MARCH/APRIL 2017 LA COMPAGNIE HERVÉ KOUBI APRIL 13-15, 2017

EMERSON STRING QUARTET SHEN WEI DANCE ARTS / MAR 16-18 YEFIM BRONFMAN / APR 18 WITH CRAIG SHEPPARD APR 21 March 2017 TICKETS FROM Volume 13, No. 5 $ 21 CAD

Paul Heppner Publisher SPRING 2017 Sara Keats, Jonathan Shipley Encore Stages Editors Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Contents Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Dialogue Mike Hathaway 4 Encore Stages in Sales Director conversation with the Brieanna Bright, Joey Chapman, Ladies Musical Club Ann Manning, Rob Scott Seattle Area Account Executives Mix and Match Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives 9 A look back at City Arts' Jonathan Shipley innovative Genre Bender Ad Services Coordinator event Carol Yip Intermission Brain Howard Family Stage Sales Coordinator Sara Keats, Jonathan Shipley Transmission Online Editors 15 Test yourself with our trivia quiz

Under the Tents • Vanier Park, Vancouver, Canada June 1 – Sept 23 Leah Baltus 1-877-739-0559 • bardonthebeach.org Editor-in-Chief Paul Heppner Encore Stages is an Encore Arts Publisher Program that features stories about Dan Paulus our local arts community side-by-side Art Director with information about performances. Gemma Wilson, Jonathan Zwickel Encore Arts Programs are publications Senior Editors of Encore Media Group. Learn more at Amanda Manitach encoremediagroup.com Visual Arts Editor Barry Johnson Associate Digital Editor Encore Stages features the following organizations:

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2 ENCORE STAGES EchoServices-PrivateCollections-Encore-m2-outlined.indd12/2/16 1 10:24 AM My wealth. My priorities. My partner.

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EAP full-page template.indd 1 2/14/17 12:15 PM Dialogue Encore Stages in conversation

Ladies Musical Club violinist Angie Kam performs at Mirabella. Photo by Chris Bennion

The Ladies Musical Club of Seattle is the oldest continuously What is the Ladies Musical Club of functioning musical non-profit organization in the state of Washington. Seattle? It offers over 50 free concerts open to the public in various locations Founded in 1891, the Ladies Musical Club began at a zenith of the women’s around the city. club movement in the United States. Women in the late 19th-century were beginning to be accepted in colleges and universities in greater numbers, We recently sat down with Lynn Muehleisen, LMC’s but newly-graduated women in 1891 president, to discuss music education, the voice of found few, if any, opportunities to use women and how you can help the organization. their skills, so they began forming their own organizations to continue their education and practice those skills. LMC was founded by 24 female musicians who wanted to influence the frontier city of Seattle with great music, first in their own performances, later, bringing internationally recognized

4 ENCORE STAGES musicians to concertize in Seattle from 1900 to 1995. Seattle enjoyed such performers as Rachmaninoff, Stravinsky and Marilyn Horne during the run of LMC’s International Series. 2016/17 In the early 1990s LMC began rethinking its mission and impact upon our developing city, which by then had a REAWAKENING THE RITE OF SPRING!

MONDAY, APRIL 24, AT 7:30PM LEIF OVE ANDSNES & “LMC was MARC-ANDRÉ HAMELIN founded by 24 IN RECITAL Leif Ove Andsnes and Marc-André Hamelin, piano female musicians MOZART: Larghetto and Allegro in E-flat major STRAVINSKY: Concerto for Two Pianos DEBUSSY: En blanc et noir who wanted to STRAVINSKY: The Rite of Spring for Two Pianos These titans of the piano reawaken The Rite of Spring, its pounding rhythms and riotous harmonies all the more striking in Stravinsky’s own four-hand scoring. Mozart, Debussy and influence the Stravinsky’s neoclassical Concerto for Two Pianos provide fascinating counterpoint. frontier city of Media Sponsors: Seattle with great music.”

plethora of great musical organizations bringing in fine musical artists. LMC developed two new programs in the ’90s that continue today: Music in Schools and the Frances Walton Competition. Music in Schools identifies Seattle Public K-8 Schools that are underserved by music education, providing opportunities for performance and education through our collaboration with the Meany Center for the Performing Arts as well as other local LEIF OVE MARC-ANDRÉ musicians and educators, some of ANDSNES HAMELIN whom are LMC members.

The Frances Walton Competition occurs FOR TICKETS: every year, and has recently expanded 206.215.4747 | SEATTLESYMPHONY.ORG to auditioning classical musicians

encoreartsseattle.com 5 President Lynn Muehleisen. Photo by Chris Bennion

from the 19 western states, ages 20 to after I joined, I became a member of the 35. Cash prizes are awarded to four Board of Directors and found out what soloists and one ensemble, the winners an impactful and busy organization are given the opportunity to perform LMC is! live on Classical KING-FM’s Northwest Focus Live with Sean MacClean, and What’s your musical background? are sent on one of three week-long tours I started piano lessons at age five, voice across the state of Washington during lessons at age eleven and eventually September, primarily to low-population finished a Master of Vocal Performance areas, but also around the Puget Sound. from Indiana University. My husband— composer John Muehleisen—and Our Public Concert Series continues I moved to Seattle in 1990, where I with over 50 free concerts throughout became an active performer and sang the year and open to the public, as a chorister for Seattle Opera for eight featuring our performing members seasons. in venues such as Frye Art Museum, Seattle Art Museum, and the Seattle How many events does LMC Central Public Library. Currently LMC do each year? boasts about 150 members. Our Public Concert series alone How did you get involved? features over 50 free concerts each season, October through May, mostly In the mid-’90s I was doing a lot of 60 minutes in length, which are open performing in the area—I’m a singer— to the public. Our Frances Walton but it was mostly opera and musical Competition Finals, held June 3rd from theatre. I love both those art forms, 9 to 5, is also open to the public. There’s but I really missed singing art song a free concert that same evening at 7:30 and chamber music, opportunities featuring our winners. that are hard to find outside of academia. A friend of mine who was What are some of your favorite in a musical theatre production with memories involved in the organization? me suggested I join a group she had Here’s one of the best — I had the just joined: The Ladies Musical Club of privilege of taking two of our winners Seattle. I auditioned, was accepted as from the Frances Walton Competition, a a performing member, and, for a small pianist, Dr. Jovanni-Rey de Pedro, and a annual membership fee, I was able to harpist, Sophie Baird-Daniel, on tour in perform on the LMC free Public Concert eastern Washington spanning six days Series with other LMC musicians. Soon and 866 miles from Yakima to Oroville.

6 ENCORE STAGES We visited 19 schools, impacting over 2,000 students. We gave three free concerts to the public and listening to children gasp as they heard a live concert harp for the first time in their ANACORTES SPRING lives, as well as a superior pianist! WINE FESTIVAL The tour not only changed the lives SATURDAY, APRIL 8TH of students, it created a deep longing in both Jovanni-Rey and Sophie to 30 Wineries - Gourmet Bites continue musical outreach. Cheese and Chocolate VIP Hour from 12 noon to 1:00pm Women only, yes? What are the General Admission 1:00pm – 5:00pm anacortes.org/spring-wine-festival benefits you see in an all-women’s Must be 21 or older with valid ID. organization? What are you hoping to achieve by it? LMC was founded at a time when there were few opportunities for women to express themselves outside the home. Those times have certainly changed, but LMC still values the energy and focus that our female members give our organization. We hope to give women a voice in their community to create positive change through the musical arts, and provide free classical music experiences to those who would otherwise not have that opportunity. We do regularly invite male guests to perform on our Public Concert series.

Did the recent Women’s March change your thinking in any way? Give you further direction? I firmly believe that women today are poised to make unprecedented strides to improve their world. To that end the Ladies Musical Club today is continuing to grow and adapt to the needs of our community. Last year we beta-tested a concert at the Women’s Correctional Facility in Purdy to great success, and we are now developing programs that we hope will address needs of homeless families and after- school programs. We are women musicians who believe firmly in the power of the arts and their ability to grow minds, talents, bodies, and hearts into compassionate human beings. Framing the Northwest since 1972 What are your favorite pieces of classical music? AURORA BALLARD BURIEN UNIVERSITY 23632 Hwy 99, Ste P 1703 NW Market St 457 SW 153rd 2900 NE Blakeley St, #A Benjamin Britten is definitely my Edmonds WA 98026 Ballard WA 98107 Burien WA 98166 Seattle WA 98105 206-546-6480 206-784-7565 206-246-2293 206-522-0968 ‘desert island composer,’ and I particularly adore his opera, Peter

encoreartsseattle.com 7 HSDC fosters inclusive, accessible communities through communication, advocacy, and education.

1625 19th Avenue | Seattle, WA | 98122| 206-323-5770 | www.hsdc.org

Ladies Musical Club Music in Schools Program/The Nile Project performs at Licton Springs K-8 School. • Deaf & Hard of Hearing Services Photo courtesy LMC • ASL Interpreting Services • Early Childhood Education Grimes, and his cantata, St. Nicholas, both of which I can listen to obsessively. • Parent-Infant Program, ASL Bilingual Prokofiev’s Second Piano Concerto • Behnke Speech-Language Preschool makes me swoon and energizes me at the same time. I think Ottorino Respighi • Rosen Family ASL Bilingual Preschool is a terribly underrated composer. And • Audiology Services if you don’t believe me, listen to his song • Speech, Language, and Communication cycle with chamber ensemble, Deità Silvane. His orchestrations are brilliant! Services What can someone do to help LMC? You can help in two very significant ways. First, please donate! It’s easy to do­—just go to our website and click on the donate button. LMC is a non-profit, and uses every penny of your donation wisely. Because we accomplish almost all of our work through volunteerism, volunteering for LMC is the second significant way of helping fulfill the HSDC offers one-stop, coordinated services mission of the organization. The work that make the world more accessible for of our volunteers is impactful in ways clients, infant to elder. that benefit our community directly. If you’re a woman and a musician, LMC auditions new performing members Check out our Facebook @HSDCSeattle to read twice per year. Or if you are interested more about what we do and how you can help! in arts advocacy and working for our programs, we also accept female at- large members. <

8 ENCORE STAGES IN THIS TABLE OF CONTENTS Shen Wei Dance Arts | Pg. A-3

Compagnie Hervé KOUBI | Pg. A-11 ISSUE Yefim Bronfman | Pg. A-15 Emerson String Quartet | Pg. A-19

UPCOMING EVENTS

Emel Mathlouthi / May 13

Kirill Gerstein / May 16

Les Ballets Trockadero / May 18-20

206-543-4880 / MEANYCENTER.ORG MEANY CENTER ADVISORY BOARD

WELCOME to Kathleen Wright, President MEANY CENTER Dave Stone, Vice President Kurt Kolb, Strategist Linda Linford Allen Linda Armstrong Dear Friends: Joel Baldwin, ArtsFund Board Intern Ross Boozikee Welcome to tonight’s performance. This Manisha Chainani season includes many artists whose work is Luis Fernando Esteban deeply interdisciplinary, melding genres such Davis B. Fox as music, video, text, painting and dance into Brian Grant creations that are much greater than the sum of their parts. Meany Center’s championing of Kyra Hokanson Gray artistic voices from around the world creates Cathy Hughes opportunities for connections across many Yumi Iwasaki diverse cultural landscapes and contributes to O. David Jackson global understanding and cultural literacy. Sally Kincaid Katherine Kruger, Student Board Member One of the world’s leading visionaries in the creation of interdisciplinary work is the Jeff Lehman Chinese-American choreographer Shen Wei. Craig Miller Not only was he the lead choreographer for Chelsey Owen the 2008 Beijing Olympics opening ceremony, Seema Pareek he is an internationally recognized painter and Darcy Paschino calligrapher, a photographer and a MacArthur Donald Rupchock “genius” award winner. Donald Swisher Wei's newest work Neither, juxtaposes dance Rick Szeliski and exquisitely layered visual imagery against David Vaskevitch the luminous music of Morton Feldman and the Gregory Wallace philosophical text of Samuel Beckett, creating a Jeannette Wing poetic dreamscape that defies categorization. Mark Worthington Chamber orchestra Tafelmusik is another interdisciplinary artistic ensemble performing Ex-Officio Members this season. Their latest innovation, J.S. Bach: Ana Mari Cauce, UW President The Circle of Creation, combines text, music and Robert C. Stacey, Dean, College of Arts & Sciences stunning projected video to explore the world of Catherine Cole, Divisional Dean of the Arts the artisans who helped Bach realize his vision.

Next season will include many more EMERITUS BOARD opportunities for interdisciplinary exploration, Cynthia Bayley / Thomas Bayley / Cathryn Booth-LaForce / JC Cannon but in the meantime, I hope you enjoy the / Elizabeth Cooper / Gail Erickson / Ruth Gerberding / Ernest Henley performance tonight. / Randy Kerr / Susan Knox / Matt Krashan, Emeritus Artistic Director Sincerely, / Sheila Edwards Lange / Frank Lau / Lois Rathvon / Dick Roth / Eric Rothchild / Jeff Seely / K. Freya Skarin / Rich Stillman / Lee Talner / Thomas Taylor / Ellen Wallach

Ellsworth C. "Buster" Alvord, In memoriam Betty Balcom, In memoriam Mina Person, In memoriam Michelle Witt Jerome Sanford, Sr. In memoriam Executive & Artistic Director

A-2 UW WORLD SERIES WORLD DANCE SERIES GENEROUSLY SPONSORED BY GLENN KAWASAKI SHEN WEI

DANCE ARTSr SEASON-LONG SUPPORT COMES FROM MARCH 16-18, 2017 | 8 P.M.

