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David Finckel and Wu Han, Artistic Directors

NEW MUSIC IN THE KAPLAN PENTHOUSE Thursday Evening, April 17, 2014 at 7:30 Stanley H. Kaplan Penthouse 3,316th Concert


The Chamber Music Society of Lincoln Center 70 Lincoln Center Plaza, 10th Floor New York, NY 10023 212-875-5788

The Chamber Music Society is a proud member of Music Accord, a national consortium of classical music presenting organizations that commissioned Parallel Worlds.

Many donors support the artists of CMS Two. This evening, we gratefully acknowledge the generosity of The Winston Foundation. This concert is made possible, in part, by The Gladys Krieble Delmas Foundation, the Francis Goelet Charitable Lead Trusts, The Aaron Copland Fund for Music, and the Samuel I. Newhouse Foundation.




Khan Variations for Marimba (2001) ROSENBAUM

Noctambule for Clarinet, Two Violins, Viola, Cello, and Piano (2008) (US Premiere) FITERSTEIN, KAVAFIAN, SUSSMANN, Y. LEE, MARICA, S.K. LEE


Parallel Worlds for Flute, Two Violins, Viola, and Cello (2013) (CMS Co-Commission, New York Premiere) Expressive Animated Sustained Pulsing O’CONNOR, SUSSMANN, KAVAFIAN, Y. LEE, MARICA


FRED LERDAHL (b. 1943)

Mariel for Cello and Marimba (1999) MARICA, ROSENBAUM

Fantasy Etudes for Violin, Cello, Flute, Clarinet, Piano, and Percussion (1985) Y. LEE, MARICA, O’CONNOR, FITERSTEIN, S.K. LEE, ROSENBAUM

Please turn off cell phones, pagers, and other electronic devices. This evening’s performance is being streamed live at, and is being recorded for future broadcast. Photographing, sound recording, or videotaping this performance is prohibited.

notes on the


Khan Variations for Marimba Alejandro VIÑAO Born April 9, 1951 in Buenos Aires, Argentina. Composed in 2001. Premiered on July 9, 2001 in Princeton, NJ by Jack Van Geem. Tonight is the first CMS performance of this piece. Duration: 10 minutes Alejandro Viñao has written music for a wide range of musical genres including opera, music theatre, choral, instrumental, and electroacoustic compositions. His music is characterized by the use of pulsed rhythmic structures to create large scale form, and by a melodic writing which—as in the case of much nonEuropean music—develops through rhythm rather than harmony. He has composed a wide range of percussion works which are rapidly becoming standard repertoire in the concert hall and in the pedagogical world of the conservatory and the university. His recent vocal compositions such as The Baghdad Monologue—a music theatre work—and Greed—for 12 singers and electronics—have taken him in a new direction focusing on contemporary social and political events. Viñao has received a number of international prizes and awards including the ‘Golden Nica’ Prix Ars Electronica (1992) and first prize at The International Rostrum at the Unesco World Music Council (1984). His

music has been played and broadcast worldwide and has been featured in international festivals such as the Tanglewood Festival, the Warsaw Autumn Festival, and the London Proms. He has received commissions from various performing groups and institutions around the world such as I.R.C.A.M. and G.R.M. in France, MIT in the USA, and the BBC Symphony Orchestra. Viñao studied composition with the Russian composer Jacobo Ficher in Buenos Aires. In 1975 he moved to Britain where he continued his studies at the Royal College of Music and the City University in London. In 1988 he was awarded a PhD in composition at the City University. Viñao writes: “For some years I have listened to the Pakistani singer Nusrat Fateh Ali Khan. He was perhaps the greatest exponent of Qawwali, the music of the sufi mystics. This music in general, and Ali Khan’s singing in particular, are characterized by remarkable rhythmic and melismatic subtlety. “The Khan Variations are a set of 8 rhythmic variations based on a traditional theme from Qawwali music as sang by Ali Khan. The basic pulse and ‘feel’ of the music has lingered in my mind ever since I first heard the recording in the early 90s. I developed each of the 8 variations—which are played as a continuous piece— exploring a different rhythmic and melodic aspect of the original theme. However, from the harmonic point

of view the piece is rather static, respecting the lack or harmony—in the western sense—of the original traditional theme. “As I look at the score now, I can recognize a range of influences

from Conlon Nancarrow, tango music, and my own previous pieces for marimba. All these influences have one thing in common: the articulation of pulse, or multiple simultaneous pulses to create a dramatic musical discourse.” 

