IN THIS ISSUE MAY 2019 - YEKWON SUNWOO - Encore Spotlight
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MAY 2019 IN THIS ISSUE YEKWON SUNWOO May 4 LILA DOWNS May 2 1 ALEXANDER STRING QUARTET with JOYCE YANG May 2 2
April/May 2019
Volume 15, No. 6
APRIL/MAY 2019
Paul Heppner
Contents
President
Mike Hathaway
Senior Vice President Feature
Kajsa Puckett 3 Equity, Diversity and
Vice President, Sales & Marketing
Inclusion in Seattle
Genay Genereux Theatre
Accounting & Office Manager
Dialogue
Production
Susan Peterson 9 Reel Grrls
Vice President, Production
Intermission Brain Transmission
Jennifer Sugden
Assistant Production Manager 14 Test yourself with our
trivia quiz!
Ana Alvira, Stevie VanBronkhorst
Production Artists and Graphic Designers
Sales
Marilyn Kallins, Terri Reed Encore Stages is an Encore Arts
San Francisco/Bay Area Account Executives
Program that features stories about
Devin Bannon, Brieanna Hansen, our local arts community alongside
Amelia Heppner, Ann Manning information about performances.
Seattle Area Account Executives
Encore Arts Programs are publications
Carol Yip of Encore Media Group. We also publish
Sales Coordinator specialty publications, including the
Official Seattle Pride Guide and the
Marketing
Shaun Swick
SIFF Guide and Catalog. Learn more
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Marketing Coordinator
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2 ENCORE STAGES
Equity, Diversity and Inclusion in
Seattle Theatre
Pride and Prejudice directed by Desdemona Chiang. Pittsburgh Public Theater (2018). Photo by Michael Henninger.
Danielle Mohlman Over the last few years, equity, diversity writers—the content creators of the
continues her and inclusion have become goals of
theatre companies across the United
theatre—and released information that
doesn’t feel all that surprising: of all
exploration of equity, States. But what does that look like the major cities surveyed, Seattle has
diversity and inclusion in practice? We spoke with four
theatres in Seattle who put these goals
the most room to grow. Between 2011
and 2017, only 8% of produced plays in
in Seattle’s theatre at the center of their practice and Seattle were written by artists of color
asked them to share their successes, and only 24% by women.
community by speaking aspirations and the areas they feel need
with local artists and improvement. The Count certainly has its own room
to grow. It’s impossible to count every
organizations about single theatre in Seattle, let alone every
recent achievements In October 2018, the Dramatists theatre in the country, so they created
Guild and The Lilly Awards released a set of guidelines to generate the most
and trials they have The Count 2.0, a national census representative survey. To start, the
faced. that analyzed data from six seasons theatre must be a non-profit with at
of theatre, 2011 to 2017, looking at least a decade of experience profes-
the production history of theatres sionally producing plays or musicals.
of all sizes. The Count was focused Each theatre surveyed produced at
on playwrights, lyricists and book least three plays or musicals each
encoremediagroup.com/programs 3
“It means upending the apple cart,”
Zeyl said. “Change to power structures
must happen from the bottom up and
the top down. It means remaining
open to having every aspect of your
organization challenged and changed.
It means empowering youth voice and
centering the vision and talents of the
future.”
Chavira added that wrestling with
these inequities isn’t easy.
“It means talking about white
Sara Porkalob and her grandmother Maria Dedra D Woods in Wild Horses by Allison supremacy,” Chavira said. “There
in Dragon Lady. Intiman Theatre (2017). Gregory. Intiman Theatre (2018). Photo by will be tough conversations to have
Photo by Robert Wade. Naomi Ishisaka.
with your team and facing years of
oppression can be challenging.”
Chavira pointed out that he’s the
first executive director of color in
Intiman’s 45-year history—and that
equity, diversity and inclusion should
extend far beyond the stage to include
administration and executives as well.
Chavira, who identifies as Latinx,
Mexican-American and queer, moved
to Seattle two years ago to take over the
executive director role.
In 2018, Intiman retired their $2.7
million debt and are now operating
debt-free.
Cast of Native Gardens by Karen Zacarías. Intiman Theatre (2018). Photo by
Naomi Ishisaka. “But we’re super lean,” Chavira said.
“It’s time to grow our company. Our
mission is flourishing and audiences
season, with each production running to artists of color; Native American, want more diverse narratives on stage.”
longer than 21 performances. And the Indigenous and First Nations artists;
theatre had to be routinely reviewed, women; non-binary and gender And as they flourish, Intiman is
either nationally or regionally. non-conforming artists; LGBTQIA2+ examining how they can become more
artists; Deaf artists; and artists with inclusive.
And while The Count didn’t release disabilities—and regional endeavors,
data on generative artists who identify like The Women’s Voices Theatre “We are learning constantly,” Zeyl
as queer, non-binary or disabled, the Festival in Washington, D.C. But what said. “Guarding the intersection
statistics still feel like a challenge to are Seattle theatres doing to meet this of professional theatre-making
theatres. A challenge to create theatre challenge? and community storytelling
that looks more like our world. takes humbleness, dexterity and a
At Intiman Theatre, Artistic Director willingness to throw the rule book out
There are national efforts to meet this Jennifer Zeyl and Executive Director the window.”
challenge, like The Jubilee, a nationwide Phillip Chavira are using a compact
theatre festival featuring works by and impactful mission to guide their
artists who have traditionally been way. Simply put, Intiman “wrestles with Pratidhwani’s mission centers on
excluded—including but not limited American inequities.” creating performance opportunities
4 ENCORE STAGES
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“Our entire organization is fluent
in ASL,” Liang said. “The majority
are Deaf, and represent a range
of professionals and community
members who believe in supporting
the Deaf arts community. There is not
enough visibility for Deaf artists and
their contributions to the art world,
and there aren’t enough professional
opportunities for Deaf artists to hone
their skills. We want to change that.”
In Liang’s experience, most arts
organizations don’t plan for Deaf and
disabled access.
I and You by Lauren Gunderson, a co-production with Theater Schmeater. Photo by
Dave Hastings. “As an artist and an arts administrator,
I want the ability to go to any event, any
time I want, without having to struggle
for artists of South Asian descent. about diversity and inclusion when to request interpreters beforehand,”
Agastya Kohli, artistic director of the programming their season. Liang said. “My professional and
organization’s Drama Wing, explained artistic growth has been stunted by
that this often materializes in produc- “We are creating a space where we the lack of options available to me.
ing plays with an India-centric view. naturally tell stories that look ‘diverse’ The same is true for many Deaf and
But that’s not a hard and fast rule. to the dominant culture of Seattle,” disabled artists.”
