists Jean-Efflam Bavouzet and Soyeon Kate Lee make their Music@Menlo debuts alongside Anne-Marie McDermott and Artistic Codirector Wu Han in a program celebrating the awesome sonic breadth of the four-hand and two-piano repertoire. This seductive homage to the piano features works by two of France’s most revered composers, Claude Debussy and Georges Bizet, and concludes with Gershwin’s iconic An American in Paris in the composer’s arrangement for two pianos.

Pianist Alessio Bax—well known to Music@Menlo audiences for his audacious recital programs—presents a characteristically fearless recital bringing together two of the most virtuosic works in the piano repertory. Beethoven’s Hammerklavier Sonata, one of the grandest essays in the literature, is as notorious among pianists for its finger-twisting demands as it is revered by music lovers for its magnificent construction and inspired expressive depth. Mussorgsky’s Pictures at an Exhibition follows: the Russian composer’s most famous piano work is a perennial favorite among both piano virtuosos and audiences worldwide.

JOSEPH HAYDN (1732–1809)

String Quartet in g minor, op. 20, no. 3 (1771)

DMITRY SHOSTAKOVICH (1906–1975)

String Quartet no. 14 in F-sharp Major, op. 142 (1973)

FELIX MENDELSSOHN (1809–1847)

String Quartet no. 6 in f minor, op. 80 (1847)

CLAUDE DEBUSSY (1862–1918)

Nocturnes for Two Pianos (arr. Maurice Ravel) (1897–1899) Petite Suite for Piano, Four Hands (1886–1889) Jeux for Two Pianos (arr. Jean-Efflam Bavouzet) (1871)

LUDWIG VAN BEETHOVEN (1770–1827)

Sonata in B-flat Major for Piano, op. 106, Hammerklavier (1817–1818)

GEORGES BIZET (1838–1875)

MODEST MUSSORGSKY (1839–1881)

GEORGE GERSHWIN (1898–1937)

ARTIST

Jeux d’enfants for Piano, Four Hands (1871) An American in Paris for Two Pianos (1928)

Pictures at an Exhibition (1874)

Alessio Bax, piano

ARTISTS

Jean-Efflam Bavouzet, Soyeon Kate Lee, Anne-Marie McDermott, Wu Han, pianos

ARTISTS

Emerson String Quartet: Eugene Drucker, Philip Setzer, violins; Lawrence Dutton, viola; Paul Watkins, cello

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VISUAL ARTIST: SEBASTIAN SPRENG Born in 1956 in Esperanza, Santa Fe (Argentina), Sebastian Spreng is a self-taught artist. His professional painting career started at the age of sixteen in Buenos Aires in the group exhibit Artists from Esperanza at the Fundación Lowe. The next year he had his first solo exhibit at Martina Céspedes Gallery. The show was sold out on opening night and the gallery held his work exclusively for the next decade. He moved to Miami in 1987 and has been a strong presence in the Florida art scene ever since. In recent years, he has had exhibits at the Americas Collection, Coral Gables, Arden Gallery in Boston, 24

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Anthony Ardavin and Timothy Tew Galleries in Atlanta, Friesen Gallery in Seattle, Sun Valley Gallery in Idaho, the Toronto International Art Fair, and the Arteaméricas Art Fair in Coconut Grove, Florida, as well as the Lowe Art Museum (Miami) in the Paradise Lost show. He has won the Hortt Competition at the Museum of Fort Lauderdale and the 1995 Personal Achievement Award from the Muscular Dystrophy Association for the State of Florida. Music is present in his work and whole galleries have been based on musical structures, with series titled Liederkeis, Wagner’s Ring, Sinfonietta, Impromptus, Chamber Music, and Reverberations. Spreng also writes about classical music for magazines and newspapers as the U.S. correspondent for Argentina’s foremost classical music

A magazine, Clásica. He also writes for El Nuevo Herald/Miami Herald and Opera News and has interviewed countless world-renowned musicians. Join us on Open House Day (July 20) for a special Café Conversation with Sebastian Spreng (11:45 a.m., Martin Family Hall). Spreng’s work will be displayed on campus throughout the festival. Music@Menlo’s Visual Artist is generously supported by Libby and Craig Heimark. Cover: Auf der Strasse steht ein Lindenbaum (Mahler’s Songs of a Wayfarer), 2009 Back cover: The White Sea, 2006 Upper left: Liederkreis I, At the River, 2007 Upper right: Liederkreis I, Morning Haven, 2007

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ARTISTIC DIRECTORS: DAVID FINCKEL AND WU HAN The Martin Family Artistic Directorship Named Musical America’s 2012 Musicians of the Year, cellist David Finckel and pianist Wu Han, the founding Artistic Directors of Music@Menlo, rank among the most esteemed and influential 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. Beyond the duo’s recital activities, David Finckel served as cellist of the Grammy Award-winning Emerson String Quartet

for thirty-four seasons. David Finckel and Wu Han’s 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. David Finckel and Wu Han have also served as Artistic Directors of the Chamber Music Society of Lincoln Center since 2004. In these capacities, as well as through a multitude of other education initiatives, 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 with their nineteen-year-old daughter, Lilian. For more information, please visit www.davidfinckelandwuhan.com. subscribe at www.musicatmenlo.org

PERFORMER BIOGRAPHIES

Acclaimed as a “splendid, elegant cellist,” Dmitri Atapine has appeared on some of the world’s foremost stages. Atapine is a top-prize winner at the Carlos Prieto, Plowman, and Premio Vittorio Gui competitions, among many others. He is the Artistic Director of the Ribadesella Festival and Argenta Concert Series and is a professor of cello at the University of Nevada, Reno. Dmitri Atapine holds the Kathleen G. Henschel Cello Chair in honor of David Finckel for 2013.

Nicole Cash joined the San Francisco Symphony as Associate Principal Horn in 2009. As the winner of the Shepherd School and Music Academy of the West Concerto Competitions in 2000, she has served as Coprincipal Horn with the KwaZulu-Natal Philharmonic (South Africa). Cash made her solo debut with the Dallas Symphony in 2004 and has given international recitals in Brisbane, Australia, and Tokyo, Japan.

