2018-2019
SEASON PREVIEW
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May 30, 2018
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New York String Orchestra Seminar
OBERLIN CONSERVATORY – NEW YORK TOUR
AMERICAN BRASS QUINTET
Hailed by Newsweek as “the high priests of brass,” the American Brass Quintet is internationally recognized as one of the premier chamber music ensembles of our time, celebrated for peerless leadership in the brass world. As 2013 recipient of Chamber Music America’s highest honor, the Richard J. Bogomolny National Service Award for significant and lasting contributions to the field, ABQ’s rich history includes performances in Asia, Australia, Central and South America, Europe, the Middle East, Canada and the United States; a discography of nearly 60 recordings; and the premieres of over 150 contemporary brass works. Committed to the development of brass chamber music through higher education, the American Brass Quintet has served as Ensemble-in-Residence at The Juilliard School since 1987 and the Aspen Music Festival since 1970. Its latest album, Perspectives, released in January 2017 on Summit Records, is described by the American Record Guide as “another outstanding ABQ release”; The Gramophone opines, “the American musicians bring utmost cohesion, balance and expressivity to each of the scores they perform with ear-catching intensity and finesse.”
Last season, the Quintet’s U.S. tour brought them to 18 cities in 15 states, including New York, Portland, Savannah and Colorado Springs, among others. Their highly successful concert tour “Blows the Roof off Bing” in Stanford, CA (San Francisco Classical Voice) and was praised by Broadway World as “rich, stylish, full-out glorious playing by all concerned”. This season, the American Brass Quintet appears at the Art Institute of Chicago, University of Idaho, Barrus Concert Hall and Mahaiwe Performing Arts Center, and in Stamford, NY, Norfolk, VA and Bryan, TX. In a special project presenting a multi-cultural exploration of chamber vocal literature and featuring music of Victoria, Guerrero, and other Spanish composers, the American Brass Quintet embarks on tour with the GRAMMY® nominated vocal ensemble Seraphic Fire in Los Angeles, La Jolla, Kansas City and Goshen, IN, and five cities in Florida including Miami, Boca Raton, Coral Gables, Ft. Lauderdale and Cutler Bay.
North American concert dates:
2018:
Sep. 9 / Chicago, IL / Art Institute of Chicago
Sep. 17 / Norfolk, VA
Oct. 17 / Miami, FL / With Seraphic Fire*
Oct. 18 / Boca Raton, FL / With Seraphic Fire*
Oct. 19 / Coral Gables, FL / With Seraphic Fire*
Oct. 20 / Ft. Lauderdale, FL / With Seraphic Fire*
Oct. 21 / Cutler Bay, FL / With Seraphic Fire*
Nov. 11 / Brookings, OR / Brookings Harbor Friends of Music
Nov. 13 / Moscow, ID / University of Idaho
Nov. 16 / Rexburg, ID / Barrus Concert Hall
Nov. 27 / Brayn, TX / Friends of Chamber Music
2019:
Feb. 19 / Goshen, NY / With Seraphic Fire*
Feb. 22 / Overland Park, KS / With Seraphic Fire*
Feb. 24 / La Jolla, CA / With Seraphic Fire*
Apr. 13 / Great Barrington, MA / Close Encounters with Music
Apr. 14 / Stamford, NY / Friends of Music of Stamford NY
ARIEL QUARTET
The rare talents of the Ariel Quartet, praised for their sonic unity, striking musical idioms, and “gift for filling the pristine structures of Classicism with fire,” (The New York Times) have become one of the most distinctive voices in the golden age of young string quartets. Formed while its members were still middle school students nearly twenty years ago, the Ariel Quartet has perpetuated a glowing international reputation, especially following the release of their debut recording in March 2017 on Avie Records. The recording, featuring and inspired Brahms and Bartók pairing, is a reflection of the deepening characteristic vitality the Ariel Quartet has developed in its years of simultaneous artistic growth.
They state: “The two composers communicate in a distinctly personal style and language, yet in many ways they are kindred spirits. Having approached the string quartet formation with profound admiration and knowledge of its German roots – Beethoven’s quartet oeuvre in particular – both composers also found enormous inspiration in the folk music of Hungary and its surroundings. What was native heritage for Bartók was also seen in Brahms’ deep affection for Hungary, which found inspiration during his late teen years, and both works on this CD are infused with these indigenous flavors.” Further recording projects of similar conceptual patterns are planned for future release.
The Quartet’s touring schedule in the 2018-19 season spans major cities and smaller communities across and between the East and West Coasts, and throughout Canada. They continue to perform Brahms and Bartók, as well as an impressive assortment of new and classical repertoire by Mozart, Mendelssohn, John Harbison, Webern, Beethoven, Schumann and others, and they collaborate with acclaimed pianists Daniil Trifonov and Orien Weiss.
North American concert dates:
2018:
Sep. 23 / Lakeville, CT / Music Mountain
Sep. 30 / Calgary, AB / Calgary Pro Musica Society
Nov. 1 / New York, NY / Aspect Foundation for Music & Arts
Nov. 2 / Washington DC / The Kreeger Museum
2019:
Jan. 18 / San Diego, CA / University of California – San Diego
Mar. 17 / New York, NY / Mannes College – The New School
Apr. 18 / Toronto, ON / Music Toronto
Apr. 28 / Utica, NY / Chamber Music Society of Utica
May 5 / Cincinnati, OH / Linton Chamber Music Series
EMERSON STRING QUARTET
The Emerson String Quartet stands apart in the history of string quartets with over four decades of an unparalleled list of achievements: more than thirty acclaimed recordings, nine Grammys® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, Musical America’s “Ensemble of the Year”, and collaborations with many of the greatest artists of our time. With a repertoire that spans three centuries of chamber music, the Emerson also looks towards the future by collaborating with today’s most esteemed composers and premiering new works, thus proving their commitment to keeping the art form of the string quartet alive and more relevant than ever.
The coming season reflects all aspects of the Emerson’s venerable artistry with high-profile projects, collaborations and tours. In season 2018-2019, the Emerson continues its series at the Smithsonian Institution in Washington, DC for its 40th season, collaborates with pianist Shai Wosner in New York at Alice Tully Hall, and appears at University of Georgia as part of the Chamber Music Society of Lincoln Center On Tour Series, Friends of Chamber Music in Denver and Vancouver, Library of Congress and Meany Center for the Performing Arts, among others.
Other North American highlights include subsequent performances at the Ravinia Festival, Segerstrom Center for the Arts and Stony Brook University of Shostakovich and The Black Monk: A Russian Fantasy, the new theatrical production co-created by the acclaimed theater director James Glossman and the Quartet’s violinist, Philip Setzer. In a bold intersection of chamber music and theater starring David Strathairn and Sean Astin, with the Emerson String Quartet, witness the trials and redemption of Dmitri Shostakovich’s 50-year obsessive quest to create an opera based on Anton Chekhov’s mystical tale: The Black Monk. Created from the minds of acclaimed writer-director, James Glossman, and Emerson String Quartet member, Philip Setzer, Shostakovich and The Black Monk: A Russian Fantasy is a masterpiece about love, art, madness and freedom. With the stroke of a pen, the Soviet regime undermined the career of one the most prominent composers of the 20th century. Through music – including performances of Shostakovich’s String Quartet No. 14 and No. 8– the Emerson Quartet joins seven actors and weaves the tale of Shostakovich’s obsessive quest, trying over decades to retell Chekhov’s haunting and heroic story of a writer struggling for his sanity, only to be sidetracked again and again by the composer’s own struggle to survive as an artist amid the ever-changing imperatives of Stalin’s Soviet state.
“Christopher and Justin Swader’s almost gothic scenic design reminded the audience of the dark period of Russian history in which both Chekhov and Shostakovich worked, and the visuals presented on a screen at the back of the stage were primarily authentic photographs from the lives of the characters. As a multimedia production, Shostakovich and the Black Monk effectively combined ensemble theater with the best of chamber music.” – Town Topics Princeton
Sunday, October 21, 2018 at 5:00 pm
Alice Tully Hall, New York, NY
With Shai Wosner, piano
MOZART: Quartet in E-flat major for Piano, Violin, Viola, and Cello, K. 493 (1786)
BOLCOM: Quintet No. 1 for Piano, Two Violins, Viola, and Cello (2000)
DVORAK: Quartet in G major for Strings, Op. 106 (1895)
Friday, April 12, 2019 at 8:00 pm
Staller Center, Stony Brook University
Stony Brook, NY
Writer/Director: James Glossman
Shostakovich: Len Cariou
Stalin: Jay O. Sanders
Middle Woman: Evelyn McGee Colbert
Younger Man: Alex Glossman
Older Man: Paul Murphy
Younger Woman: Ali Breneman
Older Woman: Linda Setzer
The Emerson Quartet
Shostakovich and The Black Monk: A Russian Fantasy
DANISH STRING QUARTET
Following the exceptional critical success and popularity of the Danish String Quartet’s latest recording, Last Leaf, which was ranked among the best recordings of 2017 by New York Times, NPR, WQXR, Boston Globe Spotify, and Billboard, among others, the Quartet will embark on a new recording project, PRISM. The project, to be released as five albums, with the first releases in Fall 2018 and Spring 2019 with further dates to be announced, also corresponds to five concert programs. PRISM curates a series of musical sets based on the historical and musical impact of Bach’s seminal fugal writing and the great final Beethoven string quartets, and compositions which were borne out of these fundamentally influential works, including quartets by Shostakovich, Schnittke, Bartók, Mendelssohn, and Webern.
