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KATHERINE FONG, VIOLIN Violinist Katherine Fong has been a member of the Metropolitan Opera Orchestra since 2000. A native of Amarillo, Texas, she began playing at age four. Katherine leads a multifaceted existence as an orchestral musician, chamber musician, soloist, entrepreneur, and mother. In addition to the Metropolitan Opera season, Katherine frequently performs as soloist in Bogotá with the Orquesta Nacional de Colombia and runs her company Luxitune (www.luxitune.com ), designing bejeweled fine tuners for string instruments. She has performed with the Met Chamber Ensemble and Maestro James Levine at Carnegie’s Zankel Hall. Katherine received a Bachelor of Music from the New England Conservatory, where she studied with Eric Rosenblith, and continued her studies with Cho-Liang Lin and Joel Smirnoff at the Juilliard School, where she received her Master of Music degree. She is proud mommy to Ezekiel, age 2 and is married to violist Dov Scheindlin.

HUGO VALVERDE, HORN Hugo Valverde carries an orchestral and solo career in the United States and his native Costa Rica as a French horn player, currently holding the position of Second Horn with the Metropolitan Opera Orchestra since 2017. As an orchestra player he has performed with the Costa Rican National Symphony Orchestra, the Classical Tahoe Festival Orchestra, the Orchestra of the Americas, The Pacific Music Festival Orchestra and The Philadelphia Orchestra. In his role as a soloist he performed Richard Strauss’ Concerto No. 1 with the Lynn Philharmonia Orchestra under Guillermo Figueroa and he premiered the piece “Tributo al Ciudadano Pablo” by Marvin Camacho with the Heredia Symphony Orchestra of Costa Rica under Josué Jiménez. The piece is written and dedicated to him by the composer and it reflects Hugo Valverde’s commitment to Latin American repertoire, having performed and premiered in concert pieces by Manuel Matarrita, and other Latin American composers. He often performs chamber music concerts with his colleagues of the, Metropolitan Opera Orchestra at the Carnegie Hall Concert Series (Met Orchestra Chamber Ensemble) at Weill Recital Hall and also with the woodwind quintet “Quinteto de Luz” in Costa Rica. Mr. Valverde studied at the Shepherd School of Music at Rice University, Lynn University Conservatory of Music and the National Music Institute of Costa Rica. His main teachers are Luis Murillo, Gregory Miller and William VerMeulen. In his spare time, Hugo enjoys cycling in Central Park and his native Barva, in Costa Rica, and is a coffee lover.

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SUNDAY, NOVEMBER 19, 2017 AT 3 PM LOS ANGELES GUITAR QUARTET BUY TICKETS LOS ANGELES GUITAR QUARTET “The world’s hottest classical ensemble or its tightest pop band? However it helps you to think about the LAGQ, keep the emphasis on superlatives for its unrivaled joy, technical élan and questing spirits.” — Los Angeles Times “Ensemble guitar playing doesn’t doesn’t come any better.” — The Kansas City Star FEATURING ABOUT THE PERFORMANCE BUY TICKETS On November 19 , the Grammy Award-winning Los Angeles Guitar Quartet will offer a varied program of classical favorites, tracing a broad dramatic arc and emotional journey. For three decades, the LAGQ has set the standard for expression and virtuosity among guitar ensembles. Their acclaimed transcriptions of concert masterworks provide a fresh look at the music of the past while their interpretations from the contemporary realm continually break new ground. The highlight of the program will be Road to the Sun , written for the LAGQ by guitar legend Pat Metheny. This six-movement work is a journey through the musical worlds of Metheny, including jazz, groove, ballad, rock and expressionist elements. Not to be missed! PROGRAM Music from the Time of Cervantes (arr. W. Kanengiser) Anonymous (17th century) Jácaras Antonio Martín y Coll El Villano Antonio Martín y Coll Diferéncias Sobre Las Folias Juan Arañéz Chacona (“La Vida Bona”) Juan de Encina Oy Comamos Program Notes Johann Sebastian Bach Brandenburg Concerto No. 6, BWV 1051 Program Notes Three Brazilian Pieces Hermeto Pascoal Da Sábado pra Dominguihnos Hermeto Pascoal A Lenda do Caboclo Baden Powell Samba Novo Program Notes Opals Phillip Houghton Opals Program Notes Pat Metheny Pat Metheny Road to the Sun Program Notes Watch the Los Angeles Guitar Quartet play a Tarantella: Watch the Los Angeles Guitar Quartet play music from the time of Cervantes:

