SCHUMANN QUARTET ERIK SCHUMANN, violin KEN SCHUMANN, … · 2018-04-23 · SCHUMANN QUARTET ERIK SCHUMANN, violin KEN SCHUMANN, violin LIISA RANDALU, viola MARK SCHUMANN, cello JOSEPH

It is with love and a profound sense of gratitude that we dedicate this afternoon’s performance to the memory of our extraordinary friend Jane Kitselman.

This concert is made possible, in part, by The Gladys Krieble Delmas Foundation.

SUNDAY AFTERNOON, APRIL 29, 2018, AT 5:00 3,834TH CONCERT

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

SCHUMANN QUARTET ERIK SCHUMANN, violin KEN SCHUMANN, violin LIISA RANDALU, viola MARK SCHUMANN, cello

JOSEPH HAYDN(1732–1809)

BÉLA BARTÓK(1881–1945)

ARIBERT REIMANN(b. 1936)

ROBERT SCHUMANN(1810–1856)

Quartet in B-flat major for Strings, Hob. III:78, Op. 76, No. 4, “Sunrise” (1797) Allegro con spirito Adagio Menuetto: Allegro Finale: Allegro, ma non troppo

Quartet No. 2 for Strings, BB 75, Op. 17 (1914–17) Moderato Allegro molto capriccioso Lento

INTERMISSION

Adagio zum Gedenken an Robert Schumann for String Quartet (2006) (US Premiere)

Quartet in F major for Strings, Op. 41, No. 2 (1842) Allegro vivace Andante, quasi variazioni Scherzo: Presto Allegro molto vivace

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

www.ChamberMusicSociety.org

ABOUT TONIGHT’S PROGRAMDear Listener,

Today we welcome the Schumann Quartet for its first full program at CMS. Those of you who have already heard this estimable ensemble know that we are all in for an impressive, compelling display of quartet technique and wide-ranging musicianship.

For both solo recitals and concerts such as this by fixed ensembles, the choice of repertoire is of primary concern. This concert is not only an opportunity for the Schumann Quartet to play a full program for you, but also to introduce itself musically. Some ensembles (or individuals) may choose to do so via a specialized repertoire, thereby identifying themselves as either specialists or artists with particular tastes. When we reviewed the offerings for this program from the Schumann Quartet, we knew immediately that this ensemble was eager to show its versatility with, and understanding of, a wide range of music.

This kind of program is not for artists who are musically faint of heart. We can easily put ourselves in the quartet members’ shoes today as they take the stage of Alice Tully Hall. Their artistic challenges are varied and serious: for example, both Haydn and Bartók require energetic performances, but those energies are of different ages and cultures. As Reimann pays tribute to Schumann, should the tone color contrast or connect? How much rhythmic freedom is appropriate for Haydn? Should the fortissimos in Schumann be as strident as those in Bartók? When artists tackle these questions, they are rightly preparing to present themselves as representatives of the composers, and in doing so, will find ways to adjust their performance styles and priorities to suit each work and the surmised (through much rehearsal discussion!) wishes of its creator.

As performers, we enjoy sharing with you our behind-the-scenes perspectives on concert life and work deep inside the art of music. But as your artistic directors, we simply advise you now to relish listening to the Schumann Quartet address and conquer, with grace, style, and verve, all artistic hurdles.

Enjoy the performance,

David Finckel Wu HanARTISTIC DIRECTORS

The Chamber Music Society of Lincoln Center

We are blessed with an enormous literature specifically for string quartets, and we take pleasure in choosing our repertoire among these gems. We are going to premiere the “Adagio in Memory of Robert Schumann,” a piece by Aribert Reimann, who we have met and worked with before. At the end of his life, at the Endenich Sanatorium, Schumann committed to paper two chorales that serve Reimann as a source for a special homage to this great romanticist. You can hear that the honoree’s yearning tone forms a remarkable symbiosis with current musical language; brusque accents, wild pizzicato, aggressive col legno battuto [striking the string with the wood of the bow], and quarter tones, abruptly interrupt wistful reminiscences of bygone times. This short but amazing piece of music might shock or fascinate the listener, either way it will enthrall you from the very first moment. As performers it is the best feeling, being able to work with the composer first hand. Our collaboration with Aribert was full of joy and unforgettable moments.

—Mark Schumann

NOTES ON THE PROGRAM

Haydn was universally acknowledged as the greatest living composer upon his return to Vienna in 1795 from his second London venture; he was 63. Though his international renown had been founded in large part upon the success of his symphonies and keyboard sonatas, he

repeatedly refused offers to compose further in those genres and instead concentrated the creative energies of his later years upon the string quartet and the vocal forms of Mass and oratorio. Except for the majestic Trumpet Concerto, his only instrumental compositions after 1795 were the six quartets of Op. 76, the two of Op. 77, and the unfinished torso of Op. 103, and they were the culmination of nearly four decades of experience composing in the chamber medium.

The Quartet in B-flat major, Op. 76, No. 4, derives its sobriquet—“Sunrise”—from the arching opening theme, one of Haydn’s most limpid and sensual melodic inventions. The music is more animated during the transitional passage that leads to the second theme,

JOSEPH HAYDN Born March 31, 1732, in Rohrau,

Lower Austria. Died May 31, 1809, in Vienna.

Composed in 1797. Premiered on September 28, 1797, in

Eisenstadt. First CMS performance on August 4,

1977, by violinists James Buswell and Ani Kavafian, violist Walter Trampler, and cellist Leslie Parnas.

