Intimate Bach (digital performance): March 18th-25th

Johann Sebastian Bach (1685-1750)
Trio Sonata in C minor for Flute, Violin, and Continuo, from Musical Offering, BWV 1079 (1747)

“Sonata Upon the Royal Subject”

Largo

Allegro

Andante

Allegro

Adam Walker, flute; Alexander Sitkovetsky, violin; Timothy Eddy, cello; Kenneth Weiss, harpsichord

Johann Sebastian Bach
Sonata in G minor transcribed for Cello and Continuo, BWV 1029 (Before 1741)

Vivace 

Adagio

Allegro

Patrick Demenga, Thomas Demenga, cello; Luka Juhart, accordion

–INTERMISSION (Discussion with artists)–

Johann Sebastian Bach
Cantata Ich habe genug, BWV 82 (1727)

Aria: Ich habe genug

Recitative: Ich habe genug

Aria: Schlummert ein, ihr matten Augen

Recitative: Mein Gott! wenn kommt das schöne

Aria: Ich freue mich auf meinen Tod

Ryan Speedo Green, bass-baritone; Orion String Quartet (Daniel Phillips, Todd Phillips, violin; Steven Tenenbom, viola; Timothy Eddy, cello); Timothy Cobb, bass; Paolo Bordignon, harpsichord; Stephen Taylor, oboe

Trio Sonata in C minor for Flute, Violin, and Continuo, from Musical Offering, BWV 1079 (1747)
Johann Sebastian Bach (Eisenach, 1685 – Leipzig, 1750)

The story of the Musical Offering began on May 7, 1747 when Bach performed for Frederick the Great at his court in Potsdam. The music-loving king was an accomplished flutist, occasional composer, and the employer of Bach’s son C.P.E. Bach. J.S. Bach (or “old Bach,” as Frederick called him), for his part, was a distinguished representative of old-guard Baroque music, the master of a complex style of interwoven part writing that brought intricate counterpoint to its highest form. Frederick decided to challenge Bach so he presented the composer with a theme and asked him to improvise a three-part fugue, which he did. The king then upped the difficulty level significantly and asked Bach to improvise a six-part fugue on the theme. Bach demurred, saying he would have to work on it. After returning home to Leipzig, Bach spent the summer writing the Musical Offering, which begins with the three-part fugue that Bach originally improvised, and includes the six-part fugue Frederick asked for, plus numerous canons and a trio sonata that features Frederick’s instrument, the flute. Bach published it in September with a dedication to the king in “deepest humility.”

The trio sonata is in sonata da chiesa (“church sonata”) style with four movements ordered slow-fast-slow-fast. The learned, imitative nature of the sonata fits with the style of the rest of the Musical Offering, though, as the only part of the work that’s not a canon or a fugue, it is the most freely composed and takes significant liberties with the royal theme. The two slow movements only have hints of the theme, while the second movement introduces the theme in the middle, sneaking in first in the bass and then emerging in the melody instruments. Like a slow unveiling, only the final movement clearly presents the theme at the outset, this time in a lilting dance-like transformation far removed from the more straightforward presentation in the work’s fugues.

Sonata in G minor transcribed for Cello and Continuo, BWV 1029 (Before 1741)
Johann Sebastian Bach

It isn’t known exactly when or for whom this sonata was composed. It is the last in a set of three sonatas originally written for viola da gamba and harpsichord. It was either composed when Bach worked at Cöthen (1717-23) for the viol virtuoso Christian Ferdinand Abel or in the 1730s in Leipzig, possibly for the Collegium Musicum that Bach led. In any case the earliest evidence of the gamba sonatas only dates from the early 1740s. Some have speculated that this sonata is an arrangement of an earlier piece, something that wouldn’t have been out of character for a composer like Bach, who was expected to regularly compose large volumes of music. 

Bach wrote this sonata for viola da gamba and harpsichord but it’s in trio sonata style, with two melody parts (played by the gamba and the harpsichordist’s right hand) and an accompanying continuo part played by the harpsichordist’s left hand. In this performance, cellist Patrick Demenga plays the gamba part while the accordion plays the harpsichord melody and cellist Thomas Demenga plays the harpsichord continuo part. During Bach’s lifetime, the viola da gamba, a six-stringed instrument held between the knees (viola da gamba translates to leg viol), was slowly being replaced by the cello. Bach wrote for both instruments and this sonata is often played on the cello today. It is less frequently played on the accordion—an instrument that would have been absolutely foreign to Bach as it only dates to the 19^th century—yet its mechanism of forced air to create sustained sounds is reminiscent of the organ, a Baroque mainstay. Just as this piece may have been an arrangement of an earlier work, Baroque music was frequently edited and transcribed to fit new situations, occasions, and ensembles, and this piece lends itself to the Demenga brothers’ modern re-imagining for this unique ensemble.