In addition to building an extensive library of outstanding recorded works, the members of the Danish String Quartet maintain their striking presence in North America for their dynamism and uncommonly intense musical sensitivity in live performances. Due to their great and increasing demand by audiences and concert presenters, the Quartet returns twice to North America, appearing in acclaimed venues in across a dozen US states and three Canadian provinces. Making its 92Y debut and exclusive New York City date of the concert season, the Quartet highlights its affinity for both classical and contemporary Nordic traditions with a program spanning Haydn, Hans Abrahamsen, and Beethoven.
Saturday, November 17, 2018 at 8 PM
92nd Street Y – Kaufmann Concert Hall
Danish String Quartet (92Y recital debut)
Frederik Øland, violin
Rune Tonsgaard Sørensen, violin
Asbjørn Nørgaard, viola
Fredrik Schøyen Sjölin, cello
HAYDN Quartet in C Major, Op. 20, No. 2 (Hob. III:32)
HANS ABRAHAMSEN String Quartet No. 2 (1981)
BEETHOVEN Quartet No. 7 in F Major, Op. 59, No. 1, “Razumovsky”
In international demand for their technical prowess and interpretive talents matched by an infectious joy for music-making and “rampaging energy” (Alex Ross, The New Yorker), the Danish String Quartet has established a reputation for their integrated sound, impeccable intonation and judicious balance. Since making their debut in 2002 at the Copenhagen Festival, the musical friends have demonstrated a passion for Scandinavian composers, who they frequently incorporate into adventurous contemporary programs, while also giving consummate and profound interpretations of the classical masters. The New York Times selected the quartet’s concerts as highlights of 2012 and 2015, and in 2016 as one of the recording highlights of the year for their ECM debut of works by Hans Abrahamsen, Per Nørgård and Thomas Adés. The recording debuted at #16 on the Billboard Classical Chart and continues to earn international acclaim.
Additional North American Performance Dates:
2018:
Nov. 3/ Kingston, ON/ Queen’s University
Nov. 4/ Toronto, ON/ Royal Conservatory of Music
Nov. 5/Quebec, QB/ Club Musical de Quebec
Nov. 8/ Richmond, VA/ University of Richmond
Nov. 9/ Winston-Salem, NC/ Wake Forest University
Nov. 10/Durham, NC/ Duke University
Nov. 12/ Washington, DC/ Washington Performing Arts
Nov. 13/ Houston, TX/ Da Camera Houston
Nov. 15/ Ann Arbor, MI/ University Musical Society
2019:
Feb. 17,/Berkeley, CA/ Cal Performances
Feb. 19/ Provo, UT/ Brigham Young University
Feb. 24/ Vancouver, BC/ Vancouver Recital Society
JUHO POHJONEN
Celebrated as one of Finland’s most outstanding pianists, Juho Pohjonen has received widespread acclaim for his profound musicianship and distinctive interpretations of a broad range of repertoire from Bach to Salonen. His interpretations are known for their intensity, thoughtfulness, and fearless musical conviction. Highlights of his 2018-2019 season include concerto appearances with the Nashville Symphony and Bay Atlantic Symphony, performing Mozart’s Concerto No. 23, K 488, and Brahm’s Piano Concerto with the Pacific Symphony and Duluth-Superior Symphony Orchestra. In recital, he debuts at 92nd Street Y in New York, and appears at the Lane Series of the University of Vermont and Music Toronto.
“Everything about his recital was formidable. One reason his debut demanded attention was that his adventurous program made news from first (a rhapsodic Fantasy in C minor attributed to Mozart but completed by Maximilian Stadler) to last (two stunningly difficult works by the Finnish composer and conductor Esa-Pekka Salonen). Mr. Pohjonen gave a bracing account of Bartok’s daunting Sonata (1926), sailing through the propulsive final movement. He gave breathtaking performances of both works. When the audience broke into an ovation, the young pianist finally cracked a slight smile.”–The New York Times
Friday, April 5, 2019 at 9 pm
92Y – Buttenwieser Hall
Juho Pohjonen, piano (92Y recital debut)
RAMEAU: Nouvelles Suites de pièces de clavecin, Suite No. 2 in G Major, RCT 6
SCRIABIN: Sonata No. 8, Op. 66
ESA-PEKKA SALONEN: Dichotomie
This season, Mr. Pohjonen continues his close association with The Chamber Music Society of Lincoln Center at Alice Tully Hall, and on tour in Chicago, Madison, NJ and Vienna, VA, collaborating with violinist Angelo Xiang Yu as well as the Calidore and Escher String Quartets. He appears frequently with The Chamber Music Society of Lincoln Center, since his tenure with the CMS Two Residency Program for Outstanding Young Artists from 2009-2012.
Sunday, October 28, 2018 at 8 pm
Chamber Music Society of Lincoln Center – Alice Tully Hall
Juho Pohjonen, piano
Angelo Xiang Yu, violin
PROKOFIEV: Sarcasms, Five Pieces for Piano, Op. 17
BEETHOVEN: Sonata in A major for Violin and Piano, Op. 47, “Kreutzer”
Sunday, October 28, 2018 at 8 pm
Chamber Music Society of Lincoln Center – Alice Tully Hall
Juho Pohjonen, piano
Escher String Quartet
MOZART: Concerto No. 12 in A major for Piano and String Quintet, K. 414
MARKUS STENZ
German conductor Markus Stenz is known for his vibrant, masterful musical interpretations; the breadth of his artistry has earned him the reputation as a prized collaborator and passionate performer, especially of German orchestral music, and of operatic scores. Since his debut as an opera conductor at La Fenice in Venice, he has conducted many world premieres and first performances including Henze’s Das Verratene Meer in Berlin, Venus und Adonis at the Bavarian State Opera in Munich and L’Upupa at the 2003 Salzburg Festival. Markus Stenz has appeared at many of the world’s major opera houses and international festivals including La Scala in Milan, La Monnaie in Brussels, English National Opera, Lyric Opera of Chicago, San Francisco Opera, Stuttgart Opera, Frankfurt Opera, Glyndebourne Festival Opera, Edinburgh International Festival, the Bregenz Festival (with the world premiere of Solaris by Detlev Glanert in July 2012) and Salzburg Festival.
In Fall 2018, Markus Stenz makes his conducting debut at Teatro alla Scala with the highly-anticipated world premiere performance of Fin de Partie, the first opera by internationally-heralded composer György Kurtág, composed at the age of 91. Based on the famous Samuel Beckett play, commonly performed in English as Endgame, the operatic version, to be sung in French, stars bass Frode Olsen, baritone Leigh Melrose, contralto Hilary Summers, and tenor Leonardo Cortallazzi in a production staged by Pierre Audi.
November 15, 17, 20, 22, 24, 25, 2018
Teatro alla Scala
Frode Olsen – Hamm
Leigh Melrose – Clov
Hilary Summers – Nell
Leonardo Corallazzi – Nagg
Markus Stenz, conductor
Pierre Audi, stage director
GYÖRGY KURTÁG: Fin de Partie (World Premiere)
Following the world premiere in Milan, Stenz and the full cast bring the production of Fin de Partie to the Dutch National Opera in March 2019.
Stenz currently serves as Chief Conductor of the Netherlands Radio Philharmonic Orchestra. He is also Principal Guest Conductor of the Baltimore Symphony, and Conductor-in-Residence of the Seoul Philharmonic Orchestra, in addition to his extensive international guest conducting engagements. His previous positions have included General Music Director of the City of Cologne and Gürzenich-Kapellmeister, Principal Guest Conductor of the Hallé Orchestra, Music Director of the Montepulciano Festival, Principal Conductor of the London Sinfonietta – one of the most renowned ensembles for contemporary music – and Artistic Director and Chief Conductor of the Melbourne Symphony Orchestra. In his North American home of Baltimore, The Baltimore Sun has said of the conductor, “Stenz exuded endless energy from the podium. Even in moments of lyrical reflection, he kept a sense of tension going, so that the music seemed capable of sprinting off again at any moment.”
Additional North American Engagements:
Jan. 19, 2019 / North Bethesda, MD / Baltimore Symphony Orchestra
Jan. 20 / Baltimore, MD/ Baltimore Symphony Orchestra
Jan. 26 / Portland, OR / Oregon Symphony
Jan. 27 / Portland, OR / Oregon Symphony
Jan. 28 / Portland, OR / Oregon Symphony
Feb. 1 / Nashville, TN / Nashville Symphony
Feb. 2 / Nashville, TN / Nashville Symphony
Feb 8. / Baltimore, MD/ Baltimore Symphony Orchestra
Feb. 9/ North Bethesda, MD / Baltimore Symphony Orchestra
Feb. 10/ Baltimore, MD/ Baltimore Symphony Orchestra
Mar. 28/ North Bethesda, MD / Baltimore Symphony Orchestra
Mar. 29/ Baltimore, MD/ Baltimore Symphony Orchestra
Mar. 30/ Baltimore, MD/ Baltimore Symphony Orchestra
NEW YORK STRING ORCHESTRA SEMINAR CELEBRATES 50 YEARS
Established in 1969 by prominent New York arts administrator and artist manager, Frank Salomon, the New York String Orchestra Seminar, under the auspices of The New School’s Mannes School of Music, will celebrate its 50th year as one of the most important conservatory-level training programs in the world in December 2018. Created for the legendary musician, Alexander “Sasha” Schneider, the New York String Orchestra Seminar has been a launching point for countless young musicians as they bridge the gap between their student years and the very early stages of their careers, with over 2,300 notable alumni actively performing extensively as soloists and in nearly every major orchestra and chamber ensemble in the United States.