Deemed one of the Superior Pianists of the Year (Boston Globe), Gloria Chien has recorded for Chandos Records. She 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. Gloria Chien is an Associate Professor at Lee University and is a member of the Chamber Music Society of Lincoln Center’s CMS Two. Gloria Chien holds the Kathleen G. Henschel Piano Chair in honor of Wu Han for 2013.

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 debut recital at Wigmore Hall and performances as a member of the Chamber Music Society of Lincoln Center’s CMS Two, as well as solo performances with orchestras and recitals across the United States. He is a graduate of the Curtis Institute of Music.

Patrick Castillo leads a multifaceted career as a composer, performer, writer, and educator. His music has been featured at festivals and venues throughout the United States and internationally and he has appeared as a guest lecturer at numerous series across the country. Castillo has served as Music@Menlo’s Artistic Administrator since the festival’s inaugural season. In October 2010, he was appointed Director of Artistic Planning by the Saint Paul Chamber Orchestra.

Technical skill and the quality of the music 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 TwentiethCentury 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 will join the Chamber Music Society of Lincoln Center’s prestigious CMS Two.

Cellist Carter Brey rose to international attention in 1981 as a prizewinner in the Rostropovich International Cello Competition and is Principal Cellist of the New York Philharmonic. A faculty member of the Curtis Institute, Brey has made regular appearances with the Tokyo and Emerson String Quartets as well as the Chamber Music Society of Lincoln Center, the Spoleto Festival, and La Jolla SummerFest. Among his awards are the Gregor Piatigorsky Memorial Prize and the Avery Fisher Career Grant.

Bassist Charles Chandler has been a member of the San Francisco Symphony since 1992. Prior to his current position, he was Associate Principal Bass and soloist with the Phoenix Symphony. He also served as Principal Bass of the Carmel Bach Festival Orchestra and the New York Twentieth-Century Chamber Players. Chandler plays on a double bass made by the Venetian luthier Domenico Busan in 1750.

Professor of violin Jorja Fleezanis holds the Henry Upper Chair in Orchestral Studies at the Indiana University Jacobs School of Music. She is Concertmaster of the Chicago Bach Project and was 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.

Cellist Colin Carr has appeared throughout the world as a soloist, chamber musician, recording artist, and teacher. He has performed with the Royal Philharmonic, BBC Symphony, and many other international orchestras. Among his many prestigious international awards are First Prize in the Naumburg Competition, the Gregor Piatigorsky Memorial Prize, and Second Prize in the Rostropovich International Cello Competition. Carr is a professor at Stony Brook University in New York.

As the laureate of both the 2007 International Markneukirchen and Sion Valais International Violin Competitions, violinist Sunmi Chang has performed widely to much acclaim throughout North America and Europe 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.

Principally committed to influencing and expanding the repertoire 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.

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American soprano Elizabeth Futral has established herself as one of the leading coloratura sopranos in the world today with her stunning vocalism and vast dramatic range. A winner of Plácido Domingo’s Operalia competition, Futral performs opera, symphonic, and chamber music with the world’s most renowned companies, including the Metropolitan Opera. Her recordings can be heard on Deutsche Grammophon, Opera Rara, Chandos, and Albany Records, among many others.

Violist Mark Holloway is a chamber musician sought after in the United States and abroad. Festival appearances include Marlboro, Banff, and Mainly Mozart, and he plays annually at festivals in France, Switzerland, and England. He also frequently performs as a guest with the New York Philharmonic and Orpheus. Mark Holloway has performed at Bargemusic and the Casals Festival and on live radio and television throughout the world. He is an Artist of the Chamber Music Society of Lincoln 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 public radio. She is currently a faculty member of the University of Massachusetts Amherst.

Marc Goldberg is one of New York’s most active bassoonists. Currently Principal Bassoonist of Lincoln Center’s Mostly Mozart Festival Orchestra and a member of the New York Woodwind Quintet in residence at the Juilliard School, he regularly appears with the Metropolitan Opera Orchestra, among many others. He was recently appointed Principal Bassoonist of the Stamford Symphony and section position with the American Symphony Orchestra. Goldberg is a longtime faculty member at the Juilliard School and the Hartt School.

Stuart Isacoff, a pianist, composer, and writer, is the author of A Natural History of the Piano: The

the prestigious ASCAP Deems Taylor Award for excellence in writing about music, he is a regular contributor to the Wall Street Journal as well as to many music periodicals. Founder of Piano Today magazine, he is on the faculty of the Purchase College Conservatory of Music.

Clarinetist Alan Kay is a member of Orpheus Chamber Orchestra and the Windscape and Hexagon ensembles and is Principal Clarinet of the Orchestra of St. Luke’s. Artistic Director of the New York Chamber Ensemble, he has also produced thematic programs for the Cape May Music Festival. As conductor, Kay recently led the orchestra at Azusa Pacific University. He teaches at Manhattan School of Music, the Hartt School of Music, and the Juilliard School.

Ara Guzelimian is Provost and Dean of the Juilliard School, where he oversees the faculty, curriculum, and artistic planning of the distinguished performing 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 Philharmonic and the Aspen Music Festival and School and as Artistic Director of the Ojai Festival.

Equally at home at the keyboard or on the podium, pianist Jeffrey Kahane has established an international reputation as a truly versatile artist appearing regularly with major orchestras around the world. Currently in his sixteenth season as Music Director of the Los Angeles Chamber Orchestra, Kahane has received much recognition for his innovative programming and commitment to education and community involvement. He is a Professor of Music and Humanities in the Conservatory and College at Bard College.

An Avery Fisher Career Grant recipient, harpist Bridget Kibbey was a winner of the Concert Artists Guild’s 2007 International Competition and Astral Artists Auditions and is a member of the Chamber Music Society of Lincoln Center’s CMS Two. Kibbey’s debut solo album was named one of 2007’s Top Ten Recordings by Time Out New York. She is often featured as a concerto soloist, recitalist, and collaborator in series and festivals across the United States.