Duration: 22 minutes

Quartet in B-flat major for Strings, Hob. III:78, Op. 76, No. 4, “Sunrise”


but again becomes subdued, almost dreamy, when that theme proves to be a sweet variant of the opening subject. These two principal moods are again opposed to close the exposition, and their juxtaposition continues to form the basis of the development section. A full recapitulation provides formal closure and expressive balance. The Adagio is an expression of thoughtful introspection such as could only have been composed by one whose long and rich experience of life is matched by a transcendent mastery of technique. The movement follows no traditional form but is rather a fantasia, perhaps even a musical sermon, that refers repeatedly back to the hymnal

statement with which it began. The jolly peasant dance of the Menuetto stands in striking contrast to the contemplative mood of the Adagio, but the curious, winding melody of the central trio, presented by the violins in barren octaves above a drone in the viola and cello, brings a deeper emotional tone to the movement. The exuberant Finale, thought to have been based on a folk song that Haydn brought back with him from England, is in three-part form (B-flat major – B-flat minor – B-flat major) with a dashing coda whose youthful effervescence belies the fact that this was at least the 78th quartet that Haydn had composed. u

During the early years of the 20th century, Béla Bartók became obsessed with the folk music of his native Hungary. He and his friend and colleague in composition Zoltán Kodály trooped the hinterlands with, at first, pen and paper, and, later, a primitive phonograph to record the indigenous songs and dances which differed substantially from the four-square melodies that had been passed off for

decades as authentic. What they found was music whose rhythms exhibited an invigorating irregularity, whose modes eschewed conformity to the commonly accepted scale patterns in favor of a dizzying variety of pitch organizations, and whose method of performance allowed for inflections and expressions that not only enhanced the basic song but also displayed the individuality of the singer.

Bartók’s own music absorbed the impact of his research, and by the time of the First World War, the influence of folk idioms on the rhythms, melodies, and moods of his works had become pervasive. The String Quartet No. 2, composed in the Budapest suburb of Rákoskeresztúr between 1914 and 1917, the war years when Bartók largely withdrew from public concert life, is among his earliest examples of incorporating folk influences into concert music.

BÉLA BARTÓK Born March 25, 1881, in

Nagyszentmiklós, Hungary. Died September 26, 1945, in New York City.

Composed in 1914–17. Premiered on March 3, 1918, in Budapest

by the Waldbauer Quartet. First CMS performance on December 12,

1980, by violinists James Buswell and Ani Kavafian, violist Walter Trampler, and cellist Leslie Parnas.

Duration: 27 minutes

Quartet No. 2 for Strings, BB 75, Op. 17


Kodály said that the three strongly profiled movements of the Second Quartet represent: “1. A quiet life. 2. Joy. 3. Sorrow.” The sonata form of the opening movement is worked out with Bartók’s characteristic rigor. The main theme, given by the first violin, begins with a quick leap upward followed by a long note and a phrase descending through chromatically inflected melodic leadings. The other instruments are drawn into the discussion of this subject, and lead directly to the second theme, a melody in smoother motion in which is imbedded a little turn figure in triplet rhythm. The development section is largely occupied with tightly reasoned permutations of the principal theme. The recapitulation returns the earlier material, though the second theme is truncated to just a brief reminiscence, with the balance of the movement devoted to a developmental coda grown from the main subject.

The Allegro that occupies the center of the quartet bears the immediate imprint of folk music: its form is a chain

of continuous sections arranged as a loose rondo, like a peasant dance with a returning refrain; its rhythm is ferocious; its melodic material is contained within a limited range and circles around a few central pitches; its phrasing consists of small repeated units. The movement ends with an extraordinary coda which plays a quiet transformation of the main theme at such breakneck pace that the music becomes a buzzing murmur.

The finale is bleak and sorrowful, music of intense expression that may reflect the grief of the time of its composition. Though the movement seems to unfold freely, pausing occasionally for a thoughtful breath, it is carefully generated from a small cache of melodic gestures: tiny, two-note motives, given by the second violin, that use the intervals of a third (in its conflicting minor and major versions) and a fourth; a brief arching phrase, posited by the first violin, that recalls the principal theme of the first movement; and a falling figure of two short notes followed by a longer note. u

Aribert Reimann was born in Berlin in 1936 and had to live through the privations of World War II and its difficult aftermath as a child, though he was able to study music during those years with his father,

who was head of church music at the Berlin Hochschule [Conservatory] für Musik, and his mother, a noted singer and voice teacher. Reimann was admitted to the Hochschule in 1955 to study composition with Boris Blacher and Ernst Pepping and piano with Otto Rausch, and also studied musicology at the University of Vienna before he graduated from the Hochschule in 1960. Even before he left school, Reimann had worked as a coach at the State Opera House in Berlin and established himself as a first-rate accompanist who

ARIBERT REIMANN Born March 4, 1936, in Berlin.

Composed in 2006. Premiered on May 6, 2006, at

Robert Schumann Hall in Düsseldorf by the Heine Quartet.

Tonight is the US premiere of this piece. Duration: 8 minutes

Adagio zum Gedenken an Robert Schumann (Adagio in Memory of Robert Schumann) for String Quartet


collaborated with such noted artists as Ernst Haefliger, Elisabeth Grümmer, Barry McDaniel, and, in a long-term association, Dietrich Fischer-Dieskau. He taught at the Hamburg Hochschule für Musik from 1974 to 1983, when he was appointed to the faculty of the Berlin Hochschule für Kunst, where he served with distinction until his retirement in 1998. Reimann’s many honors include membership in the Academy of the Arts (Berlin), Bavarian Academy of Fine Arts (Munich), and Free Academy of the Arts (Hamburg), the Grand Cross of Merit of the Verdienstorden from the Federal German Republic, Composition Prize of the Prince Pierre Foundation (Monaco), Frankfurt Music Prize, and German order Pour le Mérite; in 2011 he was awarded the Siemens Music Prize. Reimann has composed for orchestra (including five concertos), chamber ensembles, and piano, and he is especially recognized for his vocal works, notably his nine operas; his Lear, after Shakespeare (the title role was composed for Fischer-Dieskau), has been produced steadily around the world since it was introduced in 1978.