Cantata Ich habe genug, BWV 82 (1727)
Johann Sebastian Bach

The cantatas are at the very core of Bach’s vast repertoire. His final job and the one he held for the longest (27 years) was in Leipzig, where he was expected to write music for the city’s churches. It was a tradition on Sundays to perform an elaborate cantata based on Bible verses or themes from that week’s readings. Bach’s previous position, at Cöthen, serving a Calvinist prince, required very little religious music, so when he arrived in Leipzig in 1723, he had to immediately begin composing cantatas at rapid speed. Cantatas were performed most Sundays plus holidays for a total of about 59 per year. In Bach’s first two years he wrote complete cycles each year. After that his pace slowed a bit and he wrote two more cycles in about five years. He apparently wrote one other complete cycle after that as his obituary said he wrote five cycles, or about 300 cantatas, though only a little over half survive today. 

Bach wrote Ich habe genug (literally “I have enough” but sometimes translated as “I am content” or “It is enough”) for the Purification of Mary on February 2, 1727, a feast commemorating the presentation of Jesus at the temple 40 days after he was born. In the gospel of Luke, the devout old man Simeon encounters the infant Jesus at the temple and Simeon says he can now die in peace having seen the Messiah (“Lord, now lettest thou thy servant depart in peace according to thy word. For mine eyes have seen thy salvation…”) In this cantata, the solo male voice is complemented by an intricate, introspective oboe part, which introduces and comments on the text throughout.

Notes by Laura Keller, CMS Editorial Manager
© Chamber Music Society of Lincoln Center

1. Aria

I have enough,
I have taken the Savior,
the hope of the devout,
Into my eager arms;
I have enough!

I have seen him,
My faith has brought Jesus to my heart;
Now, even today,
I could joyfully depart from here.

2. Recitative

I have enough.
My sole consolation is
That Jesus is mine, and I am his.
I hold him in faith,
For along with Simeon
I see the joy of that life.
Let us go with this man!
Oh! if only the Lord would free me
From the prison of this body;
Oh! if only my end had come,
With what joy I would say to the world:
I have enough.

3. Aria

Rest in sleep, you weary eyes,
Close softly and joyfully!

World, I am not staying here,
There is no longer any part of you
Necessary to my soul.

Here I must endure sorrow,
But there, there I shall find
Sweet peace, quiet rest.

4. Recitative

My God! when shall that beautiful
moment come,
When I depart in peace
Into the cool earth
And find rest there, in your arms?

My parting words are finished,
World, good night!

5. Aria

I greet death with joy,
Oh, would that it had already come.

For then I shall escape the suffering
That ties me to the world.

Harpsichordist, organist, and conductor Paolo Bordignon has received acclaim for lively and distinctive interpretations of early music to compelling performances of avant-garde repertoire. He is harpsichordist of the New York Philharmonic and performed in 2018-19 with Camerata Pacifica, Orpheus Chamber Orchestra, Santa Fe Chamber Music Festival, New Jersey Symphony Orchestra, ECCO—East Coast Chamber Orchestra, and a Trans-Siberian Arts Festival tour with the Sejong Soloists. He has appeared with the English Chamber Orchestra, American Symphony Orchestra, St. Paul Chamber Orchestra, Lincoln Center’s Mostly Mozart Festival Orchestra, the Knights, and the Orchestra of St. Luke’s. He has collaborated with Sir James Galway, Itzhak Perlman, David Robertson, Reinhard Goebel, Paul Hillier, Bobby McFerrin, and Midori, as well as Renée Fleming and Wynton Marsalis in a Juilliard Gala. With the Clarion Music Society, he gave the world premiere of several newly rediscovered chamber works of Mendelssohn. He has performed organ recitals at St. Thomas Church Fifth Avenue in New York and St. Eustache in Paris, and he has been a regular organ recitalist at the Metropolitan Museum of Art, including a 10-recital residency in 2010-11. Born in Toronto of Italian heritage, Mr. Bordignon studied organ with Brian Rae and John Tuttle. He attended the Curtis Institute of Music, where he studied organ with John Weaver and harpsichord with Lionel Party, and The Juilliard School. He is an associate of the Royal Conservatory of Music and a fellow of the Royal Canadian College of Organists.