SUNDAY, APRIL 14, 2019 AT 3 PM ANNE AKIKO MEYERS, VIOLIN, & JASON VIEAUX, GUITAR BUY TICKETS ANNE AKIKO MEYERS, VIOLIN “Vigorous master… stylish elegance” 
— Los Angeles Times JASON VIEAUX, GUITAR “Virtuosic, flamboyant, dashing, and ineffably lyrical.” — New York Times FEATURING ABOUT THE PERFORMANCE BUY TICKETS Two of today’s most scintillating artists will join forces for an afternoon of evocative violin and guitar duos. Anne Akiko Meyers is a best-selling recording artist with 35 albums. Jason Vieaux’s most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo. Don’t miss their special collaboration! PROGRAM Archangelo Corelli Sonata in D minor Op. 5 No. 12 “La Folia” arr. Andy Poxon Program Notes Phillip Glass Metamorphosis II, arr. by Michael Riesman Program Notes Astor Piazzolla Histoire du Tango, arr. by Dmitriy Varelas Program Notes Rentarō Taki “Kojo No Tsuki” (“The Moon over the Ruined Castle”) arr. Anne Akiko Meyers Program Notes Antônio Carlos Jobím A Felicidade Program Notes John Corigliano Lullaby for Natalie Program Notes Manuel de Falla Siete Canciones Populares Españolas, arr. by Emilio Pujol Program Notes An introduction to violinist Anne Akiko Meyers and guitarist Jason Vieaux: Watch Jason Vieaux perform Antonio Carlos Jobim’s “A Felicidade”:

MICHAEL BORISKIN, PIANO Best known as an internationally-active pianist and prolific recording artist, Michael Boriskin has been extensively involved in every aspect of the concert music world, and has been hailed by American Record Guide as “one of the most skilled and versatile musical figures of his generation.” A native New Yorker, he has performed throughout the United States and in over 30 countries. Taking listeners on captivating journeys across four centuries of music, he has appeared at many of the world's foremost concert venues, including Carnegie Hall, Lincoln Center, the Kennedy Center, the BBC, London’s Wigmore Hall, the Berlin and South West German Radios, and Vienna’s Arnold Schönberg Center. He has also performed as soloist with the Munich and Polish National Radio Orchestras, San Francisco, Utah, and Seattle Symphonies, UNAM Philharmonic of Mexico, and American Composers Orchestra, and as a sought-after chamber music collaborator with the Borromeo, Lark, St. Lawrence, and St. Petersburg String Quartets, Dorian and Arioso Wind Quintets, and New York Philharmonic Ensembles. His innovative broadcast series, CENTURYVIEW, on National Public Radio was heard regularly by over one million listeners on 200 stations coast-to-coast. A prolific recording artist, his large discography ranges from Brahms and Tchaikovsky to the present on labels such as BMG/Conifer, New World, Harmonia Mundi, Bridge, Albany, Koch International, and SONY Classical, which has re-released in Europe his acclaimed recording with Jonathan Sheffer and the EOS Orchestra of Gershwin’s complete works for piano and orchestra. Mr. Boriskin has worked with virtually every major American composer of the past 30 years. He is a frequent guest of major educational institutions for master classes, residencies, workshops, and lectures, and is also an accomplished writer whose work has been published by Schirmer Books, American Record Guide , Symphony , Fanfare , Piano and Keyboard , Clavier , Stagebill (Lincoln Center), Chamber Music , Ballet Review , and other periodicals. He was Music Director for three seasons of Mikhail Baryshnikov’s White Oak Dance Project, overseeing the musical production and performance of nearly 250 concerts on ten national and international tours. In addition, he has served as artistic advisor or program consultant for many prominent organizations and institutions, including the United States Department of State, Carnegie Hall, Lincoln Center, Tisch Center for the Arts at the 92nd Street Y, New Line Cinema, and Columbia University’s Miller Theater, among many others. Michael Boriskin was named Artistic Director of Copland House in 1998, and his title was expanded to include Executive Director in 2003. As Artistic and Executive Director, he works closely with the Board of Trustees to guide the institutional development and administration of Copland House, and formulate and implement all of its programs and operations.

