Happy Birthday to You!

Tonight, we blow out the candles on the 2019 Festival Series, literally. The program will end with a kaleidoscopic version of Happy Birthday To You. Did you know the iconic tune was composed by two American women, Patty and Mildred J. Hill? Yup. It happened in 1893, round about the time Sibelius composed the string trio that opened the very first Festival Series performance of 2019 back in January. Talk about coming full-circle. In this case, however, the famous tune has been given the “Winston Choi” treatment… That means lots of musical Easter Eggs for you to identify. It’s a mashup worthy of the 300+ birthdays we will celebrate in honor of those who attend.

There’s more. Submerged for flute, harp and viola by Uruguayan-American composer, Miguel del Águila, Compline for string quartet, flute, clarinet and harp by Christopher Rouse, plus the Piano Quintet in G minor, Op. 57, by Dimitri Shostakovich round out the program. Excellent music, all, but I suggest you come to toast the anniversary of your own birth. It’ll be quite the celebration, and you deserve it!

Miguel del Águila (b. 1957)

Submerged (2013) For Flute, Harp And Violin

Christopher Rouse (b. 1949)

Compline (1996) For String Quartet, Flute, Clarinet And Harp

INTERMISSION

Dimitri Shostakovich (1906-1975)

Piano Quintet In G Minor, Op. 57 (1940)

I. Prelude: Lento

II. Fugue: Adagio

III. Scherzo: Allegretto

IV. Intermezzo: Lento

V. Finale: Allegretto

Winston Choi (b. 1977)

Happy Birthday Medley: A Violinist's Journey

Artists: Sarah Brady, flute; Winston Choi, piano; Timothy Christie, viola; Katri Ervamaa, cello; Norbert Lewandowski, cello; Amy Ley, harp; Christina McGann, violin; Stephen Miahky, violin; Philip Payton, violin; Maria Sampen, violin; Kevin Schempf, clarinet; and MingHuan Xu, violin.

Compline by Christopher Rouse

Composer Christopher Rouse composed Compline for the eclectic group of string quartet, harp, flute and clarinet as an ode to his first visit to the Eternal City of Rome, Italy.

Rouse positions the listener in the city with a device noting the omnipresence of church bells in Rome. The bell sounds take the form of a busy and unrelenting ostinato, fragmented and shared by the seven players in turn. Every corner of the seven-sided ensemble erupts and overlaps in joyous tintinnabulation. Contrasting this mood is the sense of antiquity, and a more sober musical idiom.

Come delve into this miraculous travelogue at Pepper Bridge winery, and close out the 2019 Tasting Music Series in ultimate style.

Artists: Sarah Brady, flute; Timothy Christie, viola; Katri Ervamaa, cello; Amy Ley, harp; Stephen Miahky, violin; Maria Sampen, violin; and Kevin Schempf, clarinet.

Philip Payton, violin

WWCMF lifer and violinist Philip Payton is a popular guy around Walla Walla. He is friendly. That’s a fact. He also loves every aspect of this community, and attempts to visit every corner during his annual June residency.

For his Portrait of an Artist recital, he can cross one of the more scenically beautiful corners of Walla Walla off his list, that being the bucolic super-venue, Garrison Creek Cellars. Come spend an hour getting to know Phil: what makes him tick, and what he’s excited about musically.

This consummate artist enjoys a career of wide variety on Broadway, in pop culture and classical music. Concertmaster for Jay-Z at Carnegie Hall? You bet. The Late Show? Yup. What about SNL? Well, at this point you better come to the performance and find out for yourself! Featuring music by Brahms, Piazzolla and Turina among others.

Artists: Winston Choi, piano; Timothy Christie, viola; Norbert Lewandowski, cello; Christina McGann, violin; Stephen Miahky, violin; and Philip Payton, violin.

William Bolcom Piano Quintet (2001)

Composer, pianist and Seattle native William Bolcom is an American treasure. His compositional output includes symphonies, operas, musical theater, art song, cabaret and of course, chamber music. This special evening brings together musicians from the new music group Brave New Works for a performance of his landmark Piano Quintet (2001)… and much more!

