July 18–August 10, 2013 - Music@Menlo | HomeTo the ears of many modern listeners, the canon begins...

The Eleventh Season: From BachJuly 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 flow-ering 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 con-certs that begin with works by a composer without equal, created at the glorious dawn of great music? Please join us,

David Finckel and Wu HanArtistic DirectorsThe Martin Family Artistic Directorship

subscribe at www.musicatmenlo.org2

3subscribe at www.musicatmenlo.org

CONTENTSWelcome

2 Welcome from the Artistic Directors4 Festival Introduction

Concerts6 Concert Programs14 Carte Blanche Concerts19 Prelude Performances and

Koret Young Performers Concerts22 2013–2014 Winter Series36 Festival Calendar

Discovery and Engagement16 Michael Steinberg Encounter Series18 Chamber Music Institute19 Prelude Performances and

Koret Young Performers Concerts20 Café Conversations and Master Classes20 Open House20 Listening Room21 AudioNotes21 Music@Menlo LIVE21 Recording and Broadcasting

Artists5 2013 Artist Roster24 Visual Artist25 Performer Biographies

Ticket and Patron Information30 Join Music@Menlo32 Reserving Your Summer Festival Tickets32 Summer Festival Subscriber Information34 The Festival Campus and Performance Venues35 Map, Locations, and Parking35 For Visitors to Our Area36 Festival Calendar

4 subscribe at www.musicatmenlo.org

FROM BACH


PianoGloria ChienDerek HanJeffrey KahaneGilbert KalishHyeyeon ParkGilles Vonsattel*Wu Han

ViolinBenjamin BeilmanSunmi Chang*Jorja FleezanisSoovin Kim*Kristin LeeSean LeeArnaud SussmannIan SwensenJoseph Swensen

ViolaSunmi Chang*Mark Holloway*Paul NeubauerRichard O’NeillArnaud Sussmann

CelloDmitri AtapineCarter BreyColin CarrDavid FinckelLaurence Lesser

BassCharles ChandlerScott Pingel

HarpBridget Kibbey

Danish String Quartet*Frederik Øland, violinRune Tonsgaard Sørensen, violinAsbjørn Nørgaard, violaFredrik Schøyen Sjölin, cello

Orion String QuartetDaniel Phillips, violinTodd Phillips, violinSteven Tenenbom, violaTimothy Eddy, cello

VocalistElizabeth Futral, soprano*

PercussionChristopher FrohAyano KataokaIan Rosenbaum*

WoodwindsTara Helen O’Connor, fluteAlan Kay, clarinet*James Austin Smith, oboeMarc Goldberg, bassoon

BrassNicole Cash, French horn*Kevin Rivard, French horn*David Washburn, trumpet

Encounter LeadersPatrick CastilloAra GuzelimianStuart IsacoffMichael Parloff

*Music@Menlo debut

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 musi-cal 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

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


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.

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 orches-tral 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 mod-ernism, 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)

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

FRIDAY, JULY 198:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-Atherton

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

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


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)

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

JOSEPH HAYDN (1732–1809)String Quartet in d minor, op. 76, no. 2, Quinten (1796)

DMITRY SHOSTAKOVICH (1906–1975)Piano Quintet in g minor, op. 57 (1940)

LUDWIG VAN BEETHOVEN (1770–1827)String Quartet no. 15 in a minor, op. 132 (1825)

ARTISTSGilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello

SUNDAY, JULY 216:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirty

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


CONCERT PROGRAM III

STRING VARIATIONSConcert 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. Rep-resenting 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 master-piece for string trio as beguiling in character as it is epic in breadth.

JOHANN SEBASTIAN BACH (1685–1750)Brandenburg Concerto no. 3 in G Major, BWV 1048 (1721)

RICHARD STRAUSS (1864–1949)String Sextet from Capriccio, op. 85 (1940–1941)

DMITRY SHOSTAKOVICH (1906–1975)String Quartet no. 3 in F Major, op. 73 (1946)

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

ARTISTSWu 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 248:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo SchoolMingle 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 258:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-Atherton* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

CONCERT PROGRAM IV

PRELUDES AND FUGUESBach 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 capti-vated Haydn and Mozart is evident in their writing; two centuries later, Britten and Shostakovich, too, would call on the same Bachian tradition to give voice to a wholly distinct worldview.

JOHANN SEBASTIAN BACH (1685–1750)Selections from The Well-Tempered Clavier (1722)

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

JOSEPH HAYDN (1732–1809)String Quartet in f minor, op. 20, no. 5 (1772)

FELIX MENDELSSOHN (1809–1847)Capriccio in e minor, op. 81, no. 3 (1843)

DMITRY SHOSTAKOVICH (1906–1975)Prelude and Fugue no. 4 in e minor, op. 87 (1951)

CLAUDE DEBUSSY (1862–1918)Selections from Préludes, Book 1 (1909–1910)

GEORGE GERSHWIN (1898–1937)Three Preludes for Violin and Piano (transcribed by Heifetz) (1923–1926)

BENJAMIN BRITTEN (1913–1976)Prelude and Fugue for Eighteen Strings, op. 29 (1943)

ARTISTSGilles 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 278:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-Atherton* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

Droplet Blues by Nicholas Monu


WEDNESDAY, JULY 248:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo SchoolMingle 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 258:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-Atherton* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

CONCERT PROGRAM IV

PRELUDES AND FUGUESBach 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 capti-vated Haydn and Mozart is evident in their writing; two centuries later, Britten and Shostakovich, too, would call on the same Bachian tradition to give voice to a wholly distinct worldview.

JOHANN SEBASTIAN BACH (1685–1750)Selections from The Well-Tempered Clavier (1722)

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

JOSEPH HAYDN (1732–1809)String Quartet in f minor, op. 20, no. 5 (1772)

FELIX MENDELSSOHN (1809–1847)Capriccio in e minor, op. 81, no. 3 (1843)

DMITRY SHOSTAKOVICH (1906–1975)Prelude and Fugue no. 4 in e minor, op. 87 (1951)

CLAUDE DEBUSSY (1862–1918)Selections from Préludes, Book 1 (1909–1910)

GEORGE GERSHWIN (1898–1937)Three Preludes for Violin and Piano (transcribed by Heifetz) (1923–1926)

BENJAMIN BRITTEN (1913–1976)Prelude and Fugue for Eighteen Strings, op. 29 (1943)

ARTISTSGilles 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 278:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-Atherton* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

Anonymous, nineteenth century.Naerøyfjord, Norway, ca. 1890. Photograph.Adoc-photos/Art Resource, NY

Droplet Blues by Nicholas Monu


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

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 beauti-fully disintegrates in Café Music, Paul Schoenfield’s crack at “a kind of high-class dinner music,” which draws on Bach, Brahms, and Broadway.

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

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

JOHANNES BRAHMS (1833–1897)Piano Trio no. 3 in c minor, op. 101 (1886)

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

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

WEDNESDAY, JULY 318:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo School

THURSDAY, AUGUST 18:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-Atherton


CONCERT PROGRAM VI

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

JOHANN SEBASTIAN BACH (1685–1750)French Suite no. 5 for Solo Piano, BWV 816 (1722)

CAMILLE SAINT-SAËNS (1835–1921)Fantaisie in A Major for Violin and Harp, op. 124 (1907)

CLAUDE DEBUSSY (1862–1918)Sonata for Flute, Viola, and Harp (1915)

MARCEL TOURNIER (1879–1951)Suite for Flute, Violin, Viola, Cello, and Harp, op. 34 (1929)

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

ARTISTSTara 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 28:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirty

SATURDAY, AUGUST 38:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-AthertonMingle with the Musicians10:30 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].* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

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

WEDNESDAY, JULY 318:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo School

THURSDAY, AUGUST 18:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-Atherton


CONCERT PROGRAM VI

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

JOHANN SEBASTIAN BACH (1685–1750)French Suite no. 5 for Solo Piano, BWV 816 (1722)

CAMILLE SAINT-SAËNS (1835–1921)Fantaisie in A Major for Violin and Harp, op. 124 (1907)

CLAUDE DEBUSSY (1862–1918)Sonata for Flute, Viola, and Harp (1915)

MARCEL TOURNIER (1879–1951)Suite for Flute, Violin, Viola, Cello, and Harp, op. 34 (1929)

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

ARTISTSTara 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 28:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirty

SATURDAY, AUGUST 38:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*5:30 p.m., The Center for Performing Arts at Menlo-AthertonMingle with the Musicians10:30 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].* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

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



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

CONCERT PROGRAM VII

DIE KUNST DER FUGE 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.

JOHANN SEBASTIAN BACH (1685–1750)Die Kunst der Fuge (The Art of Fugue), BWV 1080 (before 1742; rev.

ca. 1745 and 1748–1749) (arr. Samuel Baron)

ARTISTSTara 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 68:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo School

WEDNESDAY, AUGUST 78:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo School* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

CONCERT PROGRAM VIII

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

JOHANN SEBASTIAN BACH (1685–1750)Concerto for Violin and Oboe in c minor, BWV 1060 (ca. 1736)

FRANZ SCHUBERT (1797–1828)Rondo in A Major for Violin and String Quartet, D. 438 (1816)

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

FELIX MENDELSSOHN (1809–1847)Double Concerto in d minor for Violin, Piano, and String Quartet (1823)

ARTISTSJames 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 98:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo School

SATURDAY, AUGUST 106:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*3:30 p.m., The Center for Performing Arts at Menlo-AthertonFête the Festival8:30 p.m., following the concertJoin the Artistic Directors, festival musicians, and friends on August 10 to celebrate the season finale at an outdoor catered dinner reception at the Palo Alto Art Center. (Tickets: $65. Advance purchase required. Please see order form.)* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

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

TUESDAY, AUGUST 68:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo School

WEDNESDAY, AUGUST 78:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo School* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

CONCERT PROGRAM VIII

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

JOHANN SEBASTIAN BACH (1685–1750)Concerto for Violin and Oboe in c minor, BWV 1060 (ca. 1736)

FRANZ SCHUBERT (1797–1828)Rondo in A Major for Violin and String Quartet, D. 438 (1816)

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

FELIX MENDELSSOHN (1809–1847)Double Concerto in d minor for Violin, Piano, and String Quartet (1823)

ARTISTSJames 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 98:00 p.m., Stent Family Hall, Menlo SchoolTickets: $77 full price; $35 under age thirtyPrelude Performance*5:30 p.m., Martin Family Hall, Menlo School

SATURDAY, AUGUST 106:00 p.m., The Center for Performing Arts at Menlo-AthertonTickets: $65/$55 full price; $30/$20 under age thirtyPrelude Performance*3:30 p.m., The Center for Performing Arts at Menlo-AthertonFête the Festival8:30 p.m., following the concertJoin the Artistic Directors, festival musicians, and friends on August 10 to celebrate the season finale at an outdoor catered dinner reception at the Palo Alto Art Center. (Tickets: $65. Advance purchase required. Please see order form.)* Prelude Performances feature young artists from the Chamber Music Institute. Admission is free. For more information, see pp. 18–19.

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



CARTE BLANCHE CONCERT I:Percussion Complexities: Christopher Froh, Ayano Kataoka, and Ian RosenbaumSaturday, July 20, 8:00 p.m.* The Center for Performing Arts at Menlo-Atherton Tickets: $50/$40 full price; $25/$20 under age thirtyThe 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 excite-ment in rhythmic energy.

JOHANN SEBASTIAN BACH (1685–1750) Transcription for Percussion

ALEJANDRO VIÑAO (b. 1951)Selections from Book of Grooves (2011)

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

CONLON NANCARROW (1912–1997)Piece for Tape (arr. Dominic Murcott) (1955)

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

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

NEBOJSA ZIVKOVIC (b. 1962)Trio per uno for Percussion Trio (1995)

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

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

ARTISTSChristopher Froh, Ayano Kataoka, Ian Rosenbaum, percussion

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

CARTE BLANCHE CONCERT II:The Solo Violin: Soovin Kim, violinSunday, July 21, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $75 full price; $35 under age thirtyViolinist 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.