February 16, 2020: Ying Fang, soprano; Ken Noda, piano GEORGES BIZET (1838-1875) Chanson d’avril and La coccinelle February 16, 2020: Ying Fang, soprano; Ken Noda, piano Despite Bizet’s primary preoccupation with composing opera, he also wrote more than fifty songs for voice and piano, many of which have stood the test of time because of their fresh contribution to the genre of French mélodie (art song). He built on the style of his teacher, Charles Gounod, but he managed to imbue his songs with more scenic flair and more unusual harmonies and textures. One imagines that if Bizet’s life had not been cut tragically short, he could have produced a body of songs that rivaled those of Fauré, Duparc, and Chabrier, all of whose best songs date from after Bizet’s death. Bizet’s most well-known songs appear in the 1873 collection Vingt (20) mélodies , though most of them had been published before. His somewhat lesser-known but equally great collection, Feuilles d’album (Album leaves), contains six songs all composed in 1866 and published the following year. His final collection (Seize [16] mélodies ), published posthumously in 1883, contains mostly adaptions he made between 1873 and 1875 from unfinished and unperformed operas. His choice of poets demonstrates his amazingly wide-ranging literary tastes, and his dedications include a large circle of friends and colleagues—mainly singers, both professional and amateur. Even when writing in a virtuosic vein his songs are grateful to sing. Bizet composed the charming, graceful “Chanson d’avril” (April song) by 1871 for mezzo-soprano Anna Banderali, wife of composer Grat-Norbert (Adrien) Barth, who a dozen years earlier had beaten out Bizet for the Prix Edouard Rodrigues. Like many of Bizet songs it is strophic, this time in two verses, with a constantly rustling piano part that suggests the stirring of spring and provides a perfect foil for the smoother vocal lines. “La coccinelle” (The ladybug) dates from June of 1868, written for amateur singer Fanny Bouchet. Bizet’s setting provides a perfect example of his ability to create an entire scene within a song. He carefully delineates three characters—in the opening recitative we meet the girl who is the object of the boy’s affection, then for most of the narrative he recounts his missed opportunity for a kiss in a lighthearted waltz as if they are at a dance, and finally the ladybug teases him in her own little song. He concludes with soaring regret and a rueful “I should have.” © Jane Vial Jaffe Texts and Translations Chanson d’avril Lève-toi! lève-toi! le printemps vient de naître. Là-bas, sur les vallons, flotte un réseau vermeil. Tout frissonne au jardin, tout chante, et ta fenêtre, Comme un regard joyeux, est pleine de soleil.Du côté des lilas aux touffes violettes, Mouches et papillons bruïssent à la fois; Et le muguet sauvage, ébranlant ses clochettes, A réveillé l’amour endormi dans les bois.Puisque avril a semé ses marguerites blanches, Laisse ta mante lourde et ton manchon frileux; Déja l’oiseau t’appelle, et tes sœurs les pervenches Te souriront dans l’herbe en voyant tes yeux bleus.Viens partons! Au matin la source est plus limpide;N’attendons pas du jour les brûlantes chaleurs, Je veux mouiller mes pieds dans la rosée humide, Et te parler d’amour sous les poiriers en fleurs!—Louis Bouilhet April Song Get up! Get up! Spring is just born. Yonder above the valleys floats a vermilion space. Everything quivers in the garden, everything sings, and your window, like a joyful glance, is full of sun.Beside the lilacs with their purple clusters, flies and butterflies buzz together; and the wild lily-of-the-valley, ringing its bells, has awakened love asleep in the woods.Since April has sown its white daisies, leave aside your heavy coat and your cosy muff; already the bird is calling you, and your sisters the periwinkles will smile in the grass at you on seeing your blue eyes.Come, lets go! In the morning the spring is more limpid; let us not wait for the burning heats of the day, I want to wet my feet in the damp dew, and to talk to you of love beneath the flowering pear trees! La coccinelle Elle me dit: “Quelque chose “Me tourmente.” Et j’aperçus Son cou de neige, et, dessus, Un petit insecte rose.J’aurais dû,—mais, sage ou fou, A seize ans, on est farouche,— Voir le baiser sur sa bouche Plus que l’insecte à son cou.On eût dit un coquillage; Dos rose et taché de noir. Les fauvettes pour nous voir Se penchaient dans le feuillage.Sa bouche fraîche était là; Hélas! Je me penchai sur la belle, Et je pris la coccinelle; Mais le baiser s’envola.“Fils, apprends comme on me nomme,” Dit l’insecte du ciel bleu, “Les bêtes sont au bon Dieu; “Mais la bêtise est à l’homme.” —Victor Hugo The Ladybug She told me: “Something torments me.” And I saw her snow-white neck, and, on it, A small rose-colored insect.I should,—but wise or mad, at sixteen, one is shy,— have seen the kiss on her mouth more than the insect on her neck.It looked like a shell, rosy back and spotted with black. The warblers to see us better stretched out their necks in the foliage.Her fresh mouth was there; alas! I leaned over the beautiful girl, and I removed the ladybug, but the kiss flew away.“Son, learn what they call me,” said the insect from the blue sky, “Creatures belong to the good Lord, but foolishness belongs to man.” Return to Parlance Program Notes