Through an evening of cabaret songs, ragtime, and even Hip-Hop (yes, Hip-Hop!), you’ll come to appreciate why Bolcom has variously been the recipient of the National Medal of Arts, the Pulitzer Prize, and multiple Grammys. Join us in the historic Whitehouse-Crawford Restaurant for this long overdue special event.

Artists: Winston Choi, piano; Timothy Christie, viola; Mary Tuuri Derby, mezzo-soprano; Katri Ervamaa, cello; Stephen Miahky, violin; Maria Sampen, violin; and MingHuan Xu, violin.

Barber and Wagner

WWCMF presents a program of stunning variety for our third Festival Series performance of the June 2019 season. The cast includes piano, violin, viola, cello, double bass, flute, clarinet, oboe, bassoon, horn, trumpet and trombone. These amazing artists perform with such outstanding ensembles as the Metropolitan Opera Orchestra (NY), Cleveland Orchestra (OH), Boston Modern Orchestra Project (MA) and the Seattle Symphony during the year. In June, we have them all to ourselves in Walla Walla.

With all these virtuoso musicians, there’s something for everyone. The Webern Concerto for Nine Instruments will challenge your sense of sonic order, Barber’s Summer Music for woodwind quintet will breeze through the Power House Theater like the summer wind and Wagner’s Siegfried Idyll will evoke an ancient forest replete with woodland critters. Spanning influences from serial music to American post-tonal harmony to jazz to unabashed romanticism, this program has it all. Join us for a concert sure to change your perception of what chamber music can be.

Samuel Barber (1910-1981)

Summer Music, Op. 31 (1955) For Woodwind Quintet

Anton Webern (1883-1945)

Concerto For Nine Instruments, Op. 24 (1934)

I. Etwas lebhaft

II. Sehr langsam

III. Sehr rasch

Dobrinka Tabakova (b. 1980)

Suite In Jazz Style (2009) For Piano And Viola

I.

II.

III.

INTERMISSION

Pierre Gabaye (1930-2000)

Récréation (1958) For Trumpet, Trombone, Horn And Piano

I. Allegretto

II. Largo

III. Presto

Richard Wagner (1813-1883)

Siegfried Idyll (1869)

Artists: Sarah Brady, flute; Rodger Burnett, horn; Timothy Christie, viola; Billy Ray Hunter, trumpet; Martin King, horn; Norbert Lewandowski, cello; Christina McGann, violin; Angelique Poteat, clarinet; Paul Rafanelli, bassoon; Maria Sampen, violin; Kevin Schempf, clarinet; Stephen Schermer, double bass; Weston Sprott, trombone; Anna Stoytcheva, piano; and Dan Williams, oboe.

Wagner Siegfried Idyll (1869)

Richard Wagner and chamber music: the two almost never go hand in hand. But the word almost is the key, here. Known primarily as a composer of sprawling music dramas, Wagner did turn his attention to smaller forms from time to time.

He composed Siegfried Idyll as a birthday present for his wife, Cosima, and presented the world premiere in his home on Christmas morning, 1870. The work includes themes from his epic four-opera cycle, Der Ring des Nibelungen, and in particular makes use of forest sounds associated with the hero, Siegfried.

Happily, we get a full story arc in about 20 minutes as opposed to the 5 hours it takes to enjoy a complete performance of Siegfried, the third music drama in the Ring Cycle. We’ll even supply an idyllic setting, the vineyards of TERO Estates in Milton-Freewater.

Artists: Sarah Brady, flute; Rodger Burnett, horn; Timothy Christie, viola; Billy Ray Hunter, trumpet; Martin King, horn; Norbert Lewandowski, cello; Christina McGann, violin; Angelique Poteat, clarinet; Paul Rafanelli, bassoon; Maria Sampen, violin; Kevin Schempf, clarinet; Stephen Schermer, double bass; and Dan Williams, oboe.

Weston Sprott, trombone

Weston Sprott plays a lot of opera… I mean A LOT! He is a trombonist with the Metropolitan Opera Orchestra in New York City, one of the premier orchestras in the world.

Operas can be long… I mean REALLY LONG. What do you suppose he’s thinking about down there in the pit? Sometimes trombones might have rests for about 30 minutes, before having to come in “guns blazing.”

How does he stay warmed up? There are so many questions. We have answers, and a terrific recital to boot. Weston brings music by Ravel, Telemann and Tchaikowski, among others. And yes, there will be some opera.

Artists: Weston Sprott, trombone; and Anna Stoytcheva, piano.

Collage

Collage has been a tradition at WWCMF for nine seasons now. Celebrate the tenth with us at the brand new and utterly spectacular Valdemar Estates. You can choose between the Monday and Tuesday performances, or even elect to come both nights (that would make you a Superfan!).

What is Collage, you ask?

Collage is a style of performing in which the entire space becomes a stage. The audience is co-fermented with the performers (we are in a winery production room after all) to create an entirely unique and of the moment blend. The music unfolds in front of, above, behind and within the audience in surprising ways. Music from across centuries dovetails into a continuous fabric of sound and movement. You might encounter Hendrix and Handel, Bach and Beck, Mozart and Megadeath. The pairings and contrasts are endless (and not necessarily alliterative).

One thing you’ll certainly experience is the exquisite hospitality of Valdemar Estates paired with the extraordinary virtuosity of musicians of WWCMF. Both shows sell out early, and you are thus forewarned. Get ‘em while they’re hot!

Note: Due to the continuous format of the musical sets and intricate lighting and staging design, late seating will not be possible. If you arrive after the beginning of the half, you will have to wait until intermission to take your seat. Unfortunately, we cannot make any exceptions. Thank you for understanding.

Artists: Natasha Bazhanov, violin; Sarah Brady, flute; Rodger Burnett, horn; Timothy Christie, viola; Peter de Grasse, dance; Artur Girsky, violin; Rowena Hammill, cello; Billy Ray Hunter, trumpet; Norbert Lewandowski, cello; Patty Mathieu, lighting design; Christina McGann, violin; Rob Moose, electric guitar/violin; Kathryn Padberg, dance; Paul Rafanelli, bassoon; Maria Sampen, violin; Kevin Schempf, clarinet/bass clarinet; Stephen Schermer, double bass; Weston Sprott, trombone; Anna Stoytcheva, piano; Kurt Walls, lighting design; and Dan Williams, oboe.

Collage

Collage has been a tradition at WWCMF for nine seasons now. Celebrate the tenth with us at the brand new and utterly spectacular Valdemar Estates. You can choose between the Monday and Tuesday performances, or even elect to come both nights (that would make you a Superfan!).

What is Collage, you ask?

Collage is a style of performing in which the entire space becomes a stage. The audience is co-fermented with the performers (we are in a winery production room after all) to create an entirely unique and of the moment blend. The music unfolds in front of, above, behind and within the audience in surprising ways. Music from across centuries dovetails into a continuous fabric of sound and movement. You might encounter Hendrix and Handel, Bach and Beck, Mozart and Megadeath. The pairings and contrasts are endless (and not necessarily alliterative).

One thing you’ll certainly experience is the exquisite hospitality of Valdemar Estates paired with the extraordinary virtuosity of musicians of WWCMF. Both shows sell out early, and you are thus forewarned. Get ‘em while they’re hot!

Note: Due to the continuous format of the musical sets and intricate lighting and staging design, late seating will not be possible. If you arrive after the beginning of the half, you will have to wait until intermission to take your seat. Unfortunately, we cannot make any exceptions. Thank you for understanding.

Artists: Natasha Bazhanov, violin; Sarah Brady, flute; Rodger Burnett, horn; Timothy Christie, viola; Peter de Grasse, dance; Artur Girsky, violin; Rowena Hammill, cello; Billy Ray Hunter, trumpet; Norbert Lewandowski, cello; Patty Mathieu, lighting design; Christina McGann, violin; Rob Moose, electric guitar/violin; Kathryn Padberg, dance; Paul Rafanelli, bassoon; Maria Sampen, violin; Kevin Schempf, clarinet/bass clarinet; Stephen Schermer, double bass; Weston Sprott, trombone; Anna Stoytcheva, piano; Kurt Walls, lighting design; and Dan Williams, oboe.

Dvorak String Quartet in F, Op. 96, “American”

Featuring the Girsky String Quartet, Danza Classica Ballet Company, and choreography by Idalee Hutson-Fish.

