Chamber Music Society of Lincoln Center Playbill 02/22/23

FEBRUARY 22 | 7:30 PM

Camp Concert Hall

PHOTO CREDIT: TARA HELEN O’CONNOR

Thank You

THIS ENGAGEMENT OF CHAMBER MUSIC SOCIETY of LINCOLN CENTER

IS MADE POSSIBLE IN PART BY THE GENEROUS SUPPORT OF Dewitt Fund for the Arts

THANKS TO OUR 2022-2023 MODLIN ARTS PRESENTS

SEASON SPONSORS & PARTNERS

E. Rhodes and Leona B. Carpenter Foundation

Louis S. Booth Arts Fund

A. Dale Mayo Fund

H. G. Quigg Fund

Cultural Affairs Committee

Virginia B. Modlin Endowment

Clinton Webb Fund

You Belong Here

WELCOME

Welcome back to Modlin Center for the Arts! I am grateful for this opportunity to be together again and thrilled with the season we have put together because I know that every artist can—and will—create unforgettable moments.

Across our 2022-2023 season, you will find artists from a variety of backgrounds and cultures, with an emphasis on BIPOC and women-led companies. And you will discover a range of stories, dance, and music of many different genres—some familiar, others new. Each performance is a unique window into the human experience, which I hope will open new paths for conversation and connection.

As the season continues, I look forward to visiting with you in the lobby and hearing about your experiences at the Modlin Center. We want you to be a part of the Modlin community. The Department of Music Free Concert Series and UR Free Theatre and Dance season add 30+ additional opportunities to see compelling performances. And UR Museums host exhibitions and programs that are free and open to the public. Thank you for being with us.

Paul Brohan, Executive Director

MODLIN ARTS

SEPTEMBER

FRI. 9 7:30 PM David Esleck Trio

THU. 15 7:30 PM Steep Canyon Rangers

SUN. 18 3:00 PM Joanne Kong, piano, harpsichord and clavichord

THU. 22 7:30 PM DeLanna Studi, And So We Walked

FRI. 23 7:30 PM Family Weekend Concert

WED. 28 7:30 PM Dreamers' Circus

THU.-FRI 29-30 7:30 PM Smart People

OCTOBER

SAT. 1 7:30 PM Smart People

SUN. 2 2:00 PM Smart People

SUN. 2 7:30 PM Dorrance Dance, SOUNDspace

THU. 6 7:30 PM Rhiannon Giddens and Francesco Turrisi

FRI. 14 7:30 PM Bill Irwin, On Beckett

SUN. 16 2:00 PM 12th Annual Celebration of Dance

FRI. 21 7:30 PM Step Afrika!, Drumfolk

SUN. 23 3:00 PM Sonia De Los Santos, Family Arts Day

THU. 27 7:30 PM Susanna Phillips, soprano

SUN, 30 3:00 PM UR Schola Cantorum and Women's Chorale

NOVEMBER

FRI.-SAT. 4-5 Multiple Third Practice Music Festival* CANCELED

WED. 9 7:30 PM UR Jazz & Contemporary Combos

THUR. 10 7:30 PM Aaron Diehl Trio

SAT. 12 6:30 PM 8:30 PM Amal Kassir

SUN. 13 3:00 PM Preservation Hall Jazz Band, 60 thAnniversary Celebration

WED. 16 7:30 PM UR Jazz Ensemble

THU.-SAT. 17-19 7:30 PM Miss You Like Hell

SUN. 20 2:00 PM Miss You Like Hell

SUN. 20 3:00 PM Global Sounds

MON. 21 7:30 PM UR Wind Ensemble

MON. 28 7:30 PM UR Chamber Ensembles

WED. 30 7:30 PM UR Symphony Orchestra

DECEMBER

SUN. 4 5:00 PM 8:00 PM 49th Annual Festival of Lessons and Carols

*Visit thirpractice.org for a full schedule of events.