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

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

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

NICCOLÒ PAGANINI (1782–1840)Caprices for Solo Violin, op. 1, nos. 1, 3, 6, 7, 11, 14, and 24 (ca. 1817)

HEINRICH WILHELM ERNST (1812–1865)Variations on “The Last Rose of Summer” (1864)

EUGÈNE YSAŸE (1858–1931)Sonata no. 6 in E Major (1923)

BÉLA BARTÓK (1881–1945)Sonata for Solo Violin, Sz. 117, BB 124 (1944)

JOHN HARBISON (b. 1938)Four Songs of Solitude, nos. 1 and 2 (1985)

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

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

ARTISTSoovin Kim, violin

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

CARTE BLANCHE CONCERT III:Cello Evolutions I: Colin Carr, celloSunday, July 28, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $75 full price; $35 under age thirtyCellist 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 vic-torious 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 rep-ertoire, 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.

JOHANN SEBASTIAN BACH (1685–1750)Suite no. 3 in C Major for Solo Cello, BWV 1009 (ca. 1720)Suite no. 5 in c minor for Solo Cello, BWV 1011 (ca. 1720)

ZOLTÁN KODÁLY (1882–1967)Sonata for Solo Cello, op. 8 (1915)

ARTISTColin Carr, cello

CARTE BLANCHE CONCERTS Music@Menlo’s series of artist-curated recitals show-cases individual festival musicians and their singular musical passions.


CARTE BLANCHE CONCERT II:The Solo Violin: Soovin Kim, violinSunday, July 21, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $75 full price; $35 under age thirtyViolinist 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.

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

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

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

NICCOLÒ PAGANINI (1782–1840)Caprices for Solo Violin, op. 1, nos. 1, 3, 6, 7, 11, 14, and 24 (ca. 1817)

HEINRICH WILHELM ERNST (1812–1865)Variations on “The Last Rose of Summer” (1864)

EUGÈNE YSAŸE (1858–1931)Sonata no. 6 in E Major (1923)

BÉLA BARTÓK (1881–1945)Sonata for Solo Violin, Sz. 117, BB 124 (1944)

JOHN HARBISON (b. 1938)Four Songs of Solitude, nos. 1 and 2 (1985)

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

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

ARTISTSoovin Kim, violin

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

CARTE BLANCHE CONCERT III:Cello Evolutions I: Colin Carr, celloSunday, July 28, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $75 full price; $35 under age thirtyCellist 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 vic-torious 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 rep-ertoire, 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.

JOHANN SEBASTIAN BACH (1685–1750)Suite no. 3 in C Major for Solo Cello, BWV 1009 (ca. 1720)Suite no. 5 in c minor for Solo Cello, BWV 1011 (ca. 1720)

ZOLTÁN KODÁLY (1882–1967)Sonata for Solo Cello, op. 8 (1915)

ARTISTColin Carr, cello

CARTE BLANCHE CONCERT IV:Into the Light: Jorja Fleezanis, violinSunday, July 28, 6:00 p.m. The Center for Performing Arts at Menlo-Atherton Tickets: $65/$55 full price; $30/$20 under age thirtyViolinist 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 expres-sion 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.

JOHANN SEBASTIAN BACH (1685–1750)Violin Concerto in E Major, BWV 1042 (ca. 1723)

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

OLIVIER MESSIAEN (1908–1992)Theme and Variations for Violin and Piano (1932)

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

JOHANN SEBASTIAN BACHJauchzet Gott in allen Landen, BWV 51 (ca. 1730)

ARTISTSElizabeth 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:Cello Evolutions II: Laurence Lesser, celloSunday, August 4, 10:30 a.m. Stent Family Hall, Menlo School Tickets: $75 full price; $35 under age thirtyDistinguished 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 provoca-tive 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.

JOHANN SEBASTIAN BACH (1685–1750)Suite no. 1 in G Major for Solo Cello, BWV 1007 (ca. 1720)

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

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

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

LUIGI DALLAPICCOLA (1904–1975)Ciaccona, Intermezzo, and Adagio (1945)

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

ARTISTLaurence Lesser, cello

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

ENCOUNTER I: In the Beginning... There Was Bach led by Ara GuzelimianThursday, July 18, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirtyBach’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 endur-ing 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.

Michael Steinberg Encounter SeriesThe Encounter series, Music@Menlo’s signature multimedia symposia led by classical music’s most renowned authorities, embodies the festival’s context-rich 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 musi-cologist and Music@Menlo guiding light.

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



Bach memorial erected by Mendelssohn in 1843, Leipzig


ENCOUNTER I: In the Beginning... There Was Bach led by Ara GuzelimianThursday, July 18, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirtyBach’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 endur-ing 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 IsacoffFriday, July 26, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirtyThe 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 sum-mer’s second Encounter, pianist and writer Stuart Isacoff will explore both the origins and the evolu-tion of the piano and its literature.

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

ENCOUNTER III: The Art of Late Bach: Exploring Musical Offering and The Art of Fugue led by Michael ParloffSunday, August 4, 6:00 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirtyAs 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 con-ceivable 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.

ENCOUNTER IV: The Passion According to Sebastian Bach led by Patrick CastilloThursday, August 8, 7:30 p.m. Martin Family Hall, Menlo School Tickets: $45 full price; $20 under age thirtyThis 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 Adminis-trator 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 musi-cal identity at large.

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

Michael Steinberg Encounter SeriesThe Encounter series, Music@Menlo’s signature multimedia symposia led by classical music’s most renowned authorities, embodies the festival’s context-rich 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 musi-cologist and Music@Menlo guiding light.


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

St. Thomas Church, Leipzig

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 art-ists performing great music from the chamber music repertoire.

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.

Prelude Performances ScheduleFeaturing the Institute’s International Program artists. Friday, July 19, 5:30 p.m., The Center for Performing Arts at

Menlo-AthertonSaturday, July 20, 5:30 p.m., Martin Family Hall, Menlo SchoolMonday, July 22, 5:30 p.m., Stent Family Hall, Menlo SchoolWednesday, July 24, 5:30 p.m., Martin Family Hall, Menlo SchoolThursday, July 25, 5:30 p.m., The Center for Performing Arts at

Menlo-AthertonFriday, July 26, 5:30 p.m., Stent Family Hall, Menlo SchoolSaturday, July 27, 5:30 p.m., The Center for Performing Arts at

Menlo-AthertonMonday, July 29, 5:30 p.m., Stent Family Hall, Menlo SchoolWednesday, July 31, 5:30 p.m., Martin Family Hall, Menlo SchoolThursday, August 1, 5:30 p.m., The Center for Performing Arts at

Menlo-AthertonSaturday, August 3, 5:30 p.m., The Center for Performing Arts at

Menlo-Atherton

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 Interna-tional 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 conser-vatory programs across the United States and abroad. Students work

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 Perform-ers Concerts featuring the Institute’s aspiring young artists.

The Chamber Music Institute’s series of master classes and per-formances—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 FacultyDmitri Atapine Kristin LeeSunmi Chang Sean LeeGloria Chien Hyeyeon Park



CHAMBER MUSIC INSTITUTE David Finckel and Wu Han, Artistic DirectorsGloria Chien, Institute DirectorGilbert Kalish, International Program Director

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 art-ists performing great music from the chamber music repertoire.

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.

Prelude Performances ScheduleFeaturing the Institute’s International Program artists. Friday, July 19, 5:30 p.m., The Center for Performing Arts at

Menlo-AthertonSaturday, July 20, 5:30 p.m., Martin Family Hall, Menlo SchoolMonday, July 22, 5:30 p.m., Stent Family Hall, Menlo SchoolWednesday, July 24, 5:30 p.m., Martin Family Hall, Menlo SchoolThursday, July 25, 5:30 p.m., The Center for Performing Arts at

Menlo-AthertonFriday, July 26, 5:30 p.m., Stent Family Hall, Menlo SchoolSaturday, July 27, 5:30 p.m., The Center for Performing Arts at

Menlo-AthertonMonday, July 29, 5:30 p.m., Stent Family Hall, Menlo SchoolWednesday, July 31, 5:30 p.m., Martin Family Hall, Menlo SchoolThursday, August 1, 5:30 p.m., The Center for Performing Arts at

Menlo-AthertonSaturday, August 3, 5:30 p.m., The Center for Performing Arts at

Menlo-Atherton

Monday, August 5, 5:30 p.m., Stent Family Hall, Menlo SchoolTuesday, August 6, 5:30 p.m., Martin Family Hall, Menlo SchoolWednesday, August 7, 5:30 p.m., Martin Family Hall, Menlo SchoolThursday, August 8, 5:30 p.m., Stent Family Hall, Menlo SchoolFriday, August 9, 5:30 p.m., Martin Family Hall, Menlo SchoolSaturday, August 10, 3:30 p.m., The Center for Performing Arts at

Menlo-AthertonPrelude Performances are generously supported by Chandler B. and Oliver A. Evans.

Koret Young Performers Concerts ScheduleFeaturing the students of the Young Performers Program. Saturday, July 27, 1:00 p.m., The Center for Performing Arts at

Menlo-Atherton

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

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

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.


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 FacultyDmitri Atapine Kristin LeeSunmi Chang Sean LeeGloria Chien Hyeyeon Park



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 fea-ture the festival’s artist roster discussing a variety of topics related to music and the arts. These forums showcase the wide-ranging exper-tise, 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

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.

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).

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)

CAFÉ CONVERSATIONS AND MASTER CLASSES

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 founda-tion for a rich and rewarding musical journey.

AudioNotes are available in CD or downloadable-MP3 format. See order form for details.

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).

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)

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 record-ings have been hailed as “without question the best CDs I have ever heard” (Positive Feedback Online). Produced by Grammy Award-winning 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.

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 Baren-boim, 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.

American Public MediaAmerican Public Media is the leading producer of classical music program-

ming 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 pro-ducers from American Public Media often participate in the festival as event moderators and educators. Go online to www.americanpub-licmedia.org for archived performances, photos, and interviews.

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 founda-tion for a rich and rewarding musical journey.

AudioNotes are available in CD or downloadable-MP3 format. See order form for details.


subscribe at www.musicatmenlo.org22

Emerson String QuartetSunday, October 13, 2013 4:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirtyDubbed “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 expres-sive Opus 80 Quartet, likewise composed during the composer’s final months.

JOSEPH HAYDN (1732–1809)String Quartet in g minor, op. 20, no. 3 (1771)

DMITRY SHOSTAKOVICH (1906–1975)String Quartet no. 14 in F-sharp Major, op. 142 (1973)

FELIX MENDELSSOHN (1809–1847)String Quartet no. 6 in f minor, op. 80 (1847)

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

MUSIC@MENLO WINTER SERIESMusic@Menlo’s Winter Series offers listeners the opportunity to experience the festival’s signature chamber music programming throughout the year, deepening the festival’s presence as one of the Bay Area’s leading cultural institutions. Following the success of the first three Winter Series seasons, the 2013–2014 season will comprise three Sunday afternoon performances at the Center for Performing Arts at Menlo-Atherton, featuring a variety of repertoire performed by many of the festival’s favorite artists.

Join us for all three programs—October 13, 2013; February 9, 2014; and May 11, 2014!NEW THIS YEAR: Order your Winter Series tickets when you place your order for summer festival tickets! See the brochure order form for details.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.


Emerson String QuartetSunday, October 13, 2013 4:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirtyDubbed “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 expres-sive Opus 80 Quartet, likewise composed during the composer’s final months.

