a pdf version of the Season Brochure.

Transcription

The Eleventh Season: From Bach
July 18–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
2
subscribe at www.musicatmenlo.org
CONTENTS
Welcome
2
Welcome from the Artistic Directors
4
Festival Introduction
Concerts
6
Concert Programs
14 Carte Blanche Concerts
19 Prelude Performances and
Koret Young Performers Concerts
22 2013–2014 Winter Series
36 Festival Calendar
Discovery and Engagement
16
Michael Steinberg Encounter Series
18 Chamber Music Institute
19 Prelude Performances and
Koret Young Performers Concerts
20 Café Conversations and Master Classes
20 Open House
20 Listening Room
21 AudioNotes
21 Music@Menlo LIVE
21 Recording and Broadcasting
Artists
5
2013 Artist Roster
24 Visual Artist
25 Performer Biographies
Ticket and Patron Information
30 Join Music@Menlo
32 Reserving Your Summer Festival Tickets
32 Summer Festival Subscriber Information
34 The Festival Campus and Performance Venues
35
Map, Locations, and Parking
35 For Visitors to Our Area
36 Festival Calendar
3
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
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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*
*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
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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
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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Droplet Blues by Nicholas Monu
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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.
Brandenburg Concerto no. 3 in G Major, BWV 1048 (1721)
RICHARD STRAUSS (1864–1949)
String Sextet from Capriccio, op. 85 (1940–1941)
String Quartet no. 3 in F Major, op. 73 (1946)
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
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 [email protected].
THURSDAY, JULY 25
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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.
Selections from The Well-Tempered Clavier (1722)
Adagio and Fugue in c minor, K. 546 (1788)
String Quartet in f minor, op. 20, no. 5 (1772)
FELIX MENDELSSOHN (1809–1847)
Capriccio in e minor, op. 81, no. 3 (1843)
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
Anonymous, nineteenth century.
Naerøyfjord, Norway, ca. 1890. Photograph.
Adoc-photos/Art Resource, NY
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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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CONCERT PROGRAM V
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.
10
Trio Sonata no. 4 in c minor, BWV 1017 (1720)
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
THURSDAY, AUGUST 1
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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.
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)
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
SATURDAY, AUGUST 3
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 [email protected].
Jean Béraud (1849–1935).
Dinner at les Ambassadeurs, Hôtel de Crillon, Paris, 1880.
Alfredo Dagli Orti/The Art Archive at Art Resource, NY
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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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CONCERT PROGRAM VII
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
WEDNESDAY, AUGUST 7
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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.
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)
Piano Concerto no. 12 in A Major, K. 414 (1782)
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
SATURDAY, AUGUST 10
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.)
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
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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
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.
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
CARTE BLANCHE CONCERT II:
CA
Sunday, July 21, 10:30 a.m.
Stent Family Hall, Menlo School
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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)
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.
Sunday, July 28, 6:00 p.m.
Sunday, August 4, 10:30 a.m.
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
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
Violin Concerto in E Major, BWV 1042 (ca. 1723)
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
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)
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)
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
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.
Sunday, August 4, 6:00 p.m.
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 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.
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.
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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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
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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
Menlo-Atherton
Thursday, July 25, 5:30 p.m., The Center for Performing Arts at
Menlo-Atherton
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
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
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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.
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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!
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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
Sunday, February 9, 2014
Sunday, May 11, 2014
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.
String Quartet in g minor, op. 20, no. 3 (1771)
String Quartet no. 14 in F-sharp Major, op. 142 (1973)
String Quartet no. 6 in f minor, op. 80 (1847)
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,
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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
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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.
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PERFORMER BIOGRAPHIES
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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
