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Aaron Boyd–violinist, lecturer, scholar, and educator–returns to the Encounters series to present a bird’s-eye view of the art of chamber music, from the sixteenth century to the present. Aaron will offer a plethora of musical examples, and rare, informative visuals will render multidimensional and easily comprehensible the colorful and complex evolution of the art form. From the first time two people played together, through chamber music’s greatest eras, to the pandemic-age phenomenon of collaborative Zoom performances, Aaron is certain to cover it all.

The intimacy of duo music-making has beguiled composers for centuries and challenged musicians to deliver soloistic yet collaborative performances. In this opening program, four instruments showcase duos alongside the most versatile of partners, the piano.

Since the earliest days of the Baroque trio sonata, the combination of three instruments has produced dialogue and drama. Trio performers move seamlessly between playing as one, accompanying each other, and shining as soloists. This program showcases trio dynamics at their finest, with Bohemian spirit, rich timbres, and a haunting Elegy.

Oboist extraordinaire James Austin Smith leads Music@Menlo audiences on a journey through musical history from a wind player’s perspective. For the first time at the festival, the evolution of wind instruments is revealed, from their beginnings some 40,000 years ago to their coming of age during the Renaissance. From the physics of producing sound, to the evolution of wind technology, to the great players who inspired composers and immortal compositions–this is sure to be one of Music@Menlo’s most memorable Encounters.

“The rich diversity of American society has fostered a vibrant tapestry of musical voices, each shaped by their own distinct backgrounds. Michael and I curated this program for violin and piano to celebrate that spirit of innovation and cultural exchange, highlighting works composed during the twentieth century. We begin with Fritz Kreisler’s Praeludium and Allegro, a lush reimagining of Baroque melody. Charles Ives follows with his inventive Violin Sonata no. 4, blending hymns, folk tunes, and bold harmonies to create a vibrantly eclectic soundscape of American life. The first half closes with Ernest Bloch’s Violin Sonata no. 2, Poème mystique, which shifts to a more introspective tone, offering profound emotional depth rooted in his Jewish heritage. The second half opens with John Adams’s Road Movies, a rhythmic portrayal of contemporary life, and continues with Amy Beach’s Romance for Violin and Piano, honoring one of America’s pioneering female composers. We conclude with Gershwin’s Porgy and Bess Suite, a brilliant fusion of classical and jazz traditions–a testament to the cultural mosaic of twentieth-century American music.”

This lively program highlights the wind quintet as a centerpiece of chamber music, akin to the string quartet in tonal balance, depth, and versatility. Enhanced by piano and string collaborations, these ensembles create a variety of rich, colorful soundscapes. In addition to familiar faces, renowned German clarinetist Sebastian Manz makes a Music@Menlo debut, alongside pianist Sahun Sam Hong.

The early string quintets on this program represent the passions of their composers: W. A. Mozart, the avid violist wanting to join the ensemble, and Luigi Boccherini, the premier cello virtuoso of his day. The works by these quintet pioneers are juxtaposed with Romantic nineteenth-century essays in the genre, demonstrating the evolution of this versatile grouping. An all-star roster of violinists includes Indianapolis Competition-winner Richard Lin, Kristin Lee, and Julian Rhee.

Brilliant American lyric tenor Nicholas Phan returns to Music@Menlo to lead this season’s third Encounter. Nicholas will explore the story of how the human voice joined with strings, pianos, and winds to create an essential chamber music genre. With a look back to the great vocal composers of the Baroque era such as Handel and Bach, visits to the worlds of Mozart and Schubert, and a rich sampling of the Romantic vocal literature, Nicholas will provide an enticing introduction to Music@Menlo’s August 3 Concert Program, Let’s Add Voices!

Throughout history, the string quartet has offered composers a vehicle for their most compelling and deeply personal musical statements. The dynamic young Viano Quartet returns to Music@Menlo for a panorama of string quartet works including Anton Webern’s emotional Langsamer Satz, written at the twilight of the Romantic age, and Shostakovich’s electrifying ninth quartet.

“This program delves into the legends and myths of violin lore via the three-sided conversation between violin, violinist, and composer. We kick off this journey with a solo violin sonata composed by the namesake of the violin I now play, the Belgian virtuoso Eugène Ysaÿe. The Devil’s Trill Sonata is the virtuosic consequence of a Faustian pact between Tartini and his violin teacher—the devil himself. Franz Schubert gushed “I have heard an angel sing” after attending a sold-out performance in Vienna by Niccolò Paganini on his famed “Cannone” Guarneri del Gesù. The second half of the concert features more earthly pursuits in the form of two wedding gifts. César Franck dedicated his famed sonata to his longtime collaborator and friend Eugène Ysaÿe on his wedding day (you can’t miss the church bells in the finale). For my own nuptials last summer, my groomsman and musical best friend, composer Chris Rogerson, presented me with this Arietta.”