Timothy Cobb is the principal bass of the New York Philharmonic, prior to which he served as principal bass for the Metropolitan Opera Orchestra. He has appeared at numerous chamber music festivals worldwide, and as a former participant in the Marlboro Music festival, has toured with the Musicians from Marlboro series. He is a faculty member of the Sarasota Music Festival and serves as principal bass for Valery Gergiev’s World Orchestra for Peace, an invited group of musicians from around the world, from which he has earned the title UNESCO Artist for Peace. He also served as principal bass for the Mostly Mozart festival orchestra. He can be heard on all Met recordings after 1986, as well as on the Naxos label in a recording of Giovanni Bottesini’s duo bass compositions with fellow bassist Thomas Martin, of London. Mr. Cobb graduated from the Curtis Institute of Music where he studied with Roger Scott. In his senior year he became a member of the Chicago Symphony under Sir Georg Solti. He serves as bass department chair for The Juilliard School and on the faculties of the Manhattan School of Music, Purchase College, and Rutgers University. He also holds the title ‘Distinguished Artist in Residence’ at Lynn University in Boca Raton, Florida.

Cellist Patrick Demenga appears regularly at the most renowned festivals and music centers throughout Europe, South Africa, the U.S., Canada, South America, Australia, and Asia. He frequently collaborates with musicians such as Heinz Holliger, Mario Venzago, Dennis Russel Davies, Leif Segerstam, Jesús López Cobos, Howard Griffith, Christoph Poppen, Leonidas Kavakos, Alexander Lonquich, Isabelle Faust, and Natalia Gutman, as well as with orchestras like the Zurich Tonhalle Orchester, Symphonieorchester Basel, RSO Vienna, Camerata Bern, Münchner Kammerorchester, Orchestre de la Suisse Romande, Orchestre de Chambre de Lausanne, Kremerata Baltica, and Ensemble Modern. His many radio and television recordings as well as numerous LPs and CDs (Novalis, Accord Musidisc, ECM, Sony Classical), have made him known to an international audience. He has premiered works by composers such as Isang Yun, Gerhard Schedl, and Heinz Holliger. He teaches a concert class at the Lausanne Conservatory and also teaches diverse international master classes. For several years, he directed the cello festival Viva Cello in Liestal/Basel. He is artistic director of the Vier Jahreszeiten-Konzerte in Blumenstein near Bern, Switzerland and of the Musikfestwoche Meiringen. He obtained the award “Der Goldene Bogen” (Golden bow) in 2001. He studied at the Bern Conservatory, in Cologne with Boris Pergamenschikow, and with Harvey Shapiro in New York.

Internationally renowned soloist, composer, and teacher Thomas Demenga is among the most outstanding cellists and musicians of our time. He has performed at many important festivals and musical centers worldwide and given numerous concerts with fellow musicians Heinz Holliger, Gidon Kremer, Thomas Larcher, Hansheinz Schneeberger, Tabea Zimmermann, and Paul Meyer. He has played as a soloist with distinguished orchestras such as the Berliner Sinfonie-Orchester, Boston Symphony Orchestra, L’Orchestre de la Suisse Romande, ORF-Symphonieorchester Wien, Tonhalle-Orchester Zürich, and Zürcher Kammerorchester. His artistic work includes intensive confrontation with different historical eras and styles of interpretation and composition. Improvisation and new music are important aspects of his work. He has developed a unique voice as a composer and interpreter of 20th and 21st century music. Demenga has recorded a series of CDs on ECM New Series that document his journey starting with the six Bach cello suites and pairing them with modern music by Heinz Holliger, Elliott Carter, Sándor Veress, Isang Yun, and Toshio Hosokawa. He was chosen as “Artiste étoile” at Lucerne Festival in summer 2003 and has served as artistic director of the Davos Festival, “Young Artists in Concert,” since August 2001. Born in Bern, he teaches at the Hochschule für Musik in Basel.

