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More emotional than the music of the preceding Renaissance. and 73 sonatas. while others used music simply to delight listeners with instrumental virtuosity. that Handel composed 16 concertos for organ. from simple songs to oratorios and operas. and through our performances we wish you and your loved ones a joyous holiday and a happy and healthy New Year. BAROQUE FESTIVAL AT A GLANCE Dear Listeners. However. and early symphonic forms. Its range is wide: from sacred cantatas to secular ones. wonder. CMS has also presented some 200 additional Baroque works since its founding in 1969. David Finckel and Wu Han Baroque music reflected all of human experience. works that will live forever at the pinnacle of Baroque instrumental achievement. 2 www. 46 operas. could there be any doubt that they would have also laughed at music imitating animal noises? Wu Han In 1993 the Chamber Music Society began its wonderful tradition of annual performances of Bach’s six Brandenburg Concertos. CMS inaugurates its first holiday Baroque Festival with these concerts. that almost 200 of Bach’s cantatas survive. to enjoy both the familiar and the new. The festival creates an opportunity for curious listeners to visit the Baroque era and stay awhile. and mirth—are all to be found in the music of this festival.ChamberMusicSociety. and from solo instrumental and small chamber works to concertos. David Finckel An astounding amount of music was composed during the Baroque era. we still have a lot to discover. In order to open a window on this incredibly rich period of . If we read accounts of 18th-century listeners openly weeping in response to beautiful music. optimism. Consider that Vivaldi composed more than 500 concertos. Baroque music seems to us infinitely appropriate to this festive holiday time. The emotions of the season—reverence. Some composers expressed their deepest religious devotion through music.gratitude. Enjoy the concerts. Finally. by composers with familiar names such as Corelli and Telemann. and that Wikipedia lists 200 Baroque composers. and to come away with a sense of the style in its entirety. many of whose music most of us have yet to hear. dance suites.

1730) V W X Largo Vivace Andante Allegro Allegro Andante Allegro SWENSEN. ALBERS. RV 551 (c. BWV 211. “Coffee Cantata” (c. COOPER Friday Evening. 6 (1738) E F G Andante allegro Larghetto Allegro moderato COOPER. LEE. ZHANG. SWENSEN. Artistic Directors Norma Hurlburt.1767) GRUBER. COOPER GEORGE FRIDERIC HANDEL (1685 . violin BETH GUTERMAN. ZHANG. plaudert nicht. cello DAXUN ZHANG. KWON. FRANCIS. Strings. 1728) S T U Allegro Cantabile Allegro WINCENC. tenor ` PHEREN NOMURA. SWENSEN. Balance Engineer and Editing: Da-Hong Seetoo Cover Photo: 훿 Steven Vote/Corbis Cover Design: Philipp Starke Reproduction of the program book courtesy of Playbill magazine ALICE TULLY HALL Home of The Chamber Music Society of Lincoln Center 3 .David Finckel and Wu Han. and Continuo. and Continuo. COOPER ANTONIO VIVALDI DAVID KIM. COOPER ANTONIO VIVALDI Trio Sonata in C minor for Flute.1750) GRUBER. schwachen Stimmen” from Cantata. flute CAROL WINCENC. Executive Director JOHANN SEBASTIAN BACH H-Q Schweigt stille. 2006 Sunday Afternoon. KIM. violin YOON KWON. cello COLIN CARR. viola JULIE ALBERS. December 8. violin IAN SWENSEN. LEE. Strings. flute STEPHEN TAYLOR. “The Goldfinch” (c. 4. ZHANG. SILVERSTEIN. KAVAFIAN. violin ANI KAVAFIAN.1759) Concerto in B-flat major for Harpsichord and Ensemble. 1727-30) Concerto in F major for Three Violins. double bass KENNETH COOPER. Audio Recording:  2007 Deutsche Grammophon GmbH. violin JOSEPH SILVERSTEIN. GUTERMAN. baritone CHRISTO LILY FRANCIS. December 10. and Continuo (c. No. CARR. WINCENC. ALBERS. viola GEORG PHILIPP TELEMANN (1681 . SILVERSTEIN. FRANCIS. BWV 36 (c. O’CONNOR A UNIVERSAL MUSIC COMPANY Recording Producer. KWON. KAVAFIAN. ZHANG. NOMURA. ALER. 1727) A B C D “Auch mit gedämpften. cello PRISCILLA LEE. TAYLOR. RV 428. oboe (1678 . Oboe. Op. 2006 JOHANN SEBASTIAN BACH R A BAROQUE FESTIVAL SARI GRUBER. soprano JOHN ALER. GUTERMAN.1741) Concerto in D major for Flute. ALBERS. 1735) (1685 . harpsichord TARA HELEN O’CONNOR. KIM. COOPER WINCENC. Hamburg WINCENC. SILVERSTEIN.