Kohli said. “To us, these are not stories
“We’ve produced plays written of ‘others’—these stories are not Liang understands from experience
specifically with Indian characters, as ‘different’. These are our stories. They that making performances accessible
well as plays that were not written for ground us in a foreign land. They allow takes time and resources. She
Indian actors at all,” Kohli said. “We are us to exist in two different worlds at challenges theatres and other
developing, fostering and maintaining the same time.” arts organizations to budget for
a thriving pipeline of artists that all interpreting, captioning, audio
theatres in Seattle benefit from and can descriptions and other neurodiverse
enrich their works with.” Identity is at the center of Deaf and physical accommodations.
Spotlight’s work as well. Patty Liang,
This season, Pratidhwani partnered the organization’s executive director, Deaf Spotlight started a short play
with both Forward Flux Productions identifies as Deaf, feminist, Chinese- festival to see Deaf performances,
and Theater Schmeater to co-produce American and someone who believes stories and experiences on stage.
A Small History of Amal, Age 7 and I and strongly in giving back to her Kellie Martin, who identifies as
You, respectively. community. both queer and Deaf and uses the
pronouns “ze” and “zir,” runs the
“Pratidhwani is an engine that is “You cannot ignore the intersecting festival each year.
enabling equity, diversity and inclusion identities that make you who you
not just within our footprint in perfor- are,” Liang said. “As a community “I never thought I would fall in love
mance arts, but well beyond the scope member, I want to see the Deaf arts with theatre,” Martin said. “In college,
of just our productions,” Kohli said. community thrive, especially women I realized that theatre is rich with
and artists of color. I want to help depth in terms of analyzing each
Pratidhwani exists to nourish and Deaf people succeed as professional character’s role on the stage and the
nurture the Indian community in artists without having to let go of stories that made them who they are.
Seattle, from both an audience and their dreams.” I like to make people think. As an art
artist perspective. Kohli, who identifies advocate, I often see the potential in
as a director, producer and actor Deaf Spotlight’s mission is to showcase people from my community, and I
who happens to be Indian, shared and celebrate Deaf culture and Ameri- want to help Deaf artists thrive in their
that the organization doesn’t think can Sign Language through the arts. creative fields.”
6 ENCORE STAGES
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creative team. But I think a lot of times
they begin with the text. I think they
do it because they have to, not because
they want to.”
But that’s not the only way to make
change in regional theatre.
Over the course of our conversation,
Chiang brought up Mixed Blood
Theatre Company in Minneapolis, a
theatre Jennifer Zeyl also cited as an
inspiration for her own work.
“I don’t question their motives,” Chiang
said. “It’s not about inclusivity or
diversity. It’s actually about justice.
Jack Reuler at Mixed Blood is very
concerned about justice and access.
The Crucible directed by Desdemona Chiang. PlayMakers Repertory Company (2016). And it’s not just about the optical
Photo by Jon Gardiner. representation of brown bodies on
stage. He’s genuinely interested in an
economic justice.”
Martin shared that ze admires the six an Asian female director working
playwrights who were featured in the nationally, she’s in demand. Chiang explained the theatre’s Radical
2019 festival. Hospitality program for communities
“I’m a commodity,” Chiang joked. that didn’t have a way to physically get
“I’m really excited for these playwrights “Right? I’m very useful. Because to the theatre. Reuler set up free buses
to grow, evolve and to create even if someone wants to produce for folks with transportation needs and
more plays with their own authentic Shakespeare, it’s like ‘Oh! We could provided free tickets for low income
experience—rather than having totally diversify our season if we have audience members.
hearing playwrights write for Deaf Desdemona direct Shakespeare.’ Or
actors,” Martin shared. “I love seeing the if ACT wants to do an Asian play. “This is the tricky part when we’re
Deaf, hard of hearing and DeafBlind The fact of the matter is, the number talking about diversity and inclusion,”
communities have a chance to share of directors who work on a regional Chiang said. “We’re talking about ‘Oh,
their artistic expression.” theatre level who can check off ‘Asian’ let’s just show more brown people.’
and check off ‘female’ are very few.” And I don’t think that’s the solution.
Martin is continuing to hone zir craft, And that’s actually pretty problematic.
but wishes access to workshops, panels Chiang walks into any meeting with Because what we’re not dealing with
and forums was a given. a LORT (League of Resident Theatres) is how it affects the injustice in our
establishment knowing that she’s society.”
“I don’t want to feel frustrated at valuable because of how she presents.
not having access to these types However, Chiang often only sees those That sounds like an excellent challenge
of professional development diversity boxes checked on the one to Seattle theatres. ■
opportunities,” Martin said. “I want show she’s hired on.
accessibility available without
having to ask in advance, including “I think what a lot of theatres do, when Danielle Mohlman is a nationally produced
interpreters and relevant assistive they’re looking at the leading edge for feminist playwright and arts journalist based
technology.” diversity, is that they look at the plays in Seattle. Her play Nexus is among the 2015
they’re programming,” Chiang said. Honorable Mentions on The Kilroys list.
She is an alumnus of the inaugural class of
“Right? ‘We want to program writers
Playwrights’ Arena at Arena Stage and the
Desdemona Chiang, a freelance of color.’ Or more female or non-binary
2018 Umbrella Project Writers Group.
director who identifies as both Chinese writers. And from there, hopefully that www.daniellemohlman.com
and American, understands that as opens up some opportunities for the
8 ENCORE STAGES
IN THIS ISSUE
Photo: Marcela Taboada
TABLE of CONTENTS INTRODUCING THE 2019–2020 SEASON
Letter from the Director | A-2 The new season has been announced. See page A-8 for a
complete list of artists and dates.
Yekwon Sunwoo | A-3
Lila Downs | A-7
Alexander String Quartet | A-9
Your Guide to Meany Center | A-15
Thanks to Our Donors | A-16
The University of Washington acknowledges the Coast Salish people
of this land, the land that touches the shared waters of all tribes
and bands within the Suquamish, Tulalip and Muckleshoot nations.
encoremediagroup.com/programs A-1
Welcome to Meany Center
Dear Friends,
Here we are at the end of another season there are Meany staff members in the lobby
— one filled with energy, virtuosity and who would be happy to help you with your
creativity across all our series — and we are subscription this evening. Or you can renew
grateful for the opportunity to have shared your subscription online at meanycenter.org.
it with you. I can’t think of a better send-off
than the performance you’re here to see I hope to see you all here again next season.
tonight. In the meantime, enjoy the performance
tonight.