JOSEPH HAYDN (1732–1809)String Quartet in g minor, op. 20, no. 3 (1771)

DMITRY SHOSTAKOVICH (1906–1975)String Quartet no. 14 in F-sharp Major, op. 142 (1973)

FELIX MENDELSSOHN (1809–1847)String Quartet no. 6 in f minor, op. 80 (1847)

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

Pianists in ParisSunday, February 9, 2014 4:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirtyWorld-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 celebrat-ing 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.

CLAUDE DEBUSSY (1862–1918)Nocturnes for Two Pianos (arr. Maurice Ravel) (1897–1899)Petite Suite for Piano, Four Hands (1886–1889)Jeux for Two Pianos (arr. Jean-Efflam Bavouzet) (1871)

GEORGES BIZET (1838–1875)Jeux d’enfants for Piano, Four Hands (1871)

GEORGE GERSHWIN (1898–1937)An American in Paris for Two Pianos (1928)

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

Alessio Bax, pianoSunday, May 11, 2014 4:00 p.m., The Center for Performing Arts at Menlo-Atherton Tickets: $50/$45 full price; $25/$20 under age thirtyPianist Alessio Bax—well known to Music@Menlo audiences for his audacious recital programs—presents a characteristically fear-less 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 mag-nificent 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.

LUDWIG VAN BEETHOVEN (1770–1827)Sonata in B-flat Major for Piano, op. 106, Hammerklavier (1817–1818)

MODEST MUSSORGSKY (1839–1881)Pictures at an Exhibition (1874)

ARTISTAlessio Bax, piano

MUSIC@MENLO WINTER SERIESMusic@Menlo’s Winter Series offers listeners the opportunity to experience the festival’s signature chamber music programming throughout the year, deepening the festival’s presence as one of the Bay Area’s leading cultural institutions. Following the success of the first three Winter Series seasons, the 2013–2014 season will comprise three Sunday afternoon performances at the Center for Performing Arts at Menlo-Atherton, featuring a variety of repertoire performed by many of the festival’s favorite artists.

Join us for all three programs—October 13, 2013; February 9, 2014; and May 11, 2014!NEW THIS YEAR: Order your Winter Series tickets when you place your order for summer festival tickets! See the brochure order form for details.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.


Born in 1956 in Esperanza, Santa Fe (Argen-tina), 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,

Anthony Ardavin and Timothy Tew Galleries in Atlanta, Friesen Gal-lery 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 Dys-trophy 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

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.

VISUAL ARTIST: SEBASTIAN SPRENG

Cover: Auf der Strasse steht ein Lindenbaum (Mahler’s Songs of a Wayfarer), 2009Back cover: The White Sea, 2006Upper left: Liederkreis I, At the River, 2007Upper right: Liederkreis I, Morning Haven, 2007

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, edu-cators, 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 unani-mous critical acclaim. Beyond the duo’s recital activities, David Finckel served as cellist of the Grammy Award-winning Emerson String Quartet

ARTISTIC DIRECTORS: DAVID FINCKEL AND WU HAN The Martin Family Artistic Directorship


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), 2009Back cover: The White Sea, 2006Upper left: Liederkreis I, At the River, 2007Upper right: Liederkreis I, Morning Haven, 2007

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, edu-cators, 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 unani-mous 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.

ARTISTIC DIRECTORS: DAVID FINCKEL AND WU HAN The Martin Family Artistic Directorship


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.

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 perfor-mances 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.

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

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 Rostropo-vich International Cello Competition. Carr is a professor at Stony Brook University in New York.

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.

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 numer-ous 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.

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.

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, hav-ing won a position there in 2009.

Deemed one of the Superior Pianists of the Year (Bos-ton 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 Pro-fessor 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.

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 Twentieth-Century 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.

Professor of violin Jorja Fleezanis holds the Henry Upper Chair in Orchestral Studies at the Indiana Uni-versity Jacobs School of Music. She is Concertmaster of the Chicago Bach Project and was Concertmaster of the Minnesota Orchestra for twenty years. Com-missioned 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.

Principally committed to influencing and expanding the repertoire for solo percussion through commis-sions 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.

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, sym-phonic, 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.

Marc Goldberg is one of New York’s most active bassoonists. Currently Principal Bassoonist of Lincoln Center’s Mostly Mozart Festival Orchestra and a mem-ber of the New York Woodwind Quintet in residence at the Juilliard School, he regularly appears with the Metro-politan 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.

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 Administra-tor of the Los Angeles Philharmonic and the Aspen Music Festival and School and as Artistic Director of the Ojai Festival.

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.

PERFORMER BIOGRAPHIES


Deemed one of the Superior Pianists of the Year (Bos-ton 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 Pro-fessor 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.

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 Twentieth-Century 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.

Professor of violin Jorja Fleezanis holds the Henry Upper Chair in Orchestral Studies at the Indiana Uni-versity Jacobs School of Music. She is Concertmaster of the Chicago Bach Project and was Concertmaster of the Minnesota Orchestra for twenty years. Com-missioned 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.

Principally committed to influencing and expanding the repertoire for solo percussion through commis-sions 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.

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, sym-phonic, 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.

Marc Goldberg is one of New York’s most active bassoonists. Currently Principal Bassoonist of Lincoln Center’s Mostly Mozart Festival Orchestra and a mem-ber of the New York Woodwind Quintet in residence at the Juilliard School, he regularly appears with the Metro-politan 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.

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 Administra-tor of the Los Angeles Philharmonic and the Aspen Music Festival and School and as Artistic Director of the Ojai Festival.

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.

Violist Mark Holloway is a chamber musician sought after in the United States and abroad. Festi-val appearances include Marlboro, Banff, and Mainly Mozart, and he plays annually at festivals in France, Switzerland, and England. He also frequently per-forms 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.

Stuart Isacoff, a pianist, composer, and writer, is the author of A Natural History of the Piano: The Instrument, the Music, the Musicians—from Mozart to Modern Jazz and Everything in Between. A winner of

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 Col-lege Conservatory of Music.

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 involve-ment. He is a Professor of Music and Humanities in the Conservatory and College at Bard College.

Pianist Gilbert Kalish’s profound influence as a per-former, 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 Perfor-mance Activities at Stony Brook University.

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 pro-gram. 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 Mas-sachusetts Amherst.

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 Festi-val. 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.

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.

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.


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.

With performances described by the New York Times as “breathtakingly beautiful,” violinist Sean Lee is recog-nized as one of today’s most talented rising artists, having received prizes in the “Premio Paganini” International Violin Competition and the Young Concert Artists Inter-national 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.

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 Mon-day 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 Paul Neubauer has appeared with over one hundred orchestras throughout the world, including the New York, Los Angeles, and Royal Liverpool Philhar-monics; 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 twenty-one, he was the youngest principal string player in the history of the New York Philharmonic.

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 Award-winning 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.

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 intro-duced thousands to chamber music in Japan and South Korea through his chamber music initiative, DITTO.

The Orion String Quartet is one of the most sought-after ensembles, praised for the fresh per-spective 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 Col-lege of Music. The Orion String Quartet celebrates its twenty-fifth anniversary as an ensemble during the 2012–2013 season.

Pianist Hyeyeon Park, a prizewinner at numerous international competitions, including Oberlin, Pre-mio 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.

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 Grammo-phon, Sony Classical, London, and Philips.

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.

Known for his “delicious quality of tone,” Kevin Rivard, Coprincipal Horn of the San Francisco Opera Orches-tra 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 Musi-cale in Paris, the International Horn Competition of America, and the Farkas Horn Competition. Rivard is a horn professor at California State University East Bay.

Percussionist Ian David Rosenbaum has developed a musical breadth far beyond his years. He made his Ken-nedy 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, Rosen-baum 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.

PERFORMER BIOGRAPHIES


The Orion String Quartet is one of the most sought-after ensembles, praised for the fresh per-spective 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 Col-lege of Music. The Orion String Quartet celebrates its twenty-fifth anniversary as an ensemble during the 2012–2013 season.

Pianist Hyeyeon Park, a prizewinner at numerous international competitions, including Oberlin, Pre-mio 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.

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 Grammo-phon, Sony Classical, London, and Philips.

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.

Known for his “delicious quality of tone,” Kevin Rivard, Coprincipal Horn of the San Francisco Opera Orches-tra 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 Musi-cale in Paris, the International Horn Competition of America, and the Farkas Horn Competition. Rivard is a horn professor at California State University East Bay.

Percussionist Ian David Rosenbaum has developed a musical breadth far beyond his years. He made his Ken-nedy 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, Rosen-baum 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.

Praised for his “brilliant” (New York Times) solo per-formances, oboist James Austin Smith is an artist of the International Contemporary Ensemble (ICE), the Declassified, and the Talea Ensemble and a reg-ular 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.

Winner of a 2009 Avery Fisher Career Grant, violin-ist 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 Juil-liard School, where he studied under Itzhak Perlman. Sussmann appears regularly at the Chamber Music Society of Lincoln Center in New York and on tour.

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.

Violinist Joseph Swensen holds the posts of Con-ductor 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 Capi-tole 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.

Audiences attending performances at London’s Wig-more 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 Cham-ber 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.

David Washburn is a Yamaha Performing Artist and is Principal Trumpet of the Los Angeles Cham-ber 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 Univer-sity, the University of California at Irvine, California State University Long Beach, and Azusa Pacific University.


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 CircleWelcome to the Music@Menlo community!

Paganini ($100–$249) Members enjoy:• receiving the festival brochure and reserving your festival tickets in

advance of the general public

• acknowledgment in the festival program book

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.

Composers CircleEnjoy 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

• 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 perfor-mance 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.

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

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

• 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.

Mozart ($5,000–$9,999) Members enjoy:• a total of four premium seating reservations 3

• a concert dedication, acknowledged in the festival program book

• 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.

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

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

• 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.

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

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 Direc-tors 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 Insti-tute faculty.

Carnegie ($50,000–$99,999) Members enjoy:• a total of sixteen premium seating reservations 3

• customized benefits and recognition

Medici ($100,000+) Members enjoy:• premium seating reservations for you and your guests at all events 3

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

Please note:1 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.

2 Advance reservations provide tickets for general-admission seating at a free con-cert 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.

3 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.

4 Please choose one of the Mozart Circle Dinner Parties offered during the sum-mer. Space is limited and based on availability at the time of your RSVP.

MUSIC@MENLO MEMBERSHIP CIRCLES

SUPPORTING MUSIC@MENLOGifts to the Annual FundGifts to the Annual Fund support the critical daily operations of the festival and are acknowledged through membership benefits.

Gifts to the Music@Menlo FundGenerously 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 GiveGifts 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. Contribu-tions 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 plan-ning advisor to learn more.

Gifts of Securities: A gift of appreciated stock may offer valu-able 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].


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

• 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.

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

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 Direc-tors 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 Insti-tute faculty.

Carnegie ($50,000–$99,999) Members enjoy:• a total of sixteen premium seating reservations 3

• customized benefits and recognition

Medici ($100,000+) Members enjoy:• premium seating reservations for you and your guests at all events 3

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

Please note:1 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.

2 Advance reservations provide tickets for general-admission seating at a free con-cert 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.

3 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.

4 Please choose one of the Mozart Circle Dinner Parties offered during the sum-mer. Space is limited and based on availability at the time of your RSVP.

SUPPORTING MUSIC@MENLOGifts to the Annual FundGifts to the Annual Fund support the critical daily operations of the festival and are acknowledged through membership benefits.

Gifts to the Music@Menlo FundGenerously 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 GiveGifts 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. Contribu-tions 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 plan-ning advisor to learn more.

Gifts of Securities: A gift of appreciated stock may offer valu-able 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].