Noctambule for Clarinet, Two Violins, Viola, Cello, and Piano Detlev GLANERT Born September 6, 1960 in Hamburg, Germany. Composed in 2008. Premiered on June 13, 2008 in Heimbach, Germany by clarinetist Sharon Kam, violinists Christian Tetzlaff and Katharine Gowers, violist Rachel Roberts, cellist Gustav Rivinius, and pianist Silke Avenhaus. Tonight is the United States premiere of this piece. Duration: 20 minutes

Detlev Glanert is acclaimed for his operas and orchestral and chamber works, which show his fascination with the Romantic past viewed from a modern perspective. He won the prestigious Rolf Liebermann Opera Prize in 1993 for The Mirror of the Great Emperor, staged at Mannheim in 1995 and Mönchengladbach in 1997, and the Bavarian Theatre Prize in 2001 for Jest, Satire, Irony, and Deeper Meaning, which has received numerous stage productions and is his most successful opera so far. His current projects include a residency as house composer with the Amsterdam Concertgebouw, new stage productions of the opera Joseph Süß in 2014 and 2015, performances of the opera Caligula in Buenos Aires, and the

world premiere of the new stage work Die Befristeten at the Munich Biennale. The core of his chamber repertoire is a set of three chamber sonatas for flute, clarinet, violin, viola, cello, bass, piano, and percussion that explore experimental instrumental writing. He has written three symphonies and concertos for piano and violin and his works have been conducted by Markus Stenz, Oliver Knussen, Kent Nagano, Semyon Bychkov, Donald Runnicles, Iván Fischer, Christian Thielemann, and Jun Märkl. Glanert studied with Diether de la Motte, Günter Friedrichs, Frank Michael Beyer, and Hans Werner Henze and Glanert’s piano quartet Elysion was written in 2013 in memory of Henze. Glanert writes: “The word Noctambule (distinctly French) should be translated as ‘sleepwalkers,’ all other translations such as ‘night owls’ and others are wrong and due to habit. The piece evokes a dream-like, surreal, crazy, and ecstatic night atmosphere that tells of human obsessions rather than of nocturnal pleasures. Hence the French title Noctambule, which may also be understood as a tribute to the great chamber music tradition of Germany’s neighbor (‘Nachtbarlandes’).” 

Parallel Worlds for Flute, Two Violins, Viola, and Cello Sebastian CURRIER Born March 16, 1959 in Huntingdon, PA. Composed in 2013; co-commissioned by The Chamber Music Society of Lincoln Center. Premiered on March 20, 2014 in Phoenix, Arizona by flutist Tara Helen O’Connor, violinists Arnaud Sussmann and Ani Kavafian, violist Yura Lee, and cellist Mihai Marica. Tonight is the New York premiere of this piece. Duration: 15 minutes Sebastian Currier’s music has been performed at major venues worldwide by acclaimed artists and orchestras. Spanning both chamber and orchestral genres, Currier’s works have been performed by ensembles including the New World Symphony, San Francisco Symphony, Berlin Philharmonic, New York Philharmonic, and the Cassatt, Ying, and Kronos string quartets. Currier’s Deep-Sky Objects, 15 Minutes, Quanta, Flow, Links, and Ringtone Variations all received world premieres during the 2012–13 season. Highlights of the 2013–14 season include the premieres of Cadence, Fugue, Fade by the American Brass Quintet and Artificial Memory by the Dresher Ensemble. His violin concerto Time Machines, commissioned by Anne-Sophie Mutter, was premiered by the New York Philharmonic in June 2011, and a recording of the performance was released by Deutsche Grammophon the following September. Currier has received many awards including the Grawemeyer Award