But even as this season ends, we are looking
forward to the next one. The 2019–2020 Warmly,
Season will see several audience favorites
return to our stage such as Grupo Corpo,
the Danish String Quartet, Garrick Ohlsson,
Hélène Grimaud, and David Finckel, Wu Han
and Philip Setzer (to name just a few). There
Michelle Witt
will be some exhilarating new faces as well —
Executive and Artistic Director
Jomama Jones, RUBBERBANDance Group and
Gabriel Kahane will be making their Meany
Center debuts. P.S. If you add a donation of $50 or more
to your subscription tonight, you’ll receive
If you are a current subscriber or if you are chocolate and a flower as a token of our
thinking about subscribing for the first time, appreciation.
ADVISORY BOARD
Craig Miller, President Seema Pareek EMERITUS BOARD
Joel Baldwin Darcy Paschino Linda Linford Allen / Linda Armstrong /
Ross Boozikee John Robinson Cynthia Bayley / Thomas Bayley / Cathryn
Luis Fernando Esteban Donald Rupchock Booth-LaForce / JC Cannon / Elizabeth Cooper /
Davis B. Fox Marcie Stone Gail Erickson / Ruth Gerberding / Randy Kerr /
Brian Grant Donald Swisher Susan Knox / Matt Krashan, Emeritus Artistic
Aya Hamilton Rick Szeliski Director / Sheila Edwards Lange / Frank Lau /
Becky Harris David Vaskevitch Lois Rathvon / Dick Roth / Eric Rothchild /
Kyra Hokanson Gray Gregory Wallace Jeff Seely / K. Freya Skarin / Rich Stillman /
David Stone / Lee Talner / Thomas Taylor /
Cathy Hughes Mark Worthington
Ellen Wallach
Yumi Iwasaki Kathleen Wright
O. David Jackson
Ellsworth C. “Buster” Alvord, In memoriam
EX-OFFICIO MEMBERS
Dr. Susan Joslyn
Betty Balcom, In memoriam
Sally Kincaid Ana Mari Cauce, UW President
Ernest Henley, In memoriam
Kurt Kolb Robert C. Stacey, Dean, College of Arts & Sciences
Mina Person, In memoriam
Jeff Lehman Catherine Cole, Divisional Dean of the Arts
Jerome Sanford, Sr. In memoriam
Chelsey Owen
A-2 MEANY CENTER FOR THE PERFORMING ARTSPresident’s Piano
YEKWON SUNWOO
President's Piano Series
generously sponsored by
ERIC & MARGARET ROTHCHILD
May 4 | 7:30 p.m. SEASON SUPPORT COMES FROM
SCHUMANN Variations on an Original Theme in E-flat Major
(1810 –1856) Geistervariationen, WoO 24
Variation I
Variation II: Canonisch
Variation III: Etwas belebter
Variation IV
Variation V
SCHUMANN Fantasie in C Major, Op. 17
(1810–1856) Durchaus phantastisch und leidenschaftlich vorzutragen. MEDIA PARTNER
Mässig. Durchaus energisch.
Langsam getragen. Duchweg leise zu halten.
INTERMISSION MEANY CENTER THANKS THE
FOLLOWING SIGNATURE
SUPPORTERS
LISZT Three Concert Études, S.144 Heidi Charleson
(1811–1886) Il lamento
La leggierezza ADDITIONAL SUPPORT COMES FROM
Un sospiro Estate of Ellsworth C. Alvord †
Nancy D. Alvord †
Katharyn Alvord Gerlich
SCHUBERT Four Impromptus, D.935, (Op. posth. 142) Warren & Anne Anderson
Randy Apsel
(1797–1828) No. 1 in F Minor: Allegro moderato Ariel Fund
No. 2 in A-flat Major: Allegretto Sven & Melinda Bitners
Stephen & Sylvia Burges
No. 3 in B-flat Major: Andante Ana Mari Cauce & Susan Joslyn
Delaney & Justin Dechant
No. 4 in F Minor: Allegro scherzando Britt East & Scott VanGerpen
Gail Erickson & Phil Lanum
Ira & Courtney Gerlich
Lynn & Brian Grant Family
M. Elizabeth Halloran
Sally Schaake Kincaid
Matthew & Christina Krashan
Jeffrey Lehman & Katrina Russell
Hans & Kristin Mandt
Craig Miller & Rebecca Norton
Bill & Meg Morgan
Chelsey Owen & Rob Harris
Seema Pareek & Gurdeep Pah
Estate of Mina Person †
Estate of Carmel Hennessy Pope †
Eric & Margaret Rothchild
Don & Toni Rupchock
David & Marcie Stone
Donald & Gloria Swisher
Estate of Barbara Weinstein †
encoremediagroup.com/programs A-3YEKWON SUNWOO | About the Artist
countries. He has also performed
at prominent music festivals
including the Aspen, Grand
Teton and Duszniki International
Music Festivals. Last spring, he
undertook a nine-city tour of the
U.S. with the National Orchestra
of Cuba.
An avid chamber musician,
Mr. Sunwoo’s partners have
included the Jerusalem and
Brentano String Quartets,
violinists Benjamin Beilman
and Ida Kafavian, cellists Edgar
Moreau, Gary Hoffman and Peter
Wiley, and pianist Anne-Marie
McDermott. He has toured Costa
Rica, Guatemala and Panama
with the Kumho Asiana Cultural
Foundation, performed for the
Chamber Music Society of Lincoln
Photo: Jeremy Enlow Center’s Inside Chamber Music
Lectures, and been invited to
G old medalist of the performs chamber music with the Summit Music, Bowdoin
Fifteenth Van Cliburn the New York Philharmonic String International and Toronto
International Piano Quartet. Summer Music Festivals.
Competition, pianist Yekwon
Sunwoo, 29, has been hailed Last season, Decca Gold released In addition to the Cliburn gold
for his “unfailingly consistent Cliburn Gold 2017 two weeks after medal, Mr. Sunwoo has won first
excellence” (International Piano) his Cliburn win, which includes his prizes at the 2015 International
and celebrated as “a pianist who award-winning performances of German Piano Award in Frankfurt,
commands a comprehensive Ravel’s La Valse and Rachmaninoff’s the 2014 Vendome Prize held at the
technical arsenal that allows him Second Piano Sonata. Verbier Festival, the 2013 Sendai
to thunder without breaking a International Music Competition
Born in Anyang, South Korea, and the 2012 William Kapell
sweat” (Chicago Tribune). A powerful
Mr. Sunwoo gave both his recital International Piano Competition.
and virtuosic performer, he also,
and orchestra debuts in 2004
in his own words, “strives to reach Mr. Sunwoo began learning piano
in Seoul. In previous seasons,
for the truth and pure beauty at age 8. He earned his bachelor’s
Mr. Sunwoo has performed
in music.” degree at the Curtis Institute
as soloist with the Baltimore
The first Korean to win Cliburn Symphony Orchestra under Marin of Music, master’s degree at
gold, Mr. Sunwoo’s 2018–19 Alsop, The Juilliard Orchestra with The Juilliard School, and artist
season features concerto Itzhak Perlman at Avery Fisher diploma at the Mannes School
performances with the Munich Hall, Houston Symphony Orchestra of Music, studying with Seymour
Philharmonic under Valery Gergiev with James Feddeck, Fort Worth Lipkin, Robert McDonald and
in Seoul, Frankfurter Opern Symphony Orchestra with Leonard Richard Goode, respectively.
und Museumsorchester under Slatkin and Nicholas McGegan, He currently studies with Bernd
Sebastian Weigle, Orchestra i National Orchestra of Belgium, Goetzke at Hochschule für Musik,
Pomeriggi Musicali under Daniele Sendai Philharmonic Orchestra, Theater und Medien, Hannover.
