Haydn 68 - the Finale!


Left and Right: two views of Haydn

middle: The Attacca Quartet:

Keiko Tokunaga ** Andrew Yee ** Amy Schroeder ** Nathan Schram

                     violin 2                      cello                   violin 1                      viola      

The Haydn Quartets series stretched over three seasons, with 24 quartets in each of the first two, and the rest in the third year. This is a “historical” page now, since the series was completed in Mach 2016. FYI!

Final Weekend (No. VI): March 18-20, 2016

We welcome the Attacca’s new violist Nathan Schram to our concerts!

    Friday, March 18, 8:00 - Op 17/1; 54/3; 77/1 -- Talk 7:15

    Saturday, March 19. 2:00 - Op 20/6; 33/5; 76/5

    Saturday, March 19, 7:00 at Sat. Matthew’s Lutheran Church, Benton/Charles,       

        Kitchener: Haydn’s “Seven Last Words of Christ on the Cross”

        for String Quartet (in the Attacca Quartet’s special new edition).

        With brief Introduction by the quartet.

    Sunday, March 20. 2:00 - Op. 1/1; 76/3 (“Emperor”*); 103 - Haydn’s first and last

        quartets (op. 103 is incomplete - two movements)

    * this was the audience choice for the one repeated work in the series


                18th, 19th: $35 (st $20).

                    19th evening: $20 (all);

                    20: Finale, $50 [students $30] (reception embedded)

          Weekend pass (concerts only): $95

(students $55 - [limited])

New: Haydn Dinner Sunday evening, at Timeless Cafe (305 Northfeld Drive, Waterloo) - $100 (with afternoon concert and reception)

or, $100 with tax receipt if you don’t include the concert.

Contact us at our e-mail or phone no. below to get on the Dinner list.

Superticket price: $100 (with $60 tax receipt)

The Attacca Quartet will be our guests, and will also play a bit for us!

Weekend package (all 4 concerts + Dinner and receipt) : $200 [students $125] 

Be a big Haydn Supporter. A contribution of $500 gets you two tickets to the four concerts, plus two places at dinner, and a big tax receipt.

-- Larger Donations invited for this great project --

kwcms@yahoo.ca   519 886 1673



Weekend no. V:

V.1 - Oct. 29, 8:00 (Thursday evening)

Op 33/6 -- 9/3 -- 76/4 Sunrise 

V.2 -  Oct. 31, 2:00 (Saturday afternoon)

Op 64/3 -- 42 -- 50/6 Frog

V..3 - Oct. 31, 8:00 (Saturday evening)

Op 2/1 -- 20/3 -- 74/2

V. 4 - Nov. 1, 2:00 (Sunday afternoon)

Op 1/4 -- 17/3 -- 54/1

  1. *We elected to move Day One of this weekend a day earlier because, unbeknownst to us when we first made the dates (which are not movable, alas), it turns out that the K-W Symphony Orchestra’s concerts are at exactly the same times. We don’t want our patrons to have to miss those important events. Note: the Attacca Quartet will play on Friday at Conrad Grebel University College, presumably at 11:30 (tba).


Fourth Haydn Weekend: March 27-29, 2015

TALKS: On each evening (not afternoons), a member of the quartet will discuss the music (with illustrations) for the audience at 7:15 pm.

You can get tickets to any or all at WordsWorth books, Music Plus (Kitchener), or the box office in Hagey Hall, U of W. On-line tickets (singles only) are available through TicketScene.ca/kwcms.]

Be a Haydn Supporter! $500, with two tickets to each concert and a $400 tax receipt.

                        Spring 2015: Weekend IV is March 27-29

                        2015-16 seasonWeekend V: October 30-Nov. 1

                                                    Weekend VI: March 18-20

CD Recordings of all of the previous concerts (20 discs) are available from us - just $10 each. At any concert; or, e-mail us.