JANUARY

SAT. 21 7:30 PM Kronos Quartet, At War With Ourselves

FRI. 27 7:30 PM Mark Morris Dance Group, The Look of Love

FEBRUARY

WED. 1 7:30 PM Richard Becker, piano

FRI. 3 7:30 PM Fred Hersch and esperanza spalding

SUN. 5 3:00 PM Anthony McGill, clarinet, and Gloria Chien, piano

FRI. 10 7:30 PM Rosanne Cash

WED. 15 7:30 PM Joshua Redman, 3x3

SUN. 19 3:00 PM Third Coast Percussion and Flutronix

WED. 22 7:30 PM Chamber Music Society of Lincoln Center

THU.-SAT. 24-26 7:30 PM University Dancers 38th Annual Concert

SUN. 26 3:00 PM Kayhan Kalhor, kamancheh

MARCH

WED. 1 7:30 PM Ashwini Ramaswamy, Let the Crows Come

SUN. 19 3:00 PM Doris Wylee-Becker, piano

MON. 20 7:30 PM Neumann Lecture on Music, Dr. Sherry D. Lee, Professor of Musicology

MON. 27 7:30 PM Bruce Stevens, organ

FRI. 31 7:30 PM Christian McBride’s New Jawn

WED. 5 7:30 PM UR Symphony Orchestra

THUR. 6 7:30 PM UR Jazz & Contemporary Combos

WED. 12 7:30 PM Leyla McCalla

THU.-SAT. 13-15 7:30 PM The Rivals

SAT. 15 3:00 PM Global Sounds

APRIL

SUN, 16 3:00 PM UR Schola Cantorum and Women's Chorale

SUN. 16 2:00 PM The Rivals

TPO, Farfalle

SUN.

MODLIN ARTS PRESENTS

WU HAN , piano

ARNAUD SUSSMANN , violin

PAUL NEUBAUER , viola

DAVID FINCKEL , cello

Ludwig van Beethoven (1770–1827)

Trio in E-flat major for Piano, Violin, and Cello, Op. 1, No. 1 (1793)

Allegro

Adagio cantabile

Scherzo: Allegro assai

Finale: Presto

WU HAN, SUSSMANN, FINCKEL

Ernö Dohnányi (1877–1960)

Serenade in C major for Violin, Viola, and Cello, Op. 10 (1902)

Marcia: Allegro

Romanza: Adagio non troppo, quasi andante

Scherzo: Vivace

Tema con variazioni: Andante con moto

Rondo: Allegro vivace

SUSSMANN, NEUBAUER, FINCKEL

INTERMISSION

Johannes Brahms (1833–1897)

Quartet No. 1 in G minor for Piano, Violin, Viola, and Cello, Op. 25 (1860–61)

Allegro

Intermezzo: Allegro ma non troppo

Andante con moto

Rondo alla Zingarese: Presto

WU HAN, SUSSMANN, NEUBAUER, FINCKEL

Approximate run time for this performance is 1 hour 50 minutes, including intermission.

PROGRAM NOTES

Trio in E-flat major, for Piano, Violin, and Cello, Op. 1 No. 1

Ludwig van Beethoven

• Born December 16, 1770, in Bonn

• Died March 26, 1827, in Vienna

• Composed in 1793

• First CMS performance on November 14, 1972, by pianist Richard Goode, violinist Rafael Druian, and cellist Leslie Parnas

• Duration: 30 minutes

In 1792, as France convulsed in revolution and war broke out in Europe, Beethoven moved from his hometown of Bonn to study composition with Franz Joseph Haydn in Vienna. Mozart had died just eleven months before, and the tastemakers of the town were keeping their eyes open for the next big talent. Beethoven—with his wild looks, untamed personality, and unconventional, aggressive pianistic sound, paired with undeniable talent—was a top candidate. He had no trouble finding a series of patrons—even several at once. The competition for the bragging rights of facilitating the creation of exciting new works had become so fierce that many families went into tremendous (even ruinous) debt trying to outdo their neighbors. Buoyed by this unabashed enthusiasm, within a handful of years Beethoven’s music was printed by no fewer than five of the music publishers in town. Carl Czerny, who would become one of Beethoven’s most famous pupils, confirmed the composer “received all manner of support from our high aristocracy and enjoyed as much care and respect as ever fell to the lot of a young artist.”

Shortly after his arrival, Beethoven was invited by Prince Karl Lichnowsky and his wife to live with them in their home. Prince Lichnowsky patronized Beethoven for over a decade, and Beethoven became extremely close to the family. He considered Princess Christiane von Lichnowsky a “second mother” and dedicated works such as the Sonata in C minor, Op. 13 (“Pathétique”), the Sonata in A-flat, Op. 26, and the Symphony No. 2 to the Prince. However, over time Beethoven became increasingly agitated by the arrangement. Musicologist Maynard Solomon notes that it “troubled him to think that he was admired primarily for his talents rather than for his qualities as a person,” and that he once lamented in a letter to a friend, “Am I then nothing more than a music maker for yourself or the others?” The sentiment wasn’t limited to the Lichnowskys. It seems Beethoven felt similarly toward more than one of his patrons. The attention was a doubleedged sword.