Callegari, and a European tour with Royal Scottish National Orchestra Mr. Sunwoo credits each teacher
the KBS Symphony. He extensively and others. He has appeared in for their guidance in his artistic
tours Japan including Tokyo, Sendai recital at Carnegie Hall, Wigmore development and approach.
and Shizuoka. Solo recitals bring Hall in London, Elbphilharmonie in
Hamburg, Hamarikyu Asahi Hall A self-proclaimed foodie,
him to Houston’s Society of the Mr. Sunwoo enjoys finding pho
Performing Arts, Washington in Tokyo, Radio France and Salle
Cortot in Paris, Kumho Art Hall in each city he visits and takes
Performing Arts, Texas Performing pride in his own homemade
Arts, Seattle’s Meany Center, in Seoul, and throughout South
Korea, Germany, Switzerland, Korean soups.
Portugal’s Casa da Musica and the
Hong Kong Arts Festival. He also Prague and Morocco, among other
A-4 MEANY CENTER FOR THE PERFORMING ARTSYEKWON SUNWOO | About the Program
Variations on an Original innig” (“quiet, earnest”), the theme The first movement of the
Theme in E-flat Major (drawn from his String Quartet Fantasie, Durchaus phantastisch
Geistervariationen, WoO 24 No. 2 from 1842) is quietly reflective und leidenschaftlich vorzutragen
(1854) and touching; it serves as the (“to be performed throughout with
ROBERT SCHUMANN basis for five variations. The first fantasie and passion”), captures
variation adds filigree to the theme the dual nature of the composer —
Robert Schumann is not counted and a slight increase in energy. personified in his prose writings as
among music’s great prodigies, an The ensuing variants maintain Eusebius (Apollo, god of light and
honor bestowed upon Mozart and internalized and implicit sadness, measure) and Florestan (Dionysus,
Mendelssohn, to name but the most even with additional figuration god of intoxication and passion).
famous among those who fulfilled and subtle increases in emotional Wild desperation and profound
early promise. Still, Schumann’s temperature. The entire piece is less introspection polarize his labile
talent was observed in childhood a reaching out than an invitation to mood-shifts (and presage as well
among other gifts he manifested, the composer’s private musings. the bi-polar nature of the mental
especially a literary bent. During illness that would end his life in
much of his troubled lifetime (he Fantasie in C Major, Op. 17 (1836) an asylum). It is a measure of
died in an insane asylum) he was ROBERT SCHUMANN Schumann’s greatness that this
known better for his writings about tempestuous movement, bursting
music than for his writing of music, Robert Schumann composed most with contradictory feelings and
which says less about the quality of his solo piano music in the 1830s, conveying a palpable sense of
of the latter than the prescience of including his Fantasie in C major making it all up on the spot, is a
the former. His early recognition of (1836), a paean of love to his future carefully constructed sonata-like
Brahms, his insights into Chopin and wife, Clara, née Wieck. Schumann movement. The very opening theme
other composers of his time and had served as her teacher when undergoes a series of modifications
earlier eras, are still worth reading. he was 26 years old and she but until morphing into its inspiring
17. When her father, the eminent derivation — “Nimm sie bin denn,
Having ruined his hand before a pedagogue Friedrich Wieck learned diese Lieder” (“Take them, beloved,
promising career as pianist took of their intentions, he did everything these songs I sang you”) from
off, he shifted into composition. in his power to prevent them from Beethoven’s above mentioned cycle.
Most of his solo piano music marrying or even seeing each other,
derives from the 1830s, but he including a period of enforced After so emotionally strenuous and
returned to writing for his chosen separation during the mid-1830s. wide-ranging a first movement,
instrument periodically for the The bereft Schumann composed Schumann provides a march listed
remainder of his life. In 1854, he the Fantasie under those conditions, as Mässig. Durchaus energisch
composed the Geistervariationen writing to Clara, that it was “the (“moderato, energetic throughout”).
(“Ghost Variations”), aka Theme most passionate thing I have ever This comparatively straightforward
and Variations in E-flat Major, WoO composed—a deep lament for essay creates stability, clarity
24. By this time, Schumann was in you.” Even without this confessional and steadfast consistency. It also
the grip of mental illness, which explanation, Schumann’s feelings provides a good transition to the
prompted him to commit himself for Clara can be divined in the third and final movement, Langsam
to an asylum in Bonn-Endenich, quotation (from the poet August getragen. Duchweg leise zu halten
where he died two years later. The Wilhelm Schlegel) he affixed to the (“Adagio sostenuto, sempre
curse of this disorder led critics to title page of the score: “Through all piano”). The overall mood here
denigrate various late works, which the sounds in earth’s motley dream, is otherworldly, even spiritual,
eventually have been restored one soft note can be heard by him and expresses the composer’s
to the repertoire. The “Ghost who listens stealthily.” resignation to separation from
Variations” have not been revived, Clara. In “real life,” of course, the
though more pianists are exploring Schumann had initially intended the composer was relentless in his
the long-neglected work. While Fantasie as his contribution to defray pursuit of his beloved, marrying
working on the composition, the the cost of a memorial statue to her in 1840 after a court decided
bedeviled artist was beset with Beethoven, a project that never came against her father’s attempts to
hallucinations ranging from ecstasy to fruition. Adding to the confusion, block their union.
