Mark Morris Dance Group and Music Ensemble Olga Kern Catalyst

Transcription

MARCH 2015
Mark Morris Dance Group
and Music Ensemble
MAR 5-7
Olga Kern
Catalyst Quartet
MAR 12
MAR 19
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March-April 2015
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CONTENTS
MARCH 2015
and Music Ensemble
MAR 5-7
UW World Series
Olga Kern
A1
Catalyst Quartet
MAR 12
MAR 19
ES055 covers.indd 4
2/19/15 2:43 PM
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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.
seattleartmuseum.org
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PARENT PREVIEW
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drop-in event
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oct. 23, nov. 8, & May 13
Nov. 12 & Dec. 2
jan. 10, 2015
For more information visit WWW.BILLINGSMIDDLESCHOOL.ORG
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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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SCHENKKAN
All the Way, The Great Society and The Kentucky Cycle
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Literary Voices Dinner
Saturday May 9, 6 pm
Club Husky, Husky Stadium
Tickets $150 to support conservation
$300 patron tickets | sponsorships available
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206-616-8397
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
2014-15 EVENTS CALENDAR
Mark Morris Dance Group | Thurs-Sat, Mar 5-7
Olga Kern | Thurs, Mar 12
Catalyst Quartet | Thurs, Mar 19
Delfos Danza Contemporanea | Thu-Sat, Apr 9-11
Gilberto Gil | Sat, Apr 11
Lyon Opera Ballet | Thurs-Sat, Apr 16-18
Emerson String Quartet | Tues, Apr 21
Simone Dinnerstein | Thurs, Apr 23
Pilobolus | Thurs-Sat, May 14-16
Angela Hewitt | Mon, May 18
Rhiannon Giddens | Wed, May 20
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.
A-2 UW WORLD SERIES
UW WORLD SERIES ADVISORY BOARD
DIRECTOR'S
WELCOME
From the adventurous performances that
have challenged our aesthetic boundaries, to
the sublime beauty and artistry of traditional
masters, I feel changed this season—and I
hope you do too.
It is you, after all—members of our
community both on campus and off—who
make this vital exchange of art and ideas
possible. It is your willingness to take risks,
to try new things, and to support creative
processes that are sometimes hard to predict.
You roll up your sleeves and get involved:
whether in learning about an artist or genre,
in sharing your thoughts, in bringing your
friends, or in your financial support.
Because of you, we are able to present the
Mark Morris Dance Group again at Meany
Hall after nearly a decade in a program
of all Seattle premieres. Because of you,
the Catalyst Quartet can impact the lives
of more than 100 K-12 students, and
because of you, we can hear Rachmaninoff
performed by one of his direct descendants,
the brilliant Olga Kern.
I hope you enjoy all that March has to offer,
and know that you are an integral part of
everything that happens here.
Warmly,
Michelle Witt
Executive Director of Meany Hall &
Artistic Director of 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
encore artsseattle.com A-3
World Dance Series
March 5-7, 2015
Mark Morris
Dance Group
and
Music Ensemble
Support for this event comes from
Katharyn Alvord Gerlich
Ellen Wallach
and Thomas Darden
photo
© Christopher Duggan
Artistic Director
Mark Morris
Thanks the following donors for their
support of this evening’s program
Executive Director
NancyUmanoff
KennethandMarleenAlhadeff
Linda and Tom Allen
Major support for the Mark Morris Dance Group is provided by American Express,
Nancy D. Alvord
Suzy Kellems Dominik, Doris Duke Charitable Trust, Judith R. and Alan H. Fishman,
Dick and Nora Hinton
The Howard Gilman Foundation, Shelby and Frederick Gans Fund, Google,
Bernita Jackson
Glenn Kawasaki, Ph.D.
Cecilia Paul and Harry Reinert
Lois H. Rathvon
Ellsworth Kelly Foundation, The Andrew W. Mellon Foundation,
Meyer Sound/Helen and John Meyer, PARC Foundation, Poss Family Foundation,
The Billy Rose Foundation, Inc., The Fan Fox and Leslie R. Samuels Foundation,
The SHS Foundation, The Shubert Foundation, Jane Stine and R.L. Stine,
Solon E. Summerfield Fund, Robert F. Wallace, The White Cedar Fund,
and Friends of MMDG.
The Mark Morris Dance Group is supported in part by public funds from
New York City Department of Cultural Affairs in partnership with
New York State Council on the Arts with support of Governor Andrew Cuomo
and the New York State Legislature, and National Endowment for the Arts.
206-543-4880
uwworldseries.org
A-4 UW WORLD SERIES
Chelsea Acree
Sam Black
Max Cappelli-King*
Rita Donahue
Domingo Estrada, Jr.
Lesley Garrison
Lauren Grant
Brian Lawson
Aaron Loux
Laurel Lynch
Stacy Martorana
Dallas McMurray
Maile Okamura
Brandon Randolph
Nicole Sabella*
Billy Smith
Noah Vinson
Jenn Weddel
Michelle Yard
*apprentice
MMDG Music Ensemble
Robert Burkhart
Colin Fowler
Georgy Valtchev
Weixiong Wang
photo
© Ani Collier
Tonight's Program
Pacific
Music: Lou Harrison – Trio for Violin, Cello, and Piano; 3rd and 4th movements
Costume Design: Martin Pakledinaz
Lighting Design: James F. Ingalls
Georgy Valtchev, violin; Robert Burkhart, cello; Colin Fowler, piano
Chelsea Acree, Domingo Estrada, Jr., Lesley Garrison, Aaron Loux, Laurel Lynch,
Stacy Martorana, Dallas McMurray, Maile Okamura, Noah Vinson
Premiere: May 9, 1995 – San Francisco Ballet, War Memorial Opera House,
San Francisco, California
Company Premiere: February 28, 2015 – George Mason University's Center
for the Arts, Fairfax, Virginia
Words
Music: Felix Mendelssohn – Songs Without Words
Costume Design: Maile Okamura
Lighting Design: Nick Kolin
Georgy Valtchev, violin; Colin Fowler, piano
Chelsea Acree, Sam Black, Max Cappelli-King, Rita Donahue, Domingo Estrada, Jr.,
Lesley Garrison, Brian Lawson, Aaron Loux, Laurel Lynch, Stacy Martorana,
Maile Okamura, Brandon Randolph, Billy Smith, Noah Vinson,
Jenn Weddel, Michelle Yard
Premiere: October 8, 2014 – New York City Center, New York, New York
Commissioned by New York City Center for the 2014 Fall for Dance Festival
photo
© Ani Collier
A-6 UW WORLD SERIES
Intermission
Jenn and Spencer
Music: Henry Cowell – Suite for Violin and Piano
Largo, Allegretto, Andante tranquillo, Allegro marcato, Andante calmato, Presto
Costume Design: Stephanie Sleeper
Lighting Design: Michael Chybowski
Georgy Valtchev, violin; Colin Fowler, piano
Sam Black (March 5 and 7), Brandon Randolph (March 6), Jenn Weddel
Premiere: April 3, 2013 – James and Martha Duffy Performance Space,
Mark Morris Dance Center, Brooklyn, New York
Music by arrangement with G. Schirmer, Inc. publisher and copyright owner.
Crosswalk
Music: Carl Maria von Weber – Grand Duo Concertant, for clarinet and piano, Op. 48
Allegro con fuoco, Andante con moto, Rondo: Allegro
Costume Design: Elizabeth Kurtzman
Lighting Design: Michael Chybowski
Weixiong Wang, clarinet; Colin Fowler, piano
Chelsea Acree, Sam Black, Domingo Estrada, Jr., Brian Lawson,
Aaron Loux, Laurel Lynch, Stacy Martorana, Dallas McMurray,
Brandon Randolph, Billy Smith, Noah Vinson
Premiere: April 3, 2013 – James and Martha Duffy Performance Space,
Mark Morris Dance Center, Brooklyn, New York
photo
© Ani Collier
MARK MORRIS was born on
August 29, 1956, in Seattle,
Washington, where he studied with
Verla Flowers and Perry Brunson.
In the early years of his career, he
performed with the companies
of LarLubovitch, Hannah Kahn,
Laura Dean, Eliot Feld, and the
Koleda Balkan Dance Ensemble.
He formed the Mark Morris Dance
Group (MMDG) in 1980, and has
since created over 150 works for the
company. From 1988 to 1991, he was
Director of Dance at Brussels’ Théâtre
Royal de la Monnaie, the national
opera house of Belgium. In 1990, he
founded the White Oak Dance Project
with Mikhail Baryshnikov. Much in
demand as a ballet choreographer,
Morris has created eighteen ballets since
1986 and his work has been performed
by companies worldwide, including
San Francisco Ballet, American
Ballet Theatre, Ballet du Grand
Théâtre de Genève, and the Royal
New Zealand Ballet. Noted for his
musicality, Morris has been described as
“undeviating in his devotion to music”
(The New Yorker).
BAM (Brooklyn Academy of Music).
He served as Music Director for the
2013 Ojai Music Festival. He also
works extensively in opera, directing
and choreographing productions
for the Metropolitan Opera, New
York City Opera, English National
Opera, and The Royal Opera, Covent
Garden, among others. He was
named a Fellow of the MacArthur
Foundation in 1991 and has received
twelve honorary doctorates to date.
He has taught at the University of
Washington, Princeton University,
and Tanglewood Music Center. He is
a member of the American Academy
of Arts and Sciences and the American
Philosophical Society, and has served
as an Advisory Board Member
for the Rolex Mentor and Protégé
Arts Initiative. Morris has received
the Samuel H. Scripps/American
Dance Festival Award for Lifetime
Achievement (2007), the Leonard
Bernstein Lifetime Achievement
Award for the Elevation of Music in
Society (2010), the Benjamin Franklin
Laureate Prize for Creativity (2012),
Cal Performances Award of Distinction
in the Performing Arts (2013), and the
Orchestra of St. Luke’s Gift of Music
Award (2014). Morris opened the Mark
Morris Dance Center in Brooklyn,
New York, in 2001 to provide a home
for his company, rehearsal space for the
dance community, outreach programs
for children and seniors, and a school
offering dance classes to students of all
ages and abilities.
He began conducting performances
for MMDG in 2006 and has since
conducted at The International Festival
of Arts and Ideas, Lincoln Center, and
The MARK MORRIS DANCE
GROUP was formed in 1980 and
gave its first performance that year
in New York City. The company’s
A-8 UW WORLD SERIES
touring schedule steadily expanded
to include cities in the United States
and around the world, and in 1986
it made its first national television
program for the PBS series Dance
in America. In 1988, MMDG was
invited to become the national dance
company of Belgium, and spent three
years in residence at the Théâtre Royal
de la Monnaie in Brussels. The Dance
Group returned to the United States
in 1991 as one of the world’s leading
dance companies. Based in Brooklyn,
New York, MMDG maintains strong
ties to presenters in several cities around
the world, most notably to its West
Coast home, Cal Performances in
Berkeley, California, and its Midwest
home, the Krannert Center for the
Performing Arts at the University
of Illinois at Urbana-Champaign.
