Lyon Opera Ballet Delfos Danza Contemporanea Gilberto Gil

Transcription

APRIL 2015
Lyon Opera Ballet
APR 16-18
Delfos Danza Contemporanea
Gilberto Gil
APR 9-11
Emerson Quartet
APR 11
Simone Dinnerstein
APR 21
APR 23
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CONTENTS
APRIL 2015
Lyon Opera Ballet
UW World Series
A1
APR 16-18
Gilberto Gil
APR 9-11
Emerson Quartet
APR 11
Simone Dinnerstein
APR 21
APR 23
ES055 covers.indd 5
2/19/15 2:46 PM
Visit EncoreArtsSeattle.com
ENCORE ARTS NEWS
Five Friday Questions with
Keiko Green
BY BRETT HAMIL
Keiko Green is a half-Japanese writer/performer from Georgia who came
to Seattle via New York three years ago. Since then, she’s appeared in
numerous productions: Annex’s Chaos Theory, WET’s Bengal Tiger
at the Baghdad Zoo, Pony World’s Or, the Whale. This year she makes
her debuts at the Rep in The Comparables in March and at Seattle
Shakespeare in next May’s production of Othello. Her original musical
Bunnies, inspired by the Woodland Park bunny infestation with music
by Jesse Smith, will have its world premiere as part of Annex Theatre’s
mainstage season this April.
Green is preparing for a creatively prolific year. I caught up with her
for this installment of Five Friday Questions.
What’s the best performance you’ve seen lately?
That fake field goal in the NFC championship game. I’m obsessed with
it. I can’t stop watching loops of it online. It’s everything you want in a
performance: a solid set-up and a beautiful twist in the plot. I want all
my work to be like that fake field goal.
There’s also been so much good theatre in town so far this year. I
saw seven shows last week. The performance that is currently sticking
in my mind is Robin Jones as Blanche in Civic Rep’s A Streetcar Named
Desire. She was so layered. Her Blanche was so delicate, and yet she
would victimize herself in a way that fooled no one. You wanted to
4 ENCORE STAGES
shake her and scream,
“Stop pretending to be
broken! You’re broken
already!”
What’s the best meal
in Seattle?
I’m a sucker for a good
happy hour. I often end
up eating dinner really
early because of this
happy hour obsession.
The grilled sardine
tartine at Lecosho is the
single most delicious
bite in Seattle, and it’s
only available at happy
hour unless you use your puppy dog eyes -- which I have used to varied
success.
Add a salad with a perfect egg, some sausages to share, and a glass (or
two) of wine for the perfect meal. If I could get the roasted bone marrow
from Quinn’s Pub added to that, well…a girl can dream.
ENCORE ARTS NEWS
What music gets you pumped up? What do
you listen to when you’re sad?
I like danceable music to get pumped up — or
at least something I can jump up and down
to. I really like Metric’s “Black Sheep,” though
the intro is way too long, so I usually skip 30
seconds in. I actually like the actress who sang
it in Scott Pilgrim’s voice better, so I often listen
to the movie version online instead.
Also my classmate from the Experimental
Theatre Wing at NYU is the lead singer of this
band Avan Lava, and they’re amazing. Their
song “Feels Good” gets me pumped not just
because I love the song, but also because it
reminds me that I’ve worked with tons of people
who are way more talented than I am —it taps
into my competitive nature.
“Don’t stop never stop.” It’s my mantra. Don’t
get left behind.
When I’m sad, I like to listen to songs from
Young Jean Lee’s band Future Wife. Their song
“Horrible Things” puts things into perspective.
The lyrics are depressing and hilarious: “Who
do you think you are to be immune from
tragedy? What makes you so special that you
should go unscathed?” But it’s set to this really
cute music and her voice is so sweet. All the
songs are like that. “I’m Gonna Die” is also
really great. I like to play cutesy sad music and
just lie there and wallow, if time permits.
Do you “treat yourself” to anything special
after a show closes?
Well, I think the Olympus Spa or “naked spa”
in Lynnwood will be my new treat. A friend
introduced me to it last October, and I’m pretty
smitten. They have a Korean restaurant inside
the spa! How am I supposed to resist going to
that place?
Other than that, I pretty much like to
celebrate all night after closing then lock myself
in the house the day after, cooking and eating
all day. Near the end of a run, I’m eating out
more often than I like. So I spend this lazy day
filling my body with hot, stinky, healthy Asian
foods. I’ll stock up on everything fermented at
Uwajimaya a couple days before, preparing for
this stinkfest.
What’s the most useful thing anyone’s ever
taught you about working in theatre?
In an audition, the people on the other side of
the table are always on your side. Auditors want
you to walk into the room and blow everyone
else out of the water. It makes their job easier.
They are rooting for you.
FEB 12 – MAY 17
This exhibition is organized by the American
Federation of Arts and was made possible
by the generosity of an anonymous donor, the
JFM Foundation, and Mrs. Donald M. Cox.
The Seattle presentation is made possible through the
support of these funders
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
PROGRAM LIBRARY
CALENDAR
PREVIEWS
ARTIST SPOTLIGHT
Generous Support
Anonymous
ArtsFund/Guendolen Carkeek Plestcheeff
Fund for the Decorative and Design Arts
The MacRae Foundation
Seattle Art Museum Supporters (SAMS)
Corporate Sponsor
Perkins Coie LLP
Image: Child’s jacket, ca. 1880, Apsáalooke (Crow),
Montana, hide, glass beads, 30 x 20 in., Diker no. 846,
Courtesy American Federation of Arts.
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oct. 23, nov. 8, & May 13
Nov. 12 & Dec. 2
jan. 10, 2015
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BE
ENCORE ARTS PREVIEWS
Seattle Rock Orchestra
May 9 and 10
With over 50 instrumentalists and special guest
vocalists, the Seattle Rock Orchestra combines
the energy of rock ‘n’ roll with the colors and
subtleties of classical music. This Mother’s Day
weekend the Seattle Rock Orchestra continues
their chronological foray into the albums of the
Beatles with Abbey Road and Let It Be.
The Moore Theatre
Pilobolus
May 14-16
With a vast repertoire and new works created
every year, the dancers of Pilobolus are known
for their extreme athleticism and strength.
Named after phototropic fungi, this globetrotting
dance troupe has performed on the Academy
Awards, Late Night with Conan O’Brien and The
Oprah Winfrey Show.
Meany Hall
Jeeves Intervenes
May 13-June 13
Reginald Jeeves, the expertly capable valet
whose surname has become a synonym for
“manservant,” must once again save the day
in this comedy adapted from a P.G. Wodehouse
story by Margaret Raether.
Taproot Theatre
Threesome
June 5-28
An Egyptian American couple invite another
man into their bed for a threesome and end up
exploring issues of sexism and independence in
this world premiere written by local playwright
Yussef El Guindi and directed by Chris Coleman.
ACT Theatre
Slaughterhouse Five
June 11-July 3
Kurt Vonnegut’s beloved story about the
human consequences of war comes to life in
this Book-It production adapted and directed
by Josh Aaseng. Unstuck in time, Billy Pilgrim
bounces from the firebombing of Dresden to the
alien planet Tralfamadore and many points in
between.
Book-It Repertory Theatre
Correction: In the last issue, we mischaracterized
the plot of Book-It’s Little Bee as the story of a
Nigerian immigrant father committing suicide
to keep his son, Little Bee, from being deported.
The actual plot revolves around Little Bee’s
encounter later in life with Sarah, a middle-class
Englishwoman. We regret the error.
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
PROGRAM LIBRARY
6 ENCORE STAGES
CALENDAR
PREVIEWS
ARTIST SPOTLIGHT
ENCORE ARTS NEWS
Beer
Central
from city arts magazine
Saturday, March 21
$39, $34 & $29,
$15 youth/student
Rose Ann Finkel
and Charles Finkel
inspired the craftbeer revolution.
A tribute to the black
musicians of the 1920s
and ’30s who were
part of the Harlem
Renaissance, this show
takes its title from the
1929 Waller song of the same title.
KORESH DANCE COMPANY
Wednesday, April 1
$34, $29 & $24,
$15 youth/student
Pike Place
Brewing
is a secret
treasure.
Thank its
owner for
craft beer.
Founded in Philadelphia
in 1991, Koresh Dance
Company is widely recognized for its superb
technique and emotionally-compelling appeal.
THE WONDER
BREAD YEARS
Thursday, April 16
$34, $29 & $24,
$15 youth/student
BY JONATHAN ZWICKEL
ONE THING MOST museums get wrong is
no beer. Though Pike Brewing Company is
technically a brewpub, it could easily qualify
as a museum. A museum of beer.
In other cities an establishment as grand
as Pike Brew would be a point of civic pride
and a go-to hangout for crusty locals and
gawping tourists alike. Somehow—maybe
because it’s existed so long in a location so
prominent—most Seattleites forget it exists.
The cavernous warren of rooms and bars and
more bars and more rooms winds through
two floors of the South end of Pike Place
Market. It’s a 19-year-old secret treasure hidden in plain sight.
Every inch of every vertical surface is
bedecked with “beeriana,” the highlights of
what might be the greatest collection of beerrelated ephemera on Earth: beer labels, beer
ads, beer articles, beer books, beer accessories, beer photos, beer illustrations, beer
recipes, beer history and legend and data. A
sprawling array, for sure, but thoughtfully
curated, elegantly framed and captioned
in exacting detail. Brain candy for the beer
drinker. One room is dedicated entirely to
the 9,000-year history of brewing; you can
follow the timeline across three walls, from
Sumer to Seattle. Another details the story
of Nellie Curtis, the glamorous madam who
operated one of Seattle’s last brothels in a
hotel below the Market. There’s also a shrine
to King Gambrinus, the legendary Lowlands
royal known as the King of Beer. He purportedly invented the toast.
Contemplate all this lore while drinking
beer made one floor below. Pike Brewing’s
Naughty Nellie—a robust but delicate golden
ale named after Nellie Curtis—is one of
Seattle’s greatest achievements. Pike Entire
Wood Aged Stout is chewy and smooth. The
current seasonal special is the Octopus Ink
Black IPA, full-hopped but balanced and as
dark as its namesake.
AIN’T MISBEHAVIN’
The owner of the collection—the executive brewmaster and self-described “creative
director” and president and founder of the
brewery—is also the man responsible, at
least indirectly, for the craft beer revolution that began in the early ’80s. Back then,
Charles Finkel was a renegade importer who
believed Americans were ready for beer with
a flavor profile beyond the bland, cornsyrupy lagers that dominated the landscape.
Today Finkel is considered a visionary, one
of the primary catalysts of a new American
industry.
“When we started in the beer business,
sales of craft beer were so small that they
weren’t measurable,” Finkel says, sitting in a
booth inside Pike Brewing’s office (which is
also covered floor-to-ceiling with ephemera).
“Last year, sales of craft beer exceeded sales
of the Budweiser brand for the first time.
That’s a major milestone.”
Vindication through longevity. And recognition: Finkel was described as “among a
dozen principals responsible for the modern
renaissance of beer” by no less an eminence
than Michael Jackson, the scholar who
was to beer what James Beard was to food.
Finkel edited the illustrations to the Oxford
Companion to Beer, 2011’s massive, authoritative volume on the subject. And here he
sits, bowtied and bespectacled, a 71-year-old
Jewish boy born in New York and raised in
Oklahoma, inside the inner sanctum of his
unassuming empire. His wife Rose Ann,
who’s worked alongside him every step, is
answering emails a few steps away.
“You’re speaking to the artist right now,”
she says of her husband.
True in more ways than one. Charles
Finkel’s entry into the beer business wasn’t
as a brewer but as an importer—an auteur, if
you will. After moving to Woodinville, Wash.
from New York and working in the marketing department of the fledgling Chateau Ste.
A fresh & funny salute to
Americana, The Wonder
Bread Years starring
Pat Hazell (Seinfeld) is
a fast-paced, hilarious
production that gracefully walks the line between standup and theater.
Seniors 62+ & Military: 10% off on ECA presented events!
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8 ENCORE STAGES
With his encyclopedic knowledge of beer history, Charles Finkel was the first to market traditional European ales
and lagers to an American audience.
Michelle winery in the ’70s, one of his first
entrepreneurial endeavors was to re-launch
Samuel Smith, a 250-year-old brewery in
Yorkshire, England. Rather than make his
own full-bodied beer, Finkel convinced the
owners of the struggling brewery to remake
theirs.
From his travels across Europe with Rose
Ann, he’d developed a taste for artisanal
beers made by traditional methods for regional tastes. “And as a guy from Oklahoma
I’m not beyond going to a guy in Yorkshire
and saying, ‘Can you make an oatmeal stout
for me?’ And the guy from Yorkshire says,
‘What’s an oatmeal stout?’ And I have to
teach them what their own heritage is. It’s
not below my own chutzpah or dignity level
to do that.”
When their product met his standards,
Finkel applied his schooling in graphic design to develop a new, now-iconic label for the
beer. Then, with its sophisticated look and
flavor profile, he began importing Samuel
Smith Oatmeal Stout into the U.S. Soon he
redesigned their entire line of beers. His
success led him to rebranding and importing
beers from Germany, Norway and Belgium.
His import company, Merchant du Vin, is
responsible for introducing American drinkers to their favorite European beers. And this
is how Finkel inspired America’s craft beer
movement.
“He was so far ahead of the curve in
the alcoholic beverage business that even
pioneers like me were astonished,” says
Paul Shipman, co-founder of Redhook, the
Northwest’s first microbrewery. Back then,
he and co-founder Gordon Bowker were
cracking open a brand-new marketplace in
the U.S. (much like the current dawn of the
recreational marijuana industry, Shipman
notes.) “What Charlie did with imports was
a beacon. It was an inspiration to us as we
contemplated doing it ourselves. He was
there at the big bang, recognizing that the
consumer had an interest in a more flavorful,
distinctive product.”
Once they’d amassed the finances, the
Finkels opened the original Pike Brewing
Company on Western Ave. in 1989. Charles
developed the beer list and designed all
the labels, both of which remain consistent
through today. They moved to their present location, which serves a full menu of
hearty, wholesome pub fare, in 1996. Pike
Brewing Co. often features guest beers from
upstart Seattle breweries and hosts food and
drink events that draw talent from around
the world. Pike brewers have gone on to
brewmaster positions at breweries across
the country and launched breweries of their
own.
By unofficial count, eight breweries
opened in Seattle in the last half of 2014.
Several others debuted in the burbs. Still
more are slated to launch in the coming
months. Due to their minimal production
capacities, most of them are categorized
as nanobreweries—smaller even that the
original four-barrel facility Finkel started
with. As the brewery count in King County
nears 70—and with some 200 in Washington
state—the craft beer revolution that Finkel
incited shows no signs of slowing. Neither
does Pike Brew.
“We’ve got enough momentum that the
more nanobreweries there are, the more
there’s a need for a place like this, where
you can come and learn about beer,” Finkel
says. “Beer is a great lens to look at history
through. We’re trying to introduce people,
and hopefully encourage those nanobeweries, to recognize that we’re talking about a
serious product of gastronomy through the
ages. Nine thousand years of people having
a civilized attitude about consuming beer.
And we’re beer central.” n
PIKE BREWING
1415 1st. Ave.