Reimann admits that he has “always had a great fondness for the works of Schumann,” and that interest took on a real immediacy and intimacy in 1988 when an uncle sent him a copy of the notes Schumann’s attending physician, Dr. Franz Richarz, had kept of his patient’s

condition in the asylum in Endenich, near Bonn, in which he died in July 1856 after more than two difficult and delusional years. The notes affected Reimann deeply and that year he composed the Sieben Fragmente in Memoriam Robert Schumann for orchestra, based on the Theme and Variations in E-flat (the “Ghost Variations”) of February 1854 that was Schumann’s last completed work; Reimann also made an orchestral arrangement of Schumann’s Gedichte der Königin Maria Stuart (1852, “Poems of Queen Mary Stuart”), Op. 135 that same year.

In 2006, the city of Düsseldorf, the Schumanns’ home before his removal to Endenich, organized a musical commemoration of the 150th anniversary of his death, and commissioned Reimann to write a new piece for the event. He accepted the commission and also took the occasion to collaborate on a book about Robert Schumann in Endenich (1854–56) based on the medical notes he had studied for the previous 30 years. Reimann took as inspiration for his Adagio zum Gedenken an Robert Schumann (Adagio in Memory of Robert Schumann) for String Quartet two Lutheran chorales—Wenn mein Stündlein vorhanden ist (“When My Hour Is at Hand”; Bach used the melody in his Cantatas Nos. 31 and 95 as well as three chorale preludes) and Stärk uns, Mittler, dein sind wir (“Strengthen Us, Intercessor, We Are Yours”)—which Schumann wrote down without text or harmonization near the end of his life. Phrases of the chorales are heard throughout the eight-minute piece, most clearly in the closing pages, but they are continually pierced or interrupted or distorted by slithering notes, jarring isolated sounds, and out-of-tune pitches. Though he did not speak of it directly, the Adagio seems to be Reimann’s conception of the way

The Adagio seems to be Reimann’s conception of the way Schumann perceived chorale fragments in his own troubled mind during his last months.


Schumann perceived these chorale fragments in his own troubled mind during his last months.

Remarkably, Schumann himself spoke of these aberrations. On February 12, 1854, during their last days together in Düsseldorf, he told Clara that angels were performing for him, “music more wonderfully beautiful and played by more exquisite instruments than ever sounded on earth.” This was the theme on which he composed his “Ghost Variations.” But, sometimes, a single pitch, relentless and piercing, which lingered from the spirits’ visit, expanded into hideous sounds and twisted itself into a “very strong and

tormenting auditory disturbance.” The hallucinations came and went over the next few days, exacting “exquisite suffering” upon both husband and wife, Robert confessed to his diary. During the night of February 17–18, the angels returned and sang him a simple diatonic melody, almost a chorale, which he leaped from bed to record. The following morning Clara observed “a frightful change. The angels’ voices transformed themselves into the voices of demons, with horrible music. They told him that they wanted to cast him into hell, and he screamed in pain as the embodiments of hyenas and tigers rushed forward to seize him.”

LETTER FROM ROBERT TO CLARA SCHUMANNEndenich, September 18, 1854

… My life is less eventful than it was. How very different it used to be! Do tell me all about our relations and our friends in Cologne, Leipzig, Dresden, and Berlin… you know them all. And now let me evoke some memories for you: think of the old blissful days, of our journey to Switzerland, of Heidelberg, Lausanne, Chamouni; then of our visits to the Hague (where you reaped such triumphs), Antwerp, and Brussels; then of the Düsseldorf festival… Do you remember, too, our first glimpse of the Alps in all their glory, and your alarm when the driver put his horse to a quick trot? I kept notes of all my journeys, including those of my school and college days, but it would give me even more pleasure if you would send me a volume of your diary, with perhaps a copy of the love-verses I sent to you in Paris from Vienna. Have you still the little double portrait, taken by Rietschel in Dresden? It would make me very happy to have it. I should also be glad to know the children’s birthdays; they were written down in the little blue book.…

So good-bye, darling Clara. Don’t forget me, and write soon.

Your, Robert


On Monday, February 27, 1854, when Clara had to leave his bedside for a few minutes to confer with his physician, Schumann dressed himself, walked through the front gate to the city bridge, and tried to drown himself in the Rhine

in a suicide attempt. Two fishermen dragged him out, and within a week he had been committed to the Endenich asylum and the care of Dr. Richarz. He never left the place and died there on July 29, 1856. u

Schumann first considered writing a string quartet as early as 1838—“The thought gives me pleasure,” he told his future wife, the superb pianist Clara Wieck. He made two attempts the following year (“I can assure you they’re as good as Haydn” was his hyperbolic description of his sketches to his fiancée), but he was dissatisfied with them and apparently destroyed the manuscripts. Invitations to perform in Bremen and Hamburg, cities eager to hear Clara’s piano playing and Robert’s new B-flat Symphony, enabled them to tour together in February 1842 (at no little emotional expense, however, since it meant being separated for some time from their first child, Marie, born the previous September 1), but rather than traveling with her to Copenhagen, Robert went home to Leipzig, immersing himself in the study of the quartets of Mozart, Haydn, and Beethoven in April and May. On June 4, he began the furious activity that yielded up his only

three string quartets. As a surprise for Clara’s 23rd birthday, Robert arranged a private performance of all three quartets on September 13 at the home of Ferdinand David, the Gewandhaus Orchestra’s concertmaster, for whom Felix Mendelssohn was to write his Violin Concerto two years later. “My respect for Robert’s genius, for his intellect, altogether for the whole composer, grows with each work,” wrote Clara, who once admitted not caring much for the genre of the string quartet until her husband had contributed to the form. “Here everything is new and at the same time lucid, finely worked out, and always in quartet idiom.”