JEANELLE BRIERLEY, VIOLIN Jeanelle Brierley, an Arizona native and current resident of Cleveland, Ohio, is a violinist with a passion for orchestral performance, chamber music, and pedagogy. Jeanelle completed her undergraduate degree in 2016 at the Cleveland Institute of Music, where she studied with William Preucil and was awarded the Dr. Jerome Gross prize in violin. She made her solo debut with the Phoenix Symphony and has served as the concertmaster of the Lexington Bach Festival, the Cleveland Institute of Music Orchestra, the Youngstown Symphony, the Bangor Symphony Orchestra and the orchestras of the Brevard Music Center. Jeanelle has performed as a substitute with the Minnesota Orchestra, as a guest artist at the Bermuda Piano Festival and as a member of the Canton Symphony, the Steamboat Springs’ Strings Festival, the Verbier Festival Orchestra and the Perlman Music Program’s Chamber Music Workshop. She runs a private violin studio and is on faculty at the Cleveland Institute of Music where she coaches chamber ensembles in the preparatory department. Jeanelle has been a regular substitute violinist with The Cleveland Orchestra since 2017 and has performed regularly with the ensemble in Cleveland as well as on tours throughout the United States, Europe, and Asia.

BENJAMIN LUXON, ACTOR-NARRATOR Benjamin Luxon studied with Walther Gruner at the Guildhall School of Music and Drama (while working part-time as a PE teacher in the East End) and established an international reputation as a singer at the age of 21 when he won the third prize at the 1961 ARD International Music Competition in Munich. Soon afterward he joined composer Benjamin Britten’s English Opera Group. On their tour of the Soviet Union in 1963, he sang the roles of Sid and Tarquinius in Britten’s operas Albert Herring and The Rape of Lucretia , respectively. In 1971, Britten composed the title role of his television opera Owen Wingrave specifically for Luxon’s voice; Luxon created the role later that year with the English Opera Group. The following year, 1972, Luxon made his début at both the Royal Opera House, Covent Garden – creating the role of the Jester in Peter Maxwell Davies’ opera Taverner – and at the Glyndebourne Opera Festival, where he sang the title role in Raymond Leppard’s realization of Monteverdi’s Il ritorno d’Ulisse in patria. Thereafter he became a frequent guest at both venues and also at Tanglewood in Massachusetts, USA. In 1974, Luxon began his long association with the English National Opera, which culminated in his appearance in the title role of Verdi’s Falstaff in 1992. He made his Metropolitan Opera début (as Eugene Onegin) in 1980, his La Scala début in 1986, and his Los Angeles début (as Wozzeck) in 1988. He sang in most of the major European opera houses and made frequent appearances in Munich (Bayerische Staatsoper) and Vienna (Wiener Staatsoper). In addition to his opera work, Luxon also developed a reputation as a concert-giver and recitalist with an unusually broad repertoire, ranging from early music through Lieder to contemporary song, music hall and folk music. He has also been recognised for his work rehabilitating parlour songs from the late nineteenth and early twentieth century, particularly in partnership with Robert Tear. He made several appearances on BBC TV’s long-running Music Hall Variety show, The Good Old Days, both with Robert