you wicked girl. doch seid nur gebeten und lasset mir den Coffee stehn! (LIESGEN) This too. . and if someone wants to please me. (LIESGEN) Auch dieses. Liesgen. (LIESGEN) My father. mellower than Muscatel wine. J 3. PLAUDERT NICHT. Coffee. then pour me coffee! 4 www. auch nicht spazieren gehn. do not talk and listen to what is happening now: Here comes Herr Schlendrian with his daughter. Coffee. I must have coffee. you will not get from me either a gold or a silver ribbon for your bonnet. RECITATIVE JOHANN SEBASTIAN BACH H 1. ARIA (SCHLENDRIAN) Hat man nicht mit seinem Kindern hunderttausend Hudelei! Was ich immer alle Tage meiner Tochter Liesgen sage. milder als Muskatenwein. “COFFEE CANTATA” L 5. so sollst du auch ein Hochzeitfest. don’t be so severe! If I can’t drink my cup of coffee three times a day. Hört selber. gehet ohne Frucht vorbei. (LIESGEN) Ich kann mich leicht darzu verstehn. (SCHLENDRIAN) Du sollst nicht an das Fenster treten und keinen sehn vorübergehn! (SCHLENDRIAN) You shall not go to the window to watch people passing by. so gibst du mir denn alles zu? (SCHLENDRIAN) You naughty Liesgen. seid doch nicht so scharf! Wenn ich des Tages nicht dreimal mein Schälchen Coffee trinken darf. (LIESGEN) I can easily understand that. RECITATIVE (SCHLENDRIAN) Wenn du mir nicht den Coffee läßt. ARIA (LIESGEN) Ei! wie schmeckt der Coffee süße. Hear for yourselves what she is doing to him! I 2. but leave me my coffee! (SCHLENDRIAN) Da hab’ ich nun den kleinen Affen! Ich will dir keinen Fischbeinrock nach jetz’ger Weite schaffen. so schenkt mir Coffee ein! (LIESGEN) Oh. how sweet the coffee tastes.SCHWEIGT STILLE. will you give up everything I offer? K 4. (SCHLENDRIAN) Du loses Liesgen du. (LIESGEN) Ach ja! nur lasset mir den Coffee da! (LIESGEN) Well. Turn into a dried-up goat chop. (SCHLENDRIAN) Now I’ve got the little monkey! I shall not give you a whalebone dress made in the latest fashion. I shall. nor will I permit you to go out walking. er brummt ja wie ein Zeidelbär. he is grumbling like a honeybear. so werd ich ja zu meiner Qual wie ein verdorrtes Zeigenbrätchen. und wenn jemand mich will laben. but let me have my pleasure. (LIESGEN) Ja. yes. BWV 211. was jetzund geschicht: Da kömmt Herr Schlendrian mit seiner Tochter Liesgen her. (SCHLENDRIAN) Don’t our children give us a hundred thousand headaches! What I keep telling my daughter Liesgen every day produces no result. plaudert nicht und höret. ahhh. (LIESGEN) Herr Vater. RECITATIVE (NARRATOR) Schweigt stille. ach. (SCHLENDRIAN) If you don’t give up coffee there’ll be no wedding party for you. Coffee muß ich haben. ja! nur laßt mir mein Vergnügen! (LIESGEN) Yes. was sie ihm getan! (NARRATOR) Be quiet. but I only beg you to let my coffee alone! (SCHLENDRIAN) Du böses Kind. more lovely than a thousand kisses. du loses Mädchen.ChamberMusicSociety. Oh! if only I had my way: Take that coffee out of my sight! (SCHLENDRIAN) Du sollst auch nicht von meiner Hand ein silbern oder goldnes Band auf deine Haube kriegen! (SCHLENDRIAN) And what’s more. ach! wenn erlang ich meinen Zweck: Tu mir den Coffee weg! (SCHLENDRIAN) You stubborn child. in my distress. lieblicher als tausend Küsse.

heute noch. Coffee. einen Mann! (LIESGEN) Oh . hört. Denn schallet nur der Geist darbei. Mother loves to drink coffee. (LIESGEN) This very day.ChamberMusicSociety. Die Mutter liebt den Coffeebrauch. as grandma does. finally. N 7. die von harten Sinnen. (SCHLENDRIAN) So sollst du endlich einen kriegen! (SCHLENDRIAN) Then may you finally get one! Q 10. ich trinke keinen nicht. einen wackern Liebsten kriegte! (NARRATOR) Now old Schlendrian goes out. SCHWACHEN STIMMEN” FROM CANTATA.M 6. one that suits me! If only it would happen soon that. this very day. and also puts it into the marriage contract. sind nicht leichte zu gewinnen. ARIA (LIESGEN) Heute noch. Translation by Kenneth Cooper. but Liesgen secretly sends the word around: no suitor will be admitted to my house unless he himself promises me. and tries to find a husband for his daughter Liesgen. er hab es mir denn selbst versprochen und rück es auch der Ehestiftung ein. o! so kömmt man glücklich fort. (NARRATOR) Nun geht und sucht der alte Schlendrian. then you’ll have to resign yourself to never having a husband. eh’ ich noch zu Bette geh’. RECITATIVE (SCHLENDRIAN) Nun. lieber Vater. listen: I won’t drink it any more. do as your father tells you! (LIESGEN) In allem. (LIESGEN) Bis ich den Coffee lassen kann? Nun. daß es nicht geschicht. wie er vor seine Tochter Liesgen bald einen Mann verschaffen kann. Doch trifft man den rechten Ort. Text to 9 and 10 is anonymous. that I shall be permitted to brew coffee whenever I please. wenn ich will. ein Mann! Ach. instead of coffee when I go to bed. Even with muted. dear father. I’ll have a gallant lover! 5 Auch mit gedämpften. (LIESGEN) In everything but coffee. dieser steht mir an! Wenn es sich doch balde fügte. FINALE (TRIO) Die Katze läßt das Mausen nicht. daß ich endlich für Coffee. tut es doch! Ach. Text by Picander. auch niemals einen Mann zu nehmen. die Jungfern bleiben Coffeeschwestern. (SCHLENDRIAN) Well. a man! Really. was dein Vater spricht! (SCHLENDRIAN) Now. doch Liesgen streuet heimlich aus: kein Freier komm mir in das Haus. ein Mann! Wahrlich. yes! things will go better. ARIA (SCHLENDRIAN) Mädchen. coffee. (LIESGEN) Until I give up coffee? Well. and young women remain coffee-lovers. bleib nur immer liegen! Herr Vater. I put you down forever! Father. so who will now criticize the daughters? Text to 1–8 by Picander. possibly by Bach. weak voices. P 9. father. zu kochen. But once we find a soft spot. RECITATIVE (SCHLENDRIAN) Girls of a stubborn nature are not easily won over. R “AUCH MIT GEDÄMPFTEN. nur den Coffee nicht. It is to Him such a shout As He has seldom heard in heaven. please! Yes. (SCHLENDRIAN) I swear that it will not happen. daß mir erlaubet möge sein. wer will nun auf die Töchter lästern! (TRIO) Cats don’t abandon their mice. folge. Das er im Himmel selber hört. So ist ihm solches ein Geschrei. a man! Yes. (LIESGEN) Ach ja! Herr Vater. www. (SCHLENDRIAN) Wohlan! so mußt du dich bequemen. So if the spirit simply calls out. a husband! (SCHLENDRIAN) Ich schwöre. den Coffee. do it. schwachen Stimmen Wird Gottes Majestät verehrt. God's majesty can be honored. Translation by Kenneth Cooper. BWV 36 JOHANN SEBASTIAN BACH O 8. die Großmama trank solchen auch.