The sonata-form opening movement of the F major Quartet is based almost entirely on the verdant main theme sung by the first violin at the outset; the only motivic diversion comes near the end of the exposition, where a smooth but fragmentary idea is touched upon by the upper strings. The movement’s development section is testimony to Schumann’s growing mastery not just of manipulating themes for dramatic expressive effect but also of writing idiomatically for the intimate musical democracy of the chamber ensemble.

Schumann titled the second movement, somewhat curiously, Andante, quasi variazioni—Moderately, resembling

ROBERT SCHUMANN Born June 8, 1810, in Zwickau, Germany. Died July 29, 1856, in Endenich, near Bonn.

Composed in 1842. Premiered on September 13, 1842, in

Leipzig by the Ferdinand David Quartet. First CMS performance on November 14,

2007, by the St. Lawrence String Quartet. Duration: 22 minutes

Quartet in F major for Strings, Op. 41, No. 2


© 2018 Dr. Richard E. Rodda

a Variations. Conventional variations is an ancient and straightforward form in which the structure and essential harmonic underpinning of a theme presented at the outset are preserved in the ensuing sections. Schumann’s theme here is songful and prolix, and he worked four variations upon it—lyrical with ribbons of scales for accompaniment; flowing and animated, with a pizzicato background in viola and cello; subdued and shadowy; playful and in a new meter—that use increasingly shorter versions of the melody and also vary its harmonic content. The original theme is then repeated note-for-note before the movement closes with a supple coda that recalls Variation 2. “Quasi variazioni” therefore seems exactly the right description for this inventive formal hybrid, which observes the spirit if not the letter of the old form and places it within a larger ternary structure: A (theme) – B (variations) – A (theme repeated and coda).

The third movement may well be Schumann’s tribute to the mercurial scherzos of his friend Felix Mendelssohn, to whom he dedicated his string quartets. The outer sections of the three-part form are nimble and delightfully deceptive

in their rhythm, with the melodic shape and harmonic changes frequently shifted away from the meter’s strong beats; the central trio, so rhythmically regular that it allows for a virtual “oom-pah” accompaniment, alternates a broad phrase with skittering scales.

The finale follows a compact sonata form, with a bounding main theme and a subsidiary subject comprising a smoothly rising scale and a reference to the final song of Beethoven’s An die ferne Geliebte (To the Distant Beloved), Schumann’s token of affection to Clara. The development section is largely given over to permutations of this last motive before an animated scalar passage leads to the recapitulation of the earlier materials. A fast and bracing coda closes the quartet. u

As a surprise for Clara’s 23rd birthday, Robert Schumann arranged a private performance of all three of his quartets


ABOUT THE ARTISTS

SCHUMANN QUARTET Erik Schumann, violin; Liisa Randalu, viola; Mark Schumann, cello; Ken Schumann, violin The Schumann Quartet was praised by the Süddeutsche Zeitung as playing “staggeringly well… with sparkling virtuosity and a willingness to astonish.” This season the quartet continues its three-year Chamber Music Society Two residency. The quartet also tours the United States and gives performances at festivals in South America, Italy, and Switzerland, as well as at Mozart Week in Salzburg and the Mozartfest in Würzburg. Other performances include concerts in the important musical centers of London, Hamburg, Berlin, Amsterdam, Florence, and Paris. The quartet’s current album, Landscapes, in which it traces its own roots by combining works of Haydn, Bartók, Takemitsu, and Pärt, has been hailed enthusiastically both at home and abroad, receiving five Diapasons and being selected as Editor’s Choice by BBC Music Magazine. The Schumann Quartet won the 2016 Best Newcomers of the Year Award from BBC Music Magazine for its previous CD, Mozart Ives Verdi. The quartet’s other awards include premier prix at the 2013 Concours International de Quatuor à Cordes de Bordeaux, the music prize of the Jürgen Ponto Foundation in the chamber music category in 2014, and first prize in the 2012 Schubert and Modern Music competition in Graz, Austria. The 2016–17 season saw a tour to Japan, concerts at festivals such as the Rheingau and Schleswig Holstein Music Festival, and renewed engagements at the Tonhalle in Zürich, Wigmore Hall in London, and in Munich. Sabine Meyer, Menahem Pressler, and Albrecht Mayer also gave concerts with the quartet. The previous

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season the ensemble was quartet-in-residence at Schloss Esterházy, and gave the first performance of a string quartet by Helena Winkelman. The season also saw concerts in the Tonhalle Zürich, the Musikverein in Vienna, London’s Wigmore Hall, and the Concertgebouw Amsterdam; a tour of Israel; and the quartet’s U.S. debut in Washington, D.C. The quartet has performed at many festivals, including Mecklenburg-Vorpommern, Lockenhaus, the Davos Festival, Menton Festival de Musique in France, Cantabile Festival in Portugal, the Rheingau Music Festival, and the Korsholm Music Festival in Finland. Other appearances include venues such as Kings Place in London, the Konzerthaus in Vienna, Palacio Real in Madrid, Teatro Verdi in Trieste, and the Muziekgebouw in Eindhoven, The Netherlands. Brothers Mark, Erik, and Ken Schumann grew up in the Rhineland. In 2012, they were joined by violist Liisa Randalu, who was born in the Estonian capital, Tallinn, and grew up in Karlsruhe, Germany. The quartet studied with Eberhard Feltz and the Alban Berg Quartet, and served as resident ensemble for many years at the Robert-Schumann-Saal in Düsseldorf.

