MO DLI N 201 7-2018 SEASO N
UN I V E R S I T Y O F R I C H M O ND MODLIN CENTER FOR THE ARTS
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The arts, and the creative energy we all possess, are important parts of our lives and are fundamental elements of the human experience. They shape us and connect us to the world at large and across all manner of divides, allowing us to explore and voice our concerns, dreams, and common aspirations.
the University’s website for the 20172018 Tucker Boatwright Festival of Literature and the Arts presented by the Department of Theatre and Dance.
For the 2017-2018 season, we are bringing a unique set of cultural and arts experiences through performances, exhibitions, lectures, school shows, family events, visual arts and artist voices. You will find a number of talks and discussions curated as part of the University and Modlin Center’s mission that are free and open to the public. These include events in the Modlin Arts series; the University’s Department of Music, Department of Theatre and Dance, and Department of Art and Art History series; and exhibits and talks
We are delighted to announce a set of renovations taking place in our spaces. The University of Richmond understands the importance of the arts and the connections and educational experiences the arts inspire, therefore, we have embarked on making artist and patron experiences even better. We have recently added to the Modlin complex new studio and support spaces. In 20172018 we will be renovating Booker Hall, where Camp Concert Hall is located, and in the summer of 2018, we will renovate and update some features inside Camp Concert Hall. We look forward to keeping our patrons informed of our progress, and thank you in advance for taking this journey with us.
curated by University Museums. Look for the Artist Voices and residency events listed in this brochure and on
I am looking forward to seeing you at our events.
Best,
Deborah S. Sommers Executive Director
CONTENTS 6 20
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Modlin Arts Season Calendar Department of Theatre & Dance Calendar
Department of Music Calendar University Museums
General Information Sponsors & Partners
Membership Information
FIND MODLIN ON
2017 2018
MODLIN ARTS
CALENDAR SEPTEMBER SUN. 10
7:30 PM
Escher Quartet with Jason Vieaux, guitar
THUR. 21
7:30 PM
Michael Sakamoto, Soil
a
O C TO B E R WED. 4
7:30 PM
Rhiannon Giddens, Freedom Highway Tour
THUR. 5
7:30 PM
Direct from Johannesburg, South Africa: Festival of South African Dance featuring Gumboots and Pantsula Dance Companies Doug Varone and Dancers
MDT
WED. 11
7:30 PM
THUR. 19
7:30 PM
Shovels & Rope
FRI. 20
7:30 PM
Richard Goode, piano
SAT. 21
7:30 PM
Eddie Palmieri Latin Jazz Orchestra: Eddie at 80
MON. 30
7:30 PM
Thomas Meglioranza, baritone and Reiko Uchida, piano
SUN. 5
3:00 PM
Family Arts Day Celebration featuring Theatreworks USA, Click, Clack, Moo (Free Arts Day events begin at 1 PM, performance at 3 PM)
THUR. 9
7:30 PM
Shanghai Quartet with Peter Wiley, cello and Shmuel Ashkenasi, violin
SAT. 11
7:30 PM
Irma Thomas, The Blind Boys of Alabama, & The Preservation Hall Legacy Quintet
THUR. 16
7:30 PM
Artist Voices Series with Bassem Youssef
FRI. 17
7:30 PM
Jerry Douglas presents the Earls of Leicester
THUR. 30
7:30 PM
Jazz at Lincoln Center Orchestra with Wynton Marsalis and special guests Catherine Russell and Kenny Washington, Big Band Holidays
7:30 PM
Ethan Lipton & His Orchestra, The Outer Space
NOVEMBER
DECEMBER FRI.-SAT. 1-2
6
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JANUARY SUN. 21
3:00 PM
Mermaid Theatre Company of Nova Scotia, Guess How Much I Love You & I Love My Little Storybook
FRI. 26
7:30 PM
Feathers of Fire: A Persian Epic
SAT. 27
3:00 PM
Feathers of Fire: A Persian Epic
THUR. 1
7:30 PM
Alicia Olatuja
FEBRUARY FRI. 2
7:30 PM
Dorrance Dance
WED. 7
7:30 PM
SONGBOOK: Steven Page and the Art of Time Ensemble
WED. 14
7:30 PM
China National Symphony Orchestra featuring Tan Dun, conductor
SUN. 18
7:30 PM
Gil Shaham, violin and Akira Eguchi, piano
FRI. 23
7:30 PM
Cécile McLorin Salvant
WED. 28
7:30 PM
Artist Voices Series with Lynn Nottage
SAT. 3
7:30 PM
St. Patrick’s Day Celebration featuring Danú
WED. 7
7:30 PM
L.A. Dance Project
FRI. 16
7:30 PM
Circa, Carnival of the Animals
MDT
MARCH
SAT. 17
7:30 PM
Circa, S
WED. 21
7:30 PM
Jerusalem Quartet
FRI. 23
7:30 PM
Eighth Blackbird, Olagón
WED. 28
6:00 PM
Artist Voices Series with Maria Chavez
THUR. 5
7:30 PM
Maria Schneider Orchestra
SAT. 7
7:30 PM
Sō Percussion with Gilbert Kalish, piano and Dawn Upshaw, soprano
APRIL
FRI. 20
7:30 PM
Mandolin Orange
THUR. 26
7:30 PM
Tanya Tagaq, Nanook of the North
FRI. 27
7:30 PM
Steep Canyon Rangers with special guest Sierra Hull
For a full list of NT Live and Bolshoi Ballet Broadcasts, visit modlin.richmond.edu.
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Supporting the Arts in Richmond for Thirty Years When I moved to Richmond and began supporting the local arts the Nickel Bridge was a dime, the VMFA hosted “Jumpin’ in July”, you could walk through the Fan and smell cookies baking from FFV, a drive to the far West End meant going out to Parham Road, the Visual Art Center was The Hand Workshop, and Joe’s Inn... was exactly as it is today. Supporting the Arts... yesterday, today, and tomorrow.
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VCU DANCE 2 017-2018 S e a s o n
DANCE ON CAMERA Film Screening September 25, 2017 Grace Street Theater
FALL SENIOR PROJECT Part I: November 3, 2017 Site-Specific Works at 1708 Gallery’s InLight
HELEN SIMONEAU DANSE
Part II: November 16-18, 2017 Saturday, March 3, 2018 Grace Street Theater
W. E. Singleton Center for the Performing Arts
THE SALON
MEGHAN ABADOO
November 29, 2017
March 23-24, 2018
Depot Annex Studio
VCU DANCE NOW February 8-10, 2018 Grace Street Theater
Grace Street Theater
Tickets: 804-828-2020 or www.showclix.com Virginia Commonwealth University Department of Dance + Choreography arts.vcu.edu/dance
SPRING SENIOR PROJECT April 19-21, 2018 Grace Street Theater
Photo: Sarah Ferguson
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2017 2018
MODLIN ARTS FOR THE
CENTER
The Very Best in Music, Theatre, Dance, & Visual Arts
Richard Goode, piano Friday, October 20, 2017 | 7:30pm Camp Concert Hall, Booker Hall of Music
Please silence all electronic devices before the performance begins. Recording of any kind is strictly prohibited.
THIS EVENING’S PROGRAM
William Byrd (1543-1623) 09’ Two Pavans and Galliardes from My Ladye Nevells Booke (1591) the seconde pavian the galliarde to the same the third pavian the galliarde to the same Johann Sebastian Bach (1685-1750) 29’ English Suite no. 6 in D minor, BWV 811 (1715-1720) Prelude Allemande Courante Sarabande & Double Gavotte I Gavotte II Gigue Ludwig van Beethoven (1770-1827) 20’ Sonata no. 28 in A major, Op. 101 (1815-16) I. Etwas lebhaft, und mit der innigsten Empfindung. Allegretto, ma non troppo II. Lebhaft. Marschmäßig. Vivace alla Marcia III. Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto IV. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Intermission Claude Débussy (1862-1918) 39’ Préludes from Book Two (1912-13) Brouillards Feuilles mortes La puerta del Vino Les fées sont d’exquises danseuses Bruyères “Général Lavine” - excentric La terrasse des audiences du clair de lune Ondine Hommage à S. Pickwick Esq. P.P.M.P.C. Canope Les tierces alternées Feux d’artifice **PROGRAM SUBJECT TO CHANGE** **TIMINGS ARE APPROXIMATE** Richard Goode is managed by: Frank Salomon Associates Management Associate: Frank Salomon 121 W. 27th Street, Suite 703 New York, NY 10001-6262 www.franksalomon.com ~Richard Goode records for Nonesuch~ “Like” Richard Goode on Facebook (@richardgoodepiano) and keep up with his latest news, recordings, and events!! www.richardgoodepiano.com
PROGRAM NOTES
Two Pavans and Galliardes from My Ladye Nevells Booke . . . William Byrd (Born in 1543 in Lincoln, England; died July 4, 1623, in Stondon Massey, Essex) William Byrd lived an extraordinarily long life for his time and played a major role in establishing the new musical style that was emerging in the England of Queen Elizabeth I. He studied under Thomas Tallis and was appointed organist of Lincoln Cathedral at the age of twenty. In 1572, he became organist of the Chapel Royal, sharing the post with Tallis. In 1575, Elizabeth I gave the two men the exclusive license for the printing and selling of music in Britain. Byrd composed in almost every musical form then used and was a very well known teacher. He spent most of his life in the service of the Chapel Royal, the musical establishment of the Queen, although committed to the Roman Catholic faith; it is likely that his musical reputation was probably one of the few things that stood between him and religious persecution. During Byrd’s lifetime, England was undoubtedly the birthplace of keyboard music. The Elizabethans, both as performers and composers, laid the foundation upon which all the music for the clavichord, harpsichord, and the modern pianoforte were to be built during the period from 1560 to 1620. Byrd became, unquestionably, the preeminent keyboard composer. He created something completely new in keyboard music in both style and form at a time when keyboard music was in its infancy. Byrd was the first composer to write music specifically for the harpsichord or virginal, the latter a smaller version of the harpsichord which was popular during the 16th and 17th centuries. Regarded as the father of all keyboard music, Byrd combined sacred and secular musical forms in his 470 keyboard works. Although most of Byrd’s keyboard music finds its foundation in dance, he created keyboard music of three categories: 1) free compositions which his contemporary Thomas Morley called “that kind of musicke which is made without a dittie. . . and the composer is tide to nothing, but that he may add or deminish and alter at his pleasure.” In this group were Fantasies, Preludes, and Voluntaries. 2) The second group is made up of dance forms of various kinds: Pavians, (or as usually written today: Pavans) Galliards, Almans, Corantos, Lavoltas, Marches and Gigues. 3) The last grouping is made up of airs with variations based on song and dance tunes, some of which were traditional melodies and some of which were original. What Byrd did was to apply what he learned from his experiments in ensemble and vocal polyphony to this little explored medium, bringing about the renaissance of keyboard music in the late 16th century. Over the course of his career, his works went through a substantial stylistic development, beginning with the more polyphonic and transitioning to the more idiomatic keyboard writing of his later works.
PROGRAM NOTES Byrd’s My Ladye Nevells Booke was completed in 1591 by one of his colleagues at the Royal Chapel. The exact identity of the dedicatee is not definitively known, but recent research points to the most likely “Lady Nevell” being Elizabeth Bacon, who was the oldest daughter of Queen Elizabeth’s Lord Keeper Sir Nicholas Bacon. Byrd may have corrected the manuscript before it was presented to Queen Elizabeth I. In My Ladye Nevells Booke vocal interplay is joined with keyboard virtuosity. This music found its place in a lively tradition of home performance; even Queen Mary learned to play the virginal. A pavan is a slow, stately court dance popular in the 1500s and 1600s, usually in duple meter, while a galliard, typically performed as its after-dance, is fast and lively, as well as much more athletic, characterized by leaps, jumps, hops and other similar figures in which its typical four hopping steps and one high leap permitted gentlemen to show off for their partners. This vigorous court dance in triple meter was often called the cinquepace after its five basic steps. Queen Elizabeth I was reputed to have practiced galliards as her morning exercise. Byrd’s second and third pavans and their galliards were presumably not created specifically for the book or for the dedicatee and are representative of Byrd’s work over a period of ten to fifteen years. These pavans are magnificent if somewhat somber; the galliards counter their seriousness with a lighter touch.
English Suite no. 6, in D minor, BWV 811 . . . Johann Sebastian Bach (Born March 21, 1685, in Eisenach; died July 28, 1750, in Leipzig) One of the most popular forms of extended instrumental composition in Bach’s time was the suite. For him, as for his contemporaries, a suite was generally a set of stylized adaptations of dances that had moved from the ballroom to the concert room during the 17th century. The movements contrast in mood and character, but they are usually in the same key. Most of the dances have two sections, each of which is played twice, sometimes with improvised ornamentation or variation the second time. Bach wrote well over two-dozen suites, for orchestra, for violin, for cello, for lute, and for the keyboard. Some of them are called partitas, a term that came into use perhaps for no other reason than that they are works in several parts. Bach wrote the word Overture at the head of each of his orchestral suites, probably intending the designation to do no more than describe the introductory movement. Until recently, due to Bach’s writings, the suites for orchestra were frequently called Overtures. Circa 1715, Bach had begun to work on three sets of keyboard suites that reached their final form gradually, over a period of several years. The grandest and the last completed are the six Partitas. The others are the works we now call the six English Suites and six French Suites. The English Suites are the earliest
PROGRAM NOTES of the three collections. There are consistencies in the style and design of the suites in each of the three sets, but there is nothing particularly English or French about any of them; how they acquired these designations still remains unknown. One explanation goes back to the time of Bach’s sons and is recalled by Bach’s first biographer, Johann Nikolaus Forkel. He stated that Bach composed the English Suites on the occasion of a visit of an important delegation from Britain to the tiny Cöthen court, where the composer was employed until 1723. Another explanation is that the suites were modeled after the kind of suites popular in England, especially those by Handel or by the French composer Dieupart. English Suite No. 6 is set in a dark toned D minor tonality; it is serious but not unsprightly. The order of the dances is typical of a particularly German tradition and includes the Allemande, Courante, Sarabande and Gigue. Bach chooses to begin this English Suite with a substantial Prélude, an unconventional gesture, and he balances it at the end with a correspondingly large-scale contrapuntal gigue. The Prélude begins with a grave and large-scale fantasy, both powerful and imposing. It has composed two parts, the first opening over a pedal point that introduces a long and elaborate Allegro in the manner of a virtuosic solo concerto. Three obligatory dances follow: a richly textured calm German Allemande, followed by a somewhat solemn Courante set in the long measures of the French dance, with lyrical lengthy phrases. Then comes a slow Sarabande, which follows the rhythmic conventions of the Sarabande as a dance and has a Double (or variation). Next comes a pair of linked Gavottes: the second is thematically a cheery major key variant of the first. A witty whirling Gigue closes the Suite with a display of virtuosity and a powerful fugue.
Piano Sonata no. 28, in A Major, Op. 101 . . . Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) Between 1816 and 1826, a decade of originality, idiosyncrasy, invention and expressivity unparalleled in the career of any other composer, Beethoven wrote a series of unmatchable masterpieces: five piano sonatas, five string quartets, the Missa Solemnis and the Symphony No. 9. During the period just before these compositions began to appear, his output had been slim, for the works of his middle years had exhausted all the possibilities of the forms he had inherited from Haydn and Mozart. Withdrawn and separated from much of the rest of the musical world by his deafness, Beethoven, nevertheless, conceived and wrote a body of musical literature without equal. Vienna was rife with rumors that Beethoven had written himself out, that like Haydn in his old age, Beethoven was reduced to making folk song arrangements because he was incapable of doing anything else. When he heard these hypotheses from a disciple, Beethoven said, “Wait a while. They’ll soon learn differently.” To be sure, his Op. 108 was a collection of twenty-five Scottish songs, arranged in 1815 and 1816 for a British music publisher. His last piano
PROGRAM NOTES sonatas are some of his greatest compositions. He composed them between 1816 and 1822, while he was also working on the Missa Solemnis. The manuscript of this sonata dates from November 1816. In early 1817, Beethoven had it published with a dedication to a young pianist, Baroness Dorothea von Ertmann, his pupil and friend. One of Beethoven’s new ideas was to replace the conventional Italian vocabulary of musical terms with German words. He labeled this and two other sonatas as works for the Hammerklavier, which was not some new instrument but simply the familiar pianoforte, in his own language. For some unknown reason the word stuck only to Op. 106, which is now known as the Hammerklavier Sonata although in the generally subdued Op. 101, Beethoven went so far as to give even the tempo indications for the movements in German (although marks of expression and other instructions to the performers are for the most part in Italian.) In this sonata, which can be seen to foreshadow future styles, Beethoven alters the classic four movement form almost beyond recognition. The first movement, Etwas lebhaft, und mit der innigsten Empfindung (“Rather lively, and with deepest feeling”), Allegretto ma non troppo, is very lyrical and seems to be abbreviated, beginning in the middle of a musical discourse already in progress. It is characterized by a long, continuous melodic line rather than by discrete themes. Syncopated rhythm dominates much of the development section. According to Schindler, Beethoven described the first movement as one containing “impressions and reveries.” The second movement), Lebhaft, marschmässig (“Lively, march like”) Vivace alla Marcia, a Schumann like march, is characterized by its dotted rhythms. It has a canonic trio and followed by a conventional repetition of the march. Its mood is generally positive although there is a sense of tension to be found, too. Next comes a brief slow passage played with the una corda, “soft” pedal, Langsam und sehnsuchtsvoll (“Slow and ardently”) Adagio ma non troppo, con affetto, a cadenza and a recall of the first movement. Charles Rosen sees it not as independent but rather as an introduction to the finale, a result of his study of Bach, but nevertheless, Handelian in style. Robert Cummings has commented that the main theme “is solemn and mournful but remains serene and untroubled throughout the movement. The music seems a meditation on some past disappointment or loss, but never utters a cry, always sounding at peace, even if there is a suggestion of yearning.” A long trill leads into the vigorous finale, Geschwind, doch nicht zu sehr und mit Entschlossenheit (“Quick, but not very rushed, and with resolution”) Allegro, in which Beethoven gives us an elaborate and finely constructed sonata movement that is classical but for the fugue that is its development. This fugue grows out of the sprightly main theme, which is one of many themes introduced in the exposition. A coda closes this lesser known Beethoven masterpiece.