argument. where I got to hear and study this work with my legendary professor. the Vivaldi “Goldfinch” Concerto is as dazzling as any piece for the flute could be. the soulful cantabile lines. violinist to violinist) in a civilized and non-violent. and emotional experience. rendering musical textures clearer. For instance. clean fun”! —Carol Wincenc “It is disgusting to notice the increase in the quantity of coffee used by my subjects and the amount of money that goes out of the country as a consequence.The application of logic to arenas of thought. and less luxurious. conversation. or unorganized information—collected most notably in Denis Diderot’s Encyclopédie (1751)—it became clear that church. or corrupt areas. less well known is the reason Telemann applied for it. Georg Philipp Telemann had a long and distinguished career. and so were both his ancestors and officers. 1767. and the King does not believe that coffee-drinking soldiers can be relied upon to endure hardships in case of another war. Died on June 25. such as coffee. Among the most relevant and lively areas of pursuit in the 18th century—those that still continue to stimulate and refresh us—are the following: The shining of light on hitherto mysterious. I model everything I do with this concerto on those cherished lessons with him in Bell’Italia: the crisp staccato. NOTES ON THE Tolerance of the opinions of others. Composed circa 1727. including newly developed lifesaving medical procedures. and Continuo The Enlightenment.ChamberMusicSociety. The pure pleasure to work on and perform the masterworks from the Baroque period for my instrument with my brilliant and beloved colleagues at the Chamber Music Society is one of the highlights of my 2006 season. I never tire of playing these joyous compositions. state. Oboe. By virtue of logic and the dispersion of previously unknown.000 works. such as to increase our enjoyment of it and our power over it. often diffusing moral arguments about controversial substances. and the pursuit of happiness to become more achievable goals—was a discovery of far-reaching consequence. Everybody is drinking coffee. was one of the most brilliant moments in all of European history. Many battles have been fought and won by soldiers nourished on beer. due perhaps to his prolific output (according to the Guinness Book of Records. complex. no less! The worship and idealization of . primarily in the free (unpatronized) city of Hamburg. and aesthetics of previous generations did not always ring true. It brings me back to my blissful student days in Rome and Siena. Georg Philipp Telemann Born on March 14. In his day. in Magdeburg. as compared to Bach’s extant output of 1. flute to oboe. Scientific advances. fresh. 1681. where he was kapellmeister of various churches. manner. Thomas in Leipzig ahead of Bach is well known. education.” —Frederick the Great of Prussia (1777) An Enlightened Evening: Notes by Kenneth Cooper Trio Sonata in C minor for Flute. as every collaboration includes new. though sometimes satirical. Severino Gazzelloni. liberty. or its promulgator. wealth. the period during which these works were created. the romping arpeggios and scales—and all with aviary essence. could raise one’s status in life—enabling health. which attests to his Enlightenment sympathies: He threatened to leave Hamburg unless his superiors allowed him to engage women as singers and players for his performances at church. in Hamburg. Each of the pieces on our program elucidates one Enlightenment idea or another. he composed more than 5. sparser. unavailable. father to daughter. allowing the exploration of personal relationships (character to character. this must be prevented. PROGRAM The repertoire of the Baroque period brought the flute into its first golden age. and that the attitudes. 6 www. and inspired perspectives that always result in a special kind of euphoria and “good. he had far wider fame than his friend Bach. moralities. His Majesty was brought up on beer.080 works). and even family were not always who they said they were. The story of how Telemann was offered the cantorship of St. The realization in the first decades of the 18th century that knowledge.

right at the outset. and Bach must have remembered it well when his daughter Liesgen was married in 1749. Bach created a distinct contrast between the “sharp” and humorously severe father and the “loose” or independent daughter.) But it is too late—Liesgen is hooked 7 www. a stirring aria-like sarabande. hotter and heavier than ever. plaudert nicht. The story concerns the father. having eaten from the coffee plants. The Leipzig council considered coffee an evil and therefore taxed it. Hamburg relented and Telemann withdrew his application from Leipzig. including Zimmermann’s. The piece begins with an argument between flute and oboe. No. who in his “What am I going to do with this kid?” aria definitely strikes a contemporary note. in Eisenach. coffee was discovered when shepherds became aware that their flocks of sheep. his concertos often featuring lengthy solo passages. 4. Telemann was one of the few musicians of the period who knew both Bach and Handel personally. 6 George Frideric Handel Born on February 23. (According to ancient lore. like many of Telemann’s works. in London. by the continuously high keyboard register. thereby altering the entire course of Western music. Composed circa 1735. probably. we challenge any of our current theatrical impresarios to do the same. where Bach conducted regular concerts. Composed in 1738. 1685. the delicate luminosity of the opening movement The text of Bach’s so-called “Coffee Cantata” was first published in Picander’s Serio-Comic and Satyrical Poems (1732) and entitled “Über den Caffe” (meaning “About Coffee. as its properties as a stimulant are legendary. but fails. Op. sending him exotic plants from London when he could. 1759. didn’t sleep at night. The work dates from about 1735. pours over into the second movement and ultimately the fourth as well. spiced up (by Handel) with a cute syncopated figure. the substance of a disagreement. in Leipzig. The final recitative and trio texts seem to have been added by Bach. Lower registers and more sustained sounds (in G minor) paint a darker picture in the Larghetto. and by the sparse but very elegant counterpoint. Handel apparently kept in touch with Telemann more frequently. the continuo (cello and harpsichord). and the argument. The trouble is that he doesn’t want his daughter Liesgen to drink coffee. The Concerto in B-flat is an essay in light and shade.” c. Concerto in B-flat major for Harpsichord and Ensemble. and further spiced up (by Cooper) with a rustic cadenza. The unusual touch here is that Telemann. Schweigt stille. which was self-published and. in Halle.ChamberMusicSociety. The coffee bubbles merrily through Liesgen’s two arias. In the drama (as it was already called by 1739). abetted by a third party.created by the delightful flute and string pizzicato textures. then in the harpsichord obbligato. A more active keyboard virtuoso than Telemann. 1750. anticipating its popularity. The host (continuo) eventually loses patience and tries to out-talk them. Died on April 14. The public enjoyed his performances of these concertos—on harpsichord or organ—between the acts of the operas and oratorios he produced. usually at one family holiday or other. Telemann’s strong and dramatic Trio Sonata in C minor first appeared in his Essercizii musici (“Musical Lessons. 1685. It matters little who these people are or what they are arguing about—we’ve all been there. first in the flute and pizzicato cello parts. so that by 1725 there were no fewer than eight licensed coffeehouses there. Handel was a celebrated improviser.” or perhaps “Over Coffee”). gives the two upper instruments sharply contrasting material. BWV 211. sometimes indicated only by the words ad libitum. “Coffee Cantata” Johann Sebastian Bach Born on March 21. self-engraved. The final movement has the rhythm of a passepied (a French rustic dance in 3/8). 1727). Schlendrian. Died on July .

