The Poiesis Quartet won the Grand Prize at the 2023 Fischoff National Chamber Music Competition and, in  2024, joined the North American roster of the Concert Artist Guild by winning the Louis & Susan Meisel Competition. Recent graduates of the Oberlin Conservatory, Poiesis are now the Graduate String Quartet in Residence at the Cincinnati College-Conservatory of Music, studying under the Ariel Quartet.

More important to you, dear audience, is that Poiesis is the 2025 WWCMF Emerging Artist Quartet, following in the footsteps of Ivalas Quartet, masso and Cerus Quartet as the fourth group to undertake this position. During their Walla Walla residency, they will play for nearly 2,000 youngsters in the Walla Walla Public Schools, presenting in both English and Spanish.

The word Poiesis comes from the Ancient Greek verb, “to make” or “create,” which in turn shares a root with the modern English word, “poetry.” As a string quartet made up of inter- and multi-disciplinary young artists, the Poiesis Quartet seeks to program music of all styles and genres and expand the traditional quartet setting with an emphasis on platforming works by emerging and underrepresented composers. Poiesis strives to create unique moments of synchronicity, sensitivity, and verve in each performance.

And according to the Oxford English Dictionary, the word “Poiesis” occurs about 0.08 times per million words in modern written English. So, one in a million doesn’t begin to describe tonight’s performance!

All selections will be announced from the stage.

Artists: Poiesis Quartet: Max Ball, violin; Jasper de Boor, viola; Adalus Low-Manzini, cello; Sarah Ying Ma, violin

Dmitri Shostakovich composed and performed music under an oppressive Soviet regime that demanded its artists toe the official party line under any and all circumstances. Artists who were perceived to stray from the party line tended to disappear. And it is well documented— including on Festivals such as this one— that the music of Shostakovich is invariably tied to the idea of dissent. He needled, parodied, advocated, wept and fake-laughed, all under the guise of doing his Soviet best. The Piano Quintet in G minor is no exception… except in the way that it is an exception. For this piece, Shostakovich won the inaugural Stalin Prize, First-Class, and was awarded 100,000 rubles cash money. Rubles-Schmoobles you say? In 1941, 100,000 RUB equaled 20,000 USD. $20,000 in 1941 equals about $427,557 today.

It goes without saying that you will want to join us at Foundry Vineyards to see and hear what all the fuss is about! And a ticket is just $25. That’s 2,100 RUB if you’re curious. And we do not accept them.

Dmitri Shostakovich (1906-1975)

Piano Quintet in G minor, Op. 57

I. Prelude: Lento

II. Fugue: Adagio

III. Scherzo: Allegretto

IV. Intermezzo: Lento

V. Finale: Allegretto

Artists: Timothy Christie, viola; Conor Hanick, piano; Norbert Lewandowski, cello; Stephen Miahky, violin; Philip Payton, violin

Chamber Music Pops!

Philip Payton, Stephen Miahky, Timothy Christie and Norbert Lewandowski

All selections will be announced from the stage.

Intermission

Dmitri Shostakovich (1906-1975)

Piano Quintet in G minor, Op. 57

I. Prelude: Lento

II. Fugue: Adagio

III. Scherzo: Allegretto

IV. Intermezzo: Lento

V. Finale: Allegretto

Artists: Timothy Christie, viola; Conor Hanick, piano; Norbert Lewandowski, cello; Stephen Miahky, violin; Philip Payton, violin

WWCMF audiences have thrilled to high-flying performances of pianist Xiaohui Yang these past few seasons. In fact, in her debut season of 2022, she earned a coveted WWCMF MVP award for outstanding artistry, fortitude and positive attitude amid circumstances that would have wilted a lesser musician. I think she was in something like 10 consecutive hours of rehearsal on her first day, capped by a Portrait performance with cellist Meta Weiss. Her only break that day was when we brought her a sandwich from Graze (solid sandwich!), which she ate sitting at her piano bench between pieces.

In addition to her WWCMF MVP award, Xiaohui won the 2017 Naumburg International Piano Competition, and has been featured in performances throughout four continents, including in venues such as Carnegie Hall, Ozawa Hall, New Jersey Performing Arts Center, Tel Aviv Museum of Art and the Seoul Arts Center. And she has of course performed in the middle production room of Pepper Bridge Winery, site of that marathon first day a few years ago, and site of tonight’s performance.

All selections will be announced from the stage.

Artist: Xiaohui Yang, piano

Survey the entire catalog of Mozart’s music (side note, that ‘K’ you always see after the title of a piece by Mozart refers to said catalog) and you will find very few pieces designated in a minor key. Therefore, the music by Mozart framed in a minor key takes on special meaning by dint of its relative scarcity. And when it comes to minor keys, G minor makes a strong case for Mozart’s favorite—the stormy opening bars of his Symphony No. 25 open the film Amadeus. The opening bars of his Symphony No. 40 have disrupted concerts innumerable as a cellphone ringtone. And in his chamber output, the late String Quintet in G minor spins to epic proportions.

