MOMIX André Watts AnDa Union Modigliani Quartet

Transcription

MOMIX
OCT 31-NOV 2
André Watts
AnDa Union
Modigliani Quartet
NOV 7
NOV 8
NOV 19
October/November 2013
Volume 10, No. 2
Paul Heppner
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2 ENCORE STAGES
E N C O R E A RT S N E W S F RO M C I T Y A RT S M A G A Z I N E
Stop and Stair
“There was a cooler of food and a cooler of water, 20 or 30 throw
pillows, an iPod hooked to a tape player, and a box of written instructions. The space itself was dirty and unforgiving; we all walked away
with scrapes and bruises. The element of danger is one thing we
found exciting. We were drawn to this location because movement
and direction are already implied in a staircase. They’re there to get
you up or take you down—we got to spend six hours exploring what
else and how else.”
Handcrafting artisan
confections in Seattle
for over 30 years
—Markeith Wiley, artistic director/choreographer of The New Animals on
“What Goes Up,” the group’s six-hour movement performance/ritual at the
NEPO 5k, on the stairwell of 18th Ave. S. and S. Walker St. The piece
featured nine performers, including Ale Madera (right) and company manager
Calie Swedberg.
encore artsprograms.com 3
CONTENTS
UW World Series
A1
MOMIX
OCT 31-NOV 2
André Watts
AnDa Union
Modigliani Quartet
NOV 7
NOV 8
NOV 19
ES023 covers.indd 3
9/17/13 2:56 PM
E N C O R E A RT S N E W S F RO M C I T Y A RT S M A G A Z I N E
Chicken and Waffles and Outrage
I RECEIVED MY Political Correctness
Enforcement badge last July. I didn’t want it
and never applied for it, and furthermore, I
consider political correctness an outmoded
pejorative used mostly by angry conservative
uncles after several glasses of wine over an
uncomfortable Thanksgiving dinner. But
sometimes these titles are thrust upon you.
I was sitting in the sun nursing a hangover
with two other comedians, killing time
before Saturday’s early show, talking s**t and
scrolling through Facebook on our iPhones,
when T. did a double-take: “Hey Brett, did
you see the poster for that show we’re on next
week?”
T. and I were raised in the South and
booked on a Southerner-themed show for
the following Wednesday. The poster for that
show, we now discovered, bore a Confederate
flag overlaid with a cartoon chicken dancing
on a stack of waffles.
I immediately Facebook messaged the
show’s producer: “Yo! You gotta get rid of that
Confederate flag. SRSLY.”
Her response came an hour later: “I gave
it a lot of thought. People aren’t that stupid
in Seattle…Maybe I should put some black
people on it so everyone knows it’s not racist.”
4 ENCORE STAGES
BY BRETT HAMIL
What followed, along with a series of brutal
facepalms, was a correspondence in which
I attempted to explain how the Confederate
flag is the most divisive symbol in American
history and wholly inappropriate for a
comedy-show flyer. The producer countered
with a) “Some people understand irony”
and b) Controversy marketing! She said she
couldn’t afford to print different posters and
she was on her way to distribute handbills
at the Sub Pop Silver Jubilee. In other words,
she was gonna distribute Confederate flags to
Shabazz Palaces fans.
T. quipped, “If someone left that flyer on
my car, I wouldn’t just throw it away, I’d find
the person who left it there.”
And by the way: All of this occurred the
day of the George Zimmerman verdict.
Over a series of increasingly contentious
messages, I described my position. I grew up
in Central Florida, in the swampy NASCAR
lowlands 15 miles from where Trayvon Martin
was murdered. My high school narrowly
avoided race riots on several occasions,
each sparked by a schoolyard display of the
Rebel Flag by some vocal elements of the
Future Farmers of America. Really. I moved
3,000 miles to get away from that flag and
the unreconstructed bigots who rally behind
it—and I’d be damned if I was going to have
anything to do with it now.
“You’re just upset because you saw T. get
upset,” the producer said, because T. is black
and I am white.
I pulled myself off the show.
Depending on who you listen to, comics
are unspeakably crass stereotype-and-rapejoke-peddlers re-traumatizing victims and
minorities in dank basements, or they’re
courageous First Amendment absolutists
making a principled stand for unfettered
public discourse. Assert the absolute right
of comics to say whatever they want and
you empower hordes of angry misogynists
and crypto-racists whose most clever joke
hinges on the use of a roofie or the notion that
everyone working in the kitchen is Mexican.
Lobby for greater sensitivity in language and
approach, and you’ll wind up volunteering to
teach remedial history and entry-level gender
politics to people who already think you’re a
grandstanding humorless feminist.
“If I’m not offended, I don’t see why you
should be,” the producer told me.
It’s been a rough year for unexamined
privilege. The reelection of the first black
E N C O R E A RT S N E W S
president failed to usher in that oftannounced Post-Racial Era, and the Census
Bureau announced a demographic shift
that will put whites in the minority by
2042. The pain of Trayvon’s parents, Paula
Deen’s plantation nostalgia, even the sly
commentary on race and oppression in
Orange Is the New Black: Our national psyche
is awash in images of Otherness.
A recent Fox News story trumpeted a
memo from the City of Seattle’s Office of Civil
Rights discouraging use of the term “brown
bag lunch” from public documents, because
the phrase “brown bag” recalls an odious
test once used to gauge lightness of skin tone
among African Americans. (Having skin
darker than a brown bag could’ve meant
exclusion from institutions, civic groups and
jobs.) That memo directed City employees to
avoid inadvertently referencing a shameful
historical practice.
The story went viral: I saw comic after
comic reposting this article on Facebook and
decrying the death of Free Speech. I rolled
my eyes so hard I thought they might fly out
of my head. How could so many self-styled
freethinkers and nonconformists dictate what
people are allowed to find offensive? How is
that not its own insidious form of censorship?
Our problem isn’t Free Speech. Just about
everyone I know is a microblogger and a
multi-platform media curator with billions of
bytes at their disposal. The First Amendment
is doing just fine, thankyouverymuch.
What we’re short on these days is
empathy. We’re swamped with effortless
digital communication but lacking in the
analog component that creates real human
connection and compassion. Today’s glut
of free speech has sparked an inflationary
spiral on empathy, as if empathy were a
dwindling national resource that must be
conserved and used only for unanimously
agreed-upon injustice. “Don’t these nitwits
in City Hall have anything better to do with
their time?” is really just another way of
saying, “If I’m not offended, I don’t see why
you should be.”
Until I saw that flag on the flyer, I
considered myself generally impervious
to offense. As a comic who refuses to take
things seriously and a white male who’s
never personally experienced racism or
systemic oppression, I often asked myself,
Who actually gets offended by comedy?
But if I could be so revolted by the sight of a
symbol from my past that I’d pass up a chance
to practice my craft, I’m ready to acknowledge
that far greater pain might be conjured up by
a brown bag. Or a rape joke. Or whatever it
is that triggers you. For me, it was a cartoon
chicken dancing on a stack of waffles, pasted
onto a flag from a war begun 152 years ago.
That war continues, with rapidly shifting
front lines, right up to now. n
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TheaTer/Performance ProducTion
AjAx in irAq By ellen mcLaughlin
directed by marya Sea Kaminski
october 17 – 22
raisbeck Performance hall
corniSh dance TheaTer
Your EYEs HAvE FAcEts
Site-Specific Performances, choreographed by Salthorse
november 3 & 9, 1 & 3 pm
seattle center skatepark, Fisher Pavilion roof
& international Fountain
sponsored by seattle center
TheaTer/Performance ProducTion
nEvErwHErE
adapted for the stage by rob Kauzlaric
from the novel by neil Gaiman.
directed by roger Benington
nov. 6-10
cornish Playhouse at seattle center
sponsored by seattle center
corniSh muSic SerieS
scrApE
nov. 21, 8 p.m.
Tickets: cornish.edu/evenTs or call: 1.800.838.3006
Brett Hamil is a Seattle comic and writer.
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UP 0
E N C O R E A RT S N E W S SIFF 082213 ntlive 1_3v.pdf
Clockwise
from top left:
Ba Bar’s cassis,
Crumble & Flake’s
chocolate cherry,
Bakery Nouveau’s
pistachio,
Le Panier’s lemon.
Macaron Magic
A French confection conjures a momentary dream.
The Best of
NT Live
Oct 28–Nov 7 | Uptown
Featuring Kenneth Branagh’s
Macbeth
Nicholas Hytner’s
Othello
Danny Boyle’s
Frankenstein
A MACARON IS A SPECIAL PASTRY, part
sandwich cookie, part meringue. It’s also
a little bit of poetry—its rich center and
delicate edges dissolving like a glimpse
of ancient mystery, its ephemeral essence
captured between two light cookies and a
smooth layer of filling.
Macarons, the French pastry found in
shops around Seattle, have nothing to do
with American macaroons, the chewy and
durable heaps of coconut—though both have
roots that go back to Italy hundreds of years
ago. The original macaroon was like today’s
macaron, made of almond-paste meringue,
and the Italian word for paste is maccarone,
which comes from ammaccare, to bruise,
which is what you do to almonds if you’re
making paste. Hence the lasting likeness in
their names.
Its rich center and
delicate edges
dissolve like a
glimpse of ancient
mystery.
Alan Bennett’s
The Habit of Art
Rory Kinnear’s
Hamlet
TICKETS ON SALE NOW!
siff.net | 206. 324.9996
6 ENCORE STAGES
The outer portion of the French macaron
is made of eggs, sugar and almond flour (gluten-free!) and its excellence lies in its precise
texture, in the way its delicate cookie shell
gives way to an almost cake-like interior,
spongy-moist but dry enough to instantly
dissolve in your mouth. Fillings are either
buttercream or a combination of chocolate
ganache and jam. They’re supremely rich
(consuming more than one is a dare) and
economical at $1.50–2.50 for one of the threebite morsels.
Across Seattle, French pastry chefs turn
out a rainbow array of macarons. Le Panier
in Pike Place Market purveys a consistent
assortment of classic flavors like hazelnut, chocolate, pistachio and raspberry.
They’re decent though not otherworldly.
Fillings tend toward the thin side, upsetting the essential balance of the macaron’s
components.
Bakery Nouveau, which recently expanded from its West Seattle flagship to Capitol
Hill’s 15th Avenue, fills an entire pastry case
with macarons, standards alongside twists
like PB&J, strawberry caramel and cassis
with coffee. Nouveau gets the texture and
balance right, but their macarons overpower
with eye-crossing sweetness.
Ba Bar, a Vietnamese restaurant on 12th
Avenue with a post-colonial French pastry
case, features two or three macaron flavors
each day. A recent visit presented a vivid
purple cassis with tart ganache and jam
filling, as well as an even more tart passion fruit. Sour matched nicely with sweet
in both, but their exteriors were as hard as
eggshells and a bite revealed a gap of air
where meringue should be. A return visit
turned up an option that looked and tasted
like brownie and Nutella in the shape of a
macaron. For shame.
Crumble & Flake on Capitol Hill does
three flavors every day. I tried cherry with
chocolate, flaunting a ganache filling with a
pocket of cherry jam hiding in the middle; a
light and tangy grapefruit with buttercream
filling; and a subtle mojito, beautifully
airbrushed green. Though untraditionally
jumbo, these were the best of the bunch—
subtle, precise and totally transporting. n
LE PANIER
BA BAR
1902 Pike Place
550 12th Avenue
BAKERY NOUVEAU
CRUMBLE & FLAKE
1435 E. John Street 1500 E. Olive Way
LILY RASKIND: CHONA KASINGER
BY LEAH BALTUS
F RO M C I T Y A RT S M A G A Z I N E
Eating Underground
America
In his new book, Langdon
Cook delves into the
Northwest’s mushroom
trail, a seldom-seen world
straight out of the
Wild West.
IT’S JUST ANOTHER WEDNESDAY MORNING at the office when Langdon Cook answers
his cell. Cook is, in fact, at Lincoln Park fishing
for salmon, but considering that the 46-year-old
Connecticut native is a dogged forager, epicurean outdoorsman and prolific writer, he can
rightfully count surfcasting as research—even if
he hasn’t caught anything today.
Cook’s first book, 2009’s Fat of the Land,
was a collection of essays detailing the author’s
immersion into the wild foods—from nettles to
geoducks—found around the Northwest. His
second, The Mushroom Hunters, traces the
intersecting lives of a handful of commercial
mushroom foragers, revealing the secrets
and the drama of their very singular existence.
JONATHAN ZWICKEL
SAM ALDEN
Both of your books are about foraging.
What sets them apart?
With Fat of the Land I had a reservoir of stories
tumbling around in my head. I wrote that entire
book in bed, actually. Our house is tiny and I
don’t have office space at home. I have one of
those husband pillows and I’d sit propped up on
that in bed and remember 15, 20 years worth
of tales with my foraging buddies and put that
down. For The Mushroom Hunters, I had to go
out into the field, for one thing. I wanted this to
be firsthand. I didn’t want this to be an “as told
to” sort of book. I wanted to go out on the mushroom trail and experience it myself and get to
know those people and write from the perspective of being right there on the spot seeing it
happen.
I was really careful with the narrative in The
Mushroom Hunters. It’s not just an episodic
collection of chapters that could be standalone
essays. There’s a narrative arc in the book. The
main characters are recurring and you go on
a journey with them and experience their successes and failures.
Why mushroom hunters?
What these guys are doing struck me as impossible. How does one go into the woods
and pick 100 lbs. of morels in a day? As a
recreational forager, that seems absurd. What
are their secrets? What do they know about
the landscape? Hunting mushrooms is a real
Town Music
A New-Music
Chamber Series
curated by Joshua Roman
Enso String Quartet (11/6)
Karen Gomyo (2/18)
+ Pablo Ziegler
feat. the Pablo Ziegler
Tango Quartet
Joshua Roman (4/22)
+ Andrius Zlabys
puzzle. Variables like weather, topography, slope
aspect, humidity, forest canopy and composition are very important. All these criteria go into
finding a patch that’s gonna yield mushrooms in
commercial quantities.
As someone who considers himself an
amateur naturalist, it amazed me that these
guys could go into the woods and find these
quantities. You have to live pretty close to the
land to be able to do it. A lot of patches are
hand-me-downs that have been known commercial patches for years. Patches are getting
lost via logging and development every year. A
good commercial picker will have a Rolodex of
patches in his head.
A more compelling reason [for writing the
book] was getting to know the mushroom hunters themselves, what made them tick. What it
was like competing for business in this last gasp
of Wild West, frontier-style capitalism. It seemed
like a throwback to olden times.
Have you gotten into mushroom foraging
more intently after writing the book?
I do a lot of stuff in the outdoors and picking
mushrooms is right near the top of the list in
terms of my favorite. It’s a treasure hunt. It brings
out the kid in all of us. Pretty much anyone I take
mushroom hunting, when they find that first one
they’re so exited and so thankful and they wanna
do it again. It doesn’t get old. Morel number 344
is just as satisfying a find as morel number one.
The Pacific Northwest is ground zero for wild
mushrooms. They can be foraged in every state,
but in commercial quantities the real action is in
the Pacific Northwest. That’s just a function of
geography and weather. It’s damp. It seems our
volcanic soils have been helpful too. Shellfish,
mushrooms, wild greens, huckleberries. And
maybe because of our climate we have a long
season for things like miner’s lettuce and fiddle
ferns and stinging nettles that can be gathered
in commercial quantities here.
I’m still just a recreational forager. I have no
interest into dipping a toe into the commercial
wild food economy. It might demystify the whole
thing for me if I did.
The Mushroom Hunters is available from
Ballantine Books.
Pierrot Lunaire + NEW Work
(6/24)
works by Shpilman, Lustig, Jie and Roman
sung by Mary Mackenzie and Ensemble
SCIENCE
TOWN HALL
ARTS & CULTURE
COMMUNITY
CIVICS
GLOBAL RHYTHMS
October 18
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Chicano Rock, Salsa, and R&B
November 22
JP Jofre
Classical-Tango Bandoneón
January 24
Krar Collective
Mind-Blowing Ethiopian Grooves
February 14 / Valentines Day
Barefoot Divas
Six women. Six distinct lives.
March 21
Harp-O-Rama
Featuring Máire Ní Chathasaigh
April 18
Paris Combo
Oeuvre-Mingling Jazz and Swing
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David Hartt. Lounge. 2011. Archival pigment print mounted to Dibond. Courtesy of the artist and Corbett vs.
Dempsey, Chicago.
Breakfast
Breakfast
David Hartt: Stray Light
On view September 21
H
enry Art GAllery
henryart.org
8 ENCORE STAGES
The sun is shining on Capitol Hill on the first day
of September. I’m rumbling up E. Pine Street in
an old blue Chevy pickup, sitting in the flatbed
like a hillbilly on a hayride, except our load is
desks, shelving units, and boxes and boxes of
records.
We ease past the police station slowly, hoping
we won’t get cited. One block later, we’re parked
semi-illegally, unloading the truck into the new
Wall of Sound location at 12th Ave. and E. Pike,
in a space that used to house an art framing
and restoration business. We make this run four
more times—me and a few other customers who
volunteered to help with the move—successfully moving 80 percent of Capitol Hill’s greatest
record store in one day.
The new Wall of Sound, which opened Sept. 4,
features huge glass windows and gold-painted
ceilings. The space is smaller than the store’s
previous home in the Bauhaus building but feels
like the same mysterious little sound hole. For
now, CD shelves and crates of records, organized
by genre, are spread around for easy browsing.
The walls are currently bare, but they’ll soon be
covered by new custom-made racks filled with
rare and unique records.
“Capitol Hill is crawling with humanity and
that’s where we wanted to be,” says WoS coowner Jeffery Taylor, an experimental guitar
player with a salt and pepper beard and a receding head of hair. Taylor has flexed his muscles in
outré bands like Climax Golden Twins, AFCGT,
Spider Trio and most recently WOOT, a psychedelic supergroup made up of seasoned vets of
Seattle’s underground. “We’re happy to add to
the consolidation of record shops up here.”
WoS originally opened in 1990 as a literal
wall of sound, selling records off a single wall
in Belltown’s Art in Form bookstore. From the
beginning, it catered to a musically adventurous
clientele—listeners whose love of obscure music
went beyond the boundaries of popular culture.
Fringe music fans gravitated toward their
carefully curated selections of jazz, electronic,
blues, noise, heady rock ’n’ roll and all strains in
between. Taylor, who started working part-time
at Wall of Sound in 1991 as a clerk, and Michael
Ohlenroth have co-owned the store since they
bought it from its founder in 2002.
WoS moved to Capitol Hill in 2003, opening its
own storefront on E. Pine, where they hosted an
array of art exhibits and in-store performances
from the likes of DIY legend R. Stevie Moore and
beloved locals Tiny Vipers and the Dead Science.
Two years ago, when used bookseller Spine &
Crown was priced out of its location a block
away, Wall of Sound cut its retail space in half,
welcoming Spine & Crown into the other half.