MMDG also appears regularly in New
York, Boston, Seattle, and Fairfax. The
company made its debut at the Mostly
Mozart Festival in 2002 and at the
Tanglewood Music Festival in 2003
and has since been invited to both
festivals annually. From the company’s
many London seasons, it has received
two Laurence Olivier Awards and a
Critics’ Circle Dance Award for Best
Foreign Dance Company. Reflecting
Morris’ commitment to live music,
the Dance Group has featured live
musicians in every performance since
the formation of the MMDG Music
Ensemble in 1996. MMDG regularly
collaborates with renowned musicians,
including cellist Yo-Yo Ma, pianist
Emanuel Ax, mezzo-soprano Stephanie
Blythe, and jazz trio The Bad Plus, as
well as leading orchestras and opera
companies, including the Metropolitan
Opera, English National Opera, and the
London Symphony Orchestra. MMDG
frequently works with distinguished
artists and designers, including painters
Howard Hodgkin and Robert Bordo,
set designers Adrianne Lobel and Allen
Moyer, costume designers Martin
Pakledinaz and Isaac Mizrahi, and many
others. MMDG’s film and television
projects include Dido and Aeneas, The
Hard Nut, Falling Down Stairs, two
documentaries for the U.K.’s South
Bank Show, and PBS’ Live From Lincoln
Center. On March 27, 2015, Morris’
L’Allegro, il Penseroso ed il Moderato
will be featured on PBS. While on
tour the Dance Group partners
with local cultural institutions and
community organizations to present
Access/MMDG, a program of arts and
humanities-based activities for people of
all ages and abilities.
The MMDG MUSIC ENSEMBLE,
formed in 1996, is integral to the
Dance Group—"With the dancers
come the musicians...and what a
difference it makes" (Classical Voice
of North Carolina). The Ensemble's
repertory ranges from 17th century
works by John Wilson and Henry
Purcell to more recent scores by Lou
Harrison and Henry Cowell. The
musicians also participate in Access/
MMDG, the Dance Group's program
to deepen community engagement at
home and on the road.
MATTHEW ROSE
(rehearsal director)
began his dance
training in Midland,
Michigan, with Linda
Z. Smith at the age of 17. After
receiving his B.F.A. in dance from
the University of Michigan in 1992,
he moved to New York City. He was
a soloist with the Martha Graham
Dance Company from 1993-1996,
and in 1997 began working with
MMDG. After several years of
performing full-time with the Dance
Group, he began assisting Morris with
the creation of new works. He has
been the company’s rehearsal director
since 2006.
CHELSEA ACREE
grew up in Baltimore,
Maryland, where
she began her dance
training with Sharon
Lerner, then continued at Carver
Center for the Arts and Technology.
Since receiving her B.F.A. in dance
from Purchase College in 2005 she
has had the opportunity to work with
a variety of artists including SYREN
Modern Dance, Laura Peterson,
Hilary Easton + Company, and
Michael and the Go-Getters. Acree
is on the faculty at The School at the
Mark Morris Dance Center, where she
teaches kids and adults how to move
through space. She began working
with MMDG in 2007 and joined the
company in 2011.
SAM BLACK is
originally from Berkeley,
California, where he
began studying tap at
the age of nine with
Katie Maltsberger. He received his
BFA in Dance from SUNY Purchase,
and currently teaches MMDG master
classes and Dance for PD®. He first
appeared with MMDG in 2005 and
became a company member in 2007.
Coming Soon
Lyon
Opera
Ballet
April 16-18
at Meany Hall
One of the world’s leading
contemporary dance
companies, The Lyon Opera
Ballet is renowned for its
vast repertory of work by
emerging and established
choreographers.
Program: William Forsythe’s
Steptext (a quartet set to J.S.
Bach), Sunshine by Emanuel
Gat and Sarabande by
Benjamin Millipied.
206-543-4880 / uwworldseries.org
ROBERT BURKHART
(cello) combines a deep
commitment to the
existing cello repertoire
with what the New
Yorker magazine calls an “adventurous”
spirit in new music. With performance
credits at Alice Tully Hall, Carnegie
Weill Recital Hall, Merkin Hall, and
The Rose Studio at Chamber Music
Society of Lincoln Center, Burkhart has
also appeared as a soloist throughout
Japan as a member of the New York
Symphonic Ensemble, and been
featured in recital on WQXR’s “Young
Artist Showcase.” At the center of new
music in New York, Burkhart works
frequently with living composers in the
American Modern Ensemble, Argento
New Music Project, and Newspeak
among others. Recent collaborations
include Uri Caine, Aaron Jay Kernis,
Steve Mackey, Chen Yi, and Charles
Wourinen. He performed the New
York premiere of John Harbison’s Abu
Ghraib for cello and piano, and was the
soloist in Augusta Read Thomas’s Passion
Prayers for cello and chamber ensemble
at the New York Times Center. His
recent CD 20/21: Music for Cello and
Piano from the 20th and 21st Centuries,
features pianist Blair McMillen.
Burkhart’s recording of solo Bach on
the American Express commercial
“Don’t Take Chances. Take Charge.” has
garnered national attention.
MAX CAPPELLIKING was born in
Chicago and raised in
Madison, Wisconsin.
His formal training
began at Interlochen Arts Academy in
northern Michigan, where he attended
A-10 UW WORLD SERIES
high school. King earned his B.F.A.
from The Juilliard School in 2013. He
was a member of the Alyson Laury
Dance Company and an associate of
Jonah Bokaer's choreography. He has
also performed with Limón Dance
Company, Pam Tanowitz Dance, and
the Peridance Contemporary Dance
Company. He joined MMDG as an
apprentice in 2014.
RITA DONAHUE
was born and raised
in Fairfax, Virginia,
and attended George
Mason University. She
graduated magna cum laude in 2002,
receiving a B.A. in English and a B.F.A.
in dance. Donahue danced with bopi's
black sheep/dances by kraigpatterson
and joined MMDG in 2003.
DOMINGO
ESTRADA, JR.,
a native of Victoria,
Texas, studied martial
arts and earned his
black belt in 1994. He danced ballet
folklorico through his church for
11 years. Estrada earned his B.F.A.
in ballet and modern dance from
Texas Christian University and
had the honor of working with the
late Fernando Bujones. During his
undergraduate studies he attended the
American Dance Festival where he had
the privilege of performing Skylight, a
classic work by choreographer Laura
Dean. He debuted with MMDG in
2007 and became a company member
in 2009. Estrada would like to thank
God, his family and all who support
his passion.
COLIN FOWLER
(music director,
piano) is a graduate
of the Interlochen
Arts Academy and
holds bachelor’s and master’s degrees
from The Juilliard School. He has
performed and recorded throughout
the world with numerous soloists
and ensembles including Deborah
Voigt, the American Brass Quintet,
James Galway, and the Los Angeles
Philharmonic. In addition to
performing and conducting a
number of Broadway shows, Fowler
has been a professor at NYU and
Nyack College. He is currently the
organist and assistant music director
at both Calvary Church and Park
Avenue Synagogue in New York
City. He began collaborating with
MMDG in 2006 and was named
music director in 2013.
LESLEY GARRISON
grew up in Swansea,
Illinois, and received
her early dance
training at the Center
of Creative Arts in St. Louis,
Missouri, and Interlochen Arts
Academy in Interlochen, Michigan. She studied at the Rotterdamse
Dansacademie in The Netherlands
and holds a B.F.A. from Purchase
College. She first performed with
MMDG in 2007 and became
a company member in 2011. Garrison teaches at The School at
The Mark Morris Dance Center
and for the Dance for PD® program.
LAUREN GRANT
has danced with
MMDG since 1996.
Performing leading
roles in The Hard
Nut and Mozart Dances, Grant has
appeared in over 50 of Mark Morris’
works. She is on the faculty at The
School at the Mark Morris Dance
Center, leads master classes around
the globe, sets Mark Morris’ work
at universities, and frequently leads
classes for the company. Grant has
been featured in Time Out New York,
Dance Magazine, the book Meet the
Dancers, appeared in PBS’s Live from
Lincoln Center and ITV’s The South
Bank Show and was a subject for the
photographer Annie Leibovitz. Before
joining MMDG, Grant moved to
New York City from her hometown
of Highland Park, Illinois, and earned
a B.F.A. from NYU’s Tisch School of
the Arts. She and her husband David
Leventhal (former MMDG dancer
and current Dance for PD® Program
Director) are proud parents of son
Zev, born March 2012.
BRIAN
LAWSON began
his dance training in
Toronto at Canadian
Children’s Dance
Theatre. There he worked with
choreographers such as David Earle,
Carol Anderson, and Michael Trent.
Lawson spent a year studying at the
RotterdamseDansacademie in The
Netherlands and graduated summa
cum laude in 2010 from Purchase
College, where he was also granted the
President’s Award for his contributions
to the dance program. Lawson has had
the pleasure of performing with Pam
Tanowitz Dance, Dance Heginbotham,
and Nelly van Bommel's NØA Dance,
among others. He joined MMDG as
an apprentice in 2011 and became a
company member in 2013.
AARON LOUX
grew up in Seattle,
Washington, and began
dancing at the Creative
Dance Center as a
member of Kaleidoscope, a youth
modern dance company. He began
his classical training at the Cornish
College Preparatory Dance Program
and received his B.F.A. from The
Juilliard School in 2009. He danced
at The Metropolitan Opera and with
Arc Dance Company before joining
MMDG in 2010.
LAUREL LYNCH
began her dance
training at Petaluma
School of Ballet in
California. She moved
to New York to attend The Juilliard
School where she performed works
by Robert Battle, Margie Gillis,
José Limón, and Ohad Naharin.
After graduation Lynch danced for
DušanTýnek Dance Theatre, Sue
Bernhard Danceworks, and Pat
Catterson. Lynch joined MMDG as
an apprentice in 2006 and became
a company member in 2007. Many
thanks to Gene and Becky.