MIGUEL EDWARDS
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EXTRAORDINARY PERFORMANCES FROM AROUND THE GLOBE
WORLD DANCE SERIES
Sankai Juku / Thurs-Sat, October 1-3, 2015
Akram Khan Company / Thurs-Sat, November 12-14, 2015
Trisha Brown Dance Company / Thurs-Sat, February 4-6, 2016
PRESIDENT'S PIANO SERIES
Jonathan Biss / Tue, October 20, 2015
Yulianna Avdeeva / Tue, December 1, 2015
Garrick Ohlsson / Tue, January 12, 2016
MalPaso Dance Company / Thurs-Sat, March 3-5, 2016
Igor Levit / Wed, February 10, 2016
Grupo Corpo / Thurs-Sat, March 24-26, 2016
Jeremy Denk / Fri, March 18, 2016
Martha Graham Dance Company / Thurs-Sat, May 5-7, 2016
SPECIAL ENGAGEMENT
WORLD MUSIC & THEATRE SERIES
An Evening with Yo-Yo Ma / Tue, December 8, 2015
ETHEL with special guest Robert Mirabal
presents The River / Thurs, October 8, 2015
Youssou N'Dour / Sun, November 8, 2015
Béla Fleck & Abigail Washburn / Sat, February 13, 2016
Vicente Amigo / Wed, March 16, 2016
globalFEST on the Road: Creole Carnival / Thurs, April 14, 2016
SPECIAL EVENTS
The Peking Acrobats / Sat, January 23, 2016, 3pm & 7:30pm
Jane Comfort & Company / Thurs-Sat, April 7-9, 2016
Anoushka Shankar / Sat, April 9, 2016
Gil Shaham: Bach Six Solos with original films
by David Michalek / Sat, April 16, 2016
INTERNATIONAL CHAMBER MUSIC SERIES
Murray Perahia / Wed, April 20, 2016, 7:30pm
The Danish String Quartet / Wed, November 4, 2015
Anonymous 4 / Fri, December 4, 2015
So Percussion / Sun, January 31, 2016
The Chamber Music Society of Lincoln Center / Sat, March 19, 2016
Daedalus Quartet / Fri, April 29, 2016
SEASON TICKETS ON SALE NOW
206-543-4880 / UWWORLDSERIES.ORG
UW WORLD SERIES ADVISORY BOARD
DIRECTOR'S
WELCOME
Welcome to UWWS’s spring season of artistic
excellence, innovation and exploration. We hope
you enjoy your evening.
We have just announced our upcoming 2015-16
Season. As creative boundaries increasingly shift as
artists reinvigorate iconic works and introduce new
collaborations, we are evolving as well.
For example, we have diversified our International
Chamber Music Series offerings to align more
closely with our mission to embrace both modern
mastery and adventurous outcomes. In addition
to leading string quartets, we look forward to
welcoming less “traditional” ensembles such as the
luminary percussionists, Sō Percussion, and the
vocalists of Anonymous 4.
Even as we welcome new artists, we continue our
tradition of presenting the world’s finest master
artists. 2015-16 will see the return of Martha
Graham Dance Company, and celebrate the
final-ever proscenium performance of the Trisha
Brown Dance Company. Yo-Yo Ma will give a solo
performance on our stage, and our World Music
Series features major stars Béla Fleck & Abigail
Washburn and Youssou N’Dour, as well as new
voices as exemplified by globalFest on the Road:
Creole Carnival.
I encourage you to get to know the artists who
will be electrifying our stage next season as well as
renew or purchase a new subscription.
Warmly,
Michelle Witt
Executive Director of Meany Hall &
Artistic Director of UW World Series
A-2 UW WORLD SERIES
Kathleen Wright, President
Dave Stone, Vice President
Kurt Kolb, Strategist
Linda Linford Allen
Linda Armstrong
Robert Babs, Student Board Member
Joel Baldwin, ArtsFund Board Intern
Cathryn Booth-LaForce
Ross Boozikee, ArtsFund Board Intern
Luis Fernando Esteban
Davis B. Fox
Brian Grant
Cathy Hughes
Yumi Iwasaki
Sonja Myklebust, Student Board Member
Mina Person
Donald Rupchock
Donald Swisher
David Vaskevitch
Gregory Wallace
Mark Worthington
Ex-Officio Members
Elizabeth Cooper, Divisional Dean of Arts, College of Arts & Sciences
Robert C. Stacey, Dean, College of Arts & Sciences
Ana Mari Cauce, Provost
EMERITUS BOARD
Cynthia Bayley
Thomas Bayley
JC Cannon
Gail Erickson
Ruth Gerberding
Ernest Henley
Randy Kerr
Susan Knox
Matt Krashan, Emeritus Artistic Director
Sheila Edwards Lange
Frank Lau
Lois Rathvon
Dick Roth
Eric Rothchild
Jeff Seely
K. Freya Skarin
Rich Stillman
Lee Talner
Thomas Taylor
Ellen Wallach
Ellsworth C. "Buster" Alvord, In memoriam
Betty Balcom, In memoriam
Studio Event
April 9-11, 2015
Support for this event comes from
photo
© Martin Gavica
CO-ARTISTIC DIRECTORS
This engagement of Delfos
Danza Contemporanea
is made possible through
Southern Exposure:
Performing Arts of Latin
America, a program of Mid
Atlantic Arts Foundation
in partnership with the
National Endowment for the
Arts and the Robert Sterling
Clark Foundation.
Víctor Manuel Ruiz and Claudia Lavista
DANCERS
Karla Núñez
Xitlali Piña
Roselí Arias
Claudia Lavista
Agustín Martínez
Johnny Millán
Daniel Marín
Renato González
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encore artsseattle.com A-3
Tonight's Program
Cuando los Disfraces se Cuelgan
(When Disguises are Hung Up)
The mask is a disguise, but it can be a useful one. However all masks fall
away and in the end, we are left with our true selves. In their celebrated
piece, Delfos examines the masks we wear to survive, to love, and to endure
in a world that seems never to want us to take the mask off. Eloise Kazán’s
stunning costumes, along with a striking video stage-design adds to the
startling visual feast that surrounds this evening-length work.
Original Idea and General Direction:
Claudia Lavista (1) and Víctor Manuel Ruiz (2)
Piece created in collaboration with the dancers
Dancers: Karla Núñez, Claudia Lavista (1), Roselí Arias, Daniel Marín,
Xitlali Piña, Agustín Martínez (3), Johnny Millán (4), Renato Gonzalez
Music: Mario Lavista, Meredith Monk*, Michael Galasso, R. Schumann,
John Field, Sergio Díaz, J.S. Bach, A. Vivaldi and Bruno Coulais
Video Conception and Realization: Renato González,
with the collaboration of Ricardo Arzola
Costume Design: Eloise Kazan / Costume production: Johnny Millán
Musical edition: Delfos Danza Contemporánea
Lighting Design: Víctor Manuel Ruiz
Production/Stage Managers: Austin Shirley and Rigoberto del Valle
Video Manipulation: Renato González
photo
© Martin Gavica
A-4 UW WORLD SERIES
Production: This piece was produced thanks to the support of
Programa para el Fortalecimiento de las Artes Escénicas
México en Escena-CONACULTA-FONCA, Instituto Municipal de Cultura,
Turismo y Arte de Mazatlán and Amigos de Delfos.
This engagement of Delfos Danza Contemporánea is made possible through
Southern Exposure: Performing Arts of Latin America, a program of
Mid Atlantic Arts Foundation in partnership with the National Endowment
for the Arts and Robert Sterling Clark Foundation.
*Maybe 1 from Impermanence, composed by Meredith Monk © 2008
Meredith Monk (ASCAP) by arrangement with Boosey & Hawkes, Inc.,
Sole Agent for Meredith Monk/Meredith Monk Music,
copyright owner and publisher.
Awards, Memberships and Fellowships
(1) Member of the National System of Arts Creators
CONACULTA-FONCA 2008-14 and Mellon Residential Fellowship
for Arts Practice and Scholarship at the Richard and Mary L.
Gray Center for Arts and Inquiry at the University of Chicago 2011-13.
(2) Member of the National System of Arts Creators
CONACULTA-FONCA 2012-15
(3) Artistic Development Fellowship PECDAS 2014-15
and Scenic Creator with outstanding trajectory FONCA 2014-17
(4) Scenic Creator B FONCA 2015-16
Guggenheim Fellowship 2009 for Dance (Recipient Omar Carrum)
photo
© Martin Gavica
DELFOS
Delfos Danza Contemporánea
was founded in 1992 by Mexican
choreographers/dancers Claudia
Lavista and Víctor Manuel Ruiz with
the vision of creating dynamic new
works in the spirit of collaboration,
as well as developing a professional
training program for contemporary
dancers. The company is a unique
collective of artists whose creative
vision is characterized by the fluid
physicality and poetic narratives
within their diverse repertory. Delfos’
work has been presented throughout
México, as well as in Brazil, Venezuela,
Colombia, Panama, Ecuador, Bolivia,
Peru, Canada, the United States,
Italy, Spain, France, Singapore,
South Africa, South Korea, Lebanon,
Lithuania, Algeria and Greece.
The company and its members have
received awards scholarships and
fellowships from the National Fund
for Culture and Arts (FONCA) in
Mexico. Delfos has also received
worldwide critical praise, as well as
several major international awards
for dance including: The Mexican
National Dance Award in 1992, 1997
and 2002, the Award as Best Dance
Company in Mexico by the Critics
Union, the Artistic Merit Award in
Brazil and the Best Show Audience
Award at the XXV Lila López
International Dance Festival in 2005
in San Luis Potosi.
Delfos had the distinct honor to
be selected as the only Mexican
dance company to tour extensively
in the United States in the fall
A-6 UW WORLD SERIES
of 2004 with the support of the
National Endowment for the
Arts in association with National
Dance Project of the New England
Foundation for the Arts and was
selected by Artes Americas for tours
in 2018-10. The company also
was awarded a Mellon Residential
Fellowship for Arts Practice and
Scholarship through the Richard
and Mary L. Gray Center for Arts
and Inquiry at University of Chicago
from 2011-13.
In 2004, 2007, 2009, 2011 and 2013
Delfos received the Professionals
Artistic Groups Scenic Arts
MEXICO EN ESCENA Program,
from CONACULTA, which is
given to the most prestigious artistic
companies in Mexico.
In 2015, Delfos was selected to
present their work at UW World
Series at the University of Washington,
Center for the Art of Performance
at UCLA and The Bates Dance
Festival, with the support of Southern
Exposure: Performing Arts of Latin
America, a program of Mid Atlantic
Arts Foundation in partnership with
the National Endowment for the Arts
and Robert Sterling Clark Foundation.
The company has maintained a
constant interest in the creation of
projects in collaboration with creators
of other artistic disciplines, which has
allowed us to work with outstanding
national and international artists of
different disciplines and visions.
Since 1998, Delfos Contemporary
Dance has run the Mazatlan
Professional School of Dance
(EPDM), which offers a Bachelor of
Arts degree program. Today Delfos
and the EPDM are recognized as two
of the most important contemporary
dance organizations in Latin America.
Their home base is the Angela Peralta
Theater and the Municipal Center for
the Arts in Mazatlan, Mexico.
THE CO-ARTISTIC DIRECTORS
Dancer, choreographer, teacher
and lighting designer, Víctor
Manuel Ruiz has been praised
both nationally and internationally.
The clarity and poetry of his
choreographic works and lighting
design has earned him critical praise
in cities of Latin America, North
America, Asia and Europe. He
studied with the Escuela Nacional
de Danza and the Centro Superior
de Coroegrafía in Mexico City. He
joined Danzahoy of Venezuela and
danced with the company for 7 years. Víctor Manuel Ruiz co-founded
in 1992 with Claudia Lavista in
Mexico City, Mexico and the newly
formed company won the National
Dance Award that same year. As a
teacher, he has developed his own
style and technique, teaching in
Mexico and internationally. He
has been the lighting designer for
almost all of Delfos’ productions
in addition to creating lighting
design and choreographing for
companies throughout Mexico
and internationally. In 2002 and
2005 he was the recipient of the
National Dance Award for Best
Lighting Designer from INBAUNAM and has received numerous
fellowships from Fondo Nacional
para la Cultura y las Artes (FONCA)
for his choreography including a
scholarship for Scenic Creator with
Outstanding Trajectory. In his 33
year career, he has performed in more
than 70 world premieres of dance
and at the most important dance
festival throughout the world. He has
received fellowships and support from
State Fund for Culture of Sinaloa
(FOECA). Víctor Manuel recently
received a Lifetime Achievement
Award as Scenic Creator and has
been recognized by the National
Systerm of Creators. He is also codirector and teacher of the Mazatlán
Professional School of Dance. A dancer, choreographer and teacher,
Claudia Lavista began her studies
in music and theater at the age of
eight. She subsequently studied
dance at the Sistema Nacional
para la Enseñanza Profesional de
la Danza del Instituto Nacional
de Bellas Artes in Mexico City. In
1987 she joined the dance company
U.X. Onodanza and later joined
Danzahoy Dance Company of
Venezuela. In 1992 she co-founded
with Víctor Manuel Ruiz. She
has received awards for her artistic
works including the National Dance
Award in 1992, Best Female DancerNational Dance Award in 1998 and
2002, and Best Female Dancer at
the International Dance Festival of
San Luis Potosí in 2005. In 2001
the Mexican press selected her as one
of the 10 Best Dancers of the XX
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Century. In 2007 she was invited as
International Visiting Artist at the
25th Bates Dance Festival, and she
returned as a teacher and faculty
member to the festival in 2010,
2011 and 2014. In 2008 and 2011,
Ms. Lavista became a member of the
National System of Arts Creators,
honored by CONACULTA and
Fondo Nacional para la Cultura y las
Artes (FONCA). In 2011 she and
Delfos received a Mellon Residential
Fellowship for Arts Practice and
Scholarship at the Richard and Mary
L. Gray Center for Arts and Inquiry
at the University of Chicago. Her
work has been praised by critics
and presented in America, Latin
America, Asia, Middle East and
Europe. Claudia Lavista is also codirector of the Mazatlán Professional
School of Dance.
General Coordination
Claudia Lavista
Company credits
Agent and Manager
Lynn Fisher
Frontera Arts LLC
www.fronteraarts.com
512-261-6979
[email protected]
Arrangements for this engagement
were made by Frontera Arts, LLC
Co-Artistic Directors
Víctor Manuel Ruiz
and Claudia Lavista
Dancers
Aura Patrón, Karla Núñez,
Xitlali Piña, Roselí Arias,
Claudia Lavista, Agustín Martínez,
Johnny Millán, Daniel Marín,
Omar Carrum, Renato González and
Víctor Manuel Ruiz
Lighting Designer
Víctor Manuel Ruiz
Stage Manager
and Technical Production
Rigoberto del Valle
and Austin Shirley (in the U.S.)
A-8 UW WORLD SERIES
Administration Director
Ana Elena Morales
Public Relations
Martha Castillo
Image, Video And Sound
Renato González and Omar Carrum
School Academic Director
Omar Carrum
School Artistic Co-Directors
Claudia Lavista
and Víctor Manuel Ruiz
Photographs by
Martín Gavica • Mazátlan, Sin
Lois Greenfield • New York, NY
Collaborators: Amigos de Delfos,
Instituto de Cultura Turismo y Arte
de Mazatlán, Centro Municipal de
las Artes, CONACULTA-FONCA e
Instituto Sinaloense de Cultura.
Consultative counsel of Delfos:
Carlos Berdegué, Patty Kronemeyer,
Juan José Ruiz, Juan Carlos Ordaz,
Raúl Rico, Martín Gavica y Gaspar
Pruneda. Board of Directors:
Raúl Rico, Carlos Berdegué, Patty
Kronemeyer, Juan José Ruiz, Martín
Gavica y Laura Peniche Amigos
de Delfos: Mark Kronemeyer ,
Marcela González de Rico, Laura
Graef de Ruiz, Juan Carlos Ordaz,
Dolores Sacristán de Berdegué,
Carolina Gutiérrez de Pruneda,
Dra. María del Carmen Chaparro,
Gaspar Pruneda, Ana Belén López,
Dr. Eduardo Valle, Gabriela
Ramírez, Humberto Avilés, Raúl
Carreón Álvarez, Luis Guillermo
Laveaga, Gabriela Rodríguez, Andrea
Martínez de Castro, Sheila Madsen,
Soren Madsen, Richard Marin,
Kristi Bishop, Martha Anguiano,
Socorro Luna, Roberto Coppel
Azcona, Alfredo Gómez Rubio,
Rodrigo Becerra, Daniela Rodríguez,
Dr. Marco A. Álvarez Arrazola, Dr.
Steven Backman, Linda Barker,
William Alexander y Moisés
Himmelfarb
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World Music & Theatre Series
April 11, 2015
Special thanks
to our media partner
Thanks the following donors for their
support of this evening’s program
Gilberto Gil
Gilbertos Samba
Nancy D. Alvord
Katharyn Alvord Gerlich
Eric and Margaret Rothchild
206-543-4880
uwworldseries.org
photo
© Daryan Dornelles
ABOUT GILBERTO GIL
MAY 15
GOLDEN DRAGON
WATER PUPPET THEATRE
Featuring Rup Tung Cack
This 7-member orchestra’s distinct
blend of rural and contemporary
Vietnamese music will help Saigon’s
famous water puppets come vividly
to life in this magical show, a rare
North American appearance of this
1,000 year-old folk art form.
tickets and info at
TOWNHALLSEATTLE.ORG
Gilberto Gil’s illustrious career spans
four decades with over 50 albums
released, multiple Grammy Awards
won, twelve gold records, five platinum
singles, and more than five million
records sold. As a singer, guitarist,
composer and diplomat, Gil plays a
key role in the modernization of music
and culture throughout the world. Gil
has tackled a wide variety of important
issues in his lyrics from social inequality
to race relations, from African to Asian
culture, from science to religion, among
others. The mastery with which Gil
explores these subjects makes him one
of the greatest Brazilian lyricists to date.