Plac

e you

r ord

er to

day i

n an

y of t

he fo

llowi

ng w

ays:

Mail

: M

usic@

Men

lo T

icket

s Ph

one:

650

-331

-020

2

50

Valp

arais

o Av

enue

Fa

x:

650-

330-

2016

A

ther

ton,

CA

940

27

Onl

ine:

www

.mus

icatm

enlo.

org

1 CO

NTA

CT IN

FORM

ATIO

N

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

NA

ME

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

BILL

ING

AD

DRE

SS

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

CIT

Y

S

TATE

ZI

P

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

PHO

NE

EM

AIL

AD

DRE

SS

2 SE

LECT

YO

UR T

ICKE

TS C

hoos

e you

r tick

ets o

n th

e rev

erse

of t

his fo

rm an

d wr

ite in

the t

otals

her

e:

Sum

mer

Fest

ival T

icket

Tota

l: $ _

____

____

Your

Com

plim

enta

ry A

udio

Not

es B

onus

Sp

ecia

l Eve

nt T

icket

Tota

l: +

$ ___

____

__

Audi

oNot

es, M

usic@

Men

lo’s

signa

ture

pre

conc

ert l

isten

er g

uide

s, ar

e com

plim

enta

ry w

ith yo

ur su

mm

er fe

stiv

al ti

cket

ord

er.

Win

ter S

erie

s Tick

et To

tal:

+ $ _

____

____

Th

ey ar

e ava

ilabl

e in

CD

or M

P3 fo

rmat

. (Le

arn

mor

e on

p. 21

.)

CD

: Plea

se m

ail m

y Aud

ioN

otes

CD

s with

my t

icket

s.

M

P3: I

would

pre

fer m

y Aud

ioN

otes

in M

P 3 fo

rmat

. Plea

se se

nd d

ownlo

ad in

struc

tions

to m

y em

ail ad

dres

s.

3 SU

BSCR

IBE

AND

SAV

E! P

lease

selec

t one

sum

mer

festi

val s

ubsc

riptio

n di

scou

nt b

elow,

if ap

plica

ble.

(Lea

rn m

ore o

n p.

32.)

5% o

ff: C

hoos

e-You

r-Own

Sum

mer

Fes

tival

Min

i Sub

scrip

tion

I hav

e cho

sen

a com

bina

tion

of an

y fou

r or fi

ve fe

stiva

l Con

cert

Prog

ram

s, C

arte

Blan

che C

once

rts, a

nd E

ncou

nter

s.

10%

off

: Cho

ose-Y

our-O

wn S

umm

er F

estiv

al F

ull S

ubsc

riptio

n Su

bscr

iber

Disc

ount

: – $

____

____

_

I hav

e cho

sen

a com

bina

tion

of an

y six

or m

ore f

estiv

al C

once

rt Pr

ogra

ms,

Car

te B

lanch

e Con

certs

, and

Enc

ount

ers.

(% D

iscou

nt x

Fes

tival

Tick

et To

tal)

10%

off

: Sum

mer

Fes

tival

Imm

ersio

n Su

bscr

iptio

n

I hav

e cho

sen

all fe

stiva

l Con

cert

Prog

ram

s (I–V

III, m

y cho

ice o

f dat

es) a

nd al

l Enc

ount

ers (

I–IV

).

4 SU

PPO

RT T

HE

MUS

IC Y

OU

LOVE

!Ti

cket

sales

fund

less

than

20 p

erce

nt o

f Mus

ic@M

enlo’

s pro

gram

ming

, whic

h inc

ludes

all In

stitu

te ac

tivitie

s and

free

conc

erts.

Yo

ur co

ntrib

utio

ns m

ake M

usic@

Men

lo p

ossib

le. P

lease

cons

ider

mak

ing a

gift

with

your

tick

et o

rder

—th

ank y

ou! (

Lear

n m

ore o

n pp

. 30–

31.)

I wou

ld li

ke to

mak

e a g

ift to

the 2

013 A

nnua

l Fun

d.

Annu

al F

und

Gift

: + $

____

____

_

5 H

AND

LIN

G F

EE P

lease

selec

t the

appl

icabl

e han

dling

fee.

(Lea

rn m

ore o

n p.

33.)

$10.

00 p

er o

rder

tota

ling

four

or m

ore e

vent

s (W

inter

Ser

ies o

r sum

mer

conc

erts

or E

ncou

nter

s).

$6.0

0 pe

r ord

er to

talin

g th

ree o

r few

er ev

ents

(Wint

er S

eries

or s

umm

er co

ncer

ts or

Enc

ount

ers)

. H

andl

ing

Fee:

+ $

____

____

_

6 CO

NFI

RM T

OTA

L AN

D P

AYM

ENT

INFO

RMAT

ION

C

heck

enclo

sed

mad

e pay

able

to M

usic@

Men

lo.

ORD

ER T

OTA

L: $

____

____

_

Plea

se ch

arge

my c

redi

t car

d as

follo

ws:

Visa

M

aste

rCar

d

Am

Ex

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

CRE

DIT

CA

RD N

UM

BER

EX

P. D

ATE

CV

V C

OD

E

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

SIG

NAT

URE

Mus

ic@M

enlo

tick

et se

rvice

s hou

rs:

Befo

re J

uly 1

5: M

onda

y–Fr

iday

, 10:

00 a.

m.–

4:00

p.m.

July

15–A

ugus

t 10:

Dail

y, 10

:00

a.m.–

4:00

p.m.

For q

uesti

ons,

plea

se ca

ll Mus

ic@M

enlo’

s tick

et se

rvice

s offi

ce at

65

0-33

1-020

2, em

ail ti

cket

s@m

usica

tmen

lo.or

g, o

r visi

t us o

nline

at

www.

mus

icatm

enlo.

org.

W

e’re a

lway

s glad

to h

ear f

rom

you!

Than

k you

for y

our o

rder

. W

e loo

k for

ward

to se

eing

yo

u th

is su

mm

er!

2013 Order Form

I pre

fer t

o be

cont

acte

d by

p

hone

e

mail

I

do n

ot w

ish to

rece

ive

inf

orm

atio

n in

the m

ail

fro

m o

ther

selec

t arts

orga

nizat

ions

. (Y

our p

hone

num

ber a

nd em

ail

are n

ever

shar

ed.)

CH

AMB

ER M

USI

C F

ESTI

VAL

AND

INST

ITU

TE

Get the Best Seats!SupportMembers of the Bach Circle ($1,000) and above receive advance reser-vations 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 reserva-tions for the best seats in the hall. Order by April 29 for priority ticketing.

SubscribeSummer 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 EarlyAll 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!

Ways to OrderMail: Music@Menlo Tickets Phone: 650-331-0202 50 Valparaiso Avenue Fax: 650-330-2016 Atherton, CA 94027 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 OfferingsBecome 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:

• Special savings: Receive a 5 percent or a 10 percent discount on all your ticket purchases throughout the festival!

• Priority ticketing: Get your orders filled before non-Subscribers for improved seats and access to concerts that sell out quickly.

• Free ticket exchanges: Easily exchange your tickets within the same season free of charge.

• Ticket replacement: Enjoy lost-ticket insurance in case you ever mis-place or forget your tickets.

Choose-Your-Own Summer Festival Mini SubscriptionSave 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 SubscriptionSave 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 SubscriptionImmerse 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 mer-chandise, and a complimentary boxed set of the 2013 Music@Menlo LIVE CDs when they are released later in the year.

RESERVING YOUR SUMMER FESTIVAL TICKETS

Plac

e you

r ord

er to

day i

n an

y of t

he fo

llowi

ng w

ays:

Mail

: M

usic@

Men

lo T

icket

s Ph

one:

650

-331

-020

2

50

Valp

arais

o Av

enue

Fa

x:

650-

330-

2016

A

ther

ton,

CA

940

27

Onl

ine:

www

.mus

icatm

enlo.

org

1 CO

NTA

CT IN

FORM

ATIO

N

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

NA

ME

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

BILL

ING

AD

DRE

SS

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

CIT

Y

S

TATE

ZI

P

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

PHO

NE

EM

AIL

AD

DRE

SS

2 SE

LECT

YO

UR T

ICKE

TS C

hoos

e you

r tick

ets o

n th

e rev

erse

of t

his fo

rm an

d wr

ite in

the t

otals

her

e:

Sum

mer

Fest

ival T

icket

Tota

l: $ _

____

____

Your

Com

plim

enta

ry A

udio

Not

es B

onus

Sp

ecia

l Eve

nt T

icket

Tota

l: +

$ ___

____

__

Audi

oNot

es, M

usic@

Men

lo’s

signa

ture

pre

conc

ert l

isten

er g

uide

s, ar

e com

plim

enta

ry w

ith yo

ur su

mm

er fe

stiv

al ti

cket

ord

er.

Win

ter S

erie

s Tick

et To

tal:

+ $ _

____

____

Th

ey ar

e ava

ilabl

e in

CD

or M

P3 fo

rmat

. (Le

arn

mor

e on

p. 21

.)

CD

: Plea

se m

ail m

y Aud

ioN

otes

CD

s with

my t

icket

s.

M

P3: I

would

pre

fer m

y Aud

ioN

otes

in M

P3 fo

rmat

. Plea

se se

nd d

ownlo

ad in

struc

tions

to m

y em

ail ad

dres

s.

3 SU

BSCR

IBE

AND

SAV

E! P

lease

selec

t one

sum

mer

festi

val s

ubsc

riptio

n di

scou

nt b

elow,

if ap

plica

ble.

(Lea

rn m

ore o

n p.

32.)

5% o

ff: C

hoos

e-You

r-Own

Sum

mer

Fes

tival

Min

i Sub

scrip

tion

I hav

e cho

sen

a com

bina

tion

of an

y fou

r or fi

ve fe

stiva

l Con

cert

Prog

ram

s, C

arte

Blan

che C

once

rts, a

nd E

ncou

nter

s.

10%

off

: Cho

ose-Y

our-O

wn S

umm

er F

estiv

al F

ull S

ubsc

riptio

n Su

bscr

iber

Disc

ount

: – $

____

____

_

I hav

e cho

sen

a com

bina

tion

of an

y six

or m

ore f

estiv

al C

once

rt Pr

ogra

ms,

Car

te B

lanch

e Con

certs

, and

Enc

ount

ers.

(% D

iscou

nt x

Fes

tival

Tick

et To

tal)

10%

off

: Sum

mer

Fes

tival

Imm

ersio

n Su

bscr

iptio

n

I hav

e cho

sen

all fe

stiva

l Con

cert

Prog

ram

s (I–V

III, m

y cho

ice o

f dat

es) a

nd al

l Enc

ount

ers (

I–IV

).

4 SU

PPO

RT T

HE

MUS

IC Y

OU

LOVE

!Ti

cket

sales

fund

less

than

20 p

erce

nt o

f Mus

ic@M

enlo’

s pro

gram

ming

, whic

h inc

ludes

all In

stitu

te ac

tivitie

s and

free

conc

erts.

Yo

ur co

ntrib

utio

ns m

ake M

usic@

Men

lo p

ossib

le. P

lease

cons

ider

mak

ing a

gift

with

your

tick

et o

rder

—th

ank y

ou! (

Lear

n m

ore o

n pp

. 30–

31.)

I wou

ld li

ke to

mak

e a g

ift to

the 2

013 A

nnua

l Fun

d.

Annu

al F

und

Gift

: + $

____

____

_

5 H

AND

LIN

G F

EE P

lease

selec

t the

appl

icabl

e han

dling

fee.

(Lea

rn m

ore o

n p.

33.)

$10.

00 p

er o

rder

tota

ling

four

or m

ore e

vent

s (W

inter

Ser

ies o

r sum

mer

conc

erts

or E

ncou

nter

s).