STACY
MARTORANA began
her dance training in
Baltimore, Maryland,
at the Peabody
Conservatory. In 2006 she graduated
from the University of North Carolina
School of the Arts with a B.F.A. in
contemporary dance. She has danced
with the Amy Marshall Dance
Company, the Neta Dance Company,
Helen SimoneauDanse, Kazuko
Hirabayashi Dance Theater, Daniel
Gwirtzman Dance Company, and
Rashaun Mitchell. From 2009-2011
she was a member of the Repertory
Understudy Group for the Merce
Cunningham Dance Company. She
joined MMDG in 2012.
DALLAS
McMURRAY, from
El Cerrito, California,
began dancing at age
four, studying jazz, tap,
and acrobatics with Katie Maltsberger
and ballet with Yukiko Sakakura.
He received a B.F.A. in dance from
the California Institute of the Arts.
McMurray performed with the
Limón Dance Company in addition
to works by JiříKylián, Alonzo King,
Robert Moses, and Colin Connor.
McMurray performed with MMDG
as an apprentice in 2006 and became a
MAILE OKAMURA
studied primarily
with Lynda Yourth at
the American Ballet
School in San Diego,
California. She was a member of
Boston Ballet II and Ballet Arizona
before moving to New York to
study modern dance. Okamura has
been dancing with MMDG since
1998. She has also had the pleasure
of working with choreographers
NetaPulvermacher, ZviGotheiner,
Gerald Casel, and John Heginbotham,
with whom she frequently collaborates
as dancer and costume designer.
BRANDON
RANDOLPH
began his training
with the School of
Carolina Ballet Theater
in Greenville, South Carolina, under
the direction of Hernan Justo. At age
14, he was accepted into the South
Carolina Governor’s School for the
Arts and Humanities, where he studied
with StanislavIssaev and Bobby Barnett.
Randolph received his B.F.A. in dance
from Purchase College in 2012. There
he had the opportunity to perform
with Dance Heginbotham as well
as repertory by Stephen Petronio,
LarLubovitch, Paul Taylor, and George
Balanchine. Randolph began working
with MMDG in 2013 and became a
NICOLE SABELLA
is originally from
Clearwater, Florida,
where she studied at the
Academy of Ballet Arts
and the Pinellas County Center for
the Arts at Gibbs High School under
Suzanne B. Pomerantzeff. In 2009,
She graduated from the University of
the Arts in Philadelphia, Pennsylvania,
earning her B.F.A. in Modern Dance
Performance and the “Outstanding
Performance in Modern Dance”
Award. She was a performer with
Zane Booker’s Smoke, Lilies, and Jade
Arts Initiative. Nicole first worked
with MMDG in 2013 and began her
apprenticeship in December 2014. BILLY SMITH grew
up in Fredericksburg,
Virginia, and attended
George Mason
Univeristy under a full
academic and dance talent scholarship.
He graduated magna cum laude
in 2007 and received achievement
awards in performance, choreography,
and academic endeavors. While
at George Mason he performed
the works of Mark Morris, Paul
Taylor, LarLubovitch, Doug Varone,
Daniel Ezralow, Larry Keigwin,
Susan Marshall, and Susan Shields.
Smith’s own piece, 3-Way Stop,was
selected to open the 2006 American
College Dance Festival Gala at Ohio
State University and his original
choreography for a production of
Bye Bye Birdie garnered much critical
praise. An actor as well, Smith’s
regional theater credits include Tulsa
in Gypsy, Mistoffelees in CATS, and
Dream Curly in Oklahoma!. Smith
danced with Parsons Dance from
2007-2010. He joined MMDG as a
GEORGY
VALTCHEV (violin)
has appeared as soloist,
recitalist, and chamber
musician throughout
the United States, Europe, and Asia.
Originally from Plovdiv, Bulgaria, he
came to the United States in 1992
as a scholarship student of Dorothy
Delay and Masao Kawasaki at The
Juilliard School, where he ultimately
earned his bachelor’s and master’s
degrees. He has been heard as soloist
with orchestras in Bangor, Baton
Rouge, Boston, Chicago, Dallas,
Miami, New York, New Jersey, in
his native Bulgaria, and throughout
Japan. Since 2011,Valtchev has
been a Guest Concertmaster of the
London Philharmonic Orchestra.
As a chamber musician he has
appeared in New York's Carnegie
Hall, Alice Tully Hall, 92nd Street
Y, Kennedy Center in Washington
DC, Chicago's Cultural Center, the
Royal Carre Theatre in Amsterdam,
the Barbican Centre in London,
and the Guangzhou Opera House
in China. He has been featured in
international music festivals such as
Mostly Mozart at Lincoln Center,
Beethoven Festival at Bard College,
Sofia Music Weeks, Varna Summer
and Appolonia in Bulgaria, and
Bastad Chamber Music Festival
in Sweden.Valtchev is a founding
member of Bulgarian Concert
Evenings in New York.
NOAH VINSON
grew up in Springfield,
Illinois and received
his B.A. in dance from
Columbia College
Chicago, where he worked with
Shirley Mordine, Jan Erkert, and Brian
Jeffrey. In New York, he has danced
with Teri and Oliver Steele and the
Kevin Wynn Collection. He began
working with MMDG in 2002 and
became a company member in 2004.
MICHELLE YARD
was born in Brooklyn,
New York. She began
her professional dance
training at the NYC
High School of the Performing
Arts and continued her studies
as a scholarship student at Alvin
Ailey American Dance Theater.
She graduated with a B.F.A. from
NYU’s Tisch School of the Arts.
Yard teaches Pilates as well as master
classes for Access/MMDG programs.
She joined MMDG in 1997. Mom,
thank you.
KORESH
DANCE
COMPANY
Wednesday, April 1
$34, $29 & $24,
$15 youth/student
ec4arts.org | 425.275.9595
410FOURTHAVENUENORTHEDMONDSWA98020
Readers
ECA 020315 koresh 1_12.pdf
Photo courtesy of Seattle Opera. Bill Mohn photographer
JENN WEDDEL
received her early
training from Boulder
Ballet Company near
where she grew up
in Longmont, Colorado. She holds
a B.F.A. from Southern Methodist
University and also studied at
Boston Conservatory, Colorado
University and The Laban Center,
London. Since moving to New York
in 2001, Weddel has created and
performed with RedWall Dance
Theater, Sue Bernhard Danceworks,
Vencl Dance Trio, Rocha Dance
Theater, TEA Dance Company
and with various choreographers
including Alan Danielson and Ella
Ben-Aharon. Weddel performed
with MMDG as an apprentice
in 2006 and became a company
member in 2007.
Readers
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Photo courtesy of Seattle Opera. Bill Mohn photographer
WIEXIONG WANG
(clarinet), born in
China and a native
of Elmhurst, is a
member of the Albany
Symphony Orchestra and is the winner
of several international competitions,
including first prize in the 2010 Fifth
Audi Mozart Woodwind Competition
in Italy, and the 2011 International
Crescendo Award in Tulsa, Oklahoma.
Wang performed the Mozart Clarinet
Concerto with the Bolzano Orchestra
in Italy, and he toured as a soloist with
the Salzburg Youth Orchestra across
Italy presented by the World Mozart
Association. After winning First Prize
at the United States Army Band Young
Artist Competition, Wang performed
the Weber Clarinet Concerto No. 2
with the band in Avery Fisher Hall and
was awarded the Young Artist Medal
by the United States Army General.
Wang received his first honor at the
age of 10, becoming the youngest
prize-winner at the Second China
International Clarinet Competition.
Two years later, he was awarded second
prize at the Hong Kong International
Woodwind Competition. Wang is
also a recording engineer, and he has
worked closely with musicians under
the management of CAMI, IMG,
and YCA. Wang began his studies at
Juilliard in the Pre-College Division
in 2005 with Richard Shillea and
Alan Kay, and is currently in the
studio of Charles Neidich. He is a full
scholarship recipient at The Juilliard
School and receives the Bel Jelin
Memorial Fund Scholarship, Irene
Diamond Graduate Fellowship, and
the Martin E. Segal Scholarship.
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MARK MORRIS
DANCE GROUP STAFF
Artistic Director Mark Morris
Executive Director Nancy Umanoff
PRODUCTION
Technical Director Johan Henckens
Rehearsal Director Matthew Rose
Music Director Colin Fowler
Lighting Supervisor Nick Kolin
Costume Coordinator
Stephanie Sleeper
Wardrobe Supervisor Jennifer Perry
ADMINISTRATION
Chief Financial Officer Elizabeth Fox
Finance Manager Rebecca Hunt
Finance Associate Jamie Posnak
General Manager Huong Hoang
Company Manager Sarah Horne
EDUCATION
Director of Education Sarah Marcus
Physical Therapist
Marshall Hagins, PT, PhD
School Director Sydnie Liggett
Hilot Therapist Jeffrey Cohen
Administrator, Education Programs
Jennifer Dayton
Thanks to Maxine Morris.
Outreach Director Eva Nichols
Education Interns Jenn Braun,
Jalyn Gill
Dance for PD®Program Director
David Leventhal
Dance for PD®Program Coordinator
Maria Portman Kelly
Dance for PD®Intern Jennifer Moskowitz
DANCE CENTER OPERATIONS
Facility and Production Manager
Peter Gorneault
Events Manager Karyn Treadwell
Operations Manager Elise Gaugert
Executive Assistant Anni Turkel
Rentals and Office Manager
Erica Marnell
Finance Intern Marlie Delisfort
Operations Administrator Sam Owens
DEVELOPMENT
Director of Development
Michelle Amador
Front Desk Assistants
Jillian Greenberg, Laura Merkel
Development Associates Tyler Mercer
and Sophie Mintz
Maintenance Jose Fuentes,
Orlando Rivera
Development Assistant
Kristen Gajdica
Development Interns Kenna Garcia,
Megan Guo
Operations Intern Shamika Austin
Booking Representation
Michael Mushalla
(Double M Arts & Events)
MARKETING
Director of Marketing Karyn LeSuer
Media and General Consultation
Services William Murray (Better
Attitude, Inc.)
Marketing Associate
François Leloup-Collet
Legal Counsel Mark Selinger
(McDermott, Will & Emery)
Marketing Assistant
Myriam Varjacques
Accountant O’Connor Davies Munns
& Dobbins, LLP
Marketing Interns Adam Ball,
Jennifer Martinez
Orthopaedist David S. Weiss,
M.D.(NYU Langone Medical Center)
Sincerest thanks to all the dancers for
their dedication, commitment, and
incalculable contribution to the work.
Additional funding has been received
from The Amphion Foundation,
Inc.; Lily Auchincloss Foundation,
Inc.; Florence V. Burden Foundation;
Capezio Ballet Makers Dance
Foundation; Joseph and Joan Cullman
Foundation for the Arts, Inc.; The
Gladys Krieble Delmas Foundation;
Kinder Morgan Foundation; Materials
for the Arts; McDermott, Will &
Emery; Mid Atlantic Arts Foundation;
Jerome Robbins Foundation; and
SingerXenos Wealth Management.