Program Notes for the quartets on each concert are now available on the web pages for each one. (click here for concert 9, then use ‘next’ tabs)

  1. ** * * * * * * * * * * * * * * * * 


3rd weekend, Oct. 24-26 2014

Fri.  Oct. 24, 8:00*: op 9/5; op 64/4; op 55/3 || Sat. Oct. 25, 2:00Op 20/1; op 2/6; op 50/3

Sat.  Oct. 25, 8:00*: Op. 71/1; op 1/0; op 64/6 || Sun. Oct 26, 2:00: Op. 17/2; op 33/1; op. 76/6

2nd weekend, Feb. 7-9 2014

FridayFeb. 7. Talk at 7:15; concert 8:00)

Op. 33 no. 4; Op. 17 no. 4; Op. 76 no. 1

Sat, Feb. 8, 2:00 - no talk)

Op. 9 no. 2 (No. 14); Op. 50 no. 5 “The Dream”; Op. 64 no. 5 “The Lark”

Sat, Feb. 8. Talk at 7:15; concert 8:00)

Op. 9 no. 6; Op. 50 no. 1; Op. 77 no. 2

Sun, Feb. 9, 1:30 - note the unusual time)

Op. 1 no. 2; Op. 20 no. 4; Op. 76 no. 2 “Fifths”

1st weekend, Nov. 16-17

Sat. Nov. 16, 2:00: op. 9 #1; op. 20/2; op. 71 #2 || 8:00: op. 1 #3; 50#4; 74 #3 “Rider”

Sun. Nov. 17, 2:00: op. 2 #4; 55 #2 “Razor”;64 #2 || 8:00: op. 33 #3 “Bird”; 17 #5; 76 #3 “Emperor”

The Region of Waterloo has around a half-million people by now. There will be many people, who come to more than one Haydn 68 concert, and some will attend the entire series.  Among all the other folks in the Region, are there adventurous souls ready to enjoy at least one concert of the quartet music of this good-natured genius? We hope so! Indeed, we think so!

Please help us find them – tell your music-loving friends about Haydn 68, and urge them to give it a try. Once they come, the music will sell itself, we assure you.

This is almost certainly a once-in-a-lifetime opportunity for music lovers. Haydn 68s happen – but they don’t happen often.

Haydn’s 68 Quartets

K-W Chamber Music Society has put on many important “completes” by several composers. Its biggest so far was a 9-concert series of Haydn’s trios. But everything pales against Haydn 68 - the number of complete string quartets by Joseph Haydn. At about 3 quartets per concert, that’s getting on for 23 concerts. It’s going to take awhile! (Three years.)

But it’ll be worth it. Haydn’s quartets are consistently delightful. For one thing, he’s so inventive that no matter how similar the general form, each one is really different. And most of them are also fun. Haydn was the best-humoured of all the great composers, and it shows. They sparkle with wit and vitality. And they tickle the intellect - Haydn keeps the listener interested.  They’re always beautiful, too.

The concerts will come on 6 weekends over a three-year period, one in autumn, one in winter or spring (depending on the schedules of the Attacca Quartet - who are a very busy ensemble, with concerts far and wide.) Each weekend will consist of four concerts. The first one, for special reasons, had two on Saturday and two on Sunday. We expect thereafter that it will usually be one each evening (8:00) Friday, Saturday and Sunday, with an extra afternoon one (2:00) on Saturday.

Is there an audience in Waterloo Region for such an undertaking? We think so.

We also hope that some will find it so significant that they will help with financial support. Might you be one of those? A $500 contribution gets you weekend admissions to all four, with reserved seats, plus a donation receipt for most of the amount. If so, get in touch: kwcms@yahoo.ca  or 519-886-1673.

Pay what-you-can: On the other side, there may be a few who genuinely feel they can’t afford our single-ticket prices. We ask such persons to come to our concerts no earlier than ten minutes before concert time; if there is space available, we’ll make it available at lower prices. We’ll accept any reasonable offer (not $0, please) for available seating. (Please don’t misuse this offer. Our prices are reasonable, especially in view of what you get, and very few people genuinely can’t afford them.)

SEE: The article about this in the September-October issue of Music Times -it’s on this page, juste scroll down. And see our web pages for each concert - go to “Concerts”, scroll to the relevant dates (Feb. 7-8-8-9 for the next set)

Become a major supporter of this special series! We invite support at levels such as $500 - or whatever! Just e-mail us at kwcms@!yahoo.ca. Better yet, just bring your chequebook to a concert!

For out-of-towners: here are links to lists of lodgings.





Below: the article in Music Times (Sept-Oct 2013) about our series:

An Attacca of Haydn

Jan Narveson

The Kitchener-Waterloo Chamber Music Society has a certain reputation for doing “completes” – some of them pretty daring (and we have a bit of  a reputation for doing other daring things, too). We’ve done the Complete Beethoven Quartets twice in our history so far (there are 16 of those – six concerts), and the complete Beethoven Sonatas  (32 – eight concerts) three times. Beethoven’s violin and piano sonatas (at three concerts, they’ve had four runs), and his cello sonatas (two concerts, but in one amazing case, just one!) – three times. And the complete Mozart piano sonatas, in four concerts. All pretty safe. But we have also ventured into much less secure territory, with the complete piano works of Ravel, most of Schubert, the Shostakovich quartets – (15, in five concerts) and, moving into a really big one,  the Haydn trios, of which there are over 40 – nine concerts, over three years. And this past season, the Complete Second Viennese School quartets, in three concerts – nothing  “safe” at all about those, and yet, in the event, amazingly successful.

But all of these pale by comparison with the new project we are initiating in November: the complete quartets of Haydn, of which there are, on the most plausible count, sixty-eight complete ones (plus his final quartet movements, making sixty-eight and a half). That’s a lot of works in basically just one form, and for exactly the same set of instruments (two violins, one viola, one cello).  Moreover, while later composers for the quartet introduced any number of new tonal and harmonic devices and structures, all sixty eight of Haydn’s are firmly wedded to classical harmony and form. (The first ten, early quartets, are in five-movement divertimento form; all of the rest are in the classical four movements, and almost all consist of one sonata-allegro opener, one slow movement, one minuet (all of which are tripartite: minuet-trio-minuet), and one finale, this last being the most variable in form, but still ... So, the reader may suspect that our sanity has finally developed serious cracks! Why on earth do such a thing?

That question is answered by the music. You just have to hear one, or two, or ... and you’ll start to see the point! Haydn was one of music’s true geniuses, and certainly among its most individual ones. Despite the general similarity of form and sound, there’s never a dull moment, and no two are really alike – Haydn’s ingenuity and wit rarely fail him.

Joseph Haydn (1732-1809) was by no means the most prolific composer of all time, but he was one of the most inventive. Apart from a few very minor items, every one of his quartets has something interesting and unique to say. And many connoisseurs would probably pronounce his huge run of quartets as the most inventive of them all. A very few others have written even more, but most serious listeners would think it an agony to listen to more than a couple of them. Not Haydn’s, though!

There’s no question of their influence or historical importance, and for over 200 years musicians have played them not just for those reasons, but out of sheer joy and admiration as well. How, they ask, can he keep “doing it” – coming up with another novelty, another subtle witticism, another insight into formal possibilities, and in short, another great or at least near-great work of art, after all those others? Well, he does.

Since the “rediscovery” of  Haydn after World War II, the quartets have had their share of attention. There have been several complete Haydn Quartet recordings over the past sixty years or so. To my knowledge (certainly not complete), there have been at least five, on these labels, with the name of the ensemble after: Vox (Dokany/Fine Arts), Decca (Aeolian), Philips (Angeles,) Naxos (Kodály), and Brilliant (Buchberger). No doubt somewhere in Europe there have been others, and for sure there are new ones on the way – we hear of an undertaking by the Eybler Quartet in Toronto (their Op. 33 has already appeared), for example. And there are countless boxes of specific opuses (the official plural is “opera” but that’s confusing, under the circumstances.)

So the answer to the first question – Why do them at all? – is clear: Haydn is Quality! It’s composing at the top of the class. But another question is sterner: why do them here, in unpretentious modest-sized Kitchener-Waterloo? And if here, then by which ensemble?

The answer to the first of these latter questions can be put in the form of another question:  Why not here? While this urban area is not as big as the world’s major cities, our chamber music series is. For over three decades some of the best musicians from all over the world have been playing for our audiences, and scarcely a week goes by without at least one enquiry from another soloist or ensemble wanting to be part of the KWCMS series. So yes, we have the credentials to propose doing such a project here.

The answer to which ensemble to engage is related to the previous answer. A couple of years back I read in the New York Times of “The 68” – an undertaking by a quartet in New York City called the Attacca Quartet, which turns out to be the teaching quartet at the famed Juilliard School in New York. (If you saw the movie Late Quartet, you will have seen the Attacca in it during a Juilliard master class scene; the master-class is led by one of the members of that movie’s quartet – artificially named the “Fugue,” but obviously intended to emulate the Juilliard String Quartet). Well, the K-W Chamber Music Society presented the Attacca Quartet last November in a concert that included one Haydn quartet. And we got to talking with the artists about their Haydn series (The 68), whereupon they said that they’d be delighted to do it in a venue outside New York, such as here! And so we were off and thinking about it. A few e-mails later, we had the general plan worked out.

Haydn 68

How many quartets did Haydn write? The maximum number that you may still hear is 83. But that is no longer generally accepted. It included, for one thing, an “Opus 3” which is now thought to be by somebody else – “an obscure monk named Roman Hoffstetter”, as H.C. Robbins-Landon said. The lovely “serenade” that is one of “Haydn’s” most popular pieces is in that opus (Op. 3 No.5)! (It’s still possible that it is really by Haydn while most of the rest of those six quartets are by the other chap. By the way, KWCMS had a quartet from Op. 3 once, and it’s quite easy to believe that it’s not by Haydn – except for that ultra-lovely serenade!) Another point against the figure of 83 is that it includes each of the Seven Last Words of Christ on the Cross as a separate quartet, but it’s much more reasonable to count them as the composer did, namely, as seven movements meant to be played consecutively, hence as one long work – which the Attacca Quartet will do.

And then there are the Early Quartets, prior to Op. 9. These include a quartet often called “Op. 0” (!), which probably isn’t his absolutely first quartet (it was discovered in 1930); then there’s Op. 1 and Op. 2. But they include three that are divertimenti with extra instruments in their original form, and are included as quartets by just chopping off the extra instruments. So those three tend not to be counted in the canon. That leaves us with 10. Early though they are – most perhaps written in the 1750’s – and despite being technically “divertimenti” in five movements, they are fine pieces that make it easy to see how they could make their composer so lionized and sought after by the musical savants and home instrumentalists of the day. And it continued, by the way. Once he got seriously into composing, in his mid-twenties, Haydn soon became, and remained, known as the greatest composer in Europe. He is probably the most successful of the great composers, ever. His quartets also provide the beginning points into a long evolution of the quartet as a form during his nearly fifty years of quartet composing – an evolution which patrons will observe in each concert, as the Attacca are not playing them all in chronological order, but in programs each with samples of early, middle, and later works.

The quartets “proper” begin with Opus Nine, the first to take on the standard pattern of four movements, from which Haydn never deviated again. Classical works tended to come in sets of a half dozen, or sometimes three.  Op. 9 has six quartets as have op. 17, 20, 33, and 50. There’s a singleton, op. 42, between the last two  –it seems not to be known quite why. Then there’s the amazing Seven Last Words, op. 51 – seven consecutive slow movements that nevertheless grab one’s attention and tug at one’s heart-strings throughout their fifty-some minutes. The standard format is resumed with the split opus 54/55, three each; then op. 64, another split at 71/74, and the consummatory final six of Op. 76; but we’re not quite done, as there is also op. 77 – just two works, evidently because the then-aging composer was also too busy to round it out. And there’s a superlative two final movements, the 1803 andante and minuet designated as op. 103. And there’s not a dud in the lot. Which is exactly why the whole series is worth doing. Just go to one concert, and you’ll see.

The Attacca Quartet

This sparkling and virtuosic quartet is still “young” though in their 11th season as a concertizing quartet by now. Amy Schroeder and Keiko Tokunaga, violins; Luke Fleming, viola; and Andrew Yee, cello, all studied at important music schools and then at Juilliard School. Scroll down for more!


The artists will drive up all the way from New York City, so to make this economic for them we have to do the concerts in a highly concentrated form: four concerts per long weekend, two weekends per season.

The original idea was, one concert each night for Friday-Saturday-Sunday, plus one afternoon concert on Saturday making Saturday a double-header. Their ideal weekend to begin the series was Nov. 15–17, and we decided to do it. And then we discovered that NUMUS is having their grand introductory concert of the season on the 15th – ouch! So we got in touch with the quartet, and the result is that this autumn we’ll have two double-headers – both Saturday and Sunday (2pm and 8pm each day, with a 7pm talk about the music on Saturday). Next winter, the second weekend of the series is on February 6-7-8 (Friday-Saturday-Sunday, with only one double-header, on Saturday) If it turns out that people would prefer the double-double weekend, we can revert to that. The two-concerts-in-one-day format provides a perfect excuse for people to go to one of our nice local restaurants between concerts; and with hotels and B&Bs available, the Saturday–Sunday schedule could make a nice musical weekend getaway for out-of-town people. So .… we’ll see.

We have dates for 2014-15 now: October 24-26, and March 27-29 which may again be a double-double (28th, 29th, to avoid convflict with a Signature Series concert of the K-W Symphony)

“Haydn 68,” as we’re calling it, will take almost three seasons at this rate. Possibly some programs will include four quartets, so possibly seven weekends (21 concerts) will complete the series. Each program has a nice selection of earlier to later works.

The Attacca Quartet

First Prize winners of the 7th Osaka International Chamber Music Competition in 2011, top prizewinners and Listeners’ Choice Award recipients in the 2011 Melbourne International Chamber Music Competition, and winners of the Alice Coleman Grand Prize at the 60th annual Coleman Chamber Ensemble Competition in 2006, the internationally acclaimed Attacca Quartet has become one of America's premier young performing ensembles.  The Attacca Quartet is now in its tenth season, having been formed at the Juilliard School in 2003.  It is comprised of violinists Amy Schroeder and Keiko Tokunaga, violist Luke Fleming and cellist Andrew Yee.  They made their professional debut in 2007 as part of the Artists International Winners Series in Carnegie Hall's Weill Recital Hall and have appeared there on numerous occasions since.  The Attacca Quartet gave the Alice Tully Hall premiere of John Adams' recently composed String Quartet in December 2009; having worked closely on the quartet with Mr. Adams, he has enthusiastically supported their performances of it.  They have subsequently recorded the complete string quartet works of John Adams for Azica Records, which will be released in March 2013.  2012-2013 marked the third season of "The 68," an ambitious project in which the Attacca Quartet will perform all sixty-eight Haydn string quartets on a special series they created in New York.  The Attacca Quartet currently serves as the Juilliard Graduate Resident String Quartet, and is represented by Columbia Artists Management, Inc.

Amy Schroeder, Violin

Violinist Amy Schroeder studied with Sally Thomas at the Juilliard School where she received her Bachelor and Master of Music degrees.  She was born in Buffalo, New York where she began lessons at the age of six with Karen Salhany and continued her studies at age twelve with Thomas Halpin.  Ms. Schroeder has soloed with orchestras including the Buffalo Philharmonic Orchestra, the Amherst Symphony Orchestra, the Clarence Symphony Orchestra, the Hilton Head Symphony Orchestra, and the Greater Buffalo Youth Orchestra.  

Ms. Schroeder has been a part of a wide array of festivals including Disney's Young Musician Orchestra, the Spoleto Festival in Italy, Music@Menlo, the Pacific Music Festival Tokyo String Quartet Program, the Emerson String Quartet seminar, the Juilliard String Quartet Seminar, the Banff Summer Chamber Music Festival, the Norfolk Chamber Music Festival, the Meadowmount School of Music, and the Music Academy of the West. She is the recipient of many awards, including first place in the Geneseo College Solo Strings Competition, first place in the Ithaca College Solo Strings Competition, the Erie County Music Educator's Scholarship, and the Ziegle Jr. Scholarship, which provided her tuition to study at Juilliard. 

Ms. Schroeder has been a member of the Attacca Quartet since 2003.  The quartet won the Alice Coleman Grand Prize at the 60th annual Coleman Chamber Ensemble Competition in 2006 and was the Winner of the Grand Prize in the 2006 Artists International Competition.  Along with performances around the world with the quartet, including their Carnegie Hall debut in 2007, she has also served as a faculty member of the 2009 Boston University Tanglewood Institute, the Port Townsend Summer Chamber Music Festival, the Animato String Camp at Florida International University, and Hunter College 2007 when the Attacca Quartet was its Resident String Quartet.  She currently serves with the Attacca Quartet as the Graduate Resident String Quartet at the Juilliard School, and maintains a private studio in New York.

Keiko Tokunaga, Violin

A member of the Attacca Quartet, Keiko Tokunaga has already established a formidable reputation as a soloist and a chamber musician across North America, Italy, Mexico and in her native Japan.  With the Attacca Quartet, she served as a guest artist at the Hunter College of New York and Port Townsend Chamber Music Festival and as a violin faculty of the Boston University Tanglewood Institute.  Ms. Tokunaga has performed both as a soloist and chamber musician in such major venues as Weill Recital Hall at Carnegie Hall, Alice Tully Hall, the Metropolitan Museum of Art, the Museum of Modern Art in New York City, the Banff Centre in Canada, and Suntory Hall in Tokyo, Japan.  In September of 2009, Ms, Tokunaga gave her solo debut recital at Ohji Hall, Tokyo.  Ms. Tokunaga holds Bachelor's and Master's Degrees from the Juilliard School, where she is a faculty member of the Pre-College Division, teaching ear training.  She is currently under sponsorship by the Information Development Co., Ltd. and ARUMA Inc.  Ms. Tokunaga performs on a Stefano Scarampella violin from 1900.

Luke Fleming, Viola [weekends I-V]

Having made his New York debut to a sold out audience in Alice Tully Hall in 2009, violist Luke Fleming has established himself as an exceptional solo and chamber recitalist.  Mr. Fleming joined the internationally acclaimed Attacca Quartet in November of 2009 and is currently an Artist Diploma Candidate at the Juilliard School, where he studies with Samuel Rhodes.  Festival appearances include performances at the Marlboro Music School and Festival, the Steans Institute at Ravinia, and the Norfolk and Sarasota Chamber Music Festivals, as well as concerts in Japan, Korea, Australia, England, Spain, Poland, Denmark, Germany, Austria, and Mexico.  In 2011, Mr. Fleming was featured on a Live from Marlboro CD release on the Archiv Music label, and his recording with the Attacca Quartet of the complete string quartet works of John Adams for Azica records will be released in March 2013.  He has performed as a guest artist with the Chamber Music Society of Lincoln Center, Sejong Soloists, Ensemble ACJW, the Georgian Chamber Players, Continuum, AXIOM, and the Serafin String Quartet.  A native of New Orleans, Mr. Fleming holds a Doctorate of Musical Arts and Masters of Music from Juilliard, a Graduate Diploma with Distinction from the Royal Academy of Music in London, and a Bachelor of Music summa cum laude from Louisiana State University.  He is represented by Arts Global, Inc. and with the Attacca Quartet by Columbia Artists Management, Inc.

Nathan Schram – Viola    [as of Weekend VI]

Hailed by The New York Times as an “elegant soloist” with a sound “devotional with its liquid intensity,” Nathan is a sought after violist, composer, and arranger. Working with many of today’s great composers, he has premiered music by Steve Reich, Nico Muhly, Becca Stevens, Timo Andres, David Bruce, Elliot Cole and others. Nathan is also a founding member of Speed Bump, an ensemble devoted to improvisation and their own compositions. Nathan has collaborated with many of the great artists of today including: Björk, Itzhak Perlman, Becca Stevens, Gabriel Kahane, Gil Kalish, Simon Rattle, Phil Setzer, Joshua Bell, and others.

Apart from performing, Nathan is the Founding Director of Musicambia, a New York based initiative establishing a network of music conservatories within prisons and jails in the United States. Musicambia currently runs a music conservatory at Sing Sing Correctional Facility in Ossining, New York and is developing a school in South Carolina as well as programs overseas.

Schram is a prizewinner of the 2007 Primrose International Viola competition, the 2006 Corpus Christi Concerto Competition and a First Prize winner of the 2008 ASTA National Solo Competition. He studied at Indiana University with Alan de Veritch and at the Escuela Superior de Música Reina Sofia in Madrid, Spain with Diemut Poppen and Yuval Gotlibovich. As an Ensemble ACJW Fellow he was documented by radio journalist Jeff Lunden for a 2-year, four-part series for NPR’s Weekend Edition.

Andrew Yee, Cello

Andrew Yee, cello, has been praised by Michael Kennedy of the London Telegraph as "spellbindingly virtuosic...remember that you heard [his] name here first". He is a founding member of the internationally acclaimed Attacca Quartet, and received his Bachelor's and Master's degrees from the Juilliard School, where he studied with Fred Sherry, Darrett Adkins, and Joel Krosnick.  Mr. Yee has appeared with the International Sejong Soloists, and has played solo and chamber music recitals across the United States.  His many engagements include the Concert Hall, Terrace Theatre, and Millennium stages in the Kennedy Center of Washington D.C. Alice Tully Hall, The Spoleto Festival, Carnegie Hall, and other venues including solo performances of the Popper Hungarian Rhapsody, the Vivaldi Concerto for two cellos, and Dvorak Concerto.  Mr. Yee plays on a 2002 Nathan Slobodkin cello modeled after the 1731 "Ex Messeas" Guarneri "del Gesu" cello.



Friday March 27, 2015, 8:00

Pre-Concert talk: 7:15 (free to ticketholders)

Op. 17 No. 6 in D

Op.  55 no. 1 in A

Op. 74 no. 1 in C

Saturday, March 28, 2:00

Op. 2 no. 2 in E

Op. 20 no. 5 in f

Op. 50 no. 2 in C

Saturday, March 28, 8:00

Pre-Concert talk: 7:15 (free to ticketholders)

Op. 54 no. 2 in C

Op. 9 no. 4 in d

Op. 71 no. 3 in Eb

Sunday, March 29, 2:00

Op. 1 no. 6 in C

op. 64 no. 1 in C

op. 33 no. 2 in Eb, “Joke”

Note; there are program notes for all these quartets on the individual concert pages. To see them - at the top, select ‘Concerts’ and scroll to the March 27, 28, 29 pages.

each: $35 (sr $30; st $20)) [7*]

Buy tickets on-line - it’s easy!

Weekend Package: $95/$75/$50