As a child growing up in the countryside
of Bahia, Brazil, when he ran after the
first clarinet sounds of the band that
crossed town to celebrate religious
festivities, Gilberto Gil realized that
music was his language. Although Gil
chose to develop a solid body of work
on the guitar, his first foray into music
was on the accordion, initially inspired
by the local bands and radio music. An
early influence was Luiz Gonzaga, who
pioneered the musical genre Baião
in northeast Brazil, blending classic
European folk music and Asian, African
and Indian music in a modern format.
A leader of the Tropicalia movement
in Brazil in 1967 and 1968 along with
artists like Caetano Veloso and Gal
Costa, Gil and other musicians mixed
traditional samba, salsa, and bossa nova
with rock and folk instruments. Gil has
developed one of the most relevant and
renown careers as a singer, composer
and guitar-player in both world and
A-10 UW WORLD SERIES
pop music. His extensive and prolific
catalogue of work has been covered and
recorded by João Gilberto, Elis Regina,
Gal Costa, Sérgio Mendes, Ernie Watts
and Toots Thielmans. Over the years,
his political and environmental activism
gained prominence alongside his musical
career and reached a new height in 2003
when he was appointed Minister of
Culture for Brazil. As a musician and as
a diplomat, Gil possesses a key role in
the constant modernization of Brazilian
popular music and culture throughout
the world.
Gil’s new album, Gilbertos Samba,
reinterprets classics recorded by João
Gilberto and a variety of other gifted
musicians such as Tom Jobim, Vinícius
de Moraes, Carlos Lyra and Caetano
Veloso and includes songs from Gil’s
early repertoire. Released in March
2014 in Brazil, it was followed by a
national tour with guitarist Bem Gil,
percussionist Domenico Lancellotti and
Mestrinho on accordion and percussion.
North America will enjoy this concert
in the spring of 2015 and take part in
a great experience to hear the voice of
Gilberto Gil, blending the history and
culture of the Brazilian nation.
Caetano Veloso says of Gilbertos
Samba, "Now Gilberto, the name
that Gil shares with João, appears in
plural form, as an album title where
the former disciple pays tribute to the
eternal master. Nothing could say more
about Gil than to go back to the legacy
of João Gilberto…with an artistic
temperament that contrasts with that of
the master. To listen to Gil playing João
is to come into contact with the whole
adventure of our music and our life."
World Dance Series
April 16-18, 2015
Lyon
Opera Ballet
The Grant Family
Kenneth and Marleen Alhadeﬀ
photo
Linda and Tom Allen
Nancy D. Alvord
Glenn Kawasaki, Ph.D.
© Michel cavalca
Director
Yorgos Loukos
Cecilia Paul and Harry Reinert
Lois H. Rathvon
206-543-4880
uwworldseries.org
Tonight's Program
Sarabande
Choreography: Benjamin Millepied
Music: Johann Sebastian Bach extracts from
Partita for Solo Flute and Sonatas and Partitas for Solo Violin
Costumes: Paul Cox
Lighting: Roderick Murray
Premiered in November 2009 by the Company Danses Concertantes.
Entered the repertoire of the Lyon Opera Ballet in December 2011.
April 16 & 17
Julian Nicosia
Alexis Bourbeau
Adrien Delépine
Mathieu Rouvière
Dancers
April 18
Tadayoshi Kokeguchi
Alexis Bourbeau
Adrien Delépine
Simon Galvani
About the Work
Like the Suite of Dances that Jerome Robbins choreographed for Mikhail
Baryshnikov in 1994 – and which Benjamin Millepied has also danced,
while working alone with its creator – Sarabande is a piece made up of
seven sequences, which has also been constructed using extracts from
Johann Sebastian Bach’s music. But, whereas Robbins’s work is based on
parts of the Cello Suites, Millepied here uses the Partita for Solo Flute
and extracts of Sonatas No. 1 and No. 2 as well as the Partita No. 1 for
Solo Violin, which were written for the Court of Köthen (1717-1723).
Millepied has made his own the choreographic approach of Robbins,
which means constantly remaining “attentive to the music,” and dancing as
though being inspired by it. It is a dance that toys with technical mastery in
an apparent casualness, as though the dancer were improvising.
The Partita for flute is danced by a single performer.
The other sequences for violin require four dancers, in a relational play
of two, three and then four, with a ceaseless linking of steps and lifts,
intercut with high leaps and virtuoso turns.
© Josseline Le Bourhis
photo
© Michel cavalca
Pause
Steptext
Choreography, set, costumes and lighting: William Forsythe
Music: Johann Sebastian Bach, Chaconne from
the Partita No. 2 for Solo Violin in D Minor
Premiered in January 1985 by the Aterballetto, in Reggio Emilia, Italy.
Entered the repertoire of the Lyon Opera Ballet on March 15, 1987.
April 16 & 17
Dorothée Delabie
Raúl Serrano Núňez
Marco Merenda
Roylan Ramos
Dancers
April 18
Ashley Wright
Julian Nicosia
Marco Merenda
Roylan Ramos
About the Work
"The vocabulary is not and will never be old, it is the writing that can be
dated." What Forsythe said about classic ballet could be used to describe his
own work: what interests him is not so much adding a catalogue of steps to
dance, but instead turning it into a text with a coherency and novelty that
derive from its syntax. His musical tastes are neither trivial nor anodyne: Lukas
Foss, Henze or Penderecki among the contemporaries, or Bach, Dvorak,
Handel and Mahler for the others, will not fade into the background of a
choreography. By concentrating the choreographic and musical materials of
Artifact into Steptext, Forsythe has clearly produced a vibrant work, constructed
in time and space, a work which is both dense and taut, playing on a nimble
dialectic made up of rapid exchanges of appearances / disappearances of 4 (or
1 + 3, to be precise) characters in constantly shifting combinations, as well as
a fragmentation of the music; the eclipsing of some of the protagonists gives
life to the choreography and, paradoxically, a continuity, while the breaks in
the musical discourse stop the listeners from contenting themselves with the
delighted recognition of a work heard so many times before.
A fugue of the mechanics of theatrical ritual, Steptext suspends the
major and incidental procedural mechanisms of performance that have
traditionally determined the structure of theatrical representation. The
resulting series of dislocated musical, scenographic and danced suspensions
creates a mood of charged narrative; for one woman and three men.
© William Forsythe
photo
© JaiMe roque de la cruz
Intermission
Sunshine
Choreography, lighting and sound-track: Emanuel Gat
Music: Georg Friedrich Handel, Water Music,
Suite No. 2 in D Major, HWV 349 (Overture and Bourrée)
Collaboration on the sound-track: Frédéric Duru
Premiered in September 2014 by Lyon Opera Ballet.
Dancers
April 16, 17 & 18
Kristina Bentz
Alexis Bourbeau
Aurélie Gaillard
Caelyn Knight
Tadayoshi Kokeguchi
Julian Nicosia
Mathieu Rouvière
Raúl Serrano Núňez
Ashley Wright
About the Work
My sole sources of inspiration are the people I work with, and the
creation process itself.
The Title
One of the procedures I used for this piece was to exploit different modules
coming from written language, but in a choreographic context. To be
more precise, one of the rules was to transcribe fully, or to reconfigure
in a choreographic form, a song that the dancers had chosen. In the
resulting text, the word sunshine appeared several times and had a certain
choreographic resonance. And so I chose it to be the new work’s title.
photo
© Martin Gavica
The Music
I didn’t work “on” any particular piece of music, and it’s been several years
since I have. Apart from a few rare exceptions, my pieces are never created
on music, but beside it, as parallel entities. For this piece, I used two musical
sources: firstly, the opening and closing sections of Suite No. 2 from Handel’s
Water Music, in other words, about one minute at the beginning of the
work and one minute at the end; the other 23 minutes were created from
recordings of rehearsals by the Orchestra of the Opéra de Lyon of the same
two passages from the Suite. The music was mixed just a few days before the
Premiere and inserted into the choreography on the eve of the big night.
Lyon Opera Ballet
It has been a great pleasure for me to work with these dancers. I find
them to be extremely intelligent, curious and open-minded. They have
a thirst for creativity and commit themselves body and soul. Their deep
and varied knowledge of the reference dance repertoire is impressive.
Among them, there are dancers of an extraordinary physical, technical
but also artistic level, and I hugely appreciated this collaboration. We
worked on an extremely tight schedule, on average for two hours a day.
But this was a good thing. It made me speed up and provide the piece
with a vitality I really like.
Improvisation
I worked with them just as I usually work with my company. They were
the ones who made the entire piece, from the choreographic material that
each of them provided, to the overall structure of the work. However, this
is not exactly improvisation. In fact, I never use improvisations. Instead, I
give the dancers various tasks, predefined according to certain rules, which
they have to respect. What they then do is to elaborate a construction using
physical and musical materials, as an answer to my propositions.
The Tonality
In my pieces, I don’t look for any particular tonality. That isn’t something
I think about during the creative phase. Rather than that, I focus on the
fact that there should be an overall meaning, which is clear and coherent.
It all comes down to atmosphere and emotion, the tonality is something
that then emanates from the work itself, without my having or wanting
to have any control over it. Over the years, I have also learnt that the
same piece can inspire very different reactions and emotions from one
performance to the next. This is all far more flexible and less definitive
that you might imagine.
Emanuel Gat © Extracts of an interview with Isabelle Calabre
photo
© Michel cavalca
THE CHOREOGRAPHERS
Faculty concert
Craig
Sheppard
ShoStakovich:
24 PreludeS and
FugueS, oP. 87
The faculty pianist performs the
entirety of the 24 Preludes and
Fugues, Opus 87, among the
most influential in the canon of
20th century solo piano works.
Sat. Apr. 25, 2015
7:30 pm Meany Theater
$20 ($12 students/seniors)
ArtsUW TICKET OFFICE
206.543.4880
www.musIC.washIngTOn.Edu
William Forsythe was raised in New
York and initially trained in Florida
with Nolan Dingman and Christa
Long. He danced with the Joffrey
Ballet and later the Stuttgart Ballet,
where he was appointed Resident
Choreographer in 1976. In 1984, he
began a 20-year tenure as director of
the Ballet Frankfurt. After the closure
of the Ballet Frankfurt in 2004,
Forsythe established a new, more
independent ensemble. The Forsythe
Company, founded with the support
of the states of Saxony and Hesse, the
cities of Dresden and Frankfurt am
Main, and private sponsors, is based in
Dresden and Frankfurt am Main and
maintains an extensive international
touring schedule.
Forsythe’s most recent works are
developed and performed exclusively by
The Forsythe Company, while his earlier
pieces are prominently featured in the
repertoire of virtually every major ballet
company in the world, including The
Kirov Ballet, The New York City Ballet,
The San Francisco Ballet, The National
Ballet of Canada, England’s Royal Ballet
and The Paris Opera Ballet.
Awards received by Forsythe and his
ensembles include multiple “Bessie”
Awards (1988, 1998, 2004, 2007)
and London’s Laurence Olivier Award
(1992, 1999, 2009). Forsythe has been
conveyed the title of Chevalier des Arts
et Lettres (1999) by the government of
France and has received the German
Distinguished Service Cross (1997),
the Wexner Prize (2002) the Golden
Lion of the Venice Biennale (2010)
and the Samuel H Scripps / American
Dance Festival Award for Lifetime
Achievement (2012).
Born in France, Benjamin Millepied
began his dance training at the age of
eight with his mother, Catherine Flori,
a former modern dancer. In 1994, he
was invited to become a member of
New York City Ballet where he held
the title of Principal Dancer until his
retirement as a dancer in 2011.
As a choreographer, Millepied’s many
ballets are in the repertory of major
dance companies around the world
including the New York City Ballet,
the Paris Opera Ballet, American Ballet
Theatre, the Mariinsky Ballet, Pacific
Northwest Ballet, Pennsylvania Ballet,
Ballet de Geneve, the Lyon Opera Ballet,
the Royal New Zealand Ballet and the
Dutch National Ballet. In 2010, Mr.
Millepied choreographed and starred in
Darren Aronofsky’s Black Swan.
In 2012, Mr. Millepied moved to
Los Angeles, where he conceived of
and founded the new dance company
L.A. Dance Project. L.A. Dance
Project’s mission is to promote new
collaborative work by emerging and
established artists, and to revisit
influential multidisciplinary dance
collaborations from the past. The
company creates innovative platforms
for contemporary dance and expands
the experience of dance and dance
education to audiences of all ages.
In January 2013, the Paris Opera Ballet
announced Mr. Millepied’s appointment
as its new Director, a role he assumed in
the fall of 2014. Mr. Millepied will at
the same time continue with L.A. Dance
Project, overseeing and programming
the company.
Emanuel Gat was born in Israel
in 1969. His first encounter with
dance was at the age of 23 during a
workshop led by Israeli choreographer
Nir Ben Gal. Few months later he
joined the Liat Dror Nir Ben Gal
Company with whom he toured
internationally.
Gat started working as an
independent choreographer in 1994.
He is regularly invited to set his work
and create new choreographies for
dance companies around the world
including: The Paris Opera Ballet,
Sydney Dance Company, Tanztheater
Bremen, Le Ballet du Grand Théâtre
de Genève, Ballet de Marseille, The
Royal Swedish Ballet, Polish National
Ballet, Ballet de Lorraine and Cedar
Lake among others.
THE LYON OPERA BALLET
General director, Serge Dorny
A classical training company oriented
towards contemporary dance. The
dancers are trained in the company
with different practical techniques,
which is brought to them by the
diversity of styles proposed. For over
twenty years, it has constituted an
important repertoire (103 pieces, of
which 51 are global creations), calling
upon choreographers privileging
language, performing it, inventing its
surroundings and space mastering:
the “post-modern” Americans
(Merce Cunningham, Trisha Brown,
Lucinda Childs, Bill T. Jones, Ralph
Lemon, Stephen Petronio, Susan
Marshall) or Australians (Lucy
Guerin, Lee Serle), the writers of the
movement (Jirí Kylián, Mats Ek,
William Forsythe, Nacho Duato,
Anne Teresa De Keersmaeker, Sasha
Waltz) and the explorers of new
territories, mixing gestures and
images (Philippe Decouflé, Mathilde
Monnier, Benjamin Millepied, the
“Next Wave“ American), as well as
the representatives of “young French
dance” (Jérôme Bel, Alain Buffard,
Boris Charmatz, Rachid Ouramdane,
Christian Rizzo) and the unique
Catherine Diverrès. A step towards the
future, embracing other tendencies
open to theatricality, such as the
corrosive reinterpretation of some
reference works (Cinderella or Coppélia
perceived by Maguy Marin, Romeo
and Juliet by Angelin Preljocaj and The
Nutcracker by Dominique Boivin).
It can thus be said that the Lyon
Opera Ballet is currently reflecting the
constantly changing dance around the
world. —Yorgos Loukos
The Opéra National de Lyon is
approved by the French Ministry of
Culture and Communication, the City
of Lyon, and the Rhône-Alpes and
Rhône Regional Councils.
Special thanks to the Rolex Institute.
With the support of the Onassis
Cultural Center NY.
North American Representation by
IMG Artists
International Chamber Music Series
April 21, 2015
Emerson Quartet
Eugene Drucker, violin
Philip Setzer, violin
Lawrence Dutton, viola
Paul Watkins, cello
photo
Nancy D. Alvord
Warren and Anne Anderson
Purcell
© lisa-Marie Mazzucco
Chacony in G Minor
arr. Britten
Stephen and Sylvia Burges
Vasiliki Dwyer
Shostakovich
Allegretto
Lento
Allegro—Allegretto
Lynn and Brian Grant Family
Dr. Martin L. Greene
Matthew and Christina Krashan
String Quartet No. 7 in F-sharp Minor, Op. 108
Liebermann
String Quartet No. 5, Op. 126
Mina B. Person
Intermission
Donald and Toni Rupchock
Dave and Marcie Stone
Lee and Judy Talner
Gregory Wallace and Craig Sheppard
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Beethoven
String Quartet No. 15 in A Minor, Op. 132
Assai sostenuto—Allegro
Allegro ma non tanto
Heilinger Dankgesang eines Genesenen an die
Gottheit, In der lydischen Tonart: Molto
adagio—Neue Kraft Fühlend: Andante—
Molto adagio—Andante—Molto adagio: Mit
innigster Empfindung
Alla marcia, assai vivace—Più allegro—Presto
Allegro appassionato—Presto
ABOUT THE PROGRAM
Chacony in G Minor, Z. 730
Henry Purcell (1659–1695)
During the 16th and 17th centuries,
English music of the first magnitude
flowed from such worthies as John
Dowland, John Bull, Matthew
Locke, Pelham Cooke and Henry
Purcell. Coming at the end of this
fertile era, Purcell summed up the
music of his countrymen, revealing
a mastery of both Renaissance
polyphony and the newer Baroque
sensibilities. After his premature
death at 36 years, his music enjoyed
currency for another twenty years or
so until a passion for Italian opera
swept Handel—trained in Italy—
into pre-eminence, while Purcell and
his “English” compatriots fell into
rapid decline.
A chacony or chaconne, to use
the more familiar French term, is
a variation scheme with roots in
the early Baroque era. It is almost
identical to a passacaglia (as in J.S.
Bach’s celebrated set of variations
for solo organ in C minor). A
theme is presented in toto followed
by variations superimposed over
the basically unchanging series
of chords (chaconne) or melody
(passacaglia). By the late 17th century
instrumental chaconnes were quite
popular and remained so until
around 1750. With popularity came
standardization of phrase length, and
Purcell’s Chacony shares with many
of its brethren an eight-bar “ground
bass” or ostinato theme.
Purcell was a superb master of
variation technique, never more so
than in this brief work. He adds
harmonic interest by subtly altering
subsequent repetitions of the “ground
bass” tune, modulating to different
keys and thereby deviating somewhat
from the standard chaconne format.
Rhythmic, melodic and textural
changes throughout the variations
further display his genius.
likened to “fate knocking at the door.”
Signature trademarks of Shostakovich
abound, including dark irony and his
version of the kind of grotesquerie—
especially in the pizzicato-laden
second theme—that he absorbed
from Mahler, whose music strongly
influenced him throughout his
chamber and symphonic works. The
movement ends with a slower variant
of the three-note rapping figure.
Benjamin Britten arranged the piece
in 1948 (rev. 1963) for both string
orchestra and string quartet, retaining
Purcell’s harmonies but adding some
dotted rhythms of his own devising.
If the opening movement’s irony
suggests ambivalence there is no
minimizing the inconsolable sadness
of the ensuing Lento’s desolate
commentary on loss. Here the second
violin presents a falling four-note
theme, spare and searching. It is
soon partnered by the first violin,
floating an octave above the second
violin’s quiet anguish. Soon the first
violin drops out and is supplanted
by the deeper sonority of the viola
in a restatement of the movement’s
opening phrases. The Lento is
remarkable for its concise expression of
the myriad emotions associated with
loss. It ends quietly but not peacefully,
as if returning to consciousness after a
bad night’s sleep.
Dmitri SHoStakovicH (1906–1975)
In 1960, Shostakovich composed his
String Quartet No. 7, Op. 108 as a
belated memorial for his first wife Nina,
who died in 1954. Among the shortest
of his 15 quartets, the compact and
emotionally intense work is performed
attacca, i.e., without pauses between
the three movements. It is also cast in
the key of F-sharp minor, traditionally
a tonal center associated with pain and
loss. (Mozart, for example, cast the
despairing Adagio from his well-known
Piano Concerto No. 23, K. 488 in that
very key—the only time he did so in
his enormous canon of instrumental
music.) In this quartet Shostakovich
employs a cyclic scheme in which
themes from the opening movement
reappear in the finale.
The opening Allegretto starts with an
anxious theme that metamorphoses
into a three-note figure that could be
The concluding Allegro breaks the
spell of inner grieving in a fierce and
unrelenting bout of fearful manic
energy. Note the rising shape of the
main theme, clearly an inversion of
the Allegretto’s downward spiraling
opening passages. Soon a Bachinspired fugue intensifies the fiery
obsessive quality implicit in the
beginning notes of both the first
and last movements, eventually
heightened by a waltz in F-sharp
minor—a veritable “dance of death.”
A series of plucked notes precedes
the closing bowed chord in F-sharp
Major. Is this a peaceful resignation
or whistling in the dark?
lowell liebermann (b. 1961)
Born in New York City composer
and pianist Lowell Liebermann has
written music that embraces virtually
all genres. Operas include The Picture
of Dorian Grey and Miss Lonely Hearts,
the latter commissioned by the
Juilliard School for the occasion of its
100th anniversary. Two symphonies
and numerous concertos grace
his orchestral canon. He has also
produced a number of piano works
and a well-rounded body of chamber
music. At Juilliard he studied with
two notable teachers, David Diamond
and Vincent Persichetti, earning
his bachelor’s, master’s and doctoral
degrees from that august school.
The composer has kindly provided
the following information about
his String Quartet No. 5, Op. 126,
completed in 2014:
“The 5th String Quartet, Op. 126 was
commissioned by Music Accord for
the Emerson String Quartet, to whom
the work is dedicated. It is such an
honor (and not an unintimidating
one!) to write for an ensemble that has
been, through their many recordings,
such an iconic presence in my own
musical development.
“This Quartet, like much of my
instrumental music, has no extraA-20 UW WORLD SERIES
musical program—it is as absolute and
abstract as music can be—yet, at the
same time, I have no doubt that my
mindset while composing the piece
and its resultant overriding elegiac
tone was at least partly influenced by
any number of depressing/terrifying
events of the kind with which we are
all bombarded daily, in what seems
more and more like a world gone mad.
“The work’s mysterious opening,
marked “Limpido” (“still”) introduces
a number of motives which are
heard and developed throughout the
quartet. Structurally, the Quartet is in
one arc-like symmetrical movement
consisting of two mostly slow sections
flanking a fast section whose structure
is, in and of itself, symmetrical. If we
think of that central fast section as
being akin to a scherzo and trio, then
the reprise of the scherzo section is
actually an intervallic inversion of its
first statement, while the trio section
divides at its midpoint, the second half
being a mirror image of the first half.”
String Quartet No. 15
in A Minor, Op. 132
luDwig van beetHoven (1770–1827)
By the time Beethoven composed his
Quartet No. 15, Op. 132 in 1824 he
had already closed the book on his
symphonies, concertos, piano- and
other sonatas, his sole opera Fidelio,
and the Missa solemnis. His final
years focused primarily on the five
late string quartets, in many ways his
most experimental and far-reaching
compositions. Igor Stravinsky, in fact,
characterized of the Grosse fuge (the
original closing movement of the
Op. 130 quartet) as the first piece of
modern music.
Along with the Op. 127 and 130
quartets, the A-minor piece exists
because of a commission from
Prince Nikolai Galitzin, who wrote
to the composer in 1822, “Being as
passionate an amateur as an admirer of
your talent, I am taking the liberty of
writing to you to ask you if you would
be willing to compose one, two or
three new quartets. I shall be delighted
to pay you for the trouble whatever
amount you would deem adequate.”
Beethoven accepted the offer for a
stipend of 12 ducats.
A somber and anxious rising theme
from the cello opens the Assai sostenuto
introduction to the first movement.
This paragraph eventually morphs
into an energetic Allegro that in no
way diminishes the anxious mien and
unsettling phrases that refuse to settle
down. Even within the experimental
atmosphere of the late quartets, the
entire movement is filled with sudden
shifts of mood and instrumental
sonority, investing the music with a
sense of fervent questioning without
ready answers or emotional relief.
The Allegro ma non tanto that follows
lightens matters somewhat but never
frees itself from anxiety. The players
exchange phrases with each other,
positing short-lived hints at lyricism
before resuming the questioning
dialogue among them. A midmovement drone effect hints at
music of the countryside but remains
emotionally at some distance from the
surrounding textures and mood. A
threatening episode of unison playing
led by the cello soon reverts to the
drone figuration before reprising the
movement’s opening phrases.
The massive third movement,
Heilinger Dankgesang eines Genesenen
an die Gottheit, In der lydischen
Tonart: Molto adagio—Neue Kraft
Fühlend: Andante—Molto adagio—
Andante—Molto adagio: Mit
innigster Empfindung (“Holy song of
Thanksgiving from a convalescent to
the Deity”) is clearly the emotional
core of the A-minor Quartet. It is laid
out as a set of highly individualized
variations encompassing all manner of
tempo fluctuations, divergent moods
and dramatic key shifts. Like the
Grosse fuge this hymn-like edifice is
almost a stand-alone structure; indeed,
many of this writer’s acquaintances
report listening to it shorn of its
surrounding movements. The length,
complexity and ultimate optimism
of the music bespeaks the composer’s
gratitude to his Maker for restoring
Beethoven’s health after serious threats
to his wellbeing. As if to contrast
illness from sanguinity the music
spends much of its time alternating
between the old Lydian church mode
(like F major except including a B
natural rather than B-flat) and the
traditionally uplifting and triumphant
D major (as in the “Hallelujah”
chorus, finale to Beethoven’s own
Ninth Symphony and even the Gloria
from Bach’s Mass in B minor).
Returning from the rarified heavenly
sphere, the ensuing Alla marcia, assai
vivace—Più allegro—Presto marks a
bumptious return to earth, perhaps a
head-clearing gesture on Beethoven’s
part to celebrate boisterous humanity.
At least initially, that is. Soon enough
the rusticity—as in the peasant band
episode from the Ninth Symphony’s
choral finale—yields to an ardent
tremolo-ridden recitative-like section
that moves directly into the finale.
This concluding Allegro appassionato—
Presto balances rapturous melody with
lingering anxiety as if the composer
still harbored worry about a recurrence
of poor health. Energy abounds in
the closing Presto section that hovers
between great joy and not completely
relieved mania.
© 2015 Steven Lowe
ABOUT THE
EMERSON QUARTET
The Emerson String Quartet has an
unparalleled list of achievements
over three decades: more than thirty
acclaimed recordings, nine Grammys
(including two for Best Classical
Album), three Gramophone Awards,
the Avery Fisher Prize, Musical
America’s "Ensemble of the Year"
and collaborations with many of the
greatest artists of our time.
The arrival of Paul Watkins in 2013
has had a profound effect on the
Emerson Quartet. Mr. Watkins, a
distinguished soloist, award-winning
conductor, and devoted chamber
musician, joined the ensemble in its
37th season, and his dedication and
enthusiasm have infused the Quartet
with a warm, rich tone and a palpable
joy in the collaborative process.
As an exclusive artist for SONY
Classical, the Emerson recently
released Journeys, its second CD on
that label, featuring Tchaikovsky's
Souvenir de Florence and Schoenberg's
Verklaerte Nacht. Future recordings
are planned with Mr. Watkins.
Formed in 1976 and based in New
York City, the Emerson was one
of the first quartets formed with
two violinists alternating in the
first chair position. In 2002, the
Quartet began to stand for most of
its concerts, with the cellist seated on
a riser. The Emerson Quartet took its
name from the American poet and
philosopher Ralph Waldo Emerson
and is Quartet-in-Residence at Stony
Brook University. In January of 2015,
the Quartet receives the Richard J.
Bogomolny National Service Award,
Chamber Music America’s highest
honor, in recognition of its significant
and lasting contribution to the
chamber music field.
Violinist Eugene Drucker, a founding
member of the Emerson String
Quartet, is also an active soloist. He
has appeared with the orchestras of
Montreal, Brussels, Antwerp, Liege,
Hartford, Richmond, Omaha,
Jerusalem and the RhinelandPalatinate, as well as with the
American Symphony Orchestra
and Aspen Chamber Symphony. A
graduate of Columbia University
and the Juilliard School, where he
studied with Oscar Shumsky, Mr.
Drucker was concertmaster of the
Juilliard Orchestra, with which he
appeared as soloist several times.
He made his New York debut as a
Concert Artists Guild winner in the
fall of 1976, after having won prizes
at the Montreal Competition and
the Queen Elisabeth Competition in
Brussels. Mr. Drucker has recorded
the complete unaccompanied works
of Bach, reissued by Parnassus
Records, and the complete sonatas
and duos of Bartók for Biddulph
Recordings. His novel, The Savior, was
published by Simon & Schuster in
2007 and has appeared in a German
translation called Wintersonate,
published by Osburg Verlag in
Berlin. Mr. Drucker's compositional
debut, a setting of four sonnets
by Shakespeare, was premiered by
baritone Andrew Nolen and the
Escher String Quartet at Stony Brook
in 2008; the songs have appeared as
part of a 2-CD release called "Stony
Brook Soundings," issued by Bridge
Recordings in the spring of 2010.
Eugene Drucker lives in New York
with his wife, cellist Roberta Cooper,
and their son Julian.
Violins: Antonius Stradivarius
(Cremona, 1686), Samuel
Zygmuntowicz (NY, NY 2002) Violinist Philip Setzer, a founding
member of the Emerson String
Quartet, was born in Cleveland,
Ohio, and began studying violin at
the age of five with his parents, both
former violinists in the Cleveland
Orchestra. He continued his studies
with Josef Gingold and Rafael
Druian, and later at the Juilliard
School with Oscar Shumsky. In
1967, Mr. Setzer won second prize
at the Marjorie Merriweather Post
Competition in Washington, DC,
and in 1976 received a Bronze
Medal at the Queen Elisabeth
International Competition in
Brussels. He has appeared with the
National Symphony, Aspen Chamber
Symphony (David Robertson,
conductor), Memphis Symphony
(Michael Stern), New Mexico and
Puerto Rico Symphonies (Guillermo
Figueroa), Omaha and Anchorage
Symphonies (David Loebel) and on
several occasions with the Cleveland
Orchestra (Louis Lane). He has
also participated in the Marlboro
Music Festival. Mr. Setzer has been a
regular faculty member of the Isaac
Stern Chamber Music Workshops
at Carnegie Hall and the Jerusalem
Music Center. His article about those
workshops appeared in The New York
Times on the occasion of Isaac Stern's
80th birthday celebration.
He also teaches as Professor of Violin
and Chamber Music at SUNY Stony
Brook and has given master classes at
schools around the world, including
The Curtis Institute, London's
Royal Academy of Music, The San
Francisco Conservatory, UCLA,
The Cleveland Institute of Music
and The Mannes School. The Noise
of Time, a groundbreaking theater
collaboration between the Emerson
Quartet and Simon McBurney-about the life of Shostakovich--was
based on an original idea of Mr.
Setzer's. In April of 1989, Mr. Setzer
premiered Paul Epstein's Matinee
Concerto. This piece, dedicated to and
written for Mr. Setzer, has since been
performed by him in Hartford, New
York, Cleveland, Boston and Aspen.
Recently, Mr. Setzer has also been
touring and recording the piano trios
of Schubert, Mendelssohn and Dvorak
with David Finckel and Wu Han.
Violin: Samuel Zygmuntowicz
(NY, NY 2011) Lawrence Dutton, violist of the
nine-time Grammy winning Emerson
String Quartet, has collaborated with
many of the world’s great performing
artists, including Isaac Stern, Mstislav
Rostropovich, Oscar Shumsky, Leon
Fleisher, Sir Paul McCartney, Renee
Fleming, Sir James Galway, Andre
Previn, Menahem Pressler, Walter
Trampler, Rudolf Firkusny, Emanuel
Ax, Yefim Bronfman, Lynn Harrell,
Joseph Kalichstein, Misha Dichter, Jan
DeGaetani, Edgar Meyer, Joshua Bell,
and Elmar Oliveira, among others. He
has also performed as guest artist with
numerous chamber music ensembles
such as the Juilliard and Guarneri
Quartets, the Beaux Arts Trio and the
Kalichstein-Laredo-Robinson Trio.
Since 2001, Mr. Dutton has been
the Artistic Advisor of the Hoch
Chamber Music Series, presenting
three concerts at Concordia College
in Bronxville, NY. He has been
featured on three albums with the
Grammy winning jazz bassist John
Patitucci on the Concord Jazz label
and with the Beaux Arts Trio recorded
the Shostakovich Piano Quintet, Op.
57, and the Fauré G minor Piano
Quartet, Op. 45, on the Philips label.
His Aspen Music Festival recording
with Jan DeGaetani for Bridge records
was nominated for a Grammy award.