Over the years, Wall of Sound has cultivated
a community of regulars. Taylor and Ohlenroth
offer recommendations based on customers’ past purchases and will special order on
request. In the new store, they carry on an old
tradition: Next to the register is an alphabetized
file of frequent-buyer cards, handwritten with
lists of purchases made and columns scratched
out after every 12th purchase, when customers
earn a free record. TRAVIS RITTER
2013-14 SEASON
Chris Thile | October 1, 2013
AXIS Dance Company | October 3-5, 2013
Emerson String Quartet | October 15, 2013
Mariza | October 25, 2013
MOMIX | October 31-November 2, 2013
André Watts | November 7, 2013
AnDa Union | November 8, 2013
* SITI Company: Café Variations | November 14-16, 2013
Modigliani Quartet | November 19, 2013
Garrick Ohlsson | January 15, 2014
A Far Cry | January 16, 2014
Grupo Corpo | January 23-25, 2014
Brooklyn Rider and Béla Fleck | February 4, 2014
SPECIAL THANKS TO OUR LEAD SPONSORS
Joyce Yang | February 19, 2014
Cloud Gate Dance Theatre of Taiwan | March 6-8, 2014
* JACK Quartet | March 15, 2014
Richard Goode | March 20, 2014
CIRCA | March 22-23, 2014
Ballet du Grand Théâtre de Genève | April 3-5, 2014
Trio con Brio Copenhagen | April 8, 2014
Soweto Gospel Choir | April 12, 2014
STUDIO SERIES SPONSOR
Hilary Hahn | April 29, 2014
Alonzo King LINES Ballet | May 1-3, 2014
David Finckel, Wu Han, Phil Setzer | May 21, 2014
* Robert Moses’ Kin | May 29-31, 2014
* Studio Series event
uwworldseries.org | 206-543-4880
Director's Welcome
Dear Friends,
Fall is one of my favorite times of year at the University of Washington. Classes are in full swing, with
activity in every corner of Meany Hall as we engage students across the campus. In addition to the
magnificent performances on our stage, the UW World Series is committed to fostering young audiences—
audiences that we hope will nurture and be inspired by the performing arts for generations to come.
As the result of this commitment we have created new programs that expand the possibilities for
student connections across our performances and with our artists. These initiatives include $10
UW student tickets to everything we present, a Student Engagement Team made up of dedicated
UW graduates and undergraduates helping us to better understand how to reach students, exclusive
student-only after parties with artists, deepened curricular connections, a free Dorm Concert Series,
and a new “Studio Series” engaging visiting artists in learning and research residencies with UW
students and faculty.
Our commitment to nurturing new audiences also extends to our K-12 community, and we are
excited to be launching a new Family Matinee Series, and continuing our successful Free Youth
Matinees and in-school residency programs.
Thank you for all you do to support the arts, help build new audiences, and ensure a healthy future for
the performing arts in our community and around the world!
Warm regards,
Michelle Witt
Executive Director of Meany Hall & Artistic Director of UW World Series
A-2 UW WORLD SERIES
World Dance Series
October 31-November 2, 2013
Botanica
MOMIX
presented by
Artistic Director
Moses Pendleton
Special thanks to our Title Sponsor:
with
dajuan Booker, simona ditucci, Michael Fernandez, amanda Hulen,
Morgan Hulen, Elizabeth loft, graci Meier, Martino sauter,
Jocelyn Wallace, and Jason Williams
Media Partner:
Associate Director
Cynthia Quinn
UW World Series would also like to thank
the following donors for their support
of this evening’s program:
Kenneth and Marleen Alhadeff
Linda and Tom Allen
Nancy D. Alvord
JC and Renee Cannon
Katharyn Alvord Gerlich
Glenn Kawasaki, Ph.D.
Cecilia Paul and Harry Reinert
Eric and Margaret Rothchild
Joseph Saitta
Lee and Judy Talner
George Wilson and Claire McClenny
Kathleen Wright
Lighting Design
Joshua starbuck
Costume Design
Phoebe Katzin
Moses Pendleton
Puppet Design
Michael Curry
Production Stage Manager
Corrado Verini
Technical Director
Henry tracz
Production Electrician
Jameson Willey
General Manger
Carla debeasi Ruiz
MOMIX | Box 1035 Washington, CT 06793
Ph: 860-868-7454 | Fax: 860-868-2317 | Email: momix@snet.net
Website: www.momix.com
Representation: Margaret Selby
206-543-4880
uwworldseries.org
CAMI Spectrum LLC
1790 Broadway, NY, NY 10019-1412
Ph: (212) 841-9554 | Fax: (212) 841-9770 | E-Mail: mselby@cami.com
encore artsprograms.com A-3
SYNAPSES
PART ONE
Aurora Rose
The Dead Of Winter
Cateraction
Geese Return Overhead
Beckoning
Fantasy Tree-Flower to Tempt
Three Graces
from the Foam
to Taste of Pollen Snow
And Fall Back
into
the Flow
Loons Laugh in Darkness
for
Swans
to
Dream
of
Genesis
and
New Green
Fro ZEN Awakening
Love from Above
Delivers Persephone
to the Subsoil
Riding Old Bones
to
Romance with
Ancient Stones
The Worm Turns
Night
Crawlers
into a Sea of Green
Spring Pools
Marigolds Bloom
Hornets Hop
Owls Hoot
the Arrival
of Centaurs
Amid Summer Night's Dream
Fire
Flies
A-4 UW WORLD SERIES
WINTER
SPRING
PART TWO
SUMMER
FALL
God's Hammer
August of Wind
Storms
Rain
The Beaded Web
INSEX
Meet the Beetles
and
Egg On
Birds of a Feather
to
Drop Seed
on
Sun Flower
Finches
Startled by
the
Avant Gardner
as the Green Man
is
Leading the Charge
of
Indian Summer
Branches
Gathering for
Autumnal Ball
Last Leaf
Catches
the First
Snow
Fall
Cold
River
Runs
Again
But There's More
a Solar Flare
Tonight's Encore!
About MOMIX
MOMIX is a company of dancerillusionists under the direction of
Moses Pendleton. In addition to stage
performances world-wide, MOMIX
has worked in film and television.
With performances on PBS’s “Dance
in America” series, France’s Antenne
II, and Italian RAI television, the
company’s repertory has been broadcast
to 55 countries. Joining the Montreal
Symphony in the Rhombus Media
film of Mussorgsky’s Pictures at an
Exhibition, winner of an International
Emmy for Best Performing Arts
Special, the company’s performance
was distributed on laser disc by Decca
Records. MOMIX was also featured in
IMAGINE, one of the first 3-D IMAX
films to be released in IMAX theaters
world-wide. MOMIX dancers Cynthia
Quinn and Karl Baumann, under
Moses Pendleton’s direction, played the
role of “Bluey” in the feature film FX2;
and White Widow, co-choreographed
by Moses Pendleton and Cynthia
Quinn, was featured in Robert Altman’s
movie, The Company.
Commissioned by corporations such
as Fiat and Mercedes Benz, MOMIX
performed at Fiat’s month long 100th
Anniversary Celebration in Torino,
Italy, and Mercedes Benz’s International
Auto Show in Frankfurt, Germany.
Participating in the Homage a Picasso
in Paris, the company was also selected
to represent the US at the European
Cultural Center at Delphi. With the
support of the Scottsdale Cultural
Council's Scottsdale Center for the
Arts in Arizona, Mr. Pendleton created
Bat Habits to celebrate the opening of
the San Francisco Giants’ new spring
training park in Scottsdale. This work
served as the forerunner of Baseball
and joins such acclaimed original
productions as Lunar Sea, Opus Cactus,
Orbit, Passion, and Botanica. With
nothing more than light and shadow,
props, the human body, and an epic
imagination, MOMIX has astonished
audiences on five continents for more
than 30 years.
Who's Who in the Company
Moses Pendelton (Artistic Director)
has been one of America’s most
innovative and widely performed
choreographers and directors for over
40 years. He was one of the founders
of Pilobolus, which had grown out
of dance classes with Alison Chase at
Dartmouth where he received his BA
in English Literature in 1971. Pilobolus
shot to fame in the1970’s, performing
on Broadway under the sponsorship of
Pierre Cardin, touring internationally,
and appearing in PBS’s Dance in
America and Great Performances series.
By the end of the decade, Mr.
Pendleton had begun to work outside
of Pilobolus, performing in and
serving as principal choreographer
for the Paris Opera’s Integrale Erik
Satie in 1979 and choreographing the
Closing Ceremonies of the Winter
Olympics at Lake Placid in 1980.
In 1981 he created MOMIX, which
rapidly established an international
reputation for highly inventive and
often illusionistic choreography. The
troupe has been touring steadily and is
currently performing several programs
internationally. Mr. Pendleton has also been active
as a performer and choreographer
for other companies. He has staged
Picabia’s Dadaist ballet Relache for the
Joffrey Ballet and Tutuguri, based on
the writings of Artaud, for the Deutsch
Opera.He created the role of the Fool
for Yuri Lyubimov’s production of
Mussorgsky’s Khovanschina at La Scala
and choreographed Rameau’s Platee
for the U.S. Spoleto Festival in 1987.
He contributed choreography to Lina
Wertmuller’s production of Carmen at
the Munich State Opera in 1993.
His film and television work includes
the feature film FX2 with Cynthia
Quinn, Moses Pendleton Presents Moses
Pendleton for ABC ARTS cable (winner
of a Cine Golden Eagle award), and
Pictures at an Exhibition with Charles
Dutoit and the Montreal Symphony,
which received an International Emmy
for Best Performing Arts Special in
1991. Mr. Pendleton has made music
videos with Prince, Julian Lennon, and
Cathy Dennis, among others.
Pendleton was a recipient of the
Connecticut Commission on the Arts
Governor’s Award in 1998. He received
the Positano Choreographic Award in
1999 and was a Guggenheim Fellow
in 1977. He is a recipient of a 2002
American Choreography Award for his
contributions to choreography for film
and television. Cynthia Quinn (Associate Director)
grew up in Southern California. She
graduated Phi Beta Kappa from the
University of California at Riverside
and continued there as an Associate
in Dance for five years. In 1988 she
received the University’s Alumni
Association’s “Outstanding Young
Graduate Award.” As a member of
Pilobolus, she performed on Broadway
and throughout the United States,
Europe, Canada, Israel and Japan.
She collaborated on the choreography
of Day Two, Elegy for the Moment,
Mirage, What Grows in Huygens
Window, and Stabat Mater. Ms. Quinn
began performing with MOMIX in
1983 and has since toured throughout
the United States, Canada, Europe,
Australia, South America, and Japan.
She has appeared in numerous
television programs and music videos;
and has assisted Moses Pendleton in
the choreography of Pulcinella for
the Ballet Nancy in France, Tutuguri
for the Berlin Opera Ballet, Platee
for the Spoleto Festival USA, Les
Maries de la Tour Eiffel in New York,
AccorDION for the Zurich-Vorbuhne
Theatre and Carmen for the Munich
State Opera. She has also appeared as
a guest artist with the Ballet Theatre
Francaise de Nancy, the Berlin Opera
Ballet and the Munich State Opera,
as well as international galas in Italy,
France, and Japan. Ms. Quinn made
her film debut as “Bluey” (a role she
shared with Karl Baumann) in “FX2.”
She was a featured performer in the
Emmy Award winning film Pictures
at an Exhibition with the Montreal
Symphony and has also appeared in a
3D IMAX film. Ms. Quinn is a board
member of the Nutmeg Conservatory
in Torrington, Connecticut and is on
the advisory board of the Susan B.
Anthony Project, also in Torrington,
CT. Ms. Quinn was featured with
Ru Paul and k.d. Lang for M.A.C.
Cosmetics’ “Fashion Cares” benefits
in Toronto and Vancouver. Ms.
Quinn is co-choreographer of White
Widow which is featured prominently
in the new Robert Altman film, The
A-6 UW WORLD SERIES
Company. Ms. Quinn will also appear
in the upcoming film “First Born”
with Elisabeth Shue. However, her
most rewarding and challenging role
is as a mother to her daughter, Quinn
Elisabeth.
Dajuan Booker (Dancer) was born
in St. Petersburg, Florida. He started
dancing at the age 15 at Pinellas
County Center of the Arts at Gibbs
High School. He trained at Harid
Conservtory, The Rock School, Alvin
Ailey, and Dance Theatre of Harlem.
He was a member of Dance Theatre of
Harlem Esemble for 7 years and joined
MOMIX in 2010.
Simona Di Tucci (Dancer) studied at
Dance Promotion of Fernando Dàmaso
at Neuchstelin, Switzerland, where she
gained a classic formation with Rudy
Brians and studied modern-jazz dance
with Patrice Valero, Ruy Horta, and
Rick Odums. She also studied Jazz
dance with Steve La Chance and Andrè
de La Roche and Funk / Hip Hop with
Bill Goodson, Mauro Mosconi and
Mauro Astolfi. Her credits include
performances in Italy with RAI TV:
Premio Natura with Luciana Savignano,
Per Tutta la Vita, Ci Vediamo su Rai
Uno, Paolo Limiti Show, Alberto Sordi
and Stasera Pago io Revolution with
Fiorello, choreographed by Moses
Pendelton. CANALE 5: La corrida,
Ciao Darwin, Tira e Molla, Disco per
l’Estate, Facce da quiz, Festivalbar,
choreographed by Marco Garofalo,
Anna Larghi ,and Piero Moriconi.
Simona has performed in the following
musicals: Dance with Raffaele Paganini,
Show of Colors, on Broadway (New
York), and Salvador Dali with the
Pierre Cardin Dance Company. She has
been touring the world with MOMIX
since 2004.
Morgan Hulen (Dancer) grew up in
Columbia, Missouri, leaving home to
complete high school and attend the
college program at North Carolina
School of the Arts. He has also studied
with the Hungarian National Ballet,
Pacific Northwest Ballet, Milwaukee
Ballet, Minnesota Ballet, and the
Broadway Theatre Project. Morgan
began his professional career with the
Louisville Ballet in 2000-02 and later
enjoyed his role as Principal Dancer
with Tapestry Dance Company in
Austin, TX. He quickly became a
very sought after guest artist, and
has performed with numerous dance
companies across the U.S. In 2007
Morgan returned to the Louisville
Ballet, and enjoyed three additional
seasons performing soloist and
principal roles, and then in 2010
Morgan was honored to become
a member of MOMIX. As well as
performing Morgan has been a dance
instructor for over twelve years, has
taught numerous master classes in
Tap, Ballet, and Partnering, and
has choreographed many pieces,
including several that have won top
choreographic honors. Morgan
recently formed his own Louisville,
KY. based dance company called
Impact as an expressive outlet for his
and others’ choreography. His most
gratifying role to date is being father
to his beautiful daughter born in April
2011.
Elizabeth “Taz” Loft (Dancer) is
originally from Memphis, Tennessee
where she trained for more than
12 years with former Bolshoi
Ballet soloist Alexei Moskalenko.
Taz received her BFA in Dance
Performance and Choreography from
Florida State University where she
had the pleasure of studying with
Suzanne Farrell, Gerri Houlihan, Dan
Wagoner, Tim Glenn, and Jawole
Zollar. After moving to NYC in 2010,
she performed with Third Rail Projects
and Cedar Lake Contemporary Ballet’s
360° program before joining MOMIX
in August 2011. Taz is looking
forward to another exciting season
with the Company.
Graci Meier (Dancer) is originally
from Boise, Idaho where she began
her dance training at Ballet Idaho and
Balance Dance Company. She then
attended The Boston Conservatory
where she received her BFA and had
the opportunity to perform works
by Jose Limon, Anthony Tudor, and
David Lichine. Professionally Graci
has had the privilege to dance with
Ririe Woodbury Dance Company
performing the works of Alwin
Nikolais, and helping to keep the
Nikolais legacy alive. She has also
performed with DoubleTake Dance,
Rocha Dance Theater, and Drop
Dance Collective. Graci is thrilled to
be dancing in her third season with
MOMIX, and working with such
amazing artists.
SCHOOL
M ID D L E e n L a k e
S
G
IN
L
B IL
f G re
'the bridge from your neighborhood elementary school
to the high school of your choice’
a rt o
in th e H e
• Academic Excellence
• Personalized Advisory Program
BMS
• Integrated Outdoor Learning
• Exceptional Faculty
OPEN HOUSES: Tues Nov. 12th & Wed Dec. 4th
Billings Middle School admits students of any religion, race, color, sexual orientation and national or ethnic origin.
Coming soon to Meany Hall
The electrifying Brazilian contemporary
dance company returns to Seattle
January 23-25
206-543-4880 | uwworldseries.org
Jocelyn Wallace (Dancer) is originally
from Connecticut where she began her
early training at the New Haven Ballet
and at Gymnastics World. She later
continued to study ballet and modern
dance at The School of the Eastern
Connecticut Ballet, under the direction
of Lisa Reardon and Adam Miller.
Jocelyn graduated Magna cum Laude
from The Hartt School /University
of Hartford, where she received her
B.F.A. in Ballet Pedagogy. While
at, The Hartt School, she had the
opportunity to perform the lead role
in Martha Graham’s Panorama, staged
by Peggy Lyman, and in works staged
by, Hilda Morales, Alla Nikitina, Katie
Stevinson-Nollet, and Ralph Perkins.
She has performed with The Baltimore
Ballet, and with various companies
in New York including, Perceptions
Contemporary Dance Company, and
with New York Dance Theater.
Jason Williams (Dancer) began his
dance career and training at Boca
Ballet Theater at the age of 16 under
the direction of Dan Guin and Jane
Tyree. He then decided to further his
studies at New World School of the
Arts in Miami, Florida. This is where
he became proficient in Graham,
Limon, and Horton, classical and
contemporary ballet techniques. While
there he deepened his studies by being
exposed to Anatomy, Kinesiology, Labon
Movement Analysis, and Pedagogy.
Jason Williams is a 2011 summa cum
laude B.F.A. Graduate of New World
School of the Arts. During his time there
he worked with noted choreographers
such as Robert Battle, Michael Uthoff,
Daniel Lewis, Peter London, Darshan
Bhueller, Gerard Ebitz, to name a few.
During his summers he has performed
in the New Prague Dance Festival in
Prague, Czech Republic and Semana
de Internacional de Baile in San Juan,
Puerto Rico. Since completing his
degree he has danced with DanceNow!,
MOMIX, Joseé Garant Dance
Company, and Miami Contemporary
Dance Company. He is thrilled to be
returning to Momix for a second season.
A-8 UW WORLD SERIES
Michael Curry (Puppet Design) has
collaborated with Julie Taymor on
many stage and opera productions. On
Broadway, he has worked on numerous
shows including Crazy For You and
Kiss of the Spider Woman. He has been
awarded the 1998 Drama Desk Award
for "Outstanding Puppet Design" for
The Lion King, several Emmys, and the
1999 Eddy Award for "Outstanding
Contribution in the Technical and
Design Field." Michael is one of the
country's leading production design
consultants and works widely in both
conceptual and technical development
for some of the world's foremost
entertainment companies. He owns
and operates Michael Curry Design,
Inc. in St. Helens, OR, which produces
large, live-performance oriented
production designs, such as those
seen at the 1996 Olympic Opening
Ceremonies, Superbowl 2000, and
New York City's Times Square 2000
Millennium event.
Phoebe Katzin (Costume Designer)
has been designing and constructing
dresses and costumes for over twenty
years. After graduating from Endicott
College’s fashion design program, she
worked for Kitty Daly, building dance
costumes and dressmaking. For several
years she lived in New York making
costumes for Kitty Leach, Greg Barnes,
and Allison Conner, among others.
For the past few years, she has been
working for MOMIX and Pilobolus.
Ms. Katzin lives in Connecticut with
her three children and husband, James.
Carla Debeasi Ruiz (General
Manager) graduated from Western
Kentucky University with a degree in
public relations and a concentration
in performing arts management. Ruiz
was the public relations director for
her alma mater’s Theatre and Dance
Department and has experience
promoting visual and musical artists.
Carla joined MOMIX in 2007.