Few works in the chamber music repertoire communicate as fully to listeners of all stripes as does the String Quartet in F, Op. 96, by Antonin Dvorak. More immediately identifiable by its nickname, the “American,” this work has enjoyed a continuous place of prominence in the repertoire since its Carnegie Hall premiere in 1894 by the Kneisel Quartet. In fact, so significant is this music that it might be said to represent a glaring omission on the part of this Festival…

No more!

We visit the vast production facility of Rôtie Cellars for this special performance. Why so vast a space? To accommodate the dancers, of course! That’s right, WWCMF is teaming up with the young virtuosi of Walla Walla’s Danza Classica Ballet Company to bring new and unique insights to this Romantic masterpiece. With choreography by Idalee Hutson-Fish and a musical performance by the Girsky String Quartet, it will be a celebration from start to heart-pounding finish.

Artists: Nathalia Cazarez, dance; Grace Evans, dance; Amanda Gallaway, dance; Idalee Hutson-Fish, choreography; Katie Janis, dance; Nina Johanson, dance; Taya Lovejoy, dance; Colleen McKibben, dance; Paula Vargas, dance; and the Girsky String Quartet: Natasha Bazhanov, violin; Timothy Christie, viola; Artur Girsky, violin; and Rowena Hammill, cello.

Night Music

Night Music. Brings to mind Bob Seger and his evident work regarding “night moves.” However, we at WWCMF are taking a different tack. Night means all sorts of things. For example, there are animals that only come out at night. Turns out, these animals make different sounds than those that inhabit daylight. Béla Bartók was a composer who was famously fascinated by night sounds. His Third String Quartet stands as a great example of music conceived with a nocturnal soundscape in mind.

But Bartók is modern, you say. Yes, ’tis true. However, the night occupied classicists, modernists and romantics alike. That’s why we are placing a little bit of each on this program. I don’t need to say anything about Mozart’s Eine Kleine Nachtmusik, do I? And what about poor Schubert? He worked on his “night moves,” too. Enter the Notturno in E Flat, D. 897, which stands as a late masterpiece by Schubert, as late as we can consider age 31 to be.

So, join us for a little bit of night music. We’ll throw in a little bit of Nachtmusik for free.

Franz Schubert (1797-1828)

Notturno In E Flat, D. 897 (1827)

I. Adagio

Béla Bartók (1881-1945)

String Quartet No. 3 (1927)

I. Prima parte: Moderato

II. Seconda parte: Allegro

III. Recapitulazione della prima parte: Moderato

IV. Coda: Allegro molto

INTERMISSION

Joaquín Turina (1882-1949)

Circulo, Op. 91 (1936) For Piano Trio

I. Amanecer

II. Mediodia

III. Crepúsculo

Wolfgang Amadeus Mozart (1756-1791)

Serenade In G, K. 525 (1787) Eine Kleine Nachtmusik

I. Allegro

II. Romanze: Andante

III. Menuetto: Allegretto

IV. Rondo: Allegro

Artists: Norbert Lewandowski, cello; Christina McGann, violin; Jingwen Tu, piano; and the Girsky String Quartet: Natasha Bazhanov, violin; Timothy Christie, viola; Artur Girsky, violin; and Rowena Hammill, cello.

Bartók String Quartet No. 3 (1927)

The stern visage of Béla Bartók graces the 2019 WWCMF poster. Now, one of his greatest works will bring the stirring imagery of the poster to life, the String Quartet No. 3 (1927).

Bartók was fond of using a compositional technique known as “night music.” Through episodes of “night music,” Bartók becomes free from harmonic constraints and can instead delve into a soundworld more evocative of sounds found in nature. Perhaps most poignantly, his Third Piano Concerto contains an episode of “night music” nestled between passages of the most ardent tenderness. In the Third Quartet, the episodes are somewhat more eerie and unsettling.

However, fear not! There is plenty of folk music to go around, and this quartet is virtuosic beyond measure. It is sure to thrill. And what better setting than the oaken tasting room of Rasa Vineyards?

I. Prima parte: Moderato

II. Seconda parte: Allegro

III. Recapitulazione della prima parte: Moderato

IV. Coda: Allegro molto

Artists: Girsky String Quartet: Natasha Bazhanov, violin; Timothy Christie, viola; Artur Girsky, violin; and Rowena Hammill, cello.