Mr. Dutton has appeared as soloist
with many American and European
orchestras including those of
Germany, Belgium, New York, New
Jersey, Connecticut, Colorado, and
Virginia, among others. He has also
appeared as guest artist at the music
festivals of Aspen, Santa Fe, Ravinia,
La Jolla, the Heifetz Institute, the
Great Mountains Festival in Korea,
Chamber Music Northwest, the
Rome Chamber Music Festival and
the Great Lakes Festival. With the
late Isaac Stern he had collaborated
in the International Chamber Music
Encounters both at Carnegie Hall
and in Jerusalem. Currently Professor
of Viola and Chamber Music at
Stony Brook University and at the
Robert McDuffie School for Strings
at Mercer University in Georgia, Mr.
Dutton began violin studies with
Margaret Pardee and on viola with
Francis Tursi at the Eastman School.
He earned his Bachelors and Masters
degrees at the Juilliard School, where
he studied with Lillian Fuchs and has
received Honorary Doctorates from
Middlebury College in Vermont, The
College of Wooster in Ohio, Bard
College in New York and The Hartt
School of Music in Connecticut. Most
recently, Mr. Dutton and the other
members of the Emerson Quartet
were presented the 2015 Richard J.
Bogomolny National Service Award
from Chamber Music America and
were recipients of the Avery Fisher
Award in 2004. They were also
inducted into the American Classical
Music Hall of Fame in 2010 and were
Musical America’s Ensemble of the
year for 2000. Mr. Dutton resides in
Bronxville, NY with his wife violinist
Elizabeth Lim-Dutton and their three
sons Luke, Jesse and Samuel.
Mr. Dutton exclusively uses Thomastik
Spirocore strings. Viola: Samuel
Zygmuntowicz (Brooklyn, NY 2003).
Paul Watkins enjoys a distinguished
career as cellist and conductor. Born in
1970, he studied with William Pleeth,
Melissa Phelps and Johannes Goritzki,
and was appointed principal cellist
of the BBC Symphony Orchestra in
1990 at the age of 20. He made his
concerto debut at the Amsterdam
Concertgebouw with the Netherlands
Philharmonic Orchestra under Yakov
Kreizberg. He now performs regularly
with all the major British orchestras
(including seven appearances at the
BBC Proms) and many overseas
orchestras including the Hong
Kong Philharmonic, Royal Flemish
Philharmonic, Konzerthausorchester
Berlin and the RAI National
Symphony Orchestra of Turin. A
member of the Nash Ensemble from
1997 to 2013, Mr. Watkins joined the
Emerson String Quartet in May 2013.
He is a regular participant at festivals
and chamber music series, including
New York’s Lincoln Center and
Music@Menlo, and regularly performs
with the world’s finest musicians,
including Menahem Pressler, Jaime
Laredo, Lars Vogt, Christian Tetzlaff
and Vadim Repin. Highlights of
recent seasons include solo recitals
at the Wigmore Hall, Amsterdam
Concertgebouw, Bridgewater Hall,
Manchester and Queens Hall,
Edinburgh, his debut at Carnegie
Hall performing Brahms’s Double
Concerto with Daniel Hope, as well
as the premiere of a new concerto
written especially for him by Mark-
Anthony Turnage. Recent releases
under his exclusive Chandos Records
contract include Britten’s Cello
Symphony, the Delius, Elgar and
Lutoslawski cello concertos, and
discs of Martinu’s and Mendelssohn’s
music for cello and piano, and an
ongoing series of Britsh sonatas
with his brother Huw Watkins. In
2009 he became the first ever Music
Director of the English Chamber
Orchestra, and also served as Principal
Guest Conductor of the Ulster
Orchestra from 2009 to 2012. Since
winning the 2002 Leeds Conducting
Competition he has conducted all the
major British orchestras, the Royal
Flemish Philharmonic, Swedish and
Vienna Chamber Orchestras, Prague
Symphony, Ensemble Orchestral
de Paris, Tampere Philharmonic,
Netherlands Radio Chamber
Philharmonic and the Melbourne
Symphony, Queensland and Tokyo
Metropolitan Symphony Orchestras.
Cello: Domenico Montagnana and
Matteo Goffriller in Venice, c.1730.
Free
Youth Tickets
For every ticket purchased
to the President’s Piano and
International Chamber Music
Series, up to two Free Youth
Tickets are available.
Ages 5-17 only.
More info:
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A dedication
William Gerberding’s legacy as the longestserving president of the University of Washington is
well-known. Here at the UW World Series, we have our
own reasons for being grateful to President Gerberding,
whose support of the performing arts on campus and in
the community was generous and unstinting.
The President’s Piano Series was named for President
Gerberding because, in a way, it really was his piano—
he supported the UW’s purchase of the beautiful
Bösendorfer Grand Imperial that graced our stage for
more than two decades. Over the years, some of the
world’s leading pianists played the President’s piano;
and for most of those performances, Bill Gerberding
and his wife, Ruth, were in the audience. They loved
the genre, and didn’t hesitate to let us know what they
thought of a particular recital—Murray Perahia, Alicia
de Larrocha, Garrick Ohlsson, and Evgeny Kissin were
among their favorites.
William Gerberding passed away on December 27,
2014. We dedicate this Season’s President’s Piano
Series to him to honor his memory and his many
contributions to the UW World Series.
President's Piano Series
April 23, 2015
Simone
Dinnerstein
Roland M. Trafton
Endowment Fund
photo
Poulenc
© lisa-Marie Mazzucco
Suite française pour piano d'apres Claude Gervaise
Bransle de Bourgogne
Pavane
Petite marche militaire
Complainte
Bransle de Champagne
Sicilienne
Carillon
Anonymous
Nancy D. Alvord
Linda Armstrong
Kim and Randy Kerr
Mina B. Person
Donald and Gloria Swisher
Debussy
Suite bergamasque
David Vaskevtich
Mark and Amy Worthington
Intermission
Schubert
Piano Sonata No. 21 in B-flat Major, D.960
Molto moderato
Andante sostenuto
Scherzo: Allegro vivace con delicatezza
Allegro ma non troppo
206-543-4880
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ABOUT THE PROGRAM
Suite française pour piano d’apres
Claude Gervaise
FranciS Poulenc (1899–1963)
During his adolescence, Poulenc
studied piano with Ramon Viñes,
Debussy’s chosen interpreter of his
own keyboard works. In composition,
however, Poulenc was essentially
self-taught, though he used Charles
Koechlin as a mentor in the early
1920s. If Schubert was the virtual
originator and arguably finest
proponent of the German Lied,
Poulenc could claim pride of place in
the realm of French mélodie, of which
he wrote some 140. This witty, utterly
urbane Parisian counted among his
close friends and colleagues the elite
poets, artists and composers who lived
in the French capital during the first
several decades of our century.
In addition to his literary inclinations,
Poulenc delved into purely
instrumental composition, in part
to satisfy his performing needs as a
highly esteemed pianist. In 1935, the
composer completed the Suite française
for the unusual combination of brass,
winds, percussion and harpsichord;
that same year the solo piano version
came into being. Over the next nearly
two decades two more versions were
birthed, an orchestral arrangement in
1948 and in 1953 a transcription for
cello and piano.
As Ottorino Respighi had done in
creating three suites of Ancient Airs
and Dances, Poulenc appropriated
seven dances by the 16th-century
French composer Claude Gervaise’ for
the Suite française pour piano d’apres
Claude Gervaise. A jaunty Bransle de
Bourgogne launches the suite in a 20thcentlury pianistic style of distinctly
percussive persuasion. A serious elegiac
Pavane follows, its demeanor expressed
in somber chords; a middle section is
sharpened by occasional dissonance.
A bouncy Petite marche militaire
recalls the hammering forcefulness
of the opening Bransle and ends with
a sudden and emphatic thud. The
fourth section, Complainte opens
with a unadorned and sad melody
soon enriched slightly by harmonic
underpinning. A single dissonant
chord ends without resolution. Yet
another modal Bransle de Champagne
limns a sonorous portrait of a carillon.
The penultimate Sicilienne aptly
expresses the gently rocking character
of the early Italian dance form. The
characterful work concludes with
Carillon as engagingly fresh and
animated as the opening Bransle
Suite bergamesque
clauDe DebuSSy (1862–1918)
Nearly a century after his death,
self-proclaimed musicien français
Claude Debussy still generates heated
disagreement over the character of the
man, though listeners have embraced
his music. Unsparingly harsh in his
evaluations of most composers—only
Mozart and the two magnificent
French clavecinistes Couperin and
Rameau—emerge unscathed from his
writings about music. His personal
life reveals someone who could have
called himself musicien misanthrope,
so uncharitable was his basic attitude
toward his species. (He greatly
preferred the company of cats to
people, his mistresses/wives excepted.)
Yet in his diffident, secretive and
distinctly anti-bombastic manner, he
was a true musical revolutionary and
genius whose harmonic daring and
feel for sonority resulted in a body
of solo piano works as innovative in
their time as Chopin’s was in the early
years of the Romantic era. Both men
understood the magic of the piano
better than most composers, including
those who wrote great music for that
mechanized beast of an instrument.
Debussy began working on his
popular Suite bergamasque in 1890
while still a student. Fifteen years
later he thoroughly revised the music
shortly before it was published in
1905. The opening Prélude is cast
in tempo rubato, which belies its
energetic beginning and closing
bars as well as its prevailingly festive
mood. Rich in dynamic contrasts,
the piece can be heard as a paean
to the Baroque era, especially in its
improvisatory feel. The following
Menuet posits a playful main theme
as a counterpoise to a mystery-filled
and dramatic middle section. Here
too, the music evokes Baroque-era
sensibility rather than the graceful
and courtly minuets of Haydn and
Mozart. The third movement, Claire
de lune has enjoyed a life separate
from the rest of the work, serving
as an encore piece of exquisite
delicacy and tenderness, further
enhanced by mist-filled mystery.
The Suite concludes with an old
French dance from Brittany, the
Passepied. Technically, this concluding
movement is dotted with taxing
staccatos in the left hand and rushes
by in a trippingly merry fashion.
Sonata in B-flat Major, D. 960
Franz ScHubert (1797–1828)
Schubert was the only member of the
first Viennese school (which included
Haydn, Mozart and Beethoven) to
have been born in the Austrian city
of music, and he spent virtually
his entire life there. The son of a
diligent school master, his talent for
composition blossomed early. Had
Beethoven or Haydn died as young
their places in history might well have
been seriously altered, for neither
composer had mastered his art so
fully as had Schubert by the time he
reached his twenties.
His originality as the preeminent
master of the German Lied (art
song, for better or worse) assured
his place in history. In the roughly
fifteen years of active writing, he
penned more than 600 extant songs.
The sum of works in all genres—
symphonies, chamber works, operas,
etc.—numbered around 1000.
Some of his music was written for
simple enjoyment of the Viennese
bourgeoisie which reveled in
Gemütlichkeit, or easy sentimentality,
but a substantial body of his music
shows astonishing lyric and harmonic
originality, thorough familiarity
with established classical forms, and
a poet’s gift to tap deeply into the
human psyche.
Even in childhood he seemed to know
that the only career that mattered
to him was music, and within that
wondrous art, composition. With
his father and brothers he played
and composed string quartets before
adolescence. But, other than his
expressive singing voice, his true
instrument was the piano. When one
considers that the piano parts to the
majority of songs are virtually complete
works even without the vocal line, it is
easy to understand his mastery of the
keyboard’s potent expressive ability.
Schubert was, by all accounts, a good
pianist—unfailingly musical, capable
of a cantabile touch, and mindful of
the instrument’s ability to convey
an expanding range of emotion. He
was not, by any stretch, a virtuoso,
more for psychological reasons than
for simply technical ones. For him,
whether in song, symphony or sonata,
the musical line and its meaning were
paramount; egotistical display was
foreign to his sensibilities.
During his pitifully short life,
the piano underwent enormous
change, thanks to the confluence of
a rising class of virtuoso/composers
and momentous developments in
metallurgy and instrument-building.
The emerging piano enjoyed a greater
frequency range (from lower low notes
to higher high notes) and a parallel
increase in dynamic range (from
whispering pianissimos to thundering
fortissimos). Schubert utilized the
increased expressive capabilities of the
instrument to intensify the feelings
that animated the notes.
Nowhere is this more apparent than
in the broad opening movement of
MAY
8-10
UW Music & Pacific MusicWorks
present The Magic Flute
Featuring Grammy award winning
conductor Stephen Stubbs.
7:30 pm or 2 pm on May 10 Meany Theater
MAY
1-3
IMPFest VII
With Steve Swallow, Chris Cheek, Bill
Frisell and UW Jazz Studies Students
and Faculty
UW Music joins forces with the student-led
Improvised Music Project (IMP).
7:30 pm UW Ethnic Cultural Center
MAY
3
Music from the War to End All Wars
Music of Debussy, Ives, and Prokofiev
Pre-Concert Lecture: Steven Morrison
This series produced by piano professor
Robin McCabe, features music composed
during the Great War, with commentary.
Lecture: 4 pm
Concert: 4:30 pm Brechemin Auditorium
MoRe AT: WWW.MUSIC.WAShInGTon.edU
ArtsUW TICkeT oFFICe: 206.543.4880
the B-flat piano sonata. A serene
and seemingly untroubled theme
unfurls comfortably in the middle
range of the piano, but is answered—
or completed—by an unexpected
and ominous trill deep in the bass.
The tension created by these two
contrasting fragments generates the
entire movement. Schubert plays
with the primary theme, weaving it
into rhapsodic filigree higher on the
keyboard, imbuing it with quietly
feverish inquisitiveness. The trills
return, even more sinister, the overall
mood darkened by unexpected
modulations.
That we are privy to a vast internal
Schubertian journey is reinforced
by the songlike andante sostenuto—
another slow movement, brought off
with the certainty of a true master.
For one, the sense of mystery and
remoteness gains power by his choice
of harmonically-remote C-sharp
minor as the key signature. Its spare
and longing main theme, intensified
by the wide spacing of the actual
notes, finds relief in a consoling
middle section in A major. The
predominantly buoyant scherzo,
though animated by a bouncy and
innocent main theme, darkens in its
minor-key trio.
And what’s this? The finale—a hybrid
rondo/sonata—begins not in the
tonic B-flat, but in the dominant
(G major) of C-minor, a precedent
set by Beethoven in the finale to his
Op. 130 string quartet. The music
moves through many keys, making
short and fitful stops along the route,
before triumphantly sailing into the
home port of B-flat major. A brief and
brilliant coda affirms the sense of a
safe arrival after a glorious, sometimes
troubled, journey.
© 2015 Steven Lowe
ABOUT SIMONE DINNERSTEIN
American pianist Simone Dinnerstein
is a searching and inventive artist
who is motivated by a desire to find
the musical core of every work she
approaches. The Independent praises
the “majestic originality of her vision”
and NPR reports, “She compels the
listener to follow her in a journey
of discovery filled with unscheduled
detours . . . She’s actively listening to
every note she plays, and the result is a
wonderfully expressive interpretation.”
The New York-based pianist gained an
international following because of the
remarkable success of her recording of
Bach’s Goldberg Variations, which she
raised the funds to record. Released
in 2007 on Telarc, it ranked No. 1 on
the U.S. Billboard Classical Chart in
its first week of sales and was named
to many “Best of 2007” lists including
those of The New York Times, The Los
Angeles Times, and The New Yorker. The four solo albums Dinnerstein
has released since then – The Berlin
Concert (Telarc), Bach: A Strange
Beauty (Sony), Something Almost Being
Said (Sony), and Bach: Inventions &
Sinfonias (Sony) – have also topped
the classical charts. Dinnerstein was
the bestselling instrumentalist of 2011
on the U.S. Billboard Classical Chart
and was included in NPR’s 2011
100 Favorite Songs from all genres.
In spring 2013, Simone Dinnerstein
and singer-songwriter Tift Merritt
released an album together on Sony
called Night, a unique collaboration
uniting classical, folk, and rock
worlds, exploring common terrain and
uncovering new musical landscapes.
Dinnerstein was among the top-ten
bestselling artists of 2014 on the
Billboard Classical Chart.