NEITHER

MUSIC Morton Feldman

LIBRETTO Samuel Beckett

CONCEPT, CHOREOGRAPHY, SET AND COSTUME DESIGN Shen Wei

LIGHTING DESIGN MEDIA SPONSOR Jennifer Tipton

PROJECTION DESIGN Rocco DiSanti

DANCERS Lilly Balch | Cecily Campbell | Kate Jewett | Cynthia Koppe Janice Lancaster Larsen | Russell Stuart Lilie | Chelsea Retzloff Meany Center thanks the following Jennifer Rose | Zak Ryan Schlegel | Austin Selden | Alex Speedie Signature Sponsor for underwriting this evening's program. Artistic Director, Shen Wei Catherine and David Hughes Executive Director, Diane R. Rosenblatt Assistant Lighting Designer, Chuan-Chi Chan Additional support comes from Costumes, Part I crafted by Jenny Lai Linda and Tom Allen Costumes, Part II crafted by Shen Wei and dancers Nancy D. Alvord Katharyn Alvord Gerlich The performance will last approximately 60 minutes. Stephen and Sylvia Burges THERE WILL BE NO INTERMISSION. Hellmut and Marcy Golde Lynn and Brian Grant Family MUSIC AND LIBRETTO Neither Hugues Hoppe and Sashi Raghupathy Music by Morton Feldman Yumi Iwasaki and Anoop Gupta Libretto by Samuel Beckett Matthew and Christina Krashan Copyright ©1977 by Universal Edition Vienna Chelsey Owen and Robert Harris Copyright© renewed. All rights reserved. Cecilia Paul and Harry Reinert Used by permission of European American Distributors Company, U.S, Judy Pigott and Canadian agent for Universal Edition Lois H. Rathvon Joseph Saitta RECORDING Recording of Morton Feldman — Neither (col legno, WWE 1CD 20081). Richard Szeliski and Lyn McCoy An opera with words by Samuel Beckett. Donna and Joshua Taylor Performed by Symphonieorchester des Bayerischen Rundfunks, Ellen Wallach and Tom Darden conducted by Kwamé Ryan. Soprano: Petra Hoff mann. © 2000 col legno George Wilson and Claire McClenny Musikprodktion GmbH 1998 Bayerischer Rundfunk

encoreartsseattle.com A-3 to and fro in shadow from inner to outer shadow from impenetrable self to impenetrable unself by way of neither NEITHER as between two lit refuges whose doors once neared gently close, once away turned from gently part again beckoned back and forth and turned away heedless of the way, intent on the one gleam or the other unheard footfalls only sound till at last halt for good, absent for good from self and other then no sound then gently light unfading on that unheeded neither unspeakable home

— Samuel Beckett A-4 UW WORLD SERIES Shen Wei, Untitled No. 1

About the Music to and fro in shadow from inner to outer shadow The American composer Morton Feldman (1926-1987) found Neither, composed for the Rome Opera in 1976 to a text of the from impenetrable self to impenetrable unself his voice in the 1950s, living and working among the abstract same name by Samuel Beckett, crystallizes Feldman’s singular by way of neither expressionist painters and poets who congregated on West approach to musical time and space. It is misleading to label as between two lit refuges whose doors once Eighth Street in New York’s Greenwich Village. Like his friend this 55-minute work an opera, with its lone soprano delivering neared gently close, once away turned from John Cage, Feldman experimented with forms of musical a libretto consisting of just 87 words, many of them sung on gently part again notation that avoided specific pitches and rhythms, and his one unwavering pitch. During long passages in which the beckoned back and forth and turned away scores explored hazy, morphing clouds of sound, not unlike the vocalist intones wordless vowels, she functions more like an heedless of the way, intent on the one gleam glowing “color field” paintings of his colleague Mark Rothko. instrumental soloist in a concerto; she also rests for extended or the other periods, granting the orchestra equal responsibility in the unheard footfalls only sound Even after Feldman returned to traditional musical notation, musical narrative. So much of the impact of Neither comes from till at last halt for good, absent for good he maintained his signature palette of extreme quiet and what is not sung or played, in the negative space of silence and from self and other concentration. What he gained by working with conventional stasis, just as Beckett wrote: “from inner to outer shadow / from then no sound notes and rhythms—however unconventionally he arranged impenetrable self to impenetrable unself / by way of neither.” then gently light unfading on that unheeded them—was the possibility to create cohesive works for larger ensembles, as seen in a series of concertos for various solo © 2017 Aaron Grad neither instruments with orchestra from the 1970s. He also began to unspeakable home develop compositions on an unprecedented time scale, weaving — Samuel Beckett his sparse music into patterns as detailed and nuanced as those found in the Persian rugs he avidly collected and studied. encoreartsseattle.com A-5 About the Artists SHEN WEI DANCE ARTS

Opera Company from 1984 to 1989. painting series have received significant During his student years, he studied acclaim in the art world. Shen Wei: In Black, Western visual art, which propelled an White and Gray, a solo exhibition featuring interest in modern dance. In 1989, he 11 of his large- scale paintings, was shown began modern dance training at the at the MDC Museum of Art+Design during American Dance Festival’s (ADF) program Art Basel/Miami Beach (December 2014). at the Guangdong Dance Academy in Shen Wei: Dance Strokes, an exhibition China. In 1991, at the age of 23, he became of Wei’s paintings with site-specific a founding member of the Guangdong performances, opened at Asia Society Hong Modern Dance Company, the first such Kong Center during Art Basel/Hong Kong SHEN WEI company in China. Upon receipt of a (March 2016). Artistic Director, Choreographer, fellowship, he moved to New York City in Set & Costume Design 1995 to study with the Nikolais/Louis Dance Hailed as “one of the most expansive, Lab and, in the same year, was invited to SHEN WEI DANCE ARTS creative minds in the arts,” (Pia Catton, create work at the American Dance Festival. The New York Sun), choreographer, One of the premier international dance director, and painter Shen Wei is In July 2000, he founded Shen Wei Dance companies, Shen Wei Dance Arts has won internationally renowned for the Arts (SWDA) and his company quickly worldwide acclaim for “amassing a body breadth and scope of his artistic vision. entered the international touring circuit. of works so strikingly original they defy Admiration for his talent has earned The lead choreographer for the Opening categorization” (The Boston Globe). The Shen Wei numerous awards, including Ceremonies of the 2008 Beijing Olympics, dances Shen Wei makes for his company a 2007 MacArthur Fellowship, the US Shen Wei has also created dances utilize his Natural Development Technique, Artists Fellow award, and a John Simon for Les Grands Ballets Canadiens de which is a unique amalgamation of Guggenheim Fellowship. Other accolades Montréal and Les Ballets de Monte-Carlo Western contemporary dance and Eastern include: Australia’s Helpmann Award, the and choreographed the Rome Opera’s movement techniques and practices. Nijinsky Emerging Choreographer Award, production of Rossini’s Moise et Pharaon, His works draw on influences as varied the Algur H. Meadows Prize, Les Étoiles de conducted by Ricardo Muti. In 2013, as traditional Chinese culture and arts, Ballet Award, (Ballet2000 Magazine), and a Shen Wei was commissioned to create a European Surrealism, American high 2012 New York City Center Choreography new work for the Dutch National Ballet modernism, and the ritual power of ancient Fellowship. Most recently, he was honored in Amsterdam, and he choreographed, drama. Celebrated for its “gorgeous visual with the Audi- China 2012 Artist of the directed, and designed a new production imagery” (The London Times), the company’s Year Award; GQ–China 2013 Artist of of Carmina Burana for the chorus, dances reflect the compositional rigor of the Year Award; and the 2013 Chinese orchestra, and ballet of Teatro di San Shen Wei the visual artist—incorporating Innovator Award from The Wall Street Carlo in Naples, Italy, with his company striking design and imaginative use of space Journal-China. Shen Wei has received performing in leading roles. Recently, his into mesmerizing kinetic stagescapes. The 23 commissions from major presenting work as a visual artist and choreographer company’s dancers have been hailed as, “a institutions to support his creative has entered into a new dialogue in a series breed apart: lissome, precise, expressive— work, including multiple commissions of performative installations and site- and totally at one with Shen’s choreographic from the American Dance Festival, Het specific works which have been presented vision” (The Herald, Scotland). Muziektheater, Lincoln Center Festival, at a number of museums and galleries and Kennedy Center, as well as from including: the Metropolitan Museum of Art, Since its founding in 2000, Shen Wei the Metropolitan Museum of Art, Park North Carolina Museum of Art, Collezione Dance Arts has performed in 138 cities, Avenue Armory, Hong Kong’s New Maramotti in Italy, Mana Contemporary, in 33 countries, on five continents, and Vision Arts Festival, Mondavi Center the Forum at the Yerba Buena Center has appeared at prestigious festivals and for the Performing Arts, Edinburgh for the Arts, Rockbund Museum of Art in venues worldwide, including the Jacob’s International Festival, and, most Shanghai, MDC Museum of Art + Design Pillow Dance Festival, Spoleto Festival USA, recently, BAM and the Performing Arts in Miami, Guggenheim Museum and Asia frequent performances at the American Center at Purchase College. Society Hong Kong Center. As a painter, Dance Festival, the Los Angeles Music Shen Wei has had solo exhibitions in Center, Venice Biennale, Sadler’s Wells, the Born in China’s Hunan province in 1968, leading galleries and museums: Chambers Barbican Centre, Het Muziektheater, the the son of Chinese opera professionals, Fine Art Gallery (New York); Crow Collection Edinburgh International Festival, the Berliner Shen Wei was trained from youth in of Asian Art (Dallas); Hong Kong Cultural Festpiele, and the Sydney Festival. In the the rigorous practice of Chinese opera Center; and Tucson Museum of Art. This U.S., Shen Wei Dance Arts has performed performance and traditional Chinese past fall, he participated in a group show in 25 of the 50 states, gave the first dance ink painting and calligraphy and was a at London’s Fine Art Society: Performance performances at Frank Gehry’s Disney Hall performer with the Hunan State Xian & Remnant. Shen Wei’s recent large-scale in Los Angeles, and recently completed a

A-6 UW WORLD SERIES unique fi ve-year performance residency at the Kennedy Center in Washington, DC. The company performs annually in NYC, where it has been presented by the Lincoln Center Festival (fi ve times), the Metropolitan Museum of Art, the Park Avenue Armory, Works & Process at the Guggenheim, The Joyce Theater, Asia Society and Fall for Dance at City Center. CECILY CAMPBELL RUSSELL STUART LILIE Recent company highlights include Campbell is from Santa Fe, NM and Lilie graduated from Idyllwild Academy in performances at the Festival attended New York University Tisch 2008 and completed his B.F.A. in dance at Iberoamericano de Teatro de Bogotá in School of the Arts, where she attained NYU’s Tisch School of the Arts in 2011. Lilie Colombia; Festival de Danse in Cannes, a B.F.A. in dance in 2006. She has joined Shen Wei Dance Arts in 2011 and France; performances at Stanislavsky continued to base her life and work in has also worked with Greene Lilie, Dai Jian Theatre in Moscow, Russia; MDC’s Museum New York, fi rst as a company member Dance, Sara Du Jour, Jordan Isadore, and of Art+Design, in conjunction with Art with Shen Wei Dance Arts from 2007 to others. His works have been presented at Basel/Miami Beach; a four-city tour of Italy, 2013 and currently as a member of the NYU, Danspace, La MaMa, Gibney Dance including Milan; performances at Lincoln Trisha Brown Dance Company, which Center and Bennington College. He also Center, as part of the inaugural season of she joined in 2013. Campbell is thrilled teaches dance, dance composition and Paul Taylor’s American Modern Dance; and to return to Shen Wei’s work for the improvisation in New York City, and at the premiere of Untitled No. 12-2 at the 2015 creation and performance of Neither. colleges nationally and internationally. Spoleto Festival USA. More recently, the company performed at the Guggenheim Museum in NYC, premiered a site specifi c work at Asia Society Hong Kong Center during Art Basel-Hong Kong, and toured to Germany, Austria and Luxembourg. Last fall the company premiered Neither at BAM's Next Wave Festival and toured China with performances in Shanghai, Beijing and Zhuhai. Upcoming engagements include the Performing Arts Center at Purchase College JANICE LANCASTER LARSEN CHELSEA RETZLOFF and performances in Boston and Chicago. Larsen joined Shen Wei Dance Arts in Originally from Eureka, CA, Retzloff 2005. She received her B.F.A. in dance holds degrees in dance and chemistry DANCERS from the University of North Carolina from UC Santa Barbara, where she School of the Arts and an M.F.A. in dance graduated with distinction in chemistry, from Hollins University/American Dance and as the Daniel G. Aldrich Outstanding Festival. She is a certifi ed Hatha Yoga Senior for the Class of 2007. Retzloff and Relax and Renew® Restorative joined Shen Wei Dance Arts in 2011 Yoga instructor. As a choreographer, and leads the company’s arts-in- Larsen has received commissions education programming at New York from the Bard Music Festival Robert City’s PS 5 and IS 311; she was recently Wilson’s 19th Annual Watermill Center appointed SWDA’s company manager. Summer Benefi t, the Bessie Schönberg She has worked with Santa Barbara Choreographers Residency on the Yard, Dance Theater, David Dorfman Dance, LILLY BALCH Hubbard Street 2 Dance Company, MacArthur Dance Project, Christopher Originally from Vero Beach, FL, Balch the Black Mountain College Museum + Williams and Glitter Kitty Productions. is a recent graduate of the Boston Art Center, and many from VIA Dance Retzloff is a founding member of the Conservatory where she received her Collaborative (NYC). She has taught Round Table and recently produced a B.F.A. in dance. During her time at the and staged work at Universidad de las sold-out run of The Gunfi ghter Meets conservatory she performed works by Américas (Puebla, Mexico), City Dance His Match musical in NYC. In addition to Mark Morris, Adam Barruch, Anna Myer, Center (Bethesda, MD), Roger Williams dancing, she tutors math and chemistry Colleen Thomas, Omar Carrum and University (Bristol, RI), North Carolina throughout NYC. Claudia LaVista. Balch joined Shen Wei School of the Arts (Winston-Salem, NC), Dance Arts in 2015. and SUNY (Fredonia).

encoreartsseattle.com A-7 About the Artists SHEN WEI DANCE ARTS

JENNIFER ROSE AUSTIN SELDEN MARIA VOLPE Rose received her B.F.A. in dance from Selden holds a B.F.A. in dance from the Volpe graduated Summa Cum Laude with Temple University in 2006. She also University of Michigan and a certification a B.F.A. in dance from Rutgers University’s attended the Ailey School and the in pilates. He has shown his collaborative Mason Gross School of the Arts in 2015 American Dance Festival and worked work with Sarah Konner over the past and is a certified Pilates teacher. In 2013, with Philadanco II. She has danced six years at such venues as the Detroit she studied abroad in London at Trinity professionally with Kun-Yan Lin/ Institute of Arts, Berkshire Fringe Festival, Laban Conservatoire of Music and Dance. Dancers and toured internationally Judson Church, Triskelion Arts and the She has performed in works by Larry with him for six wonderful years. She Kennedy Center, among others. They Keigwin, Stefanie Batten Bland, Keith has also worked with Keith Thompson’s have been lucky to collaborate with artists Thompson and Randy James. Maria Dancetactics, Bill Young, Erick Montes, including Chavasse Dance & Performance, joined Shen Wei Dance Arts in 2015. Olive Prince Dance, and Manuel Median Movement and Megan Kendzior. Vignoulle and currently dances with He has recently collaborated with Jessica Company Stephanie Batten Bland. Rose Harris, Anneke Hansen and Jordan joined Shen Wei Dance Arts in 2013. Isadore. He has taught at Oakland University, University of Michigan, Bennington College and the American Dance Festival. Selden joined Shen Wei Dance Arts in 2011.

MICHAEL WRIGHT (swing) Wright is a professional dance artist living in New York City. Since moving to New York, Wright has worked with the New ZAK RYAN SCHLEGEL York Metropolitan Opera Ballet, Satellite Schlegel is a choreographer, teacher, Collective, Exit 12 Dance Company, The and dance artist. He holds a B.F.A. in Chase Brock Experience and Steeledance. Dance Performance from Chapman He also worked as a dancer at Tokyo University in Orange County, CA. ALEX SPEEDIE Disneyland from 2008 until 2009 and Schlegel has performed a diverse range Speedie is a native of Austin, CO and again in 2012. As a dance educator, of work in collaboration with LA-based received his B.F.A. from North Carolina he has had the privilege of teaching at Ryan Heffington, Kitty McNamee, WIFE School of the Arts. He has danced for Peridance, Steps on Broadway, and at and Backhausdance. He has trained Mark Dendy and Oliver Steele and has studios and universities both domestically with Rafael Bonachela at Sydney Dance performed works by Lar Lubovitch, Merce and abroad. Wright holds a B.F.A. in Company, Sarah Slipper and Lucas Cunningham and Larry Keigwin. He studies dance performance from Southern Crandall at Northwest Dance Project. capoeira, yoga and enjoys participating Methodist University. He has danced with Schlegel is co-artistic director of LA- in downhill racing sports. Speedie joined Shen Wei Dance Arts since 2011. based AXIOM Dance Theatre where Shen Wei Dance Arts in 2011. he creates and presents original work with partner Denna Thomsen. He is the proud recipient of the 2014 Youth America Grand Prix Outstanding Choreographer Award. Schlegel joined Shen Wei Dance Arts in 2015.

A-8 UW WORLD SERIES DESIGNERS PRODUCTION organizations, including Shen Wei Dance Arts, prior to joining the company. JENNIFER TIPTON JESSIE KSANZNAK She served as executive director of the Lighting Designer Production Stage Manager Armitage Foundation/Armitage Gone! Tipton is well known for her work in theater, Ksanznak is thrilled to be working with Dance (2007—10), where she oversaw dance and opera. Her recent work in Shen Wei Dance Arts. She currently a 32 percent growth in the company’s opera includes Gounod’s Romeo et Juliette splits her time between New York and operations. She was the executive directed by Bart Sher at the Lyric Opera of Vancouver working for dance, television, director of Doug Varone and Dancers Chicago. Her recent work in dance includes circus and special events. Career for 10 years, where she produced Alexi Ratmansky’s Shostakovich Trilogy for highlights include New York Fashion more than 20 new Varone works and American Ballet Theater. In theater, her Week, The House of Dancing Water guided the organization’s growth from recent work includes Richard Nelson’s first (Dragone Entertainment, Macau), a small company to a million dollar Gabriel Family play Hungry at the New York Voyage de la Vie (Resorts World Sentosa, operating budget. She has also served Shakespeare Festival in New York. Tipton Singapore), Queen of the Night (Diamond as the marketing and public relations teaches lighting at the Yale School of Drama. Horseshoe, NYC), Twyla Tharp’s 50th director of the Michigan Theater in Ann She received the Dorothy and Lillian Gish Anniversary Tour, Trisha Brown Dance Arbor and acting executive director Prize in 2001, the Jerome Robbins Prize in Company, Martha Graham Dance of the Michigan Dance Association. 2003, and in April 2004, the Mayor’s Award Company, The Joffrey Ballet and Ailey II. She completed graduate coursework for Arts and Culture in New York City. In as a Ph.D. candidate in history at the 2008 she was made a United States Artists CHUAN-CHI CHAN University of Michigan and holds a “Gracie” Fellow and a MacArthur Fellow. Lighting Supervisor & B.A. from Boston University. She has Assistant Lighting Designer published several articles on dance for ROCCO DISANTI Chan is the recipient of the 29th Helen Michigan publications. Projection & Video Designer Hayes Award Nominee for Outstanding Di Santi has worked on productions Lighting Design, Resident Production, including, on Broadway: The Snow Geese, and is a faculty member for the The Columnist, Wit, Collected Stories, Department of Drama and Theatre, and Time Stands Still. Off-Broadway: National Taiwan University, teaching Pip’s Island (upcoming), Incident at Vichy lighting design for the performing arts. (Signature), Desire, Lift, Inner Voices Select lighting design credits include: (59E59), Completeness (Playwrights The Servant of Two Masters (Theatre Horizons); A Second Chance (The Public), For A New Audience, 2016, Seattle and more. Regional: Kansas City Swing (St. Repertory Theatre, 2013; Guthrie Louis Rep and Cincinnati Playhouse), The Theater, 2012) Mother Courage and Her Threepenny Opera, Spin, Company and A Children (Harold Clurman Lab Theater, Second Chance (Signature Theatre). He 2016) Xanadu, Peter Pan, Les Miserables was nominated for a 2012 Henry Hewes (Connecticut Repertory Theatre, 2015 Design Award for Completeness. Nutmeg Summer), August: Osage County (Greenray Theatre Company, March JENNY LAI 2014, Taipei Taiwan) and God of Carnage Costume Fabrication (Shanghai Dramatic Art Center, China, Under the label Not Aligne, Lai creates 2011). Chan received her M.F.A. in ready-to-wear collections, custom design from the Yale School of Drama, performance-wear for musicians and and a B.A. (drama and theater) from dancers, and collaborative projects around National Taiwan University. In Taiwan the world as a mobile studio. The brand she worked on productions with Cloud was founded with the goal of making Gate Dance Company, Tanner Ensemble, the physical experience of dressing a Ming Hwa Yuan Arts & Cultural Group surprising and playful experience within and many others. itself. Transformation and movement are built into the design, engaging the wearer DIANE ROSENBLATT in the creative process. Lai is a graduate of Executive Director the Rhode Island School of Design and has Rosenblatt is an arts administrator and worked around the world from Amsterdam development professional with two to Mexico City to South Africa. notaligne.com decades of experience. She served as a fundraising consultant to several dance

encoreartsseattle.com A-9 Credits & Special Thanks SHEN WEI DANCE ARTS

This production was commissioned by Brooklyn Academy of Music (BAM) and co-commissioned by the Performing Arts Center at Purchase College

Lead funding for the creation of Neither was provided by the Rockefeller Brothers Fund; the US-China Cultural Institute, a Cultural Associate of the Committee of 100, Shirley Young, Chair; the SHS Foundation; the Howard Gilman Foundation; and the National Endowment for the Arts. Additional institutional support was provided by the Irwin S. Scherzer Foundation, the Harkness Foundation for Dance, the New York City Department of Cultural Affairs, and La Fondazione I Teatri di Reggio Emilia (Italy).

SPECIAL THANKS TO THE FOLLOWING INDIVIDUALS FOR SUPPORTING THE CREATION OF NEITHER:* Gold Sponsors: Celia and Silas Chou, Shirley Young Silver Sponsors: David S. Brown, Joan Granlund, Helen and William Little, Maria Pyrros Vergos Bronze Sponsors: Susan Baker and Michael Lynch, Ingrid Ehrenberg and Joe Chan, Toni and Patrice McNicoll, Dana Tang Benefactors: Noreen and Kenneth Buckfire, Michèle and Steve Pesner Patrons: Eileen Rosenau, Mei Wu Stanton, Tim Tompkins, Barbara and Donald Tober, Mrs. Allyson Tang and Dr. Thomas Widmann, Calvin Tsao Shen Wei Dance Arts gratefully acknowledges the generous support provided to our organization by the SHS Foundation, the Winston Foundation, the Shubert Foundation, the Jerome Robbins Foundation, the Hyde Watson Foundation, the Angel Shine Foundation, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council. We also extend our sincere thanks to the Shen Wei Dance Arts Board of Directors and our many individual contributors.

Our heartfelt thanks to the Shen Wei Dance Arts Board of Directors and Advisory Council for its invaluable support.

Shen Wei Dance Arts Board of Directors Staff Special thanks to Michelle Witt, Rita David S. Brown, Chair Artistic Director, Shen Wei Calabro, Tom Burke and the Meany Shen Wei, President Executive Director, Diane Rosenblatt Center staff. Maria Pyrros Vergos, Secretary Rehearsal Assistants, Chelsea Retzloff Helen Y. Little, Chair Emerita and Alex Speedie Sincere thanks to BAM (Joe Melillo Susan L. Baker Company Manager & Education Director, and Amy Cassello) and the Performing William M. Carey Chelsea Retzloff Arts Center at Purchase College (Seth Toni McNicoll Production Stage Manager, Jessie Soloway) for their support of Neither. Michèle Pesner Ksanznak Charles L. Reinhart Set Production Manager, Noam Blanks A very special thanks to Richard Feldman Mei Wu Stanton Lighting Supervisor, Chuan-Chi Chan and the SHS Foundation; Jan Krukowski Jin Wang Projections Director, Ido Levran and Nancy Harrow; and Lawrence W. Assistant Stage Manager, Tamia Ruiz Greene, Esq. Enormous thanks to Chair Advisory Council Andrade Emerita, Helen Little, for her five years Celia Chou Studio & Finance Manager, Angelic of dedicated service and Board Chair Caroline Cronson Martinez David Brown. Our sincerest thanks to our Kenneth Foster Development & Administrative Associate, Neither Sponsor Committee Chair and Co- Stephanie French Jeremy Polacek chairs: Shirley Young, Chair; Helen Little, Pieter Hoffman Karen Hsu Wardrobe Supervisor, Russell Stuart Lilie Mei Wu Stanton and Maria Pyrros Vergos, Susan Kessler Make-up Supervisor, Lilly Balch Co-chairs. Patricia Pei Interns: Nicole Mar & Isha Tang Norma Stevens Sincere gratitude to: France Pepper, Jennifer Tipton Tour Representation Tianyue Jiang and Christies, Barbara Shirley Young US and Canada; Asia, Australia, and Monk Feldman, Norman Ryan, Intuit Middle East (with exceptions) Movement Lab: Kim Gibilisco and Bob In ongoing support of our mission Shen Margaret Selby, Selby Artists Management Turner, Philippe Vercruyssen, Paul Wei Dance Arts wishes to thank Jodee Germany, Austria, Switzerland Ziemer, Rory Mulholland and RMC Nimerichter and the American Dance Meinrad Huber, Ecotopia Dance Scenery, and Noam Blanks. Stephen Xue Festival; Nigel Redden and the Lincoln Productions and Yunlin Zhu for years of dedicated Center Festival and Spoleto Festival USA; United Kingdom, Israel, New Zealand service; our interns. Our sponsor Alicia Adams and the Kennedy Center for Gillian Newson, Dance Arts UK committee, all of our generous donors the Performing Arts; Rebecca Robertson Central and South American, and Mexico and volunteers. and Park Avenue Armory; Mary Sharp Maria Rita Stump, Antares Promocoes Cronson and Caroline Cronson and Works Italy, Greece, Eastern Europe, Lebanon & Process at the Guggenheim; and Arlene Francesca Zitoli, A.T.E.R. Schuler and New York City Center.