The highly demanding program is offered to only 66 students, ages 16-23, from an applicant pool of more than 400. Each accepted student receives a full scholarship for the 10-day program, including room and board, as has been the custom since the Seminar’s inception. Over the span of the 10-day Seminar, the musicians participate in orchestra rehearsals, chamber music sessions, and sectional coachings between six and ten hours daily. The Seminar maintains its long tradition of performing on the Stern Auditorium Stage in Carnegie Hall on two occasions, Christmas Eve and December 28, 2018; this year acclaimed guest artists Yefim Bronfman and Joshua Bell will join the Seminar participants as well as a number of celebrated alumni, including Cho-Liang Lin, Kyoko Takezawa, Bella Hristova, Jinjoo Cho. In 1993, shortly before his death Schneider appointed acclaimed conductor Jaime Laredo as the New York String Orchestra Seminar Music Director, as position Laredo continues to uphold as he introduces each year’s students to an ideology that the effectiveness of music, beyond technical mastery, requires personal expressivity, emotional warmth and generosity, joy, and gratitude. “It was one of the defining moments for me as a teenager. The passion of people your own age is very important; it puts you in touch with a larger world, beyond schooling and everything else you do.” — Yo-Yo Ma, cellist, participant in the 1971 New York String Orchestra Seminar
Monday, December 24, 2018 at 7PM
Carnegie Hall – Stern Auditorium/Perelman Stage
New York String Orchestra
Jaime Laredo, conductor
Jinjoo Cho, violin
Bella Hristova, violin
Cho-Liang Lin, violin
Kyoko Tazekawa, violin
Yefim Bronfman, piano
MENDELSSOHN: The Hebrides Overture
VIVALDI: Concerto for Four Violins and Orchestra in B Minor, Op. 3 No. 10
BEETHOVEN: Piano Concerto No. 4
Friday, December 28, 2018 at 8PM
Carnegie Hall – Stern Auditorium/Perelman Stage
New York String Orchestra
Jaime Laredo, conductor
Joshua Bell, violin
GEORGE WALKER: Lyric for strings
BRAHMS: Violin Concerto
TCHAIKOVSKY: Symphony No. 6 Pathétique
“’We wanted the seminar to be a total experience – living, eating, breathing together, not like going to school.’ Mr. Salomon said…This is the kind of situation that Mr. Schneider, a Johnny Appleseed of good music, likes best. ‘The moment there is no overprofessionalism, there is immediate enthusiasm. I wish I could do this all the time.’” – The New York Times, December 25, 1969
OBERLIN CONSERVATORY – NEW YORK TOUR
The prestigious Oberlin College Conservatory of Music, for the first time since 2013, comes to New York in January 2019 for a tour spanning three diverse concerts in three major venues. Representing not only the exemplary quality of young musicians who study at Oberlin, but the immense range of opportunities given to them while studying, this tour includes both instrumentalists and vocalists, classical and jazz repertoire, with solo and ensemble pieces, including Tchaikovsky’s famous Violin Concerto with the 2017 Cooper International Competition first prize recipient, the Swiss violinist Johan Delene. The tour also includes the debut of Oberlin’s new Sonny Rollins Jazz Ensemble, created from a generous gift to the Conservatory from Mr. Rollins himself, and a culminating performance with the full Oberlin Orchestra at Carnegie Hall.
Wednesday, January 16, 2019
Dizzy’s Club Coca-Cola – Jazz at Lincoln Center
Oberlin Sonny Rollins Jazz Ensemble (performance debut)
Friday, January 18, 2019
Location TBD
Oberlin College Choir
STRAVINSKY Les Noces
Additional works to be announced
Saturday, January 19, 2019
Carnegie Hall – Stern Auditorium/Perelman Stage
Oberlin Orchestra
Raphael Jiménez, conductor
Johan Dalene, violin
DEBUSSY La Mer
TCHAIKOVSKY Violin Concerto
Additional works to be announced
Ranked among the nation’s top liberal arts schools, Oberlin College is committed to rigorous academics, artistic and musical excellence, and social justice. Founded in 1833, Oberlin was the first institution of higher education in America to adopt a policy to admit students of color (1835) and the first to award bachelor’s degrees to women in a coeducational program (1841). Oberlin’s distinct history of challenging intellectual and social conventions shapes the student experience today, fostering strong bonds among a diverse community of bright and talented students from around the world. Oberlin’s combination of a leading liberal arts college and a world-class music conservatory creates an unparalleled learning environment.
Established in 1865, the Oberlin Conservatory of Music is recognized as one of the foremost professional training institutions in the world. It is the oldest continuously operating conservatory of music in America, the only major music school devoted primarily to the education of undergraduate musicians, and one of two institutions of higher education to have been awarded the National Medal of Arts.
Conservatory alumni and faculty have won countless Grammy Awards and international competitions and gained world-class stature as performers, conductors, composers, scholars, educators, and arts administrators. Graduates hold leadership positions and perform with major orchestras throughout the country, including Boston, Cleveland, Philadelphia, the National Symphony, and the New York Philharmonic, and with distinguished opera companies such as the Lyric Opera of Chicago, the Metropolitan, Seattle, and San Francisco. Other alumni have pursued successful careers in jazz, chamber music, and the film industry. Many others teach in schools, colleges, universities, and conservatories, and Oberlin leads all undergraduate institutions in the number of graduates who go on to earn doctorates in music.
PINCHAS ZUKERMAN
Pinchas Zukerman has remained a phenomenon in the world of music for over four decades. His musical genius, prodigious technique and unwavering artistic standards are a marvel to audiences and critics. Devoted to the next generation of musicians, he has inspired younger artists with his magnetism and passion. His enthusiasm for teaching has resulted in innovative programs in London, New York, China, Israel and Ottawa, and this artist is highly regarded as violinist, violist, conductor, pedagogue and chamber musician.
Season 2018-2019 celebrates Mr. Zukerman’s 70th birthday and marks his tenth season as Principal Guest Conductor of the Royal Philharmonic Orchestra in London. In summer 2018, Cadogan Hall in London hosts Pinchas Zukerman Summer Music Festival, a 5-day event featuring series of orchestral and chamber concerts with Mr. Zukerman and the Royal Philharmonic Orchestra, as well as other artists including violinists Viviane Hagner and Fumiaki Miura as well as the Zukerman Trio, among others. He plays and conducts the Orchestra of Teatro di San Carlo and Verbier Festival Chamber Orchestra , and appears with Zukerman Trio at the Ravinia Festival, Rockport Music in Rockport, MA and the Highlands Cashiers Chamber Music Festival in Highlands, NC. Highlights of the 2018-2019 season include two European tours with the Royal Philharmonic and Rotterdam Philharmonic Orchestras, and concerto appearances with the Los Angeles Philharmonic Orchestra, Pittsburgh, Colorado, New World Symphonies and Gulbenkian Orchestra. Serving as both soloist and conductor, Mr. Zukerman leads the Royal Philharmonic Orchestra, National Arts Centre Orchestra, Toronto and Indianapolis Symphony Orchestras. In chamber music, he travels with the Zukerman Trio for concerts at New York’s 92nd Street Y, Walton Arts Center, Troy Chromatic Concerts and Shriver Hall Concert Series; as guest artist, he joins the Jerusalem Quartet on tour in Chicago, Houston, Atlanta, Vancouver, Berkeley, CA and Ann Arbor, MI.
“With Pinchas Zukerman’s matchless musicianship and charisma at its core, this is a trio made in heaven. His South African-born wife Amanda Forsyth brings passion and formidable technique as a cellist, and Canadian pianist Angela Cheng is the dream accompanist who lives every note.”— Limelight Magazine
Sunday, February 3, 2019 at 3 PM
92Y – Kaufmann Concert Hall
Distinguished Artists
Zukerman Trio
Pinchas Zukerman, violin
Amanda Forsyth, cello
Angela Chang, piano
BEETHOVEN: Variations on Ich bin der Schneider Kakadu, Op. 121a
ARENSKY: Piano Trio No. 1 in D Minor, Op. 32
BRAHMS: Piano Trio No. 2 in C Major, Op. 8
SIR ANDRÁS SCHIFF
Sir András Schiff has distinguished himself throughout the course of an exceptional international career that has spanned over 40 years. He is world-renowned as a pianist, conductor, pedagogue and lecturer. “An undisputed master of the German repertory,” (The New Yorker), Sir András has been focusing his exquisite interpretations of German master composers, featuring works by Schubert, Bach, Brahms, Beethoven, Mozart and Mendelssohn during the past seasons. For his 2018-2019 North American tour, Sir András Schiff offers a rich and imaginative recital program filled with love, anxieties, longings, visions and fantasies, capturing the pianist’s personal insights in selected works by Bach, Bartók, Janacek and Schumann.