Upcoming and recent highlights
include Dinnerstein’s Italy debut
with RAI Turin under Jeffrey Tate;
a recital in Seattle for the UW
World Series; her return to Istanbul;
the New York premiere of Philip
Lasser’s The Circle and The Child
with Face the Music; a tour of
Germany performing Bach concertos
with Bach Collegium Musicum;
performances with the Colorado and
Fort Worth Symphonies; recitals at
The Barns at Wolf Trap and New
York’s Metropolitan Museum; and
a performance of The Circle and The
Child with MDR Leipzig at Germany’s
Gewandhaus.
Dinnerstein’s performance schedule
has taken her around the world since
her triumphant New York recital
debut at Carnegie Hall's Weill Recital
Hall in 2005 to venues including the
Kennedy Center for the Performing
Arts, Vienna Konzerthaus, Berlin
Philharmonie, Metropolitan Museum
of Art, and London's Wigmore Hall;
festivals that include the Lincoln
Center Mostly Mozart Festival, the
Aspen, Verbier, and Ravinia festivals,
and the Stuttgart Bach Festival; and
performances with the Frankfurt
Radio Symphony Orchestra, Vienna
Symphony Orchestra, Dresden
Philharmonic, Staatskapelle Berlin,
Royal Scottish National Orchestra,
Czech Philharmonic, New York
Philharmonic, Minnesota Orchestra,
Atlanta Symphony, Baltimore
Symphony, Orchestra of St. Luke's,
Kristjan Järvi's Absolute Ensemble,
Montreal Symphony Orchestra,
Calgary Philharmonic Orchestra,
Danish National Symphony
Orchestra, and the Tokyo Symphony.
Dinnerstein is interested in exploring
ways to subtly change the traditional
concert experience, and has created a
new program with thereminist Pamelia
Kurstin and actor Alvin Epstein that
combines classical music and avantgarde cabaret, and weaves together
poetry, music, improvisation, and
narration. The program debuted at
New York's popular West Village
club, Le Poisson Rouge, in 2012.
Committed to bringing music by
living composers to today's audiences,
Dinnerstein frequently performs
pieces written for her. In addition to
performing the new works written
for her by Nico Muhly and Philip
Lasser this season, she premiered a
piano quintet by Grammy-nominated
composer Jefferson Friedman with the
Chiara String Quartet at the Library
of Congress in December 2014.
Dinnerstein has played concerts
throughout the United States for
the Piatigorsky Foundation, an
organization dedicated to bringing
classical music to non-traditional
venues. Notably, she gave the first
classical music performance in the
Louisiana state prison system when she
played at the Avoyelles Correctional
Center. She also performed at the
Maryland Correctional Institution for
Women, in a concert organized by the
Baltimore Symphony Orchestra to
coincide with her BSO debut.
Dedicated to her community, in 2009
Dinnerstein founded Neighborhood
Classics, a concert series open to the
public hosted by New York City public
schools. The series features musicians
Dinnerstein has met throughout her
career, and raises funds for the schools.
The musicians performing donate
their time and talent to the program.
Neighborhood Classics began at PS
321, the Brooklyn public elementary
school that her son attended and where
her husband teaches fourth grade.
Artists who have performed on the
series include Richard Stoltzman, Maya
Beiser, Pablo Ziegler, Paul O'Dette and
many more. In addition, Dinnerstein
has staged three all-school “happenings”
at PS 321 – a Bach Invasion, a
Renaissance Revolution, and a Violin
Invasion – which immersed the school
in music, with dozens of musicians
performing in all of the school’s
classrooms throughout the day. In early
2014, she launched her Bachpacking
initiative, bringing a digital piano
provided by Yamaha from classroom
to classroom in public schools,
presenting interactive performances and
encouraging musical discussion among
the students.
On February 24, Sony Classical
released Dinnerstein’s newest album
Broadway-Lafayette, which celebrates
the time-honored transatlantic
link between France and America.
Broadway-Lafayette includes Ravel’s
Piano Concerto in G Major, Gershwin’s
Rhapsody in Blue and Philip Lasser’s
The Circle and the Child: Concerto
for Piano and Orchestra, written for
Dinnerstein. The album was recorded
with conductor Kristjan Järvi and
the MDR Leipzig Radio Symphony
Orchestra by Grammy-winning
producer Adam Abeshouse.
Dinnerstein is a graduate of The
Juilliard School where she was a
student of Peter Serkin. She was a
winner of the Astral Artist National
Auditions, and has received the
National Museum of Women in
the Arts Award and the Classical
Recording Foundation Award. She
also studied with Solomon Mikowsky
at the Manhattan School of Music
and in London with Maria Curcio.
Simone Dinnerstein (pronounced SeeMOHN-uh DIN-ner-steen) lives in
Brooklyn, New York with her husband
and son. She is managed by Tanja
Dorn at IMG Artists and is a Sony
Classical artist. For more information,
visit www.simonedinnerstein.com.
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Buy today at
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Your Guide to Our Events at Meany Hall
Food and Beverage in Meany Hall (main stage)
Infrared Hearing Devices
Food and beverage stations are located in the main lobby and downstairs
at the Gallery Café on the east side of the lower lobby. The stations are
open one hour prior to the performances and at intermission.
Meany Hall (main stage) is equipped with an infrared hearing system.
Headsets are available at no charge. Please speak with an usher. A
driver's license or credit card is required as collateral.
Restrooms (main stage)
Fragrances
Restrooms are located on the lower and upper lobby levels.
In consideration of patrons with scent allergies, please refrain from
wearing perfume, cologne, or scented lotions to a performance.
Late Arrival
Unless noted otherwise, all World Dance and World Music evening
performances begin at 8pm. Special Event, Piano, and Chamber
Music Series events begin at 7:30pm. Out of respect for the artists
and seated patrons, late seating may be limited. Late arrivals will be
escorted into the theater at appropriate intervals, to be determined by
the artists and theater personnel.
Cell Phones, Cameras, and Other Electronic Devices
Please turn off these devices before performances. Because of
contractual obligations with our artists, the use of photographic
recording equipment is prohibited. Flash cameras can be disruptive
and dangerous to some artists.
Cancellations
Due to unforeseen circumstances, we sometimes have to cancel or postpone
performances. All programs, dates, and artists are subject to change.
Parking Options
Limited, underground paid parking is available in the Central Plaza
Parking Garage, located underneath Meany Hall. There are also several
surface lots and on-street parking within walking distance of Meany.
Taxi Service
For Yellow Cab use only. To arrange door-to-door service, provide this
Meany Hall address: 4140 George Washington Lane.
Lost and Found
Tapestries Displayed on Stage
Contact the House Manager immediately following the performance
or contact the Meany Hall House Manager's office at
206-543-2010 or [email protected].
The artwork on display on stage during Piano and Chamber Music
events are tapestries woven by Danish artist Charlotte Schrøder.
Evacuation
In case of fire or other emergency, please follow the instructions of
our ushers, who are trained to assist you. To ensure your safety, please
familiarize yourself with the exit routes nearest your seat.
Admission of Children
Children five years of age or older are welcome at all UW World
Series performances. A ticket is required for admission.
Wheelchair Seating
Wheelchair locations and seating for patrons with disabilities are
available. Requests for accommodation should be made when
purchasing tickets.
Smoking Policy
Smoking is not permitted on the University of Washington campus.
UWWS/Meany Address and Contact Information
• Meany Hall/UW World Series
University of Washington
Box 351150
Seattle, WA 98195-1150
Phone: 206-543-4882 | Fax: 206-685-2759
meany.org | uwworldseries.org
• ArtsUW Ticket Office
1313 NE 41st Street
Seattle, WA 98105
Ph: 206-543-4880 | Toll-free: 800-859-5342 | Fax: 206-685-4141
Email: [email protected]
Office Hours: Mon-Fri, 11 AM – 6 PM
• Meany Hall Box Office
The Meany Hall Box Office opens one hour before the
performance and is located in Meany Hall's main entrance.
Friends of the UW World Series
Many thanks to the following donors whose generous support make our programs possible:
Producer’s Circle
($25,000+)
Nancy D. Alvord
Catherine and David Hughes
Glenn Kawasaki, Ph.D.
Mina B. Person
Director’s Circle
(between $10,000 and $24,999)
Kenneth and Marleen Alhadeff
Warren and Anne Anderson
David Vaskevitch
Series Benefactor
(between $5,000 and $9,999)
Anonymous
Linda and Tom Allen
Linda Armstrong
The Bitners Family
Dr. Martin L. Greene
Kim and Randy Kerr
Sally Kincaid
Hans and Kristin Mandt
Judy Pigott
Lois H. Rathvon
Blue and Jeff Resnick
Joseph Saitta and Virginia Aldrich
Lee and Judy Talner
Mark and Amy Worthington
Event Sponsor
(between $2,500 and $4,999)
Cathryn Booth-LaForce and W Kenneth LaForce
Stephen and Sylvia Burges
Heidi Charleson
Vasiliki Dwyer
Gail Erickson and Phil Lanum
Davis Fox
Hellmut and Marcy Golde
Elizabeth Hebert and The Petunia Foundation
Richard and Nora Hinton
In memory of Gene Hokanson
Yumi Iwasaki and Anoop Gupta
Bernita Jackson
Ilga Jansons and Michael Dryfoos
Kurt Kolb
Donald and Toni Rupchock
Lorraine Toly
Ellen Wallach and Thomas Darden
George Wilson and Claire McClenny
Kathleen Wright
Distinguished Patron
(between $1,000 and $2,499)
Anonymous (2)
Stephen Alley and Amy Scott
Lauralyn Andrews
Joseph Ashley
Thomas S. Bayley
Mel Belding and Kathy Brostoff
Cristi Benefield
William Bollig
Kalman Brauner and Amy Carlson
William Calvin and Katherine Graubard
Wimsey J. N. Cherrington
Leonard Costello and Patricia McKenzie
Kent and Jackie Craver
Richard Cuthbert and Cheryl Redd-Cuthbert
Britt East and Scott Van Gerpen
Susan and Lewis Edelheit
Luis Fernando and Maria Isabel Esteban
William Etnyre
Robert C. and Judy Franklin
Michael L. Furst
Lisa Garbrick
Bill and Ruth Gerberding
William Gleason
Torsten and Daniela Grabs
Arthur and Leah Grossman
Hylton and Lawrence Hard
Susan Herring and Norman Wolf
Paul and Alice Hill
Peter Hoffmeister and Meghan Barry
Hugues Hoppe and Sashi Raghupathy
Mary and Emily Hudspeth
H. David Kaplan
Karen Koon
Susan Knox and Weldon Ihrig
Leander Lauffer and Patricia Oquendo
James Laurel and Karin Corea-Laurel
Nathan Ma*
Marcella Dobrasin McCaffray
Tomilynn and Dean McManus
Tom McQuaid, in memory of Bill Gerberding
Margaret Dora Morrison
Jerry Parks and Bonny O’Connor
Geoffrey Prentiss
Tina and Chip Ragen
Julian Simpson and Daphne Dejanikus
Evelyn Simpson
David Skar and Kathleen Lindberg
Sigmund and Ann Snelson
Carrie Ann Sparlin
Ethel and Bob Story
Donna and Joshua Taylor
Ernest Vogel and Barbara Billings
Ellen Wallach and Thomas Darden
Michelle Witt and Hans Hoffmeister
Patron
(between $500 and $999)
Anonymous (3)
Joan Affleck-Smith and Nepier Smith
Gretchen and Basil Anex
Jean-Loup and Diane Baer
Jillian Barron and Jonas Simonis
Cynthia and Christopher Bayley
Mary Ann Berrie
Lani Bertino
Michael Bevan and Pamela Fink
Holly Boone
Patrick Boyle and Tracy Fuentes
Heida Brenneke
Nathaniel R. Brown
Dave and Debbie Buck
Leo Butzel and Roberta Reaber
Rita Calabro
JC and Renee Cannon
Thomas Clement
Timothy Clifford
Joan and Frank Conlon
Jill Conner
Consuelo and Gary Corbett
Suzanne Dewitt and Ari Steinberg
Dave Dickson and Kelly Kleemeier
Jeanne Dryfoos
Sally and Stephen Edwards
Dr. Melvin and Nanette Freeman
*denotes in-kind donation
This listing includes donors ($50 and above) to the UW World Series from July 1, 2013 through January 1, 2015. To change your program listing
or correct an error, please call us at (206) 685-2819. Contributions to the UW World Series are tax-deductible to the extent allowed by law.
To make a gift or for more information on donor benefits, please call (206) 685-2819 or visit uwworld.series.org/support-us
about this list
Sergey Genkin
Theodore and Sandra Greenlee
Carolyn and Gerald Grinstein
Chris and Amy Gulick
Jayme Gustilo
Susan and Richard Hall
Betz Halloran
Steven Haney
Phyllis Hatfield
Wolfram and Linda Hansis
Randy and Gwen Houser
Jennifer Jacobi and Erik Neumann
Otis and Beverly Kelly
David Kimelman and Karen Butner
Michael Linenberger and Sallie Dacey
Margaret Levi and Robert Kaplan
Anne-Marie Lowe
Heinz and Ingeborg Maine
Dr. Michael and Nancy Matesky
Christopher and Mary Meek
Ramona Memmer and Lester Goldstein
John and Gail Mensher
Linda and Peter Milgrom
Craig Miller and Rebecca Norton
Susan P. Mitchell
Rik Muroya
James and Pamela Murray
Eugene and Martha Nester
Anne Stevens Nolan
John O'Connell and Joyce Latino
Tracy and Todd Ostrem
Alice Portz and Brad Smith
Nancy Robinson
Joy Rogers and Bob Parker
Dick Roth and Charlene Curtiss
Brinette and Lance Rounds
Werner and Joan Samson
Cathy Sarkowsky
Michael Scupine and Kim Gittere-Abson
Jeff and Kimberly Seely
Bela and Yolande Siki
Richard Szeliski and Lyn McCoy
Peter Tarczy-Hornoch and Candice McCoy
Thomas and Doris Taylor
Case van Rig
Josephus Van Schagen and Marjon Floris
Bob and Andrea Watson
Eugene Webb and Marilyn Domoto Webb
Stephen and Debra Wescott
Wright Piano Studio Students
Great Performer
Charles Alpers and Ingrid Peterson
Lisa Baldwin and John Cragoe
Robert Bergman
Dennis Birch and Evette Ludman
Nancy and Edward Birdwell
Luther Black and Christina Wright
James and Edith Bloomfield
Ross Boozikee
Gene Brenowitz and Karen Domino
Lorraine and Harry Bruce
Kevin Burnside and Rachel Schopen
Carolyn Burton
Allegra Calder and Gabe Grant
Elizabeth Cantrell
Donald Cavanaugh
Daniel and Sandra Ciske
Amanda and Robert Clark
R. Bruce and Mary Louise Colwell
Elizabeth Cooper
Jan and Bill Corriston
Leroy and Marybeth Dart
Frederick Davis and Harriet Platts
Kenneth Dayton and Melodie Martin
Robert Delisle
Sheila Edwards Lange and Kip Lange
Arlene B. Ehrlich
W. J. Thomas and Kristin Ferguson
Susan Fischer
Melissa Fulton
Janet Geier and Peter Seitel
Sara Glerum
Maxine Gorton-Stewart
Laurie Griffith
Tim Groggel and Annette Strand
David and Alice Gutsche
Lynn Hagerman and James Hummer
G. Lester and Lucille Harms
Steve and Sarah Hauschka
Stephen and Marie Heil
Ernest and Elaine Henley
Alan and Judy Hodson
Missy Hoo
Jieyang Hu and Faye Zhang
Margaret Hunt
Kurt Imerman
Anne Johnson
James Johnston and Nancy Ng
Marcia Kamin
Paul Kassen
Deborah Katz
George and Mary Kenny
Philip and Marcia Killien
Richard Kost
Gregory Kusnick and Karen Gustafson
Frank and JoAnna Lau
Rhoda and Thomas Lawrence
William Levering III and Susan Hert
Dennis Lund and Martha Taylor
Douglas MacDonald and Lynda Mapes
Jeffrey and Barbara Mandula
Corrinne Martin and Gary Horsfall
Paul Martini
Robin L. McCabe
Mary Mikkelsen
Trisha and Eric Muller
Kevin Murphy and Karen Freeman
John Nemanich and Ellendee Pepper
Maryann and Robert Ness
Margarete Noe
Carlyn Orians and Richard Swann
Richard and Sally Parks
Wayne Parris
Irene M. Piekarski
Janet and John Rusin
Jen Salk and David Ehrich
Robert and Doris Schaefer
Charyl and Earl Sedlik
Mark and Patti Seklemian
Clark Sorensen and Susan Way
Bob and Robin Stacey
Betty and Joseph Sullivan
Carol Swayne and Guy Hollingbury
Dale Sylvain and Thomas Conlon
Pamela Taylor
Diana F. and Richard H. Thompson
Gayle and Jack Thompson
Dennis Tiffany
Mary Toy
Manijeh Vail
Pieter and Tjitske Van der Meulen
Joan Vaughn
Laraine and Richard Volkman
Jamie Walker and Mary Childs
Charles Wilkinson and Melanie Ito
Lee and Barbara Yates
Key Player
Anonymous (3) / Jane Abullarade / Ann Adam / Laila
Adams / James Adcock and Anne Otten / Mary Alberg /
Kathryn Alexandra / Frank and Nola Allen / Margaret
Almen / Jeff and Cameron Altaras / Dick Ammerman /
William and Mary Andersen / Trudy Baldwin / Ruth and
Mark Balter / Ronald Barclay / Arlene and Earl Bell / Nan
Bentley / Robin Bentley / Safiya Bhojawala / Sue Billings /
David Bird / Thomas Bird / Emilee Birrell / Katherine
Bourbonais and Donald Ramsey / Mary Ann Bolte, M.D.