(for the chamber piece Static), Berlin Prize, Rome Prize, a Guggenheim Fellowship, a fellowship from the National Endowment for the Arts, and an Academy Award from the American Academy of Arts and Letters, and has held residencies at the MacDowell and Yaddo colonies. He received a DMA from The Juilliard School; and from 1999–2007 he taught at Columbia University. He is artist-in-residence at the Institute for Advanced Study and is published by Boosey & Hawkes. Currier writes: “The idea for Parallel Worlds started with the instrumental ensemble itself, flute and string quartet. The string quartet has remained, over centuries, one of the most written for and appreciated chamber ensembles. Though the reasons for this are various, I’m sure that one of them is the natural balance between the instruments: on the one hand it’s a very unified sound, but on the other, it also allows for the independence of the individual string instruments. Add a flute to the mix and this all changes. When thinking about how to incorporate flute within the context of a string quartet I was struck by just how different a flute is than a string instrument. I mean this beyond the obvious facts of construction and sound production. Both instrument groups are designed to play similar material, articulate in analogous ways, even express similar things, yet they seem to occupy different worlds. Parallel worlds. This made me think of transcription: when transferring material between two instruments is a literal note-for-note correspondence

the closest relation or do other less literal transformations better capture the essence of a passage on one instrument transcribed to another? I’m sure there are many valid answers to this question, but for my piece the answer was that to try to have literal correspondence was to lose some of the essence. In Parallel Worlds, therefore, the string quartet and the flute make music in different ways, parallel ways. The piece is in four movements. In each of them this parallel-but-different relation is approached in a variety of ways.

In the third movement the strings present sustained chords while the flute intones elaborate figurations. Both groups are in their element: a group of strings slowly drawing their bows can give the impression of continuous sound; while the flute can not do that, its inherent agility allows it to execute elaborate figuration with flexibility and grace. And what makes the two groups not just different, but parallel is that while they unfold in their own way, they both are expressions of the same underlying harmonies.” 

Mariel for Cello and Marimba Osvaldo GOLIJOV Born December 5, 1960 in La Plata, Argentina. Composed in 1999. Premiered in 1999 at Merkin Hall in New York by cellist Maya Beiser and marimbist Steve Schick. First CMS performance on February 22, 2009. Duration: 8 minutes Osvaldo Golijov is known for his hybrid musical style, which combines the traditions of classical chamber, Jewish liturgical, and klezmer music with hints of the tango of Astor Piazzolla in his compositions. He is a recipient of the MacArthur Genius Grant Fellowship and the Vilcek Prize as well as two Grammy Awards in 2006: Best Opera Recording and Best Contemporary Composition for Ainadamar, released on Deutsche Grammophon. Recent works include Azul, a cello concerto for Yo-Yo Ma and the Boston Symphony; Rose of

the Winds, premiered by the Silk Road Ensemble and the Chicago Symphony under Miguel Harth-Bedoya; and She Was Here, a work based on Schubert lieder premiered by Dawn Upshaw and the Saint Paul Chamber Orchestra. His future works include a new opera, commissioned by the Metropolitan Opera. Last season, Golijov held the Richard and Barbara Debs Composer’s Chair at Carnegie Hall. In 2006, Lincoln Center presented a sold out festival entitled The Passion of Osvaldo Golijov featuring multiple performances of his works over the course of two months. He has composed soundtracks for numerous films, including Francis Ford Coppola’s Youth Without Youth and the recently released Tetro. He is the Loyola Professor of Music at College of the Holy Cross in Worcester, MA, where he has taught since 1991. Golijov writes: “I wrote this piece in memory of my friend Mariel Stubrin. I

attempted to capture that short instant before grief, in which one learns of the sudden death of a friend who was full of life: a single moment frozen forever in one’s memory, and which reverberates

through the piece, among the waves and echoes of the Brazilian music that Mariel loved. The work was written for and premiered by Maya Beiser and Steve Schick.” 

Fantasy Etudes for Violin, Cello, Flute, Clarinet, Piano, and Percussion Fred LERDAHL Born March 10, 1943 in Madison, WI. Composed in 1985. Premiered on March 27, 1985 in New York City by Musical Elements. Tonight is the first CMS performance of this piece. Duration: 14 minutes Fred Lerdahl’s music is greatly esteemed for having developed original harmonic syntaxes and formal processes, presented with elegant craftsmanship and expressive depth. His work is rare in today’s musical world in that it seeks and achieves both complexity and intelligibility. It is indebted to the past yet committed to the exploration of new territory. Lerdahl’s music has been commissioned and performed by major chamber ensembles and orchestras in the United States and around the world, and he has been resident composer at leading institutions and festivals. His music is published by Schott and C. F. Peters and has been widely recorded for numerous labels, including Bridge Records, which has initiated an ongoing series devoted to his music. His seminal book A Generative Theory of Tonal Music, co-authored with linguist

