Seattle Theatre Group_Encore Arts Seattle

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YO-YO MA
YULIANNA AVDEEVA
ANONYMOUS 4
December 2015
Volume 12, No. 3
Paul Heppner
Publisher
Susan Peterson
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Mike Hathaway
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T he B e llev ue Colle c t ion
T h e O n e a n d O n l y S now f la ke L a n e
CONTENTS
UW World Series
YO-YO MA
YULIANNA AVDEEVA
A1
ANONYMOUS 4
ES035 covers.indd 1
11/9/15 10:28 AM
ENCORE ARTS NEWS
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Q & A with
Evan Flory-Barnes
The bassist and composer on summoning the
communal vibe and Seattle’s ultimate sandwich/coffee
combos.
BY BRETT HAMIL
Evan Flory-Barnes is a bassist and composer who’s been making
music since his Garfield High days, where he was a part of the
school’s celebrated orchestra. Now he’s the bass player of Genius
Award-winning Industrial Revelation, with whom he played on
bandmate Ahamefule J. Oluo’s triumphant Now I’m Fine at On the
Boards last winter (and which they’ll be restaging at the Moore next
April).
I’ve seen Flory-Barnes play on numerous occasions, from Industrial
Revelation’s rocking set at this year’s Capitol Hill Block Party to
jazz sessions at the Royal Room to a moving piece he played at the
#BlackLivesMatter Pecha Kucha event last January that left the room
in tears.
Heedless of genre, Flory-Barnes’s performance communicates a
passion for the act of making music and never fails to inspire me with
head-nodding goodwill.
What’s the best performance you’ve seen lately?
That’s a tough one cause I watch and see so much. A lot of folks
4 ENCORE STAGES
have said Ahamefule J. Oluo’s Now I’m Fine, which I was a part of so
I can’t say that. But it was pretty amazing despite him being such a
one-dimensional artist (I kid). Even though we are in a new football
season last year’s NFC Championship against Green Bay was magical
and powerful. I was tearing up.
What’s the best meal in Seattle?
The best meal? Don’t know if it still is but anything from Paseo is
amazing. A chicken sandwich and a bowl of beans and rice. Anything
from El Camion is ridiculous. Fresh, down home and cheap, especially
for the ingredient quality. The food at La Medusa in Columbia City is
great. And I am big fan of the food at Cafe Paloma in Pioneer Square.
Oh, anything from Tacos Chukis.
continued on page 6
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Flory-Barnes, continued
What just came to mind are sandwich/
coffee combos. Getting a pulled pork
sandwich at Manu’s Bodega in pioneer and
then heading across the street to Caffe Vita.
Or getting any sandwich from Paolo at the
Beacon Ave Deli then heading to The Station.
Or going to Paseo and then heading to
Lighthouse Roasters on Phinney Ridge.
New Zealand Opera 2010 The Marriage of Figaro, © Neil Mackenzie
CHEEKY
What music gets you pumped up? What do
you listen to when you’re sad?
Man, I love the song “Atlas” from the band
Battles’s first album Mirrored. The track
“Love” off J-Dilla’s The Shining gets me
pumped up, so does “Welcome to the Show”
off Donuts.
When I am sad, I listen to Rachels’ Music
For Egon Schiele. That album has a feeling
that creates a brightness out of the sadness
while it still is there. And there’s so much
other music I call on it is hard to say.
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6 ENCORE STAGES
What’s the most crucial element of any
production?
Having those involved feel super invested
on some level in the work. Now I’m Fine was
so powerful because the majority of the folks
involved have been playing that music for the
last seven and a half, eight years. The music
draws up emotions that make it easy to invest
in emotionally.
When there is that communal vibe and
emotional investment and a good amount of
money is brought to the table it feels like a
bonus instead of the “why” of the production.
Don’t get me wrong, I love getting paid and
I love paying people but when people are
passionate about the piece itself the work
goes to new heights and depths.
What’s the most useful thing anyone’s ever
taught you about performing?
One of my first gigs near the end of college
was with great pianist, musician and
composer Jovino Santos Neto. Through his
example he emphasized something that I
always knew was important, which is to
always bring the joy, energy and intensity
no matter what. Jovino would play in a
McDonald’s parking lot for two people with
equal passion as he would for a McCaw Hall
of 3,000 people. That has always stayed
with me.
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
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CALENDAR
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DO MORE.
Q & A with
BE MORE.
Brenda Joyner
The actor on soccer, flamenco, decadent food and some
breathtakingly simple advice for working in theatre.
BY BRETT HAMIL
Brenda Joyner is an actor and WWU grad
from Alaska who’s been in Seattle for nine
years. She’s a member of the esteemed
New Century Theatre Company where she
performed in On the Nature of Dust and Tails
of Wasps. You also might’ve seen Joyner in
The Glass Menagerie at Seattle Rep, Titus
Andronicus with upstart crow collective
and in many other productions with Seattle
Shakes, Seattle Public Theatre, Strawberry
Theatre Workshop and more. She recently
closed NCTC’s highly anticipated fall
production of Festen and next she’ll be in
Crimes of the Heart at Village Theatre.
What’s the best performance you’ve
seen lately?
About a year ago I saw a flamenco
performance at a bar in Seville and it was an
electrifying experience. I was blown away by
the passion, focus, skill and endurance of
these performers (a guitarist, a vocalist, and
a dancer). Absolutely thrilling.
During a recent Sounders match against
San Jose, Obafemi Martins scored this
unbelievable, over-the-shoulder quasibicycle kick. I keep watching the clip. I love
that man.
What’s the best meal in Seattle?
Please join me on my dream day where
KNOW MORE.
I can eat all of my
favorite meals...I take
a stroll downtown for
a breakfast biscuit and
a coffee from Biscuit
Bitch. I probably have
to go to the ol’ day job
(what a lame dream) but
soon it’s lunchtime and
I grab one of the many
incredible sandwiches
at Delicatus. I call
it an early day and
swing by El Borracho
for taco happy hour.
What’s that? A surprise
dinner at Staple and
Fancy?! Yes please. After
catching a show at 12th
Ave Arts, there’s a quick stop at The Unicorn
for a Unicorn Dog before heading home. Oh
and I’m sure there’s a Dick’s Deluxe in there
somewhere. What can I say, I’m a health nut.
What music gets you pumped up? What
do you listen to when you’re sad?
No question: Annie Lennox’s “Walking on
Broken Glass” will get me pumped. I love to
dance and that song makes me dance like a
3rd grader left home alone for the first time.
When I am sad I listen to old big band/jazz/
swing. That music floods me with memories
of evenings at my grandparents’ house
and Bobby Darin singing to me from my
grandpa’s den. It grounds me. Ever turn on
NPR on a Saturday night and think, “Who
the hell listens to ‘Swing Years’?” It’s me.
What’s the most crucial element
of a production?
The story. Every element should be
supporting the story you’re telling. Tell it
honestly. It’s frustrating to be pulled out of
a show by a performance, design or concept
that seems to be forced upon a story and
detached from the text.
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What’s the most useful thing anyone’s
ever taught you about working in theatre?
Be kind to everyone.
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Making Mice with
Erik Andor
Fabricating costumes for the PNB’s new production of
George Balanchine’s The Nutcracker.
BY BRETT HAMIL
PHOTOS: BRETT HAMIL
In December the Pacific Northwest Ballet stages an entirely new
production of The Nutcracker after the triumphant 32-year run of its
previous incarnation by Kent Stowell and Maurice Sendak. This new
staging uses George Balanchine’s 1954 choreography and features
costumes designed by Ian Falconer, the illustrator and children’s book
author best known for the beloved piglet Olivia.
In anticipation of this epic transformation, I visited the Pioneer
Square studio of Erik Andor, who’s been busy fabricating the mouse
costumes for the new show. Andor is a costume design whiz in his
own right—you might’ve seen his work most recently on the Rep’s
celebrated Lizard Boy or for such high-profile clients as Cirque de
Soleil and the Rockettes—and in this new undertaking he brings those
skills to bear interpreting Falconer’s designs from the ground up. He
walked me through his process.
“They sent me the artwork, I had a look at it, assessed it, and
then we had ongoing conversations as I started to make a prototype.
Costume director Larae [Hascall] is really involved, too, because the
dancers have to wear these. The criterion is to meet the designer’s
vision but also there are safety considerations because they’re
dancing in them.”
“I started with the head. He was really attached to having kind of
a bump in the nose, so we worked on that. They’re simple shapes but
they’re really specific. They have a square forehead, these ears that
are pointy and big thick whiskers.”
“The first one we did looked too much like a chipmunk; it had
really fat cheeks. We talked about the mouth a lot. [Ian] has a
particular way of doing mouths and ears on his animals. These mice
are meant to be a little ‘nervous nelly.’ They’re high-anxiety mice,
they have this nervous feel to them. You can see it in the posture of his
sketches.”
“I figure out how to make it, what are the best materials, and move
forward with that. Then we look at the body. Obviously these things
have to last and be built really well, so that’s different than doing
something for a commercial or a movie. These things have to have a
lot of longevity; everything has to be laundered and maintained and
replaced. Like, if the noses break they have to be able to be swapped
out over the years. That’s a really big consideration.”
“We’ve been trying a bunch of different materials. For this one I
explored a couple new things. This is a kind of high-density foam that
is pretty rigid but super lightweight.”
“This is what’s called reticulated foam, which has a lot of different
applications—you’ll see it in speakers or cushions on boats. It’s really
breathable and you can wash it; because it’s a dance show and they’re
gonna be sweating in these things, on occasion they’re gonna have to
wash the costumes. So these can drip dry.”
continued next page
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Making Mice, continued
“A lot of times when I’m making these big pods or body shapes, there are reinforcing
hoops in them. These don’t have anything like that, so the shape is really just made from the
pattern—they don’t have a structure inside. It’s a safety thing; if someone falls, you don’t
wanna fall on a big hoop or anything. They’re pretty soft.”
“There are 16 mice: eight adults and eight children. Then there’s the mouse king: he has
seven heads. This is the mockup, just to approve the size and shape and proportion and also
use it as a technical model to look at balance and see if somebody could wear it. It’s so big,
and this dancer dies onstage—he fights and dies, falls on the stage and some other mice pick
him up and carry him out. Because the head is so big and awkward we have to develop a
secret way of keeping it strapped to his body and keeping him safe.”
10 ENCORE STAGES
PHOTOS: BRETT HAMIL
ENCORE ARTS NEWS
“The tails are really cool! My favorite
part of the whole thing. They’re super
lightweight, hand-carved threedimensionally out of that same kind of
foam. They’re really light and rigid so they
can actually stand away from the body.
They have this fabric core in the middle and
then we take little slices out of ‘em.”
“When the dancer twitches their hips
the tail has a really cool movement. Ian has
this way of doing these tails where they’re
sort of thick—the costumes are bulbous and
thick.”
“They have human hands and human
feet, so the only challenge is the visibility.
The heads are actually worn on top of the
head, and you see thru the throat; you’re
not looking through the head.”
“I’ve done a lot of different kinds of stuff,
and everything’s fun in its own way. The
Nutcracker is such a Seattle institution, it’s
gonna be around for a long time and a lot of
people are gonna see it. So that’s cool.”
George Balanchine’s The Nutcracker runs
Nov. 27 through Dec. 28.
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ENCORE ARTS PREVIEWS
In the long twilight of the Seattle Winter,
theatregoers have a multitude of options
including a play and an opera with female
protagonists and a Pulitzer Prize-winning
play making its Seattle debut.
Emma
When I Am Among the Trees by Christine Gedye
701 5th Ave #310 , M-F 11-4
206.691.2625 seattlecountryday.org
“Nick PayNe’s gorgeous two-character drama may be
The mosT sophisTicaTed daTe play broadway has seen.”
-the new york times
December 2-January 3
Book-It celebrates the 200th anniversary of
Jane Austen’s Emma with a new restaging of
their adaptation that premiered in 2009. Set
in Regency England, it’s the story of Emma
Woodhouse, a wealthy young woman oblivious
to the true nature of almost everyone around
her—including herself—until at last she falls
in love. Austen’s droll descriptions, ironic
observations, and generous happy endings are
Book-It fan favorites. Adapted by Rachel Atkins
and directed by Carol Roscoe.
Book-It Repertory Theatre
Disgraced
by NICK PAYNE
TICKETS ON SALE NOW
JAN 22 - FEB 21, 2016
January 8 -31
This play, Ayad Akhtar’s first, won the Pulitzer
Prize for Drama and the Obie Award for
Playwriting in 2013 and opened on Broadway in
2014. It’s a one-act about a dinner party on the
Upper East Side in which an ex-Muslim, a Jew,
an African-American and a white Protestant
take part in a culturally fraught conversation
touching on everything from post-9/11 racial
profiling to Jewish and Islamic religious
traditions to the states of Israel and Iran. The
Rep’s production is directed by Kimberly Senior
and presented in association with Berkley
Repertory Theatre and Goodman Theatre.
Seattle Repertory Theatre
Mary Stuart
season sponsor
seattlerep.org // 206.443.2222
World Hope Outreach seeks to meet both the physical and spiritual
needs of those who have been confronted with challenges in their
lives. We provide services to needy families and work with other
organizations — training and equipping volunteers — to help restore
the lives of those families, thereby creating better lives for them and for
the world as a whole.
February 27 – March 12
Two icons of English royalty, Queen Elizabeth
I and her Catholic cousin, Mary Stuart, Queen
of Scotland, clash in a powerful story based
on Friedrich Schiller’s play. Premiering in 1835
in Milan, the opera was written by Gaetano
Donizetti, who wrote several operas about the
Tudor Dynasty. This production, directed by
Kevin Newbury, has Christine Rice and Joyce
El-Khoury sharing the honors as Donizetti’s
doomed queen, with Mary Elizabeth Williams
and Keri Alkema as Queen Elizabeth I.
Baritones Weston Hurt and Michael Todd
Simpson also appear.
Seattle Opera
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
To support us and our mission please visit us at:
WorldHopeOutreach.org/support
12 ENCORE STAGES
PROGRAM ARCHIVE
CALENDAR
PREVIEWS
ARTIST SPOTLIGHT
2015-16
WORLD DANCE SERIES
WORLD MUSIC & THEATRE SERIES
Trisha Brown Dance Company / Thurs-Sat, February 4-6, 2016
Béla Fleck & Abigail Washburn / Sat, February 13, 2016
Malpaso Dance Company / Thurs-Sat, March 3-5, 2016
Vicente Amigo / Wed, March 16, 2016
Grupo Corpo / Thurs-Sat, March 24-26, 2016
globalFEST on the Road: Creole Carnival / Thurs, April 14, 2016
Martha Graham Dance Company / Thurs-Sat, May 5-7, 2016
SPECIAL EVENTS
PRESIDENT'S PIANO SERIES
The Peking Acrobats / Sat, January 23, 2016j
Yulianna Avdeeva / Tue, December 1, 2015
Jane Comfort & Company / Thurs-Sat, April 7-9, 2016
Garrick Ohlsson / Tue, January 12, 2016
Anoushka Shankar / Sat, April 9, 2016
Igor Levit / Wed, February 10, 2016
Gil Shaham: Bach Six Solos with Original Films
Jeremy Denk / Fri, March 18, 2016
by David Michalek / Sat, April 16, 2016
Murray Perahia / Wed, April 20, 2016
INTERNATIONAL CHAMBER MUSIC SERIES
Anonymous 4 / Fri, December 4, 2015
Sō Percussion / Sun, January 31, 2016
The Chamber Music Society of Lincoln Center / Sat, March 19, 2016
Daedalus Quartet / Fri, April 29, 2016
SPECIAL ENGAGEMENT
An Evening with Yo-Yo Ma / Tue, December 8, 2015
photo
© Todd Rosenberg
UW WORLD SERIES ADVISORY BOARD
Kathleen Wright, President
DIRECTOR'S
WELCOME
Dave Stone, Vice President
Kurt Kolb, Strategist
Linda Linford Allen
Linda Armstrong
Dear Friends,
Robert Babs, Student Board Member
Joel Baldwin, ArtsFund Board Intern
Over the next few weeks we are privileged to present
artists at different stages of their careers.