and John Sindorf, M.D. / Milkana Brace / Herbert Bridge
and Edie Hilliard / Carl and Kayla Brodkin / Paul Brown
and Amy Harris / Devin Buck / Virginia Burdette /
Zbigniew Butor / Dianne Calkins / Linda and Peter Capell
/ Susan and Kevin Carmony / Molly Carney and John Baer /
Luther and Frances Carr / Robert Catton / Ana Mari Cauce
/ Pamela and Robert Center / James and Peggy Champin /
Robert and Patricia Charlson / Lynne and David Chelimer /
Chih-Ming Chen / Robert and Molly Cleland / Fran Clifton
/ Rita Rae and Richard Cloney / Leonard and Else Cobb /
Brian Cole / Monica Clare Connors / Anne and George
Counts / Ginelle and Will Cousins / Karen Craven / Jean
Crill / Gavin Cullen and David Jamieson / Christopher
Curry / Judy Cushman and Robert Quick / Janice
DeCosmo and David Butterfield / Dr. Barbara DeCoster /
Eduardo and Celeste Delostrinos / The de Soto Family /
Martha Dietz (D) / Theodore Dietz / Susan and David
Dolacky / Jill Donnelly / Laurie Ann and C. Bert Dudley /
Elizabeth Duffell / Brian and Joan Edwards / Richard Eide /
Ruth and Alvin Eller / Susan L. Elliott and Travis Burgeson /
Lynne and Hollie Ellis / Penelope and Stephen Ellis / Jeanne
Emeny / Luther and Gladys Engelbrecht / Thomas Faber
and Laura Townsend Faber / Jean Burch Falls / Eric and
Polly Feigl / Heide and Matthew Felton / James Fesalbon
and Edward Francis Darr, II / Patricia Fischbach / Betty and
Randall Fisher / Albert Fisk and Judith Harris / Gerald
Folland / Brenda Fong / Jacqueline Forbes and Douglas
Bleckner / Stuart Fountain and Tom Highsmith / Jonathan
Franklin / Sam Friedlander and David Shulman / Lucille
Friedman / William Friedman / Kai Fujita / Gary Fuller
and Randy Everett / Stanley and Marion Gartler / Genevra
Gerhart / Gene and Evelyn Gershen / Brian Giddens and
Steve Rovig / David and Brenda Gilbert / George Gilman /
Dolores Gill Schoenmakers / Gerald Ginader and Karen
Elledge / Ronen Glad / J. David Godwin and Virginia
Reeves / Susan and Russell Goedde / Joan and Steven
Goldblatt / Jennifer and Henry Gordon / Judith Gordon
and Lance Sobel / Catherine Gorman / Gene Graham /
Janice Granberg / Chris Gross / Nancy and Earl Grout /
Robachinski / Don and Joan Roberts / Neil Roberts and
John Hall / Walter and Willa Halperin / Larry Harris and
Bonnie Worthington-Roberts / Pacita Roberts / Martha
Betty Azar / John and Geraldine Hay / Patricia Hayden /
Ronish / Bette Round / David and JoAnne Rudo / Gail
Kathryn Heafield and Guy Sattler / Marjorie Hemphill /
Sailer / Norman and Elisabeth Sandler / Ariadna Santander
Ellen and Jerry Hendin / Kevin Hendricks / Peter Herford /
and Paul Norlen / Laura Sargent / Hamayo Sato / Joachim
Judith Herrigel / Lori Hess and Benjamin Miller / Janet
Schneider and Jolene Vrchota / Jean Schweitzer / Kevin
Hesslein and Murl Sanders / Henry Howes / Roy Linwood
Scudder and Anna Davis / See Family / Virginia Sharp /
Hughes / Roy and Maryann Huhs Jr. / Ron Hull / Patricia
Giles and Sue Shepherd / Andrew Sherrill / Rubens and
Hynes / Dobrila Istocki / Robert C. Jenkins / Darryl and
Dulce Sigelmann / Patricia Siggs / Robert Simpson Jr. /
Kathleen Johnson / David B. Johnson / Linda and
Hazel Singer and John Griffiths / Mani and Karen Soma /
Christopher Johnson / Julie Kageler / Sumedh Kanetkar /
Hugh Spitzer and Ann Scales / Sarah Stanley and Dale
Michael and Nancy Kappelman / Wayne Katon and Barbara
Rogerson / Teresa Steele-Kalet and Ira Kalet / Craig and
Geiger / Aaron Katz and Kate Dougherty / Daniel Kerlee
Sheila Sternberg / Evelyn Sterne / Jane and Alexander
and Carol Wollenberg / June Kerseg-Hinson and Ron Hinson
Stevens / Douglas and Joan Stewart / Derek Storm and
/ Maggie Kilbourne-Brook / Sherrie Kilman / Lee Klastorin
Cynthia Gossett / Frederick Strom / Pamela Stromberg /
/ Frederick W. Klein / Rachel Klevit and Jerret Sale / Nancy
Ed Taylor / Margaret Taylor and Robert Elliott / Stephen
and John Kloster / Mark and Joan Klyn / Pei Koh / Glen
and Ericka Thielke / David and Barbara Thomas / I. M.
Kriekenbeck and Quentin King / Divya Krishnan / John
Thomas / Robby Thoms / Deborah and Carl Thomson /
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H. and Christine White / Crispin Wilhelm and Sundee
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Sherman, M.D. / Christine Meinhold / Bryant and Hilda
Karin Williams / April and Brian Williamson / Scott Wilson
Merrick / Vera Metz / Steven Millard and Elizabeth Selke /
and Shirley Cartozian Wilson / David Wine / Carol Winge
Elizabeth Milo and Paul Vonckx Jr. / Reza and Carol
/ Barbara and Grant Winther / Lilia Wong / Carolyn Wood
Moinpour / Raymond Monnat and Christine Disteche / M.
/ Shauna Woods / Katherine Wurfel / Osamu Yamamoto /
Lynn Morgan / Elena Morozov / David Morris / Roger
Ying Gi Yong / Bob Young / Joanne Young / Eugene and
Morris / Anne Morrison / Christine Moss / Kimberly
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F. Neal / Charles Nelson / William and Rosemary Newell /
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/ Albert and Marianne Nijenhuis / Mark Novak and Katrin
Pustilnik / Beatrice Nowogroski / Terry O'Connor and
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Gregory and Margaret Petrie / Michael Podlin / Sally Pogue
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and Ruth Raisis / Wendy and Murray Raskind / Mechthild
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Carrie Richard / Carla Rickerson / Suzuko and Edward
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Friend
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and Judith Matchett / Roland Mayer / Paul McDevitt and
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and James Liverman / Greg Nelson and Cynthia Doll /
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and Susan Peskura / Jeanne Peterson / Benjamin Petty /
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Saunto / Michael Schick and Katherine Hanson / Michael
Schmitt / Dorothy and Albert Schott / Janet Schweiger /
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Simpson / Roger Simpson and Jeffrey Cantrell / Annelies
Smith / Randall Smith and Sharon Metcalf / Sheila Squillace /
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and Susan Hanley / Mark Sullivan / Marilyn and T. D.
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Thelen / W. Michael Thompson / Lynn and Laurel Throssell /
Wayne Thurman / Robert Toren and Jocelyn Raish / Donald
and Myrna Torrie / Barbara Trenary / Elizabeth Umbanhowar
/ Krystyna Untersteiner / Deanna Vesco / Michele Wang and
Gregory Carter / Erika Warner-Court / Gail and John Wasberg
/ Eva Wescott / Greg Wetzel / Rob Williamson and Kathryn
Williams / Shira Wilson / Amy Wong-Freeman / Michelle
Wynne and Daniel Otter / Boutayna Zakariya / Robert Zipkin
and Pamela Lampkin / Jingyu Zou
Matching Gifts
UW World Series offers its sincere thanks to the following companies for matching gifts received or pledged between July 1, 2013 and January 1, 2015:
Bill & Melinda Gates Foundation / The Boeing Company / Capital One / Electronic Arts, Inc / IBM Corporation / Intel Corporation
Merck Company Foundation / Microsoft Corporation / Shell Oil Company / State of Washington / U.S. Bancorp Foundation / U.S. Bank
Endowment and Planned Gifts
We would like to thank the following individuals for supporting the future of the UW World Series through planned gifts and contributions to our endowment:
Planned Gifts
Anonymous
Linda and Tom Allen
Ellsworth and Nancy Alvord
Consuelo and Gary Corbett
Dave and Debbie Buck
Larry Todd
Devin Buck
Lorraine Toly
Marina and Vadim Toropov
Marcia Ciol and Robert Harrison
Anh Tran
Amanda and Robert Clark
Barbara and Grant Winther
Brian Cole
Katherine Wurfel
Ginelle and Will Cousins
Bill and Ruth Gerberding
Margaret Dora Morrison
Karen Craven
Robert Delisle
William Etnyre
Mina B. Person
UW World Series Programming Endowment
Richard Cuthbert and Cheryl Redd-Cuthbert
Elizabeth Cooper
Kai Fujita
Lois Rathvon
Maria and James Durham
Ronen Glad
Sujin Han
Kevin Hendricks
Lee and Judy Talner
Gregory Kusnick and Karen Gustafson
Naoko Noguchi
Margaret Hunt
Ellen J. Wallach
Windsor R. Utley* (D)
Dobrila Istocki
Arts AL!VE Student Fund for Exploring the
Bernita Jackson
UW World Series Education Endowment
Julie Kageler
Performing Arts
Kalman Brauner and Amy Carlson
Otis and Beverly Kelly
Elizabeth Cooper
Erica and Duane Jonlin
Daniel Kerlee and Carol Wollenberg
Todd and Jane Ihrig
Susan Knox and Weldon Ihrig*
Nancy and Eddie Cooper Endowed Fund
for Music in Schools
Ernest and Elaine Henley*
Sherrie Kilman
Matthew and Christina Krashan*
Helen Kim
J. Pierre and Felice Loebel*
Rik Muroya
Kristen Pearcy
Urania Peréz-Freedman and Jonathan Freedman
Lee and Judy Talner*
Cecilia Paul and Harry Reinert*
Lucille Friedman
Benjamin Petty
Richard Kost
Colette Posse
Dave and Marcie Stone*
Matt Reichert
Matt Krashan Endowed Fund for
Artistic and Educational Excellence
in the Performing Arts
Cody Ring-Rissler
Elaine and Ernest Henley Endowment
Kathleen Roan
Nancy D. Alvord
for Classical Music
Don and Joan Roberts
Cynthia and Christopher Bayley
Ernest and Elaine Henley*
Catherine Roth
Matthew and Christina Krashan*
Peter and Linda Milgrom
Stephen and Linda Saunto
Tracy and Todd Ostrem
Eric Shamay
Mina B. Person
Live Music for World Dance Series
Patricia Siggs
Endowment
Julian Simpson and Daphne Dejanikus
Vivika Stamolis
(Multiple Founders)
Anonymous (2)
Jane Abullarade
Cristi Benefield
Holly Boone
about this list
Jacoline Stewart
Douglas and Joan Stewart
Robby Thoms
* Endowment Founder
Wayne Thurman
This listing includes endowment founders and endowment donors from July 1, 2013 to January 1, 2015. For more information on how to
make a gift through your will or trust, or to name the UW World Series as a beneficiary of your retirement plan or insurance policy,
please call (206) 685-1001, (800) 284-3679, or visit www.uwfoundation.org/giftplanning.
UW World Series Season Sponsors
We are deeply grateful to the following corporations, foundations, and government agencies whose generous support make our programs possible:
$25,000 and above
The Boeing Company
Classical KING FM 98.1*
Microsoft
Nesholm Family Foundation
University Inn*
$10,000 - $24,999
4Culture / ArtsFund / Chamber Music America / Hotel Deca* / Mid-Atlantic Arts Foundation / National Endowment for the Arts
New England Foundation for the Arts / The Peach Foundation / Seattle Office of Arts & Culture
Up to $9,999
Accíon Cultural Española / Association of Performing Arts Presenters / City of Seattle / Classical Wines From Spain / Horizons Foundation / KEXP 90.3 FM*
KUOW 94.9 FM* / Ladies Musical Club / Peg and Rick Young Foundation / Roland M. Trafton Endowment Fund / The Seattle Foundation
U.S. Bank / UW Simpson Center for the Humanities / Washington State Arts Commission / Western States Arts Federation
Business Circle Sponsors
Agua Verde Cafe and Paddle Club / College Inn Pub / Macrina Bakery * / Pagliacci * / Fran's Chocolates *
Community Partners
Alliance Française / Arts Impact / ArtsUW / Center for Global Studies at the UW Jackson School of International Studies / Ladies Musical Club
Langston Hughes Performing Arts Institute / Seattle Asian Art Museum / Seattle Collaborative Orchestra / Seattle Music Partners / Seattle Public Schools
Seattle Youth Symphony Orchestras / UW Alumni Association / UW Dance Program / UW Graduate School Danz Lectures / UW Information School
UW Libraries / UW Residential Life Program / UW School of Drama / UW School of Music / Velocity Dance Center
* Denotes full or partial gift in kind.
Join an impressive roster of companies of all sizes that support UW World Series, its mission, and its performances.
Sponsors receive significant recognition throughout the UW World Series season and an array of benefits catered to your organization's goals.
For more information, please contact Cristi Benefield at (206) 616-6296 or [email protected].
Meany Hall, UW World Series, and ArtsUW Ticket Office Staff
Michelle Witt, Executive Director, Meany Hall
Artistic Director, UW World Series
Rita Calabro, Managing Director
Cristi Benefield, Director of Philanthropy
Ashley Bontje, Philanthropy Coordinator
Anita Ibarra, Student Development and Events Assistant
Alix Wilber, Grants and Communications Officer
Elizabeth C. Duffell, Director of Campus and
Community Engagement, Artist Relations
Robert Babs, Education Assistant
Courtney Meaker, Education and Artist Relations Coordinator
Sonja Myklebust, Campus Engagement Assistant
Teri Mumme, Director of Marketing and Communications
Leslie Choi, Student Marketing Assistant
Drew Moser, Publications Coordinator
Scott Coil, Director of Finance and Administration
Yevgeniy Gofman, Accountant
David Grimmer, IT Administrator
Doug Jones, Tessitura System Administrator
Sue Stark, Fiscal Specialist
Tom Burke, Technical Director
Brian Engel, Lighting Supervisor
Doug Meier, Meany Studio Stage Technician
Juniper Shuey, Stage Manager
Matt Stearns, Sound Engineer
Nancy Hautala, Audience Services Manager
Tom Highsmith, Lead House Manager
Becky Plant, House Manager
Sean Luscombe, House Manager
Amy Tachasirinugune, Student House Manager
J.J. Woodley, Student House Manager
Shannon Chen, Assistant Student House Manager
Yuki Seki, Assistant Student House Manager
Catering by
Rosa Alvarez, Director of Patron Services
Liz Wong, Assistant Director of Patron Services
Eric Henke, Patron Services Associate
Patrick Walrath, Patron Services Associate
Cathy Wright, Patron Services Associate
Patron Services Assistants
Maggie Boeckman
Jason Cutler
Kat Deininger
Colette Moss
Erin Nguy
Abbey Willman
Angela Yun
Lead Ushers
Matthew Cancio
Ashley Coubra
Daniel Kaseberg
Annie Morro
Ushers
Schuyler Asplin
Béné Bicaba
Hayden Campbell
Jiwon Choe
Craig Dittmann
Shantel Gunter
Matt LaCroix
Ivalene Laohajaratsang
Kevin Lin
Rin Mitroi
Jacob Parkin
Christian Selig
Alex Tang
Maddy Tena
Julia Viherlahti
Elaine Xie
Chris Lindsey, Concessions Lead
Alex Tan, Barista
Corey Rogers, Concessions Assistant
SEE MORE
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EncoreArtsSeattle.com
Q&A
BEHIND
THE SCENES
ARTIST
SPOTLIGHT
NEWS
PREVIEWS
ENCORE ARTS NEWS
A BEAUTIFUL
EXPLOSION
The artists of
Electric Coffin
are helping
define Seattle’s
landscape—
one giant squid
at a time.
