CANVAS PRESENTS
MEETING THE GHOSTS HOLLAND AND WW2 A LIVE MUSIC AND FILM EVENT HONORING BRAVERY AND LOSS.
A note from the creator: Amsterdam is all at once old and new. Towering darkened brick fortresses butt against jutting modern attacks of bright colors and asymmetrical structures. Every man, woman and child pedals through town - their rides appearing as though they had inherited them from their great-great-grandmother. Attitudes are current and keen and aware. Photography, architecture and jazz have their own definitions here. Artists boldly be themselves. Fashion is quirky. Individual. Bookshelves stand as the beacon of every home’s educational pulse. The stores close at 5pm and aren’t open on Mondays. People sit at a table near the front window, eating candlelight dinners with family. Winters are dark. Summers are light. Rain stops nothing and no one. These are hearty people. My husband David and I lived six years in the center of Amsterdam, the capitol city of the Netherlands. The last four of those years, we lived in a house on the Herengracht built in 1621. Our landlords - a married couple in their midsixties - became like family to us. Liesbeth (wife) had grown up in our home, as it had belonged to her parents before them. Before her parents lived in it, the place had been a bicycle factory. The room in which our daughter would spend her first year was the place factory workers would go to collect their weekly pay. One evening, Jan (husband) came over as he did on many occasions to tend to the mice who loved to frequent our kitchen. I wish I could remember now what led me to ask him about the War. What I remember more vividly than the details he gave is the humble and unassuming tone that saturated his words. “I grew up on a farm. During the War, my parents would hide young men who were
recruited by the German army…so they could escape the draft. During the famine, my father would help feed people if he could.” He continued, “But of course, LIesbeth’s parents - her father Jacobus especially - were quite involved in the Resistance here in Amsterdam.” At this, my mind began to start. “They would hide weapons for the Resistance downstairs in your basement. And Liesbeth’s father made false passports for people trying to the leave the city. They even hid Jews here in the house…until it became too dangerous.” “Dangerous? Did they get caught?” I asked. Pointing toward our front door, “The Nazis came through that door and took Jacobus out. They interrogated him three different times. Once, he was gone for days and returned missing some teeth. It’s a miracle he survived.” A history that had been so removed from my life in America was now surrounding me in the very walls of my home. The same front door that was pushed open. The same marble hallway down which boots had trod. The same walls that had hidden and miraculous not betrayed. Our walls. To the people who are swift and brave, to those who can’t defend themselves, to those who continue to love and write and create in spite of binding fear, we dedicate our efforts. We will remember, lest we forget.
- Lynn Hutchinson
MEETING THE GHOSTS HOLLAND AND WORLD WAR 2 A LIVE MUSIC AND FILM EVENT HONORING BRAVERY AND LOSS CREATED BY LYNN HUTCHINSON AND DAVID SHELDON EDGAR DAVID LOPEZ ARTUNDUAGA, CLARINET REBECCA CHUNG, VIOLIN IRA GLANSBEEK, CELLO GIGI RABE, ACCORDION LYNN HUTCHINSON, PIANO
SATURDAY SEPTEMBER 5, 2015 7.00 PM TEMPLE SINAI 3509 S. GLENCOE ST. 80237
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303.759.1827 / SINAIDENVER.ORG
MUSIC + FILM (+ MUSIC) ‘Feeling’ is a creative process. Our responses to suppression, fear, violence, kindness, risk and heroism change and grow as we do. So do live performances. Hearing live music is an opportunity to share in a moment. A moment that is created in the ‘now’. Every note has an ounce of uniqueness to it. From performance to performance, there are subtle shades of variety: A note is held a little longer here. A crescendo builds a little more there. A pause comes quicker and stays an extra beat.
thousands of hours becoming artists who can give this experience to people. History is frozen in the past and cannot be changed. But hearing and seeing live players connects our response today to things of the past. The choice to integrate a live score with film supports the primary message of “Meeting the Ghosts”: Our responses today to events of the past are deeply relevant. In addition to playing live to picture, players have the opportunity to share music written by Dutch composers suppressed or killed during the War.