“But so successful was the evening that the critic can only throw up his hands, wish you had been there, and quote Ira Gershwin’s endearing tombstone inscription: ‘Words Fail Me.’” — The New York Times
Thursday, March 7, 2019 at 8 PM
Carnegie Hall, Stern Auditorium/Perelman Stage
Sir András Schiff, piano
BACH Capriccio in B-flat Major, BWV 992, “On the Departure of a Most Beloved Brother”
BARTÓK Six Dances in Bulgarian Rhythm from Mikrokosmos
BACH Four Duets, BWV 802-805
BARTÓK Piano Sonata, Sz. 80
JANÁČEK In the Mists
SCHUMANN Davidsbündlertänze, Op. 6
Additional North American recital dates –
2019:
Feb. 18 / Napa, CA / Chamber Music in Napa Valley
Feb. 20 / Denver, CO / University of Denver
Feb. 22 / La Jolla, CA / La Jolla Music Society
Feb. 24 / Aliso Viejo, CA / Soka Performing Arts Center
Mar. 2 / Seattle, WA / Benaroya Hall
Mar. 5 / Washington, D.C. / Strathmore
Last fall, Sir András Schiff appeared with the New York Philharmonic and the Chicago Symphony Orchestra, serving as both conductor and soloist. In his highly anticipated 2018-19 North American Tour, Sir András Schiff conducts and plays with San Francisco and Seattle Symphonies, pairing concerti by Bach and Beethoven with Bartók‘s colorful Concerto for Orchestra and Mendelssohn’s Lobgesang.
“Haydn, Mozart, Beethoven, Bartók — they all come from Bach” – Sir András Schiff
Thursday, February 14, 2019 at 2 PM
Friday, February 15, 2019 at 8 PM
Sunday, February 17, 2019 at 2 PM
Davies Symphony Hall
Sir András Schiff conducts and plays
San Francisco Symphony
BACH Keyboard Concerto No. 4 in A major, BWV 1055
BACH Orchestral Suite No. 3 in D major, BWV 1068
BACH Keyboard Concerto No. 7 in G minor, BWV 1058
MENDELSSOHN Symphony No. 2 in B flat major, op. 52, “Lobgesang”
Thursday, February 28, 2019 at 7:30 PM
Sunday, March 3, 2019 at 2 PM
Benaroya Hall
Sir András Schiff conducts and plays
Seattle Symphony
BACH Keyboard Concerto No 3 in D major, BWV 1054
BEETHOVEN Piano Concerto No. 4 in G major, Op. 58
BARTÓK Concerto for Orchestra, Sz. 116
PETER SERKIN
Recognized as an artist of passion and integrity, the distinguished American pianist Peter Serkin has successfully conveyed the essence of five centuries of repertoire. His inspired performances with symphony orchestras, in recital appearances, chamber music collaborations and on recordings have been lauded worldwide for decades. An avid exponent of the music of many of the 20th and 21st century’s most important composers, Mr. Serkin has been instrumental in bringing to life the music of Schoenberg, Reger, Webern, Berg, Stravinsky, Wolpe, Messiaen, Takemitsu, Wuorinen, Goehr, and Knussen for audiences around the world. He has performed many important world premieres of works written specifically for him, in particular by Toru Takemitsu, Hans Werner Henze, Luciano Berio, Leon Kirchner, Alexander Goehr, Oliver Knussen and Charles Wuorinen. Mr. Serkin has recently made several arrangements of four-hand music by Mozart, Schumann and his grandfather, Adolf Busch, for various chamber ensembles and for full orchestra. He has also arranged all of Brahms’s organ Chorale-Preludes, transcribed for one piano, four-hands.
This season, Mr. Serkin collaborates with the Cincinnati, Rogue Valley and Vermont Symphony Orchestras as well as the Espressivo Orchestra, performing Bartok’s Piano Concerto No. 3 and Bach’s Concerto in D minor, BWV 1052. In recital, he appears at New York’s 92nd Street Y, the Ravinia and Aix-en-Provence Easter Festivals, Philadelphia Chamber Music Society, People’s Symphony Concerts, Greenwich Library Concert Series, Yale School of Music and the Green Music Center, as well as in Springfield and Northampton, MA, and Bethlehem, PA. An avid chamber music performer, Mr. Serkin performs at Music Mountain and collaborates with the Dover String Quartet.
Saturday, December 1, 2018 at 8 pm
92Y – Kaufmann Concert Hall
Peter Serkin, piano
MOZART: Adagio in B Minor, K. 540
MOZART: Sonata in B-flat Major, K. 570
BACH: Goldberg Variations, BWV 988
SOLERA QUARTET
The New York-based Solera Quartet, hailed as “top-notch, intense, stylish, and with an abundance of flare and talent,” (The Virginia Gazette) has already earned recognition for the extraordinary amount and variety of musical initiatives since their inception only three years ago. Comprised of violinists Tricia Park, Miki-Sophia Cloud, violist Molly Carr, and cellist Andrew Janss, the four artists each bear an impressive resume of teaching, outreach, and performance achievements, as well as an extensive list of previous and continued chamber ensemble appointments, which the Quartet continues to broaden and diversify through its myriad accumulated channels and associations. Last year, the Quartet earned the impressive distinction as winners of the 2017 Pro Musicis International Award, joining an extensive roster of globally-renowned artists, and will mark the occasion with their debut recital at Carnegie Hall in October 2018.
Tuesday, October 23, 2018 at 7:30PM
Carnegie Hall – Weill Recital Hall
Solera Quartet
Miki-Sophia Cloud, violin
Tricia Park, violin
Molly Carr, viola
Andrew Janss, cello
MOZART: String Quartet No. 13 in D Minor, K. 173
CAROLINE SHAW: Entr’acte
BEETHOVEN: String Quartet No. 15 in A Minor, Op. 132
This season also includes the Solera Quartet’s recording debut, featuring a gripping program of Janacek, Mendelssohn, and Caroline Shaw, based on the thematic idea of obsession. The Quartet also will also begin a two-album recording project featuring rarely-recorded chamber works of George Enescu, with pianist Josu de Solaun.
For two years, the Solera Quartet has been closely connected to the non-profit, Project: Music Heals Us, as performers in a Connecticut prison. This experience became the impetus behind the Solera Quartet Prison Outreach Residency – which has since facilitated visits and residencies between other string quartets and correctional institutions across the nation – and earned the Quartet the 2017 Father Eugène Merlet Award for Community Service to fund a pilot program, launched in January 2018, with the Danbury Federal Correctional Institution. The week-long residency offered inmates and staff the opportunity to directly interact with the Solera Quartet via daily lecture and discussion on the life and legacy of Beethoven, as well as an innovative composer’s workshop available to inmates of any (or no) musical background. Working together with incarcerated individuals without the ability to read music, the Solera Quartet offers innovative and/or unconventional means of notating the inmate’s musical ideas, allowing the Quartet to closely approximate how the piece should be played; this brings inmates the benefits of creative expression, as well as the unique opportunity to truly collaborate with world-class artists.
ROBERT SPANO
The coming season marks Robert Spano’s Metropolitan Opera conducting debut, with the US Premiere of Nico Muhly’s new opera, Marnie. Based on the Winston Graham novel, which was later adapted as a screenplay for the film of the same name by Alfred Hitchcock, Marnie is sung by an outstanding cast comprised of some of today’s most celebrated voices, including the mezzo-soprano Isabel Leonard in the title role. Opening on October 19, Spano will conduct the seven performances in total, with the closing night performance on November 10 aired live in HD.
Friday, October 19, 2018 at 8 PM
Monday, October 22, 2018 at 7:30 PM
Saturday, October 27, 2018 at 8 PM
Wednesday, October 31, 2018 at 7:30 PM
Saturday, November 3, 2018 at 8 PM
Wednesday, November 7, 2018 at 7:30 PM
Saturday, November 10, 2018 at 1:00 PM *
* + in cinemas
Metropolitan Opera
Robert Spano, conductor
Isabel Leonard, mezzo-soprano
Janis Kelly, soprano
Denyce Graves, mezzo-soprano
Iestyn Davies, countertenor
Christopher Maltman, baritone
NICO MUHLY: Marnie (US Premiere)
Spano’s regular conducting duties with the Atlanta Symphony Orchestra are a reflection of his ardent commitment to programming a diverse, thoughtful range of orchestral works, continuing to build an engaged musical community of artists and audiences experiencing timeless music of the classical canon alongside compelling new commissions. The 2018-19 season features the world premiere of Atlanta-based composer Richard Prior’s Symphony No. 4, commissioned by the Atlanta Symphony Orchestra, as well as ASO premieres of the Viola Concerto by Atlanta School of Composers alumna Jennifer Hidgon, and City of Ghosts by Alex Turley which Spano conducted in 2016 in Melbourne, Australia. Additionally, Spano appears as guest conductor of several of the great national and international orchestras, including the San Diego, Fort Worth, and Nashville Symphonies, the Royal Liverpool and Hangzhou Philharmonics. The conductor will welcome collaborations with many highly acclaimed soloists such as pianists Jeremy Denk, Kiril Gerstein, Louie Lortie, Jorge Federico Osorio and Wu Han, violinist Daniel Hope, violist Roberto Diaz, cellists David Finkel and Johannes Moser, sopranos Jessica Rivera and Elizabeth Atherton, bass-baritone Shenyang, among others.
To close the ASO’s 2018-19 season, the two-year “LB/LB” celebration honoring Leonard Bernstein and Ludwig van Beethoven, and Spano’s penultimate season as Atlanta Symphony Orchestra’s Music Director, a complete production of Beethoven’s Fidelio will be staged with the world-renowned ASO Chorus and star soprano Christine Goerke in the role of Lenore.