to fearsome despair, leading him to Schumann dedicated it not to Clara,
throw himself into the Rhine at the not even to Beethoven, but to Liszt. Three Concert Études, S.144
height of winter’s chill. Nonetheless, the completed work (1848)
reflects the music of Beethoven, FRANZ (FERENC) LISZT
Still, Schumann was able to complete including echoes of the “Emperor”
the work, using a theme previously Concerto’s slow movement and an A measure of Liszt’s pianistic skill
composed but forgotten in the haze explicit reference to the song-cycle lay in his initial encounter with
of mental illness. Marked “Leise, An die Ferne Geliebte. Chopin’s challenging études, which
encoremediagroup.com/programs A-5YEKWON SUNWOO | About the Program
he sight-read at full speed. Liszt was Un sospiro (“A sigh”) in D-flat major in length and less ambitious, his two
an admirer of the French-Polish concludes the set. A melody that sets of Impromptus, Opp. 90 and
composer and emulated his shorter- conveys both drama and lyricism 142, date from his penultimate year,
lived contemporary in a number of courses through the piece, 1827. Like their large-scale sonata
his own etudes, which included the frequently shifting from one hand brethren, the Impromptus are finely
set of three such works, the Trois to the other, and often accompanied polished, utterly exquisite gems,
études de concert, S. 144. As can be by passages of mounting intensity. highly varied in Romantic mood and
inferred by the collective title, these Though composed mid-century, masterly in their distilled emotional
three works were conceived of both the harmony and overall timbres utterance.
for their didactic value as studies anticipate Liszt’s later music, which
for aspiring pianists as well as for laps at the shore of Debussy’s The four Impromptus that comprise
concert performance. He composed Impressionism. the Op. 142 set vary considerably
them ca. 1848 and dedicated them in their poetic utterance. In fact,
to his uncle, Eduard Liszt, who Four Impromptus, D.935 No. 1 in F minor veers between
managed the composer’s business (Op. posth. 142) (1827) dark-toned melancholy and implicit
affairs for many years. FRANZ SCHUBERT mania, enhanced in a typically
Schubertian manner by frequent
Early editions of the three pieces did Schubert was the shortest-lived of alternations between major and
not carry the subtitles added later. the great composers. Had Beethoven minor keys — a gambit used with
As mentioned above in relation to or Haydn died as young, their places equal power by Mahler many
Beethoven, named titles can add to in history might well have been decades later.
a work’s popularity and give a clue seriously altered, for neither of
(often arbitrary) as to the nature these masters had developed his art No. 2 in A-flat, a virtual Minuet and
of a composition. Like Chopin, who as fully as had Schubert by the end Trio, vaguely recalls Beethoven
had an aversion to tacked-on titles, of his adolescence. Sonata No. 26, cast in the same key.
Liszt also preferred to leave fanciful A rich series of plangent chords
In roughly fifteen years of active underpins a sweet melody flowing
interpretations to the listener.
writing, he penned more than above the harmonic support; the
The first Étude, Il lamento (“The 600 surviving songs. The sum of “Trio” offers contrast in nearly
lament”) shows up less frequently works in all areas — symphonies, continuous arpeggiated triplets
in public recitals than its brethren chamber works, operas, etc. — over unforced but urgent figures
in the group. Cast in A-flat major, its numbered around 1000. Schubert’s in the bass.
brief and improvisatory cadenza- music shows astonishing lyric
like passage serves as a dazzling and harmonic originality, thorough The third piece, in B-flat, is a set of
throat-clearing gesture that yields familiarity with established classical theme and five variations. Schubert
graciously to the main theme that forms, and a poet’s gift to tap here drew from the entr’acte from
rhapsodizes lyrically throughout deeply into the human soul. his incidental music to Rosamunde
the duration of this longest number (which is almost identical with the
Though he played violin beginning slow movement from his A-minor
in the set. Though not labeled as
in his youth, he was most fluent at String Quartet, D. 804).
a set of continuous variations,
the piano. He was not considered
the essentially unchanging tune
a virtuoso, but his expressive Schubert closes the Op. 142
undergoes a varied accompaniment.
musicianship was appreciated by foursome with a comparatively
The second Étude, in F minor, those fortunate enough to hear him virtuosic entry in F minor that
bears the sobriquet La leggierezza play. Some of his piano music was suggests Hungarian folk- and gypsy/
(“Lightness”) and is strongly evoca- actually a bit beyond his technical Roma-music, no doubt influenced
tive of Chopin. A brief introduction prowess, including the accompani- by his two summers in the employ
growing out of rising scalar motion ment to his first published song (not of the famed Esterházy family —
leads to a main section in which first written, however), Erlkönig. He Haydn’s long-time patron. Meters
graceful arabesques float by, often reportedly fudged somewhat by sim- constantly shift between duple
repeated in subtly differentiated plifying the left-hand accompani- and triple meters, heightened by
iterations of the primary thematic ment when he played through it. heavily accented passagework,
material. Rising and falling chromatic and unexpected and imaginative
The final year of his brief stay on harmonic changes. A long coda
scalar passages abound in the
earth yielded two epic masterpieces leads to an exciting descending
climactic central section, yet overall
in the sonata repertory, those in A scalar avalanche of six octaves.
the music requires a delicacy of
major and B-flat major respectively
touch rather than brute power. As
— both of them demanding high © 2019 Steven Lowe
if to gently underline that point, the
degrees of technique and even
Étude ends serenely.
greater gifts of expression. Shorter
A-6 MEANY CENTER FOR THE PERFORMING ARTSWorld Music and Theater SEASON SUPPORT COMES FROM
LILA DOWNS
May 21 | 8 p.m.
Lila Downs, vocals
Paul Cohen, music director, saxophone
Josh Deutsch, trumpet
George Saenz, trombone, accordion
MEDIA PARTNER
Rafael Gomez, acoustic & electric guitar
Sinuhe Padilla, acoustic guitar, jarana
Giovanni Buzzurro, bass
Nikki Campbell, percussion
Yayo Serka, drums
ADDITIONAL SUPPORT COMES FROM
Linda & Tom Allen
Estate of Ellsworth C. Alvord †
The program will be announced from the stage.
Nancy D. Alvord †
There will be no intermission. Katharyn Alvord Gerlich
Randy Apsel
Ariel Fund
Ana Mari Cauce & Susan Joslyn
Delaney & Justin Dechant
Britt East & Scott VanGerpen
Gail Erickson & Phil Lanum
Ira & Courtney Gerlich
Lynn & Brian Grant Family
Matthew & Christina Krashan
Jeffrey Lehman & Katrina Russell
Craig Miller & Rebecca Norton
Chelsey Owen & Robert Harris
Estate of Mina Person †
Estate of Carmel Hennessy Pope †
Joseph Rothberg & Susan Corwin
Eric & Margaret Rothchild
Richard Szeliski & Lyn McCoy
encoremediagroup.com/programs A-7LILA DOWNS | About the Artist
Photo: Marcela Taboada
I conic Grammy and Latin
Grammy Award winning
singer Lila Downs is one
of the world’s most singular
and powerful voices, whose
justice, sharing stories that too
often go untold.