$6.0

0 pe

r ord

er to

talin

g th

ree o

r few

er ev

ents

(Wint

er S

eries

or s

umm

er co

ncer

ts or

Enc

ount

ers)

. H

andl

ing

Fee:

+ $

____

____

_

6 CO

NFI

RM T

OTA

L AN

D P

AYM

ENT

INFO

RMAT

ION

C

heck

enclo

sed

mad

e pay

able

to M

usic@

Men

lo.

ORD

ER T

OTA

L: $

____

____

_

Plea

se ch

arge

my c

redi

t car

d as

follo

ws:

Visa

M

aste

rCar

d

Am

Ex

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

CRE

DIT

CA

RD N

UM

BER

EX

P. D

ATE

CV

V C

OD

E

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

____

__

SIG

NAT

URE

Mus

ic@M

enlo

tick

et se

rvice

s hou

rs:

Befo

re J

uly 1

5: M

onda

y–Fr

iday

, 10:

00 a.

m.–

4:00

p.m.

July

15–A

ugus

t 10:

Dail

y, 10

:00

a.m.–

4:00

p.m.

For q

uesti

ons,

plea

se ca

ll Mus

ic@M

enlo’

s tick

et se

rvice

s offi

ce at

65

0-33

1-020

2, em

ail ti

cket

s@m

usica

tmen

lo.or

g, o

r visi

t us o

nline

at

www.

mus

icatm

enlo.

org.

W

e’re a

lway

s glad

to h

ear f

rom

you!

Than

k you

for y

our o

rder

. W

e loo

k for

ward

to se

eing

yo

u th

is su

mm

er!

2013 Order Form

I pre

fer t

o be

cont

acte

d by

p

hone

e

mail

I

do n

ot w

ish to

rece

ive

inf

orm

atio

n in

the m

ail

fro

m o

ther

selec

t arts

orga

nizat

ions

. (Y

our p

hone

num

ber a

nd em

ail

are n

ever

shar

ed.)

CH

AMB

ER M

USI

C F

ESTI

VAL

AND

INST

ITU

TE

• Free ticket exchanges: Easily exchange your tickets within the same season free of charge.

• Ticket replacement: Enjoy lost-ticket insurance in case you ever mis-place or forget your tickets.

Choose-Your-Own Summer Festival Mini SubscriptionSave 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 SubscriptionSave 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 SubscriptionImmerse 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 mer-chandise, and a complimentary boxed set of the 2013 Music@Menlo LIVE CDs when they are released later in the year.

Priority Ticketing, Ticket Discounts, and Handling FeesMembers 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.

VEN

UE S

EATI

NG

MAP

SRe

serv

ed S

eatin

g—Se

ating

for p

aid co

ncer

ts is

rese

rved

at

the C

ente

r for

Per

form

ing A

rts at

Men

lo-A

ther

ton.

Sea

t-ing

is b

y gen

eral

adm

issio

n in

Sten

t Fam

ily H

all an

d M

artin

Fa

mily

Hall

and

for a

ll Pre

lude P

erfo

rman

ces a

nd K

oret

Yo

ung

Perfo

rmer

s Con

certs

. Tick

et o

rder

s are

fille

d in

the

follo

wing

ord

er: 1

) Mem

bers

of th

e Bac

h C

ircle

($1,0

00)

and

abov

e, ba

sed

on le

vel o

f givi

ng; 2

) Sub

scrib

ers,

in th

e or

der t

hey w

ere r

eceiv

ed; a

nd 3)

indi

vidua

l tick

et b

uyer

s, in

the o

rder

they

wer

e rec

eived

. For

conc

erts

in re

serv

ed-

seat

ing ve

nues

, sea

ts ar

e ass

igne

d on

a be

st-av

ailab

le ba

sis

at th

e tim

e the

ord

er is

fille

d.

Stag

e

A Se

ating

Sten

t Fam

ily H

all

Men

lo S

choo

l, Ath

erto

n (14

8 sea

ts)

PREL

UDE

PERF

ORM

ANCE

S AN

D

KORE

T YO

UNG

PER

FORM

ERS

CON

CERT

SAm

ong

the f

estiv

al’s m

ost b

elove

d ev

ents,

Mus

ic@M

enlo’

s FR

EE P

relud

e Per

form

ance

s and

Kor

et Yo

ung

Perfo

rmer

s Co

ncer

ts sh

owca

se th

e exc

iting

youn

g ar

tists

of th

e Cha

mbe

r M

usic

Instit

ute.

In re

spon

se to

the p

opula

rity o

f the

se ev

ents,

a f

ree t

icket

is re

quire

d fo

r all P

relud

e Per

form

ance

s and

Kor

et

Youn

g Pe

rform

ers C

once

rts. F

ree t

icket

s can

be r

eque

sted

at

will c

all b

eginn

ing o

ne ho

ur p

rior t

o th

e sta

rt of

each

conc

ert

or re

serv

ed in

adva

nce o

nline

at w

ww.m

usica

tmen

lo.or

g sta

rt-ing

at 9:

00 a.

m. o

n the

day

of t

he ev

ent.

Seat

ing is

by g

ener

al ad

miss

ion.

Stag

e

Mar

tin F

amily

Hall

M

enlo

Sch

ool, A

ther

ton

(220

seat

s)

A Se

ating

ADA

Acce

ssib

ility

Mus

ic@M

enlo’

s per

form

ance

venu

es ar

e whe

elcha

ir

acce

ssib

le. P

atro

ns re

quirin

g sp

ecial

seat

ing ac

com

mod

atio

ns

shou

ld re

ques

t the

m at

the t

ime o

f pur

chas

e. Fo

r any

ac

cess

ibilit

y que

stion

s or r

eque

sts, p

lease

cont

act t

he ti

cket

se

rvice

s tea

m at

650-

331-0

202.St

age

A Se

ating

(orch

estra

)

A Se

ating

A Se

ating

B Se

ating

(rear

orch

estra

)

The C

ente

r for

Per

form

ing

Arts

at M

enlo

-Ath

erto

n

(492

seat

s)

A Se

ating

Venu

e sea

ting

map

s are

not d

rawn

to sc

ale.

SELE

CT Y

OUR

TIC

KETS

Plea

se in

dica

te th

e qua

ntity

of t

icket

s and

pric

e lev

el/se

ctio

n belo

w.

X In

dica

tes c

once

rts w

ith sp

ecial

lunc

h or

dinn

er ev

ents.

A

Seat

ing

B Se

atin

g A

Seat

ing

B Se

atin

g To

tal

FEST

IVAL

CO

NCE

RT P

ROG

RAM

S (p

p. 6–

13)

Full P

rice

Un

der A

ge T

hirty

*

Conc

ert P

rogr

am I:

Pia

no/P

iano

F

ri, Ju

ly 19

/ 8:0

0 p.m

. / M

enlo

-Ath

erto

n $6

5 × _

___

$5

5 × _

___

$3

0 × _

___

$2

0 × _

___

$_

____

_

Conc

ert P

rogr

am II

: Qua

rtet

Dim

ensio

ns

Sun

, July

21 /

6:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_ $5

5 × _

___

$3

0 × _

___

$2

0 × _

___

$___

___

Conc

ert P

rogr

am II

I: St

ring

Varia

tions

W

ed, J

uly 24

/ 8:0

0 p.m

. / S

tent

Fam

ily H

all

$77 ×

___

_

$3

5 × _

___

$___

___

Thu

, July

25 /

8:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_

$55 ×

___

_

$30

× ___

_

$20

× ___

_ $_

____

_

Conc

ert P

rogr

am IV

: Pre

lude

s and

Fug

ues

Sat

, July

27 /

8:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_

$55 ×

___

_

$30

× ___

_

$20

× ___

_ $_

____

_

Conc

ert P

rogr

am V

: Trio

Tran

sfor

mat

ions

W

ed, J

uly 31

/ 8:0

0 p.m

. / S

tent

Fam

ily H

all

$77 ×

___

_

$3

5 × _

___

$___

___

Thu

, Aug

ust 1

/ 8:0

0 p.m

. / M

enlo

-Ath

erto

n $6

5 × _

___

$5

5 × _

___

$3

0 × _

___

$2

0 × _

___

$___

___

Conc

ert P

rogr

am V

I: Fr

ench

Con

nect

ions

F

ri, A

ugus

t 2 /

8:00

p.m. /

Ste

nt F

amily

Hall

$7

7 × _

___

$3

5 × _

___

$___

___

Sat

, Aug

ust 3

/ 8:0

0 p.m

. / M

enlo

-Ath

erto

n $6

5 × _

___

$55 ×

___

_ $3

0 × _

___

$20

× ___

_

$___

___

Conc

ert P

rogr

am V

II: D

ie K

unst

der

Fug

e T

ue, A

ugus

t 6 /

8:00

p.m. /

Ste

nt F

amily

Hall

$7

7 × _

___

$3

5 × _

___

$_

____

_ W

ed, A

ugus

t 7 /

8:00

p.m. /

Ste

nt F

amily

Hall

$7

7 × _

___

$3

5 × _

___

$_

____

_

Conc

ert P

rogr

am V

III: T

he S

olo

Voice

F

ri, A

ugus

t 9 /

8:00

p.m. /

Ste

nt F

amily

Hall

$7

7 × _

___

$3

5 × _

___

$_

____

_ X

Sat,

Aug

ust 1

0 / 6

:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_ $5

5 × _

___

$30

× ___

_ $2

0 × _

___

$___

___

CART

E BL

ANCH

E CO

NCE

RTS

(pp.

14–1

5)

Full P

rice

Un

der A

ge T

hirty

*

Cart

e Bla

nche

I: P

ercu

ssio

n Co

mplexities

Sat

, July

20 /

8:00

p.m. /

Men

lo-A

ther

ton

$50

× ___

_ $4

0 × _

___

$25 ×

___

_ $2

0 × _

___

$___

___

Cart

e Bla

nche

II: T

he S

olo

Viol

in: S

oovi

n K

im

X

Sun,

July

21 /

10:30

a.m

. / S

tent

Fam

ily H

all

$75 ×

___

_

$35 ×

___

_

$___

___

Cart

e Bla

nche

III:

Cello

Evo

lutio

ns I:

Col

in C

arr

S

un, J

uly 28

/ 10

:30 a.

m. /

Ste

nt F

amily

Hall

$7

5 × _

___

$3

5 × _

___

$___

___

Cart

e Bla

nche

IV: I

nto

the L

ight

: Jor

ja F

leez

anis

Sun

, July

28 /

6:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_ $5

5 × _

___

$30

× ___

_ $2

0 × _

___

$___

___

Carte

Blan

che V

: Cell

o Evo

lutio

ns II

: Lau

renc

e Les

ser

X

Sun,

Aug

ust 4

/ 10

:30 a.

m. /

Ste

nt F

amily

Hall

$7

5 × _

___

$3

5 × _

___

$___

___

ENCO

UNTE

RS (

pp. 1

6–17

) Fu

ll Pric

e

Unde

r Age

Thi

rty*

Enco

unte

r I: I

n th

e Beg

inni

ng...T

here

Was

Bac

h

Thu

, July

18 /

7:30

p.m. /

Mar

tin F

amily

Hall

$4

5 × _

___

$2

0 × _

___

$_

____

_

Enco

unte

r II:

Keyb

oard

Evo

lutio

n: H

ow B

ach’s

In

stru

men

ts B

ecam

e the

Mod

ern P

iano

Fri,

July

26 /

7:30

p.m. /

Mar

tin F

amily

Hall

$4

5 × _

___

$2

0 × _

___

$_

____

_

Enco

unte

r III:

The

Art

of L

ate B

ach:

Exp

lorin

g

Mus

ical O

fferin

g an

d Th

e Art

of F

ugue

S

un, A

ugus

t 4 /

6:00

p.m. /

Mar

tin F

amily

Hall

$4

5 × _

___

$2

0 × _

___

$_

____

_

Enco

unte

r IV:

The

Pas

sion A

ccor

ding

to Se

bast

ian B

ach

Thu

, Aug

ust 8

/ 7:3

0 p.m

. / M

artin

Fam

ily H

all

$45 ×

___

_

$20

× ___

_

$___

___

SU

MM

ER F

ESTI

VAL

TICK

ET T

OTA

L:

$___

____

_

X SP

ECIA

L EV

ENTS

Fu

ll Pric

e

Unde

r Age

Thi

rty*

X Ca

rte B

lanch

e II:

Inte

rmiss

ion G

ourm

et P

icnic

Lunc

h S

un, J

uly 21

/ St

ent F

amily

Hall

$1

8 × _

___

$1

8 × _

___

$_

____

_

X Ca

rte B

lanch

e V: In

term

issio

n Gou

rmet

Picn

ic Lu

nch

Sun

, Aug

ust 4

/ St

ent F

amily

Hall

$1

8 × _

___

$1

8 × _

___

$___

___

X Fê

te th

e Fes

tival

S

at, A

ugus

t 10

/ 8:30

p.m

. / P

alo A

lto A

rt C

ente

r $6

5 × _

___

$6

5 × _

___

$___

___

Plea

se no

te: S

pecia

l eve

nts d

o not

coun

t tow

ards f

estiv

al su

bscri

ption

s. rip

tions

. SP

ECIA

L EV

ENT

TICK

ET T

OTA

L:

$___

____

_

2013

–201

4 WIN

TER

SERI

ES (p

p. 22

–23)

Fu

ll Pric

e

Unde

r Age

Thi

rty*

Thre

e-Co

ncer

t Sub

scrib

er P

acka

ge (S

ave $

10!)

O

ctob

er 13

, 201

3 / F

ebru

ary 9

, 201

4 / M

ay 11

, 201

4 $1

40 ×

____

$1

25 ×

____

$6

5 × _

___

$50

× ___

_ $_

____

_

Emer

son

Strin

g Q

uart

et

Sun

, Octo

ber 1

3, 20

13 /

4:00

p.m. /

Men

lo-At

herto

n $5

0 × _

___

$45 ×

___

_ $2

5 × _

___

$20

× ___

_ $_

____

_

Pian

ists i

n Pa

ris

Sun

, Feb

ruar

y 9, 2

014 /

4:00

p.m

. / M

enlo-

Athe

rton

$50

× ___

_ $4

5 × _

___

$25 ×

___

_ $2

0 × _

___

$___

___

Ales

sio B

ax, p

iano

S

un, M

ay 11

, 201

4 / 4

:00

p.m. /

Men

lo-A

ther

ton

$50

× ___

_ $4

5 × _

___

$25 ×

___

_ $2

0 × _

___

$___

___

Plea

se no

te: W

inter

Ser

ies co

ncer

ts do

not c

ount

towa

rds f

estiv

al su

bscri

ption

s. rip

tions

. WIN

TER

SERI

ES T

ICK

ET T

OTA

L:

$___

____

_

Pl

ease

copy

your

tota

ls fro

m ea

ch se

ctio

n on

the r

ever

se.

*For

Con

cert

Prog

rams,

Cart

e Blan

che C

once

rts, a

nd E

ncou

nter

s, a m

inim

um

age o

f sev

en ye

ars is

requ

ired.

For y

oung

er au

dienc

es, p

lease

see t

he P

relud

e Pe

rform

ance

s and

Kor

et Yo

ung P

erfo

rmer

s Con

certs

sche

dule

on p.

19.

x



Priority Ticketing, Ticket Discounts, and Handling FeesMembers 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 ThirtyMusic@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 EventsSeating 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, includ-ing 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 DonationsWe welcome ticket returns for a credit, exchange, or donation. You may return your ticket up to twenty-four hours prior to a perfor-mance 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 Subscrib-ers 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 ConcertsOnline 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.

VEN

UE S

EATI

NG

MAP

SRe

serv

ed S

eatin

g—Se

ating

for p

aid co

ncer

ts is

rese

rved

at

the C

ente

r for

Per

form

ing A

rts at

Men

lo-A

ther

ton.

Sea

t-ing

is b

y gen

eral

adm

issio

n in

Sten

t Fam

ily H

all an

d M

artin

Fa

mily

Hall

and

for a

ll Pre

lude P

erfo

rman

ces a

nd K

oret

Yo

ung

Perfo

rmer

s Con

certs

. Tick

et o

rder

s are

fille

d in

the

follo

wing

ord

er: 1

) Mem

bers

of th

e Bac

h C

ircle

($1,0

00)

and

abov

e, ba

sed

on le

vel o

f givi

ng; 2

) Sub

scrib

ers,

in th

e or

der t

hey w

ere r

eceiv

ed; a

nd 3)

indi

vidua

l tick

et b

uyer

s, in

the o

rder

they

wer

e rec

eived

. For

conc

erts

in re

serv

ed-

seat

ing ve

nues

, sea

ts ar

e ass

igne

d on

a be

st-av

ailab

le ba

sis

at th

e tim

e the

ord

er is

fille

d.

Stag

e

A Se

ating

Sten

t Fam

ily H

all

Men

lo S

choo

l, Ath

erto

n (14

8 sea

ts)

PREL

UDE

PERF

ORM

ANCE

S AN

D

KORE

T YO

UNG

PER

FORM

ERS

CON

CERT

SAm

ong

the f

estiv

al’s m

ost b

elove

d ev

ents,

Mus

ic@M

enlo’

s FR

EE P

relud

e Per

form

ance

s and

Kor

et Yo

ung

Perfo

rmer

s Co

ncer

ts sh

owca

se th

e exc

iting

youn

g ar

tists

of th

e Cha

mbe

r M

usic

Instit

ute.

In re

spon

se to

the p

opula

rity o

f the

se ev

ents,

a f

ree t

icket

is re

quire

d fo

r all P

relud

e Per

form

ance

s and

Kor

et

Youn

g Pe

rform

ers C

once

rts. F

ree t

icket

s can

be r

eque

sted

at

will c

all b

eginn

ing o

ne ho

ur p

rior t

o th

e sta

rt of

each

conc

ert

or re

serv

ed in

adva

nce o

nline

at w

ww.m

usica

tmen

lo.or

g sta

rt-ing

at 9:

00 a.

m. o

n the

day

of t

he ev

ent.

Seat

ing is

by g

ener

al ad

miss

ion.

Stag

e

Mar

tin F

amily

Hall

M

enlo

Sch

ool, A

ther

ton

(220

seat

s)

A Se

ating

ADA

Acce

ssib

ility

Mus

ic@M

enlo’

s per

form

ance

venu

es ar

e whe

elcha

ir

acce

ssib

le. P

atro

ns re

quirin

g sp

ecial

seat

ing ac

com

mod

atio

ns

shou

ld re

ques

t the

m at

the t

ime o

f pur

chas

e. Fo

r any

ac

cess

ibilit

y que

stion

s or r

eque

sts, p

lease

cont

act t

he ti

cket

se

rvice

s tea

m at

650-

331-0

202.St

age

A Se

ating

(orch

estra

)

A Se

ating

A Se

ating

B Se

ating

(rear

orch

estra

)

The C

ente

r for

Per

form

ing

Arts

at M

enlo

-Ath

erto

n

(492

seat

s)

A Se

ating

Venu

e sea

ting

map

s are

not d

rawn

to sc

ale.

SELE

CT Y

OUR

TIC

KETS

Plea

se in

dica

te th

e qua

ntity

of t

icket

s and

pric

e lev

el/se

ctio

n belo

w.

X In

dica

tes c

once

rts w

ith sp

ecial

lunc

h or

dinn

er ev

ents.

A

Seat

ing

B Se

atin

g A

Seat

ing

B Se

atin

g To

tal

FEST

IVAL

CO

NCE

RT P

ROG

RAM

S (p

p. 6–

13)

Full P

rice

Un

der A

ge T

hirty

*

Conc

ert P

rogr

am I:

Pia

no/P

iano

F

ri, Ju

ly 19

/ 8:0

0 p.m

. / M

enlo

-Ath

erto

n $6

5 × _

___

$5

5 × _

___

$3

0 × _

___

$2

0 × _

___

$_

____

_

Conc

ert P

rogr

am II

: Qua

rtet

Dim

ensio

ns

Sun

, July

21 /

6:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_ $5

5 × _

___

$3

0 × _

___

$2

0 × _

___

$___

___

Conc

ert P

rogr

am II

I: St

ring

Varia

tions

W

ed, J

uly 24

/ 8:0

0 p.m

. / S

tent

Fam

ily H

all

$77 ×

___

_

$3

5 × _

___

$___

___

Thu

, July

25 /

8:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_

$55 ×

___

_

$30

× ___

_

$20

× ___

_ $_

____

_

Conc

ert P

rogr

am IV

: Pre

lude

s and

Fug

ues

Sat

, July

27 /

8:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_

$55 ×

___

_

$30

× ___

_

$20

× ___

_ $_

____

_

Conc

ert P

rogr

am V

: Trio

Tran

sfor

mat

ions

W

ed, J

uly 31

/ 8:0

0 p.m

. / S

tent

Fam

ily H

all

$77 ×

___

_

$3

5 × _

___

$___

___

Thu

, Aug

ust 1

/ 8:0

0 p.m

. / M

enlo

-Ath

erto

n $6

5 × _

___

$5

5 × _

___

$3

0 × _

___

$2

0 × _

___

$___

___

Conc

ert P

rogr

am V

I: Fr

ench

Con

nect

ions

F

ri, A

ugus

t 2 /

8:00

p.m. /

Ste

nt F

amily

Hall

$7

7 × _

___

$3

5 × _

___

$___

___

Sat

, Aug

ust 3

/ 8:0

0 p.m

. / M

enlo

-Ath

erto

n $6

5 × _

___

$55 ×

___

_ $3

0 × _

___

$20

× ___

_

$___

___

Conc

ert P

rogr

am V

II: D

ie K

unst

der

Fug

e T

ue, A

ugus

t 6 /

8:00

p.m. /

Ste

nt F

amily

Hall

$7

7 × _

___

$3

5 × _

___

$_

____

_ W

ed, A

ugus

t 7 /

8:00

p.m. /

Ste

nt F

amily

Hall

$7

7 × _

___

$3

5 × _

___

$_

____

_

Conc

ert P

rogr

am V

III: T

he S

olo

Voice

F

ri, A

ugus

t 9 /

8:00

p.m. /

Ste

nt F

amily

Hall

$7

7 × _

___

$3

5 × _

___

$_

____

_ X

Sat,

Aug

ust 1

0 / 6

:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_ $5

5 × _

___

$30

× ___

_ $2

0 × _

___

$___

___

CART

E BL

ANCH

E CO

NCE

RTS

(pp.