Ray Jackendoff, is a founding document for the growing field of the cognitive science of music. His subsequent book, Tonal Pitch Space, won the 2003 distinguished book award from the Society for Music Theory and an ASCAPDeems Taylor award. A third book (in progress), Composition and Cognition, based on his 2011 Bloch Lectures at UC/ Berkeley, will bring together his dual activity as composer and theorist. Lerdahl studied at Lawrence University, Princeton, and Tanglewood. He has taught at UC/Berkeley, Harvard, and Michigan, and since 1991 has been Fritz Reiner Professor of Musical Composition at Columbia University, where he directs the composition program. In addition to his teaching, he serves on the boards of several major foundations and organizations devoted to contemporary music. In 2010 Lerdahl was honored with membership in the American Academy of Arts and Letters. Three of his works composed since 2000—Time after Time for chamber ensemble, the Third String Quartet, and Arches for cello and chamber orchestra—have been finalists for the Pulitzer Prize in music. Lerdahl writes: “Fantasy Etudes was commissioned with the support of an NEA consortium commissioning grant by Musical Elements, Alea III, the

Arch Ensemble, and the Contemporary Chamber Players of the University of Chicago. It was premiered by Musical Elements, Robert Beaser conducting, in 1985 in New York City. The piece is in one movement about 14 minutes long and is scored for flute, clarinet, violin, cello, percussion, and piano. “The larger form of Fantasy Etudes evolves from 12 interlocking etudes. Each etude has a distinctive idea and color, so that the overall effect is one of fantasy. Against this surface variety, however, there exists an underlying similarity

meet tonight’s

of procedure. Each etude is cast in the form of expanding variations, starting with a simple event and progressively elaborating into complexity. As the material of an etude begins to collapse under the weight of its elaborations, a new etude enters. These overlaps produce moments of dramatic tension—changes, if you like, from one fantasy to another. Towards the end the etudes overlap more and more, rising to a broad climax, after which a coda quotes snippets from each etude in turn. The formal process is intricate yet audible.” 


Alexander Fiterstein, a former member of Chamber Music Society Two, is a recipient of the 2009 Avery Fisher Career Grant. He is also a first-prize winner of the Carl Nielsen International Clarinet Competition as well as of the Young Concert Artists International Auditions. During the 2013-14 season he performs the Nielsen Clarinet Concerto with the Iris Orchestra and Michael Stern. He also performs for the Boston Chamber Music Society, University of Chicago Presents, and the Kennedy Center. He participated in the Marlboro Music Festival for five summers and has performed as a soloist with such orchestras as the Orchestra of St. Luke’s, Simon Bolivar Youth Orchestra of Venezuela, Vienna Chamber Orchestra, Danish National Symphony Orchestra, Polish Chamber Philharmonic, Jerusalem Symphony, Tokyo Philharmonic, KBS Symphony of South Korea, and the

China National Symphony. He has given recitals at the Louvre, 92nd Street Y, Suntory Hall in Tokyo, the Vancouver Recital Society, and Kennedy Center. He has performed with Daniel Barenboim, Richard Goode, Emanuel Ax, Roberta Peters, Ensemble Wien-Berlin, and with the American, Borromeo, Daedalus, Fine Arts, Jerusalem, and Mendelssohn string quartets. Born in Belarus and raised in Israel, Mr. Fiterstein is currently the clarinet professor at the University of Minnesota, Twin Cities. This is violinist Ani Kavafian’s 34th year performing with The Chamber Music Society of Lincoln Center. Touring the United States, Canada, and Europe, she performs with the Kavafian/Schub/Shifrin Trio, the Da Salo String Trio, her sister Ida Kavafian, and the Triton Horn Trio. She is the concertmaster and a frequent soloist

with the New Haven Symphony and is in the process of performing the cycle of the complete Mozart concertos with the orchestra. As president of the Young Concert Artist Alumni Association, she took part in the organization’s 50th anniversary concert in 2011. Her solo career has included performances with the New York Philharmonic, The Philadelphia Orchestra, The Cleveland Orchestra, and the Los Angeles Chamber Orchestra. Her recordings include the Bach sonatas with Kenneth Cooper, Mozart sonatas with Jorge Federico Osorio, and Justin Dello Joio’s Piano Trio with Carter Brey and Jeremy Denk. This past summer she took part in eight music festivals, including OK Mozart, Chamber Music Northwest, Music@Menlo, Bridgehampton, Norfolk, and Music From Angel Fire. Together with Carter Brey, she continues as artistic director of Mostly Music, the chamber music series in New Jersey. As a full professor at Yale University, she is enjoying the many successes of her students as they secure positions with major orchestras and as teachers at universities around the world. Ms. Kavafian plays a 1736 Stradivarius violin and is married to artist Bernard Mindich. First prize winner of the prestigious 2010 Naumburg International Piano Competition, Korean-American pianist Soyeon Kate Lee has been hailed by the New York Times as a pianist with “a huge, richly varied sound, a lively imagination and a firm sense of style.” She has performed as soloist with numerous orchestras, including The Cleveland Orchestra and the London Symphony Orchestra, as well as the Orquesta Sinfónica Nacional in the Dominican Republic, Orquesta de

Valencia, Louisiana Philharmonic Orchestra, Juilliard Orchestra, San Diego Symphony, and Naples Philharmonic. In recent seasons, she has given recitals at New York’s Zankel, Alice Tully, and Merkin halls, Washington’s Kennedy Center, at the Ravinia Festival, Madrid’s National Auditorium, and San Francisco’s Herbst Theatre. A Naxos recording artist, she records a double CD of Scriabin piano works this season and her album of Liszt opera transcriptions was released in December 2013. Ms. Lee is a winner of the Concert Artists Guild Competition and a laureate of the Cleveland and Santander international piano competitions. She is currently a candidate for the Doctor of Musical Arts degree at the CUNY Graduate Center where she works with Ursula Oppens and Richard Goode. Ms. Lee is a Steinway Artist and a member of Chamber Music Society Two, and serves on the faculty at City College of New York. She is also the co-founder and co-director of Music by the Glass, a New York music series managed entirely by young professionals in the city. Violinist/violist Yura Lee, recipient of a 2007 Avery Fisher Career Grant and winner of the 2013 ARD Competition, is enjoying a career that spans almost two decades and takes her all over the world. As a soloist, she has performed with numerous major orchestras including those of New York, Chicago, Baltimore, Cleveland, San Francisco, Los Angeles, and Saint Louis. She has given recitals in London’s Wigmore Hall, Vienna’s Musikverein, Salzburg’s Mozarteum, Brussels’ Palais des Beaux-Arts, and the Concertgebouw in Amsterdam. At age 12, she became the youngest artist ever to receive the Debut Artist of the Year prize at the Performance Today awards given

by National Public Radio. She received numerous international prizes, including the first prize and the audience prize at the 2006 Leopold Mozart Competition, the first prize at the 2010 UNISA International Competition, and top prizes in the Indianapolis, Hannover, Kreisler, Yuri Bashmet, and Paganini competitions. Her CD with Reinhard Goebel and the Bayerische Kammerphilharmonie, titled Mozart in Paris, received the prestigious Diapason d’Or Award. As a chamber musician, she regularly takes part in the festivals of Marlboro, Salzburg, Verbier, Caramoor, Ravinia, Kronberg, and Aspen. She was awarded two artist diplomas, by Indiana University in Bloomington and the New England Conservatory in Boston, and her main teachers included Miriam Fried, Paul Biss, Thomas Riebl, Ana Chumachenko, and Nobuko Imai. Ms. Lee is an Artist of the Chamber Music Society and a former member of CMS Two, as both violinist and violist. Cellist Mihai Marica won the first prize in the 2005 Irving M. Klein International String Competition. He also received First Prize and the Audience Choice Award at the 2006 “Dr. Luis Sigall” International Competition in Viña del Mar, Chile and the 2006 Charlotte White’s Salon de Virtuosi Fellowship Grant. He has performed with orchestras such as the Symphony Orchestra of Chile, Xalapa Symphony in Mexico, the Hermitage State Orchestra of St. Petersburg in Russia, the Jardins Musicaux Festival Orchestra in Switzerland, the Louisville Orchestra, and the Santa Cruz Symphony in the US. He also appeared in recital performances in Austria, Hungary, Germany, Spain, Holland, South Korea, Japan, Chile, the United States, and Canada. As a chamber musician, he has collaborated with

such artists as Mihae Lee, Peter Frankl, Ani Kavafian, William Purvis, David Shifrin, André Watts, and Edgar Meyer, and is a member of the award winning Amphion String Quartet. He played a Weill Hall debut recital and a Zankel Hall debut performing Tchaikovsky’s Rococo Variations in early 2008. Mr. Marica studied with Gabriela Todor in his native Romania and with Aldo Parisot at the Yale School of Music where he was awarded the Master of Music and Artist Diploma degrees. He is a member of Chamber Music Society Two and his three-year residency is supported by The Winston Foundation. Flutist Tara Helen O’Connor is a charismatic performer sought after for her unusual artistic depth, brilliant technique, and colorful tone in music of every era. Last season she premiered a new chamber work by John Zorn, made appearances at the Avila Chamber Music Celebration in Curaçao and the Ocean Reef Chamber Music Festival, and performed concerts in Hawaii and Georgia with CMS. She also gave her debut performance at the Mainly Mozart Festival with Windscape and returned to the festival to perform a concerto with Maestro David Atherton. This season she premieres Jonathan Berger’s new opera with the Saint Lawrence String Quartet in Stanford. She has appeared at Zankel Hall, Symphony Space, Music@Menlo, the Chamber Music Festival of the Bluegrass, Spoleto USA, Chamber Music Northwest, Music from Angel Fire, the Banff Centre, and the Bravo! Vail Valley Music Festival. She is a founding member of the Naumburg Award-winning New Millennium Ensemble and a member of the woodwind quintet Windscape, teaches at the Bard College Conservatory and

Manhattan School of Music, is professor of flute and head of the wind department at Purchase College Conservatory of Music, and holds a summer flute master class at the Banff Centre in Canada. Winner of an Avery Fisher Career Grant and a twotime Grammy nominee, she was the first wind player to participate in the CMS Two program and is now an Artist of the Chamber Music Society. Praised for his “excellent” and “precisely attuned” performances by the New York Times, percussionist Ian David Rosenbaum has developed a musical breadth far beyond his years. He made his Kennedy Center debut in 2009 and later that year garnered a special prize created for him at the Salzburg International Marimba Competition. Last season, Mr. Rosenbaum joined the Chamber Music Society Two program as only the second percussionist in the program’s history. He has performed with the acclaimed So Percussion group and has appeared at the Norfolk, Yellow Barn, Chamber Music Northwest, and Music@Menlo festivals. Highlights of the 2013-14 season include a tour of southern California performing Christopher Cerrone’s Memory Palace, and a recital at the Phillips Collection in Washington DC. Continuing his passionate advocacy for contemporary music, this season Mr. Rosenbaum will premiere new works for percussion by Andy Akiho, David Crowell, Tawnie Olson, and Paola Prestini. Mr. Rosenbaum is a member of Sandbox Percussion, Le Train Bleu, the Pittsburgh New Music Ensemble, Novus NY, and Time Travelers. He has recorded for the Bridge, Innova, and Naxos labels and is

on the faculty of the Dwight School in Manhattan. Mr. Rosenbaum performs with Vic Firth sticks and mallets. Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann is a multi-faceted and compelling artist who has performed as a soloist throughout the United States, Central America, Europe, and Asia, and at venues such as Carnegie Hall, Avery Fisher Hall, the Wigmore Hall, the Kennedy Center, the Smithsonian Museum, and the Louvre Museum. He has appeared with the New York Philharmonic, American Symphony Orchestra, Jerusalem Symphony, Stamford Symphony, and the Orchestre des Pays de la Loire. Recent engagements include a solo tour of Israel; concerto appearances at the Dresden Music Festival, in Alice Tully Hall and at the Phillips Collection in Washington, DC; and a television performance on PBS for Live From Lincoln Center. His festival appearances include Mainly Mozart, Moritzburg, Caramoor, Music@ Menlo, Bridgehampton, Strings in the Mountains, New Harmony, and the Moab Music Festival. The winner of several international competitions and prizes, Mr. Sussmann has recorded for Naxos, Albany Records, CMS Studio Recordings, and Deutsche Grammophon’s DG Concert Series. His first solo CD, of the three Brahms sonatas with pianist Orion Weiss, will be released on the Telos Music Label. He studied with Boris Garlitsky and Itzhak Perlman, who chose him to be a Starling Fellow, an honor qualifying him as Mr. Perlman’s teaching assistant for two years. Mr. Sussmann is a former member of CMS Two and a current Artist of the Society.

New Music in the Kaplan Penthouse - April 17, 2014  

The CMS New Music in the Kaplan Penthouse series champions modern composers of chamber music. Including works in a vast range of styles, thi...