A-10 UW WORLD SERIES WORLD DANCE SERIES GENEROUSLY SPONSORED BY GLENN KAWASAKI COMPAGNIE HERVÉ KOUBI SUPPORT COMES FROM APRIL 13-15, 2017 | 8 P.M.

CE QUE LA JOUR DOIT À LA NUIT WHAT THE DAY OWES TO THE NIGHT

MATINEE SPONSORS CHOREOGRAPHY Hervé Koubi

DANCERS Lazhar Berrouag, Nasreddine Djerrad, Abdelghani Ferradji, Fayçal Hamlat, Nassim Hendi, Amine Maamar Kouadri, Giovanni Martinat, Riad Mendjel, Mourad Messaoud, Issa Sanou, Mustapha Zahem, Adel Zouba

MUSIC Maxime Bodson Kronos Quartet featuring Hamza El Din J.S. Bach MEDIA SPONSOR Sufi Music

LIGHTS Lionel Buzonie

COSTUMES Meany Center thanks the following Guillaume Gabriel Signature Sponsors for underwriting this evening's program. The performance will last approximately 70 minutes. THERE WILL BE NO INTERMISSION. Linda and Tom Allen Nancy D. Alvord The Dance Company of Hervé Koubi is supported by the Region of Limousin, Katharyn Alvord Gerlich the Department of Correze, and the city of Brive, the Ministery of Culture, the Stephen and Sylvia Burges Region PACA and the City of Cannes, the department Alpes Maritimes and The Hellmut and Marcy Golde French Institute for some of its international tours. Lynn and Brian Grant Family Hugues Hoppe and Sashi Raghupathy Yumi Iwasaki and Anoop Gupta Matthew and Christina Krashan Chelsey Owen and Robert Harris Cecilia Paul and Harry Reinert Judy Pigott Lois H. Rathvon Joseph Saitta Richard Szeliski and Lyn McCoy Donna and Joshua Taylor Ellen Wallach and Tom Darden George Wilson and Claire McClenny

encoreartsseattle.com A-11 About the Artists COMPAGNIE HERVÉ KOUBI

with the writer Chantal Thomas for the creation of The Supremes, and with Roman Panassié for the creation of Bref sejour chez les vivants. In 2009, he started a collaboration with dancers from Cote Ivoire from the Beliga Kopé Company for the creation of Un rendez- vous en Afrique.

From 2010 until the present Koubi has accompanied a group of 12 dancers composed of Algerians and one dancer from Burkina Faso for two different productions: El Din (2010 and 2011) and Ce que le jour doit à la nuit (What the day owes to the night ), created in 2013. He collaborated as well with several COMPAGNIE HERVÉ KOUBI at the Opera of Marseille. Koubi has video makers for video dance projects, worked with Jean-Charles Gil, Jean- including Max Vadukul and Yoji With roots in Algeria, and trained as a Christophe Paré, Emilio Calcagno, and Yamamato for Chic Chef in 2009, Pierre pharmaceutical doctor, Hervé Koubi Barbara Sarreau (within the framework Magnol for Body Concrete (2010), and decided to concentrate on a career as of the Ballet Preljocal). In 1999, he Ovoid Edges (2012), Pierre Magnol and a dancer/choreographer with studies joined the Centre Choreographique de Michel Guimbard for Body Concrete 2 in Aix, Marseilles. He continued at Nantes directed by Claude Brumachon (2011), and Stephane Chazelon for Une the Centre International de Danse de and Benjamin Lamarche for the Histoire de Traces (A History of Traces) Rosella Hightower in Cannes and later creation of Hotel Central in 2000. Later, from 2012 until 2015. he worked with Karine Saporta of the Centre Choreographique in Caen for In addition to his work for the projects SEATTLE the creation of The Garage–Sitting on with Compagnie Hervé KOUBI, he CHAMBER the Mystical Rock (2001) and Thierry is also invited regularly to various MUSIC Smits' Company Thor in Brussels for the professional dance schools in France, as creation of Reliefs d’un Banquet (2003 well as abroad. In 2012, he was invited SOCIETY and D’Orient’ (2008). JAMES EHNES by Paola Cantalupo, directer of the Artistic Director advanced school of dance in Cannes, to In 2000, Koubi created his first choreograph a group of contemporary personal project Le Golem. Since then, male dancers for their professional SUMMER FESTIVAL he has collaborated with Guillaume dance diplomas. Gabriel for the rest of his creations. JULY 3-29, 2017 He created Menagerie in 2002 and Co-productions: Ballet of the National ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall Abattoirs, fantaisie... in 2004. In 2006, he Opera of Rhin–National Choreographic worked with the musical artist Laetitia BOX OFFICE Center/National Choreographic Sherrif for the creation of 4’ 30”. The Center of Creteil et du Val de Marne– 206.283.8808 // seattlechambermusic.org following year, he reworked Les Heures Company Kafig/Palace of the Congress Florissantes (The Flowering Hours), a de Loudéac /Cultural Center of Vitré/ Tickets 1997 piece created by the Croisette Ballet Preljocal–National Choreographic on sale de Cannes, for the Festival Cadence April 17 Center of Aix en Provence/Ballet in Arcachon. He also created the Biarritz–Thierry Malandain–National contemporary and unusual work Moon Choreographic Center. Dogs—a discovery of the movements of hip hop. During 2008, he interpreted Ce que le jour doit a la nuit was three choreographed works based on performed in the celebration Marseille the three written works: Coppelia, une Provence 2013 — European capital of fiancée aux yeux d’email(Coppelia, a culture. fiancée with enamel eyes),The Supremes and Bref sejour chez les vivants (Brief visit with the living). He collaborated

A-12 UW WORLD SERIES EAP full-page template.indd 1 2/15/17 9:21 AM About the Program COMPAGNIE HERVÉ KOUBI APR 14

“I met these dancers at an organized audition in October of 2009 in Algeria. Ever since, my enthusiasm never ceases to grow because of their pleasure in Dance,

Marc Seales: Piano Jazz always remaining open for the dance Noted Northwest jazz pianist and professor in the UW’s Jazz Studies program performs roles imposed for a creation, where I try solo and with special guests in this quarterly piano series. to stay away from creating the spectacular 7:30 pm Brechemin Auditorium just for the spectacle; but prefer to create something where the musicality of each APR dancer, of each body is in the service of 30 the purpose of the performance.”

— HERVÉ KOUBI

CE QUE LE JOUR DOIT À LA NUIT (What The Day Owes To The Night) UW MUSIC & PACIFIC MUSICWORKS PRESENT Purcell: Dido and Aeneas Just as the young boy, an ordinary hero Fed by Orientalist paintings and the Stephen Stubbs, conductor stone filigree of Islamic architecture, With Pacific MusicWorks Orchestra from the eponymous novel by Yasmina 2:00 pm Meany Theater Khadra, was sent from one family Hervé Koubi traces his own path, made to another, Hervé Koubi embarks as of entanglements, a complex weave. an explorer of his own history which crosses the story of the boy’s. It is as if “Lace,” Koubi maintains, as someone MAY an orientalist of the 19th century came who has always been fascinated by 7 to Algeria to give life to his dreams its design, “is before all else a way of of the Orient; Koubi gives life to his creating ‘le jour’ (the day), the day in a dreams as a child born in France, textile, the day rendered in matter…the and who discovered belatedly his day in my history.” true origins and those of his parents, Algerians from birth. Ce que le jour doit à la nuit is as its title implies, a mixing up of time and a story Twelve Algerian and Burkina Faso of links. dancers, mostly coming from street dance and hip-hop, helped realize this Intersections: Music, Words & Pictures Pre-concert lecture: Prof. Ronald Moore long-term project with each of the Piano Professor Robin McCabe produces this creative partners, including El Din. quarterly series exploring inspired intersections in the arts. 4 pm Brechemin Auditorium

MORE AT: WWW.MUSIC.WASHINGTON.EDU ArtsUW TICKET OFFICE: 206.543.4880

A-14 UW WORLD SERIES COMPAGNIE HERVÉ KOUBI PRESIDENT'S PIANO SERIES GENEROUSLY SPONSORED BY ERIC & MARGARET ROTHCHILD YEFIM BRONFMAN APRIL 18, 2017 | 7:30 P.M. SUPPORT COMES FROM

ROLAND M. TRAFTON ENDOWMENT FUND BARTÓK Suite, Op. 14, Sz. 62, BB 70 Allegretto MEDIA SPONSOR Scherzo Allegro molto Sostenuto

R. SCHUMANN Humoreske in B-flat Major, Op. 20 Meany Center thanks the following Signature Sponsors for underwriting this evening's program. INTERMISSION Nancy D. Alvord Katharyn Alvord Gerlich Linda Armstrong Suite bergamasque Heidi Charleson DEBUSSY Gail Erickson and Phil Lanum Prélude Lynn and Brian Grant Family Menuet Dr. Martin Greene and Kathleen Wright Clair de lune Sally Schaake Kincaid Passepied Karen Koon and Brad Edwards Matthew and Christina Krashan Hans and Kristin Mandt STRAVINSKY Three Movements from Petrushka Bill and Meg Morgan Russian Dance Mina B. Person Petrushka’s Cell Don and Toni Rupchock The Shrove-Tide Fair Evelyn Simpson David and Marcie Stone Donald and Gloria Swisher Mark and Amy Worthington

encoreartsseattle.com A-15 About the Program YEFIM BRONFMAN

Suite, Op. 14, Sz. 62, BB 70 with the appearance of a 12-tone row. Even obsessions were two-fold and intimately Béla Bartók (1881–1945) more than in the Allegro the hammered joined: his rapidly escalating love for his sonorities and largely linear textures future wife, Clara, née Wieck, and writing Throughout his composing career Bartók demonstrate the 20th century’s reinvention piano music that reflected his love for made substantial use of musical ideas of the piano as a percussion instrument. her. The year 1839 proved to be a high- reflecting his intensive efforts to collect folk water mark among his keyboard works, music from Central Europe as well as the Bartók acknowledged a specifically Arabic including the emotionally diverse and African coast of the Mediterranean, with, influence in ensuing propulsive Allegro mercurial Humoreske. Though generally of course, a special nod to his Hungarian molto that came from music he had applied to light music composed during birthright. Yet among his imposing canon heard while exploring North African folk the unfolding of the 19th century, it was of solo piano music his much-performed traditions in the Algerian oasis-city of Biskra Schumann who, in fact, is credited to be Suite, Op. 14 (1916; revised 1918) is among in 1913. Rapid, swirling scalar fragments the inventor of the term “Humoreske” as but a handful of pieces eschewing folk- impel the music with great force. it applied to music. He did not, however, derived melodies per se, though rhythmic use it in the latter sense, but rather in the element pop up in several places. Initially The quiet concluding Sostenuto, according pre-Romantic reference to the “humors” Bartók conceived the Suite as a five- to Stevens, is “a sustained, sensitive piece of the body as understood by Baroque- movement composition but eventually in a hesitant rhythm.” Inward and mildly era composers and thinkers, including jettisoned an Andante, which was not dissonant one can hear anticipations of Ignatius Loyola, he of Jesuit fame, and published until a decade following his Bartók’s eventual mystery-enshrouded ultimately traceable to antiquity. death from leukemia in New York City. “night music” as well as the implicit lyricism of his valedictory years during the The form of his Humoreske has In an interview in 1944 Bartók noted, “…The Second World War when he lived in the confounded commentators and pianists Suite op. 14 has no folk tunes. It is based United States. ever since Schumann put quill to paper. entirely on original themes of my own The work has been analyzed as a invention. When this work was composed, I four-movement/section piece, though had in mind the refining of piano technique, Humoreske in B-flat Major, Op. 20 others have parsed it as a seven-section the changing of piano technique, into a Robert Schumann (1810–1856) undertaking. Through its rapid-fire more transparent style. A style more of sequences of brief and striking mood bone and muscle opposing the heavy Robert Schumann’s talent was observed changes it mirrors the personalities of chordal style of the late, latter romantic in childhood among other gifts he Schumann’s fictional alter egos “Florestan” period, that is, unessential ornaments manifested, including a keen literary bent. and “Eusebius,” representing the poles like broken chords and other figures are During much of his troubled lifetime (he of near-manic exuberance versus tender omitted and it is more a simpler style.” died in an insane asylum) he was known and serene introspection, and perhaps better for his writings about music than for too neatly delineating the extremes of As mentioned, no actual folk tunes his writing of music, which says less about his presumed bipolar disorder. (Others populate the four-movement Suite, yet the quality of the latter than the prescience with psychiatric backgrounds have equivalent rhythmic gestures can be of the former. His early recognition of characterized his mental illness as found, including a specific Rumanian Brahms, his insights into Chopin and other “Schizoaffective disorder,” which exhibits “Ardeleanda” rhythm in the opening Allegro. composers of his time and earlier eras, are both manic/depression—the earlier Consummate eclectic that he was, in the still worth reading. term for bipolar—and the distortion in first movement he employs the Lydian perception occasioned by schizophrenia. mode (essentially an F-Major scale with a The credo of E.T.A. Hoffmann, the B-natural instead of a B-flat) and a whole early Romantic writer/composer much Such diagnoses from afar are ultimately tone scale. With reference to this same esteemed by artists of his time, could have not why we listen to Schumann’s music. movement the late Bartók scholar Halsey been written by Schumann: “Music is the An avatar of Romanticism, his music Stevens noted that its dance character most romantic of all the arts—one might explores and expresses the spontaneity may have been influenced by Rumanian almost say, the only genuinely romantic and boundless romance of an entire era folk tunes the composer had only recently one—for its sole subject is the infinite. in music history. As the highly variegated studied. Quirky and nimbly active, the Music discloses to man an unknown realm, work unfolds all manner of emotions sparsely scored music moves in delightful a world in which he leaves behind him all touch the soul of listeners alive to the fits and starts. definite feelings to surrender himself to an intuitive musings and alternations of the inexpressible longing.” composer’s richly musical mindset. The The second movement, a highly driven very opening section gives a hint to the Scherzo propelled by ongoing staccatos, Schumann tended to compose the way in game-plan (or absence thereof), beginning pays homage to the Second Viennese which many people eat their meals: one with an almost innocent and simple School (Schoenberg, Berg and Webern) “dish” at a time. In the 1830s, his primary episode that gives no hint to the constant