she yields and promises to give up coffee. Died on July 27 or 28. Telemann. “The Goldfinch” Antonio Vivaldi Born on March 4. a muted violin in traditional village-band style but warmly and graciously decorated. and as close to a self-portrait as Bach ever produced. bouncy bass-line played by harpsichord and pizzicato cello. They are both correct: the former came into use when the product was imported from Arabia by sea via England and Holland. we are assured that no matter how weak. or secretive we might be. in Vienna.ChamberMusicSociety. the word “coffee” is stressed both ways (Cóffee and Kaffée). Long oppressed. unprivileged. this aria is as brilliant a contrapuntal duet as Bach ever wrote. muted voices. schwachen Stimmen” from Cantata. die von harten Sinnen he swears he will find her soft spot. soprano register. for example). and a light. Nature lovers adored the singing of birds. when under human control. our message will be measured by its content and conviction rather than by its resonance or splendor. in which the soloist imitates (or satirizes) a canary. Among the Enlightenment developments in Leipzig was the growing public tolerance of the Lutheran Pietists. BWV 36 Johann Sebastian Bach Composed circa 1727–30. in Venice. even though the things we desire to say are not easily expressed. which Bach sets in this aria. context is everything: there is no such thing as a sacred or secular quarter-note. deeply absorbed by Bach. Nature was at its best.that message will be heard: the pizzicato is lifted. The effective setting of the text is even more remarkable when we realize that the music was originally composed to a secular text (Cantata 36a) for a Leipzig University professor’s birthday: “Even with weak. Bach’s religious community. this sect maintained a tradition of private worship and intimate music-making. The tuttisolo ritornello structure of the Allegros was a Vivaldi trademark. 1741. and many others.” As Columbia University professor Paul Henry Lang used to explain to us. In the original texts. 1678. they often thought. Concerto in D major for Flute. Somewhere in the middle of this confusion stands Antonio Vivaldi’s “Goldfinch” Concerto. the daughter becomes as intransigent as the father. the latter pronunciation arrived by land via Italy. but they still enjoyed a lively trade in handbooks on how to teach birds to sing your favorite . Handel. as demonstrated by the formal gardens of Hampton Court and Versailles. In our hearts they resound. in serenata (or 8 www. and Continuo. and Schlendrian has to resort to threats. Bach uses the B-section to stress how strongly The 18th-century growth of individual accomplishment and power brought with it some less desirable side effects. almost speech-like. To place this intoxicating scene into perspective. As the argument heats up. While light in texture. RV 428. the dynamic is more extroverted. the vocal register is higher and the contrapuntal interplay more sharply delineated. She lies—she plans to find a man who will let her have her coffee. Strings. Bach achieves this effect by casting the music in the popular style of a ländler (waltz) with a low. The final argument (by the “chorus”)—that both mamma and grandmamma enjoyed their coffee—seems to be the clincher. The bird also has its tender moments (in the Cantabile): it indeed sings someone’s favorite aria. but when he finally refuses to find her a husband. In his continuo aria Mädchen. Composed circa 1728. The admiration of the attributes of nature and the idyllic shepherd’s life (à la Watteau) and the dream (from a safe distance) of love unfettered by social convention conveniently ignored the realities of natural existence (animals eating one another. we proclaim the praises of our teachers. “Auch mit gedämpften. In Picander’s poem (1727). the close relationship of “birdsong” and virtuoso passagework is a sample of that 18th-century blend of admiration and wishful thinking.

ages. the textures are sometimes separated. This concerto by Vivaldi is one of the master’s most brilliant virtuoso pieces. RV 551 Antonio Vivaldi Composed circa 1730. if this were a study in visual perspective. The Chamber Music Society of Lincoln Center has played a role unmatched in its field. one mightn’t know where to look or what to look at. sometimes inseparably . and the third. As part of that community. its broad commissioning program. and its multifaceted educational programs. Light and dazzling. style. CMS has created programs to bring the art of chamber music to audiences from a wide range of backgrounds. like one of Piranesi’s Vedute di Roma of the 1750s. a device that both Bach and Telemann might have admired but neither would have had the nerve to do. dynamic repertory company of expert chamber musicians who form an evolving musical community. Artistic Directors Norma Hurlburt. the CMS Two program discovers and weaves into the artistic fabric a select number of highly gifted young artists—individuals and ensembles—who embody the great performance traditions of the past while setting new standards for the future. CMS presents chamber music of every instrumentation. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience. a gorgeous slow aria—all these moving at faster rates than the accompanying strings and continuo. and historical period in its extensive concert season in New York. Strings.Since its inception in 1969. Historian Charles Burney once wrote of Vivaldi (1789): “If acute and rapid tones are evils. Executive Director Kenneth Cooper New York City. its national tours.ChamberMusicSociety. Vivaldi has much of the sin to answer for. its many recordings and national radio broadcasts. 2006 9 www. The artistic core of CMS is a multi-generational. Dedicated to serving the art of chamber music. the second plays a feathery pizzicato. It is accompanied by a bass-line that at the outset descends the D major scale for two entire octaves. siciliana) style. The adagio features the three violinists playing simultaneously at three different speeds in an astonishing kaleidoscope: one executes lightningquick pianissimo arpeggiation. Concerto in F major for Three Violins. and Continuo. and levels of musical knowledge.” David Finckel and Wu Han.