Beethoven wrote the set of three piano trios, published as Op. 1, for Lichnowsky during the halcyon days of their relationship, to be performed at a home salon (various accounts exist, but Haydn may have been in

attendance). Divided into four movements, the opening sparkles with elegant Viennese classism, but is tinged with the unmistakably muscular quality of Beethoven. This is balanced by the second movement, in which his masterful writing of achingly beautiful melodies is on full display. The spotlight is particularly given to the piano—not accidentally, as it is the part Beethoven himself played at the premiere. In the rollicking third movement we already hear a foreshadowing of the kind of élan infused in his later scherzos, like that of the Symphony No. 7, while the finale displays the composer’s spirit of playful virtuosity. Listen for the sneaky return of the first movement’s opening arpeggio motive in the very last measures of the work.

Serenade in C major for Violin, Viola, and Cello, Op. 10 Ernö Dohnányi

• Born July 27, 1877, in Pozsony (now Bratislava)

• Died February 9, 1960, in New York City

• Composed in 1902

• First CMS performance on November 24, 1972, by violinist Charles

Treger, violist Walter Trampler, and cellist Leslie Parnas

• Duration: 20 minutes

Dohnányi’s life in music displayed a tryptic of talent. As a composer, he got a boost in his teenage years when the performance and publication of his Op. 1, a piano quintet, was championed by Johannes Brahms. Over the years he wrote in a broad variety of genres, from stage works and concertos to symphonies, choral works, songs, solo piano, and chamber music. Dohnányi’s musical language drew more consistently from the late Romantic era of his youth than from the developments of many of his contemporaries (like his friend and colleague, Béla Bartók), despite the changes swirling around him. For context, by the time he entered middle age, Stravinsky had premiered The Rite of Spring, and Schoenberg’s 12tone system was becoming established as a new method of music theory. He died the year the Beatles formed.

Secondly, he skyrocketed to fame as a virtuoso pianist after giving a brilliant performance of Beethoven’s Piano Concert No. 4 in London. He maintained his renown at the instrument for the rest of his life and died suddenly between a series of recording sessions in New York City. Most shocking was his habit of not practicing (like Paganini). He claimed a memory so keen he simply did not need to practice after the initial process of learning a new work. In interviews, friends have reflected on his desire for performances to feel improvisatory and fresh, which may also have contributed to his highly unusual lack of performance preparation. Thirdly, Dohnányi’s long career included conducting and educating. He worked tirelessly to cultivate the talent of young Hungarians, particularly

in Budapest, where he had a leading role at the Academy and mentored students like Georg Solti. Often referenced is a quip by Bartók that Dohnányi was single-handedly fueling the musical life of the country at one point. All of this came to a sputtering slowdown in the post-war years. Like most European musicians who lived through those terrors, Dohnányi’s life was irrevocably altered by both physical displacement and complex political controversy (of which he was eventually cleared) that haunted him years after the war was over. Though he eventually rebuilt his life in music, it would never match the insouciant brilliance of his life before the war.

Written in 1902, the Serenade premiered in Vienna two years later. A review in The Musical Times made the following commentary: “Fitzner and his associates Czerny and Walther performed a new Serenade for violin, viola, and violoncello by Dohnányi, the music of which is romantic, original, and effective; the audience would willingly have heard it a second time.” The work opens with a brief and lively annunciatory march that is immediately contrasted with the gentle sway of pizzicato accompaniment showcasing an extended viola solo that is tinged with melancholy. A breathtaking shift of mood then sweeps in with a stroke of passion as the violin takes a turn. An impish scherzo forms the centerpiece of the five movements. Next, a theme is laid out in an austere chorale-like fashion, followed by five variations that weave in reminiscences from previous movements. The work concludes with a bustling rondo that brings back themes from the opening. Quartet No. 1 in G minor for Piano, Violin, Viola, and Cello, Op. 25

Johannes Brahms

• Born May 7, 1833, in Hamburg

• Died April 3, 1897, in Vienna

• Composed in 1860–61

• First CMS performance on November 28, 1969, by pianist Murray

Perahia, violinist Pina Carmirelli, violist Walter Trampler, and cellist

Leslie Parnas

• Duration: 40 minutes

Things never came easily for Brahms. He was a perfectionist with the spirit of a curator, forever tinkering, circling around an idea, and consulting with friends and colleagues, until a work satisfied him completely. If it didn’t, he destroyed it—simple as that. This personality trait explains the seemingly small body of work left to posterity by such a monumental figure. Looking specifically at his chamber music output, there are only 24 pieces in total. For perspective, Beethoven’s string quartets alone add up to 16.