A-16 UW WORLD SERIES departures from this initial offering. Debussy began working on his popular Suite Petrushka, which, as the title suggests is a What one does encounter in this lengthy bergamasque in 1890 while still a student. spinoff from the 1911 ballet. work—roughly 28 minute’s duration—is Fifteen years later he thoroughly revised typically challenging rhythmic insistence, the music shortly before it was published in The transformation from orchestral score unexpected harmonic surprises, and 1905. The opening Prélude is cast in tempo to solo piano was not as difficult as it might manifestations of Schumann’s lyrical gifts; rubato, which belies its energetic beginning appear, primarily because Stravinsky tended it’s no wonder that his many songs testify and closing bars as well as its prevailingly to compose at the piano, by no means to his high stature in the realm of the festive mood. Rich in dynamic contrasts, a universally shared modus operandi for German art song. the piece can be heard as a paean to the composers. (Mozart derisively termed such Baroque era, especially in its improvisatory practitioners as “Ritter von Klavier,” i.e., The work is cast in B-flat Major, often feel. The following Menuet posits a playful “knights of the keyboard,” while Prokofiev detouring into its minor-key variant, main theme as a counterpoise to a mystery- freed himself from composing at the piano G-minor (same key signature: two flats, filled and dramatic middle section. Here too, by writing his “Classical” Symphony away which both highlights mood differences the music evokes Baroque-era sensibility from the instrument he played so well.) The as well as establishing a commonality rather than the graceful and courtly minuets fact that the orchestral score to Petrushka among the notes of their respective of Haydn and Mozart. The third movement, already includes an active piano part scales). Schumann closes the Humoreske Claire de lune has enjoyed a life separate undoubtedly helped Stravinsky in the task. with a series of broadly articulated chords from the rest of the work, serving as an followed by a burst of nearly unbridled encore piece of exquisite delicacy and The genesis for Three Movements from dramatic exuberance. In between is a tenderness, further enhanced by mist-filled Petrushka came from a request from the Romantic-era world of dizzying accents mystery. The Suite concludes with an old then 34-year-old Artur Rubinstein in 1921. and affects. French dance from Brittany, the Passepied. The immensely popular pianist performed the completed work many times during his colossally long career, though he never Suite bergamasque Three Movements from Petrushka recorded it. Interestingly, Stravinsky himself Claude Debussy (1862–1918) Igor Stravinsky (1882-1971) admitted to not being up to the challenge of playing the Three Movements because of Nearly a century after his death, self- An old New Yorker cartoon had a trendily inadequate left-hand technique. proclaimed musicien français Claude dressed woman confiding to her date at a Debussy still generates heated concert, “Why didn’t you tell me that was The The story of the ballet centers on the disagreement over the character of the Rite of Spring? It’s my favorite piece of music!” character of Petrushka, a stock character man, though listeners have embraced Such is the iconic nature of Stravinsky’s from Russian fairy tales who, like his Italian his music. Unsparingly harsh in his “primitivist” ballet (his word!) that its cousin Pinocchio, is a puppet brought to evaluations of most composers—only reputation has a power almost as great as life. The three movements, written in the Mozart and the two magnificent French the music itself. Many an annotator has order in which they appear in the ballet, are clavecinistes Couperin and Rameau— pointed out its landmark status among 20th “Russian Dance” from the end of the first emerge unscathed from his writings about century compositions far and wide. Echoes tableau, “Petrushka’s Cell” from the second music. His personal life reveals someone of its sonic textures and gritty rhythms tableau, and “Shrove-Tide Fair,” which who could have called himself musicien abound even in works written within the includes most of the fourth tableau. misanthrope, so uncharitable was his basic past generation. And who can forget the attitude toward his species. (He greatly “Sacre”-ficial dinosaurs in the original © 2017 Steven Lowe preferred the company of cats to people, Disney’s 1940 animated masterpiece his mistresses/wives excepted.) Yet in Fantasia, many people’s first sampling of his diffident, secretive and distinctly anti- Stravinsky’s dynamic score? Bischofberger bombastic manner, he was a true musical Violins est. 1955 revolutionary and genius whose harmonic There is, of course, a lot more to Stravinsky, daring and feel for sonority resulted in a though for many people it is the first trinity Professional body of solo piano works as innovative of ballets—Firebird, Petrushka and Rite Repairs in their time as Chopin’s was in the early of Spring—that constitute the “essential” years of the Romantic era. Both men canon of the composer. One area in which Appraisals understood the magic of the piano better Stravinsky did not spend much time is & Sales than most composers, including those who in writing music for solo piano. Yet even wrote great music for that mechanized within that limited genre, however, one 1314 E. John St. beast of an instrument. work stands out for its virtuosity, brilliant Seattle, WA piano-writing and consequent undimmed 206-324-3119 audience appeal, Three Movements from www.bviolins.combviolinsltd.com

encoreartsseattle.com A-17 BV 071811 repair 1_12.pdf About the Artists YEFIM BRONFMAN

again with Salonen, for his recording of the three Bartók Piano Concerti and the Los Angeles Philharmonic. His prolific catalog of recordings includes works for two pianos by Rachmaninoff and Brahms with Emanuel Ax, the complete Prokofiev concerti with the Israel Philharmonic and Zubin Mehta, a Schubert/Mozart disc with the Zukerman Chamber Players and the soundtrack to Disney's Fantasia 2000. His most recent CD releases are the 2014 Grammy-nominated Magnus Lindberg's Piano Concerto No. 2 commissioned for him and performed by the New York Philharmonic conducted by Alan Gilbert on the Da Capo label; Tchaikovsky's ABOUT YEFIM BRONFMAN Bronfman works regularly with an Piano Concerto No.1 with Mariss Jansons Internationally recognized as one of illustrious group of conductors, and the Bayerischer Rundfunk; a recital today's most acclaimed and admired including Daniel Barenboim, Herbert disc, Perspectives, complementing pianists, Yefim Bronfman stands among Blomstedt, Semyon Bychkov, Riccardo Bronfman’s designation as a Carnegie a handful of artists regularly sought by Chailly, Christoph von Dohnányi, Hall ‘Perspectives’ artist for the 2007- festivals, orchestras, conductors and Gustavo Dudamel, Charles Dutoit, 08 season; and recordings of all the recital series. His commanding technique, Daniele Gatti, Valery Gergiev, Alan Beethoven piano concerti as well as the power and exceptional lyrical gifts are Gilbert, Mariss Jansons, Vladimir Triple Concerto together with violinist consistently acknowledged by the press Jurowski, James Levine, Zubin Mehta, Gil Shaham, cellist Truls Mørk, and the and audiences alike. Riccardo Muti, Andris Nelsons, Yannick Tönhalle Orchestra Zürich under David Nézet-Séguin, Sir Simon Rattle, Esa- Zinman for the Arte Nova/BMG label. Acknowledging a relationship of more Pekka Salonen, Franz Welser-Möst, and Now available on DVD are his than 30 years, this past fall Bronfman David Zinman. Summer engagements performances of Liszt's second piano opened the Israel Philharmonic's have regularly taken him to the major concerto with Franz Welser-Möst and the season with Zubin Mehta and festivals of Europe and the U.S. Vienna Philharmonic from Schoenbrunn, participated in the orchestra’s 80th 2010 on Deutsche Grammophon; birthday celebrations in December. He has also given numerous solo recitals Beethoven’s fifth piano concerto in the leading halls of North America, with Andris Nelsons and the Royal As a regular guest, he returns to the Europe and the Far East, including Concertgebouw Orchestra from the 2011 orchestras of New York, Los Angeles, acclaimed debuts at Carnegie Hall in Lucerne Festival, and Rachmaninoff’s third Boston, Philadelphia, Cleveland, Chicago, 1989 and Avery Fisher Hall in 1993. In concerto with the Berlin Philharmonic and San Francisco, St. Louis, Houston and 1991, he gave a series of joint recitals Sir Simon Rattle on the EuroArts label and Dallas, among many others. A cross- with Isaac Stern in Russia, marking both Brahms Concerti with Franz Welser- country series of recitals will culminate Bronfman’s first public performances Möst and The Cleveland Orchestra (2015). in the spring with a program in the Isaac there since his emigration to Israel at Stern Auditorium of Carnegie Hall. age 15. That same year he was awarded Born in Tashkent in the Soviet Union, In Europe he will tour extensively in the prestigious Avery Fisher Prize, one Yefim Bronfman immigrated to Israel recital and with orchestras in cities of the highest honors given to American with his family in 1973, where he studied including Berlin, Vienna, Rome, instrumentalists. In 2010, he was with pianist Arie Vardi, head of the Rubin Amsterdam, Frankfurt, Brussels, and honored as the recipient of the Jean Academy of Music at Tel Aviv University. Leipzig. Continuing his long-standing Gimbel Lane prize in piano performance In the United States, he studied at The partnership with Pinchas Zukerman, from Northwestern University. Juilliard School, Marlboro School of the duo will appear in Copenhagen, Music and the Curtis Institute of Music, Milan, Naples, Barcelona, Berlin, and Widely praised for his solo, chamber under Rudolf Firkusny, Leon Fleisher and St. Petersburg in March. Always keen to and orchestral recordings, Bronfman Rudolf Serkin. He is a 2015 recipient of an explore chamber music repertoire, Mr., was nominated for a Grammy Award honorary doctorate from the Manhattan Bronfman’s partners have also included in 2009 for his Deutsche Grammophon School of Music. He became an American Martha Argerich, Magdalena Kožená, recording of Esa-Pekka Salonen’s piano citizen in July 1989. Anne-Sophie Mutter, Emmanuel Pahud, concerto with Salonen conducting, and many others. and in 1997 he won a Grammy Award,

A-18 UW WORLD SERIES EMERSON STRING QUARTET WITH PIANIST CRAIG SHEPPARD

SEASON-LONG APRIL 21, 2017 | 7:30 P.M. SUPPORT COMES FROM

Eugene Drucker, violin Philip Setzer, violin Lawrence Dutton, viola Paul Watkins, cello

Craig Sheppard, piano

SHOSTAKOVICH String Quartet No. 4 in D Major, Op. 83 Allegretto Andantino Allegretto MEDIA SPONSOR Allegretto

TURNAGE Shroud (2016) Threnody Intermezzo I Meany Center thanks the March following Signature Sponsors for Intermezzo II underwriting this evening's program Lament

Nancy D. Alvord Katharyn Alvord Gerlich Warren and Anne Anderson INTERMISSION Linda Armstrong Stephen and Sylvia Burges Gail Erickson and Phil Lanum DVOŘÁK Piano Quintet No. 2 in A Major, Op. 81 Lynn and Brian Grant Family Allegro ma non tanto Dr. Martin Greene and Kathleen Wright Dumka: Andante con moto—Vivace—Andante con moto Matthew and Christina Krashan Scherzo (Furiant): Molto vivace Hans and Kristin Mandt Finale: Allegro Cecilia Paul and Harry Reinert Mina B. Person Don and Toni Rupchock

Eric and Margaret Rothchild Shroud, by Mark-Anthony Turnage was co-commissioned by the Chamber Music Society of David and Marcie Stone Lincoln Centre, Meany Center for the Performing Arts, Chamber Music Houston, Tuesday Gregory Wallace and Craig Sheppard Musical Association, Segerstom Centre for the Arts, Wolf Trap National Park for the Performing Arts, Berliner Philharmoniker and by Wigmore Hall with the generous support of Peter and Sonia Field.

