TPA 2023 Program: Verona Quartet and Aizuri Quartet

Verona Quartet

MAR 3 | MCCULLOUGH THEATRE

Aizuri Quartet The Art of Translation

MAR 4 | MCCULLOUGH THEATRE

AizuriKids

MAR 5 | DRAYLEN MASON STUDIO AT KMFA

PRESENTING SPONSORS

Welcome to Texas Performing Arts!

Thank you for joining us! We’re thrilled to welcome you to experience the best in new performance from around the world as part of the Texas Performing Arts 2022–23 Season.

This season, we’ve made a bold return to presenting international artists, with nine countries represented in the season. We are also amplifying our longstanding commitment to large-scale dance works, with visits from four major companies. Alongside these visiting productions, we wanted to showcase artists who call Austin home. Through our artist-in-residence program, you can take a peek behind the curtain of creativity as interdisciplinary artist and creative director Kenyon Adams, playwright Virginia Grise, and choreographer Deborah Hay develop and present their latest projects. New this season, the youngest audiences can experience adventurous art through our new series of creative performance for families.

The 22/23 Texas Performing Arts Season complements our always-popular Broadway in Austin series and our Texas Welcomes lineup of concerts and comedy. Please sign up for our newsletter and see everything we offer at texasperformingarts.org. New shows are added all the time. We hope you can join us for another performance soon!

Bob Bursey Executive & Artistic Director

Injured? We’re here to help.

Beyond the Performance

At Texas Performing Arts, we make sure engagement with the arts extends beyond the stage — a place where students, faculty, and the Central Texas community can connect, gather, and share ideas. Through workshops, discussions, masterclasses, and more, we strive for everyone to be able to feed their artistic spirit.

Our 22/23 Season kicked off in September with a full lineup of inspiring and adventurous performances, which will continue through April. Here are just few highlights of our campus and community activities from this fall. 1

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Photo by TK

Members of Brooklyn’s acclaimed Sandbox Percussion led a masterclass with the Butler School of Music’s Percussion Studio.

Martha Gonzalez, collaborating resident artist with playwright Virginia Grise in Riding the Currents of the Wilding Wind, guided a songwriting workshop with the Draylen Mason fellows from Austin Soundwaves.

Theatre students from Georgetown’s middle schools got a peek behind the scenes of Texas Performing Arts’ stages.

UT Alum Evita Arce, a company member of SW!NG OUT, taught a Lindy Hop masterclass for dance students in the UT Department of Theatre and Dance.

Mexico’s Makuyeika Colectivo Teatral led a bilingual workshop at the Scottish Rite Theatre, culminating in an improvised rendition of a communal story.

Photo by TK

ALL STUDENT TICKETS

Local New Global Now

Dance Theatre of Harlem

FRI, FEB 10

Cécile McLorin Salvant

Leonardo! A Wonderful Show About A Terrible Monster

SAT, FEB 25

FRI, MAR 3

Aizuri Quartet

The Art of Translation SAT, MAR 4

AizuriKids SUN, MAR 5

Vuyani Dance Theatre

Cion: Requiem of Ravel’s Boléro

APR 19

Dream House Quartet featuring Katia & Marielle Labèque, Bryce Dessner & David Chalmin

APR 25

GET

Compagnia TPO

Farfalle

SAT, APR 29 – SUN, APR 30

Photo by TK

Cullberg — Works by Deborah Hay

Texas Inner Circle

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JOIN TODAY!

Sign up now for 10% off drinks in the Texas Inner Circle Member Lounge! texasperformingarts.org/membership

Photo by Sandy Carson

Photo by TK

Photos by Sandy Carson

Digitization project will make historic Hollywood film backdrops accessible to fans around the world

Texas Performing Arts’ Hollywood Backdrop Collection has garnered international attention in the past few years, as interest has grown in this important art form. Thanks to generous support from donors, the collection will soon be available to view and explore online.

These assets make up the largest and most extensive educational collection of Hollywood motion picture backdrops in the world.

Assistant Professor of Practice Karen Maness and Professor Emeritus Richard Isackes lovingly documented the history of the film backdrops in their award-winning publication, The Art of the Hollywood Backdrop (Regan Arts 2016). A cache of 68 historic paintings was generously donated to Texas Performing Arts by J.C. Backings and the Art Directors Guild Archives’ Backdrop Recovery Project.

The collection includes backings from iconic and critically acclaimed films such as National Velvet (1944), The Sound of Music (1965), Ben Hur (1959) and North by Northwest (1958). Following national coverage of the project on CBS’ Sunday Morning with Jane Pauley in February 2020 and two subsequent exhibitions hosted on the stage of Bass Concert Hall the following year, the Boca Raton Museum of Art opened Art of the Hollywood Backdrop in April 2022. The exhibition has attracted international media coverage, from the Wall Street Journal to the Times of London.

With generous support from Susan & Robert Morse, Texas Performing Arts is now digitizing the collection to make it even more widely available. A new website will launch and will serve as both digital archive and interactive teaching tool.

“It’s an exciting next step.” says Texas Performing Arts’ Executive and Artistic Director

Bob Bursey. “Sharing the collection digitally will allow us to celebrate these masters of illusion and perspective while inspiring the next generation of artists with access to material never before available.”

The website will showcase the backdrops in high-resolution detail, amplifying and preserving the techniques of backdrop painting and restoration pioneered by Hollywood’s uncredited lead scenic artists. Texas Performing Arts has captured direct instruction from Hollywood’s top motion picture scenic artists Michael Denering, Joe Francuz, and Donald MacDonald for the website.

While student training in these lost techniques continues in Texas Performing Arts’ Fabrication Studios, the digital archive will share detailed instruction for future caretakers how to preserve, stabilize and restore these works as the project continues to expand. The digitization of the collection will also help contextualize the work by connecting the backdrops to the iconic films in which they were featured, reaching audiences around the world.