TEMPEST IN C MINORSUNDAY, MAY 6, 2018, 5:00 PM ALICE TULLY HALLTUESDAY, MAY 8, 2018, 7:30 PM ALICE TULLY HALL

C minor (the dark side of C major) has often been the key of choice for composers in stormy moods. Join us for Beethoven, Brahms, and Fauré at their turbulent best.

CONCERTO NIGHT!SUNDAY, MAY 20, 2018, 5:00 PM ALICE TULLY HALL

CMS’s season finale is designed simply to dazzle and delight, a lasting reminder of the thrilling possibilities of chamber music.

UPCOMING CONCERTS AT CMS


The Chamber Music Society of Lincoln Center (CMS) is known for the extraordinary quality of its performances, its inspired programming, and for setting the benchmark for chamber music worldwide: no other chamber music organization does more to promote, to educate, and to foster a love of and appreciation for the art form. Whether at its home in Alice Tully Hall at Lincoln Center, on leading stages throughout North America, or at prestigious venues in Europe and Asia, CMS brings together the very best international artists from an ever-expanding roster of more than 130 artists per season, to provide audiences with the kind of exhilarating concert experiences that have led to critics calling CMS "an exploding star in the musical firmament" (The Wall Street Journal). Many of these extraordinary performances are livestreamed, broadcast on radio and television, or made available on CD and DVD, reaching thousands of listeners around the globe each season.

Education remains at the heart of CMS's mission. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, CMS has created multi-faceted education and audience development programs to bring chamber music to people from a wide range of backgrounds, ages, and levels of musical knowledge. CMS also believes in fostering and supporting the careers of young artists through the CMS Two program, which provides ongoing performance opportunities to a select number of highly gifted young instrumentalists and ensembles. As this venerable institution approaches its 50th anniversary season in 2020, its commitment to artistic excellence and to serving the art of chamber music, in everything that it does, is stronger than ever.

ABOUT THE CHAMBER MUSIC SOCIETY

David Finckel and Wu Han, Artistic Directors Suzanne Davidson, Executive Director

ADMINISTRATIONKeith Kriha, Administrative DirectorMartin Barr, ControllerSusan Mandel, Executive and

Development Assistant

ARTISTIC PLANNING & PRODUCTIONBeth Helgeson, Director of

Artistic Planning and AdministrationKari Fitterer, Director of

Artistic Planning and TouringJen Augello, Operations ManagerLaura Keller, Editorial ManagerSarissa Michaud, Production

ManagerGrace Parisi, Production and

Education Associate

DEVELOPMENTSharon Griffin, Director of

DevelopmentFred Murdock, Associate Director,

Special Events and Young PatronsJanet Barnhart, Manager of

Institutional GivingJoe Hsu, Manager, Development

Operations and ResearchJulia Marshella, Manager of

Individual Giving, PatronsErik Rego, Manager of

Individual Giving, Friends

EDUCATIONBruce Adolphe, Resident Lecturer and

Director of Family ConcertsDerek Balcom, Director of Education

MARKETING/SUBSCRIPTIONS/ PUBLIC RELATIONS

Emily Holum, Director of Marketing and Communications

Trent Casey, Director of Digital Content

Desmond Porbeni, Associate Director, Audience and Customer Services

Marlisa Monroe, Public Relations Manager

Melissa Muscato, Marketing Content Manager

Natalie Dixon, Audience and Customer Services Associate

Sara Ricci, Marketing AssistantBrett Solomon, Subscription and

Ticketing Services Assistant

Administration


Artists of the 2017–18 SeasonTony Arnold, sopranoSusanna Phillips, sopranoTamara Mumford, mezzo-sopranoNicholas Phan, tenorNikolay Borchev, baritoneNathan Gunn, baritoneInon Barnatan, pianoAlessio Bax, pianoMichael Brown, piano*Gloria Chien, pianoLucille Chung, pianoGilbert Kalish, pianoSebastian Knauer, pianoAnne-Marie McDermott, pianoJuho Pohjonen, pianoGilles Vonsattel, pianoOrion Weiss, pianoWu Han, pianoWu Qian, piano*Michael Sponseller, harpsichordKenneth Weiss, harpsichordAdam Barnett-Hart, violinBenjamin Beilman, violinAaron Boyd, violinNicolas Dautricourt, violinAugustin Hadelich, violinChad Hoopes, violin*Bella Hristova, violinPaul Huang, violin*Ani Kavafian, violinIda Kavafian, violinErin Keefe, violinKristin Lee, violinSean Lee, violinYura Lee, violin/violaCho-Liang Lin, violinDaniel Phillips, violinTodd Phillips, violinAlexander Sitkovetsky, violinArnaud Sussmann, violinDanbi Um, violin*Roberto Díaz, violaMark Holloway, violaPierre Lapointe, violaMatthew Lipman, viola*Paul Neubauer, violaRichard O’Neill, violaDmitri Atapine, cello*Efe Baltacıgil, celloNicholas Canellakis, celloColin Carr, celloTimothy Eddy, cello