These nuances are signs of humanity.
“I feel connected to the composers and their innermost thoughts through their music. The evocative phrases and harmonies guide my interpretation of each piece. It is an incredible honor and privilege to be bringing this music to life.
When we watch live musicians play, we can see in their body language and on their faces emotional responses to what is happening. They are a group of human beings investing in a purpose or story. They have each spent tens of
“Meeting the Ghosts” features an ensemble of world-class musicians from a variety of specialties within the music profession. Each of them brings an unique contribution to the personality of the project.
Even the most well-rehearsed program lives and breathes with the musicians who play it.
LOREM IPSUM DOLOR
MUSIC
LEO SMIT: SUITE POUR PIANO (1926) 1. Allegro 2. Andante 3. Vivace NICO RICHTER: TWO PIECES FOR VIOLIN AND PIANO (1942)
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ROSY WERTHEIM: SONATINE FOR CELLO (1906) 2. Andante DICK KATTENBURG: ROEMEENSE MELODIE (1944)
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FILM
“ MEETING THE GHOSTS: HOLLAND AND WORLD WAR TWO (2007/2015) by Lynn Hutchinson and David Elliot Sheldon 48 minutes feat. clarinet, violin, cello, piano , accordion *Additional selections : STRAVINSKY: Rite of Spring “Ritual of …” WHITACRE: “Lux Aurumque” performed by Polyphony .
LOST PIECES “Meeting the Ghosts” premiered in Amsterdam on 4 May (Holland’s annual Day of Remembrance) in 2008. This first iteration was made for an audience of Dutch nationals and English-speaking expatriates living in Amsterdam. Its intent was to give the community a place to learn and mourn together. Seven years later, in anticipation of the 70th anniversary of the end of the War, creator Lynn Hutchinson revisited the project and considered necessary changes for an American audience.
van Ruth. For nearly two decades, they have been collecting manuscripts and scores written by Dutch Jewish composers who were killed or suppressed during the War. But only in recent years have the scores come into small-run publication, and their research received due attention.” Ms. Hutchinson worked with the Leo Smit Stichting in the following months to secure manuscripts, scores and clearances for four pieces to be performed at the Los Angeles premiere of the revised version of “Meeting the Ghosts” on May 3rd, 2015. This was the first time these pieces had been played in the United States.
“I refreshed my research by re-reading everything I had studied before, as well as looking into new publications on the topic of Holland and World War 2. I knew that, seven years later, there would likely be new information and new statistics.
“It is an unexpected honor to be able to bring the work of these composers out of the attics and into the presence of a modern day audience. Creation and artistry go on. That much is clear. The story of how each composer’s work survived is yet another reminder how a creation can be as precious to us as a child.”
“I also had to make sure that the information contained in the documentary portion wouldn’t take for granted any foreknowledge of Dutch language or culture.” What she hadn’t anticipated was the discovery of what would become an inspiring new addition to her project.
“Meeting the Ghosts” begins with a twentyfive minute program featuring works by Leo Smit (1900-1943), Nico Richter (1915-1945), Rosy Wertheim (1888-1949) and Dick Kattenburg ((1919-1944).
“Through an academic colleague in Los Angeles, I came into contact with the Leo Smit Stichting - a Dutch organization founded by two musicians, Eleonore Pameijer and Frans
Scores and permissions provided by the Leo Smit Stichting, the Nederlands Muziek Instituut, and Donemus Publishing.