Cathryn Booth-LaForce
Ross Boozikee, ArtsFund Board Intern
Manisha Chainani
We begin in November with pianist Yulianna
Luis Fernando Esteban
Avdeeva, a dynamic young pianist making her
Davis B. Fox
Meany Hall debut playing a program of Chopin—her
Brian Grant
interpretation of his work won her first place at the
Kyra Hokanson Gray
2010 Chopin Competition and her star has only risen
Cathy Hughes
further since then.
Yumi Iwasaki
In December, the International Chamber Music
Series presents a different kind of quartet:
the world-renowned female a capella group,
Anonymous 4. After a quarter of a century of
presenting ancient, traditional and modern music
through their unearthly vocal blend and virtuosic
ensemble singing, Anonymous 4 is making their
farewell tour as the group’s members transition to
individual pursuits. We are honored to host them
for their final Seattle performance.
In 1986, a young cellist named Yo-Yo Ma appeared for
Sally Kincaid
Sonja Myklebust, Student Board Member
Chelsey Owen
Darcy Paschino
Mina Person
Donald Rupchock
Donald Swisher
Rick Szeliski
David Vaskevitch
Gregory Wallace
Mark Worthington
Ex-Officio Members
the first time on our stage at Meany Hall with pianist
Ana Mari Cauce, UW President
Emanuel Ax. Thirty years, 90 albums and 17 Grammy
Robert C. Stacey, Dean, College of Arts & Sciences
awards later, we welcome him back for a solo
performance of works ranging from Bach to Saygun.
EMERITUS BOARD
Cynthia Bayley / Thomas Bayley / JC Cannon
I look forward to sharing these performances with
you as 2015 draws to a close—and to seeing you
again in January as a new year begins.
Warmly,
Michelle Witt
Elizabeth Cooper / Gail Erickson / Ruth Gerberding
Ernest Henley / Randy Kerr / Susan Knox
Matt Krashan, Emeritus Artistic Director / Sheila Edwards Lange
Frank Lau / Lois Rathvon / Dick Roth / Eric Rothchild
Jeff Seely / K. Freya Skarin / Rich Stillman / Lee Talner
Thomas Taylor / Ellen Wallach
Executive Director of Meany Hall &
Ellsworth C. "Buster" Alvord, In memoriam
Artistic Director of UW World Series
Betty Balcom, In memoriam
A-2 UW WORLD SERIES
President's Piano Series
December 1, 2015
Support comes from
UW World Series thanks the
following donors for their support
Piano Series generously sponsored by Eric
& Margaret Rothchild
Yulianna
Avdeeva
Chopin
Nocturne in C-sharp Minor, Op. posth.
Lento con gran espressione
of this evening’s program
Nancy D. Alvord
Nocturne in E-flat Major Op. 55, No. 2 Katharyn Alvord Gerlich
Lento sostenuto
Warren and Anne Anderson
Linda Armstrong
Fantasie in F Minor Op. 49
The Bitners Family
Tempo di arcia (Grave)—Lento sostenuto—Adagio sostenuto
Gail Erickson and Phil Lanum
Lynn and Brian Grant Family
Four Mazurkas Op. 17
Dr. Martin L. Greene
No. 1 in B-flat Major
Richard and Nora Hinton
No. 2 in E minor
Sally Kincaid
No. 3 in A-flat Major
Kurt Kolb
No. 4 in A minor
Matthew and Christina Krashan
Hans and Kristin Mandt
Polonaise in F-sharp Minor Op. 44
Mina B. Person
Eric and Margaret Rothchild
Donald and Toni Rupchock
–Intermission–
Dave and Marcie Stone
Donald and Gloria Swisher
Prokofiev
Piano Sonata No. 8 in B-flat Major, Op. 84
Andante dolce; Allegro moderato
206-543-4880 / uwworldseries.org
Andante sognando
Vivace
encore artsseattle.com A-3
PRESIDENT'S PIANO SERIES
SIGNATURE SPONSORS
About the Program
Nocturne in C-sharp Minor, Op. posth.
Nocturne in E-flat Major, Op. 55, No. 2
Frédéric Chopin (1810–1849)
Chopin, the archetypal Romantic,
hated the very movement for which
he became so potent and everlasting
a symbol. Though esteemed widely
by his illustrious contemporaries, he
disdained the music and pianism of
Mendelssohn, Schumann, Liszt and
lesser lights. Like virtually everyone
else at the time, Chopin adored the
music of Bellini and his violinistic
counterpart, Paganini, transferring the
legato potentialities of the human voice
and the violin to the keyboard. Not until
Ask Eric and Margaret Rothchild why they decided to so generously underwrite
Debussy do we encounter a composer
the President’s Piano Series and they’ll tell you: “Because it is important.”
who so fully extended the piano’s range
of sonorities.
Eric, who began playing piano as a boy in New York City and remembers
attending one of Rachmaninoff’s final performances, points out that many, many
From 1827 to 1846, Chopin composed
people play. (In fact, more Americans play piano than all other instruments
more than two dozen nocturnes.
combined!) The Rothchilds strongly believe that the piano series must continue—
Indeed, his very first composition at age
and the UW World Series is ideally placed to make that happen.
8 was a nocturne. The genre—more a
state of mind or emotion than a specific
Unlike larger arts presenters that must rely on bigger names to sell out large halls,
form—derived from the Irish pianist
UWWS can take more chances on newer and lesser-known artists—introduce
John Field (1782–1846), famous at the
them to their public and give audiences the opportunity to watch young artists
time and a long-time fixture on the
develop. Eric mentions Angela Hewitt in particular. “I was here the first time she
St. Petersburg concert circuit. Field’s
appeared on the series,” he remembers. “Over the years I’ve had the pleasure of
nocturnes are by and large “naively
watching her grow in artistry and confidence. She’s a major star now.”
idyllic,” noted James Lyons of Stereo
Review fame.
In fact, it is the UW World Series’ commitment to young artists—and to
encouraging participation from young audiences at the University of
Though listed as Op. posth., Chopin’s
Washington—that the Rothchilds appreciate the most; that, and the Hall itself.
C-sharp minor Nocturne dates from
“Meany Hall—it’s size, the acoustics—offers something special,” Eric says.
1830—quite early in his career. He
“Pianists like playing here. The President’s Piano Series is unique in this town.”
dedicated it to his sister Ludwika, noting
Eric and Margaret Rothchild support the President’s Piano Series because of the
artists we attract, the knowledgeable audiences who attend and the wonderful
mix of old masters and new. As Eric puts it, “It’s a great place to hear great music.”
that he wrote it to serve as a study aid
before she was to begin work on his
Piano Concerto No. 2, composed the
same year as the Nocturne. The tempo
indication, Lento con gran espressione
covers the emotional landscape of
A-4 UW WORLD SERIES
this thoroughly romantic Nocturne. A
Fantasie, Op. 49
series of simple but expressive chords
Frédéric Chopin
introduces the sad primary theme in
the right hand supported by broken
The F-minor Fantasie dates from 1841.
chords below. A sense of roiling unease
At some 12 minutes in length it is a
infuses this melancholy tune. Soon,
large-scale, multi-sectional work that
the melody is expanded and filled out
stands as one of Chopin’s finest works;
harmonically. A brief, jaunty, mazurka-
so much for the specious claim that the
like episode intervenes before returning
composer had trouble with larger forms.
to the primary theme. Frequent trills and
The Fantasie begins with a descending
rapid ascending and descending scales
and rhythmically dotted march-like
enhance both movement and feeling. As
theme sounded in the piano’s baritone
if to end on a note of resignation, Chopin
region. For much of the piece, the
ends on softly uttered major triad.
tonality alternates between the tonic
Town Music and
Seattle Arts and Lectures present
key, F minor, and its relative major,
A poignant if chilling footnote: Holocaust
A-flat. Yet the heart of the Fantasie is the
survivor Natalia Karp performed the
central section, marked Lento sostenuto.
work for Nazi concentration camp
In contrast to the forcefulness of its
commandant Amon Goeth, so moved
surrounding episodes, this chapter is
by the performance that he spared
cast in harmonically remote B major and
her life. (Goeth, of course, is known to
suggests a mood of quiet rhapsodizing at
moviegoers from Ralph Fienes’ portrayal
far remove from the ostensible scene of
of the monster in Steven Spielberg’s
the action. The piece ends not in F minor,
Schindler’s List.)
but in A-flat, an unusual choice for music
February 25
‘we do it to one another,’
Poetry and Performance
Featuring
Joshua Roman, Tracy K. Smith,
and Jessica Rivera
TICKETS and INFO at
WWW.TOWNHALLSEATTLE.ORG
dating from this period.
Dating from 1843, the Nocturne in
E-flat Major, Op. 55, No. 2, Lento
Four Mazurkas, Op. 17
sostenuto sounds like a duet between
Frédéric Chopin
the left and right hands, a testament
to Chopin’s skillful independent part-
“If the mighty autocrat of the North [Czar
writing. A single high B-flat lingers
of Russia] knew what a dangerous enemy
before morphing into a trill that sets
threatened him in Chopin’s works, in
the music in motion. Unlike most of
the simple melodies of his mazurkas, he
his works in that genre, this particular
would forbid this music. Chopin’s works
entry eschews his usual A–B–A “song”
are guns buried in flowers.” So opined
layout. The music unfolds in a seamless
Robert Schumann, who rhapsodized over
stream of expressive melody and an
the music of his Polish contemporary. (In
improvisatory feel. The melodies seem
Schumann’s very first essay in his journal
to be seeking a tonal center in which to
Neue Zeitschrift für Musik he wrote about
rest, but their search constantly takes
Chopin: “Hats off, gentlemen, a genius!”
them to new, distinctly unresolved
emotional sites, requiring further
A mazurka is an artistic offshoot of a
harmonic/melodic travel.
Polish folk dance of heroic persuasion.
Unlike the waltz, also cast in triple meter,
the mazurka’s stresses occur on the
second or third beats rather than on
the first. Chopin wrote more than 50
expressed his love of country in seven
writing orchestral music while at the
mazurkas, many of which employ modal
Polonaises, a Polish dance in 3/4 time
piano, arguing that such a practice led
scales (prevalent in Central and Eastern
that captivated such earlier composers
composers to impose piano figurations
European folk music).
as Bach (First “Brandenburg” Concerto)
on orchestral instruments. Largely to
and Beethoven (finale of the so-called
break what he perceived of as a bad
“Triple” Concerto).
practice, he composed his first, so-
The four mazurkas that constitute Op.
17 were the first he composed after
called “Classical” Symphony. Even so,
moving to Paris. The initial entry in
In his Polonaises, we encounter
he was devoted to his primary chosen
B-flat Major is a bold dance tune. The
a different Chopin from the
instrument, and his works for piano
middle section lowers the temperature
introspective and lovelorn Romantic
remain among the most significant by
and dynamics but soon returns to the
of the Nocturnes. Reflecting the
20th-century composers. He completed
more boisterous mien of the opening
functional origin of the Polish dance,
nine solo sonatas between 1909 and
and closing “A” sections. No. 2 in E
Chopin essentially revived the stately
1947, left an unfinished tenth and even
minor, more introspective than its
demeanor of the processional
planned an eleventh, though death
immediate predecessor, opens with a
Polonaises by which Polish nobles
intervened on March 5, 1953, within
delicate and touching statement that
hailed their kings. These bronzen
hours of the death of his great nemesis,
hints at tenderness while maintaining
essays are emphatically heroic—
Joseph Stalin.
a stop-and-start forward motion.
and not just the so-called “Heroic”
The central episode is chromatic and
Polonaise, Op. 53, which resonates to
During World War II many Soviet artists
harmonically explorative.
the fearsome clamor of battle.
were removed from Moscow to safer
environs. The three “War Sonatas” he
The third mazurka in A-flat major
The Op. 44 Polonaise begins in a
composed during the war—numbers
is both rhythmically quirky and
somewhat tentative manner fairly low
6 through 8—deal with the grief and
understated in emotional utterance.
on the keyboard with an essentially
devastation of the war years. No surprise:
Quick ascending scales halfway through
unison theme that grows in dynamics
twenty million Soviet citizens perished in
add a mercurial element. In A minor,
till its galloping main theme leaps
the Nazi onslaught.
the concluding mazurka conveys sweet
into dramatic awareness. At times
melancholy, insinuating its musical
empowered by jabbing cavalry-inspired
The first two wartime sonatas maintain
message through understatement.
rhythmic thrusts and elsewhere by
a pose of understandable belligerence
Amusingly but with insight, a video
introspective laments, it is among the
and defiance. Even before the horrific
recording by Vladimir Horowitz begins
more technically demanding of Chopin’s
carnage had been quantified, Prokofiev
with the legendary pianist admonishing
seven such designated works. In a
and his countrymen shared in the
the audience “It’s very intimate…Shh!”
sense, it is almost two works in one;
sense of betrayal perpetrated by the
before playing the piece. A plaintive
the main polonaise sections sandwich a
Germans in abandoning the Nazi-Soviet
gem of a piece, Chopin’s harmonies
beguiling and contrastingly lyrical mid-
non-aggression pact of 1939. Yet in
herein run from futuristic (if subtle)
movement mazurka.
the Sonata No. 8 (1944), after giving
chromaticism to simple tonic/dominant
alterations over a drone-like bass.
vehement expression to his anger and
Piano Sonata No. 8 in B-flat Major, Op. 84
horror in number 6 and 7, Prokofiev
Sergey Prokofiev (1891–1953)
rekindled his much loved romantic,
Polonaise in F-sharp Minor, Op. 44
Frédéric Chopin
lyrical side. Elements of still smoldering
Prokofiev was an outstanding pianist,
grief and anger are in evidence, but
whose mastery of that instrument can
are subsumed within a hopeful lyric
Although he never returned to the
be heard in reissued recordings of, for
impulse that expresses the desire for
country of his birth, Chopin never
instance, his performance of his popular
a return to peace and resumption of
forgot his Polish roots. In the face of
Third Piano Concerto. As a composer,
“normal” daily living.
ever-increasing Russian domination, he
he felt the need to free himself from
A-6 UW WORLD SERIES
The Sonata’s opening movement offers a
ensuring her a place among the most
ensemble, she released a recording of
dreamy introductory Andante dolce whose
distinctive artists of her generation.
these concertos on the Fryderyk Chopin
prevailing sweetness is balanced by mildly
Her Chopin performances have drawn
Institute label to great critical acclaim. Her
dissonant implications and a subtle hint
particular praise, marking her as one of
long association with the Institute has won
of anxiety that nonetheless allow the
the composer’s foremost interpreters.
her a huge following in Poland. Avdeeva’s
music’s lyrical strain to emerge freely.
Says The Guardian, “Her pacing is born of
most recent recital recording featuring
A subsequent section marked Allegro
intelligent feeling and clarity of thought,
works by Chopin, Schubert and Prokofiev
moderato finds the theme undergoing
and her ability to finesse Chopin’s inner
was released on Mirare in August 2014.
transformation through a pronounced
voices puts many to shame.”
increase in tempo and energy. Well into
In recital, Avdeeva has performed at
the movement, Prokofiev reprises the
A regular performer throughout Asia,
London’s International Piano Series,
opening Andante dolce before a forceful
Avdeeva has toured extensively in
Rheingau Musik Festival, Barcelona’s
closing Allegro section.
Japan, featuring concerto performances
Palau de la Música Catalana, Liederhalle
with the NHK Symphony and Osaka
Stuttgart, Philharmonie Essen, Salle
A gentle, mildly sardonic set of variations
Philharmonic orchestras. This was
Gaveau Paris, Schwetzinger Festspiele
on a dance-like theme constitutes
followed by a major recital tour
and La Roque d'Anthéron Festival. An
the second movement Andante
and the Toshiba Grand Concert
active and committed chamber musician,
sognando, which flows slowly in swaying
Tour with Orchestre National
she has worked with members of the
three-quarter time. Each ensuing
du Capitole de Toulouse/Tugan
Berliner Philharmoniker and members
variation brings a greater degree of
Sokhiev. She also appeared with the
of the Academy of St Martin in the Fields,
embellishment without disturbing the
RundfunkSinfonieorchester Berlin/
with whom she collaborated at the
overall mood of internal reverie.
Marek Janowski, Royal Stockholm
Muziekgebouw Frits Philips Eindhoven
Philharmonic Orchestra/Manfred
in December 2012. This season, an
The bold and martial finale marked
Honeck and Bournemouth Symphony
extensive recital tour with violinist Julia
abounds in rapid-fire scalar runs
Orchestra/Kirill Karabits.
Fischer takes her to the Théâtre des
punctuated by an insistent hammering
Champs-Elysées Paris, Grand Théâtre
ostinato. The march-like main tune and
Recent orchestral highlights have
de Provence, Auditorium de Lyon,
its insistent rhythm change into a fast-
included performances with Finnish Radio
the Menuhin Festival Gstaad and the
paced waltz of stridently Mahler-like
Symphony, London Philharmonic and
Bratislava Music Festival, amongst others.
nightmarish distortion—surely a sweat-
Pittsburgh Symphony orchestras and
bathed awakening to the horrors of
the Orchestra dell'Accademia Nazionale
Yulianna Avdeeva began her piano studies
war. But the composer is by no means
di Santa Cecilia. She also toured Spain
at the age of five with Elena Ivanova
finished with his emotional journey.
and Italy with the Tchaikovsky Symphony
at Moscow’s Gnessin Special School of
An element of quietly expressed
Orchestra of Moscow Radio and Vladimir
Music and later studied with Konstantin
hopefulness emerges as Prokofiev
Fedoseyev and undertook an acclaimed
Scherbakov and with Vladimir Tropp. At the
brings the ambitious work to a brilliant
tour of the USA with the Warsaw
International Piano Academy Lake Como,
close that suggests, at best, hoped-for
Philharmonic Orchestra under Antoni Wit.
she was taught among others by William
triumph—or at least survival.
Grant Naboré, Dmitri Bashkirov and Fou
Avdeeva is known for performing on
Ts’ong. In addition to her Chopin prize,
period instruments, having played
she has won several other prizes including
Chopin’s Piano Concertos on an Erard
the Bremen Piano Contest in 2003, the
piano at the Festival 'Chopin and his
Concours de Genève 2006 and the Arthur
Europe’ with the Orchestra of the Age
Rubinstein Competition in Poland.
© 2015 Steven Lowe
About Yulianna Avdeeva
Yulianna Avdeeva rose to fame when she
of Enlightenment and Orchestra of
won First Prize in the Chopin Competition
the Eighteenth Century conducted by
in 2010. Her artistic integrity is rapidly
the late Frans Brüggen. With the latter
International Chamber Music Series
Presented in partnership with Early
Music Guild
December 4, 2015
Support comes from
Anonymous 4
Ruth Cunningham
Marsha Genensky
Susan Hellauer
Jacqueline Horner-Kwiatek
UW World Series thanks the
following donors for their support
of this evening’s program
Nancy D. Alvord
Katharyn Alvord Gerlich
Linda Armstrong
Stephen and Sylvia Burges
Yumi Iwasaki and Anoop Gupta
Cecilia Paul and Harry Reinert
Anonymous 4 records exclusively for harmonia mundi usa.
MANAGEMENT:
Alliance Artist Management
5030 Broadway, Suite 812
New York, NY 10034
Mina B. Person
Eric and Margaret Rothschild
Don and Toni Rupchock
A-8 UW WORLD SERIES
The performance runs approximately 75 minutes with no intermission
Anthology
COMING SOON
Virgin & Child
Prosa: Gaude virgo salutata—An English Ladymass
Song: Edi be thu hevene quene—An English Ladymass
Carol: Ecce quod natura—On Yoolis Night
Ballad-carol: Lullay my child–This ender nithgt—The Cherry Tree (Ruth Cunningham)
Prophecies & Miracles
Conductus-Motet: Balaam de quo vaticinans / [Ballam]—On Yoolis Night
Lection: Apocalypse 21:1-5—1000: A Mass for the End of Time
Conductus: Nicholai presulis—Legends of St. Nicholas
Marie assumptio officiat / Hujus chori suscipe / [TENOR]—Marie et Marion
PEKING
ACROBATS
the
Sat, January 23
Conductus: O ceteris preamabilis—A Lammas Ladymass
A UW World Series favorite. The
Hymn: An teicheahd go hÉigipt—Wolcum Yule (Jacqueline Horner-Kwiatek)
Peking Acrobats perform daring
maneuvers atop a precarious
pagoda of chairs; are experts at
Ardor
trick-cycling, precision tumbling,
Antiphon: O rubor sanguinis (Hildegard of Bingen)—11,000 Virgins
somersaulting and gymnastics;
Conductus: Ave virgo virginum—la bele marie
Motet: Amours dont/L’autrier au douz mois/Chose Tassin—Love’s Illusion
Motet: On doit fin amor / La biaute ma dame / IN SECULUM—Love’s Illusion
S’on me regarde / Prennes i garde / He mi enfent—Love’s Illusion
Head, Heart (David Lang)—love fail
Folk song: You fair and pretty ladies—Gloryland (Marsha Genensky)
and defy gravity with amazing
displays of contortion, flexibility
and control. Masters of agility and
grace, they push the envelope
of human possibility. Often
accompanied by live musicians
playing traditional Chinese
instruments and high-tech special
effects, The Peking Acrobats offer
Home
I’m on my journey home—Gloryland
an exuberant performance, with
all the excitement and festive
pageantry of a Chinese Carnival.
Wayfaring stranger—American Angels
Merrick (Saviour visit thy plantation)—Gloryland
Home, sweet home—1865
"If daring and dexterity
turn you on, this is a show
that will probably twist you
around in your seat."
Partings
—New York Post
Shall we gather at the river—American Angels
Parting Friends—Gloryland
About Anonymous 4
Susan Hellauer is a native of the beautiful
Bronx, New York, where she grew up
Ruth Cunningham does the social
rooting for the Yankees. While earning
media and informal tour photography
a B.A. in Music as a trumpet player from
for Anonymous 4. Ruth received a B.A.
Queens College (City University of New
in Performance of Early Music from the
York), an increasing fascination with
New England Conservatory of Music and
medieval and Renaissance vocal music
is certified as a cross-cultural music and
led her to convert to singing, and to
healing practitioner. She specializes in
pursue advanced degrees in musicology
singing early music and improvisational
from Queens College and Columbia
music in both liturgical and concert
University. Susan handles Anonymous
settings. Ruth looks forward to expanding
4's medieval music research, and is an
her work in improvisatory performance
adjunct Assistant Professor of Music
as well as continuing to teach workshops
at Queens College, CUNY, where she
and individual sessions in sound healing
directs the Collegium Musicum. She has
and improvisation. She has two solo cds:
appeared as a vocal soloist with the Harp
Light and Shadow: Chants, Prayers and
Consort, Parthenia, and the 2006 U.S. Fes
Improvisations and Harpmodes: Journey
Festival of World Sacred Music. Susan
for Voice and Harp. Ruth's other releases
leads Chant Camp workshops throughout
include two recordings of multi-faith
the U.S., and is proud to be a volunteer
SATURDAY,
FEBRUARY 27, 2016
chants with colleague Ana Hernandez:
EMT and ambulance driver with the Nyack
Blessed by Light and HARC: Inside Chants.
Community Ambulance Corps.
MEANY HALL ON THE UW CAMPUS
Her website is RuthCunningham.com
CENTER
STAGE
A gala benefiting the
artistic and educational programs
of the UW World Series
Jacqueline Horner-Kwiatek is
Featuring
Marsha Genensky handles
Anonymous 4’s new music liaison,
Anonymous 4’s American music
helping to facilitate commissions and
research, and has acted as music
collaborations with composers and artists
director for A4's American projects,
such as David Lang and John Darnielle.
❖ Roots Musician Martha Redbone
American Angels, Gloryland, and 1865.
She is a soloist outside of her work with
❖ On-Stage Dinner by Tom Douglas
She also does the historical language
Anonymous 4, performing music from
pronunciation research for A4's
Bach to Babbitt with many ensembles in
medieval music projects, acts as tour
the U.S. and Europe, including Ensemble
manager, and generally "makes things
Intercontemporain Paris, Ensemble
go" for the group. Since moving to
Modern Frankfurt, Washington Bach
the Bay Area in 2004, she has been
Consort, Carmel Bach Festival, Parthenia,
teaching performance courses and
Locrian and American Opera Projects.
workshops on medieval music and on
She is currently part of an opera in
Anglo-American sacred and secular
development about Nikola Tesla, being
song, and has become a San Francisco
created by Phil Kline, Jim Jarmusch and
Giants fan(atic). Marsha looks forward
Robert Wilson. She is also a voice teacher
to creating (and performing in) more
with a thriving studio in New York City
American music projects; she also
and gives master classes and ensemble
plans to seek a new role in the Bay
technique workshops in New York City, DC
Area, helping to support and fund
and throughout the US. She is currently a
performing artists and ensembles.
doctoral candidate at Juilliard. Her website
❖ Pianist Craig Sheppard
❖ Auction & Raise-the-Paddle
❖ Exclusive Preview of the 2016-17 Season
Space is limited.
Reserve your seat today.
Contact: mlazzaro@uw.edu
206.685.2819
is JacquelineHorner.com.
A-10 UW WORLD SERIES
About Anthology
When four young women gathered to sing through some medieval chant and polyphony in the spring of 1986, it was something that
countless small groups of musicians do every day in a search for artistic adventure and autonomy that their normal musical pursuits
can’t provide. Once every now and then, the people themselves and the unity of their musical intent just click... there’s a chemistry...
and a long term musical relationship is born.
In partnership with each other, and with harmonia mundi usa and long-time producer Robina Young, we’ve been privileged to be
able to record almost all of our concert programs. In Anthology, we’ve created a special concert to celebrate our years together.
It contains works from most of our hmu recordings, as well a new work from our recording love fail by the celebrated New York
composer David Lang. We offer this as our gift to you, our listeners, who have helped to make it all possible.
Prosa: Gaude Virgo Salutata—An English Ladymass (1992)
Song: Edi beo thu hevene quene—An English Ladymass
In 1990, a cassette tape demo landed on the desk of artistic director Robina Young at the Los Angeles branch of harmonia mundi. She
took a chance, and we recorded An English Ladymass, released in 1992. Astonishingly (to us) it climbed the classical charts and sat in
the top 10 for a long time. These two works open that recording. The lovely Irish prosa is from the Dublin Troper (c.1400), a source we
continually return to for plainchant masterpieces. Edi beo thu is two-voice strophic devotional song in 13th-century (“early middle”) English.
Gaude, virgo, salutata gabriele nuncio.
Rejoice, virgin greeted by Gabriel, the messenger.
Gaude, mater jucundata jesu puerperio.
Rejoice, mother delighted by Jesus' birth.
Gaude, conresuscitata resurgente filio.
Rejoice, you who are resuscitated with the rising son.
Gaude, tua sublimata prole plena gaudio.
Rejoice in all your upraised joyful descendants.
Gaude, sumpta et locata cum jesu in solio.
Rejoice, you who are taken up and placed on the throne with Jesus.
Esto nobis advocata in magno judicio, o maria.
Be our advocate at the great judgment, O Mary.
Trans: Susan Hellauer
Edi beo þu hevene quene
Blessed be Thou, Queen of heaven,
folkes frovre and engles blis,
comfort of men and bliss of angels,
moder unwemmed and maiden clene
unblemished mother and pure virgin,
swich in world non oþer nis.
such as no other is in the world.
On þé hit is wel eþ sene
As for Thee, it is most readily seen
of alle wimmen þu havest þet pris
that of all women Thou hast that prize.
mi swete levedi, her mi béne
My sweet Lady, hear my prayer
and reu of mé 3if þi wille is.
and have pity on me, if Thou wilt.
Þu aste3e so þe dai3 rewe
Thou didst ascend like the first dawn
þe deleð from þe deorke nicht,
that brings dark night to an end;
of þe sprong a leome newe,
from Thee sprang a new light
þat al þis world haveð ili3t.
that has lightened the whole world.
Nis non maide of þine heowe,
There is no other maid like Thee,
swo fair, so sschene, so rudi, swo bricht;
so fair, so beautiful, so ruddy,
swete levedi of me þu reowe,
so radiant, so bright; sweet Lady, pity me
and have merci of þin knicht.
and have mercy on Thy knight.
Song: Edi beo thu hevene quene (continued)
Spronge blostme of one rote,
O blossom sprung forth from a root,
þe holi gost þe reste upón,
the Holy Ghost reposed upon Thee;
þet wes for monkunnes bote
that was for mankind's salvation
and heore soule to alesen for on.
to deliver their soul in exchange for one.
Levedi milde, softe and swote,
Gracious Lady, gentle and sweet,
ic crie þe merci, ic am þi mon
I cry to Thee for mercy;
boþe to honde and to fote,
I am Thy man with hand and foot,
on alle wise þat ic kon.
in every way I can.
Moder ful of þewes hende,
Mother, full of gracious virtues,
Maide drei3 and wel itaucht,
maiden patient and well-taught,
ic ém in þine love bende
I am in the bonds of Thy love,
and to þe is al mi draucht.
and everything draws me to Thee.
Þu me sschild 3e from þe feonde
Wouldst Thou shield me from the fiend,
ase þu ert freo, and wilt, and maucht,
as Thou art noble, willing and able;
help me to mi lives ende,
help me to my life's end
and make me wið þin sone isau3t.
and reconcile me with Thy son.
Trans. E. H. Sanders
Carol: Ecce quod natura—On Yoolis Night (1993)
While researching An English Ladymass, we noticed how very many poems and songs were devoted to Christmas themes in English
polyphonic sources—far more than in continental sources. On Yoolis Night was our first Christmas-themed recording, blending English
13th-century polyphony with 14th- and 15th-century carols. This carol is written in two voices, but we have added the typical English
“fauxbourdon” harmony line, creating a rich triadic texture.
Ecce quod natura
mutat sua jura:
virgo parit pura
dei filium.
Ecce, novum gaudium,
virgo parit filium
ecce novum mirum:
que non novit virum;
Behold, nature changes her law:
a pure virgin bears God’s son.
Behold, a new joy, behold, a new wonder:
a virgin bears a son without knowing man;
que non novit virum,
sed ut pirus pirum,
without knowing man, but as the pear tree bears a pear,
gleba fert saphirum,
rosa lilium.
the earth creates a sapphire and the rose a lily.
Nequivit divinitas
plus humiliari,
nec nostra fragilitas
magis exaltari
deo coequari
magis exaltari;
quam celo locari,
per conjugium.
Divinity could not be more humbled, nor
could our fragility be more exalted;
more exalted than to be placed in heaven,
equal with God, through this union.
Ballad-carol: Lullay my child - This ender nithgt—The Cherry Tree (2010)
Our fifth Christmas-themed program, The Cherry Tree juxtaposes medieval and early Renaissance English carols with American tunes
descended from British ancestors. This makes for a great variety of sounds and textures, all with a family resemblance. This ballad
is a reconstruction from a refrain fragment in a 15th-century manuscipt. The story of the infant Jesus’s prophetic and miraculous
conversation with his mother recurs often in old British poetry and song.
Lullay my child and wepe no more
Lullay my child and weep no more,
Sclepe and be now styll Kynge
sleep and be still now.
of blis thi fader he es And thus
Your father is the king of heavenly bliss
it es his wyll.
and thus it is all as he wishes it to be.
This ender nithgt I sauy ha sithgt
The other night, I saw a sight,
Ha may ha credill kepe
a maiden watched by a cradle,
Hand ever schuy sang
Hande sayde in mang
and ever she sang and all the while said:
Lullay my child ande slepe.
lullay my child and sleep.
I may nocht slepe I may bot wepe
I cannot sleep, I can only weep:
I ham so wobegony.
I am so woebegone.
Slepe I wolde
I would sleep, but I am cold,
But me hes colde
Hande clothse hauf I nony.
and I have no clothing.
The chylde was swet
The child was sweet,
Hand sor he wepe
but he wept sorely,
Hande ever me thoht he sayde
and ever I thought he said:
Moder dere Wat doy I here In
Mother dear, what am I doing here?
crache wy ham I layde
Why am I lying in a manger?
Adam gilt
Adam’s transgression
That man has spilde
that condemned humankind to perdition,
That syn rues me fole sore
that sin grieves me sorely.
Man for the
Mankind, for you will I stay here
Here sal I be
xxx [Thyrty] yere ande mor.
for thirty years and more.
Dolles to dreye
I will endure suffering,
And I sale dye,
and I will die,
Ande hyng I sale on the rode
and I will be hung on the cross.
Wondys to wete
To wash away sin and to redeem mankind
My bals to bethe
Ande gif my fleches to blode.
I will give my body to be bloodied.
A spere so charpe
A spear so sharp
Sale thirll my hert
will pierce my heart
For the dede that man has done
because of the sins of man.
Fadere ofe blys, Wartu thu has
Father of heavenly bliss, why have you
Forsakin me thi sone.
forsaken me, your son?
Trans. Marsha Genensky
Motet: Balaam de quo vaticinans / [Ballam]—On Yoolis Night
The medieval English motet, like its French counterpart, is based on a pre-existing foundation or tenor part, and usually declaims multiple
texts simultaneously. The motet Balaam de quo vaticinans / [Ballam] is unusual in that jolly rondellus (voice exchange) sections are
superimposed on the basic motet structure. This is procedure is very English, as is the very hypnotically repetitive tenor melody.
Balaam de quo vaticinans:
Prophesying him, Balaam said:
“Iam de Iacob nova micans,
“Now a new star shall arise
orbi lumen inchoans,
out of Jacob, flashing and shining,
[rutilans] exibit stella.”
creating light for the world.”
Huic ut placuit, tres magi mistica
In order to please him, the three Magi
virtute triplici portabant munera,
be threefold virtue brought mystic gifts,
ipsum mirifice regem dicencia
which pronounced him miraculously
deum et hominem mira potencia.
king, god, and man by wondrous power.
Lection: Apocalypse 21:1-5—1000: A Mass for the End of Time (2000)
In 1999, while the rest of the world worried about using an ATM machine on January 1, 2000, Anonymous 4 was looking backward to
the millenarian movements of the 10th century, predicting the world’s end in the year 1000. Our program 1000 is built on the Mass for
the Ascension, which frequently mentions the Second Coming (aka “The Rapture”). This reading is set to an ancient lection tone and
harmonized in parallel organum, as described in music treatises from the 10th century.
Lectio libri apocalypsis beati Joannis Apostolis
A reading from the Apocalypse of Saint John the Apostle
Et vidi celum novum et terram novam:
And I saw a new heaven and a new earth:
primum enim celum et prima terra abiit,
for the first heaven and the first earth were passed away;
et mare iam non est.
and there was no more sea.
Et civitatem sanctam hierusalem novam
And I saw the holy city, new Jerusalem,
vidi descendentem de celo a deo,
coming down from God out of heaven,
paratam sicut sponsam ornatam viro suo.
prepared as a bride adorned for her husband.
Et audivi vocem magnam de throno dicentem:
And I heard a great voice out of heaven saying,
Ecce tabernaculum dei cum hominibus,
Behold the tabernacle of God is with men,
et habitabit cum eis: et ipsi populus eius erunt,
and he will dwell with them, and they shall be his people,
et ipse deus cum eis erit eorum deus:
and God himself shall be with them, and be their God.
et absterget deus omnem lacrimam ab oculis eorum:
And God shall wipe away all tears from their eyes;
et mors ultra non erit, neque luctus, neque clamor,
and there shall be no more death, neither sorrow, nor crying,
neque dolor erit ultra,
neither shall there be any more pain:
quia prima abierunt.
for the former things are passed away.
Et dixit qui sedebat in throno:
And he that sat upon the throne said,
Ecce nova facio omnia. Et dicit:
Behold I make all things new. And he said unto me:
Scribe, quia hec verba fidelissima sunt et vera.
Write: for these words are true and faithful.
(Vulgate)
(King James Bible)
Conductus: Nicholai presulis—Legends of St. Nicholas (1999)
Legends of St. Nicholas was the first concert program presented by Anonymous 4, in December 1986 in New York City. While it
underwent many changes through the years, the basic repertoire of chant and polyphony in honor of the miracle-working saint
remained the same. The rhythm of this quirky 13th-century French conductus for St. Nicholas Day (December 6) requires some
guesswork to reconstruct.
Nicholai presulis festum celebremus
Let us celebrate the feast of bishop Nicholas,
concrepando modulis letitie sonemus.
singing happy melodies together.
Versibus almisonis diem decoremus
With sweet songs we’ll ornament this day,
vocibus altisonis intenti festinemus.
letting our voices soar high and quick.
In tanto natalitio patrum docet traditio
On such a natal feast, our ancestors’ tradition teaches
ut consonet in gaudio fidelium devotio,
that the devotion of the faithful should harmonize in joy,
est ergo superstitio vacare a tripudio.
so let fear give way to dancing.
Nunc igitur iustorum suavitas cantorum
Now, therefore let the sweet songs of the just—
per tymphanum et chorum et omne musicorum
with drums and chorus and every kind
genus instrumentorum psallat deo deorum.
of musical instruments—sing to the God of gods.
Trans: S. Hellauer and M. Smith
Marie assumptio officiat / Hujus chori suscipe / [TENOR]—Marie et Marion (2015)
In 1988, we created our first medieval French motet program, Love’s Illusion, from the Montpellier Codex, on the secular topic of
fin amours, or “courtly love.” But we noticed that there were motets that sang of courtly love in one voice part, and of the ultimate
Lady, the Virgin Mary, in another. Inspired by this, we created another Montpellier Codex program, Marie et Marion, that explores the
juxtaposition of courtly/pastoral love themes with ardor and praise for Mary. This elaborate motet is all in praise of Mary’s miraculous
Assumption into heaven.
Triplum
Triplum
Marie assumptio afficiat gaudio
May the assumption of Mary put joy in the hearts of
filios ecclesie, que honore regio
the children of the Church; she is adorned today
ac mundi dominio decoratur hodie
with royal honor and worldly dominion,
ac glorie pari gradu filio
and with a level of glory equal to the Son’s
consortio celestis milicie.
in the fellowship of the heavenly hosts.
Res miranda specie, cunctorum suffragio,
A thing of marvelous beauty, let it be praised every day
omni laudetur die!
with everyone’s assistance!
Motetus
Motetus
Huius chori suscipe cantica, Salvatori[s] mater glorifica!
Accept the songs of this chorus, O glorious mother of the Savior!
Tu, medica suavis peccatori atque fori celestis sindica, nos
You, sweet physician of the sinner and his advocate
amori regnantis applica et abdica de inferiori,
in the heavenly court, recommend us to the Ruler’s love
ut requie fruamur celica!
and disown us from the devil, that we may enjoy heavenly peace.
Tenor
Tenor
TENOR
TENOR
Trans: Joel Relihan
Conductus: O ceteris preamabilis—A Lammas Ladymass (1998)
When we created An English Ladymass in 1987, our main problem was what music to leave out, since we had more than enough
lovely songs for a month of Ladymasses. So we designed one more Ladymass, for the feast of Mary’s Assumption, which coincides
with the ancient British harvest festival of Lammas. This is a smooth and sinuous conductus-style setting of the Sequence of the Mass,
appropriate for a high Marian feast.
O ceteris preamabilis
O matchless virgin,
virgo singularis,
more worthy of love than all others,
que mater inviolabilis casta
who, a chaste, inviolable mother,
deum paris. Quamplurium
gives birth to God;
prelaudabilis mater
O mother of the saviour,
salvatoris,
most praiseworthy of all,
tu mulier admirabilis,
thou wonderful woman,
parens expers paris.
parent without equal.
O mater incomparabilis,
O mother without compare,
de qua generatur
from whom springs
rex christus insuperabilis,
Christ, the invincible king,
homo quo salvatur.
by whom man is saved.
Eva fit vero dampnabilis,
Eve, to be sure, is condemned
in morte probatur
and tested in death;
per te, virgo venerabilis,
through thee, venerable virgin,
saluti donatur.
she is granted salvation.
Heu, nostra statura fragilis
Alas, our fragile stature
iterum fedatur,
is again disgraced;
heu, ad mala declinabilis
alas, easily deflected to evil,
ruinam miratur.
it finds itself face to face with its downfall.
Hinc, virgo, per te culpabilis
Hence, may the guilty be reformed
zelo corrigatur
through thee with zeal,
tandemque cum nato stabilis
and may he at last be placed
celo statuatur.
secure in heaven with the son.
Hymn: An teicheahd go hÉigipt (Flight into Egypt)—Wolcum Yule (2003)
Wolcum Yule, which blends medieval, traditional and modern works from the British Isles, was our first collaborative recording,
featuring master harpist Andrew Lawrence-King. Haunting and rhythmically free, this wonderfully dramatic traditional Irish hymn
recalls the storytelling of the ancient bards, though here the story is that of Joseph and Mary’s flight into Egypt with the Christ child.
[Text and tune: Traditional Irish]
Trath chuala Herod bhí laige’s gruaim air
As soon as Herod heard that the King was born
go rugadh an Rí a bhéarfadh bua air,
who would outdo him in honor, nobility, and power,
in onóir, in uaisleacht, i gcumhacht’s i méadacht,
he became weak and despondent;
do líon lán-channcar fuatha’s éad’ é.
a cancerous hatred and jealousy filled his heart.
’S nach trua sin!
Isn’t that pitiful!
Ba ghearr go dtáinig an t-aingeal ’na dhéidh sin
The angel came soon afterwards
agus labhair go modhail leis an fhaoileann déid-ghil:
and spoke mildly to the sweet-mouthed maiden:
“O! caithfidh sibh teicheadh le céile go hÉigipt
“Oh! you must flee together to Egypt,
nó is gairid go gcluinidh sibh feall is éigeart.”
or ’tis soon that you’ll hear of treachery and injustice.”
’S nach trua sin!
D’imigh an Triúr ar shiúl na hoíche-
The Three walked through the night:
an Naomh, an Mhaighdean agus Rí na Ríthe;
the Saint, the Virgin, and the King of Kings;
gan charaid, gan stór, gan ór, gan éadail
no friend, no provisions, no money...nothing, only
ach Rí na bhFlaitheasgeal, an Leanbhán Gléigeal.
the King of Heavens, the Radiant Child.
’S nach trua sin!
Trans: Una McGillicuddy
Antiphon: O rubor sanguinis (Hildegard of Bingen)—11,000 Virgins (1997)
Hildegard wrote an entire day’s worth of liturgical texts and music for the early Christian martyr Ursula, patron saint of her Rhineland
convent who, legend had it, was killed at Cologne with a host of 11,000 virgin handmaidens. Our first Hildegard recording drew from
this repertory, with its intensely passionate poetry and vivid storytelling. This antiphon is relatively short, but, like most of Hildegard’s
works, is packed with musical and textual imagery.
O rubor sanguinis
qui de excelso illo fluxisti
quod divinitas tetigit:
tu flos es
quem hyems de flatu serpentis
numquam lesit.
Hildegard of Bingen
O redness of the blood
that flowed down from on high,
that divinity touched:
you are a flower
that the icy winter of the serpent’s breath
has never hurt.
Conductus: Ave virgo virginum—la bele marie (2002)
We were about to begin our second day of recording la bele marie at the Christian Brothers monastery in Napa, California on the morning
of September 11, 2001. Hearing of the terror attacks, we wanted to go home to New York right away, but flights were grounded. And so,
once we knew that our family and friends were safe, we decided to carry on with the recording. It’s impossible to hear a sweet and touching
song like Ave virgo virginum, and not know that medieval composers were as capable of sensitive text setting as any of a later era.
Ave virgo virginum verbi carnis cella
Hail, virgin of virgins, chamber of the incarnate word.
in salutem hominum stillans lac et mella
For mankind's salvation you gave birth to the lord,
peperisti dominum moysi fiscella
distilling milk and honey, O Moses' basket.
a radio sol exit et luminum
From one ray the sun shines, and a star
fontem parit stella.
brings forth the fount of light.
Ave, plena gratia caput zabulonis
Hail, full of grace: you crushed
contrivisti spolia reparans predonis
the devil's head, and you restored the stolen spoils,
celi rorans pluvia vellus gedeonis
distilling heaven's rain, you fleece of Gideon.
o filio tu nos reconcilia
O, reconcile us to your son,
mater salomonis.
mother of Solomon.
Virgo tu mosaice rubus visionis
Virgin, you bush of Moses' vision,
de te fluxit silice fons redemptionis
from you, the rock, flows the fount of redemption.
quos redemit calice christus passionis
Christ clothes those redeemed
o gaudio induit glorifice resurrectionis.
by the chalice of his passion with the joy
of his glorious resurrection.
Trans. Susan Hellauer
Motet: Amours dont/L’autrier au douz mois/Chose Tassin—Love’s Illusion (1994)
Motet: On doit fin amor / La biaute ma dame / IN SECULUM—Love’s Illusion
Motet: S’on me regarde / Prennes i garde / He mi enfent—Love’s Illusion
The great collection of 13th-century motets, the Montpellier Codex, was the source for our first secular program, Love’s Illusion. Although
most of the motets in this collection are composed over snippets of liturgical plainchant, there are several that are based on popular
secular tunes, like this one on the dance tune Chose Tassin (“Tassin’s Thing” or “Tune”). The second motet is based on one of the most
popular plainchant tenor melodies, IN SECULUM, which was also favored for the jolly “hockets” of 13th-century fame. This motet has a
patch of hocket, smoothed out here in a seductive melodic web. The third weaves two imitative lines over a bit of a French popular song.
Triplum
Amours, dont je sui espris,
Love, who holds me captive,
me fait chanter.
makes me sing.
Bien doi estre jolis
I must be gay
et grant joie mener,
and conduct myself joyfully,
quar la riens, que plus aim et desir,
for the one whom I most love and desire
me daigne ami clamer ;
deigns to call me sweetheart.
de cuer sans fausser
I want to serve and honor her
la voell tout mon vivant servir
with a true heart, without deception,
et hounourer.
all my life long.
Motet: Amours dont/L’autrier au douz mois/Chose Tassin (continued)
Hé Dieus, qui verroit
O God, anyone who would see
son cors gent, qui tant fait a loer,
her fair person, so deserving of praise,
bien porroit dire et affermer,
could say and indeed affirm
que de biauté ne porroit
that no one could find:
on son per trouver ;
her equal in beauty;
et tant set sagement parler,
and she knows how to speak so discreetly
que nus n’i set qu’amender.
that no one could do it better.
Mes mesdisans, que Dieus voelle grever,
But evil tongues, may God curse them,
me gaitent, si que je n’i os aler ;
spy on me, so that I don’t dare go to her;
trop redout lor gengler,
I am too afraid of their gossip,
quar je voel l’ounour a ma dame garder.
for I want to preserve my lady’s honor.
Si me dedui seulement en sa biauté remirer ;
And so I take my only pleasure in remembering her beauty;
je ne puis allors penser.
I can think of nothing else.
Motetus
L’autrier, au douz mois d’avril, main me levai ;
The other day, in the sweet month of April,
pensis a mes amours, jouer m’en alai,
I got up one morning and thought about my love;
dont trop m’esmai,
I went off to take pleasure in it, but it thoroughly dismayed me,
quar ne sai, se ja joie en arai.
for I don’t know if I will ever have joy from it.
Ne pour quant plus jolis en serai
Nevertheless, I will be cheerier,
et s’en chanterai :
and I will sing of love: “I have loved
« J’ai amé la sade blondete et amerai ! »
the charming little blonde, and I will love her ever!”
Ne ja de li amer ne me repentirai,
And never will I repent of having loved her;
mes con ses loiaus amis tous jours la servirai.
rather, as her loyal lover, I will serve her always.
Tenor
Chose Tassin
Chose Tassin
Trans. Susan Stakel
Triplum
On doit fin[e] Amor anourer nuit et jor,
One should honor true Love night and day,
car los et pris recovrer
for one can obtain honor and esteem
et cortoisie et valour
and gain courtesy and worth through him.
puet chascun par lui avoir.
But one must serve loyally
Mes qu’a son pooir serve loiaument,
and with one’s entire heart
de cuer entierement,
as best one can;
pour ce voil fine amor servir
this is why I want to serve true Love
loialment, sans repentir,
loyally, without regret,
et ferai tot mon vivant,
and why I shall, all my life long,
car tot ai en son commant cuer et cor mis.
for I have placed heart and soul entirely at his command.
S’en sui chantans et jolis ;
I am gay and full of song because of it,
car bien sai que je morrai
for I know well that I shall die
de grant dolour, se s’amour n’ai,
of great sorrow if I have not the love
qui me tient le cuer gai.
of the one who keeps my heart gay.
Motetus
La biauté ma dame le cuer m’esjoï[s]t,
The beauty of my lady makes my heart rejoice
quant je pens a li, fins cuers amourous,
when I think of her, true, loving,
savourouz et doz, en qui toz biens florist.
sweet tender heart in whom all good flourishes.
Cortaisie en vous son droit bien assis[t] : si
Courtesy rightfully resides in you.
en doi amer et louer fine amor,
And I should love and praise true love,
quant j’aim del monde la flour.
since I love the finest flower in all the world.
Mes trop me met en baudour nuit et jour
To remember her body, clad in worthiness,
son cors, que remir, forniz de valor ;
makes me happy indeed, night and day;
sa freche colour qu’esgardai,
on her fresh color
m’a mis en baudour et me tient le cuer gai.
filled me with happiness and keeps my heart gay.
Tenor
Tenor
IN SECULUM
IN SECULUM
Trans. Susan Stakel
Triplum
S’on me regarde, s’on me regarde,
If anyone is looking at me, if anyone is looking at me,
dites le moi ;
tell me.
trop sui gaillarde, bien l’aperchoi.
I see well that I am too daring;
Ne puis laissier, que mon regard ne s’esparde,
I can’t stop my eyes from wandering,
car tes m’esgarde, dont mout me tarde,
for when a certain one looks at me, I can hardly wait
q[u]’il m’ait o[u] soi,
for him to have me with him
qu’il a en foi de m’amour plain otroi.
and receive in faith the gift of my love in full measure.
Mais tel ci voi, qui est, je croi,
But I see another here who is, I believe
(feu d’enfer l’arde !) jalous de moi.
(may Hell fire burn him!), jealous of me.
Mais pour li d’amer ne recroi, car par ma foi
But I refuse to cease loving on his account,
pour nient m’esgarde, bien pert sa garde :
for by my faith it doesn’t do him any good to watch me,
j’arai rechoi!
he’s wasting his time: I’ll find an escape!
Motetus
Prennés i garde, s’on me regarde ;
Take note if someone looks at me;
trop sui gaillarde, dites le moi,
I am too daring, so tell me, in the name of God, I beg you.
pour Dieu vous proi.
For when one looks at me, I can hardly wait
Car tes m’esgarde, dont mout me tarde,
for him to have me with him.
qu’il m’ait o[u] soi, bien l’aperchoi ;
And I see another here who is, I believe
et tel chi voi, qui est, je croi,
(may Hell fire burn him!), jealous of me.
(feu d’enfer l’arde!) jalous de moi.
But I refuse to cease loving on his account;
Mais pour li d’amer ne recroi,
it doesn’t do him any good to watch me, he’s
pour nient m’esgarde, bien pert sa garde :
wasting his time: I’ll find an escape
J’arai rechoi et de mon ami le dosnoi!
and have the love of my sweetheart. I must do it;
Faire le doi, ne serai plus couarde.
I will be a coward no longer.
Tenor
Tenor
Hé, mi enfant.
Ho, my child!
Trans. Susan Stakel
Head, Heart (David Lang)—love fail (2014)
From the composer: "Head, Heart" is a short story by Lydia Davis, which I set to music and included in the evening-length piece I wrote for
Anonymous 4, called 'love fail.' This larger piece takes fragments from variants of the medieval love story of Tristan and Isolde that I collected
and rewrote, and intersperses them with emotionally succinct, plainspoken and very direct stories by Davis. [“Head, Heart” from Varieties of
Disturbance (Farrar, Straus & Giroux, 2007). Copyright © 2007 by Lydia Davis.]
Folk song: You fair and pretty ladies—Gloryland (2006)
Marsha has been singing this lyric folk song about a girl who has risked all for love, and lost, since long before we formed Anonymous
4. We love the fact that this version of the song shares the same tune with the religious ballad Wayfaring Stranger, as do several
other songs on Gloryland. We were privileged to have as collaborators for our second American recording two fabulous players, Darol
Anger (fiddle, mandolin) and Mike Marshall (guitar, mandolin, mandocello).
I’m on my journey home—Gloryland
Wayfaring stranger—American Angels (2003)
Also from Gloryland, I’m on my journey home is a revival song (identifiable by its rousing chorus) set in a spare 3-part setting, and
found in a 19th-century shape note collection (in which the different pitches were represented on the staff with shaped noteheads).
The title American Angels came to Susan in a moment of revelation; our first foray into American shape note tunes and gospel songs
came about as a result. The old American religious ballad Poor Wayfaring Stranger was given this haunting, 4-part shape-note setting
in 1936. The shape-note singing tradition continues to flourish today.
Merrick (Saviour visit they plantation)—Gloryland
John Newton (1725-1807) ) was an English slave ship captain who later became a cleric and fervent abolitionist. He wrote several
hymns, including Amazing Grace. Hymn texts and tunes were often interchanged in the 18th and 19th centuries, and Amazing Grace
didn’t settle on its current, well-known American tune until about 1830. This is another of Newton’s hymn lyrics, and it is associated
with more than one tune. We sing it here with the tune Merrick, in our own arrangement.
Home Sweet Home—1865 (2015)
Our latest (and last) recording, 1865, explores popular and traditional songs that were in the air 150 years ago, in the last year of the
Civil War. AND we were blest in our 1865 collaborator, master traditional musician Bruce Molsky. Although many songs of that day
are rallying or battle songs, many focused on personal experience, and longing for peace and home. This opera air from the 1820s
because the single most popular song of the Civil War.
Gospel song: Shall we gather at the river—American Angels (2003) [Text and Tune: Robert Lowry, in Happy Voices (1865)]
Unlike many of the songs on this recording, whose texts or tunes have roots in the British Isles, Shall we gather at the river originated
in America, and traveled eastward across the Atlantic Ocean. Jacqueline, who hails from the North of Ireland, was very surprised to
encounter it, during our reading sessions for the project: she remembers her granny singing it to her when she was a child.
Folk hymn: Parting Friends—Gloryland [Tune arr. John G. McCurry, in The Social Harp (1855)]
This farewell tune belongs to a small group of songs used to close a shape note “sing” (singing gathering). Its tune is a version of the
melody for Wayfaring Stranger; the origin of the “Farewell my friends” text is unknown. We enjoyed making lots of our own song
arrangements for Gloryland, including this setting of Parting Friends.
Farewell, my friends, I’m bound for Canaan
I go away, behind to leave you, perhaps never to meet again,
But if we never have the pleasure, I hope we’ll meet on Canaan’s land.
Special Engagement
December 8, 2015
Yo-Yo Ma
Yo-Yo Ma's Performance
is Generously Sponsored by
The Boeing Company
Saygun
Partita No. 1 for Solo Cello
Allegretto
Bach
Suite No. 1 in G Major for Solo Cello, BWV 1007
Prelude
Allemande
Courante
Sarabande
Minuet I and II
Gigue
Support comes from
O’Connor
Appalachia Waltz
Bach
Suite No. 2 in D Minor for Solo Cello, BWV 1008
Prelude
Allemande
Courante
Sarabande
Menuett I and II
Gigue
–Intermission–
Jiping
Summer in the High Grassland
Bach
Suite No. 6 in D Major for Solo Cello, BWV 1012
Prelude
Allemande
Courante
Sarabande
Gavotte I and II
Gigue
About the Program
Allegretto from Partita for solo cello,
Suites, Nos. 1, 2 & 6, for Solo Cello,
in the employ of the Prince of Cöthen
BWV 1007, 1008 & 1012
(1717–23) before his permanent move
Johann Sebastian Bach (1685–1750)
to Leipzig. Though absolute truth is hard
to come by, musicologists believe that
Op. 31 (1954-55)
Rooted in the German tradition of
the suites were composed for Christian
contrapuntal musical thought, Bach
Abel, Carl Friedrich Abel or a third cellist,
Turkish born Ahmed Adnan Saygun
absorbed the music of his Italian
Bernhard Linigke.
has been compared to such Western
contemporaries, a vibrant tradition borne
cultural nationalists as Sibelius, Falla
in the crucible of opera and carrying with
Bach followed prevailing practice in all of
and Bartók in their love for and use of
it an essential vocabulary of fluid melody
his suites by casting each movement in
the indigenous music of their respective
supported by homophonic (i.e., non-
the same key, adding contrast and drama
homelands. Saygun even joined
contrapuntal) chordal textures. A second
through intra-movement modulations
Bartók in a shared quest to collect and
national current was the French school,
to remote tonalities, and imbuing the
transcribe folk songs they encountered
whose richly embroidered keyboard
dance numbers with fetching rhythms
through Central and Eastern Europe;
tapestries and flair for instrumental color
and varied emotional expression. In their
the two men became close friends.
were lovingly assimilated into Bach’s well-
evocation of different national styles—
stocked tonal palette. So pronounced
the German Allemande, French Courante
It seems fitting that Saygun’s musical
were the differences between the various
and Gavotte, the Spanish Sarabande, and
vocabulary reflects Turkey’s straddling
countries’ musical vocabularies that
the English Gigue—Bach effectively takes
of both Europe and Asia. By 1928 he
Arcangelo Corelli, that consummate
the listener (and the player, of course)
had earned a strong reputation in his
Italian violinist/composer, declared that
on a musical tour of Europe. Though the
own country as a gifted composer who
he could not play in the French style
19th century saw the rapid development
embraced Turkish folk and military
because he did not understand their
of nationally based music in contrast
music as a vehicle for expression.
musical language. Bach fused these
to the Classical era’s comparatively
His status led to a government grant
national styles into an enormous body
homogenous instrumental style
that provided the means to study in
of music that rings true more than
emanating from such German-speaking
France where he absorbed the heady
three centuries after his birth. The third
centers as Vienna and Mannheim,
fragrances of Impressionism and still
contributing current was, of course, the
Baroque period composers drew from
potent Romanticism.
German tradition of contrapuntal writing.
disparate musical traditions throughout
Guided by his primary mentor,
The origins of the suite as a form go back
are, in fact, based on their countries of
Vincent D’Indy, he honed his craft
to the later Middle Ages when lutenists
origin. They were not intended for actual
into a satisfying amalgam of Eastern
performed sequences of stylized dances
dance, a point strongly articulated by
and Western influences, with an
of the day. By Bach’s day the individual
Handel’s friend, performer and musical
emphasis on his Turkish heritage. The
movements of a suite still maintained the
theoretician Johann Mattheson: “An
passionate modally-based Allegretto
essential rhythm of the terpsichorean
Allemande for dancing and one for
from the Partita explores the cello’s
originals, but were by no means designed
playing are as different as Heaven and
tonal qualities and timbral range. At
as dance music. Bach composed a
Earth.” A basic theme of the classic
times floridly virtuosic, the music also
considerable number of suites (also
Manfred Bukofzer tome, Baroque Music
quietly radiates an inner pensiveness.
known as “partitas”) for individual
(published 1947 but still considered an
Animated arpeggios soar dramatically
instruments and ensembles, and his half
important analysis) lauds Bach for his
from the lowest register to the cello’s
dozen for cello rank among the greatest
assimilation of musical style throughout
highest reaches.
solo works written for an instrument
the continent (though Bach never
whose tonal character and range most
physically left his homeland).
Ahmet Adnan Saygun (1907–1991)
Europe. Note that the dance movements
closely covers that of the baritone voice.
Bach composed all six cello suites while
Appalachia Waltz
which have attracted American audiences
Yo-Yo Ma maintains a balance between
Mark O’Connor (b. 1961)
through exposure to feature films as well
his engagements as soloist with
as concert performances.
orchestras throughout the world and
One of the best known of the American
his recital and chamber music activities.
violinist/composer’s works is Appalachia
Summer in the High Grassland opens with
He draws inspiration from a wide circle
Waltz, a tender and meditative paean
a slowly unfolding primary theme that
of collaborators, creating programs
to the music of the title’s eponymous
announces itself in a serpentine melody
with such artists as Emanuel Ax, Daniel
region of the Eastern United States.
whose contour is shaped by rising and
Barenboim, Christoph Eschenbach,
Originally scored for the combination of
falling portamentos (essentially slides
Kayhan Kalhor, Ton Koopman, Bobby
violin (O’Connor), cello (Yo-Yo Ma) and
or glissandos from separated notes),
McFerrin, Edgar Meyer, Mark Morris,
double bass (Edgar Meyer), the version
supported at times by drone-like figuration
Riccardo Muti, Mark O’Connor, Kathryn
for solo cello captures the quiet beauty
in the lower regions. The music flows
Stott, Michael Tilson Thomas, Wu Man,
of the ravishing piece with truly no loss
as if to mirror breathing. The piece’s
Wu Tong, Damian Woetzel and David
of color, successfully maintaining the
introspective musing touches deeply
Zinman. Each of these collaborations
work’s subdued but real emotional
into a reflective melancholy that virtually
is fueled by the artists’ interactions,
expressiveness. Modal harmony imparts
obliterates the boundaries that constantly
often extending the boundaries of a
a feeling of timelessness, as it has for
threaten all of our peoples across the globe.
particular genre. One of Mr. Ma’s goals
works by such European contemporary
composers as Arvo Pärt and Peteris Vask.
is the exploration of music as a means
© 2015 Steven Lowe
If the last two composers found their
respective voices through resonance
of communication and as a vehicle for
the migration of ideas across a range
About Yo-Yo Ma
to Renaissance and even late medieval
of cultures throughout the world. To
that end, he has taken time to immerse
styles, O’Connor—a gifted performer of
The world’s most famous living cellist,
himself in subjects as diverse as native
bluegrass fiddling as well as traditional
Yo-Yo Ma, returns to the Meany Hall
Chinese music with its distinctive
Western classical music—has found
stage for a solo recital. Ma has enjoyed
instruments and the music of the
joy and unforced beauty in America’s
a prolific career as both a soloist
Kalahari bush people in Africa.
homegrown folk traditions.
performing with orchestras around
the world and as a recording artist. His
Expanding upon this interest, in 1998,
Summer in the High Grassland
90 albums have received 17 Grammy
Mr. Ma established Silkroad, a nonprofit
Zhao Jiping (b. 1945)
Awards. He plays two instruments—the
organization that works at the edge
Montagnana, made in 1733 by Antonio
where education, business, and the arts
Noted for his film scores in China, the
Stradivari, and the 1712 Davidoff
come together to transform the world.
country of his birth, Zhao Jiping’s music
Stradivarius.
Under his artistic direction, Silkroad
became known in the West through the
presents performances by the acclaimed
advocacy of Yo-Yo Ma’s celebrated Silk
Yo-Yo Ma’s multi-faceted career is
Silk Road Ensemble and develops new
Road Project. The son of a prominent
testament to his continual search
music, cultural partnerships, education
painter, Zhao studied at the Xi’an
for new ways to communicate with
programs and cross-disciplinary
Conservatory Music, where he graduated
audiences, and to his personal desire
collaborations. Silkroad’s ongoing
in 1970. After the Cultural Revolution,
for artistic growth and renewal. Whether
affiliation with Harvard University has
the school reopened in 1978, and he was
performing new or familiar works from
made it possible to develop programs
able to return for post-graduate studies.
the cello repertoire, coming together
such as the Arts and Passion-Driven
In common with other contemporaries,
with colleagues for chamber music or
Learning institute for educators and
such as Tan Dun, Chen Yi, Zhou Long,
exploring cultures and musical forms
teaching artists, held in collaboration
et al, his music incorporates the
outside the Western classical tradition,
with the Harvard Graduate School
instruments and age-old folk styles of
Mr. Ma strives to find connections that
of Education, and a new Cultural
his homeland with Western techniques,
stimulate the imagination.
Entrepreneurship initiative in partnership
with Harvard Business School. More than
in its creation. While touring, he takes
Yo-Yo Ma was born in 1955 to Chinese
80 new musical and multimedia works
time whenever possible to conduct
parents living in Paris. He began to
have been commissioned for the Silk
master classes as well as more informal
study the cello with his father at age
Road Ensemble from composers and
programs for students – musicians
four and soon came with his family to
arrangers around the world. Through
and non-musicians alike. At the same
New York, where he spent most of his
his work with Silkroad, as throughout his
time, he continues to develop new
formative years. Later, his principal
career, Yo-Yo Ma seeks to expand the
concert programs for family audiences,
teacher was Leonard Rose at the Juilliard
cello repertoire, frequently performing
for instance helping to inaugurate the
School. He sought out a traditional
lesser known music of the 20th century
family series at Carnegie Hall. In each of
liberal arts education to expand upon
and commissions of new concertos and
these undertakings, he works to connect
his conservatory training, graduating
recital pieces. He has premiered works
music to students’ daily surroundings
from Harvard University in 1976. He has
by a diverse group of composers, among
and activities with the goal of making
received numerous awards, including
them Stephen Albert, Elliott Carter, Chen
music and creativity a vital part of
the Avery Fisher Prize (1978), the
Yi, Richard Danielpour, Osvaldo Golijov,
children’s lives from an early age. He has
Glenn Gould Prize (1999), the National
John Harbison, Leon Kirchner, Peter
also reached young audiences through
Medal of the Arts (2001), the Dan David
Lieberson, Christopher Rouse, Bright
appearances on Arthur, Mister Rogers’
Prize (2006), the Sonning Prize (2006),
Sheng, Tan Dun, John Williams and Dmitri
Neighborhood and Sesame Street.
the World Economic Forum’s Crystal
Yanov-Yanovsky.
Award (2008), the Presidential Medal
Mr. Ma’s discography of over 90 albums
of Freedom (2010), the Polar Music
As the Chicago Symphony Orchestra’s
(including more than 17 Grammy Award
Prize (2012) and the Vilcek Prize in
Judson and Joyce Green Creative
winners) reflects his wide-ranging
Contemporary Music (2013). In 2011, Mr.
Consultant, Mr. Ma is partnering with
interests. He has made several successful
Ma was recognized as a Kennedy Center
Maestro Riccardo Muti to provide
recordings that defy categorization.
Honoree. Appointed a CultureConnect
collaborative musical leadership and
Among them include Hush with
Ambassador by the United States
guidance on innovative program
Bobby McFerrin, Appalachia Waltz and
Department of State in 2002, Mr. Ma
development for The Negaunee Music
Appalachian Journey with Mark O’Connor
has met with, trained and mentored
Institute of the Chicago Symphony
and Edgar Meyer and two Grammy-
thousands of students worldwide in
Orchestra, and for Chicago Symphony
winning tributes to the music of Brazil,
countries including Lithuania, Korea,
artistic initiatives. Ma’s work focuses on
Obrigado Brazil and Obrigado Brazil—Live
Lebanon, Azerbaijan and China. Mr.
the transformative power music can have
in Concert. Mr. Ma’s recent recordings
Ma serves as a UN Messenger of Peace
in individuals’ lives, and on increasing
include Mendelssohn Trios with Emanuel
and as a member of the President’s
the number and variety of opportunities
Ax and Itzhak Perlman and The Goat Rodeo
Committee on the Arts & the Humanities.
audiences have to experience music
Sessions with Edgar Meyer, Chris Thile and
He has performed for eight American
in their communities. Mr. Ma and
Stuart Duncan, which received the 2013
presidents, most recently at the invitation
the Institute have created the Citizen
Grammy for Best Folk Album. Across this
of President Obama on the occasion of
Musician Initiative (www.citizenmusician.
full range of releases, Mr. Ma remains
the 56th Inaugural Ceremony.
org), a movement that calls on all
one of the best-selling recording artists in
musicians, music lovers, music teachers
the classical field. All of his recent albums
and institutions to use the art form to
have quickly entered the Billboard chart
bridge gulfs between people and to
of classical best sellers, remaining in the
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as many as four titles simultaneously
Yo-Yo Ma is strongly committed to
on the list. In fall 2009, Sony Classical
educational programs that not only
released a box set of over 90 albums to
bring young audiences into contact with
commemorate Mr. Ma’s 30 years as a
music but also allow them to participate
Sony recording artist.
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Feigin / Thea Fefer / Mary Fernandez / Melanie Field
Highsmith / Jonathan Franklin / Lucille Friedman / William
/ Chet Robachinski / Neil Roberts and Bonnie Worthington-
/ Judith Gillum Fihn and Stephan D. Fihn / Susan Carol
Friedman / Kai Fujita / Gary Fuller and Randy Everett /
Roberts / Pacita Roberts / Fern Rogow / Bette Round /
Fisher / Susan Fitch / Susanne and Bruce Foster / Anne
Jennifer Gaus and David Lion / Gene and Evelyn Gershen /
Gail Sailer / Norman and Elisabeth Sandler / Laura Sargent
Futterman / Helen Gamble / Daniel Gamelin / Nathaniel
Brian Giddens and Steve Rovig / David and Brenda Gilbert
/ Joachim Schneider and Jolene Vrchota / Charles Schooler
Gilbert / Harold Gillies / Katya Giritsky / Frances Goldman
/ George Gilman / Ronen Glad / J. David Godwin and
/ Jean Schweitzer / Charyl and Earl Sedlik / Tomoko Seki
/ Andrew Gross and Shira Wilson / David Grossman
Virginia Reeves / Joan and Steven Goldblatt / Prof. Ricardo
and Norman Hollingshead / Mark and Patti Seklemian /
and Cezanne Garcia / Emile Haddad and Terryll Bailey /
J. Gomez and Mary Forster / Jennifer and Henry Gordon
Virginia Sharp / Robbie Sherman, M.D. and Charles Meconis
Katherine Hanson and Michael Schick / Brooke and Boyce
/ Judith Gordon and Lance Sobel / Catherine Gorman /
/ Roger Simpson and Jeffrey Cantrell / John Sindorf, M.D.
Heidenreich / Robin Hendricks / Kathy Herigstad / Keri
Gene Graham / Janice Granberg / Kyra Hokanson Gray
and Mary Ann Bolte, M.D. / Hazel Singer and John Griffiths
Holmboe / Roy and Maryann Huhs, Jr. / Michael Hunter
/ Chris Gross / Thomas and Roberta Gurtowski / David
/ Virginia Sly / Annelies Smith / Mani and Karen Soma
/ Elizabeth and Edwin James / Natarajan Janarthanan and
and Alice Gutsche / Walter and Willa Halperin / Larry
/ Sarah Stanley and Dale Rogerson / Craig and Sheila
Ponni Rajagopal / Joseph and Kathy Jenkins / Ronald Jones
Harris and Betty Azar / Kathryn Heafield and Guy Sattler /
Sternberg / Evelyn Sterne / Jane and Alexander Stevens
/ Debbie Juntunen / Julie Kageler / Mitsuhiro Kawase
Ellen and Jerry Hendin / Kevin Hendricks / Peter Herford
/ Douglas and Joan Stewart / Rich and Julie Stillman /
/ Tom Kazunas / Leah Kleinman / Richard and Donna
/ Judith Herrigel / Lori Hess and Benjamin Miller / Janet
Frederick Strom / Pamela Stromberg / Betty and Joseph
Koerker / Calvin and Margaret Konzak / Glen Kriekenbeck
Hesslein and Murl Sanders / Nancy Hevly / Peter Hiatt and
Sullivan / Stephen and Ericka Thielke / Robby Thoms /
and Quentin King / Kathleen Learned / Jacqueline
Ronald Thomas Hunden / Alan and Judy Hodson / Peter
Jerry and Ernalee Thonn / Mary Anne Thorbeck / Larry
Lefrancois / P. G. and Jennifer Lehman / Peter LeVeque /
Hoffmeister and Meghan Barry / Kate Hokanson / Fredrick
Todd / Donald and Myrna Torrie / Beth Traxler, Ph.D. /
Emily J. Levy / Ruth Levy / Kathryn Lew and Dennis Apland
Holt and Laura Rasulo-Holt / Roy Linwood Hughes / Ron
Barbara A. Trenary and Steve Lemons / Dorene and Dennis
/ Max Lieblich / James and June Lindsey / Donald and
Hull / Frank Hungate / Margaret Hunt / Patricia Hynes /
Tully / Phyllis Van Orden / Arthur and Elsa Vetter / Valerie
Charleen Mahardy / William and Judith Matchett / Daniel
Molly Inden / Dobrila Istocki / Thomas Jacka / Rosemary
and Eugenia Vinyar / Yvonne and Bruno Vogele / Michael
and Romany McCabe / Chris McEwen and Derek Hudson
and Richard James / Robert C. Jenkins / David B. Johnson
Wall / Bob and Andrea Watson / Jerry Watt and Vreni Arx
/ Brian McHenry / Sharon and Randall Metcalf / Dorothy
/ Linda and Christopher Johnson / Robert Johnson and
/ Holly Weese / Richard and Ann Weiner / Cecil and Linda
Meyer / Eric Michelman and Patricia Shanley / Marilyn
Heather Erdmann / Marc Jones / Daniel Kerlee and Carol
West / Bruce H. and Christine White / Crispin Wilhelm
Milberger / Michael and Sarajane Milder / Steven Millard
Wollenberg / Sherrie Kilman / Divya Krishnana / James
and Sundee Morris / John and Margaret Williams / Judy
and Elizabeth Selke / Howard Morrill / Chris Moxon /
and Elaine Klansnic / Frederick W. Klein / Rachel Klevit
and Raymond Williams / Karin Williams / Scott Wilson and
Richard and Dora Moxon / Harold and Susan Mozer /
and Jerret Sale / Adam Kline and Genie Middaugh / Nancy
Shirley Cartozian Wilson / David Wine / Barbara and Grant
Susan Mulvihill and James Liverman / Aki Namioka and Erik
and John Kloster / Mark and Joan Klyn / Mary and Allan
Winther / Carolyn Wood / Bonnie Worthington-Roberts
Nilsson / Phyllis Nickleson / Naoko and Tomoki Noguchi
Kollar / Yvonne Lam and Nathan Schimke / Bruce Landon
and Neil Roberts / Melanie Wroe and Allen Sussman /
/ Mark Novak / Beatrice Nowogroski / Rourke O’Brien /
and Atsuko Osawa-Landon / Laurence and Rosalie Lang /
Katherine Wurfel / Osamu Yamamoto / Janice Yamauchi /
Barbara O’Steen and R. Howard Mitchell / Bojana Ostojic
Emily Langlie and Steven Miletich / Inge and Leslie Larsen /
Ying Gi Yong / Bob Young / Evgueni and Tatiana Zabokritski
/ Sharon Overman / Emilia Palaveeva / Pamela Perrott
Lauren and David Lawson / Michel Lebas and Michael Adler
/ Robert Zauper / Lawrence Zeidman and Linda Tatta
/ Jeanne Peterson / Benjamin Petty / James Phelps /
/ Tammara and Brian Leighton / Arni Hope Litt / Barbara
Mack / Vivian MacKay / Daniel Mageau / Sara Magee /
Heinz and Ingeborg Maine / John and Katharina Maloof /
Irene M. Piekarski / Sarah Playtis / James and Ruth Raisis
FRIEND
/ Mary E. and Stephen Reardon / William Reed and Nancy
Worden / Dorothy Rempe / Meryl Retallack / Cynthia
Durkee / Lila May / Wayne McCleskey and Robin Thomas /
Anonymous / Jane Abullarade / Sally Adams / Lynn
Rudo / Margaret Sandelin / Stephen and Linda Saunto /
Mary V. McGuire / Teresa McIntyre / Robert and Catherine
Amon / Michael and Elizabeth Anderson / Suzanne and
Dorothy and Albert Schott / Stephen and Loretta Schuler /
McKee / Susan L. McNabb / Renate McVittie / Christine
Marvin Anderson / Kam Au / Liz Axford / Dorothy Ayers
Janet Schweiger / Kevin Scudder and Anna Davis / Herbert
Meinhold / Vera Metz / Reza and Carol Moinpour /
/ Ruth and Mark Balter / Susan Barash / Laura Baumwall
and Elaine Selipsky / Giles and Sue Shepherd / Patricia
Raymond Monnat and Christine Disteche / M. Lynn Morgan
/ G. Carter Bentley and Lynda Emel / Jane Blackwell /
Siggs / Frederick F. Simons / Beverly Simpson / Carol
/ David Morris / Anne Morrison / Christine Moss / Pamela
Lenora Blauman / Beverly Bodansky / Jo Borden / Daniel
Smith / Katherine and Douglas Smith / H. Anne Solomon /
A. Mullens / Rik Muroya / Joseph M. and Kay F. Neal /
Branstetter and Barbara Kesler / Devin Buck / Kurt and
Allyn and Douglas Stevens / Ellen Stoecker and James Doyle
Charles Nelson / William and Rosemary Newell / Betty
Miriam Bulmer / Susan Buttram and David Frost / Carol
/ Steven Sun and Lisa Conaghan / Sandra Swenby / Gary
Ngan and Tom Mailhot / David J. Norman / Mark Novak
and Henry Cannon III / Jeanne Carpenter / Paul and
Tabor / I. M. Thomas / W. Michael Thompson / Lynn and
and Katrin Pustilnik / Martin Oiye and Susan Nakagawa /
Christine Carr / Eric Carter / Phyllis and Alan Caswell /
Laurel Throssell / Anh Tran / Emily Transue / Kris Trimis
Mary Kay O’Neill / Tracy and Todd Ostrem / Judith Ostrow
Bradford Chamberlain and Kathy Cowles / Thomasina
/ Margaret Van Waardenburg / Patricia Wahl and Dean
/ Carol and Simon Ottenberg / William and Sherry Owen /
Clarke / Jayne Coe / Barbara Cohen / Brian Cole / Carol
Wingfield / Kymberly Waltmunson and Jeremy Munson /
Angela Owens / Cathy Palmer / Elizabeth Park / Stanley
Cole and Andrew Groom / Piyale Comert / Joseph Consalvi
Greta and Joseph Ward / David Wickwire / Maxine Zemko
Connie Mao / Wendy Marlowe / Tessa Matthey and Peter
Richardson / Don and Joan Roberts / David and JoAnne
MATCHING GIFTS
UW World Series offers its sincere thanks to the following companies for matching gifts received or pledged between July 1, 2014 to September 15, 2015:
Bill & Melinda Gates Foundation / The Boeing Company / Capital One / Electronic Arts, Inc / Google, Inc / H.D. Vest Investment Services / IBM Corporation
Intel Corporation / Merck Company Foundation / Microsoft Corporation / Shell Oil Company / State of Washington / U.S. Bancorp Foundation / U.S. Bank
ENDOWMENT AND PLANNED GIFTS
We would like to thank the following individuals for supporting the future of the UW World Series
through planned gifts and contributions to our endowment:
Planned Gifts
Live Music for World Dance
Vivika Stamolis
Anonymous
Series Endowment
Jacoline Stewart
Linda and Tom Allen
Jane Abullarade
Douglas and Joan Stewart
Ellsworth and Nancy Alvord
Holly J. Boone and Pat S. Braus
Robby Thoms
Wimsey J. N. Cherrington
Dave and Debbie Buck
Wayne Thurman
Consuelo and Gary Corbett
Devin Buck
Larry Todd
Marcia Aparecida Ciol, Ph.D. and Prof. Robert
Marina Toropov
B. Harrison
Anh Tran
Margaret Dora Morrison
Amanda and Robert Clark
Raymond and Judy Williams
Mina B. Person
Fran M. Clifton
Grant and Barbara Winther
Lois Rathvon
Brian Cole
Katherine M. Wurfel
Fern Rogow
Ginelle and Will Cousins
Robert Zauper
Karen Craven
Gary Crispin
UW World Series Education Endowment
Lee and Judy Talner
Robert Delisle and Kenneth Hapke
Kalman Brauner and Amy Carlson
Ellen J. Wallach
Kai Fujita
Ernest and Elaine Henley*
Sujin Han
Matthew and Christina Krashan*
Arts AL!VE Student Fund for
Kevin Hendricks
J. Pierre and Felice Loebel*
Exploring the Performing Arts
Alistair Hirst
David J. Norman
Susan Knox and Weldon Ihrig*
Dobrila Istocki
Lee and Judy Talner*
Julie Kageler
UW World Series Programming Endowment
Beverly and Otis Kelly
Matt Krashan Endowed Fund for
Estate of Ellsworth C. Alvord
Daniel Kerlee and Carol Wollenberg
Artistic and Educational Excellence
Windsor R. Utley* (D)
Sherrie Kilman
in the Performing Arts
Helen Kim
Linda and Tom Allen
Nancy and Eddie Cooper Endowed Fund
Ralph Lusher
Nancy D. Alvord
for Music in Schools
Jonathan R. Freedman and Urania Perez-
JC and Renee Cannon
Prof. Harry and Lorraine Bruce
Freedman
Lucille W. Friedman
Cecilia M. Paul and Harry F. Reinert*
Dave and Marcie Stone*
Benjamin Petty
Christopher Landman and Julia Sommerfeld
Gary L. Takacs and Patricia Tall-Takacs
Esteban Pokorny
Tracy and Todd Ostrem
Colette Posse
Mina B. Person
Elaine and Ernest Henley Endowment
Matt Reichert
for Classical Music
Cody Ring-Rissler
Ernest and Elaine Henley*
Kathleen H. Roan
Lee and Judy Talner
Don and Joan Roberts
Gregory Wallace and Craig Sheppard
Catherine and David Hughes Asian
Stephen and Linda Lee Saunto
(Multiple Founders)
Programming Endowment
Eric Shamay
Catherine and David Hughes*
Patricia Siggs
* Endowment Founder
About this list This listing includes endowment founders and endowment donors from July 1, 2014 to June 30, 2015.