Joshua Starbuck (Lighting Designer)
collaborated with Moses Pendleton
on his world premiere of Opus Cactus
for Ballet Arizona. He has designed
numerous productions and tours for
Ballet Arizona. He has toured five
continents with many of his designs for
dance, ice skating, opera, industrials,
concerts, and theater. He has designed
for Arena Stage, Playwrights Horizons,
The Manhattan Theater Club, The
Public Theater, Coconut Grove
Playhouse, Walnut Street Theater,
Williamstown Theater Festival, and
others. He has also worked with the
Kirov Ballet, The Royal Ballet, The
Spanish National Ballet, and the
English National Ballet.
Corrado Verini (Production Stage
Manager) Began his career in the
theater world in the 1983 with the
Lindsay Kemp Co. In 1994, he
started touring with the MOMIX as
Stage Manager and then Technical
and Lighting Director, participating
in extensive tours in Asia, Central
America, South and North America.
He also teaches Theatre Techniques
in Rome for European Community
and Region Lazio projects. He has
collaborated in several TV shows
and independent movies as assistant
scenographer and as technical
responsible for guest companies or
rigging expert
Botanica
SOUNDTRACK
courtesy of Peter Gabriel Lts., petergabriel.
CREDITS
1. Tuu, Frozen Land from the album
com. Special thanks to Julie Lipsius and
The Frozen Lands (Amplexus Records).
Rob Bozas.
Composed and performed by Martin
13. Peter Gabriel, Slow Water Pentagon
Franklin. www.codetrip.net. And BlueTech,
Lipservices Real World (BMI) for USA &
Assisted by: Tsarra Bequette, Eric
Leaving Babylon from the album Prima
Canada/ Real World Music Ltd. (PRS) ex-
Borne, Jennifer Chicheportiche, Joshua
Materia. Courtesy of Waveform Records.
USA & Canada. Peter Gabriel appears
Christopher, John Corsa, Simona Ditucci,
www.waveformrecords.com.
courtesy of Peter Gabriel Lts., petergabriel.
Jonathan Eden, Michael Holdsworth,
2. Bluetech, Cliff Diving the album Prima
com. Special thanks to Julie Lipsius and
Conceived & Directed by: Moses Pendleton
First Assistant: Cynthia Quinn
Donatello Iacobellis, Rob Laqui, Natalie
Lamonte, Nicole Loizides, Heather Magee,
Steven Marshall, Tim Melady, Sarah
Nachbauer, Roberto Olvera, Cynthia Quinn,
Rebecca Rasmussen, Brian Sanders, Pedro
Silva, Cassandra Taylor, Jaime Verazin &
Jared Wootan
Performed by: Dajuan Booker, Simona
Ditucci, Michael Fernandez, Amanda Hulen,
Morgan Hulen, Elizabeth Loft, Graci Meier,
Martino Sauter, Jocelyn Wallace And Jason
Williams
Lighting Design: Joshua Starbuck and
Moses Pendleton
Costume Design:Phoebe Katzin, Moses
Pendleton, Cynthia Quinn
Materia. Courtesy of Waveform Records.
Rob Bozas.
14. Delerium, Sphere. Performed by
3. zer0 0ne, NaNO and braiNwavE from
Delerium. Written by B. Leeb and R. Fulber.
the album oz0ne. Courtesy of Waveform
Records. www.waveformrecords.com. And
Productions.
Studio.
15. Deva Premal, Gayatri Mantra is used in
4. Lisa Gerrard, Space Weaver. Written
this performace with permission of Prabhu
by Lisa Gerrard and Michael Edwards.
Published by Sony/ATV Music Publishing
2007 Cloverleigh Downs Pty. Ltd.
16. Delerium, Embryo. Performed by
5. Transglobal Underground, This is the Army
Delerium. Written by B. Leeb and R. Fulber.
of Forgotten Souls from their album, Dream
of 100 Nations. Licensed courtesy of Nation
Records Ltd. www.nationrecords.co.uk.
the album Stalker (Catalog: HOS/Fathom
Arico, Danielle McFall
HS11059) Published by Amoeba Music
Video Projection: Moses Pendleton
composed by Deva Premal and Miten. All
rights reserved. www.prabhumusic.net *
Costume Assistants: Beryl Taylor, Dawn
Art Work: Pedro Silva
Misoc. © 1998 Prabhu Music. Music
Australia. Performed by Lisa Gerrard (P)
6. Robert Rich, Elemental Trigger from
Prop Construction and
Zomba Songs. (p) and © 2001 Nettwerk
Lang Elliot, Loons from Nature Sound
Costume Construction: Phoebe Katzin
Puppet Design:Michael Curry
Published by Nettwerk Songs Publishing/
Published Nettwerk Songs/ Zomba Songs.
(p) and © 2001 Nettwerk Productions. And
Higher Intelligence Agency Hubble from
the album Freefloater.
17. A Positive Life, Aqua Sonic from the
album Two A.D. Courtesy of Waveform
(BMI) and Brian Williams (BMI). Elemental
Records. www.waveformrecords.com.
Trigger © 1995 by Robert Rich and Brian
18. Lloyd Grotjan, Apogee from the album
Williams.
Twelve Moons
7. Vivaldi’s Four Seasons: Primavera as
19. Bluetech, Mezzamorphic from the
played by Anne-Sofie Muter
album Prima Materia. Courtesy of Waveform
Video Editing: Woodrow F. Dick, III
8. Lang Elliot Winter Wren from Nature
Records. www.waveformrecords.com
Music Collage: Moses Pendleton
Sound Studio
20. Celtic Woman, The Voice from the
Music Editing: Joshua Christopher, Andrew
9. Suphala, Destinations on The Now
album A New Journey
Hansen, Brian Simerson
10. Eastern Dub Tactick, Easter Winds
21. Azam Ali, Aj Ondas on Portals of Grace
Production Assistant: Pedro Silva
and Spark of Sound from the album Blood
22. Brent Lewis, Mr. Mahalo Head written
is Shining. Courtesy of Waveform Records.
and performed by Brent Lewis ASCAP.
www.brentlewis.com
11. Legion of Green Men, Zero Equals
*Aqua Flora sponsored in part by Brandon
Infinity from the album Spatial Specifics.
Fradd in honor of Dancers Responding to
Courtesy of Plus 8 Records LTD.
AIDS
Lighting Equipment Supplied by GSD
Productions, Inc., West Hempstead, NY
Special Thanks: Sharon Dante, Nutmeg
Ballet; James Patrick, Warner Theatre;
Diana Vishneva; Phillip Holland; Joan
Talbot; Laura Daly; Julio Alvarez, and
Margaret Selby
z@plus8.com.
12. Peter Gabriel, The Heat Pentagon
Lipservices Real World (BMI) for USA &
Canada/ Real World Music Ltd. (PRS) exUSA & Canada. Peter Gabriel appears
President's Piano Series
November 7, 2013
ANdRé
Watts
Special thanks to our Media Partner:
UW World Series would like to thank
Anonymous
Nancy D. Alvord
The Bitners Family
Gail Erickson and Phil Lanum
Ernest and Elaine Henley
Kim and Randy Kerr
Mina B. Person
David Vaskevitch
Tonight's Program
Scarlatti
Three Sonatas
D Minor, L.422
F Minor, L.187
A Major, L.391
Mozart
Sonata in C, K. 330
Allegro moderato
Andante cantabile
Allegretto
Beethoven
Sonata No. 23 in F Minor, Op. 57,
“Appassionata”
Allegro assai
Andante con moto
Allegro ma non troppo – Presto
206-543-4880
uwworldseries.org
A-10 UW WORLD SERIES
Intermission
Ligeti
Musica ricercata (excerpts)
[2] Mesto, rigido e cerimoniale
[3] Allegro con spirito
[9] Adagio. Mesto (Béla Bartók in memoriam)
Debussy
Estampes
Pagodes
La soirée dans Grenade
Jardins sous la pluie
Rachmaninoff
Études-Tableaux, Op. 33 (excerpts)
No. 9 in C-sharp Minor
No. 8 in G Minor
No. 7 in E-flat Major
About the Program
Three Sonatas: D Minor, L.422;
F Minor, L.187; A Major, L.391
Domenico Scarlatti (1685–1757)
During his youth, Domenico
Scarlatti was truly peripatetic,
traveling widely before spending a
decade in Lisbon in the employ of
Princess Maria Barbara of Portugal.
When the nobly born maiden
married the heir to the Spanish
throne in 1729, prompting her move
to Madrid, Scarlatti remained in
her service and spent the rest of his
life in the Spanish capital where he
absorbed the rich Moorish-derived
musical language into his own
lengthy catalog of works. A prolific
composer, he wrote more than 500
keyboard sonatas, often dashingly
brilliant and infused with Spanish
accents.
Before the advent of the Classical
sonata, with its standard though
flexible layout consisting of
exposition, development and
recapitulation, the term meant little
more than a composition that was to
be played by instruments as opposed
to being sung. Scarlatti’s sonatas bear
little resemblance to those of his
post-Baroque counterparts Haydn,
Mozart and Beethoven (to name
but the three greatest of the era).
Generally brief, Scarlatti’s sonatas
abound in sectional contrasts in
dynamics, textures and mood. The
Spanish element has endeared many
of these keyboard works to guitarists,
many of which have transcribed
them successfully to the plucked sixA-12 UW WORLD SERIES
string instrument. One finds many
virtuosic touches in his keyboard
works: rapid-fire fingerwork with
equally fast hand-crossings abound.
Harmonically, Scarlatti occasionally
indulged in strikingly dissonant
chords fashioned from adjacent
tones; they are strangely redolent of
Henry Cowell’s 20th century “tone
clusters.”
The Sonata in D Minor, L.422 is one
of many that strongly suggests the
rapid-fire repeated notes of Flamenco
guitar and is clearly a virtuoso
showpiece for the keyboard player up
to the challenge. Passing dissonances
further add to the guitar’s inspiration;
those fleeting “poison notes”
contribute to the piece’s controlled
frenzy. Not even a somewhat quieter
and less anxious middle section
lessens the exciting flow of the music.
Enormous contrast is provided by
the F Minor Sonata, L.187, which
opens quietly and pensively in a style
suggestive of Mozart, Haydn and even
Beethoven. If L.422 expressed feverish
anxiety, L.187 draws the listener
into a private melancholy world of
implied sadness. Striking dissonances
anticipate those of C.P.E. Bach’s
symphonies written after he departed
the court of Frederick the Great.
Another dazzling work of unabated
velocity, the Sonata in A Major, L.391
is rife with breathless up-and-down
scalar runs suggestive of a mad moto
perpetuo that easily beats the 4-minute
mile. Sheer delectable bravura requires
the nimblest of fingers.
Piano Sonata No. 10 in
C Major, K.330
Wolfgang amaDeuS mozart
(1756–1791)
A number of Mozart’s keyboard
works were designed as pedagogic
tools for his students, including this
unassuming sonata in C major. Despite
its beguiling innocence and structural
simplicity (an atypical first movement
coda with generally ignored repeat
notwithstanding) no less a Mozartean
scholar than Alfred Einstein (no relation
to the physicist!), described it as “…a
masterpiece, in which every note
belongs—one of the most lovable works
Mozart ever wrote.”
Einstein, incidentally, believed the sonata
dated from ca. 1778. Studies more recent
than his classic Mozart: His Character,
His Work from 1945 (still worth a
serious reading) have shown through
examination of watermarks that the
sonata really came to life some five years
later, probably during the composer’s
final visit to his hometown in 1783.
The C-major Sonata’s outer movements
are simple, clear in layout and steadfastly
untroubled in mood. The Andante—
equally conservative in texture and
technical demands—deepens the
emotional landscape. Mozart begins with
a graceful and gallant opening theme
that is offset by a darker mid-section
theme cast in the minor mode. For the
published edition Mozart added a brief
coda transforming this sad subsidiary
tune into the major, a deft touch gently
reminding us of the genius behind
Mozart’s deceptively simple construct.
Piano Sonata No. 23 in F Minor,
Op. 57, “Appassionata”
luDWig van Beethoven (1770–1827)
Work Composed: 1804-05
By and large, Beethoven’s most-played
music dates from his so-called middle
period, a decade that began with the
C-minor piano concerto (number 3 of
5) completed in 1803 after four years
of constant revision, to the 7th and 8th
symphonies of 1812. His middle period
works established him as a major artist
with something new and important to
say. If his early works—including many
outright masterpieces—demonstrate
a mastery of the Classical style as
exemplified by his erstwhile teacher
Haydn and his tutorial first choice,
Mozart (who inconveniently died a year
before Beethoven moved to Vienna), it
is in his middle period that Beethoven’s
individuality of style and content come
to the fore. The range of expression is
extraordinary, embracing the drama of
the fifth symphony, the lyricism of the
sixth (“Pastoral”), and the internalized
poetry of the fourth piano concerto.
a furious and altogether stunning Presto
agitato that is all the more remarkable
for deriving from the simple broken
triad that opens the first movement.
It has been said often that Beethoven’s
greatness lies not in his melodic gift (the
unforgettable “Ode to Joy” theme of
the Ninth Symphony notwithstanding),
but in his musical/intellectual grasp of
form and motivic development and
variation. The “Appassionata” splendidly
exemplifies that aspect of his genius.
From simple and short seed-like motifs,
this great dramatic essay evolves as a
force of nature.
Musica ricercata (excerpts)
györgy ligeti (1923–2006)
Born into a Hungarian-Jewish family,
Ligeti’s (pronounced, as are Hungarian
words in general, with a stress on the
first syllable, i.e., LIH-geh-tee) early
studies at the Kolozsvár Conservatory
were temporarily interrupted by his
dismissal on “racial” grounds by the
Nazis. After surviving World War
II, Ligeti and his fellow Hungarians
found the Stalinist constraints equally
fearsome. Following the failed attempt
by Hungary to free itself in 1956
from Soviet domination, Ligeti (along
with many of his countrymen and
women) left his homeland. He tucked
away the conservative, folk-oriented
choruses he composed under the
repressive Communist regime, and
began to explore with great vigor
and humor (sometimes macabre)
newer styles evolving elsewhere; these
included microtonality (dividing the
scale into increments smaller than
the ½-step conventions of “normal”
UWS
The “Appassionata” Sonata (the title was
added by a Hamburg-based publisher
in 1838) is the last of his middle period
piano sonatas to achieve permanent
status as a recital hall icon. In its extreme
contrasts of terrifying power and dark
mystery, its challenging technical hurdles
and orchestra-like drama, it exemplifies
the power and assertiveness of this
period. At the same time, its hair-trigger
changes of mood—including moments
of otherworldly spirituality in its
Andante con moto slow movement—look
forward to the rarified atmosphere of his
late period works. The work closes with
western harmony, the combination
of dissonant “clusters” startlingly
interspersed with simple diatonic
chords, and so forth. Contact with
such avant-gardists as Harry Partch
during a visit to California in 1972,
further broadened his innovative
quest. His first widespread fame
came from Stanley Kubrick’s use of
his choral work, Atmospheres, in the
landmark film 2001: A Space Odyssey.
Ligeti composed his 11-piece Musica
Ricercata from 1951 to 1953,
subsequently arranging some of the
constituent parts for wind quintet; a
version for barrel organ also exists. In
the early 1950s, cut off from musical
developments outside of Hungary,
Ligeti wanted to fashion a new kind
of music and began by experimenting
with basic musical intervals and
rhythms. Musica Ricercata unfolds
as in a process of accretion or
augmentation. The opening number,
Sostenuto/Misurato, for instance,
evolves from a single oft-repeated “a”
in different octaves, introducing a
second tone, “d,” only at the end. The
ensuing Mesto, rigido e cerimoniale
adds a third note, and so forth, until
the final piece employs all 12 notes
of the chromatic scale. Although
unfamiliar with Schönberg’s 12-tone
system, Ligeti seemed to arrive at a
similar system on his own.
No. 2, Mesto, rigido e cerimoniale,
opens with a short figure alternating
up and down in the piano’s middle
regions before a shift to a lower
register and quieter dynamics before
returning to its starting point.
Eventually a forceful sequence of
repeated notes ushers in increasing
drama in a middle section briefly
and strangely redolent of Mussorsky’s
bantering between two Jewish
merchants (Ligeti’s birthright).
No. 3, Allegro con spirito, sounds
positively jazzy in its syncopation.
No. 9, Adagio. Mesto (Béla Bartók in
memoriam) acknowledges the memory
of his famed countryman in an uncanny
evocation of Bartók’s signature, recalling
the “night music” movement of the
Music for Strings, Percussion and
Celesta and the Sonata for Two Pianos
and Percussion. It opens with low
slowly repeated deep notes, ominous,
funereal and evocative of Bartók’s “night
music.” The quiet is immediately broken
by a dissonant theme that recalls the
Verbunkos movement from Bartók’s
clarinet-led Contrasts.
Estampes
clauDe DeBuSSy (1862–1918)
Debussy intended the three pieces
comprising Estampes (1903) to evoke
imaginary voyages to three locales,
Asia—literally imagined—and Spain
and France. The opening work,
Pagodes (“Pagodas”) drew both its
percussive sounds and pentatonic
scales from his still-fresh memories of
hearing Javanese gamelan (“orchestra”
of metallaphones that resemble pots
of various sizes) at the 1889 Paris
Exhibition.
One of Debussy’s finest piano works
comes next, Soirée dans Grenade
(“Evening in Grenada”), which
evokes the twinkling evening lights
of the town. One can almost hear
the plucking of a serenader’s guitar
and almost swoon in response to a
sensuous habanera rhythm. The reverie
is interrupted by a central vigorous
episode. Noted Spanish composer
Manuel de Falla: “…although not
one bar is borrowed from Spanish
folksong, the whole piece, in its
minute details, admirably conveys the
character of Spain.”
The trilogy ends with Jardin sous la
pluie (“Gardens under the rain”), its
nearly continuous repeated notes
pictorially suggesting the fall of
raindrops.
Études-Tableaux, Op. 33
(excerpts)
Sergei rachmaninoff (1873-1943)
Rachmaninoff composed his first
set of Études-Tableaux, Op. 33, in
1911. As befits one of the undisputed
keyboard masters of the 20th century,
these character pieces require not only
great technical facility but an intuitive
sense of creating mood and character.
No. 9, in C-sharp minor—turbulent
and big-limbed—opens with a
precipitate drop into the piano’s nether
realm, rich in plangent sonorities.
Above the bass-filled maelstrom
passionate outbursts from above
maintain an atmosphere of roiling
Romantic energy.
In G minor, the eighth Étude-Tableaux
retreats into pensive melancholy that
grows in dramatic urgency with quickpaced runs of sixteenth notes that rise
in forcefulness that ends in a strongly
uttered climactic exclamation point.
Between moments of surging power
brief Romantic episodes have their
day in court. The closing minute or
so is filled with tender asides, spare in
texture before sudden uprush of flying
notes before the simple unadorned
closing chord.
Ringing figures up high initiate the
seventh Étude, nicknamed “Scene at
the Fair,” and effectively limn a sonic
portrait of outdoor entertainment
and giddy spirits. Huge leaps and
widely spaced chords in the central
episode pose challenges to pianists,
especially those with “normal” hands,
who face the chasm-like reach of
Rachmaninoff’s mighty paws!
© 2013 Steven Lowe
About André Watts
A perennial favorite with orchestras
throughout the U.S., Andre Watts is
a regular guest at the major summer
music festivals including Ravinia,
the Hollywood Bowl, Saratoga,
Tanglewood, Eastern Music, and
the Mann Music Center. Recent
and upcoming engagements include
appearances with the Philadelphia
Orchestra in Philadelphia and on
tour, the New York and Los Angeles
Philharmonics, and the St. Louis,
Atlanta, Detroit, Cincinnati, Dallas,
Houston, Baltimore, Indianapolis,
Seattle, and National symphonies,
among others. In celebration of the
Liszt anniversary in 2011, Mr. Watts
played all-Liszt recitals throughout
the U.S., while recent and upcoming
international engagements include
concerto and recital appearances in
Japan, Hong Kong, Germany, and
Spain.
André Watts has had a long and
frequent association with television,
having appeared on numerous
programs produced by PBS, the BBC,
and the Arts and Entertainment
Network, performing with the
New York Philharmonic, Boston
Symphony, Philadelphia Orchestra,
Mostly Mozart Festival Orchestra,
and the Chamber Music Society of
Lincoln Center, among others. His
1976 New York recital, aired on the
program Live From Lincoln Center, was
the first full-length recital broadcast
in the history of television and his
performance at the 38th Casals
Festival in Puerto Rico was nominated
for an Emmy Award in the category of
Outstanding Individual Achievement
in Cultural Programming. Mr. Watts’
most recent television appearances are
with the Philadelphia Orchestra on
the occasion of the orchestra’s 100th
Anniversary Gala and a performance
of the Brahms Concerto No.2 with
the Seattle Symphony, Gerard Schwarz
conducting, for PBS.
Mr. Watts’ extensive discography
includes recordings of works by
Gershwin, Chopin, Liszt ,and
Tchaikovsky for CBS Masterworks;
recital CD’s of works by Beethoven,
Schubert, Liszt, and Chopin for
Angel/EMI; and recordings featuring
the concertos of Liszt, MacDowell,
Tchaikovsky, and Saint-Saens on the
Telarc label. He is also included in the
Great Pianists of the 20th Century series
for Philips.
A much-honored artist who has
played before royalty in Europe and
heads of government in nations
all over the world, André Watts
received a 2011 National Medal of
Arts, given by the President of the
United States to individuals who are
deserving of special recognition for
their outstanding contributions to
the excellent, growth, support and
availability of the arts in the United
States. In June 2006, he was inducted
into the Hollywood Bowl of Fame
to celebrate the 50th anniversary
of his debut (with the Philadelphia
Orchestra) and he is also the recipient
of the 1988 Avery Fisher Prize. At age
26 Mr. Watts was the youngest person
ever to receive an Honorary Doctorate
from Yale University and he has since
received numerous honors from
highly respected schools including the
University of Pennsylvania, Brandeis
University, The Juilliard School,
and his Alma Mater, the Peabody
Conservatory of Johns Hopkins
University.
Previously artist-in-residence at the
University of Maryland, Mr. Watts
was appointed to the newly created
Jack I. and Dora B. Hamlin Endowed
Chair in Music at Indiana University
in May, 2004.
About the Piano Technicians
Susan Cady and Doug Wood
The expertise of Susan Cady and
Doug Wood contributes directly to
the excellent quality of the UW World
Series. Their skillful touch with our
piano is greatly appreciated.
World Music & Theatre
November 8, 2013
Special thanks to our Title Sponsor:
AnDa Union
Performers
Biligbaatar | Chinggel | Chinggeltu | nars | saikhannakhaa
tsetsegmaa | Uni | Urgen | Urgen
(yes, there are two Urgen’s!)
Media Partner:
Music
All arrangements by AnDa Union
Except Heemor, composed by Ilata, White Horse by Chinggeltu, and
Galloping Horses composed by Chi Bulag
Management: Tim Pearce & Sophie Lascelles
Nancy D. Alvord
Catherine and David Hughes
Education Assistant: Pascal Pearce
Film content
Directed by Tim Pearce, Sophie Lascelles & Mark Tiley
Produced by Tim Pearce & Sophie Lascelles
Executive Producer Suzanne Alizart
Edited by Richard Graham
Cinematography by Ula Pontikos
Film courtesy of Eye 4 Films Ltd | www.eye4ﬁlms.com
Producers
Tim Pearce & Sophie Lascelles
Exclusive North American Tour Direction: 2Luck Concepts | www.2Luck.com
Website: www.andaunion.com
Supported by The 2013 national tour of AnDa Union – The Wind Horse is part of a
major, multi-year cultural exchange with Minneapolis-based Arts Midwest, the Chinese
Ministry of Culture, and the US Major University Presenters consortium. Support for
the tour has been provided by the Ministry of Culture, People’s Republic of China.
Special thanks to David Fraher, Kat Duvic, Sanj Altan, Tim Wilson, Ken Carlson,
206-543-4880
uwworldseries.org
and our friends and families in Inner Mongolia
Tonight's Program
The songs will be selected from at least
the following:
Altargana
Black Horse
Boomborai
Buriat Song
Derlcha
Galloping Horses
The Herdsman
Handrei River
Heemor
Holy Mountain
Hometown
Jangar
Mother
My Mongolia
Ordos Drinking Song
Suhe’s White Horse
Sumaro
The Legend of the Swan Brothers
Exact playlist and order subject to change.
About the Songs
Altargana
Altargana is a based on a famous
Buriat folksong. The Buriats live in
the North East of Inner Mongolia
in Hulun Buir close to the Russian
Border. Altargana is a type of special
small grass that grows in Hulun Buir
in Inner Mongolia. It has very deep
roots and is very difficult to pull up.
This song tells how the parents are like
altargana grasses, strongly rooted and
looking after their children.
Black Horse
The horse is the most important of
animals to the Mongolians and it
was their horsemanship that was the
driving force behind the Mongolian
Empire. Many traditional songs
celebrate the horse. This is a love song;
the lyrics are simple but Biligbaatar
takes us out to the Mongolian steppes
with his soaring vocals.
Lyrics (extract)
The rider reins in the Black horse and
rides in a tight circle | And the sun
tanned girl runs around the horse and
rider | The rider rides the brown
horse around the mountain | And the
sun tanned girl runs around the horse
and rider
Boomborai
Boomborai is based on a folk song
from the Horchin Grasslands. It
comes from ancient Mongolian
Shaman traditions and tells how one
of the Shaman dance rituals, Andai,
was born. If women were depressed
because of problems in love and
marriage, their families would invite
the local shaman to dance the Andai
to keep away disease and misfortune.
It is said that once upon a time,
there lived a father and his daughter
on the Horqin Grassland. One day,
the daughter, suddenly stricken by
an unknown disease, lost her mind
and began to behave strangely. She
remained ill for a long time without
any sign of recovery. One day,
the father, burning with anxiety,
carried his daughter on a herdsman’s
wooden cart to a faraway place to see
a doctor.
However, when they arrived at the
town of Kulun, the axle of the cart
broke. At the same time, the girl’s
condition worsened and her life was
in danger. The anxious father had
no idea what to do except to wander
around the cart, singing a song
to express his sorrow. The wailing
song drew some people from nearby
villages. They couldn’t help but shed
tears at this sight and joined the
old man in swinging their arms and
wailing around the cart.
To everyone’s surprise, the daughter
quietly rose, got off the cart, and
followed the people, swinging her
arms and stamping her feet with
them. When people saw her, she was
sweating all over, and her disease
had been miraculously cured. The
good news spread and from then on,
people began to follow suit and treat
young women who suffered from
similar diseases by dancing around
them in the same manner. The dance
became known as “Andai.”
Buriat Song
Over 200 years ago the Mongolian
Buriat tribe migrated from close to
lake Baikal to Hulun Buir in North
Western Inner Mongolia. As nomads
they have a regular area where
the move as the seasons change.
Their history is full of these mass
migrations where tens of thousands
migrate over thousands of kilometres
to new pastures. In this song
Tsetsegmaa, who is a Buriat Mongol,
celebrates her people’s culture.
Derlcha
Derlcha is an ancient Mongolian
singing competition. Originally it was
kings and princes of banners (regions)
that took part but today it has become
a popular art. It is often part of a
festival or Nadaam, two people battle
against each other, each singing a verse
to which the other has to reply. The
battle can go on for days until one of
the singers cannot think of anything to
sing but is made speechless. The winner
then ridicules the loser in front of the
crowd before a new challenger takes
on the winner and so the competition
goes until one singer remains and is
declared the winner. The winners of
these competitions became very skilled
in remembering verses and developing
their wits to overcome their opponents.
Mongolian children have practiced
Derlcha battles with their friends as a
game for centuries.
Our performer Nars, himself, used
to do Derlcha battles with his
friends when he was growing up in
the Horchin Grasslands and AnDa
Union’s version is based on verses used
in the ancient Derlcha battles.
Galloping Horses
Galloping Horses is undoubtedly
the most famous piece of music
composed for the Morin Huur. It
was written by the master Chi Bulag
who created the piece after watching
a fierce horse race, in which the
winning horse staggered over the
finishing line, collapsed, and died
of exhaustion. Chi Bulag has been
central to the evolution of the Morin
Huur taking the ancient Chuur Huur
and developing it into what we know
as the Morin Huur today.
Heemor – The Wind Horse
The Wind Horse is an allegory for
the human soul in the shamanistic
tradition of Central Asia which has
been integrated into Mongolian
and Tibetan Buddhism. Heemor is a
symbol of the idea of well-being or
good fortune. As the Wind Horse
rises things go well and as it falls the
opposite happens. Heemor takes our
prayers to Tengar the sky god. This
beautiful piece of music inspired by
Heemor was composed by Yalalt who
lives and works in Hohhot, Inner
Mongolia.
The Herdsman
Many Mongolian songs celebrate their
nomadic life in the grasslands and this
song tells of the joy of a herdsman in
an idyllic state.
Lyrics (extract)
The Herdsman’s horse is swift, as were all
its ancestors | The Herdsman has the
finest long Org (lasso) | As he gallops
the Ord whistles in the wind | The
grass is so high and lush that it brushes
his stirrups | If the Herdsman’s horse is
healthy, then he is content.
Holy Mountain
The Moadin Chur playing is always
inspired by the sounds of the mountains
and waters. This song is dedicated
to Holy Mountain. Before Ghengis
Khan became mighty he hid in Holy
Mountain several times to escape from
dangers and find strength. Traditionally
the elders always went there to pray and
find solace. The Moadin Chur is an
ancient Mongolian reed flute, the reeds
for the flute are now mostly found in
the Altai Mountains in Xinjiang and it’s
there that most Moadin Chur music is
played today.
Hometown
This song is inspired by the steady
destruction of the grasslands as
farming and mining encroach ever
further combined with the effects
of global climate change. The lyrics
were written by AnDa Union’s Urgen
who left his home in the grasslands
when he was 13 years old to train
at music school in the city. He has
never returned but his heart remains
there, as do all the hearts of AnDa
Union’s performers. But the grasslands
are no longer the grasslands of their
childhood. This song appeals for the
grasslands to be saved and preserved.
Lyrics (extract)
My hometown, the place where I was
born, was far away from here | My
close family how is your health? | My
missing Hometown is far away from
here, my missing relatives how is your
health? | There is no water in the river,
I am sad about that from my heart, |
There is now water in the spring, I am
sad about this from my mind
Jangar
Jangar was a great Mongolian hero
and there are many myths and legends
written about this great man.
“In the age when man’s life was as long
as 80,000 years and his height was 8
zhang (1 zhang = 3.33 metres), there
was a great hero called Jangar. He was
the son of Khan Buhair. When Buhair
was dying, he told his son to do three
things. To succeed to the throne; to give
his three sisters away in marriage, and
to marry according to the directions in
Buddha’s scripture.
Jangar then ascended the throne.
Not long afterwards an eagle like big
bird, a young boy with a runny nose
and a spotted grey bird the size of a
lark came to Jangar and asked for
his sisters to be their wives. Though
Jangar was not pleased with their
proposals, he was forced to give them
his sisters because of his father’s will.
According to the directions in
Buddha’s scripture, Jangar should go
to a place an eighty year ride away
to get Chagandai who was the only
daughter of Orno Morno Khan as
his wife.“
Uni has arranged this song which
comes from the Xinjiang Mongols and
celebrates this great hero.
Mother (Chagan Tokhoy Notuk)
This is a song about mothers from
Chagan Tokhoy, which is a mythical
place in the Ujim Chin Grasslands. It
consists of two long-songs combined
into one song. Biligbaatar sings about
how much they miss their mother
when they are far away.
Biligbaatar
“Grey haired old mother, every
moment every second we miss you
our lovely mother.”
Tsetsegmaa sings a Buriat song that
a mother sings to her daughter when
she is getting married. The Mongolian
nomadic way of life is based on
moving pastures four times a year so
as to ensure that the grass is not over
grazed. It also means that each herder
will live far away from the next, also to
stop over grazing. It is very common
for a Buriat mother to sing this song
to her daughter, as often the daughter
will move far away to live with her
husband’s family.
Tsetsegmaa
“After you get married if you find
a clean spring you can drink the
water, if the daughter marries far
from home that happens often”
Ode to Mongolia
The mighty Mongolian Empire
and Genghis Khan are of central
importance to Mongolian culture
and a source of immense pride for
Mongolians today. There are, of
course, many songs that celebrate the
founder of the Mongol people. This
song was arranged by AnDa Union
member Urgen.
Lyrics (extract)
To be the* world’s master | O Genghis
Khan’s Mongolia | The ancient history
of Mongolia | Urlan is the mother of
Genghis Khan and Mongolia | The
Mongolians have 800 years of history |
The Mongolians have great horses and
dogs | The Mongolians have the sun
and the moon.
Ordos Drinking Song
Drinking, especially milk wine, is very
important to Mongolians especially at
festive times and occasions like weddings.
They drink to inspire themselves and
raise their spirits and then sing drinking
songs and enjoy themselves. There are
many drinking songs but this one is in
the the Ordos tradition.
Lyrics (extract)
When the milk wine is in the bottle |
Just like small sheep in the pen | When
you drink the milk wine | It is just like
a tiger out of the pen | We toast that
everything goes well for me and you
Suhe’s White Horse
This is a new composition by our
newest member Chinggeltu. A
powerful instrumental, it is based on
the famous myth of Suhe and how the
Horse Head Fiddle was first created.
The legend goes that Suhe had the
most beautiful white foal (who he
loved dearly) which grew into the
most incredible stallion. Suhe slept
every night with the horse and the
two were inseparable. One day Suhe
entered them into a horse race which
Suhe and his horse won easily and
everyone admired them, including a
wicked King who commanded Suhe
to give him his beloved horse. Suhe
refused and fled so the King ordered
that they be found and the horse
killed as a punishment. The soldiers
carried out the King’s orders. Suhe
was distraught and wept inconsolably
for days on end. Finally he fell asleep
and dreamt his horse came to him.
His horse told him not to be sad and
that he should use use the dead horse’s
skin and bones to make the body of a
Horse Head Fiddle and that his tail be
used to make the strings and bow. He
should then play the fiddle and every
time he did so he would be reminded
of his beloved horse.
Sumaro
A young girl, Sumaro, is in love with a
boy called Sanjay Mam. But this is no
ordinary love and they are desperate
to be together every day. When Sanjay
Mam is not there, Sumaro climbs to
the top of the shrine so that she can
see far over the Mongolian plains and
waits all day for her lover to return.
Sanjay Mam, desperate to see his love
rides his horse so fast that the dust
billows behind him like the spray that
rises from the lake as a goose lands on
the water.
Lyrics (extract)
Thinking of and missing him, | She
couldn’t bear it. O Sumaru | Climbing
on top of the shrine, she stares into the
distance shading her eyes
The Girl Who Stole Horses
Based on a famous Horchin folk song.
A girl dresses as a boy in order to steal
33 horses from the rich and then gives
them to the poor. This makes her
famous and a great popular heroine.
Lyrics (extract)
Grey small bird singing in the early
morning | The horse from the
grasslands rides towards the northwest
The Legend of The Swan Brothers
Based on a Mongolian folk song
this tells the story of a very poor
Mongolian man similar to Robin
Hood. He steals from the rich and
gives to the poor.
Lyrics (extract)
Five heroes they steal flocks and flocks
of sheep from the rich | They only left
the Rams for them | Boydar, Tugno,
Bolygor, Hassak | They rob all the
sheep | They are 5 heroes
Wan Li
Based on a very famous Horchin
folk song this tells the tale of a
very beautiful girl in the Horchin
Grasslands. Everyone who sees the
girl falls in love with her, and because
of this they wrote a song about the
beautiful girl whose name is Wan Li.
Lyrics (extract)
A man who walks under the big
lanterns | After seeing the beautiful
girl Wan Li Starts to walk like a
drunken man. | When the man on
the horse rides quickly past the girl |
He feels the girl is the most beautiful.
When a man on a horse goes on the
mountain | The feet of the horse clip
clop on the rocks | When the horse
is beside the girl Wan Li | He feels
the girl is the most beautiful. | Very
beautiful Hoy
About AnDa Union
"Anda" means a blood brother or
sister. For Mongolians an “Anda” is
more important than a birth brother
as you choose a person to become an
Anda, a life-long blood brother. AnDa
Union is a brotherhood of Andas.
AnDa Union’s thoroughly addictive
combination of Mongolian musical
styles is a reflection of their roots.
Hailing from differing ethnic nomadic
cultures, the ten strong band unite
tribal and music traditions from all
over Inner Mongolia in China. AnDa
Union brings a wide range of musical
instruments and vocal styles together
in a fusion that Genghis Khan himself
would have been proud of. Keenly
aware of the threat to the Grasslands
and their age-old Mongolian culture,
AnDa Union are driven by their fight
for the survival of this endangered
way of life, by keeping the essence
of the music alive. Formed 13 years
ago in 2000 they have influenced a
generation of young Mongolians in
Inner Mongolia as traditional music
flourishes in the capital. Nars says,
“Most of the band members have been
playing together since childhood. As
adults, we studied professional vocals
and instruments together. We are like
a family. thirteen years ago, AnDa
Union was forged and we haven’t
looked back.”
AnDa Union were all trained in
traditional Mongolian music from a
young age, many coming from musical
families. They are part of a musical
movement that is finding inspiration
in old and forgotten songs, drawing
on a repertoire of magical music
that had all but disappeared during
China’s recent tumultuous past. As a
group they hold on to the essence of
Mongolian music whilst creating a
form of music that is new. A soloist
would traditionally perform many of
the instruments AnDa Union plays,
and Mongolian musicians have tended
to concentrate on a particular musical
technique. AnDa Union combines
different traditions and styles of
music from all over Inner and Outer
Mongolia, developing an innovation
previously unheard of. The very
existence of a music group like AnDa
Union is new to Inner Mongolia.
Mongols have a strong musical
tradition that is passed from generation
to generation. The morin huur, or
horse head fiddle, pays homage to the
most important animal in the Mongol
culture; almost all houses have one
hanging in the hallway.
The group describes themselves as
music gatherers, digging deep into
Mongol traditions and unearthing
forgotten music. They are on a mission
to stimulate their culture and reengage
young Mongols, many of who no
longer to speak their own language.
Saikhannakhaa is fighting to reverse this
trend by opening a bar in the capital
Hohhot, where she will promote music.
“I found an old golden wheel with half
its spokes broken in an old dusty shop.
It looks like a wheel that once turned
the warrior carts of the great Mongol
armies. I will hang this wheel in my bar
as a warning to Mongolian people that
our culture is broken and needs to be
mended.”
Nars grew up in the Horchin
grasslands with his Grandparents
who were traditional herders. His
grandfather, also a musician, playing
many instruments including the
accordion, morin huur, and other
stringed fiddles, became his teacher
and mentor from an early age. At aged
12 he went to live in Chifeng to study
music and met other students, four
of whom would become members of
AnDa Union. After graduating, Nars
moved to Hohhot where he joined
the Inner Mongolia Music and Dance
Troupe where he met the rest of the
band and in 2000 AnDa Union was
born. Today, Nars also runs a music
school teaching morin huur, tobshuur
and hoomei to young people. His
parents have now moved to Hohhot
to help him run the school and they
all live together in a house filled with
students, beds and instruments. Nars
also collaborates and performs with
orchestras across China and Korea.
Urgen grew up in a village two hours
from Ar Horchin, close to Nars. They
are childhood friends. He lived in a
traditional herders’ lifestyle with his
parents and two brothers. As a little
boy, his job was to take the sheep into
the fields to graze. His older brother
Bagana had won a scholarship to study
music in the city and tragically was
killed by a drunk driver. Ten year old
Urgen was already a budding musician
but this tragic loss spurred Urgen on
to become a top performer, striving to
fulfil his brother’s dream. He went to
school in Ar Horchin with Nars where
he met Uni, then went onto Chifeng
Music College and onto Hohhot
to join the Inner Mongolia Music
and Dance Troupe. He is married to
Sitchentoya, who is a children’s TV
presenter for Mongol TV. They have
a little girl and are expecting their
second in September.
Uni grew up around Ar Horchin and
met Nars and Urgen at comprehensive
school. He learned music from a young
age. He studied music at Chifeng
Music College with Nars, Urgen,
and Chinggel. He went to Hohhot
to work with Inner Mongolia Music
and Dance Troupe and was a founder
of AnDa Union. He lives in Hohhot
with his wife who is a dancer and they
have just opened their own Buriat
style restaurant in the capital; the most
delicious food in Inner Mongolia!.
Chinggel grew up in a traditional
herding family in the Ongniud
grasslands and has three sisters. He
went to Music College in Chifeng
where he studied morin huur, but now
plays mainly flute. He is one of only
4 musicians in Inner Mongolia who
can play the moadin chor. Today, his
passion for the moadin chor has led him
to start making these reed flutes as well
as Mongolian metal flutes. He loves
to drive his large Yamaha motorbike
through the streets of Hohhot.
Saikhannakhaa spent holidays on the
grasslands with her grandparents, close
to Tongliao in eastern Inner Mongolia.
She learned music from a young
age from her paternal grandparents.
She won a prize as the most talented
female morin huur player and was
Tsetsegmaa
Chinggel
Biligbaatar
Saikhannakhaa
invited to join the Inner Mongolia
Song and Dance Troupe where she
became the first professional female
musician. Today she runs a very
successful Mongolian bar in Hohhot
with her mother, father and uncle. She
has recently married a dancer from
the Inner Mongolia Music and Dance
Troupe and they have one son.
Urgen is the drummer of the band.
He grew up in Ar Horchin and
his parents are teachers. His father
teaches Mongolian music at the
Mongolian University in Hohhot
and is responsible for Urgen’s
growing up with music all around
him. He is not only an excellent
drummer but also plays Morin
Khuur, guitar and piano. He recently
married and is now expecting his
first child this year.
Chinggeltu is the youngest in the
band and studied the bass Morin
Khuur in Ulanbaatar and Hohhot
at university. His family is from Ar
Horchin.
Tsetsegmaa Tsetsegmaa is a longsong singer and tours with AnDa
Union. A Buriat, she grew up near
Hulun Buir in the northwest of
Inner Mongolia near the border of
Russia and Outer Mongolia. Hulun
Buir is one of the remotest areas of
the region and home to both Ewenke
and Buriat people. She works within
the Inner Mongolia Music and
Dance Troupe as a solo long-song
singer. She has won many prizes and
awards for her astounding voice and
is widely seen as the finest female
long-song singer in the world today.
She has written a number of very
beautiful Buriat songs which she
perfoms with AnDa Union. She is
based in Hohhot and has one sister.
Biligbaatar is a long-song singer
and tours regularly with AnDa
Union. He grew up in Hexigten. His
mother, younger brother, brother’s
wife and daughter, all live in the
grasslands and herd the family
livestock. Billigbatar is an expert
horseman. He learnt long-song from
his mother when he was a child, his
talent was honed in the beauty of the
grasslands and he is a long-song gold
medallist. He is based in Hohhot
with his wife who is also a singer.
Tim Pearce (Producer/Director) Tim
Pearce’s background is music and
theatre, so it was only natural that as
a film producer, both music and live
performance would play a central
role. His last project was “A Throw of
Dice” a stunning Indian silent movie,
which was restored to all its glory
and released with a new soundtrack
by Nitin Sawhney and performed by
the London Symphony Orchestra.
The film was not only a great success
in cinemas, but has been performed
live with orchestras all over the world.
Tim met AnDa Union five years ago
in Shanghai. Bowled over by their
music, he introduced them to Arts
Midwest who organized two US
tours. He then co-produced and codirected the AnDa Union feature film
which was released in 2012. He lives
in London with his family.
Sophie Lascelles (Producer/
Director) Sophie Lascelles grew up
travelling the world with Footsbarn
Travelling Theatre. Inspired by the
many cultures and influences she
encountered along the way, her work
encompasses many aspects of the
visual and performing art world.
She collaborates with directors and
theatre companies, performing
internationally at venues such
as London’s Shakespeare’s Globe
Theatre, the Edinburgh and Avignon
festivals.
Sophie Lascelles’ work as a
visual artist focuses on 16mm
film projection and site specific
installation. She is represented by
Danielle Arnaud contemporary art
and has exhibited extensively across
the UK, with commissions from
Harewood House, Tatton Biennial
and the Tate Gallery. In 2008 she met
AnDa Union and fell in love with
their music and culture. She went
on to produce and co-directed the
feature film AnDa Union.
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International Chamber Music Series
November 19, 2013
Modigliani
Quartet
Special thanks to our
Community Sponsor:
Philippe Bernhard, violin | Loïc Rio, violin
Laurent Marfaing, viola | François Kieffer, cello
Media Partner:
Tonight's Program
Arriaga
String Quartet No. 3 in E-flat Major
Allegro
Andantino (Pastorale)
Minuetto
Finale: Allegro agitato
Beethoven
String Quartet No. 16 in F Major, Op. 135
Allegretto
Vivace
Lento assai, cantante e tranquillo
Grave, ma non troppo tratto—Allegro
Nancy D. Alvord
Dr. Martin L. Greene and the late
Toby Saks
Hans and Kristin Mandt
Mina B. Person
Dave and Marcie Stone
Lee and Judy Talner
Intermission
Debussy
206-543-4880
uwworldseries.org
String Quartet in G Minor, Op. 10
Animé et très decide
Assez vif et bien rythmé
Andantino, doucement expressif
Très modéré—Très mouvementé
et avec passion
About the Program
String Quartet No. 3 in E-flat
Major
Juan criSóStomo arriaga (1806–1826)
Juan Crisóstomo Arriaga bore the
sobriquet “Spanish Mozart.” Like his
predecessor, he too was a child prodigy
and an accomplished composer. Sadly,
he also died young—much younger,
in fact than Mozart. Furthermore,
he was born—in Bilbao, Spain—on
what would have been Mozart's fiftieth
birthday, January 27.
Young Arriaga learned his craft initially
from his father and older brother before
being sent to the Paris Conservatory
where he studied violin under Pierre
Baillot, and counterpoint and harmony
under the renowned pedagogue
François-Joseph Fétis. Greatly imbued
with musical talent he soon became
a teaching assistant in Fétis’ class.
He died in Paris at the age of 19 of
a lung ailment exacerbated by sheer
exhaustion.
Because he died so young there is
precious little music left for posterity
to enjoy. He composed an opera, Los
esclavos felices ("The Happy Slaves")
in 1820 when he was all of 13 years
of age. Though the stage work was
successfully produced in Bilbao, only
the overture and a few fragments
survive. He wrote a symphony in D
(shifting almost equally between minor
and major modes) and composed three
precocious string quartets before his
19th birthday. Alas, these chamber
pieces were the only works published
during his lifetime. Though Spanishborn, his sound world recalls the
Vienna-based classicism of Haydn and
Mozart with a hint of Beethovenian
Romanticism.
Though it would be an overstatement
to say that by the time he died he was a
fully ripened and experienced composer
there’s no doubt that his String Quartet
No. 3 shows increasing mastery of the
quartet idiom. The opening Allegro
recalls Beethoven’s Op. 18, No. 1 quartet
and shares with the master a restless
unison theme that recurs between
episodes dominated by the first violin.
Brief silences enhance the prevailing
drama. The contrasting development
section finds the violins and cellos
enjoying their own “conversation.” One
notes the sudden alternation of short
and loud punctuation between flowing
lyrical lines.
The ensuing Andantino (Pastorale) is
an aptly termed mini-nature study
replete with gentle bird calls and a
violent storm mid-movement, surely
reflective of the second and fourth
movements of Beethoven’s “Pastoral”
Symphony. It begins gently and with
winning sweetness as the cello provides
a “walking bass” over which the upper
strings soar, their mood darkening with
a series of ominous tremolos anticipate
late Schubert.
A bit of Haydn resonates in the third
movement Minuetto. The opening
section emphatically posits twin moods
of pointed drama and hushed mystery
while the central Trio boasts a delicate
and skittish counterpoise.
The Presto agitato finale, too, suggests
both Haydn and Beethoven, especially
in the contrast between the energetic
opening theme’s material and relaxed
moments provided by the genial warmth
of the second theme. Increased fervor
and fine counterpoint add tellingly to
the development section.
String Quartet No. 16 in
F Major, Op. 135
luDWig van Beethoven (1770–1827)
Given the trailblazing nature of
Beethoven’s four previous “late”
quartets beginning with Op. 127,
some aficionados have dismissed his
final entry as a comfortable throwback
to the time-limited, traditional
four-movement format of Haydn
and Mozart. To do so is to not fully
appreciate the process of economical
reduction that Beethoven may have
exercised in this comparatively brief
farewell to the quartet medium,
indeed to all composition. Composed
the year before his death, the F-Major
Quartet balances the renewed vigor
of his youthful compositions with
wise lessons learned from a lifetime of
writing music.
The Allegretto that opens the Op. 135
Quartet posits a number of short,
pithy and protean motives—“themelets” if you prefer—that he joins, splits
up and uses as myriad germs for the
unfolding of the entire movement.
Everything suggests a distillation of his
great gift for variation and elaboration,
seamless lyricism, humor and faultless,
imaginative counterpoint, exemplified
in a deft fugal episode.
A dancing syncopated scherzo follows.
Marked Vivace, the music leaps
forward with great energy moderated
by lightness of mood that occasionally
borders on mania. Throughout much
of the movement Beethoven divides
the ensemble into two entities: the
violins skitter and soar above the
harmonic underpinning supplied by
the viola and cello.
As is often the case with Beethoven
the Lento—the longest movement of
the Quartet—reveals his inner feeling
and spiritual aspirations. Brooding,
even stark, the progressing variations
grow from a slowly unfolding hymnlike theme that weds psyche/soul
and body into unity. Yet within this
probing expression of doubt and pain
there are unmistakable glimmers of
hope, especially in the exquisite lullaby
that ends the movement. (Listen to
the closing Adagio of Mahler’s Third
Symphony: it not only mirrors the
mood but has a melodic and harmonic
passage that clearly comes from the
pages of this movement.)
Beethoven admitted to his publisher
that he had great difficulty with
the finale: “Here, my dear friend, is
my last quartet. It will be the last;
and indeed it has given me much
trouble. For I could not bring myself
to compose the last movement. But
as your letters were reminding me of
it, in the end I decided to compose
it. And that is the reason why I have
written the motto: ‘The difficult
decision—Must it be? —It must be, it
must be!’”
As might expect, the finale begins
with an introductory 3-note musical
translation of the verbal question
posited in the above epistle: “Must it
be?” (This potent thematic germ found
new life in Franck’s Symphony in D
minor.) Harsh, dissonant chords pierce
the heart before Beethoven answers the
question by switching into the major,
inverting the theme so that the third
note no longer ends in an upward
questioning sense but rather asserts an
optimistic rejoinder. He had created a
similar, though less truly serious shift
in his earlier Piano Sonata, Op. 81a,
known as either Das Lebewohl or Les
adieux (“Farewell”). It is as if to say
“Life has been hard, but with the wise
lessons learned by maturity, it has,
after all, been a good run!”
String Quartet in G minor,
Op. 10 (1893)
clauDe DeBuSSy (1862–1918)
It was his attendance at the 1889 Paris
Exhibition that inspired Debussy to
embrace non-Western musical ideas
as a way of breaking away from three
centuries of tonally based minor
and major scales. Four years later he
composed his only String Quartet, Op.
10, a year before the premiere of his early
“signature” piece Prélude l’après-midi d’un
faune. The Quartet, in fact, includes the
phrase “in G minor,” the only one of
his works that carries by a specified key
signature and an opus number.
Early critics were mixed in their
opinions. One French commentator
noted in 1902: “Rhythm, melody,
tonality, these are three things
unknown to Monsieur Debussy and
deliberately disdained by him. His
music is vague, floating, without color
and without shape, without movement
and without life. …What a collection
of dissonances, sevenths and ninths,
ascending with energy, even disjunct
intervals! No, decidedly, I will never
agree with these anarchists of music!"
Composer Paul Dukas, however,
(he of The Sorcerer’s Apprentice fame)
opined: “Everything is clear and
concisely drawn, although the form is
exceedingly free. The melodic essence
of the work is concentrated, but of rich
flavor… The harmony itself, although
greatly daring, is never rough or hard.
Debussy takes particular delight in
successions of rich chords that are
dissonant without being crude, and
more harmonious in their complexity
than any consonances could be; over
them his melody proceeds as on a
sumptuous, skillfully designed carpet
of strange coloring that contains no
violent or discordant tints.” Amen!
All four movements of the Quartet
draw their themes from the principal
subject announced at the beginning
of the opening Animé et très decide.
The theme is cast in Phrygian mode—
essentially a descending scale from
e to e an octave lower using only
the equivalent of the white keys of a
piano. (Like many composers of the
past century-plus, Debussy sought
further release from the dominance of
the minor- and major-scales through
the employment of the older Church
modes.) The theme is rather harsh in
its initial presentation and engenders
considerable energy through complex
rhythms and sheer vehemence.
The use of a germinal theme throughout
the Quartet shows influence from
César Franck and Saint-Saëns. There is
precious little of the true counterpoint
associated with the German composition.
The special qualities of Debussy’s piece
are its use of modal harmony and an
astonishing sensitivity to instrumental
color. Unlike Franck, Debussy was less
interested in carefully maintaining cyclic
structure than in ever-changing fluid
motion. His late orchestral masterpiece
Jeux (1913) was a final manifestation of
his desire to avoid repetition.
The Quartet’s second movement, Assez
vif et bien rythmé acts as a traditional
scherzo and employs a dazzling array
of rhythmic and coloristic devices that
greatly expanded the harmonic and
timbral practices of his day. It is this
movement in particular that established
what was soon called “Impressionism”
in music. Strongly accented pizzicato
chords are immediately countered
by a quirky motive from the viola. A
profusion of sudden sforzandos adds
to the energy and chip-on-shoulder
challenge Debussy was throwing into
the gantlet. No doubt the plucked
notes are more beholden to Javanese
gamelan, which had so intrigued him at
the above-mentioned Paris Exhibition,
than to, say, the pizzicato Tchaikovsky
had employed in his Fourth Symphony.
As Ravel would later do in his only
string quartet, Debussy places the slow
movement— Andantino, doucement
expressif—as third in the sequence.
Here too one hears pizzicatos to
underline the rhythm, though they are
more internally derived. The luxuriant
romance of this music reminds us
that Debussy was by no means an
anti-Romantic; he was specifically antiWagnerian and anti-German. Many of
his works are signed “Claude Debussy,
musicien français.”
If Debussy avowed a dislike for the
presumed academicism of German
music, in the finale of the Quartet,
marked Très modéré—Très mouvementé
et avec passion, he actually includes a
rare fugal passage, introduced by the
cello, that is a transformation of the first
movement’s main theme. As the music
progresses it grows increasingly quick as
new thematic variants leap into the fray.
A coda that recalls the very opening
music of the Quartet ties up matters.
© Steven Lowe
About the Modigliani Quartet
The Modigliani Quartet, formed by
four close friends in 2003, recently
celebrated 10 years together, and is
already one of the world’s most sought
after string quartets, playing in venues
like Théâtre des Champs-Elysées, Cité
de la Musique, Wigmore Hall, Carnegie
Hall, Amsterdam’s Concertgebouw,
Brussels’ Bozar, Vienna’s Musikverein
and Konzerthaus, Salzburg’s Mozarteum,
Lucerne Festival, Schwetzingen Festival,
Rheingau Festival, Kissinger Sommer,
Gstaad Menuhin Festival, Hohenems’
Schubertiade, Washington DC’s Library
of Congress, Luxemburg’s Philharmonie ,
Zurich’s Tonhalle, Munich’s Herkulessaal,
and La Fenice in Venice.
In the 2012-13 season the Modigliani
Quartet had very successful tours in
Australia, Japan, China, and the U.S.,
where they performed in many cities
including Philadelphia, Boston, Buffalo,
and San Diego. In the 2011-12 season
they were nominated by the Cologne
Philharmonie, Hamburg’s Laeiszhalle
and Baden-Baden Festpielhaus as
ECHO Rising Stars.
In 2008 the Quartet began a rich
collaboration with the Mirare label and
has released 4 award-winning CDs,
all receiving great acclaim in several
countries. Their first Haydn CD was a
Strad selection, their Mendelssohn CD
in 2010 was a Fono Forum selection
(disc of the month) and aroused
admiration from critics and audiences
worldwide. In 2012 their fourth CD
was dedicated to youth with quartets by
young Mozart, Schubert and Arriaga.
Only one year after they were formed,
the Quartet attracted international
attention in 2004 by winning the Frits
Philips String Quartet competition in
Eindhoven. The Quartet then took
First Prize at the Vittorio Rimbotti
competition in Florence in 2005
and won the Young Concert Artists
Auditions in New York in 2006.
Following their studies at the
Conservatoire National Supérieur
de Musique de Paris, the Modigliani
Quartet studied with the Ysaÿe Quartet
in Paris, attended masterclasses by
Walter Levin and György Kurtág, and
then had the opportunity to work with
the Artemis Quartet at the Universität
der Künste in Berlin.
Thanks to the generosity and support of
private sponsors, the Modigliani Quartet
plays on four outstanding Italian
instruments:
Philippe Bernhard plays a 1780 violin
by Giovanni Battista Guadagnini.
Loïc Rio plays a 1734 violin by
Alessandro Gagliano.
Laurent Marfaing plays a 1660 viola by
Luigi Mariani.
François Kieffer plays a 1706 cello by
Matteo Goffriller (former”Warburg").
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 begins at 7:30pm. Family Matinees start at 2pm. 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.
Lost and Found
Contact the House Manager immediately following the performance
or the Meany Hall House Manager at 206-543-2010, bnancy@uw.edu.
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.
Attending with Children
Children 5 years of age and older are welcome at all UW World
Series performances with a ticket. A limited number of booster seats
are available.
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.
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 Way
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
• UW Arts Ticket Office
1313 NE 41st Street
Seattle, WA 98105
Ph: 206-543-4880 | Toll-free: 800-859-5342 | Fax: 206-685-4141
Email: ticket@uw.edu
Office Hours: Mon-Fri, 11 AM – 6 PM
• Meany Hall Box Office
The Meany Hall Box Office opens one hour before the
performance and is located in Meany Hall's main entrance.
Tapestries Displayed on Stage
The artwork on display on stage during Piano and Chamber Music
events are tapestries woven by Danish artist Charlotte Schrøder.
Friends of the UW World Series
Many thanks to the following donors whose generous support make our programs possible:
Producer’s Circle
Distinguished Patron
($25,000+)
(between $1,000 and $2,499)
(between $500 and $999)
Nesholm Family Foundation
Mina B. Person
Anonymous
Joseph Ashley
Cynthia and Christopher Bayley
Luther Black and Christina Wright
William Bollig
Stephen and Sylvia Burges
William Calvin and Katherine Graubard
Heidi Charleson
Wimsey J. N. Cherrington
Thomas Clement
Susan and Lewis Edelheit
In Memory of Mary Janice Fleck
Michael L. Furst
Lisa Garbrick
Bill and Ruth Gerberding
William Gleason
Helen Gurvich (D)
Wolfram and Linda Hansis
Stephen and Marie Heil
Susan Herring and Norman Wolf
Paul and Alice Hill
In Memory of Gene Hokanson
Hugues Hoppe and Sashi Raghupathy
Mary and Emily Hudspeth
Susan Knox and Weldon Ihrig
Bernita Jackson
Jennifer Jacobi and Erik Neumann
Ilga Jansons and Michael Dryfoos
Anne Johnson
Karen Koon
Leander Lauffer and Patricia Oquendo
Nathan Ma*
Ingeborg and Heinz Maine
Peter Tarczy-Hornoch and Candice McCoy
Tomilynn and Dean McManus
Peter and Linda Milgrom
Margaret Dora Morrison
Kevin Murphy and Karen Freeman
Jerry Parks and Bonny O'Connor
Alice Portz and Brad Smith
Stephen R. Poteet and Anne Shu-Wan Kao
Dick Roth and Charlene Curtiss
Donald and Toni Rupchock
Bela and Yolande Siki
Evelyn Simpson
Sigmund and Ann Snelson
Nepier Smith and Joan Affleck-Smith
Carrie Ann Sparlin
Ethel and Bob Story
Scott and Colleen Stromatt
Diana F. and Richard H. Thompson
Lorraine Toly
Ernest Vogel and Barbara Billings
Michelle Witt and Hans Hoffmeister
Joanne Young
Anonymous (2)
Jean-Loup and Diane Baer
Jillian Barron and Jonas Simonis
Mel Belding and Kathy Brostoff
Cristi Benefield
Robert Bergman
Michael Bevan and Pamela Fink
Kalman Brauner and Amy Carlson
Heida Brenneke
Irvin and Hope Carnahan
Donald Cavanaugh
Timothy Clifford
Joan and Frank Conlon
Jill Conner
Leonard Costello and Patricia McKenzie
Richard Cuthbert and Cheryl Redd-Cuthbert
Robert Delisle
Suzanne Dewitt and Ari Steinberg
Robin and G. Douglas Ferguson
Sergey Genkin
Gerald Ginader and Karen Elledge
Lester Goldstein
Torsten and Daniela Grabs
Theodore and Sandra Greenlee
Carolyn and Gerald Grinstein
Arthur and Leah Grossman
Raymond and Dorothy Guth
Susan and Richard Hall
Steven Haney
Ron Hull
Paul Kassen
Aaron Katz and Kate Dougherty
Frank and JoAnna Lau
Michael Linenberger and Sallie Dacey
Arni Hope Litt
Theresa Marinelli
Dr. Michael and Nancy Matesky
Marcella Dobrasin McCaffray
John and Gail Mensher
Mary Monfort and Kevin Coulombe
Paul and Susan Moulton
James and Pamela Murray
Anne Stevens Nolan
John O'Connell and Joyce Latino
Tracy and Todd Ostrem
Brian Pirie
Cyndie Phelps (D)
Geoffrey Prentiss
Nancy Robinson
Marcia Sohns and Mark Levy
Carol Swayne
Dennis Tiffany
Manijeh Vail
Ellen Wallach and Thomas Darden
Eugene Webb and Marilyn Domoto Webb
Stephen and Debra Wescott
Wright Piano Studio Students
Director’s Circle
(between $10,000 and $24,999)
Kenneth and Marleen Alhadeff
Nancy D. Alvord
Lynn and Brian Grant
Glenn Kawasaki, Ph.D.
Lee and Judy Talner
Series Benefactor
(between $5,000 and $9,999)
Anonymous (2)
Linda and Tom Allen
The Bitners Family
JC and Renee Cannon
Martin Greene and Toby Saks (D)
Hans and Kristin Mandt
Joseph Saitta
Donald and Gloria Swisher
David Vaskevitch
Kathleen Wright
Event Sponsor
(between $2,500 and $4,999)
Linda Armstrong and Aaron Lowin
Cathryn Booth-LaForce and W Kenneth LaForce
Jeanne Dryfoos
Vasiliki Dwyer
Hellmut and Marcy Golde
Elizabeth Hebert and The Petunia Foundation
Richard and Nora Hinton
Catherine and David Hughes
Kim and Randy Kerr
Douglas F. King
Kurt Kolb
Matthew and Christina Krashan
Lois H. Rathvon
Sally Kincaid
Gregory Wallace and Craig Sheppard
George Wilson and Claire McClenny
*denotes in-kind donation
Patron
Great Performer
Anonymous (2)
Frank and Nola Allen
Stephen Alley and Amy Scott
Charles Alpers and Ingrid Peterson
Lauralyn Andrews
Gretchen and Basil Anex
Mary Ann Berrie
Dennis Birch and Evette Ludman
aBout thiS liSt About this list: This listing includes donors ($50 and above) to the UW World Series from July 1, 2012 through June 30, 2013. 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
Nancy and Edward Birdwell
Gene Brenowitz and Karen Domino
Nathaniel R. Brown
Jason Bubolz
Dave Buck
Kevin Burnside
M.G.A. Charlesworth
Daniel and Sandra Ciske
Monica Clare Connors
Karen Conoley and Arthur Verharen
Consuelo and Gary Corbett
Donald Cumming and Margaret Kenly
Leroy and Marybeth Dart
Frederick Davis and Harriet Platts
Kenneth Dayton
Dr. Barbara DeCoster
Arlene B. Ehrlich
Susan Elliot
Luther and Gladys Engelbrecht
Jean Burch Falls
Eric and Polly Feigl
Eckhard and Susanna Fischer
Robert C. Franklin
Janet Geier and Peter Seitel
Genevra Gerhart
Gene Graham
Laurie Griffith
Tim Groggel
Chris and Amy Gulick
David Gutsche
G. Lester and Lucille Harms
Steve and Sarah Hauschka
Missy Hoo
Randy and Gwen Houser
David Isla
Sumedh Kanetkar
Gail and David Karges
David Kimelman and Karen Butner
Richard Kost
Lisa Kroese
Gregory Kusnick and Karen Gustafson
Christopher Landman and Julia Sommerfeld
Rhoda and Thomas Lawrence
Emily J. Levy
Margaret Levi and Robert Kaplan
Dennis Lund and Martha Taylor
Jeffrey and Barbara Mandula
Connie Mao
Robin L. McCabe
Wayne McCleskey
Christopher and Mary Meek
Mary Mikkelsen
Susan P. Mitchell
Rik Muroya
Charles Nelson
John Nemanich and Ellendee Pepper
Margarete Noe
Blair Osborn and Alice Cunningham
Carol and Simon Ottenberg
James and Louise Peterson
Irene M. Piekarski
Carla Rickerson
Joy Rogers and Bob Parker
Richard and Sally Parks
Janet and John Rusin
Cathy Sarkowsky
Mark and Patti Seklemian
Giles and Sue Shepherd
Roger Simpson
David Skar and Kathleen Lindberg
Kaj Sonjia
Derek Storm and Cynthia Gossett
Richard Szeliski and Lyn McCoy
Gary Takacs and Patricia Tall-Takacs
Thomas and Doris Taylor
Gayle and Jack Thompson
Krystyna Untersteiner
Yvonne and Bruno Vogele
Crispin Wilhelm and Sundee Morris
Carolyn Wood
Lee and Barbara Yates
Ying Gi Yong
Key Player
Anonymous (3) | Michelle Acosta | Laila Adams | Kathryn Alexandra | Jeff
and Cameron Altaras | Julie Anderson | Marjorie Anderson | Roland
Anderson, Ph.D. | Suzanne and Marvin Anderson | Elizabeth Baker | Lisa
Baldwin and John Cragoe | Dana and Rena Behar | Arlene and Earl Bell |
Nan Bentley | Safiya Bhojawala | David Bird | James and Edith Bloomfield |
Susan Borg | Lisa Boulanger | Susan Braun | Thomas and Virginia Brewer |
Herbert Bridge and Edie Hilliard | Paul Brown and Amy Harris | Dianne
Calkins | Timothy Callahan | Linda and Peter Capell | Susan and Kevin
Carmony | Molly Carney | Charles Carosella and Mary Vanveen | Luther
and Frances Carr | Robert Catton | Bert Cehovet | Pamela and Robert
Center | Robert and Patricia Charlson | Candace Charlwood | Gian-Emilio
Chatrian and Teresa Rattazzi | Lynne and David Chelimer | Robert and Molly
Cleland | Deborah Clothier | Gayle Cloud | Leonard and Else Cobb |
Diane Colclough | Carol Cole | R. Bruce and Mary Louise Colwell |
Elizabeth Cooper | Kathy Cowles and Bradford Chamberlain | Jean Crill |
Gavin Cullen and David Jamieson | Sharon Cumberland | Judy Cushman and
Robert Quick | Janice DeCosmo and David Butterfield | The de Soto Family
| Martha and Theodore Dietz | Xiaoli Duan | Laurie Ann and C. Bert Dudley
| Maria and James Durham | Sally Eagan | Sheila Edwards Lange and Kip
Lange | Richard Eide | Ruth and Alvin Eller | Nancy Elliott | Nigel Ellis and
Lynn Paquette | Penelope and Stephen Ellis | Susan Encherman | Costin
Eseanu | Luis Fernando and Maria Isabel Esteban | Alan and Jane Fantel |
Kirstin and W. J. Thomas Ferguson | James Fesalbon and Edward Francis Darr,
II | Melanie Field | Jerry and Gunilla Finrow | David Fischbach (D) |
Patricia Fischbach | Albert Fisk and Judith Harris | Gerald Folland | Brenda
Fong | Jacqueline Forbes and Douglas Bleckner | Stuart Fountain and Tom
Highsmith | Sam Friedlander | Lucille Friedman | Gary Fuller and Randy
Everett | James Gale | Stanley and Marion Gartler | George Gilman | Sara
and Jay Glerum | J. David Godwin and Virginia Reeves | Susan and Russell
Goedde | Fred and Debra Goetz | Helen Goh | Joan and Steven Goldblatt |
Igor and Olga Gousman | Nancy Green | David and Ann Griffin | Chris
Gross | Nancy Grout | Jayme Gustilo | Nan Haberman | Lynn Hagerman |
John Hall | Walter and Willa Halperin | Hylton and Lawrence Hard | Larry
Harris and Betty Azar | Sally and Robert Hasselbrack | Patricia Hayden |
Weinian He | Kathryn Heafield | Ian Hellen and Paula Cerni | Marjorie
Hemphill | Ellen and Jerry Hendin | Robin Hendricks | Richard Hesik and
Barbara Johns | Lori Hess and Benjamin Miller | Ray and Ulrike Hilborn |
Alan and Judy Hodson | Kate Hokanson | Norman Hollingshead | Sharon
Horan | Eric and Mary Horvitz | Andrew and Theda Houck | Frank and
Mary Hungate | Todd and Jane Ihrig | Juju Ishmael | Elizabeth and Edwin
James | Darryl and Kathleen Johnson | David B. Johnson | Linda and
Christopher Johnson | Chris Kalinski | H. David Kaplan | Michael and
Nancy Kappelman | Deborah Katz | Otis and Beverly Kelly | Linda A. Kent
and James Corson | June Kerseg-Hinson and Ron Hinson | F. Christian
Killien | Frederick W. Klein | Lyn and Richard Klein | Rachel Klevit and
Jerret Sale | Kathryn Klosky | Nancy Kloster | Mark and Joan Klyn |
Richard and Donna Koerker | Divya Krishnan | Carolyn E. Kyle | Mary and
John David Lamb | Karen Lane | Eleanor Lang | Laurence and Rosalie Lang
| Inge and Leslie Larson | Eric Larson and Teresa Bigelow | Teresa Leary |
Tammara and Brian Leighton | Ruth Levy | Barbara Lewis | Ryan and
Wendy Linton | Ariel Lopez | Karen Lorene | Barbara A. Mack | Vivian
MacKay | Sara Magee | John and Katharina Maloof | Nona and Elizabeth
Martin | Don and Betty Mastropaolo | Gregory May | Lila May | Douglas
McDonald | Mary V. McGuire | Robert and Catherine McKee | Frank
McKulka | Susan L. McNabb | Bruce and Jeanne McNae | Renate McVittie
| Charles Meconis and Robbie Sherman, M.D. | Christopher Meek | Tim
Meekins and Catherine Mardesich | Christine Meinhold | Ramona Memmer
| Gary Menges | Gabrielle Metz-Virca | Eric Michelman and Patricia Shanley
| Reza and Carol Moinpour | Raymond Monnat and Christine Disteche |
Coe Tug Morgan | M. Lynne Morgan | Howard Morrill | David Morris |
Sue and Bob Moss | Susan Mulvihill and James Liverman | Isaac and Lensey
Namioka | Margaret Nason | Joseph M. and Kay F. Neal | Maryann and
Robert Ness | Eugene and Martha Nester | William and Rosemary Newell |
Richard M. Newton | Albert and Marianne Nijenhuis | David Norman |
Elizabeth Norton-Middaugh | Mark Novak | Beatrice Nowogroski | Terry
O'Connor and Janice Watson-O'Connor | Nenita Odesa | Martin Oiye and
Susan Nakagawa | Matt O'Meara | Sharon Overman | Sherry Owen |
David Owsiany | Elizabeth Park | Reid Parmerter | Ronald Paskin | Gerald
Paulukonis | Ruth R. Perman | Michael and Susan Peskura | Karen Peterson
| Thomas and Julie Pierce | Sarah Playtis | Mary-Alice Pomputius and Walter
Smith | Susan Porterfield | Nicole Quinones | Nina Sharp Ramsey | Toni
Randall and Lee Miller | Wendy and Murray Raskind | Mechthild Rast |
Dennis Reichenbach | Meryl Retallack | Carrie Richard | Suzuko and
Edward Riewe | Chet Robachinski | Guy and Pacita Roberts | Neil Roberts
and Bonnie Worthington-Roberts | Nina Rolfe | Caryl Roman | Steve Rovig
and Brian Giddens | David and Joanne Rudo | Daniel and Annette Sabath |
Sally Samuelson | Norman and Elisabeth Sandler | Laura Sargent | Irwin and
Babette Schiller | Joachim Schneider | Jean Schweitzer | Kevin Scudder and
Anna Davis | Charyl and Earl Sedlik | Rubens and Dulce Sigelmann |
Charnan Simon and Tom Kazunas | Hazel Singer and John Griffiths | Charles
Sneed | Mani and Karen Soma | Lael and Raymond Spencer | Bob and
Robin Stacey | Arthur and B. Janice Stamey | Sarah Stanley and Dale
Rogerson | Starks Family Trust | Craig and Sheila Sternberg | Evelyn Sterne |
Jane and Alexander Stevens | Jessica Strater | Donna Stringer and Andrew
Reynolds | Betty and Joseph Sullivan | Alexa Taylor | I. M. Thomas | Jerry
and Ernalee Thonn | Mary Anne Thorbeck | Emily Transue | Dorene and
Dennis Tully | Michelle and Stephen Turnovsky | Elizabeth Umbanhowar |
Pieter and Tjitske Van der Meulen | Scott Van Gerpen | Frits van Oppen |
Josephus Van Schagen and Marjon Floris | Arthur and Elsa Vetter | Valerie
Vinyar | Paul Vonckx, Jr. | Lynn Waplington | Griffith and Patricia Way |
Larry and Lucy Weinberg | Herb and Sharlene Welsh | Cecil and Linda West
| Bruce H. and Christine White | George and Sandra White | Charles
Wilkinson and Melanie Ito | John and Margaret Williams | Karin Williams |
Scott Wilson and Shirley Cartozian Wilson | Amy O. Wong-Freeman |
Shauna Woods | Osamu Yamamoto | Frank Young | Eugene and Tatiana
Zabokritski | Danielle Zack | Lawrence Zeidman and Linda Tatta | Igor
Zverev and Yana Solovyeva
Friend
Anonymous (3) | Lisa Adriance | Rose Alfred | Dick Ammerman | Roy
Amundsen | John Attebery | James Augerot | Jill Bader | Paul Bagnulo | Ruth
and Mark Balter | Wendy and Jonathan Bannister | Susan Barash | John Bard |
Timothy D. and G. Anthony Barrick | Jake Bartholomy | Janice Berg and James
Johnston | Sonja and Alfred Berg | Reva and Sheldon Biback | Don and Sharon
Bidwell | Thomas Bird | Juanita Birkner | David and Lynda Bishop | Dale
Blanchard | Janet Boguch and Kelby Fletcher | Lee Anne Bowie | Brian Brazil
and Linda Carlson-Brazil | Joyce and David Brewster | Stephen Bryant | Bernice
Buck | Virginia Burdette | Leo Butzel and Roberta Reaber | Barbara Byham |
Carol and Henry Cannon III | Alan D. Caswell | Joanne Chase and Donald
McLaren | Marian Childs | Joyce Clifford | Fran Clifton | Jan and Bill
Corriston | Charles Cox | Philip C. Craven, M.D. | Kent and Jackie Craver |
Beverly and David Crocker | Frederick and Lois Curtis | William Curtis and
Kristen Hoehler | Debra Custer | Elizabeth and Samuel Davidson | Peter de Jong
| Terry De Lavallade | Eduardo and Celeste Delostrinos | Daphne Dilley | Ann
Dittmar | Alisa Dodd | Vicki Dodt | Susan and David Dolacky | Carrie and
Stephen Dossick | Miriam Effron | Robert and Ingrid Eisenman | Ruth Emerson
| Gene Erckenbrack | Judith Gillum Fihn and Stephan D. Fihn | Susan Carol
Fisher | Susan Fitch | Naoko Forderer | Susanne and Bruce Foster | Marcia
Friedman | William Friedman | Susan and Albert Fuchs | David and Brenda
Gilbert | Stephen Gilbert | Katya Giritsky | Stacy Globerman | Judith Gordon
| Maxine Gorton-Stewart | Kevin Goss and Laura Tiberio | James Gould |
David Grossman and Cezanne Garcia | Thomas and Roberta Gurtowski | Jeanne
Hansen | Schraepfer Harvey | Dwight and Helen Hawley | John Headlund |
Brooke and Boyce Heidenreich | Kate and K. Rodgers Hemer | Judith Herrigel |
Martha Hines | Frederick Hott and Laura Rasulo-Hott | Gurminder Hothi | Liz
Hubert | Roy Linwood Hughes | Sammuel C. Hunter, III | Patricia Hynes |
Rebekah Ingalls | Jeanne Marie Isola | Rosemary and Richard James | Natarajan
Janarthanan and Ponni Rajagopal | Robert C. Jenkins | Linda Jewett | Robert
Johnson and Heather Erdmann | Peter J. Kaczkowski and Sara Savage | Elizabeth
Kendrick | Diane and Ronald King | Lance King | Mary Ann King | Steve
Kinsella | James and Elaine Klansnic | Jurgen and Lynn Klausenburger |
Margaret Konzak | Elena Kristalinski | Robert Kunreuther | Yvonne Lam |
Pamela Lampkin | Diane Lasko | Mary Law | P. G. and Jennifer Lehman |
Arlene Lev | Jan Levy | Sharon and Alan Levy | Kathryn Lew | Donna Lewen
and Sue Carlson | Alaron Lewis | Max Lieblich | Max Ma | Laura and Leslie
Mackoff | Linda Madigan | Donald Mahardy | Linda Maki | Wendy Marlowe |
William and Judith Matchett | Stephen McCarthy | Marcia Lu McElvain |
Maureen McGee and Z. Ted Szatrowski | Michaelyn McGuire | Brian McHenry |
Margaret McKibben | Claire Lee McQuin | Ted P.T. Mears | Carl Meinecke and
Ernie Ayers | Genie Middaugh and Adam Kline | Marilyn Milberger | Steven
Millard | Lucas Mood | Patrick Morrison | Christine Moss | Harold and Susan
Mozer | Madeline Mullen | Linda and Alan Murray | Aki Namioka and Erik
Nilsson | Phyllis Nickleson | David and Barbara Nordfors | Paul Norlen and
Ariadna Santander | Kristine Northcutt | Mark Novak | Martha and Kenji
Onishi | Imants and Vija Ozols | Katherine Package | Neely and Geraldine
Pardee | Shawn Parks | William and Frances Parson | Tamas and Anna Paul |
Allan and Jane Paulson | Pamela Perrott | Anna Louise and David Peterson |
Jeanne Peterson | Tyler Petri | Gregory and Margaret Petrie | Lauren Phillips |
Stacey Prince | James and Ruth Raisis | Lois Ramalingam | Jane Remsberg and
Jerome Anderson | Cynthia Richardson | Dianne Rios | Rachel and David
Robert | Fern Rogow | Robert Romeo | Robert and Doris Schaefer | Craig
Schieber | Donald H. Seiveno | Herbert and Elaine Selipsky | Simon and Emily
Shackelton | Diane Shannon | Ruth Shimondle | Beverly Simpson | Adam
Skewgar | June Skidmore | Madeleine Smith | Randall Smith | Ellen and
Bradley Spear | Hugh Spitzer and Ann Scales | Therese Stein | Hank and
Dorothy Stephens | Allyn and Douglas Stevens | Mary Eileen Stretch | Pamela
Stromberg | Gary Tabor | Charles Terry and Betsy MacGregor | Stephen and
Ericka Thielke | Michael Tibbitts and Janeen Feley | Gertrud Tobiason | Donald
and Myrna Torrie | Barbara Trenary | Rae Tufts | Stewart Turley | Mary Kay
Vadino | David and Patricia Volz | Barbara Voss | Teresa Wagner | Patricia Wahl
and Dean Wingfield | Lenore Waldron | Michael Wall | Michele Wang | Bob
and Andrea Watson | Jeffrey and Marilyn Watt | Dean Weaver | Richard and
Ann Weiner | Kim Laurie Wells | Frank and Jan Wetzel | Cheryl Wheeler |
Stephen and Mary Whitmore | M. Keren and Bruce Whittemore | Nancy
Worden and William Reed | Lisa Ye | Larry MacMillan and Billie Young
Matching Gifts
UW World Series offers its sincere thanks to the following companies for matching gifts received or pledged between July 1, 2012 and June 30, 2013:
Bill & Melinda Gates Foundation | The Boeing Company | IBM Corporation | Merck Company Foundation | Microsoft Corporation
Puget Sound Energy Foundation | Shell Oil Company | US Bancorp Foundation | Washington Chain & Supply, Inc.
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
UW World Series Programming Endowment
Anonymous
Richard Cuthbert and Cheryl Redd-Cuthbert
Linda and Tom Allen
Elizabeth Cooper
Ellsworth and Nancy Alvord
Maria and James Durham
Wimsey J. N. Cherrington
Consuelo and Gary Corbett
Gregory Kusnick and Karen Gustafson
Naoko Noguchi
Windsor R. Utley* (D)
Margaret and Dora Morrison
Mina B. Person
Lois Rathvon
UW World Series Education Endowment
Ernest and Elaine Henley*
Lee and Judy Talner
Diane and Ronald King
Ellen J. Wallach
Matthew and Christina Krashan*
J. Pierre and Felice Loebel*
Kristen Pearcy
Arts AL!VE Student Fund for Exploring the Performing Arts
Lee and Judy Talner*
Elizabeth Cooper
Todd and Jane Ihrig
Susan Knox and Weldon Ihrig*
Matt Krashan Endowed Fund for
Artistic and Educational Excellence
in the Performing Arts
Nancy and Eddie Cooper Endowed Fund
Linda and Tom Allen
for Music in Schools
Nancy D. Alvord
Lucille Friedman
JC and Renee Cannon
Dave and Marcie Stone*
Christopher Landman and Julia Sommerfeld
Tracy and Todd Ostrem
Elaine and Ernest Henley Endowment
Mina B. Person
for Classical Music
Ernest and Elaine Henley*
Peter and Linda Milgrom
Lee and Judy Talner
Gregory Wallace and Craig Sheppard
Live Music for World Dance Series Endowment
(Multiple Founders)
Cecilia Paul and Harry Reinert*
* Endowment Founder
aBout thiS liSt
This listing includes endowment founders and endowment donors from July 1, 2012 to June 30, 2013. 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
Paul G. Allen Family Foundation
The Boeing Company
Microsoft
National Endowment for the Arts
Nesholm Family Foundation
$10,000 - $24,999
ArtsFund
4Culture
Seattle Weekly *
Up to $9,999
Classical Wines From Spain | Hotel Deca* | Horizons Foundation | KEXP* | KING FM* | KUOW FM* | Ladies Musical Club
New England Foundation for the Arts | Peg and Rick Young Foundation | Seattle Office of Arts & Cultural Affairs
University Inn* | U.S. Bank | Washington State Arts Commission | Western States Arts Federation
Business Circle Sponsors
Agua Verde Cafe and Paddle Club | College Inn Pub | Eltana Bakery * | Macrina Bakery *
Pagliacci * | Fran's Chocolates * | Taste of India | Ten Mercer *
Community Partners
Alliance Française de Seattle | Arts Impact | ArtsUW | Ladies Musical Club | Langston Hughes Performing Arts Institute
Seattle Music Partners | Simpson Center for the Humanities | Town Hall | UW Alumni Association | UW Dance Program
UW Residential Life Program | UW School of Drama | UW School of Music | UW Walker-Ames Lectures
* 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 cristi@uw.edu.
UW WORLD SERIES ADVISORY BOARD
UW WORLD SERIES AND MEANY HALL STAFF
Randy Kerr, President
Michelle Witt, Executive Director, Meany Hall
Kurt Kolb, Vice-President
Artistic Director, UW World Series
Dave Stone, Treasurer
Rita Calabro, Managing Director
Linda Linford Allen
Cristi Benefield, Director of Philanthropy
Linda Armstrong
Ashley Bontje, Philanthropy Coordinator
Cathryn Booth-LaForce
Anita Ibarra, Student Development and Events Assistant
Ross Boozikee, ArtsFund Board Intern
Luis Fernando Esteban
Brian Grant
Ernest Henley
Cathy Hughes
Elizabeth C. Duffell, Director of Campus and Community
Engagement and Artist Relations
Courtney Meaker, Education and Artist Relations Coordinator
Sonja Myklebust, Campus Engagement Intern
Mina Person
Teri Mumme, Director of Marketing and Communications
Lee B. Talner
Julia Guo, Student Marketing Assistant
David Vaskevitch
Drew Moser, Publications Coordinator
Gregory Wallace
Kathleen Wright
Yevgeniy Gofman, Accountant
David Grimmer, Computer Specialist
Ex-Officio Members
Doug Jones, Computer Specialist
Elizabeth Cooper, Divisional Dean of Arts
Sue Stark, Fiscal Specialist
Robert C. Stacey, Dean, College of Arts & Sciences
Ana Mari Cauce, Provost
Tom Burke, Technical Director
Brian Engel, Lighting Supervisor
UW ARTS TICKET OFFICE
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
Jason Cutler | Kat Deininger | Keeli Erb | Tasha Feng
Evan Jones | Colette Moss | May Saetern
Doug Meier, Meany Studio Stage Technician
Juniper Shuey, Stage Manager
Matt Stearns, Sound Engineer
Nancy Hautala, Audience Services Manager
Tom Highsmith, Head House Manager
Spencer Hildie, Student House Manager
Lead Ushers
Shannon Chen* | Darcy Jamieson | Casey Semanskee*
Amy Tachasirinugune* | J.J. Woodley*
Ushers
Béné Bicaba* | Ashley Coubra* | Craig Dittmann*
Jordan Fuzie* | Shantel Gunter* | Gillian Hollerich*
Catering by
Loralyn Jackson* | Tina Li* | Annie Morro* | Diane Rismoen
Mitch Ryiter* | Yuki Seki* | Alex Tang* | Julia Viherlahti* | Nani Vo*
Shelby Simonson, Student Concessions Manager
Lauren Norton, Student Assistant Concessions Manager
Wines provided by
Sangrudee Sriweerawanidchakun, Student Concessions Helper
* student ushers
The Last Look
MARK MITCHELL’S UNCONVENTIONAL TAKE ON
LOSS, LIFE AND DRESSING FOR ETERNITY.
By AMANDA MANITACH
Photo by Steven Miller
Mark Mitchell manipulates fabric
for Burial, his upcoming show at the
Frye Art Museum. The detail-oriented
designer is wearing 14k custom diamond
rings by Karl Gans-Olsen.
O
NE OF MARK MITCHELL’S models
stands statuesque in a recently
finished gown, her body sheathed
head-to-toe in cascades of gauzy,
milk-white silk. Stiff ruffles that look like they
could be made from the plucked petals of
white camellias wrap around her shoulders
and swaddle her throat like froth. Her eyes are
shut serenely as she is photographed.
Is it possible to envy the dead their clothes?
Because this couture gown isn’t made for the
living.
Mitchell has been designing clothes
full-time for only five years. After keeping
a relatively low profile, he’s having his first
museum show at the Frye Art Museum, on
view through Oct. 20, which started with a
very unusual fashion show. Suffice to say,
the models weren’t prancing up and down a
traditional runway.
Before anyone had seen a finished garment, the collection, Burial, was causing a
stir. “What I’m doing doesn’t really exist in
the world,” he says. “If you Google it, there’s
just me.”
Mitchell himself is an arresting man, his
appearance as fascinating as his work. He’s
covered with tattoos—even his face, where
ink peeks out from his salt and pepper beard.
The day of my visit to his Capitol Hill studio,
he’s wearing a black T-shirt depicting extrahirsute versions of the members of KISS. It’s
KISS and Planet of the Apes melded together,
he explains, a favorite piece he purchased
at a vintage shop years ago. The rest of his
ensemble includes camo pants, a red kerchief
tied around his neck and worn leather moccasins decorated with little beaded skulls in
headdresses.
“Bury me in this,” Mitchell says, “I’d just
want something easy for my partner.”
The sentiment is ironic considering his
recent work, but it suits his vibe. This is a man
who isn’t motivated by excessive fashion for
its own sake, but by love that extends beyond
death, love that’s found expression through a
revolutionary mode of dress.
***
Mitchell’s ongoing relationship with death
isn’t a fling. He grew up in a conservative,
small town in central Illinois—“a red, red
town.” His father was a union man who
dabbled in local politics and became mayor
for a year when Mitchell was in grade school.
Mitchell was more creative than political; he
preferred sneaking around, trying to teach
himself to sew, knit, crochet—something not
smiled upon as a pastime for little boys.
Though he was designing clothes for
friends as early as junior high, it wasn’t until
college that he really began learning the tools
of the trade. He studied costume design at
Arizona State University for a few semesters,
then got a summer job making costumes at
Phoenix Little Theatre. The gig turned into a
full-time job and Mitchell found himself in a
community he loved, doing what he loved,
developing the career he always wanted. But
it was the beginning of a bleak phase that
would profoundly contour the rest of his life.
For nearly two decades, the AIDS epidemic
devastated Mitchell’s community. Mitchell
himself contracted HIV during that time.
“In the late ’80s, AIDS was just walking
around with you every day,” he says. “I was
sick at that time and not necessarily expecting
to live. Those days became all about exploring
life, about living in the day to day, which after
a while becomes dangerous.”
Mitchell left Tempe for Los Angeles in ’84
and soon followed friends to Seattle, which
was in the midst of a theatre renaissance,
with no shortage of costume design jobs.
Relocation provided no escape, however.
Seattle too had been hit hard by the AIDS
epidemic and Capitol Hill resembled a horror
film, according to Mitchell, with “living
skeletons walking around everywhere.”
The deaths of friends and lovers took their
toll. Heartbroken, Mitchell ejected from the
performance community. He quit designing
and got rid of or gave away all his work. He
took up professional tattooing and plunged
into drugs and alcohol. Though ensuing
years of unchecked substance use barely
served to band-aid his grief, one bright spot
emerged: In 2002 he met his future husband,
Kurt Reighley, a writer and radio DJ who was
E N C O R E A RT S N E W S spinning at clubs around Seattle at the time.
Their budding relationship was a turning
point.
“I realized I wasn’t going to die and that
it wasn’t cute to be drinking as much as I
was,” Mitchell says. “Maybe the medication
was going to work for me. As I turned my life
around, I realized making clothes had always
been my dream.”
He took up needle and thread again. He
designed some notable burlesque costumes,
like the red tulle gown worn by Waxie Moon
for his 15-minute-long drag striptease to
Bolero last year at On the Boards. In 2010, he
collaborated with Anna Telcs on the jawdropping Dorothy K Bow Dress, a lace gown
with panniers covered in hundreds of black
silk bows, for an Implied Violence exhibition at the Frye. And he almost made it onto
Project Runway.
“I praise whomever above that I wasn’t
chosen that day,” he says. “It directed
me away from where I was going, from
burlesque.” Instead, it directed him toward
Burial.
***
The concept for Burial began with an urn. A
little over a year ago, artist and entrepreneur
Greg Lundgren curated an exhibit called The
Softer Side of Death, a showcase of unconventional cremation urns made from fabric, at
Lundgren Monuments, the First Hill storefront for Lundgen’s unconventional headstone business. Mitchell made a drawstring
urn using 275 pieces of diaphanous handdyed ombre silk—and stole the show. Even
when resting, static, the piece seemed ready
to levitate, like an otherworldly, effervescent
jellyfish. (It was designed to be released in the
sea where the fabric will disintegrate and the
ashes disperse.) The urn whetted Mitchell’s
appetite; what might an entire collection of
beautiful shrouds look like?
Lundgren felt Mitchell’s urn, in particular,
demanded contemplation. “Why would
you spend so much time making this? Why
would you pay thousands of dollars to own
it, only to toss it into the sea?” he asks. “It is
impractical and almost absurd. And it is the
embodiment of what love is. All of Mark’s
work is impractical, excessive, temporal,
and the only thing that holds it together, that
justifies it, is love.”
Shortly after The Softer Side of Death,
Mitchell got to work on Burial, fitting and
constructing garments in his small Capitol
Hill studio. The space, built in a loft in his
home, reflects the intimacy of his practice.
The walls are layered with pinned-up ink
drawings, pattern blocks and fabric samples
peppered with pictures of Mitchell’s muses,
like an iconic black and white photo of
controversial artist David Wojnarowicz
and a poster of singer Klaus Nomi with his
Pierrot-like maquillage and pointy hair. Pale
chiffons, crepes and gauze are everywhere,
piled, filed, folded. Skeins of silk bouclé
10 ENCORE STAGES
yarn and delicate knits-in-progress litter the
tables, shimmering.
There’s a conspicuous absence of modern
machinery in the workspace. Instead, an old
metal sewing machine sits tucked in a corner.
It’s a Pfaff 130 from 1954 that Mitchell bought
years ago for $125 on Craigslist.
“It’s our favorite machine,” he says. “We
fight over it all the time!”
Mitchell shares his studio with a small
crew of four assistants and interns. In recent
months, they’ve produced dozens of pieces,
including accessories and undergarments,
almost all of which are made using hand-sewing techniques that date back to the ’30s and
’40s. As we speak, Mitchell runs his fingers
lightly over a pair of lustrous, over-the-knee
stockings made with loosely knit silk thread.
From another nook he retrieves a bundle of
top-stitched chiffon gloves with exaggerated,
long cuffs to cover stiff fingers. He’s even
made footwear: goat leather moccasins for
some, silk slippers with embroidery across
the soles for others. Everything is shades of
white, inside and out.
Some details of the collection may never be
seen. Mitchell opens a gown to reveal a flight
of doves embroidered across the lining. Inside
a secret interior pocket of a silk ruffled jacket
the words “my darling boy” are stitched in
ivory thread.
A few fundamentals are consistent
throughout the collection. One is the use of
silk, the primary material for all the looks
and a traditional element in ceremonial and
ritual clothing. He’s also very conscious of
how his materials are sourced: Everything
is 100 percent natural and renewable, down
to the smallest detail. For example, the 84
handmade wooden buttons running up the
front of one gown, from neck to hem, are each
painstakingly covered in silk and fastened
with handmade loop closures.
Mitchell recently taught himself to make
buttons; it took him three days to perfect the
process and make a single button the way he
envisioned it. On a garment that will dress
someone for eternity, three days dedicated to
a button doesn’t seem so absurd.
As Mitchell shows off the details of his
works in progress, he refuses to reveal too
much about the museum performance itself.
It will be peaceful, he promises. And the
people modeling the garments will be as
important as the clothes.
He’s been working closely with his
models—whom he also refers to as muses—for
the past year. They include clothing designers
Davora Lindner (photographed during my
visit) and Maikoiyo Alley-Barnes, burlesque
star Marc Kenison (aka Waxie Moon), and
close friends Ro Yoon, Alexandra Cartwright,
Dominic DeNardi and Rhonda Faison. Some
he’s known for ages; others he came across
on Facebook and invited to be part of Burial
based on their unconventional personas and
looks, like mother-and-son pair Kook Teflon
and Sailor Hank.
Jo-Anne Birnie Danzker, director of the
Frye, says Mitchell’s work is at home in the
Frye because it harkens to a revolutionary
designer-patron relationship envisioned
by Secessionist artists like Henry van der
Velde, Margarethe von Brauchitsch, Richard
Riemerschmid and Bernhard Pankok, artists
whose work anchors the Frye’s permanent
collection. Responding to drab and dry
turn-of-the-century dress reform movements,
Secessionist artists collaborated closely
with women not only to free them from
arbitrary trends of the fashion industry but
to make ensembles that reflected individual
personality.
“Burial lies within this artistic tradition,”
Danzker says. “Mark is liberating the dead
body from arbitrary choices, and from
austerity.”
passion
success
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***
“Burial does have a lot to do with the deaths
I’ve experienced,” Mitchell says.
Dressing for death has always been one
way of dealing with death. During the
Victorian period, mourning attire reached
a fever pitch of formality, extending “to
funereal trimmings on bird cages and ladies’
underwear,” as Lou Taylor notes in Mourning
Dress: A Costume and Social History.
The excessive costume culture that
surrounds death and mourning has almost
always existed for the living. The dead were
less lucky in this department.
“They’d slap a little shroud on a person
with a nice bib front with some pleating and
a bow, but the rest would be unfinished,”
Mitchell says. “Totally just cut off across
the bottom—just the little bit that shows is
decorated and the rest is just a cheese cloth
wrap around. When I saw this at the Museum
of Funeral History in Houston, it made me
so sad. I was like, Oh God, please bury me in
a complete set of clothes! You’ll find that my
ensembles are very complete.”