Derek Han’s elegant, polished, and compelling playing has placed him among the leading American pianists of his generation. In 1998, Han was Artistic Director of the Zagreb Philharmonic Orchestra in Croatia, and in 1990, he became the Artistic Advisor to the Moscow State Symphony Orchestra. He has recorded extensively on the American Pro Arte label and tours throughout Europe and the United States with the Moscow Philharmonic, Berlin Symphony, and London Philharmonic, among countless others.

Pianist Gilbert Kalish’s profound influence as a performer, educator, and recording artist has established him as a major figure in American music making. He was pianist of the Boston Symphony Chamber Players for thirty years, was a founding member of the Contemporary Chamber Ensemble, and is an Artist of the Chamber Music Society of Lincoln Center. Kalish is Distinguished Professor and Head of Performance Activities at Stony Brook University.

Known for his spectacular virtuosity as well as his probing musicianship, violinist Soovin Kim has received the Henryk Szeryng Career Award, the Avery Fisher Career Grant, and First Prize in the Paganini International Violin Competition. Kim enjoys a broad musical career as a soloist and as violinist of the Johannes String Quartet. He is the founding Director of the Lake Champlain Chamber Music Festival and is a dedicated violin professor at Stony Brook University and the Peabody Institute.

Instrument, the Music, the Musicians—from Mozart to Modern Jazz and Everything in Between. A winner of

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PERFORMER BIOGRAPHIES

Violinist Kristin Lee has performed with major orchestras including the St. Louis Symphony, the Rochester Philharmonic, and the Juilliard Orchestra and given recitals throughout the United States, South Korea, Italy, Russia, and France. She is an Artist of the Chamber Music Society of Lincoln Center and on faculty at the Aaron Copland School of Music at Queens College. Kristin Lee holds the Violin Chair in honor of Philip Setzer for 2013.

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 twentyone, he was the youngest principal string player in the history of the New York Philharmonic.

The Orion String Quartet is one of the most sought-after ensembles, praised for the fresh perspective and individuality it brings to performances. The quartet has been on the roster of the Chamber Music Society of Lincoln Center since 1994 and is Quartet-in-Residence at New York’s Mannes College of Music. The Orion String Quartet celebrates its twenty-fifth anniversary as an ensemble during the 2012–2013 season.

With performances described by the New York Times as “breathtakingly beautiful,” violinist Sean Lee is recognized 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 Classical Albums list. He is a member of the Chamber Music Society of Lincoln Center’s CMS Two. Sean Lee holds the Leslie Hsu and Rick Lenon Violin Chair for 2013.

Flutist Tara Helen O’Connor is a charismatic musician sought after for her unusual artistic depth and brilliant technique. Winner of an Avery Fisher Career Grant, she is a founding member of the Naumburg Awardwinning New Millennium Ensemble and a member of the woodwind quintet Windscape. O’Connor teaches at the Bard College Conservatory of Music and Manhattan School of Music and is a professor of flute and Head of the Wind Department at the Purchase College Conservatory of Music.

Pianist Hyeyeon Park, a prizewinner at numerous international competitions, including Oberlin, Premio Vittorio Gui, Plowman, and Corpus Christi, has been presented at the Dame Myra Hess Memorial Concerts, Trinity Wall Street, Bargemusic, and the Phillips Collection Series, among others. A faculty member at the University of Nevada, Reno, Park can be heard on the Urtext Digital, HM, and Naxos labels. Hyeyeon Park holds the Karen and Rick DeGolia Piano Chair for 2013.

Cellist Laurence Lesser, now in his seventy-fifth year, has appeared at the Casals, Marlboro, and Santa Fe festivals, among others, and teaches at New England Conservatory. Founder of “First Monday at Jordan Hall,” currently in its twenty-seventh season, Lesser is the recipient of several honorary doctorates and was named Chevalier du Violoncelle by the Eva Janzer Institute of Indiana University. In the summer of 2011, he recorded the complete Bach Cello Suites, which will soon be released.

Violist Richard O’Neill, recipient of an Avery Fisher Career Grant and two Grammy Award nominations, has made solo appearances with the London Philharmonic and the Moscow Chamber Orchestra and will appear with the BBC Symphony this season. He is a Universal/ Deutsche Grammophon artist, and his seven albums have sold more than 150,000 copies. An Artist of the Chamber Music Society of Lincoln Center, he has introduced thousands to chamber music in Japan and South Korea through his chamber music initiative, DITTO.

Principal Flutist of the Metropolitan Opera Orchestra 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 understanding of classical music in Northern New Jersey. Parloff has recorded extensively with the Metropolitan Opera for Deutsche Grammophon, Sony Classical, London, and Philips.

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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, Scott Pingel performed in venues from New York to Stockholm. Currently, he is a faculty member of the San Francisco Conservatory of Music.

Praised for his “brilliant” (New York Times) solo performances, oboist James Austin Smith is an artist of the International Contemporary Ensemble (ICE), the Declassified, and the Talea Ensemble and a regular guest with Orpheus Chamber Orchestra. Smith is the oboist of CMS Two at the Chamber Music Society of Lincoln Center and is on the faculty of the Conservatory of Music at Purchase College.

Violinist Joseph Swensen holds the posts of Conductor Emeritus of the Scottish Chamber Orchestra and founding Artistic Director of Unity Hills Arts Centers International (U-HAC). He appears worldwide as a guest conductor, enjoying a long relationship with the Orchestre National du Capitole de Toulouse, among others. This season he will perform the Brahms Concerto in London and will tour extensively as a trio with pianist Jeffrey Kahane and cellist Carter Brey.

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.

Winner of a 2009 Avery Fisher Career Grant, violinist 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 holds bachelor’s and master’s degrees from the Juilliard School, where he studied under Itzhak Perlman. Sussmann appears regularly at the Chamber Music Society of Lincoln Center in New York and on tour.