Here, Mozart begins with a forceful rhythmic unison one would be forgiven for attributing to Beethoven. Perhaps young Beethoven was listening. Yet, as forceful as the opening motif is, you know Mozart liked a good party. And the clouds rarely hang about Mozart very long. We’ll chase them away together at Pepper Bridge Winery.

Wolfgang Amadeus Mozart (1756-1791)

Piano Quartet in G minor, K. 478 (1785)

I. Allegro

II. Andante

III. Rondo

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Ronaldo Rolim, piano; Maria Sampen, violin

Robert Schumann (1810-1856)

Märchenbilder (Fairy Tale Pictures), Op. 113 (1851)

for viola and piano

I. Nicht schnell

II. Lebhaft

III. Rasch

IV. Langsam, mit melancholischem Ausdruck

Maurice Ravel (1875-1937)

Ma Mère L’Oye (Mother Goose), M. 60 (1910)

for piano 4-hands

I. Pavane de la Belle au bois dormant. Lent

II. Petit Poucet. Très modéré

III. Laideronnette, Impératrice des pagodes. Mouvement de marche

IV. Les entretiens de la Belle et de la Bête. Mouvement de valse modéré

V. Le jardin féerique. Lent et grave

Intermission

Wolfgang Amadeus Mozart (1756-1791)

Piano Quartet in G minor, K. 478 (1785)

I. Allegro

II. Andante

III. Rondo

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Ronaldo Rolim, piano; Maria Sampen, violin; Xiaohui Yang, piano

A violin sold at auction recently for $11.25M. It wasn’t even a record price. That distinction belongs to a violin sold back in 2011 for $15.9M. Those are some impressive numbers. But I am more impressed by the fact that the violins in question were made in 1714 and 1721 respectively. They were made more than 300 years ago and they work as well today as they did back then— some say better! Those two fiddles, and about 950 like them, were made by the same guy. You know his name: Stradivari.

What is it about these little machines that makes them so resilient? Very few pieces of equipment that worked 300 years ago still work today, and though Strads can take up a lot of oxygen courtesy of dizzying auction prices, there are actually quite a number of Old Italians (as they are called) still in use today. In fact, you’ve already heard a couple on the Festival this season, and dozens of them over the years!

To unpack all the fuss and guide us in a deep dive into all things fiddle, we welcome violin-maker Jackson Maberry. No stranger to Walla Walla or WWCMF audiences, Jackson graduated from Whitman College and supported himself, at least seasonally, working for WWCMF along the way. He went from Whitman to Cambridge University and from Cambridge to Indiana University Jacobs School of Music where he completed the prestigious String Instrument Technology program. He hung out his shingle as a violin maker in 2021. Tonight, we’ll hear performances of music for strings, violin in particular, while also exploring the technology behind the music. What makes these things tick? And how do you make one? Jackson has the answers.

Artists: Timothy Christie, viola; Norbert Lewandowski, cello; Jackson Maberry, violin-maker; Maria Sampen, violin, ; Other Artists TBD

An All-Star Cast of WWCMF musicians return to the idyllic setting of Abeja Winery for our annual Collage performances. The performance unfolds in two Acts set astride our beloved Sunset Intermission. The grounds of Abeja open at 5:30 PM. Come early, enjoy the scenery and have dinner before enjoying the performance.

Collage is a style of performing where the end of one piece dovetails with the beginning of the next to create a continuous flow of musical experiences. The musicians are in front of you, beside you, behind you, above you and even… among you. The experience is so immersive, you’ll think you’re dreaming.

Note: There is no late seating for either Act 1 or Act 2. Once the doors close, there is no entry.

Artists: Timothy Christie, viola; Mara Gearman, viola; Cara Kizer, horn; Norbert Lewandowski, cello; Paul Rafanelli, bassoon; David Requiro, cello; Ronaldo Rolim, piano; Svend Rønning, violin; Maria Sampen, violin; Kevin Schempf, clarinet; Joshua Skinner, double bass; Meta Weiss, cello; Dan Williams, oboe; Xiaohui Yang, piano

An All-Star Cast of WWCMF musicians return to the idyllic setting of Abeja Winery for our annual Collage performances. The performance unfolds in two Acts set astride our beloved Sunset Intermission. The grounds of Abeja open at 5:30 PM. Come early, enjoy the scenery and have dinner before enjoying the performance.

Collage is a style of performing where the end of one piece dovetails with the beginning of the next to create a continuous flow of musical experiences. The musicians are in front of you, beside you, behind you, above you and even… among you. The experience is so immersive, you’ll think you’re dreaming.

Note: There is no late seating for either Act 1 or Act 2. Once the doors close, there is no entry.

Artists: Timothy Christie, viola; Mara Gearman, viola; Cara Kizer, horn; Norbert Lewandowski, cello; Paul Rafanelli, bassoon; David Requiro, cello; Ronaldo Rolim, piano; Svend Rønning, violin; Maria Sampen, violin; Kevin Schempf, clarinet; Joshua Skinner, double bass; Meta Weiss, cello; Dan Williams, oboe; Xiaohui Yang, piano

Violinist Svend Rønning has been a musical force (for good!) in the PNW for many, many years. In addition to his position as Artistic Director of the Second City Chamber Series in Tacoma, WA, Svend is also the concertmaster of Symphony Tacoma and is Professor of Violin at Pacific Lutheran University.