Praised by the Washington Post as an artist “fully ready for a big career,” bass-baritone Ryan Speedo Green recently returned to the Metropolitan Opera to sing the King in Aida and for a reprise of Colline in La bohème, and to the Wiener Staatsoper as a member of the ensemble with roles including Sarastro in Die Zauberflöte, Raimondo in Lucia di Lammermoor, Der Einarmige in Die Frau ohne Schatten, and Lodovico in Otello. Past orchestral engagements included Beethoven’s Ninth Symphony conducted by Marin Alsop at the Ravinia Festival, and a debut with the Mostly Mozart Festival singing Mozart’s Requiem with Louis Langrée. He was also presented in recital at the Terrace Theatre at the Kennedy Center as winner of the Marian Anderson Vocal Award from Washington National Opera, and appeared in recital with Dayton Opera. In 2016, Little, Brown published Sing for Your Life, by New York Times journalist Daniel Bergner. The book tells the story of Mr. Green’s personal and artistic journey: from a trailer park in southeastern Virginia and from time spent in Virginia’s juvenile facility of last resort to the Met stage. A native of Suffolk, Virginia, Mr. Green received a master’s degree from Florida State University, a bachelor’s degree from the Hartt School of Music, and was a member of the Metropolitan Opera Lindemann Young Artist Development Program.

Accordionist Luka Juhart collaborates with contemporary composers to commission new works, and has produced to date, either alone or in various ensembles, over 40 debut performances of new pieces. As a soloist, he has performed in two of Vinko Globokar’s monumental pieces, Radiography of a Novel with Symphony Orchestra SWR in Donaueschingen, Germany, and Angel of History with the Slovene Philharmonic Orchestra under the leadership of Diego Masson. His other collaborations with orchestras also include the BBC Scottish Symphony Orchestra, the Vienna Radio Symphony Orchestra ORF, the Munich Chamber Orchestra, the German Radio Symphonic Orchestra from Saarbrücken, Mozarteum Salzburg Orchestra, and the Windkraft and Aventure ensembles. He has performed at eminent European festivals such as the BCC Proms, Klangspuren in the Austrain Schwaz, the Warsaw Autumn, Transit in Leuven in Belgium, and November Music at the Dutch s’Hertogenbosch. He has brought out two solo albums, Dialog/Dialogue (Zavod Sploh  and L’innomable records) and Deconstructing Accordion (NEOS),and his other recordings have been released by NEOS, Transit, and ORF. He studied at the State Academy of Music in Trossingen, Germany in the class of Hugo Noth, whom he joined after his finals at the music gymnasium in Maribor with Andrej Lorber. He completed his postgraduate studies in the master class of Stefan Hussong at the Academy of Music in Würzburg in 2008. He has taught at the Academy of Music in Ljubljana since 2012 and he has given workshops at various conservatories and academies across Europe.

The Orion Quartet is one of the leading chamber music ensembles on the classical music scene today. Admired for its diverse programming that juxtaposes masterworks of the quartet literature with key works of the 20th and 21st centuries, the Orion provides a singularly rich dimension to its music-making. The members of the Orion String Quartet—violinists Daniel Phillips and Todd Phillips (brothers who share the first violin chair), violist Steven Tenenbom, and cellist Timothy Eddy—have worked closely with such illustrious musicians as Pablo Casals, Sir András Schiff, Rudolf Serkin, Isaac Stern, Pinchas Zukerman, Peter Serkin, members of the ensemble TASHI, the Beaux Arts Trio, and the Budapest, Végh, Galimir, and Guarneri String Quartets. The Orion String Quartet is a season artist of the Chamber Music Society of Lincoln Center.

In the summer of 2019, the Orion String Quartet returned to the Santa Fe Chamber Music Festival to perform three programs that included music by Schubert, Mozart, and Kreisler. Last season, the quartet appeared with the Chamber Music Society of Lincoln Center in Alice Tully Hall. The quartet also performed with Chamber Music Pittsburgh, at the Philadelphia Chamber Music Society, and at The Metropolitan Museum of Art as part of Met Live Arts’ celebration of the Guarneri Quartet.