Audiences attending performances at London’s Wigmore Hall, the Warsaw and Calgary Philharmonics, l’Orchestre de Chambre de Genève, Bridgehampton, Caramoor, and la Roque d’Anthéron have enjoyed pianist Gilles Vonsattel’s extraordinary musicianship. He has premiered works by composers such as Ned Rorem and Nico Muhly and is an Artist of the Chamber Music Society of Lincoln Center. His recording of Debussy, Honegger, Holliger, and Ravel was named one of Time Out New York’s classical albums of the year.

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 founding member of Le Train Bleu, Novus NY, and the Sandbox percussion quartet. He has recorded for the Innova and Naxos labels and is a faculty member of the Peabody Institute’s preparatory program.

Violinist Ian Swensen has established himself as one of the most dynamic, diverse, and sought-after performers and teachers on the music scene today. He has taught and performed at the Banff Centre, Toronto Summer Music, Morningside Music Bridge, the Chamber Music Society of Lincoln Center, the Smithsonian Institution, and venues in Switzerland, Australia, Ireland, and Korea. He is one of the few musicians to have been awarded the Walter W. Naumburg International Competition’s top prize for both chamber music and violin.

David Washburn is a Yamaha Performing Artist and is Principal Trumpet of the Los Angeles Chamber Orchestra. An active motion picture soundtrack musician, he also holds the position of Associate Principal Trumpet of the LA Opera Orchestra and has served as Principal Trumpet and soloist with the Hong Kong Philharmonic Orchestra. Washburn is on the faculty at Chapman University, Biola University, the University of California at Irvine, California State University Long Beach, and Azusa Pacific University.

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Beethoven ($10,000–$24,999) Members enjoy: • a total of eight premium seating reservations 3 • advance reservations for all free concerts

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

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.

Performers Circle

Welcome to the Music@Menlo community! Paganini ($100–$249) Members enjoy:

• the Festival Season Preview: Be among the first to learn about the season to come at this private spring performance and reception. • the Chamber Music Institute Sneak-Peek: Enjoy a private performance by Institute participants, followed by a reception with the musicians. • the Bach BBQ: Kick off the festival season with the first annual Bach BBQ, preceding opening-night activities.

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Patrons Circle

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Esterhazy ($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 Directors 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 Sunday 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

• r eceiving the festival brochure and reserving your festival tickets in advance of the general public

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

• acknowledgment in the festival program book

• customized benefits and recognition

• the Hewlett Foundation Private Recital: Enjoy a private student performance, with lunch, at the William and Flora Hewlett Foundation.

Medici ($100,000+) Members enjoy:

• 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.

• the opportunity to host a private concert in your home with festival artists and your friends

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 reception and a panel discussion about behind-the-scenes aspects of the Chamber Music festival and Institute.

Mozart ($5,000–$9,999) Members enjoy:

Composers Circle

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

Enjoy free-concert reservations, VIP ticketing, and special events. Bach ($1,000–$2,499) Members enjoy:

• priority ticket fulfillment and VIP ticket services 1 • advance reservations for one free concert of your choice 2 30

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• a total of four premium seating reservations 3

• a concert dedication, acknowledged in the festival program book

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

• 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.

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

MUSIC@MENLO MEMBERSHIP CIRCLES

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• premium seating reservations for you and your guests at all events 3

Please note: 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.

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

Premium seating reservations provide an assigned seat for paid or free concerts of your choice (a ticket is required for each performance you wish to reserve). Specific seating requests cannot be guaranteed.

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.

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SUPPORTING MUSIC@MENLO Gifts to the Annual Fund

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

Gifts to the Music@Menlo Fund

Generously financed through the Tenth-Anniversary Campaign, the Music@Menlo Fund is a board-designated fund that supports special artistic projects and provides long-term financial security for Music@Menlo. Please contact us to learn more about making a special gift or pledge to the Music@Menlo Fund and about special recognition opportunities.

How to Give

Gifts 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 employerâ&#x20AC;&#x2122;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. Contributions 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 planning advisor to learn more. Gifts of Securities: A gift of appreciated stock may offer valuable tax benefits. Please contact your financial advisor for more information. To learn more, please call Annie Rohan, Development Director, at 650-330-2133 or email annie@musicatmenlo.org.

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RESERVING YOUR SUMMER FESTIVAL TICKETS

Get the Best Seats! Support

Members of the Bach Circle ($1,000) and above receive advance 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 great 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 29 for priority ticketing.

Summer Festival Subscribers receive priority ticketing. Subscriber orders are filled immediately after VIP orders and before single-ticket orders. Order by May 6 for priority ticketing. (To learn more, see the description on this page.)

Order Early

All 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 better seats in our reserved-seating venues and to get tickets to concerts that sell out quickly! 32

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Ways to Order

Mail: Music@Menlo Tickets 50 Valparaiso Avenue Atherton, CA 94027

Phone: 650-331-0202 Fax: 650-330-2016 Online: www.musicatmenlo.org

Music@Menlo ticket services hours: Before July 15: Monday–Friday, 10:00 a.m.–4:00 p.m. July 15–August 10: Daily, 10:00 a.m.–4:00 p.m.

2013 Summer Festival Subscription Offerings

Become a Music@Menlo Summer Festival Subscriber and enjoy exclusive benefits, personalized services, and special savings all festival long! Your Subscriber discount extends to all additional ticket purchases you make throughout the 2013 summer season! Subscribers also enjoy free ticket exchanges for the 2013 summer season. Subscriber benefits include the following: •S pecial savings: Receive a 5 percent or a 10 percent discount on all your ticket purchases throughout the festival! •P riority ticketing: Get your orders filled before non-Subscribers for improved seats and access to concerts that sell out quickly.

•F ree ticket exchanges: Easily exchange your tickets within the same season free of charge. •T icket replacement: Enjoy lost-ticket insurance in case you ever misplace or forget your tickets.