Lila weaves various musical forms
with traditional Mexican and
Lila has graced the stages of
many of the world’s most
prestigious festivals and venues
including Jazz at Lincoln Center,
Carnegie Hall and the Hollywood
compelling stage presence and native Mesoamerican music, sing- Bowl. She has been invited to
poignant storytelling transcend ing in Spanish, English and the sing at the White House, and
all language barriers. Raised languages of the Mixtec, Zapotec, performed on the Academy
in Minnesota and Oaxaca, this Maya and Nahuatl cultures. Her Awards and Latin Grammy Awards
global superstar’s exquisite tremendous voice and the origi- telecasts. Her music has also
artistry bridges traditions nality of her compositions create been included in several feature
from across the Americas, with a musical concept that is highly films such as The Counselor, Tortilla
influences ranging from the folk innovative and unique. She is not Soup, Real Women Have Curves,
and ranchera music of Mexico simply a Mexican artist, a jazz, The Three Burials of Melquiades
and South America to North blues or a world music artist — Estrada, Carlos Saura’s Fados,
American folk, jazz, blues, and there is no real way to categorize Mariachi Gringo, and Hecho en
hip-hop. As a passionate human- her music except to say it is an Mexico. Lila released her new
rights activist, Lila’s lyrics often exciting fusion of international album, Al Chile, in May 2019
highlight issues relating to social sounds and musical genres.
A-8 MEANY CENTER FOR THE PERFORMING ARTSInternational Chamber Music SEASON SUPPORT COMES FROM
ALEXANDER STRING
QUARTET
WITH PIANIST JOYCE YANG
May 22 | 7:30 p.m.
Zakarias Grafilo, violin 1
Frederick Lifsitz, violin 2 MEDIA PARTNER
Paul Yarbrough, viola
Sandy Wilson, cello
Joyce Yang, piano
PROGRAM | WHAT IS LOST? WHAT REMAINS? ADDITIONAL SUPPORT COMES FROM
Samuel Adams, composer in residence with the Chicago Symphony Orchestra, Estate of Ellsworth C. Alvord †
Nancy D. Alvord †
explores the resonance of Mozart with his own unique musical voice, asking
Katharyn Alvord Gerlich
what is kept — or lost — if a piece were to build itself? Warren & Anne Anderson
Randy Apsel
Ariel Fund
Stephen & Sylvia Burges
Ana Mari Cauce & Susan Joslyn
Delaney & Justin Dechant
MOZART Quartet No. 1 for Piano & Strings in G Minor, K. 478 Britt East & Scott VanGerpen
(1756–1791) Allegro Gail Erickson & Phil Lanum
Ira & Courtney Gerlich
Andante Lynn & Brian Grant Family
M. Elizabeth Halloran
Allegro moderato Chelsey Owen & Robert Harris
Matthew & Christina Krashan
Jeffrey Lehman & Katrina Russell
SAMUEL ADAMS Quintet with Pillars Hans & Kristin Mandt
(b. 1985) Pillar I Craig Miller & Rebecca Norton
Cecilia Paul & Harry Reinert
Part I Estate of Mina Person †
Estate of Carmel Hennessy Pope †
Pillar II Eric & Margaret Rothchild
Part II Don & Toni Rupchock
David & Marcie Stone
Pillar III Donald & Gloria Swisher
Estate of Barbara Weinstein †
INTERMISSION
MOZART Quartet No. 2 for Piano & Strings in E-flat major, K. 493
(1756–1791) Allegro
Larghetto
Allegretto
encoremediagroup.com/programs A-9ALEXANDER STRING QUARTET | About the Artist
Among the eminent musicians
with whom the Alexander
String Quartet has collaborated
are pianists Joyce Yang, Roger
Woodward, Anne-Marie
McDermott, Jon Nakamatsu,
Menahem Pressler, Marc-André
Hamelin and Jeremy Menuhin;
clarinetists Joan Enric Lluna, David
Shifrin, Richard Stolzman and
Eli Eban; soprano Elly Ameling;
mezzo-sopranos Joyce DiDonato
and Kindra Scharich; violinist
Midori; violist Toby Appel; cellists
Lynn Harrell, Sadao Harada and
David Requiro; and jazz greats,
Branford Marsalis, David Sánchez
and Andrew Speight.
The quartet has also established
itself as an important advocate
of new music through over 30
commissions from such composers
as Tarik O’Reagan, Jake Heggie,
Cindy Cox, Augusta Read Thomas,
Martin Bresnick, César Cano and
Photo: Rory Earnshaw Pulitzer Prize-winner, Wayne
Peterson. A new work for piano
T he Alexander String and universities across the North quintet from Samuel Carl Adams
Quartet formed in New American continent. The quartet premieres in early 2019 with
York City in 1981, capturing recently returned as faculty to pianist Joyce Yang. The quartet
international attention as the the Yale School of Music’s Norfolk has worked with many composers
first American quartet to win Chamber Music Festival, a nexus of including Aaron Copland, George
the London International String their early career. The ASQ’s tour Crumb and Elliot Carter, and has
Quartet Competition in 1985. of Poland for the Beethoven Easter long enjoyed a close relationship
The Alexander has performed in Festival was documented in the with composer-lecturer Robert
the major music capitals of five award-winning film, Con Moto: The Greenberg, performing numerous
continents, securing its standing Alexander String Quartet (2017), by lecture-concerts with him annually.
among the world’s premiere the Documentary Film Institute at The Alexander String Quartet
ensembles. Widely admired for San Francisco State University. is a major artistic presence in
its interpretations of Beethoven, its home base of San Francisco,
Mozart and Shostakovich, Recording for the Foghorn Classics
label, their 2018 release of Mozart’s serving since 1989 as Ensemble
the quartet’s recordings of in Residence for San Francisco
the Beethoven, Bartók and Piano Quartets with Joyce Yang
has received critical acclaim. Other Performances and directors of
Shostakovich cycles have all won the Morrison Chamber Music
international critical acclaim. major releases have included
the combined string quartet Center in the College of Liberal
The Alexander’s annual calendar cycles of Bartók and Kodály, the and Creative Arts at San Francisco
of concerts includes engagements string quintets and sextets of State University. The quartet
at major halls throughout North Brahms with Toby Appel and has received honorary degrees
America and Europe. The quartet David Requiro, the Schumann and from Allegheny College and
has appeared at Lincoln Center, Brahms piano quintets with Joyce Saint Lawrence University, and
the 92nd Street Y, and the Yang and the Beethoven cycle. Presidential medals from Baruch
Metropolitan Museum in New Their catalog also includes the College (CUNY). The Alexander
York City; Jordan Hall in Boston; Shostakovich cycle, Mozart’s Ten plays on a matched set of
the Library of Congress and Famous Quartets and the Mahler instruments made in San Francisco
Dumbarton Oaks in Washington; Song Cycles in new transcriptions by Francis Kuttner, known as the
and chamber music societies by Zakarias Grafilo. Ellen M. Egger quartet.