Tonight he makes his long overdue WWCMF debut in a program of contrasts highlighting an unexpected connection between that most musical of cities, Vienna, Austria and the city of tinsel, Hollywood, California.

All selections will be announced from the stage.

Artists: Ronaldo Rolim, piano; Svend Rønning, violin

A man and a woman walk side by side in a cold, moonlit forest. There are no clouds to obscure the light above. After a time, the woman speaks, telling her companion that she is pregnant, and not by him.

Is this a trailer for the latest gripping, prestige TV drama on your favorite streaming service? No. (Note to self… develop TV show based on Dehmel/Schoenberg’s Transfigured Night.)

Where was I? No, it’s not the setup for some TV show (yet). It is the subject of Arnold Schoenberg’s chamber tone poem Verklärte Nacht. This sonic journey ravishes, transforming player and listener alike, even as the characters walking through the cold forest are transformed. In Verklärte Nacht, we encounter the apex of post-Romantic expression, fittingly penned at the dawn of a new century.

Arnold Schoenberg (1874-1951)

Verklärte Nacht (Transfigured Night), Op. 4 (1899)

For string sextet

Artists: Timothy Christie, viola; Mara Gearman, viola; David Requiro, cello; Svend Rønning, violin; Maria Sampen, violin; Meta Weiss, cello

Samuel Barber (1910-1981)

Summer Music, Op. 31 (1956)

for woodwind quintet

György Ligeti (1923-2006)

Six Bagatelles (1953)

for woodwind quintet

I. Allegro con spirito

II. Rubato. Lamentoso

III. Allegro grazioso

IV. Presto ruvido

V. Adagio. Mesto (Béla Bartók in memoriam)

VI. Molto vivace. Capriccioso

Richard Strauss (1864-1949), arr. Franz Hasenöhrl (1885-1970)

Till Eulenspiegel— einmal anders! (Grotesque musicale), Op. 28/(1954)

Till Eulenspiegel— another way! (Musical Grotesque), Op. 28/(1954)

for violin, clarinet, horn, bassoon and double bass

Intermission

Arnold Schoenberg (1874-1951)

Verklärte Nacht (Transfigured Night), Op. 4

for string sextet

Artists: Timothy Christie, viola; Tracy Doyle, flute; Mara Gearman, viola; Cara Kizer, horn; Paul Rafanelli, bassoon; David Requiro, cello; Svend Rønning, violin; Maria Sampen, violin; Kevin Schempf, clarinet; Joshua Skinner, double bass; Meta Weiss, cello; Dan Williams, oboe

PROJECT Trio makes a triumphant return to WWCMF, and a maiden voyage into the acoustically magnificent barrel room at Echolands Winery.

Boasting a new look since their last visit to Walla Walla, we welcome saxophonist Daniel Berkley to the group. The barrel room will be rocking with a staggering array of hard-to-categorize music from many genres from hip-hop to jazz to classical, always with style and panache.

Actually, it’s easy to categorize their music: it all falls under the category of Awesome.

Artists: PROJECT Trio: Daniel Berkley, saxophone; Greg Patillo, flute; Peter Seymour, double bass

Tubist Paul Mergen served a distinguished career in the United States Marine Band, “The President’s Own,” in Washington, DC. He played for State dinners at the White House, memorial services and funerals at Arlington National Cemetery and numerous tours to every corner of our vast nation. Paul is part of a more than two-century tradition that began with an act of Congress establishing the band in 1798, thus making it the oldest professional musical organization in the US. Paul has seen some things… but they’re mostly all classified. So, we’ll content ourselves with the parts he can share, which is plenty!

You might wonder how many times Paul has played our national anthem, The Stars and Stripes Forever or The Washington Post March. We’ll find out! And you might wonder what a tuba is doing all by itself, center stage at a chamber music festival. Of that, I am certain you will find with great pleasure exactly why. His repertoire spans devotional early music to modern experimental music. Paul is a musician of the highest order. And he outranks me. And he was my college roommate and best man. You’re in for a treat!

All selections will be announced from the stage.

Artists: Paul Mergen, tuba; TBD, piano

It began as a wedding present, but would prove to be a gift to the music world that keeps on giving. The Franck Sonata, as it is known, defies categorization. Yes, it is 100% and inalienably a piece for violin and piano. Let’s be clear about that from the get-go. But there is something so universal in its DNA that every instrument wants a crack at it. The number of arrangements is staggering. There are versions for:

flute, cello, viola, double bass, oboe, clarinet, alto saxophone, tuba, violin and string orchestra, violin and full orchestra, two pianos and believe it or not, choir and organ. Of those myriad incarnations, the only extra version sanctioned by the composer is the one for cello and piano.

About that wedding. Franck composed the work for the young virtuoso Eugène Ysaÿe