Thursday, June 6, 2019, 8 PM
Saturday, June 8, 2019, 8 PM
Atlanta Symphony Hall
Memorial Arts Building, Woodruff Arts Center
Robert Spano, conductor
Christine Goerke, soprano
Joseph Kaiser, tenor
Nmon Ford, baritone
Arthur Woodley, bass
Laura Tatulescu, soprano
Miles Mykkanen, tenor
Morris Robinson, bass
Atlanta Symphony Orchestra Chorus
Atlanta Symphony Orchestra
BEETHOVEN Fidelio
Conductor, pianist, composer and mentor Robert Spano is known worldwide for the depth and intensity of his artistry as well as his unique communicative abilities. As Music Director of both the Atlanta Symphony Orchestra and Aspen Music Festival and School, Robert Spano’s dedication to American living composers, education and outreach spreads across the nation. Under Maestro Spano’s guidance, the ASO and audiences explore an exciting mix of innovative programming. The Atlanta School of Composers reflects his commitment to American contemporary music, thus defining a new generation of American composers. Spano has consistently championed works which have spurred his growth as one of the most inspired American purveyors of classical music.
TOD MACHOVER
Following the overwhelming success of “Philadelphia Voices,” the newest installment of composer Tod Machover’s popular “City Symphonies” projects premiered by the Philadelphia Orchestra and Yannick Nézet-Séguin, the 2012 Pulitzer Prize finalist and 2016 Musical America Composer of the Year has composed a new opera titled Schoenberg in Hollywood, commissioned and presented by Boston Lyric Opera. Inspired by the life of Austrian composer Arnold Schoenberg following his departure from Hitler’s Europe to Los Angeles in the 1930s, the opera will make its world premiere on November 14, 2018, and will run for five performances. “Schoenberg is a towering figure in music, a great visionary who incorporated so many things into his work that we are just beginning to understand its full impact,” Machover said. “I am intrigued with the idea of what happened when Schoenberg – the ultimate uncompromising futurist who was also a wonderful teacher and tinkerer – wound up in the center of L.A.’s film world. He struggled with how to combine art with entertainment, reflection with action, and tradition with revolution.”
Machover says the opera will explore “the pathos, humor and heroism of Schoenberg’s inspiring journey, providing a glimpse of what might have happened if he had reconciled all these opposites.” The libretto to Schoenberg in Hollywood is written by English theater and film actor, director, and writer (The Ghost Train Tattoo for theater and short-story anthology The Separate Heart) Simon Robson. It is based on a scenario by Braham Murray, who also directs Schoenberg in Hollywood, and who previously directed two other Machover operas, Resurrection (1999) and Skellig (2008).
November 14, 15, 16, 17, 18, 2018
Boston Lyric Opera – Emerson Paramount Center
Omar Ebrahim, baritone
Sara Womble, soprano
Jesse Darden, tenor
TOD MACHOVER: Schoenberg in Hollywood (World Premiere)
David Angus, Conductor
Braham Murray, Stage Director
Simon Higlett, Set Designer
Nancy Leary, Costume Designer
Pablo Santiago, Lighting Designer
Karole Armitage, Movement Director
Tod Machover is especially known for his visionary operas, which frequently incorporate groundbreaking technologies developed by Machover and the MIT Media Lab to expand the expressive potential of performance and staging and to bridge the gap between performers and audience. In addition to Schoenberg in Hollywood, Machover is also the composer of six other operas. VALIS (1987), based on the sci-fi classic by Philip K. Dick and commissioned by the Centre Georges Pompidou in Paris for its tenth anniversary, was called “the first opera of the 21st century” by the Boston Globe. Magicians Penn & Teller premiered Machover’s 1994 opera Media/Medium in Las Vegas. The Brain Opera (1996/8), is an interactive extravaganza that was commissioned for the first Lincoln Center Festival, toured worldwide, and was installed long-term at Vienna’s House of Music, and which allows an onsite and online audience to interact with – and help create – the opera’s elements in real time. Resurrection – based on Tolstoy’s final novel of the same name – was commissioned by Houston Grand Opera and premiered there in 1999. Machover’s 2008 opera, Skellig, premiered at the Sage Gateshead (UK), and is based on the bestselling children’s novel by David Almond, who also wrote the libretto. The “robot opera” Death and the Powers premiered in Monaco at the Opéra de Monte-Carlo in 2010 and subsequently debuted in the United States in Chicago and Machover’s hometown, Boston; it was staged in 2014 by Dallas Opera in a production that was recorded for distribution on Blu-ray Disc, and was simulcast worldwide using specially developed technologies to allow viewers to interact with the performance onstage through smartphones, tablets, and other portable electronic devices.
Tod Machover is Muriel R. Cooper Professor of Music and Media at the MIT Media Lab, where he also directs the Opera of the Future group. Called a “musical visionary” by The New York Times and “America’s most wired composer” by The Los Angeles Times, Machover is an influential composer and inventor, praised for creating music that breaks traditional artistic and cultural boundaries and for developing technologies that expand music’s potential for everyone, from celebrated virtuosi to music-lovers of all abilities and backgrounds. Machover’s music has been performed and commissioned by many of the world’s most important performers and ensembles, including Lincoln Center for the Performing Arts, the Los Angeles Philharmonic, the Lucerne Festival (where he was 2015 Composer-in-Residence), the Edinburgh International Festival, the Ensemble InterContemporain, the BBC Symphony Orchestra, and the Tokyo String Quartet. He has received numerous prizes and honors, including from the American Academy of Arts and Letters, the Fromm and Koussevitzky Foundations, the National Endowment for the Arts, and the French Culture Ministry, which named him a Chevalier de l’Ordre des Arts et des Lettres.
92nd Street Y
Sunday, October 14, 2018, 3:00 pm
92Y – Kaufmann Concert Hall
Inflection – “East West Street: A Song of Good and Evil”
Laurent Naouri, bass-baritone
Emanuel Ax, piano
Guillaume de Chassy, piano
Katja Riemann, narrator
Philippe Sands, narrator
Nina Brazier, director
Works by RAVEL, BACH, BEETHOVEN, RACHMANINOFF, SCHUBERT, LEONARD COHEN, and others
Lawyer Philippe Sands is the author of East West Street, a monumental story detailing the intersection of war crimes, international law, and humanity during the infamous Nuremburg trials. Mr. Sands joins German actress Katja Riemann as co-narrator, with French bass-baritone Laurent Naouri and pianists Emanuel Ax and Guillaume de Chassy, in “East West Street: A Song of Good and Evil,” a semi-staged performance with music of Ravel, Beethoven, Rachmaninoff, Schubert, Bach, and Leonard Cohen, among others. The production, also part of the Vocal Series, is directed by acclaimed English opera director Nina Brazier.
Tue, Oct 16, 2018, 7:30 pm
92Y – Kaufmann Concert Hall
Chamber Ensembles
Academy of St Martin in the Fields Chamber Ensemble
Tomo Keller, violin
Harvey de Souza, violin
Robert Smissen, viola
Stephen Orton, cello
Lynda Houghton, doublebass
Stephen Stirling, horn
Daniel Jemison, bassoon
James Burke, clarinet
GLAZUNOV: Idyll for horn and string quartet
FRANÇAIX: Octet for clarinet, horn, bassoon, and strings, “À huit”
SCHUBERT: Octet in F Major, D. 803
Celebrating its 50th anniversary, the London-based Academy of St Martin in the Fields Chamber Ensemble enjoys an enviable international reputation for its distinctive, polished and refined sound. With over 500 releases in a much-vaunted discography and a comprehensive international touring program, the name and sound of the Academy is known and loved by classical audiences throughout the world. Led by Music Director and virtuoso violinist Joshua Bell, the Academy retains the collegiate spirit and flexibility of the original small, conductor-less ensemble while it continues to push boundaries of play-directed performance to new heights, presenting symphonic repertoire and chamber music on a grand scale at prestigious venues from New York to Beijing. This season, the Academy embarks on an U.S. tour in Michigan, Ohio, Louisiana, California, Massachusetts, North Carolina, Virginia, and makes its 92Y debut with a unique and intriguing program, featuring the rarely heard Glazunov’s Idyll and pairing the Octets by Schubert and Françaix. A prolific French neoclassical composer, Jean Françaix (1912-1997) wrote his Octet for clarinet, horn, bassoon and strings, ‘A huit‘ in memory of Schubert.