encoreartsseattle.com A-19 About the Program EMERSON STRING QUARTET

String Quartet No. 4 in D Major, Op. 83 movement appends a brief coda. The music In 2016, Turnage composed the five- Dmitri Shostakovich (1906–1975) is songful but tinged with nervousness. movement string quartet Shroud, motivated by the death of two close After truly threatening artistic repression The following Andantino in the distant key friends. Naturally, the music conveys a during the Stalinist purges of the 1930s, the of F Minor begins as a slow and sad waltz, mournful quality. Its harmonic language war years that followed offered composers its melody shifting between the first violin is effectively and emotionally deepened greater leeway in the national effort to deal and the cello before undergoing further by a savvy blending of dissonance and with the horrors of the Nazi invasion. Three development. A feeling of quiet, mournful intermittent tonality. The Emerson Quartet years after the end of the war, fearsome rapture informs the movement, which gave the premiere in Akron, Ohio on policies again descended ominously over draws to a hushed F-Major close. September 27, 2016. the Soviet Union under Andrei Zhdanov’s infamous “Resolution on Music.” Having Mutes attached, the fleet but antsy Allegretto The initial movement, Threnody, opens witnessed the shifting tides of governmental opens with a driving ostinato courtesy of with intensity conveyed by dissonance, control over the arts, Shostakovich sensed the second violin and viola before the cello though by no means with stridency. A that strict control could return at any time. introduces the primary theme, which is searching violin theme emerges over With that possibility in mind, his music soon handed to the first violin. A second cello pizzicatos, soon joined by the viola. often seems to sail perilously in seas of motive is shared by the first violin, viola and Throughout the movement, a recurrent intentional ambiguity. In the wake of the cello before yet another theme is presented pedal point from the cello underpins Zhdanov threat, Shostakovich tabled several by the second violin and viola. All three the palpable sense of grieving. A tonal works he’d been working on, waiting for a fragments are integrated in the coda, which section along the route suggests solace, time when they might be performed in a does not end on a cadence but is linked though it also serves to highlight the more cordial atmosphere. These included directly to the Allegretto finale by a held note overall dissonance that expresses his deeply moving Violin Concerto No. 1 on the viola. inconsolable grieving. Occasionally, and his String Quartet No. 4 in D Major, Op. slashing chords add further pain. 83, both of which reflected the composer’s The finale, longest movement of the abhorrence for age-old Russian anti- Quartet, boasts melodic and rhythmic The short first of two Intermezzos is Semitism (and the horrors of the Holocaust) material inspired by Jewish folk material populated by brief phrases and fragments and his attraction to Jewish folk music. elaborated in the busy, often frenetic interrupted by brief silences. Harsh Since the use of folk materials was central development section. Cello pizzicatos figures are pitted against pizzicatos. to Socialist Realism, Shostakovich initially lend urgency. After a bold reprise of The central March is a kind of macabre felt secure in drawing from Jewish culture. the movement’s introductory motive dance (of Death?). The cello’s plucked Still, the underbelly of Soviet tolerance for Shostakovich returns to the work’s tonic accompaniment acts as a drummer setting Jews was only skin-deep, as shown by the D-Major tonality with a high harmonic “D” the pace for the other instruments. Yet this bogus Jewish Doctor’s Plot that accused from the cello over chords from the other is a quiet march, with the recurring cello’s Jewish medical people of having murdered instruments. “oom-pah” suggestive of a walking, even a prominent Russian bureaucrat. Sensing slogging, march pace. a real threat, Shostakovich allowed the Quartet to languish until the death of Stalin Shroud (2016) Like the first Intermezzo, this one is also on March 5, 1953 (on the same day that Mark-Anthony Turnage (b. 1960) quite short and is possessed of a rough- Prokofiev passed). edged rhythmic jauntiness, hinting at a Mark-Anthony Turnage is the famous— rustic dance. A central aspect of Jewish folk song and some have described him as “notorious”— humor is joking about life’s pain, i.e., it’s British composer of the opera Anna Nicole, The concluding Lament more or less better to laugh in the face of misfortune its eponymous subject even more widely reprises the mood of the opening than to cry! As one negotiating a path characterized by that adjective than its movement, opening in a mood of quiet through censorship and Stalinist purges, creator. He is among his country’s leading eeriness. Here the music seems sad rather Shostakovich found a kindred spirit in musicians, having honed his craft under than vehement, as if the composer had fraught Jewish culture. three important fellow composers: Oliver gone through the stages of grief from Knussen, John Lambert, and later with U.S.- anger to partial acceptance. The melodic The Quartet’s opening Allegretto is initiated born Gunther Schuller. One of Turnage’s material is characterized by wide intervals by a Jewish-sounding theme played by the early and continuing advocates has been between neighboring notes. At one point, violins over a drone-like note sustained Hans Werner Henze. Turnage served as a quivering, shimmering background by the viola and cello. Soon the two lower Composer in Association with the City of suggests the quaking of the soul, pitted range instruments enrich their line with Birmingham Symphony Orchestra when against ongoing angular thematic material. new complementary melodic content. that ensemble was led by Simon Rattle The music quiets again, though still After developing the various fragments, the (1989–1993). responding to inner grieving.

A-20 UW WORLD SERIES Piano Quintet No. 2 in A Major, Op. 81 a vehement alternative version that is The Scherzo makes use of a traditional Antonín Dvořák (1841–1904) forcefully articulated by the two violins. Czech Furiant, a wild dance whose very title Excursions into minor tonalities underscore captures the essence of its ardor. Of special Nationalism in the Romantic era introduced the volatility of the emotions. The brilliant note is the calm and utterly beguiling Trio, a new, often exotic, musical vocabularies that development section demonstrates musical picture of rural charm. entranced concert audiences throughout Dvořák’s mastery of classic sonata form Europe and America. Antonín Dvořák and variation, no doubt achieved through The Finale leaps forward with unstoppable represented salutary nationalism in music. his intimate knowledge of Brahms’ scores. fervor, drawing energy from its dotted Essentially non-political, he was proud The movement closes dramatically as the main theme; a bit of folk-fiddling adds a of his region’s rich cultural legacy, yet opening theme is further animated by dash of local color even as the composer remained wholly free of the racist dark assertive octaves in the piano part. transform this rustic gesture into a learned side of extreme nationalism. Early on he but vital Fugato, another reflection of his felt the sting of prejudice in his fight to The ensuing Dumka, a Ukrainian song of Brahmsian inclination. A final ploy surprises get publishers and promoters to use the lament much used by Dvořák, is formally us: Dvořák ends the work in a mood of Czech version of his first name—Antonín— a Rondo, where the sad Dumka tune quiet, dreamlike reverie. instead of the “preferred” German—Anton. serves as the connective link between Furthermore, his most ardent support contrasting episodes. Here, too, the © 2017 Steven Lowe initially and for many years came from music explores a wealth of moods often captivated musicians and audiences in achieved by disguising the recurring non-Czech areas, predisposing him toward theme through changes in overall shape, an all-embracing humanity. Among fellow tempo and texture. A brief, very fast composers his strongest ally was the amply central section is a clever permutation German Johannes Brahms. Dvořák’s own of the doleful main theme. musical enthusiasms reached far beyond his Bohemian countryside; many of his orchestral works revel in a Wagnerian sound world, while others demonstrate a Brahmsian cast most noticeable in the great FACULTY RECITAL Symphony No. 7 in D Minor. A third group, typified by the Slavonic Dances and Eighth Symphony, speak in native Czech accents, CRAIG SHEPPARD his “natural” musical language. SÆUNN Dvorák’s ample chamber music reveals both and Brahmsian and Bohemian aspects. Even THORSTEINSDÓTTIR when strongly Brahmsian, Dvorák infuses the textures with melodic snippets and chord progressions unequivocally Czech, and in the midst of his most unbuttoned Czech rusticity, a rigorous formal schema evokes the mental processes of Brahms.

His fine Op. 81 Piano Quintet, one of the true thoroughbreds among chamber works from the Romantic era, dates from 1887 when he was living on his brother-in-law's estate at Vysoká, a country village not far Beethoven: Sonata in A Major, Op. 69; from Prague. Written quickly by a composer César Franck: Sonata in A major, at the height of his creative powers, the and other works. Quintet is charged by sudden mood shifts that parallel his basic personality. Episodes Tues. April 4, 2017 of melancholy yield to buoyant optimism, 7:30 pm Meany Theater anxiety to serenity. Such emphatic shifts are readily apparent in the middle of the ArtsUW TICKET OFFICE 206.543.4880 first movement. Sweet and lyrical, a tune WWW.MUSIC.WASHINGTON.EDU for cello over rippling piano morphs into

encoreartsseattle.com A-21 About the Artists EMERSON STRING QUARTET

Turnage’s Shroud (co-commissioned by CMS). Former Emerson cellist David Finckel appeared as a special guest for Schubert’s Quintet in C Major. In May 2017, legendary pianist Maurizio Pollini will join the Quartet for a performance of the Brahms Quintet at Carnegie Hall. Additional highlights include a concert with clarinetist David Shifrin as part of the Quartet’s season-long residency at Chamber Music Northwest in Portland, Oregon, as well as a collaboration with cellist Clive Greensmith for the Schubert ABOUT EMERSON STRING QUARTET The arrival of Paul Watkins in 2013 has Quintet at the Soka Performing Arts had a profound effect on the Emerson Center in California. The Emerson The Emerson String Quartet has Quartet. Watkins, a distinguished soloist, continues its series at the Smithsonian amassed an unparalleled list of award-winning conductor and devoted Institution in Washington, DC for its achievements over four decades: chamber musician, joined the ensemble 38th season, and the quartet members more than thirty acclaimed recordings, in its 37th season, and his dedication have been selected as Artistic Advisors nine Grammys (including two for Best and enthusiasm have infused the for Wolf Trap’s Chamber Music at The Classical Album), three Gramophone Quartet with a warm, rich tone and a Barns in Virginia, curating the series in Awards, the Avery Fisher Prize, Musical palpable joy in the collaborative process. celebration of its 20th season. America’s "Ensemble of the Year" and The reconfigured group has been collaborations with many of the greatest praised by critics and fans alike around Multiple tours of Europe comprise dates artists of our time. the world. “The Emerson brought the in Austria, Italy, Germany, Switzerland, requisite virtuosity to every phrase. Belgium, The Netherlands, Spain and the But this music is equally demanding United Kingdom (including Wigmore Hall emotionally and intellectually, and the for a 40th Anniversary Gala); the Quartet group’s powers of concentration and also visits Mexico for the Festival sustained intensity were at least as Internacional Cervantino. impressive." —The New York Times TOWN MUSIC Formed in 1976 and based in New York The 2016-2017 season marks the City, the Emerson was one of the first Emerson Quartet’s 40th anniversary, and quartets whose violinists alternated highlights of this milestone year reflect in the first chair position. In 2002, the all aspects of the Quartet’s venerable Quartet began to stand for most of artistry with high-profile projects and its concerts, with the cellist seated on collaborations, commissions and a riser. The Emerson Quartet, which recordings. Universal Music Group took its name from the American has reissued their entire Deutsche poet and philosopher Ralph Waldo Grammophon discography in a 52-CD Emerson, is Quartet-in-Residence at Project Trio boxed set. After recent engagements Stony Brook University. During the together at the Kennedy Center and spring of 2016, full-time Stony Brook April 19, 7:30pm Tanglewood, illustrious soprano Renée faculty members Philip Setzer and Fleming joins the Emerson at Walt Lawrence Dutton received the honor of Disney Concert Hall, performing works Distinguished Professor, and part-time by Alban Berg and Egon Wellesz from faculty members Eugene Drucker and their first collaborative recording, Paul Watkins were awarded the title of released by Decca in fall of 2015. The Honorary Distinguished Professor. In Chamber Music Society of Lincoln January 2015, the Quartet received the Center has programmed celebratory Richard J. Bogomolny National Service concerts at Alice Tully Hall, as well as in Award, Chamber Music America’s Chicago and Purchase, NY, in October: highest honor, in recognition of its the Calidore Quartet teamed up with significant and lasting contribution to the Emerson for the Mendelssohn the chamber music field. Octet, and the Emerson gave the Series Sponsors: New York premiere of Mark-Anthony

A-22 UW WORLD SERIES About the Artists CRAIG SHEPPARD MEANY HALL INFO

CELL PHONES, CAMERAS & OTHER country, are employed in many schools ELECTRONIC DEVICES and universities around the world. Please turn off these devices before performances.

In June of 2016, Sheppard taught and INFRARED HEARING DEVICES performed at the Jerusalem Music Meany Hall (main stage) is equipped with Center at the behest of Murray Perahia, an infrared hearing system. Headsets are available at no charge. Please speak with their President. He will return to an usher. A driver's license or credit card Jerusalem in June of this year to teach, is required as collateral. and in March of 2018 will perform Bach’s Art of the Fugue. He will also EVACUATION In case of fire or other emergency, please do a residency at the Cheathams Born in Philadelphia, Craig Sheppard follow the instructions of our ushers, who graduated both the Curtis Institute in Summer School in Manchester, are trained to assist you. To ensure your safety, please familiarize yourself with Philadelphia and the Juilliard School in England, this coming August, in addition the exit routes nearest your seat. New York, studying with Eleanor Sokoloff to a performance of the complete and Sasha Gorodnitzki respectively. Shostakovich Preludes and Fugues. SMOKING POLICY During summers at Marlboro, he also Smoking is not permitted on the worked with Rudolf Serkin and Pablo In 2010, Sheppard founded the annual University of Washington campus. Casals, subsequently doing a Music from Seattle Piano Institute with colleague PROGRAM CHANGES Marlboro tour. In London, he worked with Robin McCabe, a boot camp for aspiring young pianists, now coming into its All programs, dates and artists are subject Ilona Kabos, Peter Feuchtwanger and Sir to change. Clifford Curzon. eighth and highly successful season (seattlepianoinstitute.org). Sheppard’s LOST AND FOUND Contact the House Manager immediately In 1972, Sheppard gave his New York debut discography is prolific, and can be found on the Roméo label (romeorecords.com). following the performance or contact the at the Metropolitan Museum of Art. Six Meany Hall House Manager's office at months later, he won the Silver Medal at More info can also be had on Sheppard’s [email protected] or 206-543-2010. the Leeds International Piano Competition, website, craigsheppard.net . launching his international career. Moving to the U.K. the following year and living there for the next twenty years, Sheppard taught at the Guildhall School of Music and Drama and the Yehudi Menuhin School for gifted children, and performed with all the THE UW HARRY PARTCH ENSEMBLE, major orchestras throughout Great Britain CHARLES COREY, DIRECTOR, PRESENTS on multiple occasions, plus many on the HARRY PARTCH European continent, including the Berlin Philharmonic and the orchestra of La Scala, Milan. In this country, he has appeared with the orchestras of Philadelphia, Boston, Chicago, San Francisco, Atlanta, Rochester and Dallas, among others, and with conductors including Erich Leinsdorf, A MUSIC DANCE DRAMA Sir Georg Solti, James Levine, Michael Tilson Thomas, Kurt Sanderling, Esa-Pekka Twentieth century maverick composer Harry Partch turned Sophocles’s Salonen, Sir Charles Mackerras, Sir John Oedipus play into a visual and aural extravaganza, combining spoken word, Pritchard, Sir Andrew Davis and Leonard instrumentation, and dance into a multi-genre theatrical work. Slatkin.