David Finckel, celloClive Greensmith, celloGary Hoffman, celloJakob Koranyi, celloMihai Marica, celloDavid Requiro, celloKeith Robinson, celloBrook Speltz, celloPaul Watkins, celloTimothy Cobb, double bassJoseph Conyers, double bassAnthony Manzo, double bassEdgar Meyer, double bassElizabeth Hainen, harpSooyun Kim, fluteRobert Langevin, fluteTara Helen O’Connor, fluteRansom Wilson, fluteCarol Wincenc, fluteRandall Ellis, oboeJames Austin Smith, oboeStephen Taylor, oboeRomie de Guise-Langlois, clarinetAlexander Fiterstein, clarinetTommaso Lonquich, clarinet*Ricardo Morales, clarinetDavid Shifrin, clarinetMarc Goldberg, bassoonPeter Kolkay, bassoonDaniel Matsukawa, bassoonBram van Sambeek, bassoonDavid Jolley, hornJulie Landsman, hornJeffrey Lang, hornJennifer Montone, hornEric Reed, hornStewart Rose, hornRadovan Vlatković, hornBrandon Ridenour, trumpetIan David Rosenbaum, percussionAyano Kataoka, percussion

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

DAEDALUS QUARTET Min-Young Kim, violin Matilda Kaul, violin Jessica Thompson, viola Thomas Kraines, cello

DANISH QUARTET Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

ESCHER STRING QUARTET Adam Barnett-Hart, violin Danbi Um, violin Pierre Lapointe, viola Brook Speltz, cello

JUILLIARD STRING QUARTET Joseph Lin, violin Ronald Copes, violin Roger Tapping, viola Astrid Schween, cello

MIRÓ QUARTET Daniel Ching, violin William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello

ORION STRING QUARTET Daniel Phillips, violin Todd Phillips, violin Steven Tenenbom, viola Timothy Eddy, cello

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

SHANGHAI QUARTET Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello

KALICHSTEIN-LAREDO-ROBINSON TRIO Joseph Kalichstein, piano Jaime Laredo, violin Sharon Robinson, cello

SITKOVETSKY TRIO Wu Qian, piano Alexander Sitkovetsky, violin Isang Enders, cello

James P. O'Shaughnessy, ChairmanElinor L. Hoover, Chairman ElectRobert Hoglund, TreasurerPeter W. Keegan, Secretary

Nasrin AbdolaliSally Dayton ClementJoseph M. CohenJoyce B. CowinLinda S. DainesPeter DuchinPeter Frelinghuysen (1941–2018)Jennifer P.A. GarrettWilliam B. GinsbergPhyllis GrannPaul B. GridleyWalter L. HarrisPhilip K. HowardPriscilla F. KauffVicki KelloggJeehyun KimHelen Brown Levine

John L. LindseyTatiana PouschineRichard PrinsDr. Annette U. RickelBeth B. SacklerHerbert S. SchlosserDavid SimonJoost F. ThesselingSuzanne E. VaucherAlan G. WeilerJarvis WilcoxKathe G. Williamson

DIRECTORS EMERITIAnne CoffinMarit GrusonCharles H. HamiltonHarry P. KamenPaul C. LambertDonaldson C. Pillsbury (1940–2008)William G. SeldenAndrea W. Walton

GLOBAL COUNCILHoward DillonCarole G. Donlin John FouheyCharles H. HamiltonRita HauserJudy KosloffMike McKoolSeth NovattJoumana RizkMorris RossabiSusan SchuurTrine SorensenShannon Wu

FOUNDERSMiss Alice TullyWilliam SchumanCharles Wadsworth,

Founding Artistic Director

Directors and Founders


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

ANNUAL FUND

LEADERSHIP GIFTS ($50,000 and above)The Chisholm FoundationHoward Gilman FoundationWilliam and Inger G. GinsbergDr. and Mrs. Victor GrannEugene and Emily GrantJerome L. Greene FoundationMr. and Mrs. Paul B. GridleyRita E. and Gustave M. HauserElinor and Andrew Hoover

Jane and Peter KeeganSusan Carmel LehrmanLincoln Center Corporate FundNational Endowment for the ArtsNew York State Council on the ArtsStavros Niarchos FoundationThe New York Community TrustMr. and Mrs. James P. O'ShaughnessyBlanchette Hooker Rockefeller Fund

The Fan Fox and Leslie R. Samuels Foundation, Inc.

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

GUARANTORS ($25,000 to $49,999)Ann Bowers,

in honor of Dmitri AtapineThomas Brener and Inbal Segev-BrenerSally D. and Stephen M. Clement, IIIJoseph M. CohenJoyce B. CowinLinda S. DainesEstate of Anthony C. GoochGail and Walter HarrisFrank and Helen Hermann FoundationRobert and Suzanne Hoglund

Harry P. KamenEstate of Peter L. KennardAndrea Klepetar-FallekBruce and Suzie KovnerMetLife FoundationRichard Prins and Connie SteensmaNew York City Department of

Cultural AffairsDr. Annette U. RickelDr. Beth Sackler and Mr. Jeffrey CohenJudith and Herbert Schlosser

David SimonMr. and Mrs. Erwin StallerWilliam R. Stensrud and

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

BENEFACTORS ($10,000 to $24,999)The Achelis and Bodman FoundationAnonymous (2)Ronald AbramsonEstate of Marilyn Apelson Jonathan Brezin and Linda KeenColburn FoundationCon EdisonThe Gladys Krieble Delmas FoundationHoward Dillon and Nell Dillon-ErmersThe Lehoczky Escobar Family David Finckel and Wu HanJohn and Marianne FouheySidney E. Frank Foundation