Sunday, October 21, 2018, 3:00 pm
92Y – Kaufmann Concert Hall
Bach Odyssey VII
Angela Hewitt, piano
BACH: The Well-Tempered Clavier Book II
Saturday, May 11, 2019, 8:00 pm
92Y – Kaufmann Concert Hall
Bach Odyssey VIII
Angela Hewitt, piano
BACH: Toccata in C Minor, BWV 911
Toccata in G Major, BWV 916
Toccata in F-sharp Minor, BWV 910
Toccata in E Minor, BWV 914
Toccata in D Minor, BWV 913
Toccata in G Minor, BWV 915
Toccata in D Major, BWV 912
Chromatic Fantasy and Fugue in D Minor, BWV 903
Tuesday, May 14, 2019, 7:30 pm
92Y – Kaufmann Concert Hall
Bach Odyssey IX
Angela Hewitt, piano
BACH: English Suite No. 1 in A Major, BWV 806
English Suite No. 2 in A Minor, BWV 807
Suite in F Minor, BWV 823
English Suite No. 3 in G Minor, BWV 808
Prelude and Fugue in A Minor, BWV 894
Virtuoso pianist Angela Hewitt’s four-year traversal through Bach’s revered keyboard works continues in its third year at 92nd Street Y in the coming season, with three recitals. Commencing in October with the entirety of The Well-Tempered Clavier Book II, Hewitt returns twice in May with the complete Toccatas, BWV 910-916; three English Suites; and a few miscellaneous works. Of the first 92Y concert in Ms. Hewitt’s mammoth all-Bach project, The New York Times praised, “Ms. Hewitt’s performance and presentation were exemplary…she found an endless variety of moods, emotions and atmospheres…
Saturday, October 27, 2018 8:00 PM
92Y – Kaufmann Concert Hall
Brahms Exploration
Garrick Ohlsson, piano
BRAHMS: Eight Pieces for Piano, Op. 76
Variations on an Original Theme, Op. 21, No. 1
Variations on a Hungarian Song, Op. 21, No. 2
Ballades, Op. 10
Variations on a Theme of Paganini, Op. 35 (Book I)
Sunday, April 28, 2019 3PM
92Y – Kaufmann Concert Hall
Brahms Exploration
Garrick Ohlsson, piano
BRAHMS: Six Pieces for Piano, Op. 118
Sonata in F-sharp Minor, Op. 2
Intermezzi, Op. 117
Variations and Fugue on a Theme by Handel, Op. 24
The Gold Medalist of the 1970 International Chopin Competition and recipient of the 1994 Avery Fisher Career Grant, pianist Garrick Ohlsson has received worldwide recognition as one of the finest pianists of his generation. Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Mr. Ohlsson commands an enormous repertoire that ranges over the entire piano literature. “A born Brahmsian, equipped at the highest level with the necessary speed and power” (BBC Music Magazine), the Grammy Award winner released his critically acclaimed album, Brahms: Complete Variations For Solo Piano, on Hyperion Records in 2010. This season, in addition to his concerto appearances with the New York Philharmonic, Boston, Baltimore, Pittsburgh and Houston Symphony Orchestras, as well as the Cleveland and Philadelphia Orchestras, Mr. Ohlsson introduces his personal project Brahms Exploration, a two-year recital series at 92nd Street Y that explores Brahms’ complete solo keyboard works.
Highlights of the series’s first recital include Brahm’s Eight Pieces for Piano, Op. 76 and his Variations on a Theme of Paganini (Book I), Op. 35, which is considered as one of the most brilliant fireworks Brahms wrote for the piano. Still a mystery to the public, the composer quit producing large-scale piano works after the Paganini Studies, Op. 35.
“Garrick Ohlsson’s playing not only persuaded me to appreciate the two Op 21 works but actually to listen to both discs all the way through in a single sitting. He is that good.” – Gramophone
Friday, November 2, 2018, 9 pm
92Y – Buttenwieser Hall
Soundspace
Jessica Xylina Osborne, piano (92Y debut)
C. SCHUMANN: Variations on a Theme by Robert Schumann
GRØNDAHL: Concert-Etude No. 1 in B-flat Minor, Op. 11
GRØNDAHL: Sketch No. 4 in A-flat Major, Op. 19
CHOPIN: Andante Spinato and Grande Polonaise Brillante in E-Flat Major, Op. 22
WAGNER/SCHILLER: Prelude, from Tristan und Isolde
WAGNER/LISZT: Isolde’s Liebestod, S. 447
SEEGER: selected Preludes
MESSIAEN: Le baiser de l’Enfant-Jésus, from Vingt Regards sur l’Enfant-Jésus
SCRIABIN: Vers la flamme, Op. 72
Jessica Xylina Osborne has made a name for herself as a pianist “with a refreshing mellowness and poetic touch” (Washington Post), having performed in eminent concert halls around the world such as Carnegie Hall, Lincoln Center, the Kennedy Center, the Musée du Louvre in Paris, and the Seoul Arts Center. With a special affinity for works by female composers, Osborne’s program is a fresh look at the salon concerts of the 19th century, and includes works of Ruth Crawford Seeger, Clara Schumann, and Agathe Grøndahl, as well as Chopin’s Andante Spinato and Grande Polonaise, two transcriptions of selections from Wagner’s Tristan und Isolde, and Scriabin’s apocalyptic Vers la Flamme.
Sat, Nov 3, 2018, 8 pm
92Y – Kaufmann Concert Hall
Art of the Guitar
Eduardo Fernández, guitar
David Leisner, guitar
LHOYER: Duo concertant in E Minor, Op. 31, No. 3
BACH: Chaconne, from Violin Partita No. 2 in D Minor, BWV 1004
REICH: Nagoya Guitars
LEISNER: Mirage
FERNANDEZ: Astor visits Heitor
VILLA-LOBOS: from 12 Études for Guitar, W. 235
SOR: Souvenir de Russie, Op. 63
Uruguayan guitarist Eduardo Fernández is recognized as one of today’s leading guitarists, and has appeared throughout Europe, in Asia, Australia and South Africa, as well as in South America and Mexico. Winner of the 1975 Andrés Segovia Competition in Mallorca (Spain), he became an exclusive recording contract with Decca, a label for which he made 18 recordings, including solo albums and with the English Chamber Orchestra and the London Philharmonic. The New York Times opines, “A top guitarist…Rarely has this reviewer heard a more impressive debut recital on any instrument”. Co-chair of the guitar department at the Manhattan School of Music, David Leisner is considered by The American Record Guide as “among the finest guitarists of all time”. His career began auspiciously with top prizes in both the 1975 Toronto and 1981 Geneva International Guitar Competitions. His recent seasons have taken him around the US, including his solo debut with the Atlanta Symphony, a major tour of Australia and New Zealand, and debuts and reappearances in Europe and Asia. This joint recital features solo and duo compositions by Villa-Lobos as well as both guitarists.
Friday, November 9, 2018, 9:00 pm
92Y – Buttenwieser Hall
Soundspace
JACK Quartet
Christopher Otto, violin
Austin Wulliman, violin
John Pickford Richards, viola
Jay Campbell, cello
ANDREIA PINTO CORREIA: String Quartet No. 1, “Unvanquished Space” (2017) (NY premiere)
SABRINA SCHROEDER: Slip Trains (2010)
ZOSHA DI CASTRI: String Quartet No. 1 (2016)
LIGETI: String Quartet No. 2 (1968)
Of their previous 92Y appearance, the New York Times remarked, “The JACK Quartet has received such praise for its involvement with new music that it’s easy to take for granted how superbly accomplished these players are, as they demonstrated in this daunting program.” Returning to 92Y for the first time since their change of two members in 2016, the new-music trailblazers bring a program which spans nearly fifty years of contemporary repertoire, from Ligeti’s String Quartet No. 2 (1968) to Andreia Pinto Correia’s String Quartet No. 1 “Unvanquished Space” (2017) (New York premiere), with pieces by Sabrina Schroeder and Zosha di Castri in between.
Monday, November 19, 2018, 7:30 pm
92Y – Kaufmann Concert Hall
Special Event: “Aleksandr Solzhenitsyn at 100”
Ignat Solzhenitsyn, piano
In a special collaboration with 92Y’s Unterberg Poetry Center, Solzhenitsyn offers a unique program, “Aleksandr Solzhenitsyn at 100,” in honor of the centennial anniversary of the birth of the Nobel laureate, who was also Ignat’s father. Musical selections include pieces of the same “sound” as the celebrated writer’s many written works, and the evening will include readings of rarely heard, intensely personal poetry, many of which will be performed in English for the first time. This program is also part of the Inflection series.
Sunday, December 9, 2018, 3:00 pm
92Y – Kaufmann Concert Hall
Chamber Ensembles
Orpheus Chamber Orchestra
Steven Isserlis, cello
ROTT: Symphony for String Orchestra in A-flat Major, N. 37 (US Premiere)
CPE BACH: Cello Concerto in A Major, H. 439
SCHUBERT: String Quartet No. 14 in D Minor, D. 810 “Death and the Maiden” (arr. Mahler)
Wednesday, May 8, 2019, 7:30 pm
92Y – Kaufmann Concert Hall
Chamber Ensembles
Orpheus Chamber Orchestra
Mahan Esfahani, harpsichord
MOZART: Wind Quintet in E-flat Major, K. 452 (arr. for nonet by Jean Françaix)
DE FALLA: Harpsichord Concerto in D Major
MARTINŮ: Harpsichord Concerto, H. 246
STRAUSS: Till Eulenspiegels lustigen Streiche, Op. 28 (arr. for nonet by Brett Dean)
The conductorless Orpheus Chamber Orchestra, known for their “highly charged (New York Times) interpretations and “amazing precision” (ZEALnyc), returns to 92nd Street Y on two occasions in 2018-19. Joined by famed cellist Steven Isserlis in December with a program entitled “Bleeding Hearts,” which includes the US Premiere of Hans Rott’s Symphony for String Orchestra in A-flat, CPE Bach’s A Major Cello Concerto, and Gustav Mahler’s arrangement of Schubert’s “Death and the Maiden” String Quartet. The Orchestra’s second season appearance with harpsichordist Mahan Esfahani is in May, with a program entitled “Merry Pranks.” The concert features a fascinating selection of De Falla, Martinů, Australian composer Brett Dean’s arrangement of Strauss’s Till Eulenspiegels lustige Streiche, and Jean Françaix’s arrangement of Mozart’s E-flat Major Wind Quintet.