In 1993, Sheppard came to the University May 5 & 6, 2017 - 7:30 pm of Washington School of Music, achieving May 7, 2017 - 2 pm Full Professor in 2004. He travels Meany Theater frequently to the Far East to give concerts ArtsUW TICKET OFFICE and master classes, as well as New Zealand 206.543.4880 and Australia. In 2012, he held a residency WWW.MUSIC.WASHINGTON.EDU at the Melba Conservatory of the University of Melbourne. His many students over the years, both in Great Britain and this

encoreartsseattle.com A-23 FRIENDS OF MEANY CENTER Many thanks to the following donors whose generous support make our programs possible:

PRODUCER’S CIRCLE Cynthia and Christopher Bayley Suzanne Dewitt and Ari Steinberg ($25,000+) Mel Belding and Kathy Brostoff Toby Diamond Luther Black and Christina Wright Jeanne Dryfoos Nancy D. Alvord William D. Bollig Luis Fernando and Isabel Maria Esteban Katharyn Alvord Gerlich Kalman Brauner and Amy Carlson Thomas Faber and Laura Townsend Faber Glenn Kawasaki, Ph.D. Virginia Burdette and Gary Wieder Gary Fuller and Randy Everett Hans and Kristin Mandt William Calvin and Katherine Graubard Janet Geier and Peter Seitel Cecilia Paul and Harry Reinert Robert and Janitta Carithers Sergey Genkin Mina B. Person Eric and Susan Carlson Susan and Richard Hall Thomas Clement Steven Haney DIRECTOR’S CIRCLE Consuelo and Gary Corbett Larry Harris and Betty Azar (between $10,000 and $24,999) Leonard Costello and Patricia McKenzie Phyllis Hatfield Linda and Tom Allen Richard Cuthbert and Cheryl Redd-Cuthbert Steve and Sarah Hauschka Linda Armstrong Anita and Jack Dingrani Kara D. Hefley Gail Erickson and Phil Lanum Susan and Lewis Edelheit Peter Hiatt and Ronald Hunden Lynn and Brian Grant Family Dr. Melvin and Nanette Freeman Tuck Hoo Hugues Hoppe and Sashi Raghupathy Bill and Ruth Gerberding Bronwen Houck Catherine and David Hughes William Gleason Randy and Gwen Houser Sally Schaake Kincaid Torsten and Daniela Grabs Michael Hunter Marcella D. McCaffray Kyra Hokanson Gray Melanie Ito and Charles Wilkinson Eric and Margaret Rothchild Carolyn and Gerald Grinstein Paul Kassen Maryanne Tagney and David Jones Betz Halloran Deborah Katz Ellen Wallach and Thomas Darden Wolfram and Linda Hansis David Kimelman and Karen Butner Hylton and Lawrence Hard Kelly Kleemeier and Dave Dickson SERIES BENEFACTOR Michael Heltsley Frank and JoAnna Lau (between $5,000 and $9,999) Ernest and Elaine Henley Michael Linenberger and Sallie Dacey Susan Herring and Norman Wolf May and Wah Lui Warren and Anne Anderson Erica Hilario Tomilynn and Dean McManus Sharon Gantz Bloome Paul and Alice Hill Ramona Memmer and Lester Goldstein Stephen and Sylvia Burges Peter Hoffmeister and Meghan Barry John and Gail Mensher Manisha and Devindra Chainani Mary and Emily Hudspeth Stephen Metzler and Almudena de Llaguno Heidi Charleson John and Annick Impert Linda and Peter Milgrom Michelle and Matthew Galvin Ilga Jansons and Michael Dryfoos Susan P. Mitchell Hellmut and Marcy Golde Otis and Beverly Kelly Kevin Murphy and Karen Freeman Yumi Iwasaki and Anoop Gupta Susan Knox and Weldon Ihrig James and Pamela Murray Matthew and Christina Krashan Leander Lauffer and Patricia Oquendo Erika J. Nesholm Bill and Meg Morgan Corrinne Martin and Gary Horsfall Eugene and Martha Nester Chelsey Owen and Robert Harris Barbara Martyn Anne and Bill Nolan Lois H. Rathvon Tomilynn and Dean McManus Amanda Overly Blue and Jeff Resnick Tom McQuaid, in memory of Bill Gerberding Ron Pederson and Jeff Sakuma Don and Toni Rupchock Christopher and Mary Meek John Rochford and Nick Utzinger Joseph Saitta Craig Miller and Rebecca Norton Dick Roth and Charlene Curtiss Dave and Marcie Stone Margaret Dora Morrison Werner and Joan Samson Donald and Gloria Swisher John O’Connell and Joyce Latino Cathy Sarkowsky Richard Szeliski and Lyn McCoy Jerry Parks and Bonny O’Connor Dolores Gill Schoenmakers Gregory Wallace and Craig Sheppard John O’Leary Michael Scupine and Kim Gittere-Abson George Wilson and Claire McClenny Richard and Sally Parks Edward Sheets and Ronda Skubi Jeannette M. Wing Alice Portz and Brad Smith Marcia Sohns and Mark Levy Mark and Amy Worthington Tina and Chip Ragen Clark Sorensen and Susan Way Dr. Martin Greene and Kathleen Wright Eric Schlegel and Mary Stout Peter Tarczy-Hornoch and Candice McCoy

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A-24 UW WORLD SERIES Elizabeth Cantrell C. Bert Dudley / Elizabeth Duffell / Cliff Eastman / / Shirley Zaic and Eric Johnson / Robert Zauper / Harry and Sue Chan Sheila Edwards-Lange and Kip Lange / Ian Einman / Lawrence Zeidman and Linda Tatta / Maxine Zemko Daniel and Sandra Ciske Lynne and Hollie Ellis / Penelope and Stephen Ellis Cherie Claire / Jean Burch Falls / Alan and Jane Fantel / Polly and FRIEND Leonard and Else Cobb Eric Feigl / Jacqueline Forbes and / Douglas Bleckner (between $50 and $99) Leroy and Marybeth Dart / Julie and Steven Friedman / Lucille Friedman / Kenneth Dayton William Friedman / Susan and Albert Fuchs / Kai Anonymous / Michelle Acosta / Cynthia Adams / Arlene B. Ehrlich Fujita / Melissa Fulton / Sarah Skye Gilbert / George Claudia and Thomas Allan / Michael and Elizabeth Pamela Fink and Michael Bevan Gilman / J. 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Michael Thompson / Gertrud Tobiason / Emily KEY PLAYER Robert Romeo / Gail Sailer / Jennifer Salk and David Transue / Frits van Oppen / John Vistica / Gail and Ehrich / Laura Sargent / Joachim Schneider and John Wasberg / Christine Westergaard / David Wine / (between $100 and $249) Jolene Vrchota / Charles Schooler / Janet Schweiger Becky Woodworth Anonymous / Ann Adam / Laila Adams / James Adcock / Jean Schweitzer / Charyl and Earl Sedlik / Norman and Anne Otten / Kathryn Alexandra / Frank and Hollingshead / Mark and Patti Seklemian / Robbie This listing includes donors ($50 and above) to Meany Nola Allen / Dick Ammerman / Lauralyn Andrews Sherman, / M.D. and Charles Meconis / Beverly Center for the Performing Arts from July 1, 2015 / Timothy D. and G. Anthony Barrick / Marianne Simpson / Roger Simpson and Jeffrey Cantrell / John to June 30, 2016. To change your program listing Beirne / Mike and Marie Bender / G. Carter Bentley Sindorf and Mary / Ann Bolte / Virginia Sly / Mani or correct an error, please call us at 206-685-2819. and Lynda Emel / Robin Bentley / Andrew Bertino- and Karen Soma / Sarah Stanley and Dale Rogerson Contributions to Meany Center are tax-deductible to Reibstein / David Bird / Beverly Bodansky / Helen / Allyn and Douglas Stevens / Christopher and Heidi the extent allowed by law. To make a gift or for more Bodkin / Michael Bolasina / Gene Brenowitz and Stolte / Derek Storm and Cynthia Gossett / Carol information on donor benefits, please call 206-685- Karen Domino / Joyce and David Brewster / Carl Swayne and Guy Hollingbury / Renata Tatman 2819 or visit meanycenter.org/donate. Brodkin / Dianne Calkins / Carol and Henry Cannon and Pablo Schugurensky / Thomas Taylor / Mark III / Frances Carr / Robert Catton / Pamela and Robert Teitelbaum / Sue Thomas / Mary Anne Thorbeck / MATCHING GIFTS Center / Robert and Molly Cleland / Libby Cohen / Barbara Trenary / Dorene and Dennis Tully / Phyllis Adobe Systems, Inc. / ArtsFund / AT&T Foundation R. Bruce and Mary Louise Colwell / Karen Conoley Van Orden / Yvonne and Bruno Vogele / Patricia Wahl / The Boeing Company / City of Seattle / East and Arthur Verharen / Jan and Bill Corriston / Kathy and Dean Wingfield / Lenore Waldron / Michael Wall West Bank / Google, Inc. / IBM Corporation / Cowles and Bradford Chamberlain / Karen and Philip / Martha Walton / Margaret Watson / Taylene Watson Intel Corporation / Merck Company Foundation / Craven / Jean Crill / Gavin Cullen and David Jamieson / Larry and Lucy Weinberg / Richard and Ann Weiner Microsoft Corporation / Nintendo of America, Inc. / Judy Cushman and Robert Quick / John Darrah and / Barbara Weinstein / Leah Wener-Fligner / Bruce / Puget Sound Energy / Shell Oil Company / State Elizabeth Dickerman Darrah / The de Soto Family / and Christine White / John and Margaret Williams / of Washington / T-Mobile USA, Inc. / U.S. Bank / Janice DeCosmo and David Butterfield / Dr. Barbara Judy and Raymond Williams / Karin Williams / April Wells Fargo, LLC DeCoster / Theodore Dietz / Susan Dittmann / Ann and Brian Williamson / Barbara and Grant Winther Dittmar / Susan and David Dolacky / David Doody / Carolyn Wood / Evgueni and Tatiana Zabokritski Italics denotes membership in Meany Society and Michael Erickson / Nancy Dorn / Laurie Ann and

encoreartsseattle.com A-25 ENDOWMENT & PLANNED GIFTS We would like to thank the following individuals for supporting the future of Meany Center 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 Andrew Bertino-Reibstein Douglas and Joan Stewart

Ellsworth and Nancy Alvord Ioana Butoi Robby Thoms

Wimsey J.N. Cherrington Linda and Peter Capell Wayne Thurman

Consuelo and Gary Corbett Chris Casazza Larry Todd

Bill and Ruth Gerberding Gwyneth Casazza Marina Toropov

Matthew and Christina Krashan Wimsey J.N. Cherrington Anh Tran

Margaret Dora Morrison Brian Cole Raymond and Judy Williams

Mina B. Person Peter and Beatrice Crane Grant and Barbara Winther

Lois Rathvon Gary Crispin Katherine M. Wurfel

Dave and Marcie Stone Rachel Demotts Robert Zauper

Donald and Gloria Swisher Susan Dittmann

Lee and Judy Talner Paulette Elster Meany Center Education Endowment

Ellen J. Wallach Kai Fujita Kalman Brauner and Amy Carlson

Virginie Grange Ernest and Elaine Henley*

Arts AL!VE Student Fund for Dandan He Julie Kageler

Exploring the Performing Arts Jim Hessler Matthew and Christina Krashan*

Susan Knox and Weldon Ihrig* Alistair Hirst J. Pierre and Felice Loebel*

Renata Tatman and Pablo Schugurensky Dobrila Istocki Lee and Judy Talner*

Bernita Jackson

Meany Center Programming Endowment Janice Javier Matt Krashan Endowed Fund for

Windsor R. Utley* † Lorie Jones Artistic and Educational Excellence

Ralph Lusher in the Performing Arts

Nancy and Eddie Cooper Endowed Fund Kara Niedner Jill Hanley Conner for Music in Schools Sergio Ortega-Trujano (multiple founders)

Lucille Friedman Nichole Parr

Dave and Marcie Stone*, in memory of Pascal Picat * Endowment Founder

Mina Fleisher Cecilia M. Paul and Harry F. Reinert* † Deceased

Matt Reichert

Cody Ring-Rissler

Elaine and Ernest Henley Endowment Nubia Rojas-Blas for Classical Music Judy See

Ernest and Elaine Henley* Danny Shih

Daniel Skaggs

Catherine and David Hughes Asian Jonathan Srsen

Programming Endowment Christopher and Heidi Stolte

Catherine and David Hughes* Richard and Ann Weiner

Yumi Iwasaki Raymond and Judy Williams

Anoop Gupta George Wilson and Claire McClenny

This listing includes endowment founders and endowment donors from July 1, 2015 to June 30, 2016. For more information on how to make a gift through your will or trust, or to name Meany Center for the Performing Arts as a beneficiary of your retirement plan or insurance policy, please call 206-685-1001 or 800-284-3679 or visit www.uwfoundation.org/giftplanning.