A-10 MEANY CENTER FOR THE PERFORMING ARTSALEXANDER STRING QUARTET | About the Artist
of the summer festival circuit with School with Dr. Yoheved Kaplinsky.
frequent appearances on the During her first year at Juilliard,
programs of the Aspen Summer Yang won the pre-college division
Music Festival, La Jolla SummerFest Concerto Competition, resulting in
and the Seattle Chamber Music a performance of Haydn’s Keyboard
Society. Concerto in D with the Juilliard Pre-
College Chamber Orchestra. After
Other notable orchestral winning the Philadelphia Orchestra’s
engagements have included the Greenfield Student Competition, she
Chicago Symphony, Los Angeles performed Prokofiev’s Third Piano
Philharmonic, Philadelphia Concerto with that orchestra at just
Orchestra, San Francisco Symphony, twelve years old. She graduated
Deutsches Symphonie-Orchester from Juilliard with special honor as
Berlin, the BBC Philharmonic, as well the recipient of the school’s 2010
as the Toronto, Vancouver, Sydney, Arthur Rubinstein Prize, and in 2011
Melbourne and New Zealand she won its 30th Annual William A.
symphony orchestras. She was also Petschek Piano Recital Award.
featured in a five-year Rachmaninoff
concerto cycle with Edo de Waart
and the Milwaukee Symphony, to
which she brought “an enormous
palette of colors, and tremendous
emotional depth” (Milwaukee Sentinel
Journal).
In solo recital, Yang has performed
at New York City’s Lincoln Center
and Metropolitan Museum, the
J
Kennedy Center in Washington,
oyce Yang first came to
D.C., Chicago’s Symphony Hall and
international attention in 2005
Zurich’s Tonhalle. In 2018, Musica
SEATTLE
when she won the silver medal
Viva presented Yang in an extensive CHAMBER
at the 12th Van Cliburn International
Piano Competition. The youngest
recital tour throughout Australia. MUSIC
contestant at 19 years old, she took
As an avid chamber musician, Yang SOCIETY
has collaborated with the Takács JAMES EHNES
home two additional awards: Best Artistic Director
Quartet for Dvořák and Schubert’s
Performance of Chamber Music
“Trout” Quintet with members of
(with the Takàcs Quartet), and Best
the Emerson String Quartet at the
Performance of a New Work. In 2006
Mostly Mozart Festival at Lincoln
Tickets on
Yang made her celebrated New York Sale Now!
Center. She has also fostered an
Philharmonic debut alongside Lorin from $55
enduring partnership with the
Maazel at Avery Fisher Hall along
Alexander String Quartet, releasing
with the orchestra’s tour of Asia,
making a triumphant return to her
a highly praised recording of
Mozart’s piano quintets.
SUMMER FESTIVAL
hometown of Seoul, South Korea. JULY 1-27, 2019
Born in 1986 in Seoul, South Korea, ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall
In the last decade, Yang has
Yang received her first piano lesson
blossomed into an “astonishing
artist” (Neue Zürcher Zeitung),
from her aunt at the age of four. BOX OFFICE
She quickly took to the instrument, 206.283.8808 // seattlechambermusic.org
showcasing her colorful musical
which she received as a birthday
personality in solo recitals and
present. By the age of ten, she
collaborations with the world’s top
had entered the School of Music
orchestras and chamber musicians.
at the Korea National University
She received the 2010 Avery Fisher
of Arts, and went on to make a
Career Grant and earned her
number of concerto and recital
first Grammy nomination for her
appearances in Seoul and Daejeon.
recording of Franck, Kurtág, Previn
In 1997, Yang moved to the United
& Schumann with violinist Augustin
States to begin studies at the
Hadelich. She has become a staple
pre-college division of the Juilliard
encoremediagroup.com/programs A-11ALEXANDER STRING QUARTET | About the Program
Quartet No. 1 for Piano and G Minor Piano Quartet, on the other moderato, this movement is a
Strings in G Minor, K. 478 (1785) hand, is laid out in true chamber deftly constructed rondo filled with
WOLFGANG AMADEUS MOZART fashion, as a conversation among humorous asides and Haydn-esque
equivalent participants. surprises.
Over roughly two decades
beginning in the 1760s, Franz Typically, most Classical-era © 2019 Steven Lowe
Joseph Haydn transformed the composers confined their music to
light-hearted, outdoors-oriented major keys, a reflection of the rosy Quintet with Pillars (2018)
string quartet into maturity, optimism of the self-proclaimed SAMUEL ADAMS
drawing on his knowledge of Age of Enlightenment, a viewpoint
Scored for string quartet and piano
both Baroque polyphony and the already under strenuous attack
prepared with digital resonance.
newer homophonic Classical style. in such literary masterpieces as
Duration: c. 28 minutes
By the mid-1780s, his younger Voltaire’s Candide. Mozart used
colleague Mozart paid tribute to minor keys sparingly, but always Commissioned by Arizona Friends
the older master in a set of six effectively. As is well-known, he of Chamber Music, sponsored by
quartets “dedicated to Haydn.” For had a special resonance to G minor, Shirley Chann; The Robert and Margrit
the next two-plus centuries the analogous to Beethoven’s choice of Mondavi Center for the Performing
string quartet has served as the C minor when dealing with themes Arts, UC Davis; San Francisco
primary chamber format. The piano of darkness and adversity. Mozart’s Performances; and Soka University
quintet, which adds a piano to the only two minor-key symphonies are of America for the Alexander String
string quartet, had also found a cast in G minor, as is his relentlessly Quartet and Joyce Yang. Premiered by
comfortable niche by the closing agitated String Quintet, K.516. the Alexander String Quartet and Joyce
years of the eighteenth century. Yang on February 13, 2019.
The imposing presence of the piano The galvanic, even threatening
gave that combination a concerto- vigor of the Piano Quartet, K.478, Quintet with Pillars explores the
like “heft.” Additionally, it was tailor- provides a powerful anticipation of question: what would it sound like
made for existing string quartets the darker complexion of Romantic- if a piece were to build itself? To
that could easily be joined by a era music, though it undoubtedly answer this question, I had to first
keyboardist. drew some of its forcefulness from construct the “piece” (Part II) before
Haydn’s “Sturm und Drang” (“storm pulling it apart to reveal the process
The piano quartet, on the other and stress”) symphonies from the of its becoming (Part I), making
hand, was not nearly as popular a late 1760s and 1770s. much of the compositional process
format. In 1785, the publisher Franz similar to solving a temporal puzzle.
Anton Hoffmeister asked Mozart The G Minor Quartet’s bold Allegro
Three short episodes—or pillars—
to create three such works for use surges menacingly, its serious
buttress the larger musical arc and
by amateur players. Only two came demeanor heightened through
serve as markers for the beginning,
to fruition, largely because the irregularities of phrasing that would
middle and end of the form.
first piece, in G minor, proved far have proved difficult for amateur
beyond the technical capacity of musicians to perform and even Much to my surprise, writing this
most amateur musicians, prompting sophisticated listeners of the time work was an emotionally charged
Hoffmeister to ask Mozart not to to fully assimilate. experience propelled not so much
complete the project. Mozart, by the by the joy of creation (though I
The Andante that follows, in safe
time he received and complied with enjoyed composing it immensely)
and serene B-flat major, would have
the “cease and desist” request, had but by an urgency to make things
been entirely more to general liking,
already composed the second work, whole again. I began sketching
its primary melody reflecting the
K.493, in E-flat major. Quintet with Pillars in the spring
composer’s operatic experience
of 2018 and completed the score
To be sure, earlier piano quartets and orientation to vocal melody. So
the following October. My deepest
had been composed by others. A too does its second theme, achingly
gratitude to The Alexander String
major challenge in writing for that sad in the manner of the Countess’
Quartet and Joyce Yang for their
format lay in an essential difference music in Le nozze di Figaro, which
intrepid spirits in bringing this music
between Mozart’s conception dates from the same period.
to life.
and that of C.P.E. Bach and his
The finale fits the mold of 18th
younger brother Johann Christian © Samuel Adams
century esthetics by not returning
Bach. Their works were essentially
to the first movement’s home key
keyboard pieces with optional
of G minor, but rather providing
string parts. Until Mozart, works for
a “happy ending” to a piece
piano and strings (including violin/
begun in an uncompromisingly
piano sonatas) were treated as
turbulent manner. Marked Allegro
piano music. Mozart’s impassioned
A-12 MEANY CENTER FOR THE PERFORMING ARTSI N T E R N AT I O N A L
CHAMBER MUSIC
Danish String Quartet | November 7, 2019
Orlando Consort | February 4, 2020
WORLD DANCE Jerusalem Quartet | March 24, 2020
Hagen Quartet | April 23, 2020
Sankai Juku | October 17–19, 2019
David Finckel & Wu Han with Philip Setzer | May 18, 2020
Pilobolus | November 14–16, 2019
Brian Brooks Moving Company | Jan 30–Feb 1, 2020
Grupo Corpo | February 20–22, 2020 PRESIDENT’S PIANO
RUBBERBANDance Group | April 2–4, 2020 Garrick Ohlsson | October 1, 2019
Step Afrika! | May 7–9, 2020 Jonathan Biss | November 5, 2019
Jonathan Biss | December 11, 2019
CROSSROADS Hélène Grimaud | March 4, 2020
The Paco De Lucía Project | October 29, 2019 Jon Kimura Parker | April 29, 2020
Gabriel Kahane | November 23, 2019
Niyaz | February 28, 2020 SPECIAL EVENTS
Third Coast Percussion | May 2, 2020 Midori with Jean-Yves Thibaudet | January 23, 2020
Los Angeles Master Chorale | March 26, 2020
Jomama Jones | TBD, On Sale August 5, 2019
MEANYCENTER.ORG
206-543-4880
encoremediagroup.com/programs A-13ALEXANDER STRING QUARTET | About the Program
MAY Quartet No. 2 for Piano and sweeter and quieter moments to
24-25 Strings in E-flat Major, K. 493 provide contrast with the animated
(1786) rhythms that propel the music
WOLFGANG AMADEUS MOZART onward. There are also delectable
moments of “echo” passagework
The year 1786 was especially between the piano and the strings,
productive for Mozart: six piano a characteristic that heightens
concertos alone flowed quickly contrasts of timbre.
from his racing mind, and if that
weren’t enough, Le nozze di Figaro © 2019 Steven Lowe
wowed Viennese audiences. In early
IMPFest XI June, a mere month after Figaro’s
Guest artists Lucia Pulido (voice, cuatro) and premiere, the Quartet No. 2 for
Stomu Takeishi (bass) headline the Eleventh
Improvised Music Project Festival. Piano and Strings in E-flat Major,
7:30 pm Meany Studio Theater K. 493, came to light. If its dramatic
predecessor in G minor bespeaks
of the composer’s darker angst-
possessed side, the new work basked
JUN in the life-giving ambience
4 of a sun-drenched day-scape.
The change in perspective is evident
in the very opening bars of the first
movement Allegro, an orchestra-
like and seemingly improvisatory
statement of big-hearted openness
boldly announced with strong
support from the piano. It is from
ETHNOMUSICOLOGY VISITING ARTIST the piano that the second subject
Heri Purwanto: Javanese Gamelan emerges before being given
Master musician Heri Purwanto from over to the violin for additional
Indonesia performs with his UW students
commentary. Though less forceful
and special guests in this evening of
gamelan music and dance. than the primary theme it reinforces
7:30 pm Gerlich Theater (formerly Meany Theater) the overall joie de vivre albeit in a
somewhat subdued fashion. Even
a brief excursion in the minor, plus
episodes of skilled counterpoint, do
JUN
not dim the overall spirit a whit. The
7 exuberant and theme-rich Allegro is
almost as long as the two remaining
movements combined, and though
the strings provide a distinct
presence, the piano part is quite
virtuosic.
A rising and gentle arpeggio figure
on the piano initiates the Larghetto.
UW SYMPHONY & COMBINED CHOIRS However, the strings take the lead in
Britten: War Requiem, Op. 66 giving voice to the beguiling melodies
Conducted by Geoffrey Boers, with in this song-like movement, while the
members of the Seattle Modern Orchestra, piano weaves fantastic embroidery
Seattle Girls’ Choir, Seattle Chamber Singers, around center-stage activity.
and guest soloists.
7:30 pm Gerlich Theater (formerly Meany Theater) The work concludes with a Rondo
marked Allegretto, begun with
an irresistibly charming folk-like
ditty courtesy of the piano. Soon,
however, the trio of strings jumps
MORE AT: WWW.MUSIC.WASHINGTON.EDU into the frolicsome fray, taking time
ArtsUW TICKET OFFICE: 206.543.4880 throughout the movement to explore
A-14 MEANY CENTER FOR THE PERFORMING ARTSYou can also read