Northwest Chamber Orchestra. Chautauqua. and San Francisco. she performs on an N. including Harpsichordist/pianist/conductor Kenneth Cooper continues his directorship this season of the Berkshire Bach Ensemble. and Montreal. Orchestre Nationale de France. and second prize in the Rostropovich International Cello Competition. Chicago. Tenor John Aler is an acclaimed and admired singer on the international stage. Winner of the Gregor Piatigorsky Memorial Award. Vuillaume cello made in 1872. F. She has made orchestral appearances in Taiwan. as well as New York City Opera. and Florida West Coast Symphony. ARTISTS Cellist Julie Albers made her major orchestral debut in 1998 with the Cleveland Orchestra and since then has been heard with numerous North American symphonies. Los Angeles. St. A member for 20 years of the acclaimed Golub–Kaplan–Carr Trio. the Cleveland and Philadelphia orchestras. A member of Chamber Music Society Two. the Halle Orchestra. and the BBC Symphony. Mr. Ohio Chamber Orchestra. where she studied with Richard Aaron. and in 2002 he became a professor at SUNY Stony Brook.ChamberMusicSociety. and Brussels. Geneva. and in Vienna. He has performed at many major opera houses. Philadelphia. At the Manhattan School of Music he is chair of the harpsichord department and director of the Baroque Aria Ensemble. Newport. and the Little Orchestra Society’s Vivaldi’s Venice festival. At age eight he entered the Yehudi Menuhin School. and South Korea. Oxford. Washington Square Park Concerts. Deutsche Oper Berlin. including the Royal Opera Covent Garden. New Zealand. the Grand Canyon Music Festival. Hartford Symphony. and Mozart’s Don Giovanni with the National Philharmonic. DC and The Juilliard School. where she was named gold medal laureate of the Gyeongnam International Music Competition. he has appeared with the Royal Concertgebouw Orchestra. the Philharmonia Orchestra. John’s College.MEET THE the Berlioz Requiem with the Atlanta . Hamburg. and the symphony orchestras of Boston. Haydn’s Creation and the Mozart Solemn Vespers under James Conlon at the Cincinnati May Festival. He can be heard on more than 60 other recordings. where he is a member of the faculty. Australia. created for him the position of musician-in-residence. Cooper has performed as soloist and guest conductor with the American Symphony. the BBC Symphony. Louisville Symphony. Aspen. the 10 www. He holds a doctorate in musicology from Columbia University. she toured France as a soloist with l’Orchestre Symphonique de Douai. Albers’ debut album on the Artek label. Yale-Norfolk Summer Chamber Music Festival. Carr plays a Matteo Gofriller cello made in Venice in 1730. His recordings include Bach’s gamba–harpsichord sonatas with Yo-Yo Ma. and the orchestras of Chicago. where he studied with Maurice Gendron and William Pleeth. which won for Best Vocal Soloist. Also in 1998. She attended the Young Artist Program at the Cleveland Institute of Music. He is featured on three Grammy Award-winning recordings. Mr. first prize in the Naumburg Competition. Aler is an alumnus of the Catholic University in Washington. In 2001 she won second prize in Munich’s Internationalen Musikwettbewerbes der ARD and while in Germany she recorded solo and chamber music of Kodály for the Bayerischer Rundfunk. He is a regular performer at American summer festivals including Ravinia. Her current season’s engagements include performances with the Colorado Symphony. he is a regular guest of the Guarneri and Emerson string quartets. Recent engagements include Britten’s War Requiem with the Moscow Symphony Orchestra. including Sondheim’s Sweeney Todd on the New York Philharmonic Special Edition label and the solo album Songs We Forgot to Remember on Delos. as well as at Boston’s Gardner Museum and in many European cities. after having been on the faculty of the New England Conservatory for 16 years. This season Colin Carr plays the six Bach cello suites with the Chamber Music Society. He was made a professor at the Royal Academy of Music in 1998. October 2005 marked the release of Ms. which performed the complete Water Music of Handel in October and will perform the Brandenburg Concertos on New Year’s Eve. Madrid. Awarded the grand prize at the XIII Concours International de Jeunes Concertistes held in Douai. the Washington Opera. He has sung in Europe with the Berlin Philharmonic. He has frequently appeared at the Metropolitan Museum’s Temple of Dendur. and the Mostly Mozart Festival. the Royal Philharmonic. and the Santa Fe Opera. He is a frequent performer with the New York and Los Angeles philharmonics. and Grant Park. Mr. among others. Detroit Symphony. Salzburg. Rhode Island Philharmonic. Munich. Leipzig Gewandhaus. Washington.

She has appeared with the Handel and Haydn Society and at Portland Baroque. Avery Fisher Hall. Most recently. New York City Opera. Columbus Symphony. and the Berkshire Choral Festival. and Mitsuko Uchida. Opera Theatre of St. Ms. Despina. where she performed alongside CMS Artists Ani and Ida Kavafian. As a member of the International Sejong Soloists she has toured extensively and played piano quartets with Joseph Kalichstein. She received her bachelor’s and master’s degrees from The Juilliard School as a student of Masao Kawasaki. Violist Beth Guterman appears as soloist. she is artist-in-residence at the University of Washington in Seattle this season. and Florence’s Maggio Musicale. Nanetta. he recorded on fortepiano the complete Bach flute and keyboard sonatas with Susan Rotholz. She has performed diverse roles such as Adina. and the Chicago Humanities Festival. Gruber holds a bachelor’s degree from Yale University and a master’s from The Juilliard School. she has performed in Weill Hall under the auspices of the Emerson Quartet Professional Workshop. She has performed with the Lyric Opera of Chicago. Brandenburg Concertos. Francis is a member of Chamber Music Society Two. and Music from Angel Fire festivals. She has appeared at the Steans Institute at Ravinia. the Juilliard Symphony. 1. Violinist Lily Francis made her debut with the Farmington Valley Symphony Orchestra in 1998 playing Bruch’s Concerto No. Louis. David Soyer. Kim Kashkashian. In addition to being a prizewinner in the Hartford Symphony Young Artist’s Concerto Competition. Weill Recital Hall. the Connecticut Virtuosi. the Brockton Symphony Orchestra. 