14–1

5)

Full P

rice

Un

der A

ge T

hirty

*

Cart

e Bla

nche

I: P

ercu

ssio

n Co

mplexities

Sat

, July

20 /

8:00

p.m. /

Men

lo-A

ther

ton

$50

× ___

_ $4

0 × _

___

$25 ×

___

_ $2

0 × _

___

$___

___

Cart

e Bla

nche

II: T

he S

olo

Viol

in: S

oovi

n K

im

X

Sun,

July

21 /

10:30

a.m

. / S

tent

Fam

ily H

all

$75 ×

___

_

$35 ×

___

_

$___

___

Cart

e Bla

nche

III:

Cello

Evo

lutio

ns I:

Col

in C

arr

S

un, J

uly 28

/ 10

:30 a.

m. /

Ste

nt F

amily

Hall

$7

5 × _

___

$3

5 × _

___

$___

___

Cart

e Bla

nche

IV: I

nto

the L

ight

: Jor

ja F

leez

anis

Sun

, July

28 /

6:00

p.m. /

Men

lo-A

ther

ton

$65 ×

___

_ $5

5 × _

___

$30

× ___

_ $2

0 × _

___

$___

___

Carte

Blan

che V

: Cell

o Evo

lutio

ns II

: Lau

renc

e Les

ser

X

Sun,

Aug

ust 4

/ 10

:30 a.

m. /

Ste

nt F

amily

Hall

$7

5 × _

___

$3

5 × _

___

$___

___

ENCO

UNTE

RS (

pp. 1

6–17

) Fu

ll Pric

e

Unde

r Age

Thi

rty*

Enco

unte

r I: I

n th

e Beg

inni

ng...T

here

Was

Bac

h

Thu

, July

18 /

7:30

p.m. /

Mar

tin F

amily

Hall

$4

5 × _

___

$2

0 × _

___

$_

____

_

Enco

unte

r II:

Keyb

oard

Evo

lutio

n: H

ow B

ach’s

In

stru

men

ts B

ecam

e the

Mod

ern P

iano

Fri,

July

26 /

7:30

p.m. /

Mar

tin F

amily

Hall

$4

5 × _

___

$2

0 × _

___

$_

____

_

Enco

unte

r III:

The

Art

of L

ate B

ach:

Exp

lorin

g

Mus

ical O

fferin

g an

d Th

e Art

of F

ugue

S

un, A

ugus

t 4 /

6:00

p.m. /

Mar

tin F

amily

Hall

$4

5 × _

___

$2

0 × _

___

$_

____

_

Enco

unte

r IV:

The

Pas

sion A

ccor

ding

to Se

bast

ian B

ach

Thu

, Aug

ust 8

/ 7:3

0 p.m

. / M

artin

Fam

ily H

all

$45 ×

___

_

$20

× ___

_

$___

___

SU

MM

ER F

ESTI

VAL

TICK

ET T

OTA

L:

$___

____

_

X SP

ECIA

L EV

ENTS

Fu

ll Pric

e

Unde

r Age

Thi

rty*

X Ca

rte B

lanch

e II:

Inte

rmiss

ion G

ourm

et P

icnic

Lunc

h S

un, J

uly 21

/ St

ent F

amily

Hall

$1

8 × _

___

$1

8 × _

___

$_

____

_

X Ca

rte B

lanch

e V: In

term

issio

n Gou

rmet

Picn

ic Lu

nch

Sun

, Aug

ust 4

/ St

ent F

amily

Hall

$1

8 × _

___

$1

8 × _

___

$___

___

X Fê

te th

e Fes

tival

S

at, A

ugus

t 10

/ 8:30

p.m

. / P

alo A

lto A

rt C

ente

r $6

5 × _

___

$6

5 × _

___

$___

___

Plea

se no

te: S

pecia

l eve

nts d

o not

coun

t tow

ards f

estiv

al su

bscri

ption

s. rip

tions

. SP

ECIA

L EV

ENT

TICK

ET T

OTA

L:

$___

____

_

2013

–201

4 WIN

TER

SERI

ES (p

p. 22

–23)

Fu

ll Pric

e

Unde

r Age

Thi

rty*

Thre

e-Co

ncer

t Sub

scrib

er P

acka

ge (S

ave $

10!)

O

ctob

er 13

, 201

3 / F

ebru

ary 9

, 201

4 / M

ay 11

, 201

4 $1

40 ×

____

$1

25 ×

____

$6

5 × _

___

$50

× ___

_ $_

____

_

Emer

son

Strin

g Q

uart

et

Sun

, Octo

ber 1

3, 20

13 /

4:00

p.m. /

Men

lo-At

herto

n $5

0 × _

___

$45 ×

___

_ $2

5 × _

___

$20

× ___

_ $_

____

_

Pian

ists i

n Pa

ris

Sun

, Feb

ruar

y 9, 2

014 /

4:00

p.m

. / M

enlo-

Athe

rton

$50

× ___

_ $4

5 × _

___

$25 ×

___

_ $2

0 × _

___

$___

___

Ales

sio B

ax, p

iano

S

un, M

ay 11

, 201

4 / 4

:00

p.m. /

Men

lo-A

ther

ton

$50

× ___

_ $4

5 × _

___

$25 ×

___

_ $2

0 × _

___

$___

___

Plea

se no

te: W

inter

Ser

ies co

ncer

ts do

not c

ount

towa

rds f

estiv

al su

bscri

ption

s. rip

tions

. WIN

TER

SERI

ES T

ICK

ET T

OTA

L:

$___

____

_

Pl

ease

copy

your

tota

ls fro

m ea

ch se

ctio

n on

the r

ever

se.

*For

Con

cert

Prog

rams,

Cart

e Blan

che C

once

rts, a

nd E

ncou

nter

s, a m

inim

um

age o

f sev

en ye

ars is

requ

ired.

For y

oung

er au

dienc

es, p

lease

see t

he P

relud

e Pe

rform

ance

s and

Kor

et Yo

ung P

erfo

rmer

s Con

certs

sche

dule

on p.

19.

x



Menlo School: The Festival CampusMenlo School, one of the nation’s leading college-preparatory schools, has been the home of Music@Menlo since its inaugural sea-son 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 atmo-sphere 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.

Festival Welcome CenterMusic@Menlo’s Welcome Center serves as a place for artists, stu-dents, 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 VenuesIn 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.

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.

For Visitors to Our AreaLocation: 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 distinc-tive 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 ParkingMenlo 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.

THE FESTIVAL CAMPUS AND PERFORMANCE VENUES

Stent Family Hall

Martin Family Hall

The Center for Performing Arts at Menlo-Atherton


Martin Family Hall, Menlo School’s versatile 220-seat multimedia facility, offers up-close enjoyment from every seat for Encounters (see pp. 16–17), select Prelude Performances (see pp. 18–19), master classes, and Café Conversations (see p. 20).

The Center for Performing Arts at Menlo-Atherton, opened in 2009, is the Peninsula’s first state-of-the-art concert hall, acoustically ideal for chamber music. With an architectural design inspired by the neighboring oak tree grove and an intimate interior, the 492-seat hall is located in close proximity to downtown Menlo Park on the campus of Menlo-Atherton High School.

Reserved Seating—Seating for paid concerts at the Center for Performing Arts at Menlo-Atherton is reserved. Seating in Stent Family Hall and Martin Family Hall and for all free events, including Prelude Performances and Koret Young Performers Concerts, is by general admission. Venue seating maps and more information on reserved seating can be found on the order form, and directions to the venues appear on the facing page.

For Visitors to Our AreaLocation: 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 distinc-tive 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 ParkingMenlo 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.

CalTrain

A T H E R T O N

M E N L O P A R K

P A L O A L T O

Cowper St.

THE CENTER FOR PERFORMING ARTS

AT MENLO-ATHERTON

Rave

nsw

ood

Ringwoo

d Ave

Willo

w Rd.

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): Lisa-Marie 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

1. Menlo School: 50 Valparaiso Ave., Atherton2. The Center for Performing Arts at Menlo-Atherton:

555 Middlefield Road, Atherton

1

2


MAP NOT DRAWN TO SCALE

PHOTO CREDITS


SPEC

IALTH

ANKS

Music@

Menloismadepossibleby

aleadersh

ipgrantfromtheWilliam

andFloraH

ewlet

tFou

ndation.Add

itionalsupportprovided

bytheDa

vidandLu

cileP

ackard

Foun

datio

n,Ko

retF

ound

ation

Fund

s,U.S.Trust,Ba

nkof

America

,and

them

anyindividuals

andorganiz

ation

sthatsharethefestival’svision.

*Eachwe

ekdayo

fthe

festivalfeaturese

itheram

asterclassw

iththeChamberM

usicInstitute’syoungartists(see

p.18)o

raCaféConversa

tion(see

p.20).Masterclassesa

ndCaféConversa

tions

areofferedat

11:45

a.m.onthecampuso

fMenloSchool.

Theseeventsarefre

eandopen

tothepublic.

Please

consult

yourfestivalprogram

book

orvisitww

w.musica

tmenlo.orgduringthefestivalseasonfora

detailedschedule

ofmasterclassesa

ndCaféConversa

tiontopics.

Thursday,A

ugust1

8:00

p.m.

ConcertP

rogram

V:TrioTransfo

rmations

TheC

enterforPerforming

ArtsatMenlo-Atherto

n($65/$55)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

TheC

enterforPerforming

ArtsatMenlo-Atherto

n

Friday,A

ugust2

8:00

p.m.

ConcertP

rogram

VI:F

renchCo

nnectio

nsStentF

amilyHall($77)

11:45a

.m.

MasterC

lass/Ca

féCo

nversatio

n*Martin

Family

Hall

Saturday,A

ugust3

8:00

p.m.

ConcertP

rogram

VI:F

renchCo

nnectio

nsTh

eCenterforPerforming

ArtsatMenlo-Atherto

n($65/$55)

10:30

p.m.

Ming

lewith

theM

usicians

Stanford

ParkHotel,

MenloGrill

(Dutch

treat)

1:00p.m.

KoretY

oung

Perfo

rmersC

oncert

TheC

enterforPerforming

ArtsatMenlo-Atherto

n5:30

p.m.

Prelu

dePerfo

rmance

TheC

enterforPerforming

ArtsatMenlo-Atherto

n

Sund

ay,A

ugust4

10:30

a.m.

Carte

BlancheC

oncertV:

Cello

Evolutions

II:La

urence

Lesser,cello

StentF

amilyHall($75)

PicnicLu

nch($18)

6:00

p.m.

Encoun

terIII:

TheA

rtof

Late

Bach,le

dby

Mich

aelP

arloff

MartinFamilyHall($45)

Mon

day,Au

gust5

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

4:15

p.m.

Liste

ningR

oomwith

Patrick

Castillo

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amily

Hall

Tuesday,Au

gust6

8:00

p.m.

ConcertP

rogram

VII:DieK

unstderF

uge

StentF

amilyHall($77)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

MartinFamilyHall

Wed

nesday,A

ugust7

8:00

p.m.

ConcertP

rogram

VII:DieK

unstderF

uge

StentF

amilyHall($77)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

MartinFamilyHall

Thursday,A

ugust8

7:30p.m.

Encoun

terIV:

TheP

assio

nAc

cordingto

Sebastian

Bach,

ledby

Patrick

Castillo


11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amilyHal l

Friday,A

ugust9

8:00

p.m.

ConcertP

rogram

VIII:

TheS

oloVo

iceStentF

amilyHall($77)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

MartinFamilyHall

Saturday,A

ugust10

6:00

p.m.

ConcertP

rogram

VIII:

TheS

oloVo

iceTh


ArtsatMenlo-Atherto

n($65/$55)

8:30

p.m.

Fête

theF

estiv

alPaloAltoArtC

enter($65)

12:00p.m.

KoretY

oung

Perfo

rmersC

oncert

TheC

enterforPerforming

ArtsatMenlo-Atherto

n3:3

0p.m.

Prelu

dePerfo

rmance

TheC

enterforPerforming

ArtsatMenlo-Atherto

n

Music@

Men

loCa

lend

arJuly18–August10,2013

DATE

PAID

EVEN

TSFR

EEEV

ENTS

DATE

PAID

EVEN

TSFR

EEEV

ENTS

RID

GE

VI

NE

YA

RD

S

o

ProP

ianoistheofficial

provider

ofStein

waygrandpianos

toMusic@

Menlo2013.

Thursday,July1

87:3

0p.m.