Sat, Dec 15, 2018, 8 pm
92Y – Kaufmann Concert Hall
Art of the Guitar
The Romero Guitar Quartet
PRAETORIUS: Three Dances
VIVALDI: Concerto in D Major, RV93
DIABELLI: Serenade in F Major, Op. 63
GIULIANI: Grande Overture
PEPE ROMERO: Christmas Suite
DE MADINA: Danza Rapsódica
GRANADOS: Intermezzo from Goyescas
SCHUBERT : Three Waltzes
LLOBET: El Noi de la Mare
C ROMERO: Soleares and Alegrias, from Suite Andaluza
C ROMERO: Zapateado
PEPE ROMERO: de Cadiz a la Habana
C ROMERO: Noche en Málaga
The Romero Guitar Quartet, also known as “The Royal Family of the Guitar” (The New York Times), consists entirely of members of the Romero family. Founded in 1960 by the Spanish guitarist Celedonio Romero, the quartet has been enjoying international success for over 50 years. A frequent guest at major concert venues all over the world, the Romero Guitar Quartet returns to 92nd Street Y to showcase a program of intimate virtuosity.
“Collectively, they are the only classical guitar quartet of real stature in the world today; in fact, they virtually invented the format.”—The New York Times
Sun, Jan 20, 2019, 3 pm
92Y – Kaufmann Concert Hall
Distinguished Artists
Yefim Bronfman, piano
New York Philharmonic String Quartet
Frank Huang, violin
Sheryl Staples, violin
Cynthia Phelps, viola
Carter Brey, cello
SCHUMANN: Piano Quintet in E-flat Major, Op. 44
One of today’s most acclaimed and admired pianists, Yefim Bronfman, returns to 92Y with The New York Philharmonic String Quartet. Always keen to explore chamber music repertoire, Mr. Bronfman and the four Principal musicians from the New York Philharmonic (Concertmaster Frank Huang; Principal Associate Concertmaster Sheryl Staples; Principal Viola Cynthia Phelps; and Principal Cello Carter Brey) offers a radiant chamber music program of Schumann’s Piano Quintet in E-flat major, Op. 44. Widely considered as the jewel in the crown of 1842, Schumann’s remarkable “chamber music year,” this piece represents the composer’s most fertile musical imagination – fresh, buoyant, and inventive.
“Personality was abundant at the keyboard. It’s safe to say there is no pianist around remotely like Yefim Bronfman.” –The Philadelphia Inquirer
“New York Philharmonic String Quartet, a marvelous ensemble newly formed by principal players from the orchestra.” -The New York Times
Wed, Jan 30, 2019, 7:30 pm
92Y – Kaufmann Concert Hall
Distinguished Artists
Nicola Benedetti, violin
Alexei Grynyuk, piano
BACH: Chaconne, from Violin Partita No. 2 in D Minor, BWV 1004
PROKOFIEV: Violin Sonata No. 2 in D Major, Op. 94a
MARSALIS: New Work for Solo Violin (New York premiere)
STRAUSS: Violin Sonata in E-flat Major, Op. 18
In recognition of her international music career and work with musical charities throughout the United Kingdom, Nicola Benedetti was awarded the Queen Elizabeth’s prestigious Medal for Music in 2017, the youngest ever recipient. One of the most sought-after violinists of her generation, Ms. Benedetti’s 2018-2019 North American highlights include concerto appearances with Chicago, Seattle and Toronto Symphony Orchestras, and a 6-city recital tour with her regular duo partner pianist Alexei Grynyuk in Minneapolis, MN, St. Paul, MN, Santa Fe, NM, Toronto, ON, and Berkeley, CA. As the final stop of the recital tour, the duo returns to New York’s 92Y with a soul-searching recital program, featuring Bach’s Chaconne for solo violin and violin sonatas by Prokofiev and Strauss. The spotlight of the concert goes to the New York debut of blues-infused New Work for Solo Violin by America’s most prominent and powerful jazzman, Wynton Marsalis.
“It was thrilling to hear and watch Nicola Benedetti in a truly risk-taking performance that lived so much in the body and fused the sinews of the violin and the nerve-system of the player.” –The Times, London
Saturday, February 2, 2019, 8:00 pm
92Y – Kaufmann Concert Hall
Masters of the Keyboard
Behzod Abduraimov, piano (92Y debut)
WAGNER/LISZT: Isolde’s Liebestod, S. 447
LISZT: Sonata in B Minor, S. 178
PROKOFIEV: 10 Pieces from Romeo and Juliet, Op. 75
The young Uzbek pianist, winner of the London Piano Competition, made his New York debut at Carnegie Hall in 2015 at the age of 24 to tremendous critical acclaim; The New York Times stated, “This was playing of assurance and ideas: a tense Chopin, a Schubert slipping between stability and dissolution and ‘Gaspard’ as a surreal flood of colors, from the glassy opening of ‘Ondine’ to the trills in ‘Scarbo.’ Mr. Abduraimov came out with something to prove, and in the first Ballade the extremes — of tempo, volume and phrasing — stood out in stark, self-conscious relief, with an effect like that of looking at a landscape through the glare of the sun…Mr. Abduraimov will, I expect, have a long and distinguished career to show us.” Known for his unusual sense of musical maturity and flawless technique, Abduraimov gives his 92Y debut, and his exclusive New York City engagement of the 2018-19 season, with Liszt’s transcription of Wagner’s Isolde’s Liebestod, Liszt’s B Minor piano sonata, and Prokofiev’s 10 Pieces from Romeo and Juliet. The accomplished musician has already earned great recognition and critical acclaim for his exceptional caliber of pianistic ability, and he is quickly establishing himself among the frontrunners of the current generation’s outstanding pianists.
Friday, February 8, 2019, 7:30 pm
92Y – Kaufmann Concert Hall
Distinguished Artists
Marc-André Hamelin, piano
The Juilliard String Quartet
Areta Zhulla, violin
Ronald Copes, violin
Roger Tapping, viola
Astrid Schween, cello
HAYDN: String Quartet in D Major, Op. 76, No. 5 (Hob. III:79)
GYÖRGY KURTÁG: Six Moments Musicaux, Op. 44
DVOŘÁK: Piano Quintet No. 2 in A Major, Op. 81
Inarguably one of the most iconic American string quartet in history, the Juilliard String Quartet’s immense legacy as trailblazers of unconventional repertoire and masters of the classics cannot be understated; the musicians, who recently welcomed their newest Quartet member, first violinist Areta Zhulla, to the acclaimed ensemble, perform Haydn’s String Quartet in D Major, Op. 76, and Kurtág’s Six Moments Musicaux, Op. 44. Renowned for his vibrant, fluid interpretations of both the classical canon and rarer works, Mr. Hamelin and the “endlessly agile” (New York Times) Juilliard String Quartet come together on the impassioned Dvořák Piano Quintet.
Fri, Feb 15, 2019, 9 pm
92Y – Buttenwieser Hall
Soundspace
Horszowski Trio (92Y debut)
Jesse Mills, violin
Raman Ramakrishnan, cello
Rieko Aizawa, piano
SCHUMANN: Piano Trio No. 1 in D Minor, Op. 63
WUORINEN: Piano Trio
SHOSTAKOVICH: Piano Trio No. 2 in E Minor, Op. 67
Founded four years ago, the New York-based Horszowski Trio (Hor-SHOV- ski) has already enjoyed their successful rise in the chamber music world, earning the praise of critics and audiences alike. Called by The New Yorker “the most compelling American group to come on the scene”, the trio ‘s 2018-2019 season highlights include a concert tour in Asia followed by their debut at London’s Wigmore Hall. Currently the Ensemble-in-Residence at the Longy School of Music of Bard College, the trio comprises two-time Grammy Nominee violinist Jesse Mills, cellist Raman Ramakrishnan, and pianist Rieko Aizawa. In their 92Y debut concert, the trio showcase their musical diversity and offer a tasteful program featuring works by Schumann, Shostakovich and Wuorinen.
The Horszowski Trio took its name from its mentor, the piano legend Mieczyslaw Horszowski, whose performing career lasted more than nine decades and was admired for his elegance and clarity of musical intent.
“A highly accomplished group,” and raved: “exemplary performance… I long to hear more of the Horszowski Trio.” –Gramophone Magazine
Saturday, March 2, 2019, 8:00 pm
92Y – Kaufmann Concert Hall
Masters of the Keyboard
Ignat Solzhenitsyn, piano
SCRIABIN: Sonata No. 10, Op. 70
SCARLATTI: selected sonatas
DEBUSSY: Images, Book II, L. 111
MOZART: Sonata in F Major, K, 533/494
Equally renowned as a pianist and as a conductor, The Boston Globe has praised Solzhenitsyn as “a musician’s musician and a pianist’s pianist.” His thoughtful program includes works by Scriabin, Scarlatti, Debussy, and Mozart, and includes meditations on sunlight (Scrabin’s Sonata No. 10, which evokes butterfly wings and which the composer called “kisses of the sun”) and moonlight (in the second movement of Debussy’s second book of Images).
Wednesday, March 6, 2019, 7:30 pm
92Y – Kaufmann Concert Hall
Inflection – “Love in Fragments”
Alban Gerhardt, cello (92Y debut)
Gergana Gergova, violin (92Y debut)
Sommer Ulrickson, choreographer (92Y debut)
Alexander Polzin, visual artist (92Y debut)
Featuring music of BACH and JÖRG WIDMANN
Text from “A Lover’s Discourse” by Roland Barthes
Based on excerpts from “A Lover’s Discourse” by Roland Barthes, “Love in Fragments” explores a narrative – in eight fragments – of falling in and out of love, utilizing dancers to exhibit the fascinating ways in which the body signals feelings of romance or distaste. The choreography is the creation of Sommer Ulrickson, making her 92Y debut, and the performers interact with sculpture designed by visual artist Alexander Polzin. Cellist Alban Gerhardt and violinist Gergana Gergova perform music of Bach and Jörg Widmann.