6 with Sejong. Since then she has played with the Hartford Symphony Orchestra. As a performing artist-inresidence on NPR. and SummerMusic. Ms. In addition.ChamberMusicSociety. and versions of ragtime. working with Richard Goode. she was named Best Classical Musician by Downbeat magazine and received the Howard Beebe String Award at the Corpus Christi International String Competition. OK MOZART International. As an orchestral soloist she has been heard with the Philharmonia Baroque. and they are performing them at CMS on December 15. He also recently recorded the six sonatas for violin and keyboard with CMS Artist Ani Kavafian. and the Aspen Music Festival. Alice Tully Hall. the Opera Company of Philadelphia. Gilda. and the Connecticut Youth Symphony. During the past season violinist Ani Kavafian visited over 30 cities in performances with the Chamber Music Society. Gretel. Los Angeles Opera. San Francisco Performances. Merkin Concert Hall. Seoul Arts Center. Ms. Aspen Music Festival Orchestra. the Goldberg Variations.Musetta. she has given recitals under the auspices of the Marilyn Horne Foundation. She recently recorded Brad Lubman’s Quartet for Strings and Electronics for Tzadik and she can also be heard on Naxos performing chamber works by Stephen Hartke. Gilbert Kalish. As a member of the Salinger Quartet. Pittsburgh Opera. and chamber musician and performs at Carnegie Hall. A student of CMS Artist Joseph Silverstein at The Curtis Institute of Music. Guterman plays a Gasparo da Salò viola made in 1590. and the Sunken Garden Copland Competition. Sarasota. An alumna of San Francisco Opera’s Merola Program. Pamina. Norina. New York Festival of Song. Wigmore Hall. and Aspen’s Sinfonia Orchestra. A full-time professor at Yale . and with the Kavafian–Schub–Shifrin Trio. She has recorded the complete Bach violin sonatas with Kenneth Cooper 11 www. the Naumburg Foundation presents her in recital at Alice Tully Hall because she received first prize in its 2005 International Vocal Competition. Last summer she performed at the Virginia Arts Festival. Cincinnati Symphony. Soprano Sari Gruber’s 2006–07 season includes re-engagements with Opera Pacific. Chamber Music Northwest. she is concertmaster of the Curtis Opera Orchestra. She has performed concertos with the Spoleto USA Orchestra. in recitals with her sister Ida. recitalist. Great Lakes. and Juliette and has appeared in contemporary operas. she participated in a live broadcast of Bach’s Brandenburg Concerto No. She won top prize in the Juilliard Viola Competition and in the first ever Aspen Nakamichi Lower Strings Competition. She spent the summer at the Marlboro Music Festival. and she coaches with members of the Guarneri and Orion string quartets. Caramoor. the Paderewski Competition. Boston Baroque. Seattle Chamber Music. Susanna. Festival Montreal. and this summer she will attend the Marlboro Music Festival. Opera Pacific. A member of Chamber Music Society Two. Zerlina. which is on an extended loan through the generous efforts of The Stradivari Society of Chicago. and Florida Philharmonic. She is currently principal violist of the IRIS Chamber Orchestra. In the summer of 2006 she was in residence at Music from Angel Fire.

a piano trio that this fall inaugurates its residency and training workshop at the New England Conservatory and will debut at the New School and at Merkin Hall’s Rising Star Series. Ravinia’s Steans Institute. Harvard Musical Association. Cellist Priscilla Lee. An Artist of The Chamber Music Society of Lincoln Center since 1979. Wichita. Utah. and at age 17 she won the Juilliard Concerto Baritone Christòpheren Nomura has given over 250 recitals 12 www. the Philadelphia Orchestra. Kwon began studying at the age of eight as a protégé of the late Dorothy DeLay at The Juilliard School. Kavafian has performed as soloist with the New York Philharmonic. and Vancouver symphonies. Her recent recordings include string trios of Mozart and Beethoven with the Europe-based Trio da Salo and Mozart sonatas for violin and piano with Jorge Federico Osario. Kim Kashkashian. as well as the orchestras of San Francisco. New Mexico. Louis. He also performs with the International Sejong Soloists and the IRIS Chamber Orchestra. through which she made her New York debut at Avery Fisher Hall performing the Stravinsky Violin Concerto. has recorded an album on the Songlines label and plays regularly in New York City. in the United States. and La Jolla. She has been awarded the Avery Fisher Career Grant and has won the Young Concert Artists International Auditions. He has made concerto appearances with the Hudson Valley Philharmonic and the New England Conservatory Symphony Orchestra. Emergence. He earned his bachelor of music degree at the New England Conservatory and is currently pursuing his master’s degree at The Juilliard School. Kavafian plays a 1736 Stradivarius. and the Los Angeles Chamber Orchestra. She has performed at festivals in Switzerland. Santa Fe. and Jerusalem. and the Corpus Christi International Concerto Competition. As a member of Chamber Music Society Two. Houston. Music@Menlo. the Muir McKenzie. His festival and chamber music appearances include the Takefu International Music Festival. She is a member of Chamber Music Society Two. Yoon Kwon is currently the youngest member of the first violin section of the Metropolitan Opera Orchestra. Music Academy of the West. Atlanta. Finland.and is performing them at CMS on December 15. Moritzburg Festival concerts. Gardner Museum. Primrose Memorial Scholarship Competition. the Dawn Upshaw/John Harbison and Emerson String Quartet workshops at Carnegie Hall. Ms. Klein International String Competition. while her jazz ensemble. Ms. Taos School of Music. St. Florida. has been awarded a Gregor Piatigorsky Memorial Scholarship and the John Williams Scholarship from the Young Musicians Foundation. At age 17 she appeared with the Los Angeles Philharmonic. Ms. Taos School of Music.ChamberMusicSociety. as well as the prestigious artist diploma. Bargemusic. Her recital credits include some 120 venues across the country. At age 13 she was the youngest winner in the New Jersey Symphony Young Artists Auditions. Lee recently received her master’s degree from the Mannes College of Music. and Ravinia’s Rising Stars series. Verbier Academy. El Paso. and Music from Angel Fire. she holds her bachelor’s and master’s degrees from Juilliard. Honolulu. and the Cleveland Orchestra. a 2005 Avery Fisher Career Grant recipient. A member of Chamber Music Society Two. Philadelphia Chamber Music Society. Chicago. where she studied with CMS Artist Timothy Eddy. Italy. and. Colorado. Kim will perform the US premiere of Tigran Mansurian’s Duet for Viola and Percussion in CMS’ New Music in the Rose series in May of 2007 with fellow CMS Two Artist Ayano Kataoka. She is a founding member of the Trio Cavatina. the Santa Fe Chamber Music Festival. Competition. Violist David Kim won first prize at the 2006 Lionel Tertis International Viola Competition and will make his UK recital debut at London’s Wigmore Hall. Detroit. . Pittsburgh. and Carol Rodland. New York. She has also recorded concertos by Henri Lazarof and Tod Machover. of which she was a founder at The Curtis Institute of Music in 1998. which awarded her its Bronislaw–Kaper Award. She has appeared with such orchestras as the Cologne and Warsaw philharmonics and the California. She released her debut CD on the BMG/RCA Red Seal label in Korea in 1997. Cincinnati. becoming the first Korean artist to record for the label. Irving M. She has appeared in two Musicians from Marlboro tours and has performed in Philadelphia. Ms. She has also participated in the Marlboro Music Festival. at Aspen. His teachers include Samuel Rhodes. Caramoor’s Rising Stars series. Mr. She made her New York chamber music debut in 2003 at Weill Recital Hall as a member of the Grancino String Quartet. New Jersey. He has also won prizes in the Concours de Genève (Hindemith prize). A native of California.

In 1989 he was awarded a four-year Fulbright Grant to study with Fischer-Dieskau. and the Saint Paul Chamber Orchestra. fulfills a winter residency and summer master class session at the Banff Centre. the Tokyo String . the National Symphony Orchestra. appear in a concert series at the Smithsonian Institution. She returns in 2007–2008 for her 12th season with the Spoleto Festival USA. Additional performances as violinist have taken him to the Santa Fe Chamber Music Festival.000. and Bridge Records labels. and play chamber music concerts with Paul Katz. Asia. Ravinia’s Rising Stars series. and the Kalichstein–Laredo–Robinson Trio. Spoleto. and Gerard Souzay. Music from Angel Fire. EMI Classics. Vancouver. Peter Serkin. Tanglewood. Deutsche Grammophon. Violinist Joseph Silverstein. and Donizetti’s Enrico and Malatesta. and the Berkshire Choral Festival. Boston Baroque. the Boston Pops. and Chamber Music Northwest. and Memphis symphonies. Utah. and the Annapolis Symphony. the Chautauqua Symphony. He has appeared with the Boston. Lawrence String Quartet. performing in that capacity on more than 100 occasions. He has been the music director of the Utah Symphony Orchestra. Mr. Silverstein’s extensive recordings can be heard on the RCA. Don Giovanni. Clair. Rossini’s Figaro and Dandini. and Papageno. appear in Europe with his brother Joseph in duo violin recitals. throughout North America. he has appeared with the chamber music festivals of Santa Fe. the North Carolina Symphony. A founding member of the Naumburg Award-winning New Millennium Ensemble and a member of the virtuoso woodwind ensemble Windscape. Europe. Chamber Music Northwest. Music@Menlo. O’Connor is professor of flute and head of the wind department at Purchase College Conservatory of Music and was recently appointed to the faculty of the newly inaugurated Bard College Conservatory of Music. He also debuts this season with the Baltimore Symphony. and plays a recital with Menahem Pressler. In addition. and the Boston Symphony Chamber Players. Nomura is a winner of the Young Concert Artists International Auditions and of the Marilyn Horne Foundation competition. He is currently on the faculties of the Tanglewood Music Center. at Domaine Forget. the Minnesota Orchestra. San Francisco. Guglielmo. One of few musicians to have been awarded prizes for excellence in both chamber music and solo violin performance by the Naumburg 13 www. Ms. Chamber Music in the Napa Valley. Silverstein served as concertmaster of the Boston Symphony for over 20 years. An Artist of The Chamber Music Society of Lincoln Center since 1993. Boston Early Music Festival. the Carmel Bach Festival. conducted by Carl St. In 2007 he will perform Barber’s Violin Concerto. will this season be guest conductor and soloist with orchestras in the United States. Artist-in-residence with San Francisco Performances for four years. Winner of an Avery Fisher Career Grant. and looks forward to the release of two solo CDs. The Curtis Institute of Music.Golijov’s Yiddishbbuk and she has recorded for the Deutsche Grammophon. She received two Grammy nominations in 2003 for her CD of Osvaldo This season violinist Ian Swensen tours Korea. and the Reno Philharmonic. performing chamber music and giving master classes. the Great Lakes Chamber Music Festival. the North Carolina Symphony. and the New England Conservatory. and Music@Menlo. Hermann Prey. Handel and Haydn Society. He was invited to sing Bernstein’s Mass at the Vatican for an invited audience of 15. collaborates with the Daedalus Quartet. the Rochester Philharmonic. A Bach specialist. In September he opened the Pacific Symphony Orchestra’s season singing the title role in the premiere of Philip Glass’ The Passion of Rama Krishna. she was the first wind player chosen to participate in the Chamber Music Society Two program. and China. and in Toronto. she is flute soloist of the Bach Aria Group. Quebec. His operatic repertory includes Mozart’s Count. Koch. among others. and the Vancouver Recital Society. he has been a frequent performer with the Bach Choir of Bethlehem. and Africa. La Jolla. Mr. appearing in such venues as Lincoln Center. Arcadia. Kansas City. This season flutist Tara Helen O’Connor appears at Stanford Lively Arts with the St. David Shifrin. Her recent performances include collaborations with Jaime Laredo. and the Brandenburg Ensemble. Europe.ChamberMusicSociety. South America. Mr. Dawn Upshaw. where he also held the position of assistant conductor. the Kennedy Center. and Nonesuch labels. She performs regularly with the Santa Fe Chamber Music Festival. He also performs and teaches at Banff. while his conducting engagements included the Northwest Chamber Orchestra and the Rochester Philharmonic. Ransom Wilson. he will return to Aspen. Marlboro. who heads the department of orchestra studies at the New England Conservatory. and appears with the Australian Chamber Music Festival.