A-26 UW WORLD SERIES MEANY CENTER SEASON SPONSORS We are deeply grateful to the following corporations, foundations and government agencies whose generous support make our programs possible:

$100,000 AND ABOVE COMMUNITY PARTNERS

The Andrew W. Mellon Foundation Arts Impact / ArtsUW / Department of Near Eastern Languages and Civilization / Henry Art Gallery / Ladies Musical Club /

$25,000 AND ABOVE Langston Hughes Performing Arts Institute / Seattle Art Museum / Seattle Asian Art Museum / Seattle Collaborative Orchestra / Seattle The Boeing Company / Classical KING FM 98.1* / Doris Duke Music Partners Seattle Public Schools / UW Alumni Association / Charitable Foundation / National Endowment for the Arts / Nesholm Family Foundation UW Dance Program / UW Intellectual House / UW Libraries / UW Residential Life Program / UW School of Drama / UW School of Music / Velocity Dance Center $10,000 - $24,999

4Culture / ArtsFund / Microsoft / New England Foundation BUSINESS CIRCLE SPONSORS for the Arts / Peg and Rick Young Foundation / Seattle Offi ce of Arts & Culture Agua Verde Cafe and Paddle Club / Classical Wines from Spain / College Inn Pub / Hotel Deca* / Finnriver Farm & Cidery* / Fran's

UP TO $9,999 Chocolates* / Macrina Bakery* / Madres Kitchen* / Pagliacci* / North City Bistro* / Theo Chocolate* / Tom Douglas Restaurants* / Banner Bank / East West Bank / KEXP 90.3 FM* / KUOW 94.9 FM* / Ladies Musical Club / U.S. Bank / Washington State Arts University Inn* / Watertown Hotel* Commission / Western States Arts Federation * Denotes full or partial gift in kind.

Join an impressive roster of companies of all sizes that support Meany Center, its mission, and its performances. Sponsors receive signifi cant recognition throughout the season and an array of benefi ts catered to your organization's goals. For more information, please contact the Meany Center Philanthropy Department at (206) 221-1287.

encoreartsseattle.com A-27 MEANY CENTER & ARTSUW TICKET OFFICE STAFF

Michelle Witt, Executive and Artistic Director Katrina Deininger, Patron Services Associate Rita Calabro, Managing Director Keeli Erb, Patron Services Associate Patrick Walrath, Patron Services Associate Scott Coil, Director of Finance and Administration Cathy Wright, Patron Services Associate James Fesalbon, Fiscal Specialist Yevgeniy Gofman, Accountant Patron Services Assistants Jasmine An Laura McKee, Tessitura Administrator Jason Cutler Gretchen Shantz, IT Administrator Leanna Keith Kendra Stricklin Cristi Benefield, Director of Philanthropy Abbey Willman Marie Lazzaro, Annual Giving and Events Manager Angela Yun Alix Wilber, Grants and Communications Manager Lauren Zawacki, Philanthropy Assistant Lead Ushers Jamee Adams Elizabeth C. Duffell, Director of Artistic Engagement Hayden Campbell Kaeline Kine, Artist Engagement Coordinator Duncan Greeley Jyana Browne, Creative Fellowships Coordinator Robert Babs, Education and Outreach Associate Ushers Daphne Gomez, Education Assistant Andy Abel Katherine Kruger, Dance Engagement Intern Reiane Abuda Altaire Anderson Teri Mumme, Director of Marketing and Communications Sophie Baker Jill Becker, Assistant Director of Marketing and Communications Danielle Blevens Rob Noland, Graphics Production & Content Coordinator Mitchell Estberg Kate Dugdale, Audience Development Assistant Laura Freeman Son Bui, Marketing Assistant Eli Gallagher Arthur Grossman, Phil Lanum, Bruce Clayton Tom, Photographers Natalie Harrington Laura Keil Tom Burke, Technical Director Pearl Lam Brian Engel, Lighting Supervisor Lindsey Mizell Juniper Shuey, Stage Manager Shanay Mohamed Matt Stearns, Sound Engineer Raine Myrvold Doug Meier, Studio Theatre Stage Technician Payal Muni Evelyn Seo Nancy Hautala, Audience Services Manager Owen Stevens Tom Highsmith, Lead House Manager Leah Stoller Noah Duffy, House Manager Ashley Techavimol Sean Luscombe, House Manager David Wall Becky Plant, House Manager Daniel Kaseberg, Assistant House Manager Nina Tosti, Concessions Lead Kaitlyn Havenner, Barista Zico Deng, Concessions Assistant Catering by Rosa Alvarez, Director of Patron Services Liz Wong, Assistant Director of Patron Services

MEANY CENTER ADDRESS & CONTACT INFORMATION Meany Center for the Performing Arts ArtsUW Ticket Office University of Washington, 1313 NE 41st Street Box 351150 Seattle, WA 98105 Seattle, WA 98195-1150 Ph: 206-543-4880 | Toll-free: 800-859-5342 | Fax: 206-685-4141 Ph: 206-543-4882 | Fax: 206-685-2759 Email: [email protected] meanycenter.org Office Hours: Mon-Fri, 11 a.m. – 6 p.m.

A-28 UW WORLD SERIES Mix and Match

Curtain call, Genre Bender 2016. Photo by Robert Wade

City Arts sparks Selecting the artists for Genre Bender “We’re in a unique position to use our isn’t just a matter of which artists are own network of relationships to bring dozens of unexpected, most interesting to creative director people together who don’t know each interdisciplinary Jennifer Zeyl and City Arts editor in other,” says Baltus. “We think about how collaborations with chief Leah Baltus—there are plenty of their interests and styles would meld, artists they would love to showcase— where their aesthetics overlap before Genre Bender. but the task at hand is to build a cohort matching them up. Ideally we hope of diverse voices, perspectives and that the pairs help each other expand creative disciplines that will intersect their practice and try new things— in unexpected ways. It’s a special which explains how a musician ends kind of producing, more like artistic up dancing and a visual artist ends up matchmaking than traditional casting or puppeteering on stage.” curation. The artist relationships that make up Genre Bender is an original event Genre Bender are all about trust: trusting produced by Seattle’s City Arts magazine. the producing team to set the artists Produced annually since 2011, the event up for success and trusting the artist's' pairs up 10 outstanding artists from the creative processes to lead to something local community and commissions them compelling. The reward for this risk to create all-new, multidisciplinary short lies in the relationships that develop in performances, which are presented in each year’s Genre Bender cohort, in the revue. ways they teach each other to expand their creatives skills and practices, and The artists almost always start as in the fresh performances they create strangers—sometimes they know each by exploring ideas with a wide palette of other’s work or have friends in common, tool at their disposal. The fundamental but usually they sign on to the project as goal of Genre Bender is cross-pollination a leap of faith. First meetings between of the local arts community—building the artists often begin like blind dates. Continued on page 14

encoreartsseattle.com 9 “We’re in a unique position to use our own network of relationships to bring people together who don’t know each other.” — Leah Baltus, City Arts editor in chief

Mark Mitchell & Marya Sea Kaminski Artist and costume designer Mark Mitchell (left) and writer, director and performer Marya Sea Kaminski joined forces for Genre Bender 2014. Several months later, Mitchell designed costumes for Intiman Theatre’s production of Angels in America, including an epic, winged costume for Kaminski as the Angel. Photo by Chona Kasinger

10 ENCORE STAGES Erik Blood & Markeith Wiley Erik Blood (left), a musician and producer, collaborated with dancer, choreographer and storyteller Markeith Wiley (second from left) during Genre Bender 2016. The two created a new piece for the KEXP stage at Bumbershoot the following summer and continue to work together in various ways.

Photo by Robert Wade

Ahamefule Oluo & Jennifer Zeyl Musician, comedian and storyteller Ahamefule J. Oluo (right), collaborated with choreographer, dancer and poet ilvs strauss (left) for Genre Bender 2014. After working with creative director Jennifer Zeyl (not pictured), Oluo brought Zeyl on to production manage his celebrated mixed-media performance Now I’m Fine. Now I’m Fine was in the Public Theatre’s Under the Radar Festival in New York last year and traveled to Baltimore in February. Photo by Chona Kasinger

encoreartsseattle.com 11 Business, meet box office.

Encore Media Group connects businesses and brands to the best of arts & culture in Seattle and the Bay Area. We’re proud to have published programs for Seattle-area arts organizations since 1976. From jewelers and restaurants to galleries and schools, smart business owners know Encore is the best way to get their brand in the spotlight.

To learn what Encore can do for your business, visit encoremediagroup.com. Trent Moorman & Lusine Drummer Trent Moorman (pictured) was paired with electronic music artist Lusine in 2014. The two are still making music together; in March Moorman joins Lusine on tour in Hong Kong as his live drummer.

Photo by Chona Kasinger

Hanna Benn & C. Davida Ingram After musician and composer Hanna Benn (right) worked with conceptual artist and writer C. Davida Ingram for Genre Bender 2015, they went on to create a new commission this February as part of a North Corner Chamber Orchestra concert celebrating Black American composers. Photo by Robert Wade Photo by Robert

encoreartsseattle.com 13 Continued from page 9 bridges among the disciplines as a way of strengthening the community as a whole. Fan bases converge, giving audiences a chance to try something new.

“There’s something exciting and necessary about putting money down to support risk,” Baltus says.

What Genre Bender was created by Sara Edwards in 2011, when she was director of arts programing for City Arts Fest, a huge music and arts festival that ran from 2010–2012. When City Arts decided to discontinue the fest, Genre Bender stood out as something unique do you and valuable and worthy of mounting independently. In 2014, Jennifer Zeyl joined the project as creative director, and has stewarded the show ever since.

The connections made between artists creating pieces for Genre Bender are think? often just the beginning of fruitful collaborative relationships. <

Genre Bender 2017 March 3 – 5 Participate in the City Arts spring reader survey to tell us who you are, • Choreographer/Thunderpussy what you love, and what we can do frontwoman Molly Sides + street to make City Arts even better. artist No Touching Ground Plus: You could win some sweet prizes! • Rapper/storyteller Yirim Seck + filmmaker/conceptual artist DK Pan cityartsonline.com/survey • Visual artist/designer Mary Anne Carter + dancer/choreographer Dani Tirrell • Folk/blues musician Ben Hunter + filmmaker/activist Tracy Rector • Theatre artist HATLO + performer/ musician Shontina Vernon

Learn more at cityartsonline.com/genre-bender

14 ENCORE STAGES Intermission Brain Transmission Are you waiting the curtain to rise? Or, perhaps, you’ve just returned your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz!

Email us the answer to the last question and have a chance to win tickets to a show!

1) Dance Theatre of Harlem will be performing at the Paramount Theatre. What year was the company founded?

a) 1969 b) 1959 c) 1929 d) 1909

2) Dry Powder, a dark comedy, will be performed at Seattle Rep’s Leo K Theatre. What is its main focus?

a) American economy b) Immigration c) Women’s rights d) Police brutality

3) Yefim Bronfman, in concert soon at Meany Center for the Performing Arts, plays what instrument?

a) Piano b) Lute c) Violin Evidence of Things Unseen to be seen at Taproot Theatre. d) Sitar

4) Taproot is bringing a world 5) Nina Raine’s Tribes is to be showcased at premiere production to their stage, ACT. It won what award for Best Play? Bonus Question Evidence of Things Unseen, by local What was the last arts playwright Katie Forgette. At which a) Tony Award performance you attended theatres has she worked as an b) Drama Desk Award that you liked best and actor? c) Outer Critics Circle Award why? d) Obie Award Email your response to a) Seattle Repertory Theatre production@encoremediagroup. b) Seattle Children’s Theatre com with Trivia Quiz in the subject line. c) Intiman Theatre

d) All of the above

have also had premieres in Seattle. 5) B – Drama Desk Award. It won in 2012. 2012. in won It Award. Desk Drama – B 5) Seattle. in premieres had also have and plays, Her above. A Facility for Living, for Facility A Girls O’Conner The

premiered off-Broadway last year, starring Claire Danes, John Krasinski and Hank Azaria. 3) A – Piano. He appeared in Disney’s in appeared He Piano. – A 3) Azaria. Hank and Krasinski John Danes, Claire starring year, last off-Broadway premiered , playing a piece by Shostakovich. 4) D – All of the the of All – D 4) Shostakovich. by piece a playing , Fantasia 2000 Fantasia

ANSWERS ANSWERS 1) A – 1969. It was founded, in part, by Arthur Mitchell, the first African-American male dancer in a major ballet company. 2) A – American economy. Written by Sarah Burgess, it it Burgess, Sarah by Written economy. American – A 2) company. ballet major a in dancer male African-American first the Mitchell, Arthur by part, in founded, was It 1969. – A 1)

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