PROGRAM NOTES Preludes, from Book II (1912-1913) . . . Claude Debussy (Born August 22, 1862, in St. Germain-en-Laye; died March 25, 1918, in Paris)
When France’s great school of Impressionist painting reached full maturity, late in the 19th century, the composer Claude Debussy succeeded in translating its esthetic principles into musical terms. Debussy gave many of his compositions descriptive titles, like Spring and The Sea, and he even called several collections of short pieces Images and Estampes, (“Prints” or “Engravings.”) Debussy’s music, like the work of the artists he admired, does not offer literal representations of the subjects, but attempts to evoke aural pictures of them with subtle references to their very essence. In 1910, he issued the first of his two books of piano preludes. They are not preludes to anything; their titles are simply names of convenience for collections of short, atmospheric descriptive pieces gathered together under a convenient collective title that is general enough to cover their great range. Debussy said that he did not wish them to be performed as a cycle and that some of them should be played in private rather than on the concert platform. These were perhaps statements intended only to provoke interest and not to prescribe performance practice. The second book of Preludes, composed between 1910 and 1913, are similar in intent to those of the first book. Several of them look ahead to Debussy’s later style, in which the composer’s earlier impressionistic, almost Romantic style evolved with a greater concentration on technique and neoclassical objectivity, although several of the Book II Preludes have strong similarities to those from the earlier set. No. 1. “Brouillards” (“Mists”) is a delicate piece, its texture dependent on difficult and sweeping arpeggios. It feels somewhat polytonal and harmonically advanced. No. 2. “Feuilles mortes” (“Dead Leaves”): The main theme and mood of this prelude has such a resemblance to that of Book 1’s “Les sons et les parfums tournement dans l’air du soir” (“Sounds and Scents Mix in the Evening Air”), it seems that Debussy was intentionally creating a parody. No. 3. “La Puerta del Vino” (“The Gateway of the Alhambra Palace”): One of the most effective preludes of the set, this Spanish-inflected work has the rhythm of a habañera throughout. No. 4. “Les fées sont d’exquises danseuses” (“The Fairies are Exquisite Dancers”) has delicate figuration and requires the pianist’s supreme lightness of touch. No. 5. “Bruyères” (“Heaths”) is similar in style to “La fille aux cheveux de lin” of Book I. “Bruyères“ depicts an English landscape and is not as demanding many of the other preludes.
PROGRAM NOTES No. 6. “Général Lavine – excentric” (“General Lavine—eccentric”) wittily portrays a famous American juggler. Debussy cleverly uses rhythms and sudden contrasts to draw his character. Its feel is similar to “Minstrels” from Book I. No. 7. “La terrasse des audiences du clair de lune” (“The Terrace of the Audiences of Moonlight”): Debussy based this subtle prelude on a phrase from the French children’s song “Au clair de la lune” and included several artfully constructed mood changes. No. 8. In “Ondine” a legendary water sprite is brought to life with arpeggiation, sharing the limelight with short playful figures. No. 9 “Hommage à S. Pickwick Esq. P.P.M.P.C. (after Dickens’ Posthumous Papers of the Pickwick Club”: This prelude brings to life the protagonist of Charles Dickens’ novel, The Pickwick Papers, imitating his whistling, English music hall style and even a quotation from “God Save the Queen.” No.10. “Canope”: This Prelude is very much like “Et la lune descend sur le temple qui fut” (“And the Moon Descends on the Ruined Temple”) from the second set of Images (1907), resembling it in both its style and its content. In it, Debussy created a somber depiction of an Egyptian burial urn. No. 11.”Les tierces alternées” (“Alternating Thirds”): This study in thirds foreshadows the style of the Etudes (1915). Dynamics, subtly used, creates much of the power of this prelude. No. 12. “Feux d’artifice” (“Fireworks”): The last of Debussy’s series of Twenty-Four Preludes depicts a spectacular show of fireworks, presumably shot off then as now on Bastille Day, July 14th, France’s national holiday to commemorate the beginning of the French Revolution of 1789. At the end the national anthem, La Marseillaise sounds in the distance followed by the final version of the fireworks theme. The structure of the piece mirrors the fireworks display, based on a long ascent, with brilliant arpeggios, trills and fast chord sequences, which reach a climax, after which a short, rapid line plummets almost vertically. Notes are copyright Susan Halpren, 2017
ABOUT THE ARTIST
Richard Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and has been acknowledged world wide as one of today’s leading interpreters of Classical and Romantic music. In regular performances with the major orchestras, recitals in the world’s music capitals, and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following. Gramophone magazine recently captured the essence of what makes Richard Goode such an original and compelling artist: ‘‘Every time we hear him, he impresses us as better than we remembered, surprising us, surpassing our expectations and communicating perceptions that stay in the mind.” Richard Goode opened his 2017-2018 season at the Pablo Casals Museum in San Salvador, Spain and at the Verbier Festival in Switzerland. Among the orchestras with which he is appearing this season are the Cleveland Orchestra with Dohnanyi, the Los Angeles Philharmonic with Manze, the New York String Orchestra with Laredo at Carnegie Hall, and in Europe, with the London Philharmonic, Oslo Philharmonic, and BBC Philharmonic. One of today’s most revered recitalists, he will be heard in the Lincoln Center Great Performers Series, in Philadelphia, Berkeley, La Jolla, Madison, and in London and other European capitals. In the 2016-17 season, Richard Goode appeared as soloist with Louis Langrée and the Mostly Mozart Festival Orchestra in a program filmed as part of a documentary celebrating the 50th Anniversary of one of the country’s most popular summer musical events. Another highlight of last season were concerts in Hungary and on tour in the U.S. with one of the world’s most admired orchestras and his recording partner, the Budapest Festival Orchestra and Ivan Fischer. Their recording of the five Beethoven Piano Concertos has won worldwide acclaim; Goode performed Concertos no. 2 and no. 4 on the tour, which included performances in February 2017 at the New Jersey Performing Arts Center, Lincoln Center, and for the Chicago Symphony, the University Musical Society in Ann Arbor, and Celebrity Series of Boston. Among other highlights of recent seasons have been the recitals in which, for the first time in his career, Mr. Goode performed the last three Beethoven Sonatas in one program, drawing capacity audiences and raves in such cities as New York, London, and Berlin. The New York Times, in reviewing his Carnegie Hall performance, hailed his interpretations as “majestic, profound readings... Mr. Goode’s playing throughout was organic and inspired, the noble,
ABOUT THE ARTIST introspective themes unfolding with a simplicity that rendered them all the more moving.” He was also heard as soloist with Andris Nelsons in his first season as Music Director of the Boston Symphony Orchestra and at Carnegie Hall, where Goode was featured in two chamber music concerts with young artists from the Marlboro Music Festival, in a master class on Debussy and in a Main Hall recital. In anticipation of the 25th Anniversary in 2018-19 of the release of his historic recordings of the Complete Beethoven Sonatas, Nonesuch Records has re-released the acclaimed recordings. An exclusive Nonesuch recording artist, Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to lieder and concertos. His recording of the five Beethoven concertos with the Budapest Festival Orchestra and Iván Fischer was released in 2009 to exceptional critical acclaim, described as “a landmark recording” by the Financial Times and nominated for a Grammy® award. His 10-CD set of the complete Beethoven sonatas cycle, the first-ever by an American-born pianist, was nominated for a Grammy® and has been ranked among the most distinguished recordings of this repertoire. Other recording highlights include a series of Bach Partitas, a duo recording with Dawn Upshaw, and Mozart piano concertos with the Orpheus Chamber Orchestra. A native of New York, Richard Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. His numerous prizes over the years include the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy® award for his recording of the Brahms Sonatas with clarinetist Richard Stoltzman. His first public performances of the complete cycle of Beethoven sonatas at Kansas City’s Folly Theater and New York’s 92Y in 1987-88 brought him to international attention being hailed by
ABOUT THE ARTIST The New York Times as “among the season’s most important and memorable events.” It was later performed with great success at London’s Queen Elizabeth Hall in 1994 and 1995. Mr. Goode served, together with Mitsuko Uchida, as co-Artistic Director of the Marlboro Music School and Festival in Marlboro, Vermont from 1999 through 2013. Participating initially at the age of 14, at what the New Yorker magazine recently described as “the classical world’s most coveted retreat,” he has made a notable contribution to this unique community over the 28 summers he has spent there. He is married to the violinist Marcia Weinfeld, and, when the Goodes are not on tour, they and their collection of some 5,000 volumes live in New York City.
MODLIN CENTER FOR THE ARTS
STAFF
ADMINISTRATION Executive Director Deborah Sommers Assistant Director Shannon Hooker Administrative Coordinator Beverly Bradshaw Student Program Associate Kacy Workman Student Contracts Administrator Eden Kim PRODUCTION Production Manager Sean Farrell Assistant Production Managers Patrick Kraehenbuehl Robert Richards Piano Tuner Ray Breakall Student Stage Managers: Olivia Barnum Emeline Blevins Gracie Carleton Alec D’Alessandro Jack Goodin Colby Heald Jonathan Knabe Jeff Noble Student Stagehands: Zack Cain Bailey Daigle Nathan Dinh
Katerine Gkagkou Kevin Johnson Eugene Lin Grace Lynch Veronika Nesterenko Pixie Zhang MARKETING & TICKET SALES Marketing Director Jonathan Gunter Student Marketing Manager Karissa Lim Student Publicity Assistants Margaret Johnson Uyen Lee Box Office Manager Jessie Haut Buford Box Office Associates Chantel Baker Mira Carroll Brier Clough Sal Girma Christopher Guarino Josh Hammond Alec Justice Ben LaRiviere Rachel Nugent William Purdum Yosan Teklezgi Lauren Wenslau ARTIST SERVICES Artist Services & Concessions Manager Jo Bachman
OPERATIONS & AUDIENCE SERVICES Operations and Front of House Business Manager Christopher O’Neil Front of House Coordinator Kim Chiarchiaro House Managers Katherine Deloyht Kim Chiarchiaro Daniel Hillard Jeff Karow Joey Luck Tessa Rinnen Mitchell Sampson Student House Managers Hillary Acuna Brier Clough Rachel Lantz Arya Pazhwak Student Head Ushers Unitha Cherry Kayla Connelly Sabrina Garcia Ray Hotta Yuwei Lin Yun-oh Park Mysia Perry Luke Powers Lesly Corado-Santiago Merchandise Associates Christopher Bowles Changil Neil Cho Isaiah Duplessis Joseph Maiarana
Artist Services Coordinator Katherine DeLoyht
ACADEMIC PROGRAMS IN THE ARTS Erling Sjovold, Chair Department of Art & Art History
Jeffrey Riehl, Chair Department of Music
Johann Stegmeir, Chair Department of Theatre & Dance
Richard Waller, Executive Director UR Museums
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OPEN PRIOR TO PERFORMANCES AND DURING INTERMISSION modlin.richmond.edu (804) 289-8980
The University of Richmond’s 2017-2018 Tucker-Boatwright Festival of Literature and the Arts will be hosted by the Department of Theatre and Dance in collaboration with American Studies and Women, Gender, & Sexuality Studies. This year’s events will focus on the theme “The Personal is Political / The Political is Personal.” It will feature performances, lectures, and residencies by artists whose work reflects social and political concerns.
For a full schedule of events, visit http://as.richmond.edu/tucker-boatwright
DEPARTMENT OF THEATRE AND DANCE EVENT CALENDAR
a
O C TO B E R THUR.-SAT. 5–7 7:30 PM
Top Girls by Caryl Churchill
SUN. 8 2:00 PM
Top Girls by Caryl Churchill
NOVEMBER THUR.-SAT. 16–18 7:30 PM
The Crucible by Arthur Miller
SUN. 19 2:00 PM
The Crucible by Arthur Miller
FEBRUARY THUR.-SAT. 8–10 7:30 PM
Production Studies III Showcase
SUN. 11 2:00 PM
Production Studies III Showcase
THU. 22 7:30 PM
UNIVERSES, Party People Salon
MARCH FRI.-SAT. 2-3 7:30 PM
Converge, University Dancers Annual Spring Concert
SUN. 4 2:00 PM
Converge, University Dancers Annual Spring Concert
APRI L THUR.-SAT. 19-21 7:30 PM
Blues for Mister Charlie by James Baldwin
SUN. 22 2:00 PM
Blues for Mister Charlie by James Baldwin
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DEPARTMENT OF MUSIC EVENT CALENDAR
SEPTEMBER WED. 6 7:30PM FRI. 15 7:30PM MON. 18 7:30PM
David Esleck Trio Family Weekend Concert Anna Nizhegorodtseva, piano a
TUE. 10 7:30 PM
O C TO B E R
Eunmi Ko, piano
SUN. 29 3:00 PM UR Schola Cantorum and Women's Chorale MON. 30 7:30 PM Thomas Meglioranza, baritone and Reiko Uchida, piano
NOVEMBER FRI.-SAT. 3-4 multiple Third Practice Electroacoustic Music Festival SUN. 12 3:00 PM Global Sounds WED. 15 7:30 PM
UR Jazz Ensemble
SUN. 19 7:30 PM
UR Wind Ensemble
WED. 29 7:30 PM
UR Symphony Orchestra
MON. 4 7:30 PM
UR Chamber Ensembles
DECEMBER TUE. 5 7:30 PM
UR Jazz and Contemporary Combos
5:00 & SUN. 10 8:00 PM
44th Annual Festival of Lessons and Carols
WED. 31 7:30 PM
Richard Becker, piano
JANUARY
FEBRUARY Neumann Lecture on Music MON. 26 7:30 PM Music as Preparation for Life: Practice, Accompaniment, Improvisation, Dr. George Lipsitz, speaker
MARCH WED. 7 7:30 PM
Ensemble Arte
SUN. 25 3:00 PM Duo Piano Recital with Richard Becker and Doris Wylee-Becker MON. 26 7:30 PM
Bruce Stevens, organ
APRIL MON. 2 7:30 PM
UR Wind Ensemble
WED. 4 7:30 PM
UR Symphony Orchestra
SUN. 8 3:00 PM Global Sounds MON. 9 7:30 PM
UR Jazz and Contemporary Combos
WED. 11 7:30 PM
Mike Davison and the Latin Jazz Messengers
SUN. 15 3:00 PM UR Schola Cantorum and Women's Chorale WED. 18 7:30 PM
Cuban Spectacular
MON. 23 7:30 PM
UR Chamber Ensembles 5
UNIVERSITY MUSEUMS Lora Robins Gallery, The First Forty Years: From Found to Finished, Museum Studies Seminar Exhibition Through September 24, 2017 | Lora Robins Gallery of Design from Nature 19th-Century American Jugs: Relief Molded Pitchers from the Collection Through November 17, 2017 | Lora Robins Gallery of Design from Nature Turtles in Time: From Fossils to the Present Through May 11, 2018 | Lora Robins Gallery of Design from Nature The Personal is Political: Images of Women from the Harnett Print Study Center August 23, 2017 to July 2, 2018 | Modlin Atrium and Booker Hall Lobby Chasing Bugs: Insects as Subject and Metaphor August 23 to October 3, 2017 | Harnett Museum of Art
Théophile-Alexandre Steinlen (French, 1859-1923), En Belgique les Belges ont faim. Tombola artistique... (In Belgium the Belgians are hungry. Artistic raffle...), 1915, two-color lithograph on paper, 47 ¼ x 30 ¼ inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Museum purchase, H2017.06.01. © University of Richmond Museums, photograph by Taylor Dabney
Leonardo Drew: Print Series August 23 to December 8, 2017 | Harnett Museum of Art Annual Student Exhibition August 23 to September 17, 2017 | Harnett Museum of Art Iterations: Contemporary Approaches to Drawing September 15, 2017 to April 22, 2018 | Harnett Print Study Center Unexpected Smiles: Seven Types of Humor in Japanese Paintings October 18, 2017 to January 28, 2018 | Harnett Museum of Art WAR-DROBE: Fantasy & Exaggeration in Contemporary Japanese Fashion October 18, 2017 to January 28, 2018 | Harnett Museum of Art Steinlen: Humanity October 20, 2017 to March 30, 2018 | Harnett Museum of Art Teresa Cole: Installation Project October 27 to December 8, 2017 | Lora Robins Gallery of Design from Nature Museum Studies Seminar Exhibition February 6 to May 11, 2018 | Lora Robins Gallery of Design from Nature Stitching Culture: Chinese Embroideries from the Carver Collection February 8 to December 9, 2018 | Lora Robins Gallery of Design from Nature Bon à Tirer: Prints from the Center Street Studio Archives February 22 to May 11, 2018 | Harnett Museum of Art Maria Chavez: Sound Art Installation March 21 to May 11, 2018 | Harnett Museum of Art Senior Thesis Exhibition April 20 to May 10, 2018 | Harnett Museum of Art
University of Richmond Museums comprises the Joel and Lila Harnett Museum of Art, the Joel and Lila Harnett Print Study Center, and the Lora Robins Gallery of Design from Nature. Museum hours: Sunday through Friday, 1 to 5 p.m. (8/23/2017 - 5/11/2018), Closed Labor Day Weekend (9/2 – 4/2017), Fall Break (10/13 – 16/2017), Thanksgiving Week (11/18 – 26/2017), Semester Break (12/9/2017 – 1/17/2018), Spring Break (3/10 – 18/2018), Easter Weekend (3/31 – 4/1/2018), and Summer Break (5/12 – 8/21/2018). For group visits and tours, call Martha Wright at (804) 287-1258, or email mwright3@richmond.edu (804) 289-8276 | Admission is free to all University Museums | museums.richmond.edu
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GENERAL INFORMATION
PA R D O N O U R P RO G R E S S
In our continued effort to remain one of Richmond’s premier venues for performing arts, Booker Hall of Music will be undergoing renovations during the 2017-2018 season. Camp Concert Hall will remain open but balcony seating may by unavailable for select performances. For information regarding which performances may be impacted, contact the Modlin Center box office at (804) 289-8980.
BOX O F F I C E
TICKETS MAY BE PURCHASED online at modlin.richmond.edu, in person at the Modlin Center box office, or by phone at (804) 289-8980. August through April, the Modlin Center box office is open from 10 AM to 5 PM, Monday through Friday, and beginning 90 minutes prior to most performances. Visit modlin.richmond.edu or phone (804) 289-8980 for a list of summer hours. All patrons must have a ticket to gain entry into the performance hall. DISCOUNTED TICKETS ARE AVAILABLE for Modlin Center Members at the Partner level or above, subscribers, senior citizens age 62 and older, children age 12 and younger, groups of 20 or more, University of Richmond (UR) employees and students, Osher Lifelong Learning Institute members, and non-UR students with a valid student ID. Multiple discounts do not apply. SAFETY AND DISRUPTIONS: Please contact the Modlin Center box office to find out if a performance is suitable for young audiences. All patrons, including infants and children, must have a ticket to gain entry into the performance hall. Please be considerate of other audience members. Disruptive patrons will be asked to exit the performance hall. Use of hand-held electronic devices during performances is strictly prohibited. Use of such devices may result in confiscation of the device or removal from the venue. ACCESSIBILITY: When purchasing tickets, please inform the box office of any required accommodations. If tickets are purchased in accessible sections by patrons that do not require accessible seating, those patrons can be moved at the discretion of house management. Largeprint programs, assistive-listening devices, and earplugs are available at the will-call desk for most performances. All performance halls are accessible to persons with wheelchairs and/or limited mobility. Accessible parking also is available. Please contact the Modlin Center box office or visit modlin.richmond.edu for parking information. When attending an event, please allow time for parking and ticket retrieval. Late seating will be at the discretion of house management.
I N C L E M E N T W E AT H E R
CANCELLATION: Performances will only be cancelled in cases of extreme weather conditions. If the artist(s) have arrived in Richmond, the show will likely proceed. For information regarding the status of an event, visit modlin.richmond.edu or call the box office at (804) 289-8980. PLEASE NOTE THAT REFUNDS WILL NOT BE GIVEN unless a performance is cancelled. PROGRAMS: All programs are subject to change. PLEASE NOTE THAT ALL SALES ARE FINAL. Refunds will not be given unless a performance is cancelled. Subscribers and Members and the Partner Level or higher may exchange tickets for a future event up to 24 hours prior to a performance.
B ECO M E A M O D L I N C E N T E R S U B S C R I B E R !
Purchase tickets to four or more performances to become a Modlin Center Subscriber. Subscribers enjoy the following benefits: • • • •
PICK FOUR: Choose four or more performances to create your custom season subscription. SAVE: Modlin Center Subscribers enjoy a 20% discount on performance tickets throughout the season. GET PRIORITY ACCESS: Modlin Center Subscribers are able to purchase tickets before single-event ticket buyers. ENJOY FLEXIBILITY: Only Modlin Center Subscribers and Members at the Partner level or above are permitted to exchange their tickets.
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MEMBERSHIP B ECO M E A M O D L I N C E N T E R M E M B E R Become a Modlin Center member and be part of one of the region’s top performing arts centers. Your support is vital in our mission to present diverse and vibrant arts experiences that inspire, engage, and enrich the community on and off the University of Richmond campus.
Your financial gift supports important programs including: • • • •
THE MODLIN CENTER SCHOOL SERIES, which provides yearly programming to school children at a free or reduced cost to schools. OPPORTUNITIES TO LEARN FROM ARTISTS through pre-concert Artistic Viewpoints discussions, Modlin Arts After Words post-show question-and-answer sessions, master classes, workshops, and additional free, interactive opportunities with artists. COMMISSIONING of new works. OPPORTUNITIES FOR THE COMMUNITY to gather and network during pre- and postshow receptions.
TO BECOME A MODLIN CENTER MEMBER, please review the categories and benefits below and select the membership level that is right for you. You tax-deductible contributions can be made online at modlin.richmond.edu, or by entering your donation amount on the brochure order form and mailing to: Modlin Center for the Arts, 28 Westhampton Way, University of Richmond, VA 23173.
PATRON OF THE ARTS – $10,000+ E. Rhodes & Leona B. Carpenter Foundation The Cultural Affairs Committee Mid Atlantic Arts Foundation H. G. Quigg Endowment
BACKSTAGE CIRCLE – $5,000-$9,999 Mayo Arts Fund New England Foundation for the Arts Danny & Barrie Shapiro
INVESTOR – $1,000-$2,499 Anonymous
PARTNER – $500-$999 Anonymous Anonymous Karen C. Baswell Dr. Simeon Chow Edward Villanueva
ADVOCATE – $250-$499 Anonymous Pamela K. Bomboy Rosa Bosher Andy & Laura Ferguson Anne & Steve Knudsen Nelson & Sherron Marquina Andy Newcomb & Judy Meister Dr. Thomas Robertson & Dr. Cynthia Ryan Bruce B. Stevens
Robert M. & Anne B. Terry Dr. & Mrs. Wilhelm Zueler
MEMBER – $100-$249 Mrs. Susan G. Abrams Anonymous Anonymous Anonymous Anonymous Anonymous Steve & Laurie Bacon Allison & Alan Ball Betsy & Chris Bredrup Judi & Martin Caplan Bernardo Nuñez & Terry Cavanaugh Nicholas & Ellen Cooke Michael and Terri Cuthriell Dr. & Mrs. Demian Mike Kastner & Mindy Fast Mrs. & Mr. Flowers Nicholas & Susan Kappel Melissa & Nidal Mahayni Heather Krajewski & Robb Moore MSgt. Michael Morehouse Linda & Ken Owens Roseanna Smith Thomas R. Smith Tim & Ashley Villanueva Archi & Elaine Yeatts
OUR SPONSORS THE MODLIN CENTER WOULD LIKE TO THANK OUR SPONSORS AND COMMUNITY PARTNERS E. Rhodes and Leona B. Carpenter Foundation
The Cultural Affairs Committee H. G. Quigg Endowment Mayo Arts Fund Cover: Cover: University Dancers © Eibhlin Villalta; UNIVERSES © Kevin Berne; Alicia Olatuja © Harrison Weinsstein iPotography; Steven Page © John Lauener; Doug Varone Dancers’ Bone Wilson, Burley Yamauch, Dufrene Tang, and Springer Bartlett © Erin Baiano; Wynton Marsalis © Danny Clinch Pg. 3: Cécile McLorin Salvant © Mark Fitton; Alicia Olatuja © Harrison Weinstein Photography Pg. 7: Eddie Palmieri © TK; L.A. Dance Project © Merce Cunningham Pg. 20: University Dancers © David Van Gelder
*Priority ticket processing applies to Modlin Center events only and does not apply to University of Richmond or outside rental client events that take place at the center. Your gift may also qualify you for other recognition through the University of Richmond. For more information or questions related to tax deductibility, please contact the Office of Annual Giving at (804) 289-8052 or by email at annualgiving@richmond.edu.
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Learning is refreshing. At any age.
The Osher Lifelong Learning Institute at the University of Richmond is a unique lifelong learning program that seamlessly blends classroom experiences, interest groups, volunteer leadership opportunities and special events. For people 50 and better. Memberships start at $75.
VISIT US ONLINE OR CALL (804) 287-6608 TO REQUEST A CURRENT SCHEDULE OF CLASSES. osher.richmond.edu
VIRGINIA
ARTSFESTIVAL presents
UNFORGETTABLE PERFORMANCES, WORTH THE TRIP FROM ANYWHERE.
YO-YO MA, CELLO and KATHRYN STOTT, PIANO NOVEMBER 7
CHRYSLER HALL, NORFOLK
VIENNA BOYS CHOIR DECEMBER 20
ST. BEDE CATHOLIC CHURCH, WILLIAMSBURG
DECEMBER 21
SANDLER CENTER FOR THE PERFORMING ARTS, VIRGINIA BEACH
PLUS DOZENS MORE PERFORMANCES IN VENUES THROUGHOUT SOUTHEASTERN VIRGINIA. INFORMATION AND TICKETS
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GROUPS SAVE! FOR PRIORITY SEATING AND TRIP PLANNING, CALL (757) 282-2819
PLACE YOUR AD HERE RESERVE YOUR SPACE NOW FOR THE 2018-2019 SEASON PLAYBILL! CONTACT: JARED ROSS AT (804) 614-5740 OR JARED@ROSSPUBLISHING.COM MODLIN.RICHMOND.EDU | (804) 289-8980
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