During the quartet’s 30th anniversary season in 2017-18, the group celebrated at principal chamber music series throughout North America. The Orions played the complete string quartets of Beethoven in a series of six concerts at the Mannes School of Music, where they held the position of quartet-in-residence for 27 years. At CMS they performed an all-Haydn program and presented a contemporary music concert of works written for them, including the world premiere of Sebastian Currier’s Etudes and Lullabies (a commission by CMS), David Dzubay’s String Quartet No. 1, “Astral,” and Brett Dean’s Quartet No. 2 for Strings and Soprano, “And once I played Ophelia.” Tony Arnold joined the Orion in that concert as vocal soloist.

The Orion String Quartet has given stimulus to the development and expansion of the string quartet repertoire through commissions from composers Chick Corea, David Del Tredici, Alexander Goehr, Thierry Lancino, John Harbison, Leon Kirchner, Marc Neikrug, Lowell Liebermann, Peter Lieberson, and Wynton Marsalis.  For its 25th anniversary, the Orion collaborated with choreographer Bill T. Jones and the Arnie Zane Dance Company in a two-week project that featured music by Mozart, Schubert, Mendelssohn, Ravel, and Beethoven. WQXR’s The Greene Space produced a live broadcast of the collaboration, including the performance and a discussion between members of the quartet and Mr. Jones. Heard frequently on National Public Radio’s Performance Today, the Orion has also appeared on PBS’s Live from Lincoln Center, A&E’s Breakfast with the Arts, and on ABC television’s Good Morning America.

Formed in 1987, the quartet takes its name from the Orion constellation as a metaphor for the personality each musician brings to the group in its collective pursuit of the highest musical ideals.

Violinist Daniel Phillips enjoys a versatile career as an established chamber musician, solo artist, and teacher. A graduate of Juilliard, he studied with Ivan Galamian, Sally Thomas, Nathan Milstein, Sandor Vegh, and George Neikrug. Since winning the 1976 Young Concert Artists Auditions, he has been an emerging artist who has performed as a soloist with numerous symphonies. He appears regularly at the Spoleto Festival USA, Santa Fe Chamber Music Festival, Chamber Music Northwest, Chesapeake Music Festival, and the International Musicians Seminar in Cornwall, England. He was a member of the renowned Bach Aria Group, and has toured and recorded in a string quartet for SONY with Gidon Kremer, Kim Kashkashian, and Yo-Yo Ma. He is a professor at the Aaron Copland School of Music at Queens College and on the faculties of the Mannes College of Music, Bard College Conservatory, and The Juilliard School.

Todd Phillips has performed as a guest soloist with leading orchestras throughout North America, Europe, and Japan including the Pittsburgh Symphony, New York String Orchestra, and Orpheus Chamber Orchestra, with which he made a critically acclaimed recording of Mozart’s Sinfonia Concertante for Deutsche Grammophon. He has appeared at the Mostly Mozart, Ravinia, Santa Fe, Marlboro, and Spoleto festivals. He has collaborated with such renowned artists as Rudolf Serkin, Jaime Laredo, Leon Fleischer, Peter Serkin, and Pinchas Zukerman and has participated in 18 Musicians from Marlboro tours. He has recorded for the Arabesque, Delos, Deutsche Grammophon, Finlandia, Koch International, Marlboro Recording Society, New York Philomusica, RCA Red Seal, and SONY Classical labels. He serves as professor of violin at the Mason Gross School of the Arts at Rutgers University, Mannes College at the New School for Music, Manhattan School of Music, and Bard College Conservatory of Music and is visiting chamber music faculty at the Cleveland Institute of Music.

Violist Steven Tenenbom has established a distinguished career as chamber musician, soloist, recitalist, and teacher. He has worked with composer Lukas Foss and jazz artist Chick Corea, and has appeared as a guest artist with such ensembles as the Guarneri and Emerson string quartets, and the Kalichstein-Laredo-Robinson Trio. He has performed as a soloist with the Utah Symphony, Rochester Philharmonic, and Cincinnati Chamber Orchestra, and toured with the Brandenburg Ensemble throughout the United States and Japan. His festival credits include Mostly Mozart, Aspen, Ravinia, Marlboro, June Music Festival, Chamber Music Northwest, Music from Angel Fire, and Bravo! Vail. A former member of the Galimir Quartet, he is currently a member of the piano quartet OPUS ONE. He serves on the faculties of The Juilliard School, the Curtis Institute of Music, and the Conservatory of Music at Bard College. He and his wife, violinist Ida Kavafian, live in Connecticut where they breed, raise, and show champion Vizsla purebred dogs.

Cellist Timothy Eddy has earned distinction as a recitalist, orchestral soloist, chamber musician, recording artist, and teacher. He has performed with such symphonies as Dallas, Colorado, Jacksonville, North Carolina, and Stamford, and has appeared at the Mostly Mozart, Ravinia, Aspen, Marlboro, Lockenhaus, Spoleto, and Sarasota music festivals. He has won prizes in numerous national and international competitions, including the 1975 Gaspar Cassadó International Violoncello Competition in Italy. Mr. Eddy was frequently a faculty member at the Isaac Stern Chamber Music Workshops at Carnegie Hall. A former member of the Galimir Quartet, the New York Philomusica, and the Bach Aria Group, he collaborates in recital with pianist Gilbert Kalish. He has recorded a wide range of repertoire from Baroque to avant-garde for the Angel, Arabesque, Columbia, CRI, Delos, Musical Heritage, New World, Nonesuch, Vanguard, Vox, and SONY Classical labels.

Alexander Sitkovetsky was born in Moscow into a family with a well-established musical tradition. His concerto debut came at the age of eight and in the same year he moved to the UK to study at the Menuhin School. He recently debuted with the Chattanooga Symphony Orchestra in Tennessee and the Hong Kong Sinfonietta and made return visits to the English Symphony Orchestra, Aarhus Symphony Orchestra, Royal Philharmonic Orchestra, and Camerata Salzburg. Further appearances include various chamber music festivals, tours with the Sitkovetsky Trio, and extensive periods of chamber music in Australia and the US. Recent concerto performances include appearances with the Yomiuri Nippon Symphony Orchestra, Royal Philharmonic Orchestra, Munich Chamber Orchestra, Konzerthaus Orchester Berlin, BBC Scottish Symphony Orchestra, Netherlands Philharmonic Orchestra, Tokyo Symphony Orchestra, Hallé Orchestra, Moscow Symphony Orchestra, St. Petersburg Symphony Orchestra, Orquesta Filarmónica de Bolivia, National Polish Radio Symphony Orchestra, Russian State Philharmonic Orchestra, Residentie Orkest, Aarhus Symphony Orchestra, Welsh National Opera Orchestra, BBC National Orchestra of Wales, London Philharmonic Orchestra, and the Philharmonia Orchestra. He directs and performs as a soloist regularly with chamber orchestras, including the Australian Chamber Orchestra, Norwegian Chamber Orchestra, Amsterdam Sinfonietta, London Mozart Players, Lithuanian Chamber Orchestra, New York Chamber Players, Camerata Zurich, and a recent tour with the Netherlands Youth Orchestra. He is a founding member of the Sitkovetsky Trio, who regularly perform throughout Europe and Asia, and an alum of CMS’s Bowers Program.

Stephen Taylor is one of the most sought-after oboists in the country. He is solo oboist with the New York Woodwind Quintet, the Orchestra of St. Luke’s, the St. Luke’s Chamber Ensemble (for which he has served as co-director of chamber music), the American Composers Orchestra, the New England Bach Festival Orchestra, and is co-principal oboist of the Orpheus Chamber Orchestra. His regular festival appearances have included Spoleto, Aldeburgh, Caramoor, Bravo! Vail Valley, Music from Angel Fire, Norfolk, Santa Fe, Aspen, and Chamber Music Northwest. Among his more than 300 recordings are Bach arias with Kathleen Battle and Itzhak Perlman, and Elliott Carter’s Oboe Quartet, for which he received a Grammy nomination. He has performed many of Carter’s works, giving the world premieres of Carter’s A Mirror on Which to Dwell, Syringa, and Tempo e Tempi; and the US premieres of Trilogy for Oboe and Harp, Oboe Quartet, and A 6 Letter Letter. He is entered in Who’s Who in American Colleges and Universities and has been awarded a performer’s grant from the Fromm Foundation at Harvard University. He has collaborated with the Vermeer, Shanghai, Orion, American, and Artis-Vienna String Quartets. Trained at The Juilliard School, Mr. Taylor is a member of its faculty as well as of the Yale and Manhattan schools of music. He plays rare Caldwell model Lorée oboes.