Mar 3, 2023

McCullough Theatre

Verona Quartet

Jonathan Ong, Violin

Dorothy Ro, Violin

Abigail Rojansky, Viola

Jonathan Dormand, Cello

Media Sponsor: KMFA-FM

String Quartet No. 4

VERONA QUARTET

Jonathan Ong, violin

Dorothy Ro, violin

Abigail Rojansky, viola

Jonathan Dormand, cello

Grażyna Bacewicz

Andante—Allegro molto (1909-1969)

Andante

Allegro giocoso

Ritus Sanitatem WORLD PREMIERE Texu Kim On Inscribing Talismans (b. 1980) On the Mysteries of Stylostixis On Byung-gut

- Intermission-

String Quartet No. 13 in G Major, Op. 106 Antonín Dvořák

Allegro moderato (1841-1904)

Adagio ma non troppo

Molto vivace

Finale: Andante sostenuto—Allegro con fuoco

The co-commissioning and world premiere of Ritus Sanitatem at Texas Performing Arts is generously supported by the Kahng Foundation.

The Verona Quartet is the recipient of Chamber Music America’s 2020 Cleveland Quartet Award. The quartet’s performance has been made possible in part by Chamber Music America and the Cleveland Quartet Award Endowment Fund.

PROGRAM NOTE FOR RITUS SANITATEM

Music has been believed to help maintain and restore mental and physical health at various times and in various cultures. One of the more exemplary instances would be the Korean shamanic healing ritual, Byung-gut. In this practice, a shaman (ordinarily female) dances, recites, chants,

and sings, interacting with a small instrumental ensemble. Here, music plays a central role. Ritus Sanitatem (“rite of healing,” translated from Latin) for string quartet is a journey through several Korean folk-healing traditions in three movements. The first movement is inspired by the inscription of talismans, which I associate with chanting, one of the oldest practices of using music as medicine in

diverse cultures, like in ancient Sanskrit chants of Samaveda.

The second movement addresses acupuncture in that it begins with a sharp pain (related to the injection of needles, though one is not supposed to feel any pain if it is done very well) that eventually gives relief and recovery. The concept of healing by hurting can be found in numerous medical methods and traditions, including modern-day vaccination and crucifixes.

Music plays a significant role in the Korean shaman ritual gut. (Byung-gut is one of its many types.) While exuberant rhythm comes to the fore, like in other shaman music, melodic content is also considered essential in the gut. My piece’s finale exhibits these characteristics and a quotation of the gut, interwoven with passages

that would sound like tarantella, a psychedelic music and dance genre used to treat tarantism in 15th- to 17th- century Italy.

I hope this 17-minute rite gives the audience a chance to reflect on the role of music as medicine, especially after what the world went through in the last couple of years.

Ritus Sanitatem is cocommissioned by the Texas Performing Arts at the University of Texas at Austin with the support of the Kahng Foundation; and for the Smithsonian’s National Museum of Asian Art in honor of its 2023 centennial with support from the Bill and Mary Meyer Concert Series of the National Museum of Asian Art (Smithsonian). It is dedicated to the Verona Quartet: dear friends Jon, Dorothy, Abby, and JD. – Texu Kim

ABOUT VERONA QUARTET

Acclaimed as an “outstanding ensemble…cohesive yet full of temperament” (The New York Times), the Verona Quartet has firmly established itself amongst the most distinguished ensembles on the chamber music scene today. The group’s singular sense of purpose most recently earned them Chamber Music America’s coveted 2020 Cleveland Quartet Award, and a reputation for its “bold interpretive strength, robust characterization and commanding resonance” (Calgary Herald). The Quartet serves on the faculty of the Oberlin College and Conservatory as the Quartet-in-Residence. In addition to its position at Oberlin, the Quartet holds residencies at Nova Scotia’s Lunenburg Academy of Music Performance and North Carolina’s Chamber Orchestra of the Triangle. As committed advocates of diverse programming, the Verona Quartet curates the UpClose Chamber Music Series on behalf of the COT, electrifying audiences

from concert halls to craft breweries with their “sensational, powerhouse performance[s]” (Classical Voice America).

The Verona Quartet has appeared across four continents, captivating audiences at venues such as Carnegie Hall, Lincoln Center (New York City), Kennedy Center, Library of Congress (Washington, D.C.), Jordan Hall (Boston), Wigmore Hall (U.K.) and Melbourne Recital Hall (Australia), and has performed at festivals including La Jolla Summerfest, Chamber Music Northwest, Caramoor, Alpenglow, and Bravo! Vail, and with the Chamber Music Society of Lincoln Center.

The 2022-23 season will see the Verona Quartet return to Carnegie Hall and Buffalo Chamber Music Society as well as debut at esteemed series including the Chamber Music Societies of Utica and Williamsburg, Clemson University’s Utsey Chamber Music Series, Feldman Chamber Music Music Society, Friends of Chamber Music Kansas City, and

Photo by Dario Acosta

Howland Chamber Music Circle. The Quartet will also participate in guest artist residencies at the Yong Siew Toh Conservatory in Singapore, Massachusetts Institute of Technology and the University of Texas at Austin.

A string quartet for the 21st century, the Verona Quartet champions the rich breadth of the string quartet repertoire from the time-honored canon through contemporary classics. Notable commissions and premieres include works by composers Julia Adolphe, Corey Dundee and Sebastian Currier as well as Michael Gilbertson’s Pulitzer Prize-nominated Quartet. In addition to the 2023 premiere of a string quartet by Derek David, the Quartet will premiere a new composition by Texu Kim and a work for string quartet and yangqin (Chinese dulcimer) by Cheng Jin Koh, commissioned and highlighted by the Smithsonian’s Freer Gallery in recognition of its Centennial. The Verona Quartet’s critically acclaimed debut album, Diffusion, features works of Janacek, Ravel and Szymanowski and was praised by BBC Music Magazine for its “radiant glow” and Cleveland Classical for the “Verona’s technical precision, expressive freedom, and brilliant, dramatic phrasing”. The Quartet’s second album, SHATTER, will showcase works written for the Verona Quartet by American composers Julia Adolphe and Michael Gilbertson as well as Reena Esmail’s Ragamala, in collaboration with Hindustani vocalist Saili Oak.