For more information on how to make a gift through your will or trust, or to name the UW World Series as a beneficiary of your retirement plan or
insurance policy, please call (206) 685-1001, (800) 284-3679, or visit www.uwfoundation.org/giftplanning.
UW WORLD SERIES SEASON SPONSORS
We are deeply grateful to the following corporations, foundations and government agencies
whose generous support make our programs possible:
$25,000 and above
The Boeing Company / Classical KING FM 98.1* / Doris Duke Charitable Foundation / Nesholm Family Foundation
$10,000 - $24,999
4Culture / ArtsFund / Microsoft / National Endowment for the Arts / New England Foundation for the Arts / Seattle Office of Arts & Culture
Up to $9,999
City of Seattle / Japan Foundation / KEXP 90.3 FM* / KUOW 94.9 FM* / Ladies Musical Club / Peg and Rick Young Foundation
ScanDesign Foundation / U.S. Bank / Western States Arts Federation
Business Circle Sponsors *
Agua Verde Cafe and Paddle Club / Classical Wines from Spain / College Inn Pub / Hotel Deca / Finnriver Farm / Fran's Chocolates
Macrina Bakery / Pagliacci / Theo Chocolate / Tom Douglas Restaurants / University Inn / Watertown Hotel
Community Partners
Arts Impact / ArtsUW / DAIPANbutoh Collective / Henry Art Gallery / Ladies Musical Club / Langston Hughes Performing Arts Institute
Seattle Art Museum / Seattle Asian Art Museum / Seattle Collaborative Orchestra / Seattle Music Partners / Seattle Public Schools
UW Alumni Association / UW Dance Program / UW Intellectual House / UW Libraries / UW Residential Life Program
UW School of Drama / UW School of Music / Velocity Dance Center
* Denotes full or partial gift in kind.
Join an impressive roster of companies of all sizes that support UW World Series, its mission, and its performances.
Sponsors receive significant recognition throughout the UW World Series season and an array of benefits catered to your organization's goals.
For more information, please contact Cristi Benefield at (206) 616-6296 or cristi@uw.edu.
MEANY HALL, UW WORLD SERIES AND ARTSUW TICKET OFFICE STAFF
Michelle Witt, Executive Director, Meany Hall
Rosa Alvarez, Director of Patron Services
Artistic Director, UW World Series
Liz Wong, Assistant Director of Patron Services
Rita Calabro, Managing Director
Katrina Deininger, Patron Services Associate
Cristi Benefield, Director of Philanthropy
Marie Lazzaro, Philanthropy Coordinator
Anita Ibarra, Student Development and Events Assistant
Keeli Erb, Patron Services Associate
Patrick Walrath, Patron Services Associate
Cathy Wright, Patron Services Associate
Marcelo Ramirez, Student Development and Events Assistant
Patron Services Assistants
Alix Wilber, Grants and Communications Officer
Jasmine An
Elizabeth C. Duffell, Director of Campus and
Community Engagement, Artist Relations
Giuliana Conti, Education and Artist Relations Assistant
Courtney Meaker, Education and Artist Relations Coordinator
Sonja Myklebust, Campus Engagement Assistant
Teri Mumme, Director of Marketing and Communications
Denná Good-Mojab, Student Marketing Assistant
Sam Griffin, Student Campus and Community Partners Assistant
Drew Moser, Publications Coordinator
Scott Coil, Director of Finance and Administration
Yevgeniy Gofman, Accountant
Matthew Echert, Tessitura System Administrator
David Grimmer, IT Administrator
Tom Burke, Technical Director
Brian Engel, Lighting Supervisor
Juniper Shuey, Stage Manager
Matt Stearns, Sound Engineer
Doug Meier, Studio Theatre Stage Technician
Jason Cutler
Leanna Keith
Colette Moss
Kendra Stricklin
Abbey Willman
Ciera Wiser
Angela Yun
Lead Ushers
Matthew Cancio
Ashley Coubra
Craig Dittmann
Daniel Kaseberg
Matt LaCroix
Rin Mitroi
Annie Morro
Ushers
Jamee Adams
Schuyler Asplin
Béné Bicaba
Hayden Campbell
Nancy Hautala, Audience Services Manager
Jiwon Choe
Tom Highsmith, Lead House Manager
Caitlin Grady
Sean Luscombe, House Manager
Shantel Gunter
Becky Plant, House Manager
Susan Hur
Amy Tachasirinugune, House Manager
Kevin Lin
J.J. Woodley, Student House Manager
Lindsey Mizell
Ngozi Monu
Chris Lindsey, Concessions Lead
Daniel Salka
Kaitlyn Havenner, Barista
Christian Selig
Alize Asplund, Food Concessions Assistant
Mallika Singh
Leah Stoller
Catering by
Alex Tang
Melody Tran
Elaine Xie
ENCORE ARTS NEWS
ROCKET TO ACCLAIM
from city arts magazine
knew I wanted to be a filmmaker.”
In the decade-plus that followed, Chitwood
Sci-fi Flick Gathers Accolades
established
himself as a digital effects artist,
Wade Chitwood went back to the future when
most
notably
on former Seattle director Kevin
he co-wrote, directed, edited and created
Hamedani’s two nationally distributed genre
digital effects for Rocket Man and the Aerial
films, Zombies of Mass Destruction and Junk.
Fortress. The movie posits an alternate 1918,
Chitwood and Korolenko also collaborated on
one in which courageous-but-clueless hero
two more Rocket Man installments and the
Rocket Man takes on a Prussian madman
screenplay for The Comet Chronicles, a 2011
intent on reigniting the recently ended World
science fiction short that Chitwood directed.
War I. Chitwood’s affectionate period spoof of
Once Comet ran its course on the festival
classic cliffhanger serials delivers early 20th
circuit
(and netted a few awards), Chitwood
century costumes and props, retro-futuristic
approached Korolenko and original Rocket
steampunk cityscapes, a giant dirigible,
Man star Rob Mullin about co-writing a
comic dogfights between Rocket Man and
newer, bigger Rocket Man movie. Both
several biplanes, and a surplus of slam-bang
men agreed and Rocket Man and the Aerial
action—all which cost him around $5,000,
Fortress was underway.
with a mostly amateur
Through Bellevue College,
cast and crew.
Korolenko acquired a
That budgetary feat
crew of students and a
alone merits respect.
green screen facility;
But Chitwood’s labor
Chitwood scouted out local
of love has gained
locations.
serious attention from
“The movie’s what
some prominent areas
you’d call steampunkof the sci-fi galaxy.
lite,” Chitwood says, “and
The movie screened
there are a whole bunch
in late August in
of places around here
Spokane at Worldcon,
that look steampunk.”
the international sci-fi
The Georgetown Steam
convention responsible
Plant, built in 1918 and
for awarding science
sporting impressivefiction literature’s
looking old-school
prestigious Hugo
turbines and controls,
Awards, and won Best
became the interior of the
Short Film from the
Rob Mullin as Rocket Man
villains’ warship, and the
Accolade Global Film
USS Turner Joy, a Navy
Competition (an internationally renowned
destroyer moored in Bremerton, provided
online film jury) earlier this year. Even
more interior locations.
science fiction writer/media critic and
The completed 37-minute film takes
celebrated curmudgeon Harlan Ellison sent
Korolenko’s original conceit and kicks
the production team a glowing letter of
it up several notches. Nuanced color
praise after seeing the film, writing that he
replaces the black-and-white of the original
“watched it with growing pleasure, disbelief
installments, and the clever integration of
at its skills, and ultimate huzzahs…I only
found locations with digital technology adds
loved your movie.”
to the production value. Most significantly,
For Chitwood, the saga of Rocket Man
Chitwood and his collaborators crafted a
began in 2002. After he graduated from
special-effects-laden period action movie on
Bellevue College with an animation degree,
pocket change.
film professor Michael Korolenko asked him
The writer/director/special effects
to assist with special effects on Rocket Man:
man
is now pitching Rocket Man and the
Death from Above, a short film directed by
Aerial
Fortress as a possible TV series and
Korolenko that introduced the Rocket Man
submitting it to more festivals. While he’s
character. Chitwood went on to become
unsure what the future holds for Rocket
special effects supervisor on the short and
Man’s adventures, he takes considerable
wound up contributing significantly to its
pride in how well Aerial Fortress connected
overall look and feel.
with a packed roomful of Worldcon sci-fi
“I took the film home and did all the postfans. “As soon as the film started they got it,”
production work, from the posters to the
he says. “The satire, the alternate world, the
digital effects to the DVD replication to sound
steampunk, the crazy Prussians, all of it.”
mixing and editing,” Chitwood says. “It was
TONY KAY
a great learning experience. From that point I
AXIS DANCE COMPANY
Saturday, February 6, 2016 | 7:30 pm
$29, $24 & $19 | Youth/Student $15
AXIS Dance Company has become one of the world’s most
acclaimed and innovative ensembles of performers with
and without disabilities. Their
ECA Engagement will include
a newly-commissioned piece by choreographer Joe
Goode, called to go again, that addresses veterans’
issues and themes of resiliency.
LOUDON WAINWRIGHT III
Friday, April 1, 2016 | 7:30 pm
$39, $34 & $29 | Youth/Student $15
The 2010 GRAMMY® Awardwinner for Best Traditional
Folk Album is by far the most
candid diarist of the singer-song-writers, wringing more
human truth out of his contradiction than any other songwriter of his generation.
PATTI LUPONE
Thursday, April 21, 2016 | 7:30 pm
$79, $74 & $69
An American actress and singer best known for her work in
stage musicals, Patti LuPone is
a two-time GRAMMY® Award
winner and a two-time Tony
Award winner. She is also a
2006 American Theater Hall
of Fame inductee.
ec4arts.org
425.275.9595
410FOURTHAVE.N.
EDMONDSWA98020
Tickets
start at
SEATTLE
$16
CHAMBER
MUSIC
SOCIETY
JANUARY
WINTER
FESTIVAL 22-31, 2016
JAMES EHNES
Artistic Director
ILLSLEY BALL
NORDSTROM
RECITAL HALL
at Benaroya Hall
BOX OFFICE
206.283.8808 // seattlechambermusic.org
CAN
FA
THE
by JONATHAN ZWICKEL
N’T
AKE
FUNK
photo by LOU DAPRILE
T
HERE’S NO ROOM TO DANCE AT THE SEAMONSTER.
On a balmy Friday night in September, the longstanding live-music bar in Wallingford is packed
front to back and wall to wall and people are upset.
Also smiling, drinking, wiggling in whatever
cranny presents itself in the churning throng.
“We totally thought we were gonna get down tonight!”, says
a short-haired 40-something woman next to me. A tall, wellgroomed guy spills beer on her Pumas; she shoos him along
but there’s nowhere to go. She and her girlfriend came from
West Seattle to dance to Funky2Death, a band they fell for
last year at a music festival. Now, like everyone else crammed
in here—baseball-capped college kids, crop-topped young
women, graying ponytails, costumed Burners, dreadlocked
African Americans and plaid-shirted dudes—they’re making
the best of it.
F2D, as they’re known, has been the Seamonster’s Friday
night house band for five years. But for the last three months
the place has been closed for construction as it takes over the
former bakery space next door. The half-finished room probably isn’t ready to host this party (“Expansion coming soon!
October 1!?” reads a Sharpie-drawn notice on the drywall
behind the stage) but neither bar owner nor band could resist.
“We haven’t done this all summer and I almost forgot how
to get down!” says Woogie D, bandleader, drummer and
singer, from behind the kit.
A large and easy presence in dark shades, Woogie is
flanked by a three-piece horn section, guitar, bass and keys.
He launches into “Sex Machine,” singing James Brown’s vocal
parts, playing Clyde Stubblefield’s drum parts and chewing
gum in double-time. The song is one of a few covers they play
tonight alongside favorites by Sly Stone, Stevie Wonder and
the Headhunters, interspersed with originals that fit right in
with the rest. The music is lock-tight, propulsive but loose,
swinging insistently against the beat. Despite the cramped
confines—or maybe because of them—the crowd kneads itself
into a sweaty frenzy. Seriously: It’s funky in here.
LET’S DECLARE 2015 THE YEAR OF FUNK.
In January, British DJ and producer Mark Ronson released
Uptown Special, his fourth album, which includes his collaboration with Bruno Mars, “Uptown Funk,” a worldwide
hit that celebrates funk from title to execution. The entirety
of Uptown Special is, in fact, a pastiche of funk styles from
the ’70s and ’80s and an homage to stylistic originators like
James Brown, the Gap Band, Zapp & Roger and Morris Day &
the Time. It came out a few weeks after D’Angelo released his
funk-infused, politically charged third album, Black Messiah,
after some 20 years of incubation.
continued next page
ENCORE ARTS NEWS
THE FUNK, continued
Celebrations
Abound!
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& Catering
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16 ENCORE STAGES
In March, Kendrick Lamar, currently
the most respected hip-hop artist on the
planet, released his second album, To
Pimp a Butterfly, which features a live
band of young Angeleno musicians who
bank heavily on Parliament-Funkadelic
grooves; in his lyrics, Lamar makes copious
references to George Clinton and James
Brown. The album, which debuted at
Billboard’s #1 slot, was lauded by critics,
including Rolling Stone’s Greg Tate and The
New Yorker’s Hua Hsu, who described it as
“built on visionary jazz and cosmic funk.”
In August the NWA biopic Straight
Outta Compton was released in theatres,
rekindling interest in the groundbreaking
gangster-rap crew’s audacious music.
Back in the late ’80s, producer Dr. Dre built
NWA’s sound almost entirely from samples
of Parliament-Funkadelic, Bootsy Collins
and other pioneering funkateers. The name
he bestowed on the style: G-funk.
Funk has been popular music’s lingua
franca ever since R&B moved into the
mainstream almost 40 years ago. Add to
that argot hip-hop, which has dominated
pop music since the turn of the millennium
and was, from the very beginning, derived
from funk drum beats. From Michael
Jackson to Macklemore, Rick James to
Rihanna, almost all modern pop relies on a
funk-fashioned emphasis on the downbeat
to provide booty-moving momentum. Even
Taylor Swift’s “Shake It Off” and Megan
Trainor’s “All About that Bass”—squeaky
clean megahits from last year—flex bubbling breakbeats, swaggering horns and
and heavy low-end—all hallmarks of funk.