By JONATHAN ZWICKEL
T
ROV E, THE SIX-MONTH-OLD PA NASIA N RESTAUR A NT ON CAPITOL
HILL , throbs like a living thing. An
energ i z e d T hu rsd ay-n ight crowd
radiates a warm din under a ceiling
painted the vivid red of an internal organ.
Exposed ducts and HVAC tubes stretch
through the space like arteries carrying
sweet meat smoke from tabletop hibachis.
Iris-colored wallpaper speckled with Space
Needles and Godzillas lines the restroom
hall. Hanging on the wall of the cocktail bar
is a giant, gilt-framed painting that depicts
Mt. Rainier spewing neon-orange lava into a
bruise-purple sky. Diners and drinkers linger
in the bustle.
Spray paint ready for use at Electric
Coffin’s Ballard workshop, which is set
in a row of warehouses that are home
to metal fabricators, furniture makers,
machinists and woodworkers.
PHOTO BY STEVE KORN
2014–2015 SEASON
JUNE 26 & 27
On their way out, a couple stops to
order frozen custards, served from a fullsized ice cream truck parked by the front
door. They fail to notice the peephole
inside the gas cap, set about kneehigh. A look inside reveals a miniature
diorama: Godzilla attacking the Space
Needle.
This is not a place you visit and forget.
More than most restaurants, Trove has
vibe. As in vibration. Trove feels like
action.
Across town, Westward sits on the
shore of Lake Union like a steamship
ready to push off from its gravel mooring
and cruise into the Seattle skyline. Aside
from its dramatic waterfront setting,
the most striking visual aspect of the
year-and-a-half-old seafood restaurant
is a 25-foot-long model ship, its interior
visible in cross-section, revealing
breadbox-sized chambers that each
contain a tiny, 3-D diorama—an angry
yeti, a professional wrestling match,
a great white shark swimming with a
unicorn. Plus life-size bottles of booze,
full of actual booze. Because this highfantasy art installation is Westward’s
back bar.
The food at Westward is superb. But
it wasn’t the menu that garnered the
place a 2014 James Beard Nomination
for Outstanding Restaurant Design. It
was the space, and specifically the ship
that launched a thousand Instagrams.
It, like the whole interior of Trove, was
conceived, constructed and installed
by the three-man collective known as
Electric Coffin.
Patrick “Duffy” De Armas, Justin
Kane Elder and Stefan Hofmann have
worked together as Electric Coffin for
four years. In that time they’ve been
let loose on a slew of interior spaces
across the Northwest with orders to tilt
each one toward the unexpected. Trove
is their most extensive project so far;
Westward the most celebrated. They also
worked on Joule, the Fremont restaurant
WITH THE SEATTLE SYMPHONY
Scott Dunn, conductor / Seattle Symphony
TICKETS GOING FAST!
Presentation made under license from Buena Vista Concerts,
a division of ABC Inc.© All rights reserved.
2 0 6 . 2 1 5 . 4 7 4 7 | S E AT T L E SY M P H O N Y. O R G
ENCORE ARTS NEWS
Detail of EC’s first collaboration, a
diorama inset into a custom-built
coffee table. PHOTO COURTESY OF
ELECTRIC COFFIN
AF 012915 classes 1_12.pdf
Bischofberger
Violins
est. 1955
Professional
Repairs
Appraisals
& Sales
1314 E. John St.
Seattle, WA
206-324-3119
www.bviolins.com
12 ENCORE STAGES
BV 071811 repair 1_12.pdf
owned by the same restaurateurs as Trove;
the Hollywood Tavern in Woodinville,
owned by the same restaurant group as
Westward; EVO, the homegrown snowsports store in Wallingford that recently
opened a new, Electric Coffin-designed
store in Portland; and Via6, the highprofile high-rise apartment towers in
Belltown.
Their style explodes in three
dimensions with Skittles-bright colors
and meticulous, ridiculous details.
It lands somewhere between the
Midcentury hot-rod cartoonery of Ed “Big
Daddy” Roth, the salacious-but-refined
lowbrow paintings of Robert Williams,
the childlike handcrafted charm of
Wes Anderson and the hypermodern
maximalism of Takashi Murakami. Their
work pulls from the restless mania of
three fanatic skaters and snowboarders
who’ve harbored their own iconoclastic,
artistic inclinations since childhood. The
trio matches its collective imagination
with individual skills in fabrication—
carpentry, mechanics, metalwork,
screenprinting, airbrushing—a rare
combination that puts Electric Coffin in
the design/build category that’s highly
sought after by architecture firms and
marketing departments alike.
Electric Coffin’s mondo-destructo/
punk-funk/industrial-artistic aesthetic is
unprecedented in Seattle. Over the past 10
years, restaurants and retail spaces have
sprouted an urban forest of reclaimed
barnwood, corralled a menagerie of
taxidermy and wrought enough blackened
iron to gird a medieval prison. Owing to
a devout sense of history and perhaps
a sense of that history vanishing, the
hunting lodge, the faux dive and the
oyster shell are the traditional touchstones
of Northwest design. These have been
done well—over and over—and they’ll
forever remain part of the regional
visual vocabulary. But as the Northwest
continues its inexorable march into
the 21st century, those designs will be
augmented by new visual cues. Electric
Coffin speaks a homegrown slang that
deftly describes the post-Millennial world.
“Their creativity is born out of an
irreverence to some of the stuff that was
done before,” says Jim Graham of Graham
Baba Architects, who worked with Electric
Coffin on Via6 and Westward. “I appreciate
that about those guys. Architects take
themselves far too seriously. That’s not to
say that we should drape the entire world in
Electric Coffin—that wouldn’t work either,
because then how do you judge it? But that’s
why it’s so exciting. We’re starved for their
work right now.”
T
HERE ARE TOO MANY CHAIRS IN
Electric Coffin’s Ballard HQ. Far more
chairs than people to sit in them, even
when the three guys and their intern
are all present. Plastic shell chairs,
metal wire chairs, vintage office chairs—
more than a dozen around the office, which
is situated up a steep flight of stairs from a
giant construction warehouse filled with
paint and power tools.
“We have a serious chair problem,” De
Armas says. “We love chairs. It gets to a
point where they’re not useful.”
To put it mildly, the decor is eclectic.
One wall is opaque corrugated plastic,
giving off a mellow glow in the afternoon
sunlight. Eighties action figures stand
sentry on desktops next to Power Macs, beer
cans and whiskey bottles. A blackboard
is covered with doodles and agenda
items. The disembodied hood of a Camaro
leans against a wall, screenprinted and
acid-distressed, a piece of De Armas’ art
exhibition showing at AXIS Gallery this
summer. Beside it is a big metal sign for
“Squid Inc.” that looks like it was found at
the bottom of a scrap heap after languishing
for decades.
Turns out Electric Coffin built the sign in
2013, mixing salvaged metal letters, pages
from ’70s porn mags, airbrushed paint and
custom neon. Squid Inc., De Armas tells
me, is a fictional company they dreamed
up as an art project and then designed 150
years of backstory for, including print ads,
packaging artifacts and a subtitled, Frenchlanguage biographical documentary (“Their
Electric
Coffin’s mondodestructo/punkfunk/industrialartistic
aesthetic is
unprecedented
in Seattle.
miracle-cure squid ink battled ailments from
halitosis to boot rot and could be found across
the nation—and the world!”). They mounted
a show at Bherd Gallery in Greenwood,
displaying phony vintage ephemera with
painter Kellie Talbot’s photorealistic oil
images of Squid Inc. signage.
The project was meant as “a discussion
about the reverence for classic Americana
analog,” as De Armas diplomatically puts
it. Like all of Electric Coffin’s work, it was
a playful discussion. It involved some
nose-thumbing—a fake brand imbued with
fake character via the group’s skills and an
intentionally obtuse backstory. It was the
gallery version of their commercial work,
both of which follow the same dictate: If you
can’t source the object you envision from
salvage, make it from scratch. Make it look
old, worn, real. And make it fun.
The design aesthetic of the moment, as
seen on Pinterest and in the pages of Dwell
and Kinfolk, is rather serious. Conservative.
Twee. It fetishizes the old, whether vintage
furniture, reclaimed wood or a dying dive
bar. If it’s old, it’s beautiful, even precious.
The Electric Coffin guys appreciate old stuff—
the vintage chairs, the Camaro hood, the G.I.
Joes—but they appreciate it as a medium, not
as an end to itself. They pay it the honor of
destroying it so they can give it new life.
“Recontextualization of cultural icons,”
Hofmann says. “At the EVO storefront we
built totems, animals stacked on top of
animals. You start creating narrative out
of these kinds of things, almost a pop-icon
sensibility. You put it in this candy shell but it
contains more expansive concepts of idealism
and cultural identities.”
De Armas: “Everyone’s trying to wax their
pants now instead of buying Gore-Tex. Like, ‘I
drink out of a mason jar!’ Just because you’re
buying a mason jar you’re still a consumer.
You’re idolizing the idea of consuming.”
EAP 1_3 S template.indd 1
10/8/14 1:06 PM
A N N H A M I LT O N
the common S E N S E
ON VIEW THROUGH APRIL 26
HENRY ART GALLERY
H E N R YA R T.O R G
Ann Hamilton. Digital scan of
specimens from the Division
of Tetrapods at the Museum of
Biological Diversity at The Ohio
State University. 2013. Courtesy
of the artist.
We Are Here
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EAP 1_6 H template.indd 1
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3/26/13 11:22 AM
ENCORE ARTS NEWS
Elder: “We’re electrifying dead things,
dead images and concepts that have been
lost that we dig up, these archeological
finds.”
The name Electric Coffin applies to the
group’s current obsession with monster
reanimation, but De Armas came up with it
years ago during his time in the University
of Washington sculpture program. It just
sounded cool, like the name of one of the hotrod shops in Phoenix he grew up working in.
De Armas moved to Seattle at 18 with no real
game plan other than to get out of Arizona,
make art and skate and snowboard as much
as possible—which is how he met Hofmann
and Elder.
Hofmann came from small-town Arizona
and Reno to study at the UW sculpture
program 10 years before De Armas. While in
school he won a Fulbright Fellowship that
sent him traveling through Southeast Asia
for three years, taking photos and surfing.
He spent the next 14 years traveling back
and forth from Seattle to Bali, surfing there
and snowboarding here. During that time
he designed a logo to attach to the hand-knit
beanies he imported and sold to friends.
This now-iconic snowcat logo was the start
of Spacecraft, a snow apparel business that
still thrives today. When De Armas arrived
in Seattle, he found work with Hofmann at
Spacecraft.
Elder was raised in the rural woodlands
outside Arlington, Wash., the feral child of
survivalist-hippie parents who eventually
moved the family to Seattle for a more
conventional lifestyle. He graduated with an
MFA in painting and sculpture from Cornish
College of the Arts but found more practical
work as a carpenter. After painting on his
own and skating with De Armas for years, he
gave up his day job and the three went all-in
on Electric Coffin in 2011 with no strategy
other than working on cool projects with
friends, starting with a tentacle-creature
disaster-scene coffee table installation for a
pop-up shop in the New York Nordstrom.
“We don’t live in the real world,” De
Armas says. “That’s one trait we all share.”
“None of us knows where we’re going,”
Hofmann says.
“That approach has helped us,” Elder
adds. “There is no Plan B.”
They clashed at the beginning. Three
artists, three egos. One guy would spend
hours working on a segment of a piece only
to have another guy come in and, without
so much as a blink, paint over it with a giant
roller.
“We got into a lot of fights: ‘Dude, I just
painted that and you just destroyed it!’”
De Armas says. “People were leaving and
yelling. We drank a lot of beer and talked
about it. We’ve come to terms. You just
do it and trust that we all know what
we’re doing.”
“When you’re working in a truly collaborative
way unexpected things may come about,”
Hofmann says. “Looking back you can see
the continuity—larger narratives that relate to
consumerism and disaster and sarcasm.”
Elder, De Armas and Hofmann at work.
PHOTO BY STEVE KORN
“We were almost challenging each other,
like we were children trying to understand
the realm of truly collaborating and what
that meant,” Hofmann says. Time and
practice solved that problem. Overlap is now
an intentional part of the process, a sort of
interpersonal geologic layering of paint and
paper and metal and plastic that gives their
work physical depth and creates the illusion
of the passage of time.
Snowboarders know the butterflies-in-thebelly feeling of carving a fresh line on a virgin
run. And they know the feeling of following
a friend’s fresh tracks, helixing them with
your own, side by side, simultaneous but
individual. The crossover between action
sports and Electric Coffin’s gestural art is
uncanny. Elegant chaos, controlled just long
enough to finish the run.
“Creativity in motion,” Elder says.
“Instead of using a canvas to express your
creative vision you’re using the environment,
whether it’s a bowl in a skate park or an open
field of powder.”
“We made a conscious choice to let go,”
Hofmann says.
E
VERYTHING IS UP FOR GRABS
THESE days—the way business is run,
the way we brand and market, the way
we run restaurants,” says Matthew
Parker, lead designer of Huxley Wallace
Collective, the restaurant group that built
Westward. “We’re constantly changing
old models and flipping them around
and creating new ones. The design style
those guys carry fits perfectly with these
contradictions. And within contradictions
things get exciting.”
Electric Coffin’s latest, greatest canvas is
the city itself. As its population explodes,
Seattle is building its own future to live and
work and play in. Developers mostly hew to a
bottom-line principle, wary of expenditures
on risky design—which gives us the lowbudget, low-concept eyesore architecture
that’s turned swaths of the city into the
urban equivalent of Ikea furniture.
Since their involvement with the Via6—
one of the more visible projects in the city—
Electric Coffin has been fielding more calls
for commissions on large-scale commercial
projects. They built a winter forest inside a
yurt at the downtown REI that’s on display
through the spring; REI corporate has since
requested custom installations in each of
their flagship stores nationwide. A new W
Hotel is going up in Bellevue with space for
a three-floor-tall mural in its lobby. And
they’re negotiating a contract to design the
interior of a new high rise in South Lake
Union, a two-year project that would involve
creating multiple installations and art pieces
for the entire building.
“We have an awesome opportunity and a
legitimate responsibility to work with these
people and make things that are progressive,
thoughtful, interesting on multiple levels,
not just to look at but also functional,” De
Armas says. “Seattle is a weird little city
that should’ve been bigger years ago and
now we’re having this boom. Development’s
happening regardless. We can affect the face
of that development by infusing it with art.”
Ready yourself: Tomorrow’s Seattle will
be airbrushed raspberry red and wrapped
in giant-squid wallpaper. It will be expertly
constructed, scaled mini to macro and rich
with subtle visual humor. It will be brandnew but look ageless. It will be distinctly
American—but an America that’s been
blown up, reconfigured and reborn for a new
era.
“There’s something intrinsically beautiful
about an explosion,” Hofmann says. “Aside
from the destruction, it represents rebirth.
What comes from this? What’s the next new
thing? And it’s hopeful in the sense that
whatever it is, it might be better.” n
NEW CONSTRUCTION
|
REMODELING
|
HIGH PERFORMANCE BUILDING
INCITING EVOLUTION
IN BUILDING
HAMMERANDHAND.COM
Karuna House, designed by Holst Architecture
PORTLAND 503.232.2447 CCB#105118
and built by Hammer & Hand
SEATTLE 206.397.0558 WACL#HAMMEH1930M7
2013 AIA Portland Design Award
2014 National Institute of Building Sciences
Beyond Green Award

Lyon Opera Ballet Delfos Danza Contemporanea Gilberto Gil

Transcription

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