Choose-Your-Own Summer Festival Mini Subscription

Save 5 percent on your summer festival ticket order and subsequent ticket purchases throughout the summer festival when you purchase any combination of four or five ticketed festival concerts or Encounters, and receive the above benefits.

Choose-Your-Own Summer Festival Full Subscription

Save 10 percent on your summer festival ticket order and subsequent ticket purchases throughout the summer festival when you purchase any combination of six or more ticketed festival concerts or Encounters, and receive the above benefits.

Summer Festival Immersion Subscription

Immerse yourself in the music for the complete Music@Menlo experience! Purchase tickets to all summer festival Concert Programs and Encounters and receive the above benefits, a 10 percent discount on your tickets throughout the summer, a 10 percent discount on Music@Menlo merchandise, and a complimentary boxed set of the 2013 Music@Menlo LIVE CDs when they are released later in the year.

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CONTACT INFORMATION

We’re always glad to hear from you!

10% off: Summer Festival Immersion Subscription



$6.00 per order totaling three or fewer events (Winter Series or summer concerts or Encounters). 

Please charge my credit card as follows:  Visa  MasterCard  AmEx 

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6 CONFIRM TOTAL AND PAYMENT INFORMATION

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Please select the applicable handling fee. (Learn more on p. 33.)

I would like to make a gift to the 2013 Annual Fund.

5 HANDLING FEE

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Ticket sales fund less than 20 percent of Music@Menlo’s programming, which includes all Institute activities and free concerts. Your contributions make Music@Menlo possible. Please consider making a gift with your ticket order—thank you! (Learn more on pp. 30–31.)

4 SUPPORT THE MUSIC YOU LOVE!

I have chosen all festival Concert Programs (I–VIII, my choice of dates) and all Encounters (I–IV).

I have chosen a combination of any six or more festival Concert Programs, Carte Blanche Concerts, and Encounters.

10% off: Choose-Your-Own Summer Festival Full Subscription

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 5% off: Choose-Your-Own Summer Festival Mini Subscription I have chosen a combination of any four or five festival Concert Programs, Carte Blanche Concerts, and Encounters.

(Learn more on p. 32.)

Please select one summer festival subscription discount below, if applicable.

MP3: I would prefer my AudioNotes in MP3 format. Please send download instructions to my email address.

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3 SUBSCRIBE AND SAVE!

CD: Please mail my AudioNotes CDs with my tickets.

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They are available in CD or MP3 format. (Learn more on p. 21.)

you this summer!

We look forward to seeing

Thank you for your order.

ORDER TOTAL:

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(% Discount x Festival Ticket Total)

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AudioNotes, Music@Menlo’s signature preconcert listener guides, are complimentary with your summer festival ticket order.

of this form and write in the totals here:

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2 SELECT YOUR TICKETS

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For questions, please call Music@Menlo’s ticket services office at 650-331-0202, email tickets@musicatmenlo.org, or visit us online at www.musicatmenlo.org.

Before July 15: Monday–Friday, 10:00 a.m.–4:00 p.m. July 15–August 10: Daily, 10:00 a.m.–4:00 p.m.

Music@Menlo ticket services hours:

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Online: www.musicatmenlo.org

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Fax:

Atherton, CA 94027

Phone: 650-331-0202

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Place your order today in any of the following ways:

CHAMBER MUSIC FESTIVAL AND INSTITUTE

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2013 Order Form

Full Price

$45 × ____

Full Price

$75 × ____

$65 × ____

$75 × ____

$50 × ____

Full Price

$77 × ____ $65 × ____

$77 × ____ $77 × ____

$77 × ____ $65 × ____

$65 × ____

$77 × ____ $65 × ____

$65 × ____

Full Price

$50 × ____ $50 × ____

Sun, May 11, 2014 / 4:00 p.m. / Menlo-Atherton

Please note: Winter Series concerts do not count towards festival subscriptions.

Alessio Bax, piano

Sun, February 9, 2014 / 4:00 p.m. / Menlo-Atherton

Pianists in Paris

Sun, October 13, 2013 / 4:00 p.m. / Menlo-Atherton $50 × ____

Emerson String Quartet

October 13, 2013 / February 9, 2014 / May 11, 2014 $140 × ____

Three-Concert Subscriber Package (Save $10!)

2013–2014 WINTER SERIES (pp. 22–23)

riptions.

$65 × ____

X Fête the Festival Sat, August 10 / 8:30 p.m. / Palo Alto Art Center

Please note: Special events do not count towards festival subscriptions.

$18 × ____

X Carte Blanche V: Intermission Gourmet Picnic Lunch Sun, August 4 / Stent Family Hall

X Carte Blanche II: Intermission Gourmet Picnic Lunch Sun, July 21 / Stent Family Hall $18 × ____

X SPECIAL EVENTS

Thu, August 8 / 7:30 p.m. / Martin Family Hall

Encounter IV: The Passion According to Sebastian Bach

Sun, August 4 / 6:00 p.m. / Martin Family Hall

Musical Offering and The Art of Fugue

Encounter III: The Art of Late Bach: Exploring

Fri, July 26 / 7:30 p.m. / Martin Family Hall

Instruments Became the Modern Piano

Encounter II: Keyboard Evolution: How Bach’s

Thu, July 18 / 7:30 p.m. / Martin Family Hall

Encounter I: In the Beginning...There Was Bach

ENCOUNTERS (pp. 16–17)

X Sun, August 4 / 10:30 a.m. / Stent Family Hall

Carte Blanche V: Cello Evolutions II: Laurence Lesser

Sun, July 28 / 6:00 p.m. / Menlo-Atherton

Carte Blanche IV: Into the Light: Jorja Fleezanis

Sun, July 28 / 10:30 a.m. / Stent Family Hall

Carte Blanche III: Cello Evolutions I: Colin Carr

X Sun, July 21 / 10:30 a.m. / Stent Family Hall

Carte Blanche II: The Solo Violin: Soovin Kim

Sat, July 20 / 8:00 p.m. / Menlo-Atherton

Carte Blanche I: Percussion Complexities

CARTE BLANCHE CONCERTS (pp. 14–15)