In addition to promoting contemporary music, the Quartet strives for a dynamic, imaginative approach to collaboration and

programming that champions cross-cultural and interdisciplinary enterprises. The Verona Quartet looks forward to collaborations with pianists Anne-Marie McDermott and David Fung, violist Masumi Rostad, cellist Joshua Roman and world-renowned pipa player Wu Man. Past projects include a live-performance art installation with artist Ana Prvački, performances with dancers from Brooklyn’s Dance Heginbotham, artistic exchanges with traditional Emirati poets in the UAE, and a collaboration with GRAMMYwinning folk trio I’m With Her. Drawing from the mentorship of the celebrated Cleveland, Juilliard and Pacifica Quartets, the Verona Quartet’s rapid rise to international prominence was fueled by top prize wins at the Wigmore Hall, Melbourne, M-Prize and Osaka International Chamber Music Competitions, as well as the 2015 Concert Artists Guild Competition. The ensemble’s “vibrant, intelligent” (The New York Times) performances emanate from the spirit of storytelling; the Quartet believes that this transcends genre and therefore the name “Verona” pays tribute to William Shakespeare, one of the greatest storytellers of all time.

The Verona Quartet are D’Addario Artists and The Violin Channel Artists. To find out more visit the Verona Quartet on Facebook and Instagram @veronaquartet

The Verona Quartet appears by arrangement with Dinin Arts Management & Consulting

ABOUT TEXU KIM

punchy bass lines, snappy brass fanfares, and suave... solos”

(San Diego Story), Kim’s music is at times “explosively virtuosic”

(Wall Street Journal) but always uplifting and rewarding for both listeners and performers.

Texu Kim (b.1980) is “one of the most active and visible composers of his generation” (San Francisco Classical Voice), writing music that’s fun, sophisticated, and culturally connected. Drawing on his personal affinity for humor, his background in science, and his fascination with everyday experiences, Kim’s work radiates positivity, offering “major-league cuteness” (Broadway World) while demonstrating “surprising scope.” (San Diego Story) As a Korean-American, Kim explores the localization of imported traditions, incorporating crosscultural elements into his work in “impressive and special” ways so that “many orchestras and conductors around the world are taking an interest in [his] music.” (KPBS) By highlighting the interaction between folk culture and external influences, Kim creates meaningful depth while maintaining a signature playfulness and exuberance that is listener-friendly and engaging. Characterized by “exuberant, colorful washes of sound…

Kim’s work has enjoyed an impressive international performance history from a roster of top orchestras and ensembles, including the New York Philharmonic, the San Francisco Opera Orchestra, the San Francisco Symphony, the Minnesota Orchestra, the New World Symphony, the Oakland Symphony, the Oregon Symphony, the San Diego Symphony, the Detroit Symphony Orchestra, the National Orchestra of Korea, Seoul Philharmonic Orchestra, Gyeonggi Philharmonic Orchestra, Ensemble Intercontemporain, Ensemble Modern, Alarm Will Sound, Ensemble Reconsil Vienna, New York Classical Players, Ensemble 212, AsianArt Ensemble Berlin, Ensemble Mise-en, Fear No Music, Ensemble TIMF, Northwestern University New Music Ensemble, Indiana University New Music

Ensemble, C4: Choral Composer/ Conductor Collective, NOTUS, Red Clay Saxophone Quartet, the Verona Quartet, and more. Having served as the Composer-in-Residence of the Korean Symphony Orchestra (2014-18), Kim has appeared at Yeowoorak Festival, Walla Walla Chamber Music Festival, PyeongChang Music Festival and School, Bruckner Festival, SONiC Festival, Mizzou International Composers Festival, June in Buffalo, Aspen Music Festival, SCI National Conferences, Composers

Conference, and Oregon Bach Festival. The Opening Ceremony of the 2014 Paralympic Winter Games and the Piece & Piano Festival featured Kim’s balanced and well-crafted arrangements, which may also be heard on numerous commercial albums. A frequent collaborator with choreographers, filmmakers, and educators, Kim has received awards and honors from the Barlow Prize, American Modern Ensemble, Copland House, SCI/ ASCAP, Civitella Ranieri Foundation, and Isang Yun International Composition Prize, to name a few, in addition to winning a Silver Medal in the 1998 International Chemistry Olympiad (Melbourne, Australia).

Kim’s recent/upcoming projects include the world premiere of fffanfare!! commissioned by the San Francisco Opera in September 2022; performances of Dub-Sanjo by the Korean National Symphony Orchestra during their Europe tour in October 2022; the world premiere of Ritus Sanitatem by the Verona Quartet in March 2023, co-commissioned by Texas Performing Arts at the University of Texas at Austin with support of the Kahng Foundation and the National Museum of Asian Art of

the Smithsonian Institute; and a new sinfonietta commissioned by the Barlow Endowment that will be premiered in 23-24 season by Alarm Will Sound, the London Sinfonietta, the Oakland Symphony, and The Saint Paul Chamber Orchestra. An assistant professor of music at San Diego State University, Kim formerly taught at Syracuse University, Portland State University, and Lewis & Clark College. Kim is the Artist-of-theYear of the Busan Philharmonic Orchestra and the director of the Korean Symphony Orchestra’s Composers’ Atelier program, educating and commissioning up-and-coming composers; he has also served as co-director of Ensemble 212’s ‘New Music for Young Audience’ series, and acted as a curator and board member for the Korean Cultural Society of Boston’s ‘New Music Symposium.’ Having earned his D.M. from Indiana University and prior degrees from Seoul National University, Kim’s greatest mentors include Unsuk Chin, David Dzubay, Sven-David Sandstrom, Claude Baker, and Sangjick Jun.

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Photo by Robert Silver

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“A

RESIDENT ARTISTS

Texas Performing Arts Residencies help Austin-based artists of international renown create new work. The residencies are laboratories for developing projects that will go on to have a tangible impact on American culture.

Award-winning playwright and director Virginia Grise makes work through a political and historical lens. With her collaborator Martha Gonzalez, Grise is developing Riding the Currents of the Wilding Wind. The music-driven performance is based on Helena María Viramontes’ 2007 novel Their Dogs Came with Them.

A legend in postmodern dance whose approach to movement changed how the world makes and views dance. Based in Austin since 1976, Deborah Hay recently established her archive at the Harry Ransom Center at UT Austin. Her latest work is a collaboration with Austinbased composer Graham Reynolds.

Virginia Grise Deborah Hay Kenyon Adams

An interdisciplinary artist and creative director, Kenyon Adams seeks to reclaim or expand embodied ways of knowing, towards imagining and constructing sustainable futures. He is developing Compline, a ritual performance work with a vocal ensemble inspired by the “night prayer” from the early Christian church.

Mar 4, 2023

Aizuri Quartet — The Art of Translation

Media Sponsor: KMFA-FM

McCullough Theatre

Emma Frucht, Violin

Miho Saegusa, Violin

Ayane Kozasa, Viola

Karen Ouzounian, Cello

Photo by Shervin Lainez

THE ART OF TRANSLATION

Lembit Beecher (b. 1980): These Are Not Estonian Flowers (TEXAS PREMIERE)*

Franz Schubert: An Die Musik arr. Jannina Norpoth

Hannah Kendall (b. 1984): Glances / I Don’t Belong Here: (TEXAS PREMIERE)

Franz Schubert: Nacht und Träume arr. Jannina Norpoth

Paul Wiancko (b. 1983): Purple Antelope Sound Squeeze (TEXAS PREMIERE)*

- Intermission-

Franz Schubert: String Quartet No. 14 in D Minor, Death and the Maiden

I. Allegro

II. Andante con moto

III. Scherzo: Allegro molto

IV. Presto

The Aizuri Quartet is the recipient of Chamber Music America’s 2022 Cleveland Quartet Award. The quartet’s performance has been made possible in part by Chamber Music America and the Cleveland Quartet Award Endowment Fund.

*Commissioned by the Phillips Collection, written for the Aizuri Quartet

The quartet will also perform a special family program, AizuriKids, at Austin classical radio station KMFA’s Draylen Mason Studio on Sunday, March 5, 2023 at 1:00pm.

The performance of AizuriKids is supported by the Carolyn Bartlett Charitable Foundation.

Photo by Shervin Lainez

ABOUT THE ART OF TRANSLATION

The Art of Translation is a program born from our curiosity of how composers respond to different artistic mediums and how varied these responses can be. Music by living composers Hannah Kendall, Lembit Beecher, and Paul Wiancko stands next to Franz Schubert’s art songs and string quartet, and each piece takes us on a personal journey of how the composer reacts through the creation of music. The program opens with Lembit Beecher’s These are Not Estonian Flowers, a piece in response to American artist Alma Thomas’s 1968 work Breeze Rustling Through Fall Flowers. At the time of its composition, Beecher’s health prevented him from sitting and composing at his desk for long periods of time. He took his state of being not as an inhibiting factor, but wove it into his composition process. For six weeks, he would look at Thomas’s painting once a day and write a short musical response — sometimes a deep reflection into the art itself and other times a quick glance at the colors before diving right into the music. Beecher then stitched together a final piece that jumps from one response to the next, in a manner reminiscent of the varied textures and layered brushstrokes of Thomas’s painting. The title of Beecher’s quartet comes from his first viewing of the painting, when he saw it as a thumbnail on his computer and thought the artwork resembled an Estonian woven belt pattern from his childhood. Subsequent viewings each led to very different responses, and

he began to think about how personal, varied, and dependent on the moment our experiences of art are. When the music finally settles at the end of the piece, what emerges is an Estonian folk song, initially heard as a fragment at the opening of the piece, but now played in a new way: slowly lyrical and thoughtful. Beecher describes that the process of responding to Alma Thomas’s artwork had given him a different perspective, “as if the painting had encouraged [him] to look at [his] own world with new eyes.”

The first half of this program includes two Schubert songs An die Musik and Nacht und Träume, both arranged by PubliQuartet violinist Jannina Norpoth, and both sandwiched between living composers. Schubert’s music beautifully toggles between realism and the abstract; sometimes it is directly inspired by another piece of art, like how Death and the Maiden draws from Matthias Claudius’s poem Der Tod und das Mädchen, and at other times, it welcomes the listener to be transported through their own interpretation and imagination. The two art songs on this program were placed in their exact spots in hopes that the listener can take a moment to reflect on the three incredible living composers while also basking in the beauty of Schubert-ian melodies, and take the opportunity to absorb and cherish their own response to the concert experience.

Though Schubert’s Death and the Maiden is an expansion of his lied of the same name which in turn takes inspiration from Claudius’ poem, it is also a look into Schubert’s state of being at

Photo by Shervin Lainez

the time: he was suffering from syphilis and struggling with the grave realization that he would not recover. Dynamics within the first movement are suppressed as if Schubert is unable to fully accept his fate, and yet the music is full of violent anguish. The second movement (which includes the melody of his lied) opens with a somber chorale, and the variations that follow struggle to decide between minor and major. The final movement feels like a total departure from what came before, a whirlwind of unhinged energy that gallops into eternity. Perhaps this quartet is Schubert’s method of processing death, and as a listener, we are taken on that processing journey in real time, a roller coaster of emotions. With the final maniacal gesture of the last movement, one can imagine that Schubert is throwing tomatoes at the life that had given him so much difficulty, and hopefully writing this quartet provided a form of brief catharsis. Returning to the first half, in her piece Glances/I Don’t Belong Here:, Hannah Kendall takes British-Guyanese artist Ingrid Pollard’s photo series Pastoral Interlude, and draws parallels to her own experiences. Kendall writes that Ingrid’s artwork is “a series of photographs in which her Black British subjects are posed in the Lake District, the epitome of rural Britain; exploring the notion of alienation and ‘otherness’ in such spaces. In a similar way, this collection of seven miniatures are musical snapshots of my most cherished non-urban settings, and the experiences that can accompany each visit.” Within the first couple

seconds of each movement, Kendall immediately transports the listener into her world and her musical language, and the brevity of each movement evokes the snapshot of Hannah’s memories, as well as that feeling of not totally being rooted or belonging.

Paul Wiancko’s Purple Antelope Sound Squeeze is a companion piece to Sam Gilliam’s work Purple Antelope Space Squeeze. Gilliam’s artwork is a collage of uniquely shaped paper (the shapes were made out of molds cast specifically for this work), prints using welded objects, and hand-painted patterns, folded and layered on top of each other. “Purple Antelope Space Squeeze feels to me like a three-dimensional object that has been forced into a two-dimensional space,” writes Wiancko. 13 musical materials were connected, then “ripped apart, reconfigured, and smashed back together.” The result is a hodgepodge of fantastic sounds and aural textures, with a melody that overlays the craggy terrain. Wiancko breaks apart this melody and has each member of the quartet take turns playing fragments, reminiscent of the vibrant and colorful prints that Gilliam specially designed for Purple Antelope Space Squeeze. Wiancko writes, “Listening to Sound Squeeze now, I find myself attempting to cobble together some semblance of some unseen original narrative–the same impulse I had when encountering Sam Gilliam’s Space Squeeze for the first time.” Perhaps that is the point of art… to follow the impulse to make your own story and connection through a work, which ultimately makes you feel and be human.

Gilliam’s thought on experimentation and improvisation is particularly poignant as it best describes the nature of our “The Art of Translation” program, and why we do what we do as artists: “the surface is no longer the final plane of the work. It is instead the beginning of an advance into the theater of life,” (Sam Gilliam and Annie Gawlak, Solids and Veils, Art Journal 50, no. 1).

Purple Antelope Sound Squeeze and These Are Not Estonian Flowers commissioned by The Phillips Collection, where the Sam Gilliam and Alma Thomas works that inspired the compositions are currently on display.

Notes by Aizuri Quartet

Photo by Shervin Lainez

Photo by Shervin Lainez

ABOUT AIZURI QUARTET

The Aizuri Quartet has established a unique position within today’s musical landscape, infusing all of its music-making with infectious energy, joy, and warmth, cultivating curiosity in listeners, and inviting audiences into the concert experience through its innovative programming, and the depth and fire of its performances.

Praised by The Washington Post for “astounding” and “captivating” performances that draw from its notable “meld of intellect, technique and emotions,” the Aizuri Quartet was named the recipient of the 2022 Cleveland Quartet Award by Chamber Music America, and was awarded the Grand Prize at the 2018 M-Prize Chamber Arts Competition along with top prizes at the 2017 Osaka International Chamber Music Competition in Japan and the 2015 Wigmore Hall International String Quartet Competition in

London. The Quartet’s debut album, Blueprinting, featuring new works written for the Aizuri Quartet by five American composers, was released by New Amsterdam Records to critical acclaim (“In a word, stunning” – I Care If You Listen), nominated for a 2019 GRAMMY Award, and named one of NPR Music’s Best Classical Albums of 2018. The Aizuri Quartet’s follow-up to Blueprinting will be released on Azica Records in 2023.

In early 2022 the Aizuri Quartet was named fellows to the Artist Propulsion Lab, a project of WQXR, New York City’s Classical radio station. The Quartet’s fellowship includes live-broadcast performances, radio content, and the release of a new AizuriKids video, featuring music by Elizabeth Cotten, stop-motion animation by Lembit Beecher, and an interview with Rhiannon Giddens.

The 2021/22 season saw notable performances, including concerts with the Milwaukee Symphony

Photo by Shervin Lainez

Orchestra conducted by Ken David Masur, in which Aizuri

Quartet performed John Adams’s Absolute Jest. With legendary indie rock band Wilco, Aizuri

Quartet opened five concerts at the United Palace in Harlem and appeared with Wilco on The Tonight Show with Stephen Colbert. Also in 21/22, the quartet premiered David Ludwig’s Organistrum with Anthony McGill and Demarre

McGill at the Philadelphia Chamber Music Society and unveiled new works by Paul Wiancko and Lembit Beecher at the Phillips Collection in Washington D.C.

The Aizuris view the string quartet as a living art and springboard for community, collaboration, curiosity and experimentation. At the core of its music-making is a virtuosic ability to illuminate a vast range of musical styles through the Aizuri’s eclectic, engaging and thought-provoking programs. The Quartet has drawn praise both for bringing “a technical bravado and emotional power” to bold new commissions, and for its “flawless” (San Diego UnionTribune) performances of the great works of the past. Exemplifying this intrepid spirit, the Aizuri

Quartet curated and performed five adventurous programs as the 20172018 MetLiveArts String Quartetin-Residence at the Metropolitan Museum of Art, leading The New York Times to applaud Aizuri

Quartet as “genuinely exciting,”

“imaginative,” and “a quartet of expert collaborators.” For this series, the quartet collaborated with spoken word artist Denice

Frohman and shakuhachi player

Kojiro Umezaki, commissioned new works by Kinan Azmeh, Michi

Wiancko and Wang Lu, as well as commissioned new arrangements of vocal music by Hildegard von Bingen and Carlo Gesualdo, which was paired with the music of Conlon Nancarrow, Haydn and Beethoven in a program focused on music created in periods of isolation.

The Aizuris believe in an integrative approach to musicmaking, in which teaching, performing, writing, arranging, curation, and the quartet’s role in the community are all connected. In 2020, the quartet launched AizuriKids, a free, online series of educational videos for children that uses the string quartet as a catalyst for creative learning and features themes such as astronomy, American history, and cooking. These vibrant, whimsical, and interactive videos are lovingly produced by the Aizuris and are paired with activity sheets to inspire further exploration.

The Aizuri Quartet is passionate about nurturing the next generation of artists, and is deeply grateful to have held several residencies that were instrumental in its development: from 2014-2016, the String Quartet in Residence at the Curtis Institute of Music in Philadelphia, the 2015-2016 Ernst Stiefel String Quartet in Residence at the Caramoor Center for Music and the Arts, and the resident ensemble of the 2014 Ravinia Festival’s Steans Music Institute.

Formed in 2012 and combining four distinctive musical personalities into a powerful collective, the Aizuri Quartet draws its name from “aizuri-e,” a style of predominantly blue Japanese woodblock printing that is noted for its vibrancy and incredible detail.

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Executive and Artistic Director

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Anna Langdell Director of Development

Amy Burgar

Associate Director, Development

Miguel Robles

Development Associate

EDUCATION & ENGAGEMENT

Tim Rogers

Director of Education and Engagement

Brenda Simms

Program Coordinator, Education & Curriculum Development

FABRICATION & ACADEMIC PRODUCTION

Jeff Grapko

Director of Fabrication and Academic Production

Scott Bussey

Facility Manager and Senior Technical Director

J. E. Johnson

Associate Director, Fabrication

Karen Maness

Associate Director, Fabrication

Jason Huerta

Operations Manager, Fabrication

David Tolin

Project Manager, Fabrication

Carolyn Hardin Properties Manager

Hank Schwemmer

Lead Fabricator

Ashton Bennett Murphy Project Specialist, Fabrication

MARKETING & COMMUNICATIONS

Phil Rosenthal Director of Marketing and Communications

Brady Dyer

Associate Director, Communications

Lizzie Choffel Cantu

Senior Graphic Designer

Erica De Leon

Marketing Specialist, Digital Media

Romina Jara

Marketing Manager

PRODUCTION

Jim Larkin

Director of Production

Blake Addyson

Production Supervisor

Kat Carson

Production Supervisor

Travis Perrin

Staging and Rigging Supervisor

Sarah Cantu

Master Electrician

Michael Shanks

Assistant Lighting Supervisor

Drew Millay

Audio Video Supervisor

Chris Braudt

Assistant Audio Video Supervisor

PROGRAMS & EVENTS

Eleanor Stefano

Associate Director, Booking and Sales

Amber Goodspeed

Associate Director, Event Management

Ellie Holm

Event Manager

Brendan Burke

Programming Manager

TICKETING & GUEST EXPERIENCE

Tara Vela

Director of Ticketing and Guest Services

Amanda Adams

Associate Director, Guest Services

Shade Oyegbola

Associate Director, Ticketing

Meredith Delay

Patron Services Manager

Dianne Whitehair

Ticketing Systems Manager

Basil Montemayor

Ticketing Manager

Texas Performing Arts is also proud to acknowledge the hundreds of part-time and volunteer staff who play a critical role in presenting our annual season of world-class performing arts events to the Austin community.

House Managers

Dina Black

Virginia Bosman

Margaret Byron

Nancy Carrales

Sheri Dildy

Janine Dos Remedios

Tony C Garcia

Sam Hallam

Leslie Hawkins

Carlos Hernandez-Heine

Olga Kasma-Carnes

Charlotte Klein

Tamara Klindt

Sharon Kojzarek

Eric Lee

Lara Miller

Mad Poarch

Kimberly Reaves

Jessica Reed

Lee Rodgers

Mary Ruiz

Micah Sall

Student Employees

Alina Almaraz

Leah Austin

Nahla Beltran

Sarah Bhalla

Zoe Bihan

Cassiy Bivens

Ezra-Rose Bolender

Mathaly Carranza

Ciara Casarez

Benjamin Cervantes

Demian Chavez

Shivani Chidambaram

Kathyrn Clark

Audrey Clay

Bridgette Clifford

Maria Dalton

Kaila Delafance

Vio Dorantes

Melissa Elkins

Sarah Elliot

Laine Farber

Carla Garcia

Indigo Giles

Isabelle Gilmore

Gabriel Gomez-Reyes

Trinity Gordon

Alisse Guerra

Joshua Hale

Samuel Hallam

Catherine Heeman

Faith Hilchey

Isabella Hollis

Ari Jamison

Victoria Jefferson

Nereida Jimenez

Haley Johnson

Bindi Kaplan

Lucy Kulzick

Abigail Lantis

Austin Luchak

Gilbert Martinez

Angela Mata

Jonah Maughan

Elias Merlo

Eliza Moldawer

Samantha Moles

Genevieve MonterrosoSyevens

Aria Morgan

Lauren Mural

Hannah Nelson

Gracie Sanders

Hasina Shah

Andrea R Stanfill Castro

Debra Thomas

Kristine Tydlacka

Leah Waheed

Marty Watson

Tonya Woods

Sally Zukonik

Braden Newlun

Lanna Nguyen

Benjamin Nunn

Samuel Oladejo

Humberto Ortega

Leila Rabah

Morgan Randall

Zackary Reed

Bryce Riggle

Natalia Rodenzo

Hayley “Lee” Rodgers

Sabrie Rodriguez

Daniel Ruiz Bustos

Victoria Salazar

Simon Salinas

Hasina Shah

Lance, Shook

Matthew Smith

Nguyen Tang

Jeffrey Tran

Michelle Upham

Isabel Velasquez

Sydney Villaruel

Rylee Vines

Julia Yelvington

Jacob Zamarripa

Leadership Board

The Texas Performing Arts Leadership Board is a group of volunteer leaders in the arts, business, and philanthropy. The Board is dedicated to expanding Texas Performing Arts’ world-class programming, positioning the organization as an international leader in the performing arts, and strengthening the bond between the performing arts and the communities we serve.

Donors

Board Members

Brian Haley, Chair

Carly Christopher

Jaime Davila

Tamara Dorrance

Dennis Eakin

Deborah Green

Michael Herman

Steve Kahng

Nancy & Angus Littlejohn

Chris Mattsson

Lauren Reid

Marc Seriff

Lisa B. Thompson

Natasa & Michael Valocchi

Texas Performing Arts is a nonprofit supported by generous patrons and donors. We extend a special thank you to the following major supporters:*

$100,000+ Anonymous

Carly & Clayton Christopher

William & Anita Cochran

Dennis Eakin

Deborah Green and Clayton Aynesworth

Caroline & Brian Haley H-E-B Tournament of Champions

Abbey & Mike Herman

Steve Kahng

Angus & Nancy Littlejohn

Julia Marsden

Chris Mattsson

Susan & Robert Morse

Marc & Carolyn Seriff

St. David's Healthcare Texas Capital Bank Tocker Foundation

$50,000–99,999

Carolyn Rice Bartlett Charitable Foundation

Special gratitude to donors who have established endowments at Texas Performing Arts to provide long-term funding for mission-driven projects and programs:

Alex and Dee Massad Endowment Fund Arts Education Endowment

Joann and Gaylord Jentz Endowment for Student Engagement

Kathy Panoff Texas Performing Arts Student Engagement Endowment

Nancy Lee and Perry R. Bass Concert Hall Endowment

William & Anita Cochran Endowment for Performing Arts Access & Education

Phillip Auth Endowed Dance Fund for Texas Performing Arts

Performing Arts Center Endowment for Performing Excellence

Robert L. Tocker Endowed Excellence Fund for Student Volunteerism

Topfer Endowment for Performing Arts Production

Z. T. Scott Family Endowment for the Performing Arts

*Gifts pledged or received Sep 1, 2021 through Dec 1, 2022

Photo by Carlin Ma

Texas Inner Circle Members

Texas Performing Arts gratefully acknowledges the financial support of our members. Each year, members help fund robust education and engagement initiatives, affordable student tickets, and critical student employment opportunities that make Texas Performing Arts so much more than what you see on our stages.

BENEFACTOR’S CIRCLE

$10,000+ ChemCentric *

Julie and Steve Avery

Joe Batson

Jeff and Katie Berkaw

Dianne and Robert Brode

Virginia and Gilbert Burciaga

Dennis Eakin Kia *

Joanne Guariglia

Gretchen and Lance Kroesch

Julia Marsden

Mary G. Yancy

PRODUCER’S CIRCLE

$3,000–9,999

Anonymous

Drs. Lynn Azuma and Brian Hall

Deepika and Somdipta Basu Roy

Debra Bawcom

Renee Butler and Kay Stowell

Lee Carnes

Edwina P. Carrington

Suzanne and Bill Childs

Colleen Clark

John Coers

Ronda & John Cullen

Legacy Deo

Aubrey and Bobby Epstein

Jim Ferguson and Art Sansone

Frost Bank *

Jorge Garcia

Phil and Lisa Gilbert

Brian Gleason

Brian Hampton

Lisa Harris

Gladys M. Heavilin

Mary Ann and Andrew Heller

Frank N Ikard Jr

Kerry Keller

Kyongmee Kim

Chris and Melissa Knox

Kelley Knutson and Carol Walsh-Knutson

Cathy and James Kratz

Dr. and Mrs. Thomas Loftus

Sue and Gary Lowe

Mary and Lynn Moak

Donations made as of

Dec 1, 2022

We regret that limited space does not allow us to list every member. For information on ways to give, please visit texasperformingarts.org/ membership, call the membership office at 512.232.8567, or email us at support@texasperformingarts.org.

*Corporate Circle members

Kari Nations and Michael Gibertini

Jacqueline and Shawn O’Farrell

Wayne Orchid

Janis and Joe Pinnelli

Alicia Pounds

Javier Prado and Family

Debbie and Jim Ramsey

Gina and Don Reese

Chuck Ross and Brian Hencey

Michael Regester

Kenneth Sandoval

Syd Sharples

Robyn and Bret Siers

Laura and David Starks

Shari and Eric Stein

Carole Tower and Matthew St. Louis

Louann and Larry Temple

Claudia and Bill Wilson

Annie Zucker and Michael Regester

DIRECTOR’S CIRCLE

$1,500–2,999

Mandy and Heather Andress

Bonnie L. Bain

Addison, Sydney, Kori, and David Baker

Carolyn R. Bartlett

Becky Beaver

Carolyn and Andrew Birge

Grizelda and Tim Black

Casey Blass and Lee Manford

Tahra and Michael Boatright

Kara and Shelby Brown

Peggy and Gary Brown

Kimberly Brown

Shellie and Martin Campos

Barbara Cappa

Kelli and John Carlton

Martha Carr

Carol and Shannon Casey

Sue and Kevin Cloud

Anita and William Cochran

Niccolo and Natasha De Masi

Margaret Denena and Cliff Knowles

Ken Dockser

Susan and David Donaldson

Lyzz Donelson

Barbara Ellis and Alex McAlmon

Kevin Espenlaub and John Hampton

Laura L. Estes and Joyce A. Lauck

Carol and Clint Fletcher

Pamela and David Frager

Sandra Freed

Kelli Furrer

Susan Gammill

Nancy Gary and Ruth Cude

Cheryl and

R. James George, Jr.

Susan and Barry Goodman

Melissa and Rick Gorskie

Karen and Rowland

Greenwade

Sven Griffin

Cheri Gross

Juan M. Guerrero, M.D.

Jeffery Hammerberg

Jennifer and Randall Harris

Gunnar Hellekson

Anne and Thomas Hilbert

David Honeycutt

Amy and Jeffrey Hubert

Jeanine Hudson

Rob Ignatowski and Daniel Pacheco

Admiral and Mrs. B. R. Inman

Victoria Johnson

Gary C. Johnson

Kristie Johnston

Helen Johnston

Maxx Judd and Donn Gauger

K Friese & Associates*

Heather King

Betsy and Matt Kirksey

Sheila Kothmann

Loree and Burney LaChance

Calvin and Donna Lee

Sue and Larry Lewellyn

Mr. and Mrs. George F. Littlejohn

Dracos Locario

Jennifer and Christian Loew

Yadira and Delfino Lorenzo

Peggy Manning

Art Markman

Leslie and Charles Martinez

Richard McCathron

Alexandra and Tom McKeone

Ford McTee

Christine Messina

Jennifer and Jim Misko

Melissa Moloney and Chris Walk

Brenda and John Mosher

Miriam and Jim Mulva

Nall Family

Meri and Don Nelson

Marcia Nelson

Cathy Oliver

OroSolutions *

Terri Pascoe

Connie and Samuel Pate

Michele and Roy Peck

Shari and John Pflueger

Machelle Pharr

Liz and Jon Phelan

Leslie Powell

Sara and Dick Rathgeber

Elinor and Edwin Reese

Richie & Gueringer P.C. *

Alec Rhodes

Alyssa Russell

Susan Schaffer

Steve Schaffer

Nina and Frank Seely

Vijay Sitaram

Aurigo Software Technologies *

Balaji Sreenivasan

Sid Steadman

Lorri Stevenson

Robert Stiles

Bruce Stuckman

Peter and Joan Swartz

Caroline Tang

Caroline, Olivia, and John Taylor

John E. Thompson

Heather and Jeffrey Tramonte

Jonathan Tyner

Erin Vander Leest and Tom Pyle

Sara-Jane and Daniel Watson

Susan and Chris Wilson with Bonita Grumme

Dr. Lucas Wong and Dr. Lisa Go

CENTER STAGE

$600–1,499

Anonymous (8)