Natasha Bazhanov, violin

Russian-American violinist Natasha Bazhanov enjoys a vibrant career as a member of the Seattle Symphony Orchestra.

A musician of varied interests, Natasha is also a member of the Seattle-based Girsky String Quartet. She brings a unique perspective as a master of the inner voice. What do I mean by “inner voice?” Simply that Natasha spends her time in the second violin section and playing second violin in the quartet. But what does that mean in terms of music? It means versatility. In baseball terms, Natasha can play the outfield or the infield. She bats .300, brings in 100 RBIs and steals 30 bases. She’ll even pitch an inning when needed. Such is the nature of excelling in the role of second fiddle.

Tonight she’ll take the spotlight all to herself. Join us at Revelry Vintners for what will surely be an exciting and enlightening performance of music by Dvorak, Kreisler and Bach.

Artists: Natasha Bazhanov, violin; Timothy Christie, viola; Artur Girsky, violin; and Jingwen Tu, piano.

Saint-Saëns and Dvořák

The opening Festival Series performance of the 2019 June season takes a close look at two distinct but related styles of composition. We have on the one hand the Sonata in D minor, Op. 75, by Camille Saint-Saëns, and the Piano Quintet in A, Op. 81, by Antonin Dvořák. One lays the groundwork for the style known as Impressionism, while the other barters overtly in the compositional movement known as Nationalism, though no less image-rich than its French counterpart. These pieces were composed about two years and 550 miles apart, the former in 1885 (Paris), the latter in 1887 (Prague).

How are they similar? Different? Both are crowd-pleasers (luckyTimothy Christie, viola; Norbert Lewandowski, cello; Christina McGann, violin; Stephen Miahky, violin; Maria Sampen, violin; and Jingwen Tu, piano. you!), and both showcase the respective virtuosity of their instrumentation. As a brief introductory answer to those rhetorical questions, rhythm is the thing. Saint-Saëns begins to intentionally obscure “natural” rhythmic cycles while Dvořák revels in the most direct and impactful expression of meter. What does all this mean? It means you best attend and enjoy, because no amount of dissection will reveal the twin joys contained in these Romantic masterpieces. To feel the joy, you must only listen.

Camille Saint-Saëns (1835-1921)

Sonata In D Minor, Op. 75 (1885) For Violin And Piano

I. Allegro agitato — Adagio

II Allegretto moderato — Allegro molto

INTERMISSION

Antonín Dvořák (1841-1904)

Piano Quintet In A, Op. 81 (1887)

I. Allegro, ma non tanto

II. Dumka: Andante con moto

III. Scherzo (Furiant): molto vivace

IV. Finale: Allegro

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Christina McGann, violin; Stephen Miahky, violin; Maria Sampen, violin; and Jingwen Tu, piano.

Dvořák Piano Quintet in A, Op. 81

I’ve often introduced works by Dvořák with evocations of Bohemian village life, hearkening back to a simpler time. And I see no reason to change. The village will gather for a celebration. There will be song and dance, both melancholy and joyous. There will be an abundance of food and drink, and at the end of the day, merriment will reign supreme. Such is the soundworld of the Piano Quintet in A, Op. 81, by Antonin Dvořák. Come join the celebration. We’ll meet you at the village forge, or rather Forgeron Cellars in downtown Walla Walla.

Antonín Dvořák (1841-1904)

Piano Quintet in A, Op. 81 (1887)

 I. Allegro, ma non tanto

 II. Dumka: Andante con moto

 III. Scherzo (Furiant): molto vivace

 IV. Finale: Allegro

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Stephen Miahky, violin; Maria Sampen, violin; and Jingwen Tu, piano.

Jingwen Tu, piano

Pianist Jingwen Tu has been heard around the world in iconic venues such as Alice Tully Hall, Matav Music Hall (Budapest) and the Banff Centre. Now she makes her WWCMF debut in the beautiful gallery of Foundry Vineyards.

WWCMF Founder and Artistic Director Timothy Christie joins Jingwen for a conversation and recital of works by Berg, Bach and Chopin. Kick off the 2019 June Festival in style with this extraordinary mix of sonata, partita and ballade.

Artist: Jingwen Tu, piano