Fri, August 9 / 8:00 p.m. / Stent Family Hall X Sat, August 10 / 6:00 p.m. / Menlo-Atherton

Concert Program VIII: The Solo Voice

Tue, August 6 / 8:00 p.m. / Stent Family Hall Wed, August 7 / 8:00 p.m. / Stent Family Hall

Concert Program VII: Die Kunst der Fuge

Fri, August 2 / 8:00 p.m. / Stent Family Hall Sat, August 3 / 8:00 p.m. / Menlo-Atherton

Concert Program VI: French Connections

Wed, July 31 / 8:00 p.m. / Stent Family Hall Thu, August 1 / 8:00 p.m. / Menlo-Atherton

Concert Program V: Trio Transformations

Sat, July 27 / 8:00 p.m. / Menlo-Atherton

Concert Program IV: Preludes and Fugues

Wed, July 24 / 8:00 p.m. / Stent Family Hall Thu, July 25 / 8:00 p.m. / Menlo-Atherton

Concert Program III: String Variations

Sun, July 21 / 6:00 p.m. / Menlo-Atherton

Concert Program II: Quartet Dimensions

Fri, July 19 / 8:00 p.m. / Menlo-Atherton

Concert Program I: Piano/Piano

FESTIVAL CONCERT PROGRAMS (pp. 6–13)

A Seating A Seating

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$20 × ____

Under Age Thirty*

$35 × ____

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B Seating (rear orchestra)

A Seating

Stage

Stent Family Hall Menlo School, Atherton (148 seats)

A Seating

*For Concert Programs, Carte Blanche Concerts, and Encounters, a minimum age of seven years is required. For younger audiences, please see the Prelude Performances and Koret Young Performers Concerts schedule on p. 19.

Music@Menlo’s performance venues are wheelchair accessible. Patrons requiring special seating accommodations should request them at the time of purchase. For any accessibility questions or requests, please contact the ticket services team at 650-331-0202.

ADA Accessibility

Venue seating maps are not drawn to scale.

A Seating

Stage

Martin Family Hall Menlo School, Atherton (220 seats)

A Seating

A Seating (orchestra)

Stage

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The Center for Performing Arts at Menlo-Atherton (492 seats)

Reserved Seating—Seating for paid concerts is reserved at the Center for Performing Arts at Menlo-Atherton. Seating is by general admission in Stent Family Hall and Martin Family Hall and for all Prelude Performances and Koret Young Performers Concerts. Ticket orders are filled in the following order: 1) Members of the Bach Circle ($1,000) and above, based on level of giving; 2) Subscribers, in the order they were received; and 3) individual ticket buyers, in the order they were received. For concerts in reservedseating venues, seats are assigned on a best-available basis at the time the order is filled.

VENUE SEATING MAPS

Among the festival’s most beloved events, Music@Menlo’s FREE Prelude Performances and Koret Young Performers Concerts showcase the exciting young artists of the Chamber Music Institute. In response to the popularity of these events, a free 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.

PRELUDE PERFORMANCES AND KORET YOUNG PERFORMERS CONCERTS

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Total

Please copy your totals from each section on the reverse.

riptions.WINTER SERIES TICKET TOTAL:

$65 × ____

$125 × ____

Under Age Thirty*

SPECIAL EVENT TICKET TOTAL:

$65 × ____

$18 × ____

Under Age Thirty*

SUMMER FESTIVAL TICKET TOTAL:

$55 × ____

$40 × ____

$20 × ____

Under Age Thirty*

$35 × ____ $30 × ____

$35 × ____ $35 × ____

$30 × ____

$55 × ____

B Seating

Under Age Thirty*

$55 × ____

B Seating

Please indicate the quantity of tickets and price level/section below.

X Indicates concerts with special lunch or dinner events.

SELECT YOUR TICKETS

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age of seven years is required. For younger audiences, please see the Prelude Performances and Koret Young Performers Concerts schedule on p. 19.

Please copy your totals from each section on the reverse.

RESERVING YOUR SUMMER FESTIVAL TICKETS

Priority Ticketing, Ticket Discounts, and Handling Fees Members of the Bach Circle and Above

(contributors of $1,000 or more to the 2013 Annual Fund)

Your advance ticket order (placed by April 29) will be filled before all other ticket orders and you will receive advance reservations (based on giving level) to Prelude Performances and Koret Young Performers Concerts (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 2013 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) discount on all ticket purchases throughout the 2013 summer festival and have your advance order (placed before May 6) filled before non-Subscriber orders (see p. 32 for more information). A $10-per-order handling fee applies to each original order. Subscribers pay no handling fees on ticket exchanges throughout the 2013 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 Thirty

Music@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 Events

Seating for paid concerts is reserved in the Center for Performing Arts at Menlo-Atherton. Seating is by general admission in Stent Family Hall and Martin Family Hall and for all free events, including Prelude Performances, Koret Young Performers Concerts, and master classes. For concerts in reserved-seating venues, seats are assigned on a best-available basis at the time the order is filled. Advance orders are filled according to giving level and Subscriber status (see above for more information).

Receiving Your Summer Festival Tickets

Tickets will be mailed beginning in early 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 Donations

We 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 complimentary for Summer Festival and Winter Series 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.

Reservations for Prelude Performances and Koret Young Performers Concerts

Online 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) enjoy advance reservations for one free concert of their choice. Members of the Beethoven Circle ($10,000) and above enjoy advance reservations for all free concerts (see p. 30).