Mr. and Mrs. Peter FrelinghuysenAnn and Gordon Getty FoundationFrancis Goelet Charitable Lead TrustsThe Hamilton Generation FundIrving Harris FoundationMichael Jacobson and Trine SorensenPriscilla F. KauffVicki and Chris KelloggJeehyun KimHelen Brown LevineDouglas M. LibbyMillbrook Vineyards & WineryMr. Seth Novatt and Ms. Priscilla Natkins

Marnie S. PillsburyTatiana PouschineDr. and Mrs. Richard T. RosenkranzMrs. Robert SchuurFred and Robin SeegalSeth Sprague Educational and

Charitable FoundationJoe and Becky StockwellCarlos Tome and Theresa KimSusan and Kenneth WallachMrs. Andrea W. Walton

PLATINUM PATRONS ($5,000 to $9,999)Anonymous (2)Mr. James A. Attwood and

Ms. Leslie K. WilliamsWilliam and Julie Ballard Murat BeyazitJoan BennyNathalie and Marshall CoxRobert and Karen DesjardinsValerie and Charles DikerCarole DonlinJohn and Jody EastmanMrs. Barbara M. Erskine

Mr. Lawrence N. Field and Ms. Rivka SeidenMr. and Mrs. Irvine D. FlinnThe Frelinghuysen FoundationMarlene Hess and James D. Zirin, in loving

memory of Donaldson C. PillsburyThe Hite FoundationAlfred and Sally JonesC.L.C. Kramer FoundationJonathan E. LehmanLeon Levy FoundationDr. and Mrs. Michael N. MargoliesJane and Mary Martinez

Mr. and Mrs. H. Roemer McPhee, in memory of Catherine G. Curran

The Robert and Joyce Menschel Family Foundation

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

Family FundMartin and Ruby VogelfangerPaul and Judy WeislogelNeil Westreich

Artistic Directors Circle

Patrons

GOLD PATRONS ($2,500 to $4,999)AnonymousNasrin AbdolaliElaine and Hirschel AbelsonDr. and Mrs. David H. AbramsonMs. Hope AldrichAmerican Friends of Wigmore HallJoan AmronJames H. ApplegateAxe-Houghton FoundationLawrence B. Benenson

American Chai TrustConstantin R. BodenMr. and Mrs. John D. CoffinThe Aaron Copland Fund for MusicRobert J. Cubitto and Ellen R. NadlerVirginia Davies and Willard TaylorSuzanne DavidsonMr. and Mrs. Joseph W. Donner Helen W. DuBoisJudy and Tony Evnin

Dr. and Mrs. Fabius N. FoxMrs. Beatrice FrankFreudenberg ArtsDiana G. FriedmanEgon R. GerardEdda and James GillenFrederick L. JacobsonKenneth Johnson and Julia TobeyPaul KatcherEd and Rosann Kaz


Mr. and Mrs. Hans KilianMr. and Mrs. Robert W. KleinschmidtJudy and Alan KosloffChloë A. KramerHenry and Marsha LauferHarriet and William LembeckJennifer ManocherianMartin and Lucille Murray Sassona Norton and Ron Filler

Mr. and Mrs. Joseph RosenThe Alfred and Jane Ross FoundationMary Ellen and James RudolphDavid and Lucinda SchultzPeter and Sharon SchuurMichael W. SchwartzCarol and Richard SeltzerThe Susan Stein Shiva FoundationDr. Michael C. Singer

Diane Smook and Robert PeduzziGary So, in honor of Sooyun KimSally WardwellPatricia and Lawrence WeinbachLarry Wexler and Walter BrownJanet Yaseen and the

Honorable Bruce M. KaplanNoreen and Ned Zimmerman

YOUNG PATRONS* ($500+)Jordan C. AgeeRaoul Boisset Jamie ForsethRobert J. HaleyYoshiaki David KoLiana and Joseph Lim

Shoshana LittLucy Lu and Mark FranksZach and Katy MaggioMr. Edwin MeulensteenKatie NojimaJason Nong

Eren Erdemgil Sahin and Erdem SahinShu-Ping ShenJonathan U.R. Smith Erin SolanoMr. Nick Williams and Ms. Maria DoerflerRebecca Wui and Raymond Ko

SILVER PATRONS ($1,500 to $2,499)Anonymous (5)Alan AgleHarry E. AllanLawrence H. AppelBrett Bachman and Elisbeth ChallenerDr. Anna BalasBetsy Shack BarbanellLillian BarbashMr. and Mrs. William G. BardelCaryl Hudson BaronRichard L. BaylesMr. and Mrs. T. G. BerkAdele BilderseeJudith Boies and Robert ChristmanCahill Cossu Noh and RobinsonCharles and Barbara BurgerJeff and Susan CampbellAllan and Carol CarltonDale C. Christensen, Jr.Judith G. ChurchillBetty CohenMarilyn and Robert CohenMr. Mark Cohen, in memory of May LazerAlan and Betsy Cohn FoundationJon Dickinson and Marlene BurnsJoan DyerThomas E. Engel, Esq.Mr. Arthur FergusonHoward and Margaret FluhrMr. Andrew C. Freedman and

Ms. Arlie SulkaMr. and Mrs. Burton M. Freeman

Rosalind and Eugene J. GlaserJudith HeimerCharles and Nancy HoppinDr. Beverly Hyman and