Tear and on his own. His rendition of the song ‘Give Me a ticket to Heaven’ always met with tremendous acclaim. It was the song for which the BBC received the largest feedback of any featured on the programme. Luxon has made more than one hundred recordings, many featuring early and mid twentieth-century British songwriting and folksong arrangements by composers such as Britten, George Butterworth, Percy Grainger, Ivor Gurney, Roger Quilter, Ralph Vaughan Williams, Gerald Finzi and Peter Warlock. His regular accompanist between 1961 and 1999 was the pianist David Willison. As a guest on the BBC’s Desert Island Discs program, he said that his favourite piece of music is Thomas Tallis’s Spem in alium. Luxon was appointed a Commander of the Order of the British Empire (CBE) in the 1986 Queen’s Birthday Honours.[1] Starting around 1990, Luxon began to be troubled by hearing loss. Though he explored a variety of conventional and ‘alternative’ treatments, continued fluctuation and deterioration in his hearing forced him to end his singing career by the end of the decade. Since then, however, Luxon has developed a career as a narrator and poetry reader, whilst continuing to give master classes and direct opera. He lives in the Berkshires in Western Massachusetts in the U.S.

YOOBIN SON, FLUTE Flutist Yoobin Son was the first Korean to join the New York Philharmonic’s wind section when she became a member of the Orchestra in November 2012. She has served as the principal flute of the Mostly Mozart Festival Orchestra and principal flute of the New Haven Symphony Orchestra. Ms. Son has performed as a soloist with ensembles including the New Haven, New Jersey, Florida, William Paterson University, and Korean symphony orchestras, and the Prime and Seoul Philharmonic orchestras. She has appeared in recital throughout the United States, among them the Dame Myra Hess Memorial Concerts in Chicago, as well as on the Young Artist Series of the Kumho Asiana Cultural Foundation in Seoul, South Korea. A dedicated chamber musician, Ms. Son has participated at festivals including the Marlboro Music Festival and Music from Angel Fire. She is an alumna of Carnegie Hall’s The Academy, where she was an active performer in the acclaimed Ensemble ACJW. As part of the Academy’s fellowship program, Ms. Son was a teaching artist at P.S. 207K in Brooklyn. She has received honors including the Grand Prize at the Florida Orchestra Young Artist Competition, First Prize at the National Flute Association Soloist Competition, Second Prize at the Koussevitzky International Winds Competition, and the Conductor’s Award at the New Jersey Symphony Orchestra Young Artist Auditions. Yoobin Son received her bachelor of music degree from The Curtis Institute of Music, master’s degree from Yale University, and professional studies and artist diploma from the Manhattan School of Music. Her principal teachers have included Robert Langevin, Ransom Wilson, Jeffrey Khaner, and Bradley Garner.

2017-2016 SEASON 2015-2016 SEASON OCTOBER 4, 2015 Richard Goode, piano NOVEMBER 15, 2015 Jeremy Denk, piano, and Stefan Jackiw, violin DECEMBER 13, 2015 Kristin Lee, violin; Paul Watkins, cello; Gilles Vonsattel, piano MARCH 6, 2016 Escher String Quartet APRIL 3, 2016 Sir James Galway and Friends MAY 15, 2016 Stephanie Blythe, mezzo-soprano; Craig Terry, piano Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts