The Friends of Chamber Music of Reading, Inc.

The Friends of Chamber Music of Reading, Inc. in conjunction with

Lone Cricket Productions present

The Brentano String Quartet in memory of Jeri Kozloff

Recorded December 3, 2020 at The WCR Center for the Arts

Sponsored in part by a grant from the Arthur Judson Foundation

“Music washes away from the soul the dust of everyday life.” ~Berthold Auerbach

The Friends of Chamber Music of Reading, Inc. in conjunction with Lone Cricket Productions

present

The Brentano String Quartet

In memory of Jeri Kozloff

Mark Steinberg, violin Serena Canin, violin Misha Amory, viola

Nina Maria Lee, cello

-PROGRAM-

String Quartet in A Major, Op. 41, No. 3 ............................................ Robert Schumann (1810-1856)

I. Andante espressivo; Allegro molto moderato II. Assai agitato III. Adagio molto IV. Finale: Allegro molto vivace

String Quartet in A Minor, Op. 51, No. 2 ............................................ Johannes Brahms (1833-1897)

I. Allegro non troppo II. Andante moderato III. Quasi Minuetto, moderato IV. Finale: Allegro non assai

This concert is funded in part by a grant from

the Arthur Judson Foundation

The Brentano String Quartet is managed by David Rowe Artists. ****************************************************************************************************

Please register if you are not on our mailing list and wish to receive announcements of future concerts. These concerts are sponsored in part by a grant from the Reading Musical Foundation. A copy of the official registration and financial information may be obtained from the Pennsylvania Department of State by calling toll-free, within

Pennsylvania, 1-800-732-0999. Registration does not imply endorsement.

The Friends of Chamber Music of Reading, Inc. receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National

Endowment for the Arts, a federal agency.

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~Notes~ String Quartet in A Major, Op. 41, No. 3 ............................................... Robert Schumann

Robert Schumann called the string quartet a “by turns beautiful and even abstrusely woven conversation among four people.” To him, the genre was venerable and worthy of deep study; he knew and revered the quartets of Haydn and Mozart, and like his contemporary and close friend Mendelssohn, he was demonstrably influenced by Beethoven’s quartets when he wrote his own. In fact, when considered vis-à-vis his fanciful, wildly romantic output for solo piano, Schumann’s quartets appear as an astonishingly concise, contained and classical group; the “road map” through each movement is crystal-clear, sometimes severely so. On the other hand, the spirit and intent which invest every note of this music bear the unmistakable stamp of Schumann the Romantic, the yearner, the impulsive.

Schumann wrote his three quartets virtually simultaneously, in a couple of summer months in 1842. It was not the easiest time of his life; married only a short time to Clara, who was one of the most celebrated pianists of her generation, he was reconciling himself to being the moon to her sun, and often living at home without her. His letters and journal entries from this year repeatedly refer to gloomy moods, fatigue, and ill health. However, the quartets contain little indication of this state, being filled with decidedly more sunlight than shadow.

The A Major Quartet, which is the third of these, opens with a tender call, a downward-falling two- note motif, which is often affectionately referred to as the “Clara” motif. The entire first movement bases itself on the interval of this motif, which dominates not only the hesitant, short-lived introduction, but also each of the two melodies in the main body of the movement. The second of these, an airborne song first heard in the cello, is accompanied by hovering, offbeat chords in the upper instruments, which seem to want to lift the melody off the ground entirely.

The second movement, a set of variations, continues the idea of “off the beat”, a favorite rhythmic game of Schumann’s. In this case, the “theme” for the variations appears first as a series of gasps punctuated by brief silences, as if the singer were hyperventilating. Two energetic variations follow close on its heels, the first rendered in shuddering triplets, and the second in declamatory long notes alternating with scampering quick ones. Then follows a sighing Adagio variation, a kind of swaying slow dance. In this variation, we feel that we have finally gotten the original, gasping theme to stand still for a moment, so that we can at last behold the true theme of the movement, candid and vulnerable. The fourth and final variation is stern and embattled, carried onward by churning eighth-notes in the accompaniment. The movement ends with an odd coda, which wanders like a sleepwalker through various keys before settling to a standstill.

The third movement starts out with the promise of repose. In part a hymn, in part a more rhapsodic love-declaration, the music offers a grounded quality that is wholly absent in the first two movements. However, the contrasting episode that follows dissipates that illusion. Punctuated by an obsessive rhythm in the second violin, this section has a nightmarish, angst- ridden quality. Vividly, the main theme from the

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calmer opening of the movement reappears here, no longer consoling, but rather the agent of intensification. The movement alternates between these two moods, working itself out in a coda where some kind of a resolution is reached among lingering doubts.

The finale is a jovial round dance, a kind of rondo that cheerfully alternates three or four different sections, each section self-contained and rhythmically homogeneous. But the odd thing is that Schumann starts the movement off on the upbeat, and manages to keep the music “off”, or off- balance, for virtually the entire movement. So we are rustic, but perhaps a little tipsy as well. Particularly in the extended coda, where the music attempts to stay off the beat but is constantly corrected by downbeat jabs, there is a sense that the music may not quite find its feet in time for the exuberant conclusion.

Note by Misha Amory String Quartet in A minor, Op. 51, No. 2 ................................................ Johannes Brahms

Each of Brahms’ quartets might be interpreted as a sort of homage: the driven c minor confronting Beethoven, the more genial B-flat Major tipping its hat to Haydn, with shades of reference to Mozart’s “Hunt” quartet as well. The Op. 51 No. 2 in a minor must have somewhere in its ancestry the Schubert quartet in the same key. A minor was a particularly evocative key for Schubert, lonely, bereft and lyrical. Loneliness also pervades the Brahms work, and in fact the main motif of the opening movement quotes the motto of Brahms’ great friend and inspiration Joseph Joachim: “frei aber einsam,” free but lonely. The initial letters, F-A-E, are the second through fourth pitches of the four note motif that saturates the first movement, and they reflect something of truth about the work. The piece offers up russet and amber melancholy, with excursions into restlessness. But Brahms is not Schubert, and where the earlier composer’s quartet also opens with a plaintive theme and an undulatory accompaniment, there the underlying motion is a rippling stream that, in its inevitability, suggests something unalterable. For Brahms the roiling triplets underneath suggest not only unrest but possibility. And where Schubert’s contrasting theme in the relative major is heartbreaking because its radiant beauty remains something unattainable, when Brahms visits the same key it is suffused with genuine pleasure even ensconced within the crepuscular cast of the whole. It is as Tony Hoagland writes in his poem Note to Reality: “The parade for the slain police officer / goes past the bakery / and the smell of fresh bread / makes the mourners salivate against their will.” The capacity for joy remains inextinguishable.

For all the piece’s voicing of wistful regret, still there is light let in between the expressions of sadness. The work is, in fact, as much air as anything else. It speaks, it breathes, it confides. Listening to recordings of some of the singers whom Brahms loved and with whom he performed helped me realize that the music in fact is written to confess not to smother, to speak earnestly rather than shout. There is lightness and drift here, even amidst great turbulence at times. Suffering is accepted, but if one pays attention, as any good Buddhist knows, there is space around the pain. Brahms, even with his rich textures, writes plenty of space into the piece, and noticing these apertures may give a key to being vulnerable to the work’s manifold beauties.

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Gypsy music or references to it appear in every movement. This is virile, lifeaffirming music (in movements 1, 2 and 4), proud and defiant in the face of darkness or lonely yearning. It represents a kind of freedom, and often this freedom is literal, musically speaking, from the beat or from the meter. The composer draws on reserves of moral power to combat the pain. The gypsy style was often understood as a reflection of the wild, bestial side of the soul, drawing potency from its refusal to be civilized. (It should be seen as a symbol, a stereotype rather than the sort of deep sympathy later epitomized by Bela Bartok.) The last movement is a Tale of Two Cities, Budapest and Vienna. It is a synthesis of the two cultures, the two sides of the personality, the acknowledged self and the Jungian Shadow both.

In the Quasi Minuet third movement the gypsy reference is subtle, merely the presence of a drone under the main material, but this lends the movement a perfume of ageless sadness. This dance floats with a chill spectral grace. Its circular motion in three beat patterns happens simultaneously on two levels: within the measure and in the groupings of three measures in a breath, allowing the music to flow and hover at once. The movement again seems to nod in the direction of the tragic minuet of Schubert’s a minor quartet; the open fifth drone also evokes the final song of that composer’s Winterreise. The song describes a lonely organ grinder, a man who has essentially disappeared. No one hears or notices him, his fingers are numb from cold; he is offered as a representation of the soul of the singer, the winter wayfarer. This quasi minuet is a dance that has essentially disappeared, its memory haunting the present movement. But like new growth in a landscape denuded by fire a Mendelssohnian elfin trio levitates out of the mist. Its alternation in quick succession with the minuet suggests a simultaneous presence. Brahms is not a true tragedian like Schubert, he clings to hope and strength and the luminosity that seeps around the edges of shadows. Unlike his dear, free but lonely friend Joachim, Brahms seems to be lonely but free.

Note by Mark Steinberg

~The Artists~ Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism”; the Philadelphia Inquirer praises its “seemingly infallible instincts for finding the center of gravity in every phrase and musical gesture”; and the Times (London) opines, “the Brentanos are a magnificent string quartet…This was wonderful, selfless music-making.” Within a few years of its formation, the Quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award; and in 1996 the Chamber Music Society of Lincoln Center invited them to be the inaugural members of Chamber Music Society Two, a program which was to become a coveted distinction for chamber groups and individuals. The Quartet had its first European tour in 1997, and was honored in the U.K. with the Royal Philharmonic Award for Most Outstanding Debut. That debut recital was at London’s Wigmore Hall, and the Quartet has continued its warm relationship with Wigmore, appearing there regularly and serving as the hall’s Quartet-in-residence in the 2000-01 season.

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In recent seasons the Quartet has traveled widely, appearing all over the United

States and Canada, in Europe, Japan and Australia. It has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. The Quartet has participated in summer festivals such as Aspen, the Music Academy of the West in Santa Barbara, the Edinburgh Festival, the Kuhmo Festival in Finland, the Taos School of Music and the Caramoor Festival. In addition to performing the entire two-century range of the standard quartet repertoire, the Brentano Quartet has a strong interest in both very old and very new music. It has performed many musical works pre-dating the string quartet as a medium, among them Madrigals of Gesualdo, Fantasias of Purcell, and secular vocal works of Josquin. Also, the quartet has worked closely with some of the most important composers of our time, among them Elliott Carter, Charles Wuorinen, Chou Wen-chung, Steven Mackey, Bruce Adolphe, and György Kurtág. The Quartet has commissioned works from Wuorinen, Adolphe, Mackey, David Horne and Gabriela Frank. The Quartet celebrated its tenth anniversary in 2002 by commissioning ten composers to write companion pieces for selections from Bach’s Art of Fugue, the result of which was an electrifying and wide-ranging single concert program. The Quartet has also worked with the celebrated poet Mark Strand, commissioning poetry from him to accompany works of Haydn and Webern. The Quartet has been privileged to collaborate with such artists as soprano Jessye Norman, mezzo-soprano Joyce DiDonato, pianist Richard Goode, and pianist Mitsuko Uchida. In 2015-2016, they collaborated with pianist Jonathan Biss on a project centered around late works of great composers. The Quartet has recorded the Opus 71 Quartets of Haydn, and has also recorded a Mozart disc for Aeon Records, consisting of the K. 464 Quartet and the K. 593 Quintet, with violist Hsin-Yun Huang. In 2010-2012, the Quartet recorded all of Beethoven’s late quartets, which were also released on Aeon. In the area of newer music, the Quartet has released a disc of the music of Steven Mackey on Albany Records, and has also recorded the music of Bruce Adolphe, Chou Wen-chung and Charles Wuorinen. Upcoming releases include a recording of Schubert’s Cello Quintet, recorded at Amherst with Michael Kannen. In 1998, cellist Nina Lee joined the Quartet, succeeding founding member Michael Kannen. The following season the Quartet became the first Ensemble-In-Residence at Princeton University, where they taught and performed for fifteen years. In the fall of 2014, the Quartet became the Resident String Quartet at the Yale School of Music, succeeding the Tokyo Quartet in that position. At Yale, they perform in concert each semester, and work closely with the students in chamber music contexts. The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved”, the intended recipient of his famous love confession.

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Mark Steinberg, violin Mark Steinberg is an active chamber musician and recitalist. He has been heard in chamber music festivals in Holland, Germany, Austria, and France and participated for four summers in the Marlboro Music Festival, with which he has toured extensively. He has also appeared in the El Paso Festival, on the Bargemusic series in New York, at Chamber Music Northwest, with the Chamber Music Society of Lincoln Center, and in trio and duo concerts with pianist Mitsuko Uchida, with whom he presented the complete Mozart sonata cycle in London’s Wigmore Hall in 2001, with additional recitals in other cities, a project that continues for the next few years. Mr. Steinberg has been soloist with the London Philharmonia, the Los Angeles Philharmonic, the Kansas City Camerata, the Auckland Philharmonia, and the Philadelphia Concerto Soloists, with conductors such as Kurt Sanderling, Esa-Pekka Salonen and Miguel Harth-Bedoya. Mark Steinberg holds degrees from Indiana University and the Juilliard School and has studied with Louise Behrend, Josef Gingold, and Robert Mann. An advocate of contemporary music, Mr. Steinberg has worked closely with many composers and has performed with 20th century music ensembles including the Guild of Composers, the Da Capo Chamber Players, Speculum Musicae, and Continuum, with which he has recorded and toured extensively in the U.S. and Europe. He has also performed and recorded chamber music on period instruments with the Helicon Ensemble, the Four Nations Ensemble, and the Smithsonian Institute. He has taught at Juilliard’s Pre-College division, at Princeton University, and New York University, and is currently on the violin faculty of the Mannes College of Music. Serena Canin, violin Violinist Serena Canin was born into a family of professional musicians in New York City. An accomplished chamber musician, Ms. Canin was twice invited to the Marlboro Music Festival and has toured the United States with Music From Marlboro, the Brandenburg Ensemble, and Goliard Concerts. In New York, she has made frequent appearances on the Continuum Series at Alice Tully Hall and at the Mannes Beethoven Institute. Ms. Canin has taught chamber music to young musicians at the Chamber Music Society of Lincoln Center and the Chamber Music Center of New York. She holds degrees from Swarthmore College and the Juilliard School, where her principal teachers were Burton Kaplan and Robert Mann. She lives in Manhattan with her husband, pianist Thomas Sauer, and their two sons. Misha Amory, viola Since winning the 1991 Naumburg Viola Award, Misha Amory has been active as a soloist and chamber musician. He has performed with orchestras in the United States and Europe, and has been presented in recital at New York’s Tully Hall, Los Angeles’ Ambassador series, Philadelphia’s Mozart on the Square festival, Boston’s Gardner Museum, Houston’s Da Camera series and Washington’s Phillips Collection. He has been invited to perform at the Marlboro Festival, the Seattle Chamber Music Festival, the Vancouver Festival, the Chamber Music Society at Lincoln Center and the Boston Chamber Music Society, and he has released a recording of Hindemith sonatas on the

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Musical Heritage Society label. Mr. Amory holds degrees from Yale University and the Juilliard School; his principal teachers were Heidi Castleman, Caroline Levine and Samuel Rhodes. Himself a dedicated teacher, Mr. Amory serves on the faculties of the Juilliard School in New York City and the Curtis Institute in Philadelphia. Nina Lee, cello An active chamber musician, Nina Lee has collaborated with many artists such as Felix Galimir, Jaime Laredo, David Soyer, Nobuko Imai, Isidore Cohen and Mitsuko Uchida, and has performed at the Marlboro and Tanglewood Music Festivals. She has toured with Musicians from Marlboro and has participated in the El Paso International Chamber Music Festival. She is the recipient of a Music Certificate from the Curtis Institute of Music, and Bachelor’s and Master’s degrees in music from the Juilliard School, where her teacher was Joel Krosnick. Ms. Lee teaches at Princeton University and Columbia University.

Jeraldine D. Kozloff (1943-2020)

We present this concert in memory of our friend and colleague Jeraldine Kozloff. Jeri, as she was known to all, was a graduate of Wellesley College and received a JD degree from the University of Pennsylvania Law School. After working in the legal field in a number of capacities, she began a career in education, first teaching at Wilson HS and settling at Wyomissing Area High School for ten years. After her retirement, she served the Wyomissing community in several capacities: she was the first Executive Director of the Wyomissing Area Education Foundation, and served on the Wyomissing Borough Council for many years, including a term as President. Jeri was a trustee of Temple Oheb Shalom, where she sang in the choir and was active in many congregation activities. Her love of vocal music was apparent as she served on the Board of Berks Opera for several years.

Jeri and her husband, Dave, have long been supporters of the Friends of Chamber Music. Jeri joined our Board in September 2018. We were grateful for her fresh perspective and ideas to strengthen our organization through increasing community support and awareness of our operation. Through her love of the musical arts and belief in its importance to humanity, coupled with her astute business acumen, she uncovered new avenues of financial support to help sustain and support our mission and our performing artists.

Jeri radiated generosity and kindness, resourcefulness, practicality and hopefulness. An experienced community advocate, she gave generously of her keen intellect, time and talents to any organization that was fortunate to have her on its board. We recognize and appreciate the great heart at Jeri's core: her love of family and friends, love of teaching and helping, and love of beauty as expressed in the arts.

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With many thanks to our 2020-2021 Patrons

Benjamin F. Souders Society

($2,500 and above) Thomas B. Souders, M.D.

Tom & Louise Souders Mary Alice Wotring

The Arthur Judson Foundation Pennsylvania Council on the Arts

The Presser Foundation Reading Musical Foundation

Diamond

($1,000–$2.499) Dr. & Mrs. Stuart Cohn

Q & Stan Grabias Meir & Haia Mazuz

Pat & Len Pietruszynski Dr. & Mrs. Ronald Rhein, in memory of

William H. Lord, M.D. Louise W. Souders

Emerald

($500–$999) Anonymous

Mr. & Mrs. Bruce P. Bengtson Blue Mountain Foundation

Charles & June Dunn Shuji Kawata

David M. Kozloff Judith Kraines & Dr. Neil Hoffman

Jim & Peggy Mathis Patricia Perfect, in memory of

William H. Lord, M.D. Suzanne Palmer, Esq.

Cocol Bernal & John Pankratz

Margaret Patch Enikö & James Russell Ellen & John Shapiro

David Thun

Ruby ($250–$499)

Maria Braun & Family Joan & David Cruzan

Riva & Tony DiCintio, in memory of Jeri Kozloff

Marc & Marcia Filstein Radene Gordon-Beck

Kenneth W. & Pauline L. Betsh Jeff & Cheryl Dorko Terry & Ginny Hand Lynn & Leslie Hart

Gerard & Christine Helinek John & Priscilla Hirschenhofer Eve & Dan Kimball, in memory of

William H. Lord, M.D. Anton & Diana Kleiner

Nancy Knoblauch Dr. Jennifer Koosed &

Dr. Robert Seesengood Barbara Lord, in memory of

William H. Lord, M.D. Paul & Solange Mintz

Janet Neel Janet J. Peters

Penelope Proserpi Larry A. Rotenberg

Helene & Henry Singer

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Jaap Van Liere William & Susan Weiser, in memory of

Madeline Atkins Thea & William Yeich

David Zobian & Megan Souders-Zobian

Sapphire ($125–$249)

Gary & Linda Adlestein Drs. Richard & Mary Jane Androne

Marc & Martha Aynardi Harriet Baskin

Rev. Virginia M. Biniek Shirley K. Boscov

Sharon & Clifford Brahmstadt Fred Chow

William & Kathleen Cotter Dr. & Mrs. Thomas Dooley

Robert & Susan Evatt John T. Fidler

William & Andrew Franklin Dr. Sarel P. Fuchs Madelyn Fudeman

Grete & Stanley Furrow E. B. Gaul

Matthew Goldstan Dr. & Mrs. Stephen Gring Barry & Joanna Groebel

Timothy D. Gross Darryl S. Jeffries

Mr. & Mrs. William G. Koch Natalie Koehler, in memory of

Ollie Koehler Elsa Larese

Margarete Larese-Ortiz Pauline M. Lutostanski

Sydney & Gerald Malick The Mayrhofer Family

Mr. & Mrs. Paul L. Miller

Diane S. Mongold, in memory of William H. Lord, M.D.

Eric & Georganne Moyer Carol O. Orts

Rev. Thomas & Amy H. Reinsel Sharon M. Scullin & James S. Rothstein

Melvin Sensenig Sandra Sittler

Jeffrey & Jane Sprecher R. A. Svotelis

Sidney B. Watts John & Mary Jo Weishampel

Elizabeth C. Wolfe

Amethyst ($1-$124)

Elaine M. Balkiewicz Judy Ballinger

Richard H. & Francine C. Black Cathy & Brad Bower

Paul & Margaret Brass, in memory of William H. Lord, M.D.

Frank & Anne Civitarese, in memory of William H. Lord, M.D.

C. Harold Cohn, M.D. & Rebeca Chick VADM Daniel L. Cooper, USN (ret) in

memory of Jeri Kozloff Amy, Frank, Lindsey & Ryan Daniele, in

memory of William H. Lord, M.D. Mrs. Lynn Donches

Benjamin & Jane Draper Terry & Marcia Duncan, in memory of

William H. Lord, M.D. Caroline K. Dunford

Raymond Edling Ruth Eleanor Fetterman

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Diane L. Gaul John & Majida Gieringer, in memory of

Kenneth P. Overly The Gieringer Family, in memory of

Najah Hannah Dr. Ann T. Gundry

Allan Meyer Hasbrouck Nancy Hemmerich

Carol Jones J. Maxwell & Nancy Keller

George & Susan Kershner, in memory of William H. Lord, M.D.

David Tanner & Bruce Kimball Virginia Knowles

Johanna Larese Carrie & Stephen Latman, in memory of

William H. Lord, M.D. Gary & Mary Lucchese

Doris Luckenbill Sicily Masciotti

Lisa S. Masi Barry & Anna Mast, in memory of

William H. Lord, M.D. Sarah Mathew

David McConnell Ken Mongold

Paul & Susan Moyer Dr. Randall Newnham

Judith Nichol Nancy O'Neill, in memory of

William H. Lord, M.D.

Ms. Cynthia C. Phillips Benjamin & Katharine Randazzo, in memory

of William H. Lord, M.D. Gary Riegel, in memory of William H.

Lord, M.D. Reading Musical Foundation, in memory of

Jeri Kozloff Baruh Rodriguez & Margaret A. Thomas

Susan Thomas Scheifley Janice & Michael Schiffman

Dr. Virginia Schulze-Johnson Paul Schumann

Ellen, John, Timothy, & Rachel Shapiro, in memory of Jeri Kozloff

Robert Sharetts, in memory of William H. Lord, M.D.

Nancy Stanton Thomas & Amy Steffie, in memory of

William H. Lord, M.D. Francisco L. Tellez

Jim & Donnasue Thompson Diana Tirion

Lindsay Tishberg, in honor of John & Ellen Shapiro

Kevin Wagner Brenda Wagner

Glenys A. Waldman Hermann & Brenda Winkler, in memory of

Jeri Kozloff

TheFriendsofChamberMusicofReading,Inc.receivesstateartsfundingsupportthroughagrantfromthePennsylvaniaCouncilontheArts,astateagencyfundedbytheCommonwealthofPennsylvaniaandtheNational

EndowmentfortheArts,afederalagency.

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The Friends of Chamber Music of Reading, Inc. P.O. Box 15205 •Reading, PA 19612

610.698.8465 or 610.781.6336 [email protected]

Board of Directors 2020-2021

Haia Mazuz, President Suzanne Palmer, Esq., Vice President

Ellen K. Shapiro, Secretary James G. Mathis, M.D., Treasurer

John R. Pankratz, Ph.D., Immediate Past President David Hall

Penelope P. Proserpi Robert P. Seesengood, Ph.D.

Tony Veloz Neil A. Hoffman, M.D., Director Emeritus Thomas B. Souders, M.D., Artistic Director Shari Gleason-Mayrhofer, Executive Director

Please visit our website at:

http://chambermusicreading.org MISSION STATEMENT OF THE FRIENDS OF CHAMBER MUSIC The Friends of Chamber Music of Reading seeks to foster chamber music of the highest caliber, and to make these achievements of the human spirit accessible to persons young and old throughout the greater Reading community. Goals (in support of the Mission) • Curating compelling concerts by eminent professional ensembles and cultivating ongoing

relationships with these extraordinary musicians. • Offering a series of these concerts in a beautiful, acoustically rewarding space, without

charge, to anyone who is interested, and creating the conditions for an informed and intimate dialogue between listeners and performers.

• Bringing these artists into the schools of Berks County to educate and inspire the rising generation of musicians and music lovers.

• Enlisting the passion and support of patrons young and old, great and small, who sustain this Mission