The Mark Morris Dance Group is
a member of Dance/USA and the
Downtown Brooklyn Arts Alliance.
Pacific © 1995 Discalced, Inc.
Words © 2014 Discalced, Inc.
Jenn and Spencer © 2013 Discalced, Inc.
Crosswalk © 2013 Discalced, Inc.
For more information contact:
MARK MORRIS DANCE GROUP
3 Lafayette Avenue
Brooklyn, NY 11217-1415
(718) 624-8400
www.mmdg.org
facebook: markmorrisdancegroup
twitter: markmorrisdance
instagram : markmorrisdance
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youtube: Mark Morris Dance Group
President's Piano Series
March 12, 2015
Olga Kern
Roland M. Trafton
Endowment Fund
Beethoven
Variations on a theme by Salieri, WoO 73
Alkan
Étude in G Major, Op. 35, No. 3
Chopin
PianoSonataNo.2inB-flatMinor,Op.35
Grave; Doppio movimento
Anonymous
Scherzo
Nancy D. Alvord
Marche funèbre: Lento
Linda Armstrong
Finale: Presto
Gail Erickson and Phil Lanum
Intermission
Lynn and Brian Grant Family
Kim and Randy Kerr
Rachmaninoff
ThreeÉtude-tableux
Mina B. Person
Op. 39, No. 9
Eric and Margaret Rothchild
Op. 33, No. 5
Op. 33, No. 7
Dave and Marcie Stone
Donald and Gloria Swisher
David Vaskevtich
Mark and Amy Worthington
Rachmaninoff
NinePréludes
Op. 32, No. 1 in C Major
Op. 32, No. 5 in G Major
Op. 32, No. 8 in A Minor
Op. 3, No. 2 in C-sharp Minor
Op. 23, No. 7 in C Minor
Op. 32, No. 10 in B Minor
Op. 23, No. 5 in G Minor
Op. 32, No. 12 in G-sharp Minor
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Op. 23, No. 2 in B-flat Major
ABOUT THE PROGRAM
Variations on a theme by Salieri,
WoO 73
Ludwig van Beethoven (1770–1827)
Poor Antonio Salieri, the unjustly
maligned composer blamed for
Mozart’s death. During his lifetime
Beethoven sought to undo the
vicious rumor, but to no avail. Not
only did Nikolai Rimsky-Korsakov
give renewed life to the unfounded
charge in his opera Mozart and
Salieri (1897), but in our own time
Peter Schaefer’s Amadeus furthered
the crime. Salieri was, in fact, one of
Beethoven’s teachers, who taught his
illustrious pupil the ins and outs of
composing Italian-based opera. Later
he mentored Schubert, also with the
goal of inculcating a desire to write in
the Italian style.
Little of Salieri’s music is heard
today, including his Falstaff, ossia
Le tre burle (“Falstaff, or the three
jokes”) composed long before Verdi
set the highest standard in turning
Shakespeare’s play, The Merry Wives
of Windsor into an opera. Still,
the Act I duettino “La stessa, La
stessissima” from Salieri’s opera
provided Beethoven with the material
for Variations on a theme by Salieri,
written in 1799, the same year as the
opera.
The comical theme, with its perky
appoggiaturas, launches 10 variations
that begin with a series of chromatic
scales that surround the primary
melody. In succeeding variations
Beethoven introduces syncopation,
rapid triplets and other improvisatory
treatments of the theme. The fifth
variation assumes a mock-serious
mode by detouring into the minor.
A bold and contrapuntal episode
follows before another set of
boisterous scales takes over. A rocking
and lyrical variation comes next,
alternating between jauntiness and
lyric impulse. A jumpy and comical
statement ensues, in turn unveiling a
lightly galloping variation punctuated
by surging figures in the left hand
with rapid scales high in the right
hand. High trills over running scales
in the bass show Beethoven utilizing
the entire keyboard. A brief cadenzalike episode brings the piece to a
conclusion.
Étude in G Major, Op. 35, No. 3
CharLes-vaLentin aLkan (1830–1888)
The French composer Charles Alkan
enjoyed a solid reputation in Paris
in the 1830s and ‘40s as a pianistic
rival to Chopin and Liszt, both of
whom eclipsed Alkan at the time and
ever since. Alkan was extraordinarily
precocious, entering the Paris
Conservatory at age 6, and in
adulthood counted among his friends
several of the artistic luminaries who,
like him, called Paris their home
and source of fame and inspiration.
These worthies include artist Eùgene
Delacroix and the writer George
Sand, Chopin’s inamorata until their
disastrous breakup.
After his death Alkan’s music fell
into near oblivion, though Ferrucio
Busoni and a few other composer/
pianists tried to keep his reputation
alive. Beginning in the late 1960s, his
music resurfaced thanks to the efforts
of pianist Raymond Lewenthal’s
well-received LP of his virtuosic and
complex music.
In 1847-48 Alkan composed a set of
12 Études, Op. 35 in all the major
keys (followed in 1857 by another set
in the minor keys). As with Chopin’s
two sets of études, Alkan’s also
blend didactic technique-building
with a penchant for attractive tunespinning. In the Étude in G major
a rippling melody in the right hand
floats over gently prodding chords
in the left hand. This sweetly lyrical
opening section is followed by a
roiling middle episode that provides a
viruosic variant on the same material
that opens the Étude. The repeated
notes of the melody evoke the
plucked sounds of a mandolin and
guitar, providing a lesson on evenness
of finger-work in both quiet and
rambunctious episodes.
Piano Sonata No. 2 in B-flat Minor,
Op. 35
FrédériC Chopin (1810–1849)
Frédéric Chopin composed three
sonatas for piano of which the first
(C minor, 1828) remains a recital
program rarity. His second and
third essays, however, are among
the best known of his large-scale
works, belying the cliché that he was
ill-equipped to deal with extended
forms.
The Sonata No. 2 in B-flat minor,
“Funeral March,” is a far more
innovative and even unsettling
composition than the supremely
lyrical Third Sonata. Robert
Schumann, typically a fervent
champion of Chopin, did not grasp
the essential unity of the fourmovement second sonata when he
wrote, “Chopin has simply bound
together four of his most reckless
children.” Later commentators tend
more toward the assessment by
Herbert Weinstock, that “had Chopin
written little else, [this sonata] would
entitle him to a position as peer of
the greatest artistic creators.”
In the first movement, marked
Grave; Doppio movimento, the
composer borrowed the main
theme from the “Funeral March,”
rearranging it slightly and placing
it in a more agitated setting. The
mood throughout, despite moments
of comparative calm, is insistent,
obsessive and dark.
The ensuing Scherzo maintains and
even intensifies the restive, feverish
quality of the first movement. A
central section in the major parallels
the Trio of the “Funeral March”
and gives needed relief from the
exhausting tension that courses
through the work like an electric
charge.
The famous “Funeral March”
third movement is the emotional
core of this work yet was the first
to be written (in 1837). Its grim
tread, emphasized by the relentless
alternation of chords spaced a third
apart, add a measure of austerity that
darkens the music. This is Chopin far
removed from the salon.
Most puzzling—even today—is the
nervous and enigmatic Finale: Presto,
“a sphinx smiling ironically,” in
Schumann’s metaphoric description.
A mere 90 seconds of scurrying notes,
it sounds initially more like a study in
perpetual motion than a recognizable
tune. Yet even here, Chopin has
borrowed from the first movement’s
reshaped “Funeral March” theme,
unifying and bringing to a close this
far-reaching work.
Études tableaux and Préludes
sergei raChmaninoFF (1873–1943)
Though Rachmaninoff lived well into
the 20th century, this gifted pianist/
conductor/composer carried forward
the ripe Romanticism of Tchaikovsky.
He was born on a large estate near the
ancient city of Novgorod, the son of
an army officer and a wealthy heiress.
His father gambled, drank and
squandered his wife's money, finally
deserting his family when Sergey
was nine years old. By all accounts
the boy was a problem child, but
clearly manifested extraordinary
talent at the piano. At age nine he
entered the College of Music in St.
Petersburg. Because of his natural
gift, he reputedly did not bother to
study. To solve his discipline problem
Rachmaninoff moved to Moscow
to live with Nikolai Zvereff, a
leading music teacher at the Moscow
Conservatory. In 1892, Rachmaninoff
graduated from the conservatory
with high honors. He made his first
visit to the United States in 1909 to
rapturous acclaim. Henceforth, he
visited America yearly. Rachmaninoff
died on March 28, 1943, only few
MAR
8
Music from the War to End All Wars
Music of Ravel, Bartók, and Prokofiev
Pre-Concert Lecture: Ronald Moore
This series produced by piano professor Robin
McCabe, features music composed during the
Great War, with historical context offered in
commentary and narration. Lecture: 4 pm
Concert: 4:30 pm Brechemin Auditorium
MAR
10
Ethnomusicology Visiting Artist
Srivani Jade and Students
Music of North India
An evening of Indian classical music.
With special guests Ravi Albright, tabla,
and Aarshin Karande, harmonium.
7:30 pm Brechemin Auditoriumr
MAR
13
UW Symphony with Concerto
Competition Winners
Selections by Fauré, Elgar, Reinecke,
Chopin, and Sibelius.
7:30 pm Meany Theater
MoRE AT: WWW.MuSIC.WAShInGTon.Edu
ArtsuW TICKET oFFICE: 206.543.4880
encore artsseattle.com
UWSM 012315
bw 1_3v.pdf
A-17
weeks after becoming an American
citizen, and five days before his
seventieth birthday. In addition to his
substantial gifts as a composer and
pianist, he was also considered a firstrate conductor.
Rachmaninoff composed two sets of
Études tableaux. The Op. 33 pieces
date from the summer of 1911;
the Op. 39 collection occupied
the composer in 1916–17. Of the
nine Études comprising the Op.
33 works only the final number,
Allegro moderato, is cast in the major,
specifically in D. Like its brethren in
Op. 39, this valedictory piece requires
a truly mature technique and focuses
on rhythmic energy, immediately
apparent in the aggressive opening
moments whose alternating high and
low tonal areas suggest the ringing of
the famed Russian bells (as found in
the opening bars of the Second Piano
Concerto). Clangorous and emphatic,
a calmer moment—though still
trickily rhythmic—provides a slight
respite from the prevailing mood.
Op. 33, No. 5 in D minor, Moderato
opens with a series of repeated
descending notes. Despite the minor
mode this animated Étude is less
overtly dramatic than quirky and
increasingly chromatic as it unfolds.
A middle episode draws the listener
into a relative quietude before
ramping up the energy and volume,
finally closing in comparative
quietude. No. 7 in E-flat, Allegro con
fuoco skips around the keyboard with
boundless energy and ends with a
virtuosic coda.
Rachmaninoff’s bounteous collection
of preludes explores the full range of
human emotion.
Op. 32, No. 1 in C Major, Allegro
vivace leaps forward with tremendous
vitality, its energy enhanced by
forceful scales and repeated punching
notes in the left hand. A skittish
central section briefly lightens the
texture before a serene close. Op.
32, No. 5 in G Major, Moderato is
an intimate and wistful gesture that
hints at Debussy. Op. 32, No. 8 in
A minor, Vivo opens w/ a two quickpaced and mercurial phrases followed
by a short pause before continuing
with its rapidly flowing thematic
material, periodically punctuated
by a galvanic three-note phrase first
heard in the opening moments.
Tempestuous and volatile, the brief
Prélude ends with a brief recap of the
same terse phrase.
The early Prélude Op. 3, No.
2 in C-sharp minor (1892) is
unquestionably Rachmaninoff’s most
famous solo piano piece, its 3-note
descending theme still capable of
rousing an audience to a satisfied
“Ahh” of fond recognition. The
dramatic work’s enduring popularity
seems insatiable on the part of eager
listeners. The composer, for his part,
grew to loathe hearing requests for
“the C-sharp minor.”
Op. 23, No. 7 in C minor, Allegro
surges onward in rapidly ascending
wave-like motion. The left hand
provides a solid armature under the
perpetual motion skittering above
it. The lyrical Op. 32, No. 10 in B
minor, Lento begins quietly with
gentle prodding from a repeated
rhythmic figure. Soon the music takes
on a rhapsodic and insistent character
before subsiding into quietude.
Although many of the Préludes
bask in simple lyricism, others, such
as the G-minor Prelude, Op. 23,
No. 5, Alla marcia boldly march
forward courtesy of strongly insistent
rhythmic impetus generated by
muscular figurations in the left hand.
In this particular case Rachmaninoff
also takes a mid-movement detour to
luxuriate in rapturous Romanticism
redolent of such stalwart works as his
evergreen Second Piano Concerto.
Composed in 1901, this Prélude
received its premiere in 1903 in
Moscow played by the composer, one
of the 20th century’s true wizards of
the keyboard.
Op. 32, No. 12 in G-sharp minor,
Allegro begins with sparkling
embroidery high on the keyboard
while ripe romantic melodies work
their way underneath, evincing a
mood of sadness. Finally, Op. 23,
No. 2 in B-flat Major, Maestoso
begins with stentorous tones in
the bass region while the central
register is home to a rich sequence of
increasingly powerful gestures.
© 2015 Steven Lowe
ABOUT OLGA KERN
Now recognized as one of her
generation’s great pianists, Olga Kern’s
career began with her historic goldmedal winning performance at the
Eleventh Van Cliburn International
Piano Competition. Olga Kern was
born into a family of musicians with
direct links to Tchaikovsky and
Rachmaninoff and began studying
piano at the age of five.
Ms. Kern is a laureate of many
international competitions including
her first place win at the first
Rachmaninoff International Piano
Competition at the age of seventeen
and has toured throughout her native
Russia, Europe, and the United States,
as well as in Japan, South Africa, and
South Korea.
With her vivid stage presence,
passionately confident musicianship
and extraordinary technique, the
striking young Russian pianist
continues to captivate fans and
critics alike. Ms. Kern’s performance
career has brought her to many
of the world’s most important
venues, including the Great Hall
of the Moscow Conservatory,
Symphony Hall in Osaka, Salzburger
Festspielhaus, La Scala in Milan,
Tonhalle in Zurich, Avery Fisher
Hall and Carnegie Hall in New
York, and the Châtelet in Paris.
She has appeared as a soloist with
the Mariinsky Theatre Orchestra,
the Bolshoi Theater, the Moscow
Philharmonic, London Symphony,
St. Petersburg Academic Symphony,
Russian National, China National
Symphony, Stuttgart State Orchestra,
La Scala Philharmonic, Royal
Scottish National Orchestra,
Torino Symphony, and Cape
Town Symphony Orchestras. Ms.
Kern has also collaborated with
the most prominent conductors in
the world today, including Valery
Gergiev, Leonard Slatkin, Manfred
Honeck, Christoph Eschenbach, Yuri
Termirkanov, Antoni Wit, Pinchas
Zukerman, Marin Alsop, Gian-Carlo
Guerrero and James Conlon.
foundation whose objective is to
provide financial and artistic assistance
to musicians throughout the world.
Ms. Kern lives in New York City with
her son, Vladislav Kern, who studies
piano in the Juilliard School’s precollege program.
In the 2014-2015 season, Olga will
perform with the NHK Symphony in
Tokyo and Osaka, the symphonies of
Detroit playing all three Tchaikovsky
Piano Concertos for an eponymous
festival honoring the composer,
Nashville, Colorado, Madison,
Austin, Mobile, and Santa Rosa, along
with the New Mexico Philharmonic
and will give recitals in Seattle and
Louisville, as well as alongside star
American soprano Renée Fleming in
Boston and Washington, D.C.
Ms. Kern’s discography includes
Harmonia Mundi recordings of
Tchaikovsky Piano Concerto No.
1 with the Rochester Philharmonic
Orchestra and Christopher Seaman
(2003), a Rachmaninoff recording
of Corelli Variations and other
transcriptions (2004), a recital disk
with works by Rachmaninoff and
Balakirev (2005), Chopin’s Piano
Concerto No. 1 with the Warsaw
Philharmonic and Antoni Wit (2006),
Brahms Variations (2007) and a 2010
release of Chopin Piano Sonatas No.
2 and 3 (2010). She was also featured
in the award-winning documentary
about the 2001 Cliburn Competition,
Playing on the Edge. Most recently,
SONY released a recording of Ms.
Kern performing the Rachmaninoff
Sonata for Violin Cello and Piano
with cellist Sol Gabetta.
Ms. Kern was the recipient of an
honorary scholarship from the
President of Russia in 1996 and is
a member of Russia’s International
Academy of Arts. She studied with
Professor Sergei Dorensky at the
Moscow Tchaikovsky Conservatory,
and Professor Boris Petrushansky at
the acclaimed Accademia Pianistica
Incontri col Maestro in Imola, Italy.
Ms. Kern is also a corresponding
member of the Russian Academy of
Sciences, Division of the Arts. In 2014
Ms. Kern joined the roster of Steinway
& Sons Artists.
Get Connected
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In addition to performing, Ms. Kern
devotes her time to the support and
education of developing musicians.
In 2012, Olga and her brother,
conductor and composer, Vladimir
Kern, co-founded the “Aspiration”
International Chamber Music Series
March 19, 2015
Catalyst Quartet
Karla Donehew-Perez, violin
Jessie Montgomery, violin
Paul Laraia, viola
Karlos Rodriguez, cello
Mina B. Person
Montgomery
Strum
Tower
In Memory
Glass
String Quartet No. 3, Mishima
1957: Award Montage
November 25: Ichigaya
Grandmother and Kimitake
Peg & Rick Young Foundation
1962: Body Building
Blood Oath
Mishima/Closing
D'Rivera
Nancy D. Alvord
Intermission
Warren and Anne Anderson
Ives
String Quartet No. 1
Chorale: Andante con moto
Dr. Martin L. Greene
Prelude: Allegro
Offertory: Adagio cantabile
Postlude: Allegro marziale
Lee and Judy Talner
Wapango
Barber
String Quartet Op. 11
Molto allegro e appassionato
206-543-4880
uwworldseries.org
Adagio—
Molto allegro (come prima)—Presto
ABOUT THE PROGRAM
Strum
Jessie montgomery (1982–)
Born in New York, Jessie Montgomery
wears three professional hats, violinist,
composer and music educator. In all
three interconnected areas she is an
advocate for classical music—traditional
and contemporary. Since 1999, she
has been affiliated with The Sphinx
Organization, which focuses on
promoting the careers of young AfricanAmerican and Latino string players.
Her compositions have been premiered
by such pioneering ensembles as the
Vinca Quartet, Providence String
Quartet, JACK Quartet, Catalyst
Quartet (in which she performs),
and members of the International
Contemporary Ensemble. She honed
her compositional skills under the
mentorship of Joan Tower, Derek
Bermel and film composer Ira Newborn.
The composer has written:
“Strum is the culminating result of
several versions of a string quintet
I wrote in 2006. It was originally
written for the Providence String
Quartet and guests of Community
MusicWorks Players, and then
arranged for string quartet in
2008 with several small revisions.
In 2012 the piece underwent its
final revisions with a rewrite of
both the introduction and the
ending for the Catalyst Quartet
in a performance celebrating the
15th annual Sphinx Competition.
Originally conceived for the
formation of a cello quintet, the
voicing is often spread wide over
the ensemble, giving the music
an expansive quality of sound.
Within Strum I utilized texture
motives, layers of rhythmic or
harmonic ostinati that string
together to form a bed of sound
for melodies to weave in and out.
The strumming pizzicato serves as
a texture motive and the primary
driving rhythmic underpinning of
the piece. Drawing on American
folk idioms and the spirit of dance
and movement, the piece has a
kind of narrative that begins with
fleeting nostalgia and transforms
into ecstatic celebration.”
The work begins with pizzicatos before
the cello intones a rising 3-note theme
supported by modal harmony followed
by high harmonics from the first
violin. The pizzicato element continues
throughout, creating a pointillistic
backdrop to the increasingly animated
music. Harmonic changes are
minimal; rhythmic élan is the guiding
principle. Syncopation heightens the
energy, and one episode even suggests
a hoedown.
In Memory
Joan tower (1938–)
One of our nation’s prominent
composers, Joan Tower has written
music that has maintained a virtually
continuing presence in concert venues
from Santa Cruz to Moscow and then
some. She has served as composerin-residence for orchestras and music
festivals in Santa Cruz (CA), St. Louis,
Winnipeg and elsewhere, as well as
professor at Bard College. She has also
earned a reputation as a fine pianist,
noting that she considers herself as a
performer who composes, rather than
the reverse.
She composed In Memory in 2002 as
a deeply personal tribute to a close
friend who had died the previous
year; the tragic events of 9/11 added
yet another layer of grief to the Tokyo
String Quartet commission. With
regard to that powerful stimulus she
noted, “…the intensity of the piece
got higher. It veers between pain, love
and anger.”
The one-movement work opens
with a long-held violin note that
unfolds into a long mournful tune.
The other instruments enter as the
dynamic level rises and the music
becomes increasingly agitated. Most
of the music lies in high register but
continues to descend until the cello
presents painfully dissonant chords.
After two-plus minutes, the expressive
focus becomes more internalized,
less agitated but still sad and elegiac.
Slashing chords introduce a feverish
episode with increasing dissonance and
fearsome intensity. Roughly half-way
through the quartet, the music again
turns inward; sadly weeping upper
strings move over the cello’s searching
melodic material. The quiet episodes
evoke a chilling shudder of the soul.
Urgent, insistent abrasive cello chords
support continued feverish activity
from the higher strings. Whether loud
or soft, the relentless grief permeates
the entire piece. The piece ends quietly
on a high unison note that gradually
swells before dying. In Memory is not a
comforting piece but one that mirrors
the horror and unspeakable grief of
our shared reaction to 9/11.
String Quartet No. 3, Mishima
phiLip gLass (1937–)
As with a number of his compositions
Philip Glass’ String Quartet No. 3
grew from a film score, in this instance
Paul Schrader’s Mishima: A Life in
Four Chapters, dating from 1985.
The music for the film utilized a full
orchestra including, for certain sections,
a string quartet. The title, Mishima,
refers to the Japanese writer and selfproclaimed latter-day Samurai warrior
Yukio Mishima, an arch-conservative
who decried Western materialism and
argued for the re-instatement of the
emperor in Japan; though admired as
a writer, his plea was ignored and/or
ridiculed. The film and his actual life
ended on November 25, 1970, when
he took his own life. Within the movie
Glass employed the string quartet to
express the most personal and intimate
aspects of the eponymous subject’s
life. The composer has indicated that
he conceived the quartet episodes as a
virtually independent work.
Up and down arpeggios open the
first movement. Within the repeated
figurations of this backdrop a flowing
melody weaves through Glass’ familiar
textural writing. Brief chord changes
and surging energy prevail. The second
movement recalls the arpeggios from
the opening movement but this time
it houses a deeper and more touching
theme in the minor mode. An elegiac
mood permeates this brief and
touching essay.
Harsh chords launch the quietly
agitated third movement. Repeated
chords urge the music onward with
a slashing motion; dynamics and
melodic fragments rise and fall
dramatically in this contest between
the upper and lower instruments.
The brief fourth movement begins as
if ready to settle into another elegy
but is soon swept into higher gear
with insistent urgings before ending
abruptly on an expectant unresolved
chord. Another rhythmically chugging
movement ensues with shifting
textures and shifts into alternating
harmonic centers. The sixth and
concluding movement begins quietly
while sharing the all but patented
see-saw motion that has been a Glass
trademark throughout his career.
Tinges of deep sadness infuse the
music, which gradually quietens before
drawing to a close.
Wapango
paquito d'rivera (1948–)
Havana-born Paquito D’Rivera
was a child prodigy whose career
began as a performer on clarinet and
saxophone, playing with the Cuban
National Symphony Orchestra.
In the late 1980s be helped found
Dizzy Gillespie’s United Nations
Orchestra, an ensemble dedicated
a fusion of Latin and Caribbean
influences with American jazz. For
many years D’Rivera has served as a
cross-cultural ambassador, creating
and promoting a multicultural style.
With more than 30 solo albums to
his credit he has garnered more than
a dozen Grammy Awards.
His 1975 String Quartet, Wapango,
drew its inspiration from the longpopular Mexican dance, spelled
commonly as “Huapango.” Wapango
begins with an energetic chordal
introduction led by a surging
cello theme. The overall “sound”
is positively orchestral in its rich
sonority. The music skips up and
down through the string ensemble’s
entire range. A substantial dynamic
continuum adds to sense of
symphonic heft. Frequent brief pauses
dot the sonic landscape. Naturally, the
music evokes an irresistible Latin feel.
String Quartet No. 1
CharLes ives (1874–1954)
As a student at Yale, Charles Ives
studied with German-trained Horatio
Parker. The differences between teacher
and pupil manifested a stylistic chasm
with only a hint of a bridge between
then. The conservative Parker bristled
at Ives’ “out-of-the box” thinking, yet
he provided his ward with a sound
grounding in composition, enabling
Ives to combine traditional European
form with American innovation.
In 1896, while a student at Yale,
Ives produced his First Symphony,
a massive work redolent of
Brahms, Tchaikovsky, and Dvořák.
Simultaneously, Ives composed his
String Quartet No. 1, which he later
subtitled with irony steeped in truth,
“From the Salvation Army.” Given his
experience gained under his father’s
guiding hand, the quartet integrates
gospel hymns the youngster heard
in camp meetings within the formal
structures of 19th-century German
Romanticism. Parker was not pleased
by Ives’ use of hymns, stating that they
“have no place” in music, forgetting
perhaps that composers throughout
the ages have always availed themselves
of musical ideas outside the range of
“serious” music.
As with other works in Ives’ canon,
the opening movement of the Quartet
began life as an organ fugue which used
themes derived from beloved hymns.
So too the following movements drew
from the rich legacy of American hymn
tunes, familiar to most people at the
time but increasingly unknown to
listeners of today.
The cello introduces the initial flowing
theme, soon joined by the remaining
strings contrapuntally. Harmonies
remain firmly tonal throughout, at
far remove from the polytonality of
much of his later music. Well into the
movement the cello sustains a longheld pedal point, betraying its origins
as an organ work. Shortly before
closing the tempo slows significantly
and ends nobly.
Sounding like a cross between a
religious camp meeting and a hoedown,
the ensuing sectional Prelude is an
effusively positive essay with subtle
harmonic and rhythmic twists that hint
at the composer’s evolving style. As in
the opening movement, the Prelude
ends as a slower tempo, and rather
abruptly to boot.
Listed as “Offertory,” the third
movement opens with a serenity
somewhat undone by unexpected
harmonic shifts that bespeak inner
anxiety alternating with sweet lyricism.
Above cello pizzicatos, an ensuing
episode veers between quietude
and jaunty extroversion before the
movement calms to a pacific close.
itself with a vibrant main theme that
is eventually pitted against a quiet
chorale-like counter theme. A third
legato theme emerges before Barber
weaves the three elements together.
The finale marked Postlude: Allegro
marziale, finds the young composer
is an energetic state of mind. Strong
dotted rhythm moves things along
with confident energy. Intervening
episodes provide lyrical contrast and
reduced dynamic levels. A brief and
ardent contrapuntal section—also
marked by dotted rhythm—returns
to urge the music forward. The
movement ends on a sequence
of passionate tremolos. A perhaps
coincidental connection to the quartet
as a whole: the rustic inflections briefly
recall the hoedown-like inflections of
Dvořák’s String Quartet, Op. 96 and
Quintet, Op. 97, both of which carry
the apt nickname “American.”
The ensuing Adagio—most familiar
in its string orchestra arrangement for
Arturo Toscanini—is laid out in arch
form. The basic flowing and elegiac
main theme slowly moves through the
different string instruments, beginning
with the violins before a downward
shift into the viola’s realm. The work’s
expansive central section entrusts the
theme to the cellos, then builds to
a powerful fortissimo climax in the
high regions of the string ensemble’s
range, followed immediately by dead
silence—which greatly intensifies the
dramatic impact of the climax. A series
of wrenchingly sad chords provides a
transition to the final section where
the opening theme is heard. The
affecting conclusion uses the first
five notes of the melody, holding the
final note over a moment of silence
followed by an accompanying figure
that ebbs away to nothingness.
String Quartet, Op. 11
samueL BarBer (1910–1981)
Not a child prodigy in the mold
of Mozart or Mendelssohn, Barber
nonetheless began composing in
his youth. His abundant musicality
received nurture from his aunt, the
famous contralto Louise Homer, who
taught the boy to sing at a tender age.
In 1936, still a young man, Barber
composed his String Quartet, Op.
11. Though he could always use
dissonance when it served his purposes
he more typically employed a neoRomantic tonal vocabulary.
The Quartet’s opening movement,
Molto allegro e appassionato, asserts
In its string orchestra version the Adagio
has served to commemorate tragic
occasions ever since, including the
funerals of Franklin Delano Roosevelt,
Prince Rainier of Monaco, as well as the
ceremony at the site of the World Trade
Center following the catastrophic events
of September 11, 2001.
Though the Adagio seems to come to
a full close, the term attacca precedes
the Molto allegro (come prima)—Presto
finale that emerges Phoenix-like out of
the silence, i.e., without pause. A very
brief and fairly quiet figure almost
immediately launches an energetic
and anxious episode before the
music grows temporarily quiet before
bringing the quartet to an energetic,
forceful and anxious close.
© 2015 Steven Lowe
ABOUT THE CATALYST
QUARTET
Hailed by The New York Times at their
Carnegie Hall debut as “invariably
energetic and finely burnished…
playing with earthy vigor” the Catalyst
Quartet, prize winners of the Gianni
Bergamo Classical Music Award
2012 (Switzerland) is comprised
of top Laureates and alumni of the
internationally acclaimed Sphinx
Competition. Known for “rhythmic
energy, polyphonic clarity and tight
ensemble-playing” (New York Concert
Review). The quartet has toured
domestically and abroad including
sold out performances at the Kennedy
Center for the Performing Arts,
Chicago’s Harris Theater, the Frank
Gehry designed New World Center
in Miami, and Carnegie Hall (Stern
Auditorium), to name a few. They have
also appeared on multiple radio and
television broadcasts such as American
Public Media’s Performance Today,
Chicago (WFMT), Houston (KUHF),
Seattle (KING FM), Vermont Public
Radio, Detroit Public Television; and
have contributed to online and print
media including The Strad and Strings
magazine.
The Catalyst Quartet has held
residencies and given master classes
at institutions such as the University
of Washington, University of
Michigan, Rice University, Cincinnati
Conservatory of Music, In Harmony
Project (UK), Pennsylvania State
University, and the University of South
Africa. They also serve as principal
faculty at the Sphinx Performance
Academy at Oberlin College and
Roosevelt University. The Quartet has
been guest artists at Festival del Sole,
Great Lakes Chamber Music Festival,
Sitka Music Festival, Juneau Jazz and
Classics, the Britten-Pears Young Artist
Programme, Juilliard String Quartet
Seminar, Strings Music Festival, and
the Grand Canyon Music Festival.
The Catalyst Quartet’s debut album,
The Bach/Gould Project, featuring
their own arrangement of J.S. Bach’s
Goldberg Variations and Glenn Gould’s
String Quartet can be found on the
Azica Records label. They are also
featured on the album STRUM, the
string works of quartet violinist Jessie
Montgomery (available fall 2015).
KARLA DONEHEW-PEREZ,
(violin), born in Puerto Rico, began
playing the violin at age three. By age
nine she had performed as a soloist
with the Puerto Rico Symphony
Orchestra, and shortly after that was
featured on a national television show
about young gifted Latin American
children. She was the youngest
member of Festival Orchestra
Juvenil de Las Americas during the
Casals Festival. At age twelve, Karla
moved to California and entered The
Crowden School, a middle school
with a focus on string chamber music.
She continued her studies with Anne
Crowden, Director and founder of
The Crowden School.
Karla completed her Bachelors and
Masters degrees at the Cleveland
Institute of Music, studying
performance with the heralded violin
teachers Paul Kantor, David Cerone,
and William Preucil. As a student at
CIM, Karla participated in numerous
Master Classes with distinguished artists,
and served as the CIM Orchestra’s
concertmaster. As a member of the
WO-MEN String Quartet, she was
awarded 1st place at the Ohio String
Teachers Association Competition, and
Honorable Mention at the Plowman
Chamber Music Competition. The
quartet was also chosen to represent
CIM for the Conservatory Project at
the Kennedy Center for the Arts and
was selected to play a recital for the
Cleveland Chamber Music Society. In
her junior year, Karla was a recipient of
the prestigious Dr. Jerome Gross Award
in violin. Karla was also awarded second
place at the Sphinx Competition. Karla
was featured on the Young Artist Series
for the Festival del Sole, in Napa Valley,
California, and was guest concertmaster
of the Tucson Symphony Orchestra.
Recently, Karla was a fellow at the New
World Symphony, where she often sat
concertmaster or principal second violin
and performed as a soloist.
Karla performs on a fine violin by
Charles and Samuel Thompson,
London 1774, on generous loan from
Patricia Press Nissen in memory of
Alvera and Dudley Warner- Press, and
a fine violin bow by Victor Fetique,
from the Rachel Elizabeth Barton
Foundation.
JESSIE MONTGOMERY (violin),
a New York native, is a composer and
performer of film, theater and concert
music, performing regularly among New
York’s classical and new music scenes.
An avid chamber musician and
collaborator, Jessie was a founding
member of PUBLIQuartet, an
ensemble made up of composers and
arrangers, featuring their own music as
well as that of other New York based
composers. She was also a core member
of the Providence String Quartet from
2004 – 2009, quartet in residence
of Community MusicWorks. Ensemble
experiences have lead to collaborations
with The Orion String Quartet, The
Miro String Quartet, and The Knights.
Jessie has also collaborated with several
avante-garde greats such as clarinetist
Don Byron, Butch Morris.
Jessie holds a Bachelor’s degree
from The Juilliard School in violin
performance and a Master’s Degree in
Composition and Film Scoring from
New York University. Primary violin
teachers have been Sally Thomas and
Ann Setzer; composition teachers
and mentors include Hollywood
film composer Ira Newborn, Joan
Tower and Derek Bermel. www.
jessiemontgomery.com
PAUL LARAIA (viola), born in
Sewell New Jersey, began viola with
Brynina Socolofsky, the disciple of
viola pedagogue Leonard Mogill.
He continued his studies with
Choon-jin Chang, and Che-hung
Chen of the Philadelphia Orchestra
under scholarship through Temple
University’s Center for Talented
Youth and the Settlement Music
School in South Philadelphia. In
2007, he entered the New England
Conservatory of Music under Kim
Kashkashian with full scholarship and
in 2008 he became the recipient of the
Clara May Friedlaender Scholarship.
In addition Paul has performed at
the Sarasota Music Festival, National
Orchestral Institute, Banff Center for
Music, and Yellow Barn Festival. He
has been awarded top chamber music
prizes at the Fischoff Competition,
the New England Conservatory
Honors Ensemble Competition, and
the Glenn Gould School Chamber
Music Competition. He has been
privileged to have collaborated with
such artists as Donald Weilerstien,
Daniel Phillips, William Vermeulen,
Roger Tapping, Anthony Marwood,
Michael Kannen, Maria Lambros,
Natasha Brofsky, and Mark Hill.
Paul regularly performs with his two
younger siblings Steven and Tiffany
who also play viola. Steven studies
with Kim Kashkashian at the New
England Conservatory, and Tiffany
studies at The Juilliard School of
Music under Toby Appel.
Paul performs on a large 17 ¼ viola in
the style of Gaspar da Salo, made by
Douglas Cox in 2002.
KARLOS RODRIGUEZ (cello)
made his orchestral debut at the age of
thirteen to great audience and critical
acclaim. He has since been an avid
soloist, recitalist, and chamber musician
appearing at many of our important
musical venues including Carnegie
Hall, Merkin concert hall, Avery Fisher
Hall, Alice Tully Hall, Kennedy Center
for the Performing Arts, New World
Center, Philadelphia’s Kimmel center,
and Radio City Music Hall, to name
a few. Mr. Rodriguez has also had the
honor of working with distinguished
artists such as the Beaux Arts Trio,
American, Cavani, Cleveland,
Emerson, Guarneri, Juilliard, Miami,
Orion, Tokyo, and Vermeer String
Quartets; Janos Starker, Lynn Harrell,
Zuill Bailey, Pieter Wispelway, Rachel
Barton-Pine, Awadagin Pratt, Joshua
Bell, and Steven Isserlis.
His teachers have included Richard
Aaron, Peter Wiley, and David Soyer. A
love of modern dance paired with live
music has led to collaborations with
the Thomas/Ortiz Dance Company,
Freefall, Mark Morris Dance Group,
and Chita Rivera. Karlos has attended
and been a guest artist at the ENCORE
School for Strings, Sarasota, Aspen,
Great Lakes and Kneisel Hall chamber
music festivals, Grand Canyon Music
Festival, Cleveland Chamber Music
Society, Philadelphia Orchestra
Chamber Music Society, and Napa’s
Festival de Sole. As an educator he is
on the faculty of Summertrios, the
Dean of Artistic Affairs at the Sphinx
Performance Academy and has given
master classes domestically and abroad.
Mr. Rodriguez has worked on various
films, Pop albums, Broadway musicals,
and is a member of the Radio City
Music Hall Orchestra. In addition to
these musical activities he is former
Principal Cellist of the Florida Grand
Opera Orchestra in Miami and cellist
of the Catalyst Quartet.
Your Guide to Our Events at Meany Hall
Food and Beverage
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 is equipped with an infrared hearing system. Headsets are
available at no charge. A driver's license or credit card is required as
collateral. If you would like a headset, please speak with an usher.
Restrooms
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
• ArtsUWTicketOffice
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
• MeanyHallBoxOffice
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
Mina B. Person
Director’s Circle
(between $10,000 and $24,999)
Kenneth and Marleen Alhadeff
Warren and Anne Anderson
Glenn Kawasaki, Ph.D.
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
Matthew and Christina Krashan
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
Catherine and David Hughes
Yumi Iwasaki and Anoop Gupta
Bernita Jackson
Ilga Jansons and Michael Dryfoos
Kurt Kolb
Donald and Toni Rupchock
Lorraine Toly
Gregory Wallace and Craig Sheppard
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
Kent and Jackie Craver
Richard Cuthbert and Cheryl Redd-Cuthbert
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
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
Leonard Costello and Patricia McKenzie
Suzanne Dewitt and Ari Steinberg
Jeanne Dryfoos
Sally and Stephen Edwards
Dr. Melvin and Nanette Freeman
Sergey Genkin
Theodore and Sandra Greenlee
Carolyn and Gerald Grinstein
Chris and Amy Gulick
*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
Susan and Richard Hall
Steven Haney
Phyllis Hatfield
Wolfram and Linda Hansis
Randy and Gwen Houser
Jennifer Jacobi and Erik Neumann
H. David Kaplan
David Kimelman and Karen Butner
Michael Linenberger and Sallie Dacey
Margaret Levi and Robert Kaplan
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
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
Kevin Burnside and Rachel Schopen
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
Britt East and Scott Van Gerpen
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
Otis and Beverly Kelly
George and Mary Kenny
Philip and Marcia Killien
Karen Koon
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
Robin L. McCabe
Mary Mikkelsen
Trisha and Eric Muller
Kevin Murphy and Karen Freeman
John Nemanich and Ellendee Pepper
Margarete Noe
Carlyn Orians and Richard Swann
Richard and Sally Parks
Wayne Parris
Irene M. Piekarski
Janet and John Rusin
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
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
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 | Jayme Gustilo | John
Hall | Walter and Willa Halperin | Larry Harris and
Betty Azar | John and Geraldine Hay | Patricia Hayden
| Kathryn Heafield and Guy Sattler | Marjorie Hemphill
| Ellen and Jerry Hendin | Kevin Hendricks | Peter
Herford | Judith Herrigel | Lori Hess and Benjamin
Miller | Janet Hesslein and Murl Sanders | Henry Howes
| Roy Linwood Hughes | Roy and Maryann Huhs Jr. |
Ron Hull | Patricia Hynes | Dobrila Istocki | Robert C.
Jenkins | Darryl and Kathleen Johnson | David B.
Norman and Elisabeth Sandler | Ariadna Santander and
Johnson | Linda and Christopher Johnson | Julie Kageler
Paul Norlen | Laura Sargent | Hamayo Sato | Joachim
| Sumedh Kanetkar | Michael and Nancy Kappelman |
Schneider and Jolene Vrchota | Jean Schweitzer | Kevin
Wayne Katon and Barbara Geiger | Aaron Katz and Kate
Scudder and Anna Davis | See Family | Virginia Sharp |
Dougherty | Daniel Kerlee and Carol Wollenberg | June
Giles and Sue Shepherd | Andrew Sherrill | Rubens and
Kerseg-Hinson and Ron Hinson | Maggie Kilbourne-
Dulce Sigelmann | Patricia Siggs | Robert Simpson Jr. |
Brook | Sherrie Kilman | Lee Klastorin | Frederick W.