With the Detroit Symphony. and Schleswig-Holstein. Luke’s Chamber Ensemble. Pittsburgh. Bach’s Oboe d’Amore Concerto. he started the Meliora String Quartet. Rockefeller III solo oboe chair at the Chamber Music Society. Included among his more than 200 other recordings are Bach arias with Itzhak Perlman and Kathleen Battle. . Luke’s. Sarasota. She has appeared at such festivals as Marlboro. the Grand Rapids Symphony. she created and directed a series of international flute festivals in St. he is a member of its faculty as well as of the faculties of the Yale School of Music. and Tobias Picker. She also gave the world premiere of Henryk Górecki’s Concerto-Cantata at Amsterdam’s Concertgebouw and the US pre- This season double bassist DaXun Zhang appears at Chicago’s Lyon and Healy Hall. and the Vancouver Recital Society. Spoleto. and performs as soloist with the Cedar Rapids Symphony. Mr. International Competition. MN. She won first prize in the 1978 Naumburg Flute Competition and is a Grammy nominee. San Francisco. at Washington’s JCC. He has given recitals at the Gardner Museum. Santa Fe. Mr. Trained at The Juilliard School by teachers Lois Wann and Robert Bloom. Houston. she has commissioned and premiered concertos by Peter Schickele. and in the Embassy Series of Washington. He has performed with the Juilliard. Herbie Mann. Chamber Music Northwest. and the Chamber Orchestra of the Triangle. and Elliott Carter’s Oboe Quartet. He gives recitals and educational residencies at the universities of Houston and Western Michigan. She is a member of the New York Wind Quintet and is co-founder of the trio Les Amies with harpist Nancy Allen and violist Cynthia Phelps. for which he received a Grammy nomination. St. 14 www. the Linton Chamber Music Series in Cincinnati. A member of Chamber Music Society Two. In recent years has appeared with the festivals of Music@Menlo. Santa Fe Chamber Music Festival. and Tokyo quartets and the Beaux Arts and Peabody trios. which sponsored his Young Concert Artists New York debut. the Monroe Symphony Orchestra. As orchestral soloist he has appeared with the Minnesota Orchestra. which supported his Washington debut at the Kennedy Center. As a result of her fascination with the flute family. he appears regularly at such festivals as Spoleto. China. Mr. SUNY Stony Brook. Bravo! Vail Valley. She has appeared as soloist with the Chicago. which toured for several seasons. featuring such diverse artists as Jean-Pierre Rampal. the Kravis Center. New England Bach Festival Orchestra. Zhang is a faculty member of Northwestern University. Mostly Mozart. While a teenager at the Eastman School of Music. American Composers Orchestra. John D. Ms. is solo oboe with the Orchestra of St. and Marlboro. who plays a rare Caldwell model Lorée oboe. Santa Fe. New York Woodwind Quintet. and the Manhattan School of Music. Spoleto.ChamberMusicSociety. Concord. Stereo Review named his recording with Orpheus Chamber Orchestra of Mozart’s Sinfonie Concertante for Winds a Best New Classical Recording. Orange County’s Pacific Symphony. who holds the Mrs. The first double bass player to win the Young Concert Artists Auditions. and Speculum Musicae. Wincenc resides in New York City. she gave the world premiere of a flute concerto written for her by Christopher Rouse. He continued his studies at the Interlochen Arts Academy and received his artist diploma at the Indiana University School of Music. Stephen Taylor. Takacs. Taylor.miere with the Chicago Symphony. and Indianapolis symphonies. has been an Artist of The Chamber Music Society of Lincoln Center since 1989. he began formal training at the Central Conservatory of Music in Beijing at age 11. Co-principal oboe of the Orpheus Chamber Orchestra. Paul Schoenfield. both in Italy and in Charleston. Detroit. Music from Angel Fire. Colorado’s Strings in the Mountains Music Festival. Flutist Carol Wincenc has appeared with major orchestras worldwide and has premiered works written for her by numerous prominent composers. Invited annually to give master classes for universities and flute organizations throughout the US and abroad. Joan Tower. Emerson. and Yale-Norfolk. Paul. Mr. Louis. Aspen Music Festival. Zhang was awarded the Claire Tow Prize. and the Washington Performing Arts Society Prize. Music@Menlo. DC. the Columbus Philharmonic. he is chairman of the string department at the San Francisco Conservatory of Music and also teaches at Sacramento State University. In addition. Aldeburgh. Swensen studied at The Juilliard School with Dorothy DeLay and at the Eastman School of Music with Donald Weilerstein. Born in Harbin. and the American Indian flutist R. Cleveland. Atlanta. Carlos Nakai. As a chamber musician he has performed with La Jolla SummerFest. Caramoor.

Chairman Donaldson C. Founding Artistic Director . violin Teng Li Jessica Thompson. Jr. Secretary Betty Allen Christina Lang Assael Anne Coffin Catherine G. Selden FOUNDERS Miss Alice Tully William Schuman Charles Wadsworth. Lambert William M. viola Cello Julie Albers Raman Ramakrishnan.. Petschek William G. Katz Priscilla F. Lese Helen Brown Levine 15 Mr. Treasurer Richard J. viola Timothy Eddy. Hamilton Aron B. violin Steven Tenenbom. cello Efe Baltacigil Priscilla Lee DIRECTORS and FOUNDERS Peter Frelinghuysen. cello CHAMBER MUSIC SOCIETY TWO Piano Inon Barnatan Bass DaXun Zhang Gilles Vonsattel Clarinet Jose Franch-Ballester Violin Lily Francis Bassoon Peter Kolkay Erin Keefe Percussion Ayano Kataoka Yoon Kwon Susie Park Arnaud Sussmann Daedalus Quartet Viola Beth Guterman Min-Young Kim. Smith John W. O’Shaugnessy Annette U. Vice Chairman Harry P. violin Todd Phillips. Kamen.ARTISTS OF THE SOCIETY Piano Violin Viola Cello Gilbert Kalish Anne-Marie McDermott André-Michel Schub Wu Han Ani Kavafian Ida Kavafian Cho-Liang Lin Joseph Silverstein Paul Neubauer David Finckel Gary Hoffman Fred Sherry Bass Flute Oboe Clarinet Bassoon Edgar Meyer Ransom Wilson Stephen Taylor David Shifrin Milan Turkovic Orion String Quartet Daniel Phillips. Pillsbury. Curran Andrea Walton de Vogel Peter Duchin Barbara Erskine Neil Robert Grabois Charles H. Straus DIRECTORS EMERITI Marit Gruson Laurence Lovett Stephen R. Schlosser Donald Schnabel Lise Scott Elizabeth W. Rickel Herbert S. Miller. Kauff Paul C. James P. violin David Kim Kyu-Young Kim.