Funk can be as edgy and energized as
punk rock or as cerebral and intense as
jazz. It can ensure that even the blandest
top-40 fare works on the dancefloor and
for sing-alongs in the car. But its public
face has been dressed up in shallow 1970s
signifiers—kooky outfits, platform shoes,
Afro wigs—for so long that you might
never know its inventors envisioned funk
as a means of black empowerment and
liberation.
“Free your mind and your ass will
follow,” George Clinton said in 1970.
Today’s cultural landscape, fraught with
tension over race, representation and
appropriation, is seemingly on the edge of
breakthrough or revolution. Funk recognizes suffering and struggle as precursors
to triumph and unity. It brings together joy
and pain in a catharsis that’s both compassionate and celebratory.
NOT SURPRISINGLY, SEATTLE’S HISTORY
of funk music is long and vast and mostly
overlooked.
“This scene is the grandchild of
Ray Charles, Quincy Jones and Jimi
Hendrix,” says Davin Stedman, singer
and bandleader for the funk-rock band
the Staxx Brothers, name-checking the
godfathers of funk, soul and jazz in Seattle.
Funk, soul, jazz, whatever you wanna call
it—Stedman points out that it’s all music
Funk has been
pop music’s
lingua franca
ever since R&B
moved into the
mainstream
almost 40
years ago.
made for dancing.
Following the holy trinity named above,
the music flourished in the dance clubs,
living rooms and concert halls of the
Central District in the ’60s, ’70s and early
’80s. In the ’90s and early ’00s, funk outfits
like Thadillac, Phat Sidy Smokehouse,
Supersonic Soul Pimps and Maktub—the
latter helmed by Reggie Watts, who now
leads the house band for The Late Late
Show with James Corden—were lumped
into the jam-band scene of the era simply
because they all followed the same dictum:
Make the people dance by any means
necessary.
“Funk as a genre has been looked at
as this sort of hokey party music,” says
Ben Bloom, guitarist for Seattle band
Polyrhythmics. “A lot of the reason for
that in American culture is because it’s
been relegated to dance music. It’s a party,
you have a good time, and it’s less about
the music being played than the band
performing.”
Today, as jam bands shake their stigma,
so do funk bands. Among the hipsterati,
these are the last taboo genres, forbidden
fruit simultaneously repulsive and tempting.
Seattle is abloom with a new generation of
funk and soul.
Polyrhythmics stand out for their instrumental polyglot funk. They’ve toured across
the country and released a phenomenal LP
in 2013. Staxx Brothers are 13-year veterans,
standing alongside Marmalade, a big-band
collective that recently ended a 12-year
weekly run at the High Dive and ToST in
Fremont.
Down the street, Nectar holds an open
funk jam every Monday night that attracts a
range of talent, from UW music students to
local soul-music veterans to international
guests. Tuesdays at the Seamonster belong
to McTuff, a soul-jazz trio featuring organist
Joe Doria, guitarist Andy Coe and drummer
D’Vonne Lewis, three of the most obscenely
talented musicians in the city. The Dip is a
deep-soul spinoff from Beat Connection,
who recently signed a deal with LA-based
Anti Records. A hard-funking band called
Down North holds court in Tacoma. Seattlebased labels WestSound and We Coast press
45s by these bands (or iterations of them)
and distribute in small numbers to collectors
across the globe.
The momentum is undeniable but
self-contained. Until now it’s lacked a
figurehead—an artist or a band with the overwhelming charisma to attract attention from
beyond the scene, to connect to those who
might not seek out the funk but want it once
they hear it. Finally, in this Year of Funk, that
band may have arrived.
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“WE GET PEOPLE TO MOVE,” SAYS GRACE
Love and, based on the crowd reaction at
her band’s recent Bumbershoot appearance,
she’s right. The band starts up while Love is
still in the crowd, mingling and dancing with
fans. She takes the stage, her prodigious
pipes as natural as they are indisputable,
and for 30 minutes Grace Love & the True
Loves push and pull the soggy, all-ages
audience with their updated Motown sound.
They’ve been playing together for only a year
but have already made a mark: festival gigs,
KEXP airplay, a West Coast tour, a series of
singles released on 45.
Love’s instantly magnetic, always-incontrol stage presence stems from her four
years in the drama program at Lincoln High
School in Tacoma. “The drama kids taught
me how to be myself all the time, gave me
the confidence to go into a room and be
ENCORE ARTS NEWS
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present,” she says. After dropping out of
Pacific Lutheran University she spent time in
Florida and New York City, where she sang
on the subway—and sometimes slept there
for lack of anyplace else to go.
A chance encounter with a British DJ
landed her in Manchester, England, where
she recorded vocals for house music tracks
before falling ill and getting burned out on
music. When she returned to the Northwest
she had no intentions beyond working as a
chef and eventually opening a restaurant.
Then a friend brought her to the Seamonster
and introduced her to Jimmy James.
James is the guitarist in Funky2Death
and the True Loves. Soft-spoken and deeply
knowledgeable, he appears as an anachronism, a hermetic student of soul. He’s studied and refined in his offbeat temperament
but also plays guitar solos with his mouth.
He will tell you that the F2D play funk and
the True Loves play soul and will argue over
“This scene is
the grandchild
of Ray Charles,
Quincy Jones
and Jimi
Hendrix.”
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the distinction with examples by the greats.
But he’ll also tell you that ultimately it all
comes from the Black church and serves the
same purpose.
“Soul is a feeling. It’s a liberation. And a
salvation. You are playing it and singing it
like it’s your last breath,” he says. “Music
as a whole is supposed to unite and bring
people together no matter what color they
are. Even people that can’t speak the same
language can all relate.”
Love, 29, and James, 34, didn’t immediately hit it off. But they were caught in each
other’s orbits, colliding at the Seamonster
and at shows around the city. They eventually found their way to Studio Litho in
Fremont, where Anthony “Funkscribe”
Warner, keyboardist in F2D, Marmalade and
the True Loves, had booked session time.
“I felt like this is an opportunity to put
together an amazing studio band,” Warner
says. “Because we weren’t getting the
recognition I thought we deserved I said let’s
make records and sell them in Europe and
Japan because we need to preserve the scene
in some way.” For the last couple of years,
Warner has recorded Seattle bands like the
True Loves and F2D on his We Coast Records
label, commissioning 45s from a vinylpressing plant in Ohio and selling them to
collectors near and far. He also hosts KBCS’s
decade-old Friday-night funk show Uncle
Meghabhuti & Funkscribe Present.
In October, Grace Love & the True Loves
released their eponymous debut album. It’s a
39-minute tear through the finest chops and
deepest feelings you’ll hear all year, at turns
heart-wrenched and melancholy or revved
up and celebratory. Anyone familiar with
the current funk and soul revival will slot
True Loves songs like “Fire” and “Mean to
Me” alongside tracks by Sharon Jones & the
Dap-Kings, Charles Bradley and Lee Fields &
the Expressions. But that’s only because all
of these bands are part of a larger continuum
that stretches back decades.
“The music could spark something that
changes someone’s life,” James says. “It’s
not trying to invent the next new thing.”
Across all of these bands and labels and
live shows, the unifying force is a deepseated belief in the funk and its powerful,
positive mojo. Among all musical genres,
funk musicians seem the most sincere and
impassioned about the stuff they play, as if
they’re possessed by a relentless spirit that
they can only exorcise through music. To
them it’s more than a style or affect or set of
clothes or sounds. It’s a way of life.
“We play this music because we love this
music,” says Warner. “The funk is rhythm
and consciousness. It’s music that unites
people around dancing. It’s a chance to
convey a message through radical selfexpression, whether it’s Parliament with
their Black renaissance and personal uplift
all the way to Kendrick Lamar’s album,
which is basically about the same thing.
That’s what We Coast is, bringing people
together from different backgrounds to make
music that’s trying to be timeless and genre
boundless. “
Or as Stedman puts it, “Funk is a delivery
system for truth.”
Peel away the layers and there’s the soul
surging beneath the most beloved aspects of
American culture. We owe a debt of gratitude
to this music and we’re fortunate to have a
cadre of its most dedicated purveyors in this
city. Like George Clinton says, “Funk not
only moves, it can remove, dig? The desired
effect is what you get.” n
Emma
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judge of your own
happiness.”
Dec 2, 2015 - Jan 3, 2016
at the Center eatre
at the Armory
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all children need the best start possible: making the most of their
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The view from Columbia
Crest, the highest point
on Mt. Rainier, captured
by an iPhone 6 and
Moment lens.
HOLIDAY
VILLAGE
A miniature town that
captures giant imaginations.
December 12 - January 3
Savor the Moment
JONATHAN ZWICKEL
A Seattle startup makes
a camera-phone lens
that’s almost perfect.
IN AUGUST I SPENT two weeks at Mt. Rainier
National Park, first climbing to the top of
the 14,410-foot-tall summit, then backpacking the Wonderland Trail around the base.
It was an epic experience that I won’t get
into here—too many revelations, too many
highlights. Let’s just call it a life-changing
journey and leave it at that.
What I can tell you about—and show you—
are my photos.
Planning the trip, I wanted to
come back with photos that approached the grandeur of my journey. No way was I backpacking 10
days with a hefty, pricy camera.
Nor did I want to buy a point-andshoot that would one day break,
get lost or poison a landfill.
I came across a Kickstarter
by a company called Moment,
a Seattle-based startup that
claimed to make “the world’s
best lenses for mobile photography.” Their lens would elevate
my iPhone photo game to nigh
professional status. I bought in
at $130 back in February; soon after, Moment
had raised $693,435 and production began in
Shenzhen, China.
My Moment package included the lens—I
opted for the wide over the tele; it’s a dense,
sturdy little cylinder of glass and aluminum—and a phone case for affixing the
lens. The case features a shutter button at
thumb level that syncs with a Bluetooth app
to allow for easier pic-snapping, plus a loop
for a camera strap. To put the thing on my
phone for the first time, I followed a video on
the Moment website—a process that wasn’t
exactly intuitive.
During a training hike on Mt. Si I took a
few test shots: beautiful! The lens increased
the field of view within the camera frame almost twofold. Colors were richer, with better
contrast, brighter light and clearer definition.
It works!
For the big trip, I skipped the Bluetooth option to save battery life. I also went without
a camera strap because anything dangling
from your neck while you hike will bounce
with every step, slipshod and irritating. So
the encased phone went into my back pocket,
lens attached and capped, as I saw illustrated
on the Moment site.
That might’ve been a mistake,
because soon the alignment between the lens, case and phone
was off, the edges of the case encroaching on the corners of my
photos. Eventually the lens was
no longer staying attached to
the case; the aluminum threads
around the mounting were too
worn. I took to keeping the lens
in one pocket and the phone in
another and screwing the lens
on when I wanted a photo.
Back at home, I cropped out
the dark corners and contacted
the Moment people with my feedback. They
were immensely accommodating and offered two fixes: I could exchange the lens
for a refund or get a free, upgraded case
that comes out this month. I chose option
two. JONATHAN ZWICKEL
B A I N B R I D G E I S L A N D , WA
www.bloe delres e r ve.o rg
Cantina Leña is now serving
BREAKFAST BURRITOS!
Scrambled eggs, crispy
potatoes, pintos, melty queso,
taptio sour cream and your
choice of smoked pork, beef
chuck, spicy chicken, chorizo or
braised kale.
Breakfast served:
weekdays from 8-11 am
weekends from 9 am-3 pm
Cantina Leña
2105 5th Ave., Seattle, WA 98121
206-519-5723
www.cantinalena.com
MOMENTLENS.COM
ENCORE ARTS NEWS
Mixing
Opposites
Tamara Codor merges
masculine and feminine,
structured and surreal.
BY AMANDA MANITACH
WHO Tamara Codor, the 34-year-old artist,
designer and co-owner of Codor Design. A
Brooklyn, N.Y., native, Codor studied classical
painting in New York and France before arriving
in Seattle 10 years ago to be with a partner.
Finding herself single again, she decided to
make something of her remaining time in Seattle
and started her own furniture design company.
A week later, she met Sterling Voss, and they
co-founded Codor Design.
THE LOOK “My trademark look is paint overalls
and permanent streaks of paint on my hands or
hair. Most people in my neighborhood will comment if I’m not covered in paint. But my favorite
thing to do is the quick turnaround. Because I am
always a mess, I love getting dressed up. I don’t
really have an in between. The only problem is I
usually can’t get all the paint off my body in time
to go out in my fancy clothes.”
ICONS “I am equally attracted to clean, angular,
LAUREN MAX
masculine lines and styles that are wildly baroque and feminine. Art Deco and early Bauhaus
like Milo Baughman, paired with the Rococo extravagance or playful opulence of Tony Duquette.
I’ve also always been attracted to Surrealism in
the style of Man Ray and De Chirico—dreamlike but highly structured and stylish—or
even Hieronymus Bosch, the original surrealist. I
think this creeps into my personal style.”
UP NEXT “We are focusing on building out our
wood/metal shop as well as expanding our
lighting line. We recently developed a custom
chandelier with moving parts for a client in Texas.
It got us thinking about creating one-of-a-kind
sculptural lights. The best I can describe them is
as architectural compositions with wings.”
22 ENCORE STAGES
ENCORE ARTS NEWS
Haptic Animation Amplifier
Fires up Local Film
Haptic Animation Amplifier publicly launched
in October at Northwest Film Forum, before a
retrospective of Seattle animation icon Bruce
Bickford’s work during the Local Sightings festival.
Tess Martin—who makes short animated films
with paper cut-outs, ink, paint, sand and other
objects—created the nonprofit to support Northwest
animators and raise the profile of locally made
animated film.
“There’s a beautiful rich history of interesting, personal artistic films,” says Martin, a story
that gets lost in the world of studio animation. To
start Haptic, Martin compiled an online database
and timeline of every animated film made in the
Northwest.
Haptic is a natural extension of Martin’s work
with the Seattle Experimental Animation Team, an
informal network of local independent animators.
Shortly after she arrived in Seattle in 2008, Martin
reached out to animator and SEAT founder Stefan
Gruber, who invited her to join the group, whose
members all share a nontraditional sensibility. SEAT puts on screenings of their work at the
Zeitgeist Café in Pioneer Square; make collaborative, exquisite corpse-style films that build on one
another’s work; apply for small grants and help
each other on projects.
Martin wanted to bring Pacific Northwest
animation, in all of its experimental glory, to a
wider audience. In 2011 she curated an evening of
animated shorts and booked a three-week trip to
Europe, where she presented the program at various indie cinemas and arts centers. She created a
second touring program, Strange Creatures, when
readying to leave Seattle for a Master’s program in
the Netherlands in 2013, taking with her to Europe
work by Webster Crowell, Britta Johnson, Drew
Christie, Clyde Peterson, Stefan Gruber and Bruce
Bickford.
“Generally speaking, in Europe there’s a lot more
attention paid to animation history, and in some
countries people really value it as a part of national
cultural heritage,” Martin says.
The United States lacks festivals where animation and animators take center stage. Many
American film festivals include animation, but few
bring together animators from all over the world to
network, share techniques and exchange ideas.
Because none of the big Pacific Northwest art
schools offer an animation degree—classes focus
mostly on commercial studio work—Haptic serves
as a resource to help animators find and navigate
opportunities. The website will have information
about festivals, animation courses, local meet-ups,
and artist residencies and graduate programs all
over the world. It will curate more touring programs
of PNW work and bring international animation to
local screens.
After showing Strange Creatures at a famous
animation school in Hungary one of the students
told Martin, “The films seem very free.”
“If you’re making work in places that do have
this history, Martin says, it can weigh on you and
stop you from experimenting and trying something
wacky,” she says, “which is definitely not an issue
in the Northwest.” GEMMA WILSON
Mirabella
Put yourself in
the middle of it.
This is the little
this is the
with a rare immune disease. And
who works with the
both supported by these generous
who are
to repair tiny
immune systems, giving children like Ezra a second chance
at a healthy childhood.
CARE. RESEARCH. PHILANTHROPY. COMING TOGETHER EVERY DAY. Baby Ezra
was diagnosed with a rare immune disease, leaving him unable to fight germs and infections.
The collaboration between Seattle Children’s doctors, researchers and generous people like
you make it possible for children like Ezra to have a brighter future. To learn more or donate,
visit seattlechildrens.org.

Seattle Theatre Group_Encore Arts Seattle

Transcription

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