Saturday, March 9, 2019, 8:00 pm
92Y – Kaufmann Concert Hall
Inflection – “Beethoven/Wallace Stevens”
Brentano String Quartet
BRESNICK: Meditations on Wallace Stevens (New York Premiere)
BEETHOVEN: String Quartet No. 15 in A Minor, Op. 132
The Brentano String Quartet, renowned for both their unique artistic ingenuity in programming and their thoughtful artistry, curates a program which combines readings of poetry by Wallace Stevens with works of Beethoven and Bresnick. The Quartet performs the New York Premiere of a new string quartet by Martin Bresnick, inspired by Stevens’s poems, as well as Beethoven’s powerful late String Quartet Op. 132. Other readings will be interspersed throughout the program.
Tuesday, March 12, 2019, 7:30 pm
92Y – Kaufmann Concert Hall
Inflection – “Images of the East”
Kremerata Baltica
SCHUMANN: Bilder aus Osten, Op. 66 (arr. F. Hermann)
STOCKAHAUSEN: Fragments from Tierkreis: 12 Melodies of the Star Signs (arr. Andrei Pushkarev and Gidon Kremer)
Following the outstanding critical acclaim earned by Gidon Kremer and the Kremerata Baltica during 92Y’s 2016-17 season in which the ensemble presented a multimedia exploration of Mussorgsky’s “Pictures at an Exhibition,” the group of musicians from the Baltic region under Kremer’s mentorship and musical direction return to New York with a program which serves as the overlay of an animated film by Sandro Kancheli featuring the deeply expressive, primitive stone art of Syrian artist Nizar Ali Badr.
Sunday, March 17, 2019, 3:00 pm
92Y – Kaufmann Concert Hall
Vocal Series
Matthias Goerne, baritone
Daniil Trifonov, piano
New York Philharmonic String Quartet
Timothy Cobb, double bass
SCHUBERT: Selected Songs
EISLER: Ernste Gesänge
BRAHMS: Piano Quintet in F Minor, Op. 34
Co-presented with the New York Philharmonic
In this concert co-presented with the New York Philharmonic, German baritone Matthias Goerne joins together with the outstanding musicians of the New York Philharmonic String Quartet, Principal Bass Timothy Cobb, and star pianist Daniil Trifonov in songs of Schubert, Brahms’ Piano Quintet in F Minor, and the rarely heard Ernste Gesänge (Serious Songs) by Hanns Eisler. Of Goerne’s recent recording of these poignant songs, BBC Music Magazine remarked: “Matthias Goerne’s performance of the Ernste Gesänge is mesmerising. Like his great predecessor Dietrich Fischer-Dieskau, Goerne colours every word with insight and intensity and moulds the melodic line with amazing fluidity.”
Saturday, April 6, 2019, 8 pm
92Y – Kaufmann Concert Hall
Vocal Series
Tyler Duncan, baritone
Tara Helen O’Connor, flute
James Austin Smith, oboe
Todd Palmer, clarinet
Pedja Muzijevic, piano
St. Lawrence String Quartet
JONATHAN BERGER: Leonardo (World premiere, 92Y Commission)
The Leonardo da Vinci legacy endures unwaveringly even half a millennium after his death. His groundbreaking artwork was unrivalled, his curiosity and technical know-how resulted in thousands of inventions both practical and fantastical, and his investigation of the human body aided important progress in medicine — but the mystery of the man behind the brilliance remains elusive. 92Y has proudly commissioned Leonardo, a multifaceted examination and celebration of the genius and psyche of Da Vinci. Through a series of vignettes progressing from the profane feast to the sacred Last Supper, composer Jonathan Berger and designer/architect Gabriel Calatrava invite us to join Leonardo on his most personal quest: an obsessive search for the soul. This performance is also a part of the Inflection series.
SOUNDSPACE
92Y’s smaller, more intimate Buttenwieser Hall is the perfect setting and acoustics – “sound space” – for solo and chamber artists to present lesser-known works. This season, the Soundspace series puts young, rising performers in the spotlight. Complimentary wine is served prior to these captivating concerts, giving concertgoers the opportunity to make each performance evening a social experience as well as an artistically fulfilling one.
VOCAL SERIES
Perpetually striving to encourage exploration through new artistic concepts, 92Y introduces a new series of thrilling collaborations on innovative programs between celebrated vocalists and instrumentalists. Opening the 92Y concert series is “East West Street: A Song of Good and Evil,” a semi-staged musical and dramatic presentation that discusses the advent of the legal concepts of genocide and crimes against humanity during the Nuremberg trials. Bass-baritone Laurent Naouri, pianist Emanuel Ax and the actor Katja Riemann join this production. Next will be a collaboration by baritone Matthias Goerne with pianist Daniil Trifonov on a program with the New York Philharmonic String Quartet and Principal Bass Timothy Cobb. The series finale, an Inflection series performance, pays homage to history’s most famous polymath, Leonardo Da Vinci, through an artistic collaboration between music performance and design; composer Jonathan Berger and designer/architect Gabriel Calatrava present the operatic “Leonardo,” a World Premiere and 92nd Street Y commission.
IGNAT SOLZHENITSYN
92Y has earned distinction as a major international hub for outstanding piano recitals, attracting many of the world’s leading experts of piano performance, and seeking thought-provoking programs from the keyboard’s immeasurably vast, diverse, and growing repertoire. At the forefront of the current generation of exceptionally gifted keyboard artists is the “uncommonly thoughtful, communicative musician” (The New York Times) Ignat Solzhenitsyn, appears twice at 92nd Street Y in the coming season, true to form, as both performer and curator.
INFLECTION SERIES
92Y is thrilled to launch Inflection, an entirely new season-long interdisciplinary series, in which esteemed classical musicians collaborate with innovative artists of other media in a string of six creative programs. This series includes several debut performances, including the world premiere of the 92Y-commissioned opera Leonardo by Jonathan Berger, and the New York premieres of “East West Street: A Song of Good and Evil,” and a new string quartet, “Meditations on Wallace Stevens,” composed by Martin Bresnick. The impressive roster of prominent visual and performance artists involved in this series include choreographer Sommer Ulrickson (92Y debut), visual artist Alexander Polzin (92Y debut), and the eagerly anticipated return of the designer and architect Gabriel Calatrava.
CHAMBER ORCHESTRAS
This unique series showcases two appearances of the Orpheus Chamber Orchestra with guest soloists Steven Isserlis, cello, and Mahan Esfahani, harpsichord; internationally-acclaimed violinist Gidon Kremer and the acclaimed Kremerata Baltica returns to 92Y with a captivating special performance entitled “Images of the East,” one of the compelling concerts comprising the Inflection series.
CHAMBER ENSEMBLES
This series has long been a treasured staple among 92Y audiences, who revere the superb acoustics of Kaufmann Concert Hall as having the ideal ambiance for chamber music. The coming season features a catalogue of four globally-renowned ensembles, with inspired programs from The Academy of St Martin in the Fields chamber ensemble, the Danish String Quartet (92Y debut), the Artemis String Quartet (92Y debut), and the Brentano String Quartet, performing the New York Premiere of a new string quartet by Martin Bresnick as a part of the Inflection series.
DISTINGUISHED ARTISTS
92Y warmly welcomes the return of heralded violinist Nicola Benedetti and pianist Alexei Grynyuk with a program that includes the New York Premiere of a new work for solo violin by Wynton Marsalis, written for and premiered by Ms. Benedetti; cellist Alban Gerhardt and violinist Gergana Gergova collaborate with choreographer Sommer Ulrickson and sculptor Alexander Polzin in “Love in Fragments,” as part of 92Y’s inaugural Inflections series. 92Y continues its longstanding artistic partnership with the New York Philharmonic in a co-presentation of Yefim Bronfman and the New York Philharmonic String Quartet, with a program that includes Schumann’s Piano Quintet. Later programs feature the eminent Zukerman Trio, and Marc-André Hamelin with the Juilliard String Quartet.
MASTERS OF THE KEYBOARD
92Y has earned distinction as a major international hub for outstanding piano recitals, attracting many of the world’s leading experts of piano performance, and seeking thought-provoking programs from the keyboard’s immeasurably vast, diverse, and growing repertoire. Featured pianists in recital include Richard Goode, Peter Serkin, Ignat Solzhenitsyn, and Behzod Abduraimov, who makes his 92Y debut.
ART OF THE GUITAR
The Art of the Guitar series at 92Y has become a staple of the classical guitar community in New York since its inception in the 1990s, boasting 36 premieres. Curated by artistic director Benjamin Verdery, who gives pre-concert talks before every Art of the Guitar concert, this season features Eduardo Fernández and David Leisner, the Romero Guitar Quartet, Manuel Barrueco, and David Russell, whose performance includes a World Premiere by Sergio Assad.
ANGELA HEWITT: BACH ODYSSEY
Pianist Angela Hewitt’s four-season traversal of Bach’s complete keyboard works continues in its third year with three recitals, including Book II of The Well-Tempered Clavier, as well as the complete Toccatas, BWV 910-916; three English Suites; and a few miscellaneous works.
GARRICK OHLSSON: BRAHMS EXPLORATION
Pianist Garrick Ohlsson embarks on the first of his two-year, all-Brahms survey with two performances per season. The celebrated pianist’s 92Y engagements of this musical journey are Exclusive New York performances. 2018-19 predominantly features the wealth of Brahmsian Variations – on a Hungarian Song, on a Theme by Paganini, on a Theme by Handel – as well as the Pieces for Piano Op. 76 & 118, Ballades, Op. 10 and Intermezzi Op. 117.