Hazel Singer and John Griffiths | Mani and Karen Soma
Klein | Rachel Klevit and Jerret Sale | Nancy and John
| Hugh Spitzer and Ann Scales | Sarah Stanley and Dale
Kloster | Mark and Joan Klyn | Pei Koh | Glen
Rogerson | Teresa Steele-Kalet and Ira Kalet | Craig and
Kriekenbeck and Quentin King | Divya Krishnan | John
Sheila Sternberg | Evelyn Sterne | Jane and Alexander
Kruper | Yvonne Lam and Nathan Schimke | Mary and
Stevens | Douglas and Joan Stewart | Derek Storm and
John David Lamb | Laurence and Rosalie Lang | Emily
Cynthia Gossett | Frederick Strom | Pamela Stromberg |
Langlie | Inge and Leslie Larson | Lauren and David
Dale Sylvain and Thomas Conlon | Ed Taylor | Margaret
Lawson | Susana Lee | Tammara and Brian Leighton |
Taylor and Robert Elliott | Stephen and Ericka Thielke |
Benjamin Lerner | Barbara Lewis | Max Lieblich | Arni
David and Barbara Thomas | I. M. Thomas | Robby
Hope Litt | Ross and Lisa Macfarlane | Barbara Mack |
Thoms | Deborah and Carl Thomson | Jerry and Ernalee
Vivian MacKay | Linda Madigan | Sara Magee | Anjali
Thonn | Mary Anne Thorbeck | Larry Todd | Anh Tran
and Suresh Malhotra | John and Katharina Maloof |
| Beth Traxler, Ph.D. | Dorene and Dennis Tully |
Connie Mao | Lila May | Carol McCaffray | Wayne
Michelle and Stephen Turnovsky | Karen Conoley and
McCleskey and Robin Thomas | Maureen McGee and Z.
Arthur Verharen | Arthur and Elsa Vetter | Valerie and
Ted Szatrowski | Mary V. McGuire | Teresa McIntyre |
Eugenia Vinyar | Yvonne and Bruno Vogele | Debora
Robert and Catherine McKee | Susan L. McNabb |
Petschek Wakeley and David Wakeley | Lenore Waldron
Renate McVittie | Charles Meconis and Robbie Sherman,
| Michael Wall | Jerry Watt and Vreni Arx | Holly Weese
M.D. | Christine Meinhold | Bryant and Hilda Merrick
| Larry and Lucy Weinberg | Richard and Ann Weiner |
| Vera Metz | Steven Millard and Elizabeth Selke |
Barbara Weinstein | Herb and Sharlene Welsh | Michael
Elizabeth Milo and Paul Vonckx Jr. | Reza and Carol
and Haleigh Werner | Cecil and Linda West | Bruce H.
Moinpour | Raymond Monnat and Christine Disteche |
and Christine White | Crispin Wilhelm and Sundee
M. Lynn Morgan | Elena Morozov | David Morris |
Morris | Jennifer Williams | John and Margaret Williams
Roger Morris | Anne Morrison | Christine Moss |
| Karin Williams | April and Brian Williamson | Scott
Kimberly Muczynski and John Dubois | Pamela A.
Wilson and Shirley Cartozian Wilson | David Wine |
Mullens | Teri Mumme | Isaac and Lensey Namioka |
Carol Winge | Barbara and Grant Winther | Lilia Wong
Joseph M. and Kay F. Neal | Charles Nelson | Maryann
| Carolyn Wood | Shauna Woods | Katherine Wurfel |
and Robert Ness | William and Rosemary Newell | Betty
Osamu Yamamoto | Ying Gi Yong | Bob Young |
Ngan and Tom Mailhot | Merike and Douglas Nichols |
Eugene and Tatiana Zabokritski | Lawrence Zeidman and
Albert and Marianne Nijenhuis | Mark Novak and Katrin
Linda Tatta | Rudolf Zeller | Igor Zverev and Yana
Pustilnik | Beatrice Nowogroski | Terry O'Connor and
Solovyeva
Janice Watson-O'Connor | Nenita Odesa | Martin Oiye
and Susan Nakagawa | Mary Kay O’Neill | William and
Sherry Owen | Angela Owens | David Owsiany | Cathy
Palmer | Elizabeth Park | William and Frances Parson |
Gerald Paulukonis | Anna Louise and David Peterson |
Karen Peterson | Rick Peterson and Thomas DeVera |
Tyler Petri | Gregory and Margaret Petrie | Michael
Podlin | Sally Pogue | Mary-Alice Pomputius and Walter
Smith | Susan Porterfield | Frances Posel | Stephen R.
Poteet and Anne Shu-Wan Kao | Lincoln and Mayumi
Potter | Nicole Quinones | James and Ruth Raisis |
Wendy and Murray Raskind | Mechthild Rast | Dennis
Reichenbach | Matt Reichert | Daniel Reid | Jason
Reuer | Andrew Reynolds and Donna Stringer | Carrie
Richard | Carla Rickerson | Suzuko and Edward Riewe |
Cody Ring-Rissler | Kathleen Roan | Chet Robachinski
| Don and Joan Roberts | Neil Roberts and Bonnie
Worthington-Roberts | Pacita Roberts | Martha Ronish
| Bette Round | David and JoAnne Rudo | Gail Sailer |
Friend
Anonymous (5) | Michelle Acosta | Lisa Adriance | Jessica Allen
and William Diamond | Lynn Amon | Christine L. Anderson |
Julie Anderson | Suzanne and Marvin Anderson | Laurence
Ashley | John Attebery | Kam Au | Jill Bader | Susan Barash |
Nir Barnea and Carol Nelsen | Timothy D. and G. Anthony
Barrick | Andrew Bartee | Alice Basford and Edward Crawford |
Laura Baumwall | Dana and Rena Behar | Janice Berg and James
Johnston | Sonja and Alfred Berg | Bryann Bingham | David
and Marcia Binney | Sofie Bluvstein and Conor O'Brien | Jo
Borden | Lee Anne Bowie | Thomas and Virginia Brewer | Joyce
and David Brewster | Susan Buttram and David Frost | Carol
and Henry Cannon III | Grayson and Myrna Capp | Gregory
Carmichael | Eric Carter | Phyllis and Alan Caswell | Marcia
Ciol and Robert Harrison | Stewart Clark | Thomasina Clarke |
Carol Cole and Andrew Groom | Joseph Consalvi | Jonathan
Cooper and Diane Doles | Sharon Cumberland | Rafael and
Kathy Dagang | Andrew Davies | Alice de Anguera | Asha Desai
| Ellen Dissanayake | Ann Dittmar | David Doody and Michael
Erickson | Teresa Dul | Sally Eagan | Sara Early | Cliff Eastman
| Miriam Effron | Ian Einman | Robert and Ingrid Eisenman |
William Elwell | Susan Encherman | Gene Erckenbrack | Leslie
Farris | Colin Faulkner and Judith Feigin | Thea Fefer | Melanie
Field | Judith Gillum Fihn and Stephan D. Fihn | Susan Carol
Fisher | Kelly Forsyth | Susanne and Bruce Foster | Janice
Fournier | Judith Frey and Flick Broughton | Susan and Albert
Fuchs | Anne Futterman | Helen Gamble | Daniel Gamelin |
Janice Gibson | Nathaniel Gilbert | Stephen Gilbert | Katya
Giritsky | In memory of Addie Gold | Thomas and Roberta
Gurtowski | Jeanne Hansen | James Heher and Leslie Fields |
Brooke and Boyce Heidenreich | Robin Hendricks | Margo
Henson | Nancy Hevly | Amy Hirayama | Kate Hokanson |
Fredrick Holt and Laura Rasulo-Holt | Elizabeth and Edwin
James | Natarajan Janarthanan and Ponni Rajagopal | Robert
Johnson and Heather Erdmann | Kim Johnson-Bogart | Erica
and Duane Jonlin | Christopher and Suzanne Juneau | Mitsuhiro
Kawase | Tom Kazunas | Linda A. Kent and James Corson |
Diane and Ronald King | Joan King | James and Elaine Klansnic
| Bart and Lisa Klingler | William Koenig | Richard and Donna
Koerker | Calvin and Margaret Konzak | John Kounts and Signe
Gilson | Bruce Landon | Eric Larson and Teresa Bigelow | Mary
Law | Jennifer and P.G. Lehman | Arlene Lev | Kathryn Lew
and Dennis Apland | James and June Lindsey | Patricia Lott |
H. James Lurie | Larry MacMillan and Billie Young | Kelly
Maddox | Donald and Charleen Mahardy | David Margolius
and Inna Garkavi | Wendy Marlowe | Linda and Harium
Martin-Morris | William and Judith Matchett | Roland Mayer |
Paul McDevitt and John Sabol | Chris McEwen and Derek
Hudson | Brian McHenry | Dorothy Meyer | Eric Michelman
and Patricia Shanley | Jacquelyn Miller | Stephen Miller |
Howard Morrill | John Mosher | Harold and Susan Mozer |
Susan Mulvihill and James Liverman | Greg Nelson and Cynthia
Doll | Richard M. Newton | Phyllis Nickleson | Naoko and
Tomoki Noguchi | David Norman | Mark Novak | Martha and
Kenji Onishi | Sharon Overman | Katherine Package | Emilia
Palaveeva | Reid Parmerter | Kimberly Pate | Urania
Pérez-Freedman and Jonathan Freedman | Arti Patel | Michael
and Susan Peskura | Jeanne Peterson | Benjamin Petty | Colette
Posse | Mary Reardon | Paul and Charlotte Reed | Meryl
Retallack | Rachel and David Robert | Fern Rogow | Barbara
Rollinger | Robert Romeo | Catherine Roth | Margaret
Sandelin | Margaret Sassaman | Stephen and Linda Saunto |
Michael Schick and Katherine Hanson | Michael Schmitt |
Dorothy and Albert Schott | Janet Schweiger | Donald H.
Seiveno | Herbert and Elaine Selipsky | Eric Shamay | Diane
Shannon | Frederick F. Simons | Beverly Simpson | Roger
Simpson and Jeffrey Cantrell | Annelies Smith | Randall Smith
and Sharon Metcalf | Sheila Squillace | Vivika Stamolis | Tracey
and Elizabeth Steig | Therese Stein | Chris and Laura Stetler |
Marcia and Douglas Stevenson | Ellen M. Stoecker | Michael
and Suzanne Strom | Louise Suhr and Susan Hanley | Mark
Sullivan | Marilyn and T. D. Swafford | Charles Terry and Betsy
MacGregor | Catherine 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
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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
Matthew and Christina Krashan
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
Gregory Wallace and Craig Sheppard
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, 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
Amy Tachasirinugune, Student House Manager
Shannon Chen, Assistant Student House Manager
J.J. Woodley, 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
Keeli Erb
Colette Moss
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Lead Ushers
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Ushers
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Craig Dittmann
Shantel Gunter
Loralyn Jackson
Daniel Kaseberg
Matt LaCroix
Ivalene Laohajaratsang
Kevin Lin
Rin Mitroi
Jacob Parkin
Mitch Ryiter
Christian Selig
Alex Tang
Maddy Tena
Julia Viherlahti
Elaine Xie
Chris Lindsey, Concessions Lead
Alex Tan, Barista
Corey Rogers, Concessions Assistant
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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
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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.
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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

Mark Morris Dance Group and Music Ensemble Olga Kern Catalyst

Transcription

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