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, contact ticket services at 650-331-0202, email tickets@musicatmenlo.org, or visit www.musicatmenlo.org. subscribe at www.musicatmenlo.org

Stent Family Hall

Martin Family Hall

THE FESTIVAL CAMPUS AND PERFORMANCE VENUES Menlo School: The Festival Campus

Menlo School, one of the nation’s leading college-preparatory schools, has been the home of Music@Menlo since its inaugural season in 2003. Menlo School is host to 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 Café Conversations, master classes, and other Institute activities. Menlo School’s commitment to learning and its welcoming atmosphere and beautiful grounds make it the ideal environment for audiences, Institute students, and the festival’s artist-faculty to share ideas and realize Music@Menlo’s educational mission, which serves both festival audiences and the next generation of chamber musicians. 34

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Festival Welcome Center

Music@Menlo’s Welcome Center serves as a place for artists, students, 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.

Performance Venues

In 2013, 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.

Fo The Center for Performing Arts at Menlo-Atherton

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, acoustically 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 is reserved. Seating in Stent Family Hall and Martin Family Hall and for all free events, including Prelude Performances and Koret Young Performers Concerts, is by general admission. Venue seating maps and more information on reserved seating can be found on the order form, and directions to the venues appear on the facing page.

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THE CENTER FOR PERFORMING ARTS AT MENLO-ATHERTON

MAP NOT DRAWN TO SCALE

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MENLO PARK

For Visitors to Our Area

Location: Atherton and Menlo Park are situated adjacent to each other on the San Francisco Peninsula, midway between San Francisco and San Jose. Getting here: The San Francisco Bay Area is served by three international airports: San Francisco, San Jose, and Oakland. Atherton and Menlo Park are within forty-five minutes of each. Caltrain services Menlo Park and nearby Palo Alto for a direct link to San Francisco. Weather: In July and August, it almost never rains on the Peninsula. Days are dry and warm, frequently in the low eighties, and evenings can be cool, sometimes in the high fifties. Shopping and eating: The towns of Menlo Park and Palo Alto offer tree-lined streets featuring distinctive boutiques, shops, and outstanding eateries serving cuisine to suit any taste. Also nearby, the Stanford Shopping Center in Palo Alto is an upscale open-air mall. Accommodations: Comfortable and welcoming hotels are available in a variety of price ranges in Menlo Park and Palo Alto. Visit www.musicatmenlo.org for more information and useful links to area websites.

Directions and Parking

Menlo School, Stent Family Hall, and Martin Family Hall all are located at 50 Valparaiso Avenue in Atherton, between El Camino Real and Alameda de las Pulgas, at the Atherton/Menlo Park border. Parking is plentiful and free on the school’s campus. The Center for Performing Arts at Menlo-Atherton is located on the campus of Menlo-Atherton High School at 555 Middlefield Road in Atherton, near the intersection of Middlefield Road and Ravenswood Avenue. Parking is free in the adjacent lot.

Menlo School: 50 Valparaiso Ave., Atherton

2. The Center for Performing Arts at Menlo-Atherton: 555 Middlefield Road, Atherton PHOTO CREDITS Music@Menlo Photographs: pp. 2–3, 14 (Richard O’Neill), 15 (Colin Carr, Jorja Fleezanis, and Laurence Lesser), 16, 18, 19, 20, 22, 23 (Alessio Bax), 31, 32, 33, 34, and 35: Tristan Cook with Lilian Finckel and Sarah Kaufman. p. 30: Joel Simon. Artist Portraits: Sean Lee (p. 28): Ai Ajdukovic. Danish String Quartet (p. 26): Caroline Bittencourt. Benjamin Beilman (p. 26): Maia Cabeza. Soovin Kim (p. 27): Woo-Ryong Chai. Ayano Kataoka (p. 27): Tristan Cook. Joseph Swensen (p. 29): Jack Dine. Mark Holloway (p. 27), James Austin Smith (p. 29): Matt Dine. Ian Rosenbaum (p. 29): Matt Fried. Kevin Rivard (p. 29): Heather George. Orion String Quartet (p. 28): Lois Greenfield. Jorja Fleezanis (p. 26): Courtesy of Indiana State University. Sebastian Spreng (p. 24): Courtesy of Kelley Roy Gallery. Carter Brey (p. 26): Chris Lee. Stuart Isacoff (p. 27): Michael Lionstar. Gloria Chien (p. 26), Jeffrey Kahane (p. 27), Bridget Kibbey (p. 27), Tara Helen O’Connor (p. 28): LisaMarie Mazzucco. Paul Neubauer (p. 28): Bernard Mindich. Kristin Lee (p. 28): Arthur Moeller. Arnaud Sussmann (p. 29): NyghtFalcon. Ara Guzelimian (p. 27): Peter Schaaf. Sunmi Chang (p. 26): Courtesy of the St. Paul Chamber Orchestra. Charles Chandler (p. 26), David Finckel and Wu Han (pp. 2, 25), Elizabeth Futral (p. 27): Christian Steiner. Richard O’Neill (p. 28): W Korea. Art direction and design: Nick Stone, www.nickstonedesign.com subscribe subscribeatatwww.musicatmenlo.org www.musicatmenlo.org

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36 subscribe at www.musicatmenlo.org

11:45 a.m. Master Class/Café Conversation* Martin Family Hall

11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance Martin Family Hall 11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance The Center for Performing Arts at Menlo-Atherton 11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance Stent Family Hall 1:00 p.m. Koret Young Performers Concert The Center for Performing Arts at Menlo-Atherton 5:30 p.m. Prelude Performance The Center for Performing Arts at Menlo-Atherton

Tuesday, July 23

Wednesday, July 24

Thursday, July 25

Friday, July 26

Saturday, July 27

11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance Martin Family Hall

Wednesday, July 31

FREE EVENTS

11:45 a.m. Master Class/Café Conversation* Martin Family Hall

Tuesday, July 30

DATE

11:45 a.m. Master Class/Café Conversation* Martin Family Hall 4:15 p.m. Listening Room with Patrick Castillo Martin Family Hall 5:30 p.m. Prelude Performance Stent Family Hall

Monday, July 29

Sunday, July 28

11:45 a.m. Master Class/Café Conversation* Martin Family Hall 4:15 p.m. Listening Room with Patrick Castillo Martin Family Hall 5:30 p.m. Prelude Performance Stent Family Hall