Cynthia Abel

Amy Adame

Dwain Aidala

Mark Aitala

Emily Allen and Ron Altizer

Terry Amacher

Page and Neal Amador

Brian Amato

Joann Anderson

Joe Annis

Sandy and Richard Apperley

Christopher Arboleda and Jared Ellis

Cecelia Arvallo

Tony Aventa

Donna and Manuel Ayala

The Ballon Family

Billy Bambrey

Jana and Barry Bandera

Naomi Banks Miller

Elisa Barnes

Joshua Becker

Dr. Steven A. Beebe

James Benson

April Berman

Jay Bhattacharyya

Carolyn and Jon Bible

Denis Blake

Stephanie and Michael Blanck

Amy Bodin

Dave and Nancy Bourell

Robert Bracewell

Steve and Jen Braud

Brook and Gerald Broesche

Janice and Charlie Brown

Scott Brown and Cheri Lafrinea

Christy and William K. Browning

Robert Bush

Robert Butchofsky

Josie and Jim Caballero

Sam Caire

Kelly Canavan

Ms. Susie Capozza

Min Choe

Joann Cocoros

Sharon and Eric Cohan

Barbara Colley

Sarah Compton

Jeanette Cortinas

Mary Crouch

Jennifer and James Cuddeback

Justin D’Abadie

Elaine Daigle

Wilma Dankovich

Lorraine and John Davis

Nhu and Randall DeBastiani

Courtney and Adam Debower

Lisa and Paul Delacruz

Brad Diemer

Kathleen Dignan

Tracy DiLeo

Lucy Ditmore

Jennifer Dixon

Glenn and Britta Dukes

Maria Dwyer

Susan and David Eckelkamp

Michael L. Edwards

James Elacqua

Sheila Ellwood

Reva Enzminger

Jane W. Fountain

Drs. Donald and April Fox

Vivian and James Froncek

Katina and Matthew Gase

Jon and Joanna Geld

Breanna Giannoules

Sharon and Richard Gibbons

Glenn and Nancy Gilkey

Laura and John Gill

Danny and Harriet Gleason

Craig and Becky Griffin

Jana and John Grimes

Martin Grygar and Travis Maese

Dr. Suchitra Gururaj and Joe Carey

Maria Gutierrez and Peter Nutson

Tizzle Bizzle Hallock

Cindy and John Hanly

Amy and Peter Hannan

Darcy and Rick Hardy Family

Laura Harvey

Jane Hatter

Lynda Haynes

John Hernandez

James Hester

Marjorie and David Hunter

Victoria Husband

Jennifer Ice

Kathleen and Jim Jardine

Robert Johnson

Anita and Ralph Jones

Susanna and Michael Khazhinsky

Hugh King

Susan and Richard Klusmann

Jan and Orion Knox

Aileen Krassner Kiehl and Michael Kiehl

John Kump

Dr. Jeffrey Lazar

Karen Leiker

Donn and Jeanette LeVie

Stacy Libby

Luis Lidsky

Jessie Lorenty and Erika Esquivel

Simon Lorne

Richard Maier

Salman Manzur

Dick Marshall

Joyce Martin

Roxanne and Steve Martin

Olivia Martinez

Drs. Victor Martinez and Christopher Rose

Dr. and Mrs. Lawrence Masullo

Stephanie Mayes

Jim and Katie McClarty

Chris McClung

Denise McCullough

Frances Ellen and Paul Metzger

Lynn Meyer and Rick Clemens

Pauline and Alfred Meyerson

James W. Moritz

Nicole and Kent Morrison

Denise Margo Moy

Michelle and Eric Natinsky

Rachel Naugle

Marina Navarrete

Philip Neff

Brian Neidig

Margaret and Brian Nilson

Wynnell Noelke

Lori Nunan Shaw

Dan and Deborah O’Neil

Eric and Allison Olson

Augustine Park

Paulina Pastrana

Kelly Payne

Robert Pender

Karen and Wes Peoples

Cindy Perez

Brian and Adele Peterman

Terra and RJ Peters

Lisa and Kyra Peterson

Nancy and Frank Petrone

Tami Pharr

Allen and Tonya Place

Bonnie and James Pohl

Carla and Steve Portnoy

Wanda Potts

Kate and Scott Powers

Eric Rabbanian

Luis Ramirez

Tracy Rawl

Marquette Maresh Reddam

Dawn and Thomas Rich

Martin Ritchey

Jeanine and Dan Roadhouse

Alan Robinson and Susan Frentz

Laura Robinson

Cesar and Susan Rodriguez

Summer Rydel

Susan E. Salch

Al Sandoval

Julie and Richard Schechter

Diane Selkin

Christine and Anthony Sementelli

Lori Nunan Shaw

Amy Shipherd

Linda Simonson

Dustin Slack

Raymond Smith

Debbie Smolik

Kimberly and David Soloman

Toni and Ted Spalding

Karen Speier

Logan Spence

Richard Stanford

Paul Stone

Geeta and David Suggs

Suresh Sundarababu

Dona and Ali Tabrizi

Matthew Tanzer

Bri Thatcher and Andy

Modrovich

Mackenzie and Burwell

Thompson

Stacy and Michael Toomey

Alice Toungate

Michael Tracy

Gregory Tran

Claudia and Luis Trejo

Brooke Turner and Brian Johnson

Keith Uhls and Dan Hutchison

Saradee and Melvin Waxler

Kenneth R. Webb

Chrissie Welty

Marie and Phil Wendell

Leslie and Dana West

Leslie and Bryan Weston

Nancy Whitworth Spong

Michael Wilen

Mr. and Mrs. Mark J. Williams

Carolyn Williams

Mike Wilson

Tanya Winch

Amy Wong Mok

Kevin Wood

Marian Yeager

Lena Yoo and Gerry P. Cardinal III

Mitch and Jeannette Young

Susan Zane

Get Your Class to Bass

Texas Performing Arts offers free tickets and related educational materials to area schools and educators designed to inspire the next generation of arts lovers including:

• Youth Performances - free daytime performances for K–12

• Students Experiencing the Arts with their Teachers

• Broadway Experience for Youth

• Teacher Tix @ TPA

Photo by TK

LEARN MORE TEXASPERFORMINGARTS.ORG/EDUCATION

D I N N E R B E F

R E T H E S H O W . D R I N K S W H E N I T ' S D O N E .

The Perfect night in Austin starts with Upscale American bites at Acre 41, or classics from Burger Bar. After the final curtain, escape to Otopia Rooftop, the only rooftop lounge in the Campus District, for lite bites and sunthemed cocktails. Looking for a nightcap? Make your way to Bar AC, a Spanish tapas and wine bar with an outdoor terrace. Finally, enjoy restful sleep in comfortable luxury at The Otis Hotel or AC Hotel.

PRESENTING SPONSORS

DONATE $10 AND HELP A STUDENT’S DREAMS COME TRUE!

Texas Performing Arts offers discounted tickets to ensure that any student from any school can enjoy world-class performances. This is only possible through generous support from donors like you. You can give a student the chance to experience the power of the performing arts for just $10. Please donate today!

texasperformingarts.org/support