Brahms’s tendencies were likely exacerbated by the tremendous amount of admiration and praise he received from important people at an early age. When he was just 20 years old his new friend, the great violinist Joseph Joachim, suggested that he pay a visit to Robert and Clara Schumann. It

was a meeting that would irrevocably change the trajectory of Brahms’s life and career within a matter of weeks. On September 30, 1853, Brahms showed up on the Schumanns’ doorstep and was invited in to play through some of his compositions. Robert was so moved that he authored an essay titled New Paths that was published soon after, in October. There, for all the music world to see, he declaimed his anticipation of “one man who would bring us mastery, not as the result of a gradual development, but as Minerva, springing fully armed from the head of Cronus,” then announcing unequivocally, “he is come. . . . His name is Johannes Brahms.”

Just four months later Brahms was compelled to return to the Schumanns’ household to offer a helping hand after Robert suffered a nervous breakdown, a symptom of the illness that would ultimately claim his life in 1856. In the direct aftermath of this turbulent emotional time, Brahms spent the next several years focused on composing chamber music, the results of which were two piano quartets, one piano quintet, two string sextets, a horn trio, and a cello sonata (plus, interestingly, arrangements of select Schumann chamber works). Although these chamber works are magnificent accomplishments, their lengths reveal they might have functioned as experiments in composing for larger forms. Up until then, Brahms’s output had been dominated by works for piano or voice, and he struggled to be satisfied with his large-scale pieces. During this same period, defined as his “first maturity,” Brahms wrestled for years writing his first piano concerto (which was received tepidly) and started his first symphony, which, famously, would not be completed until over twenty years later.

Regarding the Piano Quartet No. 1, Daniel Mason quipped in a 1932 Musical Times article that Brahms required significant “elbow-room” to explore the limits of sonata form in the opening movement. Remarkably, however, though multiple thematic ideas are explored, everything centers around a simple primary cell of just four notes heard at the very opening of the work. In the second movement, Brahms continues to showcase the richness of his musical imagination by supplanting a minuet with an intermezzo while retaining a contrasting trio section, which he also brings back briefly as a coda. A defining feature of the movement is the nervous ostinato rhythmic pattern reminiscent of similar patterns in the works of Schubert—a composer with whom Brahms had become preoccupied. The third movement is a study in opposites as long lyrical melodies are paired with what has been described as “martial music.” A Brahmsian trademark, the infusion of Hungarian-style dance rhythms, brings the quartet to its conclusion in a rondo “alla Zingarese,” or “in Roma style.” This characteristic would permeate his entire output and was introduced to him by his friend and colleague, Eduard Reményi, a Hungarian violinist.

Kathryn Bacasmot writes about music and is a regular program annotator for CMS.

ARTIST BIOS

Co-Artistic Director of CMS since 2004, cellist David Finckel’s dynamic musical career has included performances on the world’s stages in the roles of recitalist, chamber artist, and orchestral soloist. The first American student of Mstislav Rostropovich, he joined the Emerson String Quartet in 1979, and during 34 seasons garnered nine Grammy Awards and the Avery Fisher Prize. His quartet performances and recordings include quartet cycles of Mozart, Beethoven, Schubert, Schumann, Mendelssohn, Dvorák, Brahms, Bartók, and Shostakovich, as well as collaborative masterpieces and commissioned works. In 1997, he and pianist Wu Han founded ArtistLed, the first internet-based, artist-controlled classical recording label. ArtistLed’s catalog of more than 20 releases includes the standard literature for cello and piano, plus works composed for the duo by George Tsontakis, Gabriela Lena Frank, Bruce Adolphe, Lera Auerbach, Edwin Finckel, Augusta Read Thomas, and Pierre Jalbert. In 2022, Music@Menlo, an innovative summer chamber music festival in Silicon Valley founded and directed by David and Wu Han, celebrated its 20th season. As a young student, David was winner of the Philadelphia Orchestra’s junior and senior divisions, resulting in two performances with the orchestra. Having taught extensively with the late Isaac Stern in America, Israel, and Japan, he is currently a professor at both the Juilliard School and Stony Brook University, and oversees both CMS’s Bowers Program and Music@Menlo’s Chamber Music Institute. David’s 100 online Cello Talks, lessons on cello technique, are viewed by an international audience of musicians. Along with Wu Han, he was the recipient of Musical America ’s 2012 Musicians of the Year Award.