EncounterI:In

theB

eginn

ing…ThereWas

Bach,le

dbyA

raGuzelimian

Martin

Family

Hall

($45)

Friday,July1

98:00

p.m.

ConcertP

rogram

I:Pian

o/Piano

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton($65/$55)

5:30

p.m.

Prelu

dePerfo

rmance

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton

Saturday,July2

0OpenH

ouse

(alld

ay)

8:00

p.m.

Carte

BlancheC

oncertI:P

ercussion

Comple

xities

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton($50/$4 0

)8:30

a.m.

Q&ACo

ffeew

iththeA

rtisticD

irecto

rsMenloSchool

11:45a

.m.

Café

Conversatio

n*with

VisualAr

tistS

ebastia

nSp

reng

Martin

Family

Hall

TBD

OpenR

ehearsa

lsMenloSchool

5:30

p.m.

Prelu

dePerfo

rmance

Martin

Family

Hall

Sund

ay,July2

110:30

a.m.

Carte

BlancheC

oncertII:Th

eSolo

Violin:So

ovinKim,violin

StentF

amily

Hall

($75)

PicnicLu

nch(

$18)

6:00

p.m.

ConcertP

rogram

II:Quarte

tDimensio

nsTh

eCenterfor

Perfo

rming

Arts

atMenlo-A

therton($65/$55)

Mon

day,Ju

ly22

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

4:15

p.m.

Liste

ningR

oomwith

Patrick

Castillo

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amily

Hall

Tuesday,Ju

ly23

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

Wed

nesday,July2

48:00

p.m.

ConcertP

rogram

III:String

Variatio

nsStentF

amily

Hall

($77)

10:30

p.m.

Ming

lewith

theM

usicians

Stanford

ParkHotel,

MenloGrill

(Dutch

treat)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

Martin

Family

Hall

Thursday,July2

58:00

p.m.

ConcertP

rogram

III:String

Variatio

nsTh

eCenterfor

Perfo

rming

Arts

atMenlo-A

therton($65/$55)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton

Friday,July2

67:3

0p.m.

EncounterII:K

eybo

ardE

volut

ion:H

owBa

ch’sInstru

mentsBe

came

theM

odernP

iano,l ed

byStuartIsa

coff

Martin

Family

Hall

($45)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amily

Hall

Saturday,July2

78:00

p.m.

ConcertP

rogram

IV:P

relud

esandF

ugues

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton($65/$55)

1:00p.m.

KoretY

oung

Perfo

rmersC

oncert

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton

5:30

p.m.

Prelu

dePerfo

rmance

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton

Sund

ay,July2

810:30

a.m.

Carte

BlancheC

oncertIII:C

elloE

volut

ionsI:C

olinC

arr,c

ello

S tentF

amily

Hall

($75)

6:00

p.m.

Carte

BlancheC

oncertIV:In

totheL

ight,with

Jorja

Fleezanis

,violin

TheC

enterforPerforming

ArtsatMenlo-Atherto

n($65/$55)

Mon

day,Ju

ly29

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

4:15

p.m.

Liste

ningR

oomwith

Patrick

Castillo

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amily

Hall

Tuesday,Ju

ly30

11:45a

.m.

MasterC

lass /Ca

féCo

nversatio

n*Martin

Family

Hall

Wed

nesday,July3

18:00

p.m.

ConcertP

rogram

V:TrioTransfo

rmation

sStentF

amily

Hall

($77)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

Martin

Family

Hall

37subscribe at www.musicatmenlo.orgSP

ECIALTH

ANKS

Music@

Menloismadepossibleby

aleadersh

ipgrantfromtheWilliam

andFloraH

ewlet

tFou

ndation.Add

itionalsupportprovided

bytheDa

vidandLu

cileP

ackard

Foun

datio

n,Ko

retF

ound

ation

Fund

s,U.S.Trust,Ba

nkof

America

,and

them

anyindividuals

andorganiz

ation

sthatsharethefestival’svision.

*Eachwe

ekdayo

fthe

festivalfeaturese

itheram

asterclassw

iththeChamberM

usicInstitute’syoungartists(see

p.18)o

raCaféConversa

tion(see

p.20).Masterclassesa

ndCaféConversa

tions

areofferedat

11:45

a.m.onthecampuso

fMenloSchool.

Theseeventsarefre

eandopen

tothepublic.

Please

consult

yourfestivalprogram

book

orvisitww

w.musica

tmenlo.orgduringthefestivalseasonfora

detailedschedule

ofmasterclassesa

ndCaféConversa

tiontopics.

Thursday,A

ugust1

8:00

p.m.

ConcertP

rogram

V:TrioTransfo

rmations

TheC

enterforPerforming

ArtsatMenlo-Atherto

n($65/$55)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

TheC

enterforPerforming

ArtsatMenlo-Atherto

n

Friday,A

ugust2

8:00

p.m.

ConcertP

rogram

VI:F

renchCo

nnectio

nsStentF

amilyHall($77)

11:45a

.m.

MasterC

lass/Ca

féCo

nversatio

n*Martin

Family

Hall

Saturday,A

ugust3

8:00

p.m.

ConcertP

rogram

VI:F

renchCo

nnectio

nsTh


ArtsatMenlo-Atherto

n($65/$55)

10:30

p.m.

Ming

lewith

theM

usicians

Stanford

ParkHotel,

MenloGrill

(Dutch

treat)

1:00p.m.

KoretY

oung

Perfo

rmersC

oncert

TheC

enterforPerforming

ArtsatMenlo-Atherto

n5:30

p.m.

Prelu

dePerfo

rmance

TheC

enterforPerforming

ArtsatMenlo-Atherto

n

Sund

ay,A

ugust4

10:30

a.m.

Carte

BlancheC

oncertV:

Cello

Evolutions

II:La

urence

Lesser,cello

StentF

amilyHall($75)

PicnicLu

nch($18)

6:00

p.m.

Encoun

terIII:

TheA

rtof

Late

Bach,le

dby

Mich

aelP

arloff


Mon

day,Au

gust5

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

4:15

p.m.

Liste

ningR

oomwith

Patrick

Castillo

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amily

Hall

Tuesday,Au

gust6

8:00

p.m.

ConcertP

rogram

VII:DieK

unstderF

uge

StentF

amilyHall($77)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

MartinFamilyHall

Wed

nesday,A

ugust7

8:00

p.m.

ConcertP

rogram

VII:DieK

unstderF

uge

StentF

amilyHall($77)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

MartinFamilyHall

Thursday,A

ugust8

7:30p.m.

Encoun

terIV:

TheP

assio

nAc

cordingto

Sebastian

Bach,

ledby

Patrick

Castillo


11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amilyHal l

Friday,A

ugust9

8:00

p.m.

ConcertP

rogram

VIII:

TheS

oloVo

iceStentF

amilyHall($77)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

MartinFamilyHall

Saturday,A

ugust10

6:00

p.m.

ConcertP

rogram

VIII:

TheS

oloVo

iceTh


ArtsatMenlo-Atherto

n($65/$55)

8:30

p.m.

Fête

theF

estiv

alPaloAltoArtC

enter($65)

12:00p.m.

KoretY

oung

Perfo

rmersC

oncert

TheC

enterforPerforming

ArtsatMenlo-Atherto

n3:3

0p.m.

Prelu

dePerfo

rmance

TheC

enterforPerforming

ArtsatMenlo-Atherto

n

Music@

Men

loCa

lend

arJuly18–August10,2013

DATE

PAID

EVEN

TSFR

EEEV

ENTS

DATE

PAID

EVEN

TSFR

EEEV

ENTS

RID

GE

VI

NE

YA

RD

S

o

ProP

ianoistheofficial

provider

ofStein

waygrandpianos

toMusic@

Menlo2013.

Thursday,July1

87:3

0p.m.

EncounterI:In

theB

eginn

ing…ThereWas

Bach,le

dbyA

raGuzelimian

Martin

Family

Hall

($45)

Friday,July1

98:00

p.m.

ConcertP

rogram

I:Pian

o/Piano

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton($65/$55)

5:30

p.m.

Prelu

dePerfo

rmance

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton

Saturday,July2

0OpenH

ouse

(alld

ay)

8:00

p.m.

Carte

BlancheC

oncertI:P

ercussion

Comple

xities

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton($50/$4 0

)8:30

a.m.

Q&ACo

ffeew

iththeA

rtisticD

irecto

rsMenloSchool

11:45a

.m.

Café

Conversatio

n*with

VisualAr

tistS

ebastia

nSp

reng

Martin

Family

Hall

TBD

OpenR

ehearsa

lsMenloSchool

5:30

p.m.

Prelu

dePerfo

rmance

Martin

Family

Hall

Sund

ay,July2

110:30

a.m.

Carte

BlancheC

oncertII:Th

eSolo

Violin:So

ovinKim,violin

StentF

amily

Hall

($75)

PicnicLu

nch(

$18)

6:00

p.m.

ConcertP

rogram

II:Quarte

tDimensio

nsTh

eCenterfor

Perfo

rming

Arts

atMenlo-A

therton($65/$55)

Mon

day,Ju

ly22

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

4:15

p.m.

Liste

ningR

oomwith

Patrick

Castillo

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amily

Hall

Tuesday,Ju

ly23

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

Wed

nesday,July2

48:00

p.m.

ConcertP

rogram

III:String

Variatio

nsStentF

amily

Hall

($77)

10:30

p.m.

Ming

lewith

theM

usicians

Stanford

ParkHotel,

MenloGrill

(Dutch

treat)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

Martin

Family

Hall

Thursday,July2

58:00

p.m.

ConcertP

rogram

III:String

Variatio

nsTh

eCenterfor

Perfo

rming

Arts

atMenlo-A

therton($65/$55)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton

Friday,July2

67:3

0p.m.

EncounterII:K

eybo

ardE

volut

ion:H

owBa

ch’sInstru

mentsBe

came

theM

odernP

iano,l ed

byStuartIsa

coff

Martin

Family

Hall

($45)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amily

Hall

Saturday,July2

78:00

p.m.

ConcertP

rogram

IV:P

relud

esandF

ugues

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton($65/$55)

1:00p.m.

KoretY

oung

Perfo

rmersC

oncert

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton

5:30

p.m.

Prelu

dePerfo

rmance

TheCenterfor

Perfo

rming

Arts

atMenlo-A

therton

Sund

ay,July2

810:30

a.m.

Carte

BlancheC

oncertIII:C

elloE

volut

ionsI:C

olinC

arr,c

ello

S tentF

amily

Hall

($75)

6:00

p.m.

Carte

BlancheC

oncertIV:In

totheL

ight,with

Jorja

Fleezanis

,violin

TheC

enterforPerforming

ArtsatMenlo-Atherto

n($65/$55)

Mon

day,Ju

ly29

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

4:15

p.m.

Liste

ningR

oomwith

Patrick

Castillo

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

StentF

amily

Hall

Tuesday,Ju

ly30

11:45a

.m.

MasterC

lass /Ca

féCo

nversatio

n*Martin

Family

Hall

Wed

nesday,July3

18:00

p.m.

ConcertP

rogram

V:TrioTransfo

rmation

sStentF

amily

Hall

($77)

11:45a

.m.

MasterC

lass/C

aféC

onversa

tion*

Martin

Family

Hall

5:30

p.m.

Prelu

dePerfo

rmance

Martin

Family

Hall

Menlo School50 Valparaiso Avenue Atherton, California 94027

www.musicatmenlo.org

Nonprofit Org.

U.S. Postage

PAID

Menlo Park, CA

Permit No. 149

July 18–August 10, 2013 - Music@Menlo | HomeTo the ears of many modern listeners, the canon begins...

Documents

Transcript of July 18–August 10, 2013 - Music@Menlo | HomeTo the ears of many modern listeners, the canon begins...