Dr. Lawrence BirnbachBill and Jo Kurth JagodaDr. Felisa B. KaplanKeiko and Steven B. Kaplan,

in honor of Paul HuangStephen and Belinda Kaye Thomas C. KingPatricia Kopec Selman and Jay E. SelmanDr. and Mrs. Eugene S. KraussEdith KubicekRichard and Evalyn LambertCraig Leiby and Thomas ValentinoDr. Donald M. LevineJames Liell Walter F. and Phyllis Loeb Family Fund

of the Jewish Communal FundDr. Edward S. LohNed and Francoise MarcusCarlene and Anders MaxwellEileen E. McGann Sheila Avrin McLean and David McLeanIlse MelamidMerrick Family FundMr. and Mrs. Leigh MillerBernice H. MitchellAlan and Alice ModelAlex PagelBarbara A. Pelson

Charles B. RaglandMr. Roy Raved and Dr. Roberta LeffDr. Hilary Ronner and Mr. Ronald FeimanJoseph and Paulette RoseDiana and Michael RothenbergMarie von SaherDavid and Sheila RothmanSari and Bob SchneiderDelia and Mark SchulteMr. David Seabrook and

Dr. Sherry Barron-SeabrookJill S. SlaterMorton J. and Judith SloanAnnaliese SorosDr. Margaret Ewing SternDeborah F. StilesAlan and Jaqueline StuartSusan Porter TallJoseph C. TaylorErik and Cornelia ThomsenJudith and Michael Thoyer Leo J. TickSalvatore and Diane VaccaMr. and Mrs. Joseph ValenzaPierre and Ellen de VeghDr. Judith J. Warren and

Dr. Harold K. GoldsteinAlex and Audrey WeintrobRobert Wertheimer and Lynn SchackmanTricia and Philip WintererGro V. and Jeffrey S. Wood Cecil and Gilda Wray

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

ALLEGRO ($600 to $999)

Anonymous (5)Bialkin Family FoundationMaurice and Linda Binkow Philanthropic

Fund of the United Jewish FoundationAnn S. ColeAllyson and Michael ElyMr. Stephen M. FosterKris and Kathy HeinzelmanDr. and Mrs. Wylie C. HembreeAlice Henkin Mr. and Mrs. James R. Houghton

Thomas Frederick JamboisLeeds Family FoundationThe David Minkin FoundationDot and Rick NelsonChristine PishkoMimi Poser James B. RanckMs. Kathee RebernakMs. Linda C. RoseMr. David Rosner

Charles S. Schreger Monique and Robert SchweichRobert A. SilverEsther Simon Charitable TrustBarbaralee Diamonstein-Spielvogel and

Ambassador Carl SpielvogelAndrea and Lubert StryerMs. Jane V. TalcottHerb and Liz TulchinJill and Roger WittenFrank Wolf

Anonymous (1)Sophia Ackerly and Janis BuchananMrs. Albert Pomeroy BedellBrian Carey and Valerie TomaselliDorothy and Herbert FoxMrs. Margherita S. FrankelDorothy F. GlassMiriam GoldfineAbner S. GreeneSharon GurwitzEvan and Florence JanovicPete Klosterman

Peter KrollLinda LarkinBarbara and Raymond LeFebvreMr. Stanley E. LoebJane and John Loose Thomas Mahoney and Emily Chien,

in honor of Paul and Linda Gridley Linda and Tom Marshella, in memory

of Donald F. HumphreyDr. and Mrs. Richard R. NelsonAmanda ReedLisa and Jonathan Sack

Diana and John SidtisAnthony R. SokolowskiMr. and Mrs. Myron Stein,

in honor of Joe CohenDr. Charles and Mrs. Judith

Lambert SteinbergMr. David P. StuhrSherman TaishoffMr. and Mrs. George WadeWillinphila Foundation

*as of March 28, 2018

Friends

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


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

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

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

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

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

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

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

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

This season is supported by public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State

Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council.

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

While celebrating our 48th Anniversary Season this year we pay tribute to the distinguished artists who have graced our stages in thousands of performances. Some of you were here in our beloved Alice Tully Hall when the Chamber Music Society's first notes were played. Many more of you are loyal subscribers and donors who, like our very first audience, are deeply passionate about this intimate art form and are dedicated to our continued success.

Those first steps 48 years ago were bold and ambitious. Please join your fellow chamber music enthusiasts in supporting CMS by calling the Membership Office at (212) 875-5782, or by donating online at www.ChamberMusicSociety.org/support. Thank you for helping us to continue to pursue our important mission, and for enabling the Chamber Music Society to continue to present the finest performances that this art form has to offer.

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

MAKE A DIFFERENCE

THE CHAMBER MUSIC SOCIETY ENDOWMENT

Lila Acheson Wallace Flute ChairMrs. John D. Rockefeller III

Oboe ChairEstate of Anitra Christoffel-Pell Charles E. Culpeper Clarinet ChairFan Fox & Leslie R. SamuelsViolin ChairMrs. William Rodman Fay Viola ChairAlice Tully and Edward R.

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

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

Anonymous Warren Ilchman

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

NewmanMr. and Mrs. Howard Phipps, Jr.Donaldson C. Pillsbury FundEva Popper, in memory of Gideon StraussMrs. John D. Rockefeller 3rd

Daniel and Joanna S. RoseEstate of Anita SalisburyFan Fox & Leslie R. Samuels

FoundationThe Herbert J. Seligmann

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

Contemporary Music, bequest of Milan Stoeger

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

Documents

SCHUMANN QUARTET ERIK SCHUMANN, violin KEN SCHUMANN, … · 2018-04-23 · SCHUMANN QUARTET ERIK SCHUMANN, violin KEN SCHUMANN, violin LIISA RANDALU, viola MARK SCHUMANN, cello JOSEPH