DE ONDERGEDOKEN CAMERA During the Occupation, photography and recording were heavily restricted. Unpermitted photography was an act punishable by imprisonment, or worse. In the final years of the War, there was a group of 30 photographers - professionals and hobbyists who took secret photos throughout Holland. Intending to capture the impending liberation, they ended up capturing images of resistance activities and the Hongerwinter - the devastating famine that took place the winter of 1944-45. These images were smuggled out of the country, convincing Allies of the pressing need to send aid to the Netherlands. The group of photographers was known as “De Ondergedoken Camera” - The Hidden Camera. Among them was photojournalist Cas Oorthuys. Cas and his wife Lydia were fierce resistance members and not adverse to risk-taking. Cas not only took photographs, but also took many Jews into hiding - an act that would land him in Amersfoort prison for three months. Fortunately, both Cas and his work survived. Cas was also instrumental in documenting the rebuilding of Amsterdam after the War. The creation of “Meeting the Ghosts” was made possible by the generous cooperation of the Nationaal Instituut voor Oorlog Documentaties (National Institute for War Documents) - who provided our photographs and film clips. To learn more about their work, visit niod.nl.
“WHAT, THEN, SHOULD WE DO?”
“GET TOGETHER AND TELL THE STORIES.” - MICHAEL “MIKI” POPIC, HOLOCAUST SURVIVOR 19 JANUARY 2015
MUSICIANS Violinist REBECCA CHUNG is a versatile musician, accomplished as a chamber musician and as an orchestral player. A pupil of Roland and Almita Vamos, Rebecca received her Bachelor of Music in Violin Performance from Northwestern University's Bienen School of Music. She continued her studies at The Juilliard School where she received her Master's degree under the tutelage of Naoko Tanaka. Rebecca is a member of the Santa Barbara Symphony Orchestra and New West Symphony, and frequently performs with The Pasadena Symphony, Pasadena Pops, and Opera Santa Barbara. As a freelance musician in Los Angeles, Rebecca records for television, film, and other new media.
GIGI “GEE” RABE is one of Southern California’s premiere accordionists. Ms. Rabe holds a Master’s degree in Ethnomusicology from the University of California, Los Angeles and a Bachelor’s degree in Performance from California State Long Beach. She has completed her Ph.D coursework in Ethnomusicology at UCLA. Her article “Aspects of Regional Difference and Performance Technique in Bulgarian Accordion Music” was published in the Journal of Musical Performance. Presently, she is working on a musical analysis of Balkan accordion performance. Performing since 1975, Ms. Rabe has won major awards for her performance, including the Accordion Federation of North America’s Virtuoso (Western) Classical and Virtuoso Jazz competitions. Her playing can be heard in animated films including “Monsters University,” “Puss in Boots,” “Ice Age 4,” and “Hotel Transylvania.” Other television appearances include The Jimmy Kimmel Show, The Young and the Restless, and KMEX-Univision Primera Edicion. Ms. Rabe has been a lecturer at CSU Northridge since 1995. She was also a teaching associate in the UCLA Department of Ethnomusicology where she taught on the subjects of music of Mexico, the Caribbean, Europe and the Americas, as well as the cultural history of Rap Music.
EDGAR DAVID LOPEZ ARTUNDUAGA has been the principal clarinet of Bogotá Symphony Orchestra since 2010. He has performed regularly as a soloist in Colombia and is often invited to play with the Simon Bolivar Orchestra, with Gustavo Dudamel as conductor, Symphony Orchestra of Colombia, Youth Colombian Philharmonic, Tolima Symphony Orchestra, Cundinamarca Symphonic Wind Ensamble. Being a member of the Clarinet Quartet - “Cadenza”, also gave clarinet lessons to young musicians of the different districts school in Bogotá D.C. In 2014, López was awarded with the Bruce Zalkind Memorial Endowed Music Award by The University of Southern California and the Youth Talent Award by the Salvi Foundation in the seventh International Music Festival-Cartagena 2013. He has been a first prize winner in the Latinoamerian Clarinet Competition Clariperu 2011, the “XIII Concurso Nacional de Interpretación” Superior Category 2011, the National Clarinet Competition Superior Category, third place winner of the National Clarinet competition EAFIT 2009 and second place winner in the Concurso Distrital de Clarinete 2008. Mr. Lopez was awarded with the Medal of Merit “Antonio Nariño” for excellence by the Senate of Colombia in 2009. Mr. López has performed various orchestral, solo and chamber concerts at venues across Colombia, Peru, Costa Rica, Brasil, and United States. López is currently pursuing his Master of Music in Clarinet performance degree at the University of Southern California in Los Angeles, CA under the tutelage of Yehuda Gilad. He received his Bachelor of Music degree from the National University of Colombia where he studied with Robert d’Gennaro.