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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.
29
Beethoven ($10,000–$24,999) Members enjoy:
• a total of eight premium seating reservations 3
• advance reservations for all free concerts
2
• 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
• 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
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• 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.
1
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.
2
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.
3
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.
4
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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 employer’s human
resources department to find out more. Music@Menlo is an eligible
501(c)3 educational institution.
Corporate Partnerships/In-Kind Gifts: The festival has expenses
in the areas of wine, catering, air travel, and transportation. 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 [email protected].
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20
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.
Subscribe
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
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
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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!
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5 HANDLING FEE
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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!
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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
$30 × ____
$35 × ____
$30 × ____
$30 × ____
$35 × ____
$30 × ____
$35 × ____
$30 × ____
$55 × ____
$55 × ____
$55 × ____
$55 × ____
$55 × ____
$20 × ____
$20 × ____
$20 × ____
$20 × ____
$20 × ____
$20 × ____
Under Age Thirty*
$35 × ____
$30 × ____
$35 × ____
$35 × ____
$25 × ____
$25 × ____
$25 × ____
$25 × ____
$45 × ____
$45 × ____
$45 × ____
$20 × ____
$20 × ____
$20 × ____
$50 × ____
$________
$______
$______
$______
$______
$________
$______
$______
$______
$________
$______
$______
$______
B Seating
(rear orchestra)
A Seating
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
$______
$______
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
$______
$______
$______
$______
$______
$______
$______
$______
$______
$______
$______
$______
$______
$______
$______
$______
$______
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 × ____
$18 × ____
Under Age Thirty*
SUMMER FESTIVAL TICKET TOTAL:
$55 × ____
$40 × ____
$20 × ____
$20 × ____
$20 × ____
$20 × ____
$20 × ____
$20 × ____
$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
R
F
Pr
H
M
(co
You
oth
on
Co
tick
not
pur
Su
(pu
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Rec
(Su
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bef
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Sub
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Su
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En
han
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 [email protected], or visit
www.musicatmenlo.org.
33
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
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
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.
Lo
mid
Ge
Jos
Me
We
the
Sh
tive
Sho
Ac
Par
D
Me
in A
Par
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Sch
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THE CENTER FOR
PERFORMING ARTS
AT MENLO-ATHERTON
d.
MAP NOT DRAWN
TO SCALE
ATHERTON
PALO ALTO
Co
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er S
t.
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.
1.
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
3535
36
11:45 a.m. Master Class/Café Conversation*
Martin Family Hall
Martin Family Hall
5:30 p.m. Prelude Performance
Martin Family Hall
Martin Family Hall
Martin Family Hall
Stent Family Hall
1:00 p.m. Koret Young Performers Concert
Tuesday, July 23
Wednesday, July 24
Thursday, July 25
Friday, July 26
Saturday, July 27
Martin Family Hall
Martin Family Hall
Wednesday, July 31
FREE EVENTS
Martin Family Hall
Tuesday, July 30
DATE
Martin Family Hall
4:15 p.m. Listening Room with Patrick Castillo Martin Family Hall
Stent Family Hall
Monday, July 29
Sunday, July 28
Martin Family Hall
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
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
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
8:00 p.m. Concert Program III: String Variations
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
Picnic Lunch ($18)
6:00 p.m. Concert Program II: Quartet Dimensions
8:00 p.m. Carte Blanche Concert I: Percussion Complexities
8:00 p.m. Concert Program I: Piano/Piano
Friday, July 19
PAID EVENTS
7:30 p.m. Encounter I: In the Beginning…There Was Bach, led by Ara Guzelimian
FREE EVENTS
July 18–August 10, 2013
Thursday, July 18
DATE
Music@Menlo Calendar
37
Martin Family Hall
Friday, August 2
Saturday, August 3
8:00 p.m. Concert Program VII: Die Kunst der Fuge
7:30 p.m. Encounter IV: The Passion According to Sebastian Bach,
led by Patrick Castillo
8:00 p.m. Concert Program VIII: The Solo Voice
Martin Family Hall
Martin Family Hall
Martin Family Hall
Martin Family Hall
Martin Family Hall
Stent Family Hall
Martin Family Hall
Martin Family Hall
Tuesday, August 6
Wednesday, August 7
Thursday, August 8
Friday, August 9
Saturday, August 10
V
I
o
N
E
Y
A
R
D
S
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
8:30 p.m. Fête the Festival
Palo Alto Art Center ($65)
8:00 p.m. Concert Program VII: Die Kunst der Fuge
Martin Family Hall
Stent Family Hall
10:30 a.m. Carte Blanche Concert V: Cello Evolutions II: Laurence Lesser, cello
Picnic Lunch ($18)
6:00 p.m. Encounter III: The Art of Late Bach, led by Michael Parloff
8:00 p.m. Concert Program VI: French Connections
10:30 p.m. Mingle with the Musicians
Stanford Park Hotel, Menlo Grill (Dutch treat)
8:00 p.m. Concert Program VI: French Connections
8:00 p.m. Concert Program V: Trio Transformations
PAID EVENTS
Monday, August 5
Sunday, August 4
Martin Family Hall
FREE EVENTS
Thursday, August 1
DATE
Nonprofit Org.
U.S. Postage
PAID
Menlo Park, CA
Menlo School
Atherton, California 94027
www.musicatmenlo.org
Permit No. 149

a pdf version of the Season Brochure.

Transcription

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