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Emanuel Ax, Piano
Leonidas Kavakos, Violin
Yo-Yo Ma, Cello

Friday, March 6, 2020 8 PM Stern Auditorium / Perelman Stage
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Yo-Yo Ma, Leonidas Kavakos, and Emanuel Ax by Shane McCauley
Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma recall the great chamber music ensembles anchored by violinist Isaac Stern. Stern’s collaborations with pianist Eugene Istomin and cellist Leonard Rose were legendary, and this program echoes their history of celebrated performances of Beethoven works. Hear a dramatic cello sonata, a violin sonata whose genial tone belies the difficult circumstances in which it was written, and a soulful and inventive trio.

Part of: Great Artists II and Beethoven Celebration

There is a limit of 8 tickets per household. Additional orders exceeding the ticket limit may be cancelled without notice. This includes orders associated with the same name, email address, billing address, credit card number and/or other information.

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Emanuel Ax is also performing October 15, March 4, March 8, and May 14.

Leonidas Kavakos is also performing October 26, March 4, and March 8.

Yo-Yo Ma is also performing March 4 and March 8.


Emanuel Ax, Piano
Leonidas Kavakos, Violin
Yo-Yo Ma, Cello



Cello Sonata No. 2 in G Minor, Op. 5, No. 2

Violin Sonata No. 6 in A Major, Op. 30, No. 1

Piano Trio in E-flat Major, Op. 70, No. 2

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Sponsored by Ernst & Young LLP

The Trustees of Carnegie Hall gratefully acknowledge the generosity of Mr. and Mrs. Richard A. Debs in support of the 2019-2020 season.

Lead support for the Beethoven Celebration is provided by The Morris and Alma Schapiro Fund.

National Endowment for the Arts:

Public support is provided by the National Endowment for the Arts.

In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

BEETHOVEN  Cello Sonata No. 2 in G Minor, Op. 5, No. 2

A 26-year-old Beethoven presented the two Op. 5 sonatas as a calling card to the cello-playing Prussian monarch, King Friedrich Wilhelm II, in Berlin in 1796. The works’ understated exuberance played to Beethoven’s strengths as a pianist and to the virtuosity of the exiled French cellist Jean-Louis Duport.


BEETHOVEN  Violin Sonata No. 6 in A Major, Op. 30, No. 1

Although the title page of the first edition specified that the Op. 30 sonatas were written for piano “with the accompaniment of a violin,” Beethoven clearly had a more egalitarian partnership in mind. In fact, the brilliant finale of the “Kreutzer” was originally intended for the A-Major Sonata, which blends lyricism and drama in ways that must have seemed novel and perplexing to many of Beethoven’s listeners.


BEETHOVEN  Piano Trio in E-flat Major, Op. 70, No. 2

Composed in the summer of 1808, Beethoven’s two Op. 70 piano trios followed close on the heels of such exuberantly expansive works as the Fifth and Sixth symphonies and the Cello Sonata in A Major. E. T. A. Hoffmann likened their innovative sound world to a “spirit kingdom” in which “the enraptured soul listens to the unknown language and understands all the most secret allusions by which it has been aroused.”

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