The nine ensembles in Burial are described
as “suggestions” in the show’s press release.
Suggestions for what exactly? Mitchell, who
is constantly dipping into an encyclopedic
knowledge of history, says the language borrows from vintage advertising jargon.
“I like the wry 1930s fashion magazine aspect of the term,” he says. “Like,
Suggestions for Beachwear, 1936! I’m not
making demands or expecting anyone to
want to do this. I’m suggesting that these
are beautiful. Why not this for eternity? You
are going to die, and if you want something
amazing to wear, these are my suggestions.”
For Mitchell, levity and serenity are slowly
but surely replacing grief.
“I mourned so many people for so many
years,” he says. “It took me reaching the age
of 50 to get to the point I couldn’t carry them
around anymore. Part of my being here is I
ad proofs.indd 1
have to do something amazing with my life to
make up for the fact that they’re not here.” n
Learn more at seattleu.edu/artsci/graduate
presented in collaboration with the UW School of Drama
SITI Company
Seven-time Obie-winning ensemble
SU 080913 passion 1_3s.pdf
Café Variations
Music and lyrics by George
UWW
and Ira Gershwin
Book by Charles
L. Mee Jr.
Directed by Anne
November 14-16
Bogart
206-543-4880 | uwworldseries.org
THE LONG WAY HOME
THE MOONDOGGIES
TURNED MODESTY,
TRAGEDY AND WANDER
LUST INTO A BRILLIANT
NEW ALBUM.
By JONATHAN ZWICKEL
rom atop Capitol Hill, St. Mark’s Cathedral
stands sentinel over Lake Union, its
illuminated rose window a cyclopean eye
peering out into the night. When construction
began in the 1930s, St. Mark’s was envisioned
in the traditional ornate style, but the Great
Depression altered the plan and, due to cost
concerns, the cathedral ended up a minimalist, modernist anomaly, all purposeful lines
and hard angles within a massive, 60’-tall
chamber. Given its sanctified ambiance
and austere architecture, St. Mark’s is one
of Seattle’s most dramatic landmarks—and
certainly the most dramatic place in Seattle to
see a concert.
Over the last couple of years, a handful
of Seattle rock and folk bands have played
inside the cathedral, harnessing its soaring ceilings to impressive acoustic effect.
(Musicians speak with fearful admiration
of the room’s three-second reverb.) Back in
April, the Moondoggies were one of those
bands.
Standing side-by-side on the low dais,
playing to a packed house of silent people
in pews, the five Moondoggies forewent
drums and electric instruments in favor of
mandolin, acoustic guitars, banjo and piano.
More remarkable were their voices: three-part
harmonies melded into St. Mark’s sublime
setting. They deconstructed a bunch of old
favorites, turned blustery rockers into hymns.
But the song that stood out the most was new,
12 ENCORE STAGES
from their upcoming album Adios I’m a Ghost.
The Moondoggies had been playing “Stop
Signs” since at least May of last year. With a
newfound emphasis on thoughtful lyricism,
the song is an extended metaphor about
recognizing danger before it arrives and moving forward anyway. This rendition inside St.
Mark’s—it was extraordinary. Elevated. By the
setting, the occasion, the acoustics. Swathed
in holy reverb, lead singer Kevin Murphy
poured out his heart.
No more swimming in our heads
A love supreme somewhere instead
I know you hear it all the time
Put this foolishness behind
We just roll right through stop signs…
The song sounded like beautiful, bittersweet resignation. The band and its audience
were reverent, succumbed to the moment and
its meaning.
Moondoggies songs have always been
good, but they were never this good. Their
early material is mostly mug-swinging,
boogie-rock singalongs propelled by bashful
group harmonies. Raucous, but with a tender
side comprised of equal parts humility, introversion and stage fright. Part of their appeal
has always been a dressed-down regular guyness that emphasizes their outsized talent.
As sweet and sensitive as they are hell-bent
and haphazard, the band embodies Seattle’s
urbanized ramble-rock spirit better than
anyone, and Adios I’m a Ghost is the strongest
collection of songs they’ve made. It comes
from a band reborn, beholden to its influences
but newly possessed of a confident artistic
vision.
The Moondoggies are the kind of band that
exists to work on music, not to work on being
a band. A meandering journey to the here and
now was inevitable.
B
ORN AMID THE BEARDS-N-BELT
buckles boom of the mid-’00s, the
Moondoggies initially appeared not as
inspired freewheelers, but as studious acolytes of rustic Americana. Seattle at the time
was a hotbed for acoustic-leaning folk-rock:
Band of Horses launched from here. The Cave
Singers emerged from the angsty ashes of
other bands. Fleet Foxes signed to Sub Pop,
affirming the label’s evolution toward softer
stuff. This was the new sound of Seattle,
mellowed and redolent of the great outdoors,
seemingly a throwback to a corduroyed, bellbottomed past—though Murphy points out
that people have always sat around playing
guitars and singing harmonies.
Twang wasn’t confined to the Northwest;
it was taking off from every corner of the
country. Seattle was simply leading the
pack. Audiences dove in, but critics here and
afar were quick to dismiss what they saw
as a trend. One album review on an overly
PHOTO BY JAKE CLIFFORD
F
E N C O R E A RT S N E W S OPEN HO U S E
NOV 14, 2013 5:30-7:30 pm
i
this rare instrument was the lure for Quick,
who’d been playing keys in a different band. “If I had a manager at the time, he
would’ve coached me to go with my other
band, not Kevin Murphy,” Quick says. “But
Kevin and I had such chemistry that I quit
a band so I could basically go jam around a
campfire.”
Quick came from a musical family and
grew up singing and playing piano in
church. With his input, the quintet began
composing songs with movements and
diagramming three-part harmonies, rather
than blasting out the ragged punk of their
formative years. The different version of rock
’n’ roll Murphy had dreamed of was taking
shape. It was time for a rechristening.
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206.691.2625 seattlecountryday.org
T
HE NAME WAS AN INSIDE JOKE, a
reference to a character from the vintage
teen-surf franchise Gidget. Why take a serious
moniker when the endeavor was entirely
for fun? They were just a few young friends
drinking beer and smoking cigs in a garage in
Everett. But they cared enough to spend copious hours in that garage practicing harmonies and vamping on the same three chords
over and over, honing their unpolished original material until it sounded like something
they’d want to listen to themselves.
As they practiced, the name became an
emblem, a reminder of the band’s humble
beginnings. Maybe, in true Northwestneurotic tradition, it was also self-sabotage.
The Moondoggies had decided to take
themselves seriously, but they didn’t think
anyone else would.
Their early Seattle gigs were played at the
Blue Moon, the oldest, weirdest dive bar in
the city. Their very first show there, opening
a triple-band bill in 2005, drew a sizable,
enthusiastic crowd.
“It was an early show but everyone was
focused on their set,” recalls Jason Josephes,
booker at the Blue Moon. “It was impressive. Warm and familial, but the songs had
gravity—a great combination of old sounds
and new sounds. It was a beautiful thing to
see. And right after they played, up next was
a hardcore band with a mosh pit.”
The Blue Moon became the Moondoggies’
home base for a couple of years. Removed
from the default Capitol Hill-downtownFremont-Ballard nexus of venues, it was
an ideal incubator, frequented by a bizarre
clientele of aging paranoiac poets and neobohemian college kids. Among these people,
they began to grow a following.
“It’s a comfortable fit between the band
and the room,” Josephes says. “Every time
they play here, it’s hard to describe, but
there’s this warmth in the room. That sounds
cliché, but it’s true. They command attention
well.”
With their stomping grounds established
at the Blue Moon, the band found another
ally in Hardly Art Records, a subsidiary of
Sub Pop, established by the label in 2006.
Readers
Photo courtesy of Seattle Opera. Bill Mohn photographer
influential tastemaking website declared the
emergent style a “genre exercise.”
Not that the Moondoggies caught wind of
any of that in Everett, the Boeing town 25 miles
north of Seattle where they first came together
in the mid-’00s. At the outset, they were more
a loose collective than serious band, teenaged
musicians getting together to jam on the
songs Murphy was writing at the time. These
included singer/keyboardist Caleb Quick, bassist Bob Terreberry and multi-instrumentalist
Jon Pontrello, plus an assortment of other
friends and family. They’d known each other as kids growing
up; all but Quick attended Everett’s Cascade
High. They’d been making music together for
a few years in a band called the Familiars,
mostly in Pontrello’s parents’ basement.
The Stooges and MC5 were their rock ’n’ roll
ideal, stupid-smart proto-punk rock bands
who played with primal abandon. Nirvana
and the Beatles, of course, were subsumed by
osmosis.
The Familiars did OK locally, especially
for a crew of underage kids from a Seattle
suburb. But punk was not the future the band
members were leaning toward.
“I remember this moment where someone
brought in The Brown Album [the Band’s
eponymous second album],” Murphy says,
“and we were listening to it, and I felt like
they were doing the same thing as the
Stooges—except it was a different version of
rock ’n’ roll. Like, the extremes of it.”
In the years following high school, Murphy
went deeper into rock’s roots. He spent a
year in Bellingham while his older brother
attended Western Washington University.
There, he and Quick paired up to play coffee
shops, trying out Murphy’s new material.
During performances, Murphy would joke
that his originals were obscure covers. He was
reluctant to own his songs, but they were so
good listeners took his word, believing they
belonged to a more experienced songwriter.
Murphy’s true creative breakthrough came
much further from home. He left Bellingham
and took off for Ketchikan, Alaska, with
vague dreams of idyllic escape. He lived in a
converted furniture warehouse and worked
at a dockside souvenir shop, but his energy
and imagination were focused on the fourtrack tape recorder he brought from home.
Alone, with an acoustic guitar, he worked
out the songs that would give shape to the
ideas in his head. These he’d mail to Quick,
a long-distance connection that furthered
their songwriting partnership.
After four months in Alaska, Murphy
returned to Everett, ready to reconfigure
his musical direction. The Familiars were
disbanded. Pontrello had taken an indefinite
hiatus from drumming, so Murphy recruited
his friend Carl Dahlen to play drums—though
he had no idea how. Terreberry was the old
standby on bass and now added occasional
mandolin. Plus his parents had recently
bought him a Rhodes organ for Christmas;
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14 ENCORE STAGES
E N C O R E A RT S N E W S Nick Heliotis, a friend of Murphy’s from
Terreberry was going through an emotional
Bellingham who worked at Hardly Art, was
tempest of his own, dealing with the death of
intent on signing the Moondoggies, but
his father. Soon after the late-2010 release of
first he needed a co-sign from the higherTidelands, right before their first major West
ups. He took Sub Pop A&R guys Jonathan
Coast tour, he announced that he was leaving
Poneman and Tony Keiwel to the Crocodile
the band. The night before they left Seattle,
for a Moondoggies opening set in 2006.
they brought back Pontrello to fill in on bass.
Robin Pecknold of the Fleet Foxes was in the
He learned his parts through headphones in
audience, as were a number of other up-andthe back of the van on the way to their first
coming Seattle folk-pop luminaries.
headlining show.
“A lot of people were talking about the
Reviews were tepid, but musically,
Fleet Foxes in the same sentence as the
Tidelands was no disaster. It contains the
Moondoggies, but the main criticism was
song “We Can’t All Be Blessed,” a gorgeous,
that they weren’t polishedOS
enough,”
Heliotis
081313
openwall-of-sound
1_6v.pdf symphony that stands as one
says. Sure enough, that night Murphy’s guitar
of their finest songs on record and a major
kept falling out of tune and he spent half
leap in sonic ambition. But owing to a dark
the performance with his back to the crowd
mood and distant vocals, most of the songs
tuning up.
weren’t fun to perform live. On top of that,
“That show bummed me out so much
the increase in touring kept Quick away from
because I brought everyone to see them and it
his wife and newborn daughter. The band
was as rough as it gets,” Heliotis says. “Then
returned to Seattle ambivalent about its
I saw them three nights later at some sh***y
future.
bar and they were perfect.”
“We were all feeling this negative feeling,”
Eventually, the strength of their selfMurphy says. “We went back to practicing
recorded CDR won them a contract with
in Everett, and it’s like, are we even a band
Hardly Art. They teamed up with producer
right now? You know, our PA is broken and no
Erik Blood, who was already a fan, and
one’s talking and songs just weren’t flowing.”
headed to MRX Studio in SoDo to record.
It was a make-or-break point that fortuThey recorded every song they had, 22 in all,
nately turned the band’s way. Credit, of all
because they never expected to record an
things, Jansport. The backpack company,
album, let alone save songs for a potential
which was founded in Seattle decades
follow-up.
ago (but is currently HQed in California),
Released in 2008, Don’t Be a Stranger was
sponsored a promotional event that brought
a small epiphany, bursting with full-throated
the Moondoggies and a hundred fans to Bear
singalongs, rough-edged harmonies and
Creek Studio in Woodinville for an invitationswaggering, mid-tempo groove. It established
only concert. There they met studio head
the Moondoggies as a hometown favorite
Ryan Hadlock, who was floored by the band’s
and immediately aligned them within the
live set and invited them to record at Bear
constellation of Seattle’s burgeoning countryCreek anytime.
folk-pop-rock-whatever scene. Among the
Most pro musicians in Seattle will tell
14 songs that made the album, the shaggy,
you that Bear Creek is the best recording
amiable influence of the Band, Crazy Horse
studio in the Northwest. Its bucolic setting
and Gram Parsons is keen but the tunes
40 minutes from Seattle feels like old English
themselves are entirely unique. Patches
countryside (if you ignore the Arco gas staof melody from the previous few years are
tion a quarter mile down the road), a place
interwoven within the same songs, resulting
to escape to and immerse fully into music.
in supremely catchy structures, hooks within
It’s where Lionel Richie and Eric Clapton
hooks within hooks. Stranger is a modern pop
recorded “Dancing on the Ceiling,” where
record dressed down in thrift store clothing,
Soundgarden recorded Badmotorfinger,
a document of the youth and discovery that
where
the Foo Fighters
the Lumineers
BC 082113
seroiusand1_6v.pdf
spawned it.
recorded platinum records. The Moondoggies
Its follow-up, Tidelands, not so much.
loved working with Blood, but they jumped
at the chance to spend four weeks recording
HE ARTISTIC AND COMMERCIAL
at Bear Creek with Hadlock as producer.
success of Stranger might’ve invigorated
For his part, Hadlock was equally excited.
other bands, generated confidence. Not so
“We don’t end up working with a lot of bands
with the Moondoggies. They hired a manager
from the Northwest for whatever reason, but
and immediately came to creative differences
the Moondoggies have an old Seattle vibe
with him. Quick and Murphy, for various
to them,” he says. “I was like, I wanna be a
reasons, were at each other’s throats. Fault
part of this.” As much as possible, Hadlock
that hoary hurdle the sophomore slump, but
recorded the band together—playing live in
the Moondoggies’ second record came at a
the same, spacious room, which used to be a
heavy price.
barn—or singing harmonies into a single mic.
“Kevin describes it as the realization that
people were listening to our music,” Quick
ACH MEMBER’S SKILLS HAVE
says. Now it’s a no-brainer; then it was
progressed drastically and the rapport
nerve-wracking.
between them is more solid than ever.
T
E
Terreberry is simply a fantastic bassist,
with a knack for subtle, undulating melody.
Dahlen has evolved into a propulsive drummer and golden-throated singer. Pontrello’s
natural ability syncs with Quick’s craftsmanship. After many years, Murphy has
embraced his role as lead singer and
lyricist.
He admits his lyrics used to be mainly verbal filler to build harmonies on; sometimes
the band made them up on the spot. “Now I’ll
actually try—like ‘Stop Signs’—to have more
lyrical vision or something,” Murphy says.
“Embrace it. Rather than say, ‘That’s good
enough, I don’t want you to know too much.’”
Where harmonies were once the band’s
cornerstone, Quick points out that there
may be fewer harmonies on this record than
previous ones.
“I remember way back, the first moment we
all sang together, it was a protective layer,”
he says. “We didn’t have anything to sing, so
we just sang together. ‘All night long’ or ‘I lost
my bong’ or ‘what’s that song.’ [On] Adios I’m
a Ghost, there’s a level of confidence to say
any one of us could sing by himself. When a
harmony is needed, we’ll do that. It’s a totally
different attitude.”
Songs are shorter now, too. “Red Eye,”
the album’s first single, rings in at a rollicking two minutes, 22 seconds. Which is no
coincidence—Hadlock points out that from
“Love Me Do” to “Lovely Rita,” many of the
Beatles’ best songs are exactly that length.
The songs on Adios are still cobbled together
from snippets of songs past and present but
with an eye for delivering the point and then
moving on.
“We repeat ourselves less,” Murphy says.
Adios I’m a Ghost is the sound of coming
home. Not only because the studio is only a
few miles from where the band members grew
up; not only because it’s the first time the
original band, with Pontrello and Terreberry,
worked together on a record. It’s an album
literally a decade in the making and the band
is finally ready to give it to the world.
“You have to know what the start of this
band was like to understand how we got
here,” Quick says. “Adios I’m a Ghost, and the
band as it is now, wouldn’t have occurred if
we didn’t do Tidelands. It needed to happen,
otherwise we’d be at the same position that
we were then. Bobby left the band for a reason. Kevin needed to work out his s**t. We all
did. It’s like your marriage is stronger because
you went through a sh***y time.”
Murphy puts it similarly. “In a weird way
it all felt very necessary,” he says. “It was a
weird way of getting Jon involved, and having
it feel like it’s all these people who grew up
together and care about each other and want
to encourage each other.
“We like to create constantly. You can’t just
sit around and chug beer all day and smoke
cigarettes and listen to records.” n
See the complete ECA 2013–2014 Season at www.ec4arts.org!
TAkE 6
Wednesday | december 11
MENOPAuSE BOdyVOx
THE MuSiCAl Saturday | May 3
$27, $32 & $37,
$15 youth/student
Wednesday | January 22
and Thursday | January 23
$27, $32 & $37,
$15 youth/student
Sponsored by
Marla Miller & Al Huff,
Terry Vehrs - Windermere,
and Susan dunn
$42, $47 & $52,
$15 youth/student
Sponsored by
Bob & Sylvana Rinehart,
Sound Health Physicians, and
Barclay Shelton dance Centre
Sponsored by
Comprehensive Wealth Management
ECA
10% discount for Seniors 62+ & Military on events presented by ECA!
ec4arts.org | 425.275.9595
410FOURTHAVENUENORTH
EDMONDSWA98020
2013–2014 SEASON
presented by
If your
DAY is so
important...
Why serve
pesticides?
206.551.4084 www.portagebaycafe.com
PB
Fall 2013
Returns to Hangar 30 in Magnuson Park for our 25th annual art & fine craft show!
A Two Ac t S h ow w i t h a D i f fe r e n t Ca s t o f 1 0 0 A r t i s t s i n E a c h
October 18, 19, 20 & November 8, 9,10
Friday, Saturday 10 AM to 6 PM, Sunday 10 AM to 5 PM
One ticket gets you into both shows
Ticket prices: $5.00 online, $6.00 at the door
$8.00 online special admits two
Accompanied Children 12 and under Free
Parking is FREE!
Go to nwartalliance.com for tickets
produced by
Background Art by Mellisa Graves Brown
October Artists: Lommer, Niemi, Richmond • November Artists: Jones, Dangler, Christiansen

MOMIX André Watts AnDa Union Modigliani Quartet

Transcription

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