PHOTO CREDIT: LISA MARIE MAZZUCCO

Violist Paul Neubauer has been called a “master musician” by the New York Times. He recently made his Chicago Symphony subscription debut with conductor Riccardo Muti. He also gave the US premiere of the newly discovered Impromptu for viola and piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia was released on Signum Records, and his recording of the complete viola/piano music by Ernest Bloch with pianist Margo Garrett was released on Delos. Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the New York, Los Angeles, and Helsinki philharmonics; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth symphonies; and Santa Cecilia, English Chamber, and Beethovenhalle orchestras. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower, and has been featured on CBS’s Sunday Morning and A Prairie Home Companion as well as in Strad, Strings, and People magazines. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical, and is a member of SPA, a trio with soprano Susanna Phillips and pianist Anne-Marie McDermott. Neubauer is the artistic director of the Mostly Music series in New Jersey and is on the faculty of the Juilliard School and Mannes College.

Winner of a 2009 Avery Fisher Career Grant, Arnaud Sussmann has distinguished himself with his unique sound, bravura, and profound musicianship. Minnesota’s Pioneer Press writes, “Sussmann has an oldschool sound reminiscent of what you’ll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener.” A thrilling musician capturing the attention of classical critics and audiences around the world, he has recently appeared as a soloist with the Vancouver Symphony and the New World Symphony. As a chamber musician, he has performed at the Tel Aviv Museum in Israel, London’s Wigmore Hall, Lincoln Center’s Alice Tully Hall, the Dresden Music Festival in Germany, and the Phillips Collection in Washington, DC. He has been presented in recital in Omaha on the Tuesday Musical Club series, in New Orleans by the Friends of Music, and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Moritzburg, Caramoor, Music@Menlo, La Jolla SummerFest, Mainly Mozart, Seattle Chamber Music, Chamber Music Northwest, and Moab Music festivals. He has performed with many of today’s leading artists including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenasi, Wu Han, David Finckel, and Jan Vogler. An alum of CMS’s Bowers Program, Sussmann is Artistic Director of the Chamber Music Society of Palm Beach

and Co-Director of Music@Menlo’s International Program, and teaches at Stony Brook University. In September 2022, Sussmann was named Founding Artistic Director of the Boscobel Chamber Music Festival.

Pianist Wu Han , recipient of Musical America ’s Musician of the Year Award, enjoys a multi-faceted musical life that encompasses artistic direction, performing, and recording at the highest levels. Co-Artistic Director of the Chamber Music Society of Lincoln Center since 2004 as well as Founder and Co-Artistic Director of Silicon Valley’s innovative chamber music festival Music@Menlo since 2002, she also serves as Artistic Advisor for Wolf Trap’s Chamber Music at the Barns series and Palm Beach’s Society of the Four Arts, and as Artistic Director for La Musica in Sarasota, Florida. Her recent concert activities have taken her from New York’s Lincoln Center stages to the most important concert halls in the United States, Europe, and Asia. In addition to countless performances of virtually the entire chamber repertoire, her concerto performances include appearances with the Philadelphia Orchestra, the Atlanta Symphony, and the Aspen Festival Orchestra. She is the Founder and Artistic Director of ArtistLed, classical music’s first artist-directed, internet-based recording label, which has released her performances of the staples of the cellopiano duo repertoire with cellist David Finckel. Her more than 80 releases on ArtistLed, CMS Live, and Music@Menlo LIVE include masterworks of the chamber repertoire with numerous distinguished musicians. Wu Han’s educational activities include overseeing CMS’s Bowers Program and the Chamber Music Institute at Music@Menlo. A recipient of the prestigious Andrew Wolf Award, she was mentored by some of the greatest pianists of our time, including Lilian Kallir, Rudolf Serkin, and Menahem Pressler. Married to cellist David Finckel since 1985, Wu Han divides her time between concert touring and residences in New York City and Westchester County.

PHOTO CREDIT: TARA HELEN O’CONNOR

Modlin Arts

KAYHAN KALHOR, KAMANCHEH

Sunday, Feb. 26, 2023

3:00 PM, Camp Concert Hall

From an impressively young age, Kayhan Kalhor was delighting audiences in Iran with his performances on the kamancheh (spiked fiddle). An original member of Yo-Yo Ma’s Silkroad Ensemble, Ma says of Kalhor, “I think he’s one of the greatest musicians I’ve ever had the privilege to know and to work with.”