At the forefront of a new generation of wind soloists, Adam Walker was appointed principal flute of the London Symphony Orchestra in 2009 at the age of 21 and received the Outstanding Young Artist Award at MIDEM Classique in Cannes. In 2010 he won a Borletti-Buitoni Trust Fellowship Award and was shortlisted for the Royal Philharmonic Society Outstanding Young Artist Award. An ambassador for the flute with a ferocious appetite for repertoire, he regularly performs with the major UK orchestras including the BBC Philharmonic, BBC Scottish Symphony Orchestra, London Symphony, Hallé, Bournemouth Symphony, and the BBC National Orchestra of Wales. Elsewhere he has performed with the Baltimore Symphony Orchestra, Seattle Symphony, Grant Park Festival, Orquesta Sinfónica Nacional de Mexico, Seoul Philharmonic, Auckland Philharmonia, Malaysian Philharmonic, Malmö Symphony Orchestra, Vienna Chamber Orchestra, Solistes Européens, Luxembourg, and the RTE National Symphony Orchestra. A committed chamber musician with a curious and creative approach to repertoire, he joined the Chamber Music Society’s Bowers Program in 2018. Recital highlights over recent seasons have included Wigmore Hall, LSO St. Luke’s, De Singel, Musée du Louvre, Hamburg Elbphilharmonie, Frankfurt Alte Oper, and the Utrecht, West Cork, Delft, and Moritzburg Chamber Music Festivals. Born in 1987, Mr. Walker studied at Chetham’s School of Music with Gitte Sorensen and later at the Royal Academy of Music with Michael Cox. He was appointed professor at the Royal College of Music in 2017.

Kenneth Weiss has an active career as a soloist, conductor, chamber musician, and teacher. He has performed extensively in Europe, North America, and Asia, including appearances at Wigmore Hall, Tokyo’s Bunkakaikan Hall, Théâtre de la Ville in Paris, Library of Congress, Carnegie Hall, Lincoln Center, La Roque d’Antheron, Auditorio Nacional in Madrid, and the Amsterdam Concertgebouw. He is a frequent guest of the Chamber Music Society of Lincoln Center, Bridgehampton Chamber Music Festival, and NYC’s Music Before 1800. Highlights of the 2019-20 season included the Brandenburg Concertos with the Orchestre de Rouen, a tour with the Berkshire Bach Society in December, and The Art of Fugue in Confinement in May on YouTube. Other planned engagements included a live recording of Jean-Féry Rebel’s Eléments on the historic Taskin harpsichord in Lisbon, and appearances at the Lausanne Bach Festival and Emerald City Music in Seattle. His recordings for Satirino records have been widely acclaimed. They include Bach’s Goldberg Variations, partitas, and Well-Tempered Clavier, a recording of Rameau operas and ballets transcriptions, two Scarlatti albums, and two CDs devoted to Elizabethan keyboard music—A Cleare Day and Heaven & Earth. A native New Yorker, he attended the High School of Performing Arts and the Oberlin Conservatory where he studied with Lisa Goode Crawford, later studying with Gustav Leonhardt at the Amsterdam Conservatory. He is professor of harpsichord at the Haute Ecole de Musique in Geneva, Switzerland, and professor of chamber music at the Paris Conservatory.

Helpful tips to enjoy the show:

1. You can stream the concert from any device with a strong internet connection. Sound quality will vary depending on the speakers and device you are using. Some of the ways to get optimal sound quality include:
   • Connect to Bluetooth speakers from your mobile phone or tablet
   • Connect high quality speakers to a desktop or laptop computer
   • Listen with headphones(Hint: if you are viewing on a device which can receive messages/calls, we recommend you switch on “do not disturb” so you can enjoy the program without interruptions.)
2. If your program doesn’t begin playing automatically, click the “play” icon located in the lower left corner of the video.(Another good troubleshooting idea is to hit the “refresh” button on your web browser.)
3. Click the full screen icon to the left of the CMS logo to get the best viewing experience:
4. Can’t hear anything? Don’t forget to unmute/turn up the volume on your device!
5. To stream the video to your home TV:If you are an Apple user, you can use AirPlay or screen mirroring to display the video from your iPhone, iPad, or iMac to your Apple TV (or other smart TV with AirPlay capability).

   You can also achieve this using an HDMI cable to send the signal from your laptop to your TV.

6. Need a break? You can pause the performance, but if you close out of the browser window, you will lose your place in the video, so make sure to note the time you are stopping if you are not returning right away and want to resume from where you left off.