Born and raised in Alaska, IRA GLANSBEEK moved to Southern California in 1998. He currently freelances in the Los Angeles area. He has performed with Los Angeles Master Chorale, Los Angeles Opera, Pasadena Symphony, Santa Barbara Symphony, Santa Barbara Chamber Orchestra, and Long Beach Symphony, among others. An avid chamber musician, Ira has worked and performed with members of the St. Petersburg, Lyris, Calder, Peterson and Manhattan string quartets. Ira has also performed and recorded with artists such as Placido Domingo, John Williams, Audra McDonald, Stevie Wonder, Barry Manilow, Peter Gabriel, Josh Groban, Mariah Carey, Avril Levigne and has been seen on the American Music Awards, America's Got Talent, The Ellen Show, and The Tonight Show. He is active in LA's recording scene, having played on numerous motion picture soundtracks and albums. From 2011 to 2013, Ira was the cellist for the Les Miserables 25th Anniversary National Tour, performing over 600 shows in 62 cities.
pianist at New York's Fashion Week, or writing orchestral arrangements, Lynn is a vibrant collaborator who is sought after for her ability to bring heart, mind and craft into every project. Lynn is the Artistic Director and resident composer and lecturer for CANVAS. “Meeting the Ghosts” premiered in Amsterdam (Netherlands) in May 2008 as part of a salon concert series called CANVAS. Founded by husband-wife duo Lynn Hutchinson and David Sheldon, CANVAS is an organization now based in Los Angeles that develops new chamber concert experiences that incorporate history, theory, and visual arts with live music. Concert subjects vary in genre, personnel and approach. They have created over twenty original programs, including: WATER: 10 Photo-Musical Fantasies RACHMANINNOF: Man + Machine WITCHES, BITCHES and BRIDGES: The (Not So) Common Audience for Opera and Graffiti LEONARD BERNSTEIN and the AMERICAN MUSICAL CONSCIENCE ANY WAY THE WIND BLOWS: Form and Motives in Queen’s “Bohemian Rhapsody” In 2013, CANVAS offered audiences of all ages a retrospective program featuring music written around the work of a Puppeteer Jim Henson. The concert was commissioned to be expanded to a full-length concert for the Makato Symphony Orchestra (Minnesota). MS. HUTCHINSON has been a working solo and ensemble pianist, keyboardist, arranger, orchestrator, teacher, and lecturer for 25 years. Whether playing keyboards with Grammy Award-winning rock band Incubus, writing a micro-opera commissioned by the Dutch National Opera, performing Brahms as a solo
While working on her Masters degree in Music Theory at University of California, Santa Barbara, Lynn was awarded an Instructional Development Grant to write and produce a multi-media textbook on harmonic and melodic dictation. She was nominated for a Teacher of the Year Award and named a PEO Scholar for her research in Music Perception. Lynn was an adjunct theory professor in the Pop Department at the Conservatorium van Amsterdam, creating a course on shared compositional elements in classical and rock music. DAVID SHELDON creates Canvas's media content and oversees its business planning. He lends his passion and expertise in visual and audio execution to every Canvas program, helping to create ideal audience experiences. David’s work for Canvas includes original artwork, installations, video and audio editing and lighting design. David is thrilled to bring “Meeting the Ghosts” to his native city of Denver. Find out more about CANVAS at canvaspresents.com.
THE DENVER PERFORMANCE OF MEETING the GHOSTS IS BROUGHT TO YOU BY GENEROUS PRIVATE DONORS AND: This dynamic Jewish community, affiliated with the Reform movement, celebrates the blessings of our Jewish heritage in a spirit of egalitarian inclusiveness. Our members are friendly and diverse, and we offer wonderful activities for people of all ages and interests. 3509 S. Glencoe Street
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Denver, CO 80237 -
(303) 759-1827