ASHWINI RAMASWAMY, LET THE CROWS COME

Wednesday, Mar. 1, 2023 • 7:30 PM

Post-Show Artist Talk

Alice Jepson Theatre

The title of Ashwini Ramaswamy’s new dance work – which is performed to live music by Jace Clayton (DJ Rupture) and Brent Arnold – refers to the Hindu practice of honoring ancestors through offerings of rice.

CHRISTIAN MCBRIDE’S NEW JAWN

Friday, Mar. 31, 2023

7:30 PM, Camp Concert Hall

The acclaimed bassist has put together a top-flight quartet –Christian McBride’s New Jawn – that ably walks the razor’s edge between thrilling virtuosity and gut-punch instinctiveness.

ticket infOrmation

WELCOME TO MODLIN ARTS PRESENTS 2022-2023!

MODLIN CENTER BOX OFFICE INFORMATION

The Box Office is open 1:00 pm to 5:00 pm Monday through Friday, and 90 minutes prior to performances. Tickets can be purchased in person, by phone at 804-289-8980 and online at modlin.richmond.edu .

TICKET POLICY

Single event ticket purchases are final, and no refunds or exchanges are available. Create Your Own (4+) Series patrons can enjoy the benefit of flexible ticketing, with options* for no-fee ticket exchanges or account credits, with *minimum 24 hours notice to Modlin Center Box Office staff.

CONCESSIONS AT MODLIN ARTS PRESENTS PERFORMANCES

Beverages and snacks are available for purchase before performances and during intermission at most Modlin Arts Presents performances. Drinks are permitted inside the venues so that you can relax and enjoy the performance with your purchases. We ask that food remain outside.

WE ARE COMMITTED TO ACCESSIBILITY

If you have accessibility needs, please inform the box office when purchasing tickets so that we can better welcome you to Modlin. Wheelchair and accessible seating are available in Camp Concert Hall and Alice Jepson Theatre. Assistive listening devices are also available.

HEALTH AND SAFETY AT MODLIN CENTER

Modlin is committed to creating a comfortable, enjoyable, and safe environment for all our patrons. If you are unwell or feel uncomfortable attending an event, please stay home. Masks will be available onsite at the Box Office and at the performance venue for the comfort and convenience of patrons.

YOUR SUPPORT TRULY MAKES A DIFFERENCE

Gifts to the Modlin Center support performance experiences and learning opportunities for new audiences. Your contributions make discovery and creative expression possible. Gift Certificates are another way to share the gift of the arts. Gifts can be made in person at the box office or at modlin.richmond.edu. For more ways to support the Modlin Center, please email modlinarts@richmond.edu or call 804-289-8980.

SOMETHING WE HAVE ALL LEARNED OF LATE

Programs are subject to change.

Museums

JAY LYNN GOMEZ: DOMESTIC SCENES RECONSIDERED.

Jan 23, 2023 – Apr 21, 2023

Harnett Museum of Art

IMAGE CREDIT:

Jay Lynn Gomez (American, born 1986), No Splash (after David Hockney’s A Bigger Splash, 1967), acrylic on canvas, 96 x 96 inches, 2013. Courtesy of the artist and Charlie James Gallery, Los Angeles. Permanent collection of Museum of Contemporary Art, San Diego. (c) Jay Lynn Gomez, Photo: Osceola Refetoff

SWAN SONG: CELEBRATING THE PERMANENT COLLECTION

Nov 03, 2022 - Apr 21, 2023

Harnett Museum of Art

IMAGE CREDIT:

Henri de Toulouse-Lautrec (French, 1864-1901), La revue blanche, 1895, stone lithograph printed in four colors on two sheets of machine wove paper, 49 7/16 x 35 7/8 inches, Joel andLila Harnett Print Study Center, University of Richmond Museums, Gift of Jan and Howard Hendler, H2018.12.01

CRYSTALS: MINERALS FROM THE COLLECTION

Oct 13, 2022 – Apr 21, 2023

Harnett Museum of Art

IMAGE CREDIT:

Taylor Dabney

Rhodochrosite, MnCO3

Nchwaning Mine, Kuruman District, Northern Cape Province, South Africa

Museum purchase, R1978.01.1543