Monday, July 22

Sunday, July 21

8:30 a.m. Q & A Coffee with the Artistic Directors Menlo School 11:45 a.m. Café Conversation* with Visual Artist Sebastian Spreng Martin Family Hall TBD Open Rehearsals Menlo School 5:30 p.m. Prelude Performance Martin Family Hall

Saturday, July 20 Open House (all day)

PAID EVENTS

8:00 p.m. Concert Program V: Trio Transformations Stent Family Hall ($77)

10:30 a.m. Carte Blanche Concert III: Cello Evolutions I: Colin Carr, cello Stent Family Hall ($75) 6:00 p.m. Carte Blanche Concert IV: Into the Light, with Jorja Fleezanis, violin The Center for Performing Arts at Menlo-Atherton ($65/$55)

8:00 p.m. Concert Program IV: Preludes and Fugues The Center for Performing Arts at Menlo-Atherton ($65/$55)

7:30 p.m. Encounter II: Keyboard Evolution: How Bach’s Instruments Became the Modern Piano, led by Stuart Isacoff Martin Family Hall ($45)

8:00 p.m. Concert Program III: String Variations The Center for Performing Arts at Menlo-Atherton ($65/$55)

8:00 p.m. Concert Program III: String Variations Stent Family Hall ($77) 10:30 p.m. Mingle with the Musicians Stanford Park Hotel, Menlo Grill (Dutch treat)

10:30 a.m. Carte Blanche Concert II: The Solo Violin: Soovin Kim, violin Stent Family Hall ($75) Picnic Lunch ($18) 6:00 p.m. Concert Program II: Quartet Dimensions The Center for Performing Arts at Menlo-Atherton ($65/$55)

8:00 p.m. Carte Blanche Concert I: Percussion Complexities The Center for Performing Arts at Menlo-Atherton ($50/$40)

8:00 p.m. Concert Program I: Piano/Piano The Center for Performing Arts at Menlo-Atherton ($65/$55)

5:30 p.m. Prelude Performance The Center for Performing Arts at Menlo-Atherton

Friday, July 19

PAID EVENTS 7:30 p.m. Encounter I: In the Beginning…There Was Bach, led by Ara Guzelimian Martin Family Hall ($45)

FREE EVENTS

July 18–August 10, 2013

Thursday, July 18

DATE

Music@Menlo Calendar

subscribe at www.musicatmenlo.org 37

11:45 a.m. Master Class/Café Conversation* Martin Family Hall

1:00 p.m. Koret Young Performers Concert The Center for Performing Arts at Menlo-Atherton 5:30 p.m. Prelude Performance The Center for Performing Arts at Menlo-Atherton

Friday, August 2

Saturday, August 3

8:00 p.m. Concert Program VII: Die Kunst der Fuge Stent Family Hall ($77)

7:30 p.m. Encounter IV: The Passion According to Sebastian Bach, led by Patrick Castillo Martin Family Hall ($45)

8:00 p.m. Concert Program VIII: The Solo Voice Stent Family Hall ($77)

11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance Martin Family Hall 11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance Martin Family Hall 11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance Stent Family Hall 11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance Martin Family Hall 12:00 p.m. Koret Young Performers Concert The Center for Performing Arts at Menlo-Atherton 3:30 p.m. Prelude Performance The Center for Performing Arts at Menlo-Atherton

Tuesday, August 6

Wednesday, August 7

Thursday, August 8

Friday, August 9

Saturday, August 10

RIDGE

ProPiano is the official provider of Steinway grand pianos to Music@Menlo 2013.

Music@Menlo is made possible by a leadership grant from the William and Flora Hewlett Foundation. Additional support provided by the David and Lucile Packard Foundation, Koret Foundation Funds, U.S. Trust, Bank of America, and the many individuals and organizations that share the festival’s vision.

SPECIAL THANKS

*Each weekday of the festival features either a master class with the Chamber Music Institute’s young artists (see p. 18) or a Café Conversation (see p. 20). Master classes and Café Conversations are offered at 11:45 a.m. on the campus of Menlo School. These events are free and open to the public. Please consult your festival program book or visit www.musicatmenlo.org during the festival season for a detailed schedule of master classes and Café Conversation topics.

6:00 p.m. Concert Program VIII: The Solo Voice The Center for Performing Arts at Menlo-Atherton ($65/$55) 8:30 p.m. Fête the Festival Palo Alto Art Center ($65)

8:00 p.m. Concert Program VII: Die Kunst der Fuge Stent Family Hall ($77)

11:45 a.m. Master Class/Café Conversation* Martin Family Hall 4:15 p.m. Listening Room with Patrick Castillo Martin Family Hall 5:30 p.m. Prelude Performance Stent Family Hall

10:30 a.m. Carte Blanche Concert V: Cello Evolutions II: Laurence Lesser, cello Stent Family Hall ($75) Picnic Lunch ($18) 6:00 p.m. Encounter III: The Art of Late Bach, led by Michael Parloff Martin Family Hall ($45)

8:00 p.m. Concert Program VI: French Connections The Center for Performing Arts at Menlo-Atherton ($65/$55) 10:30 p.m. Mingle with the Musicians Stanford Park Hotel, Menlo Grill (Dutch treat)

8:00 p.m. Concert Program VI: French Connections Stent Family Hall ($77)

8:00 p.m. Concert Program V: Trio Transformations The Center for Performing Arts at Menlo-Atherton ($65/$55)

PAID EVENTS

Monday, August 5

Sunday, August 4

11:45 a.m. Master Class/Café Conversation* Martin Family Hall 5:30 p.m. Prelude Performance The Center for Performing Arts at Menlo-Atherton

FREE EVENTS

Thursday, August 1

DATE

Nonprofit Org. U.S. Postage PAID Menlo Park, CA

Menlo School 50 Valparaiso Avenue Atherton, California 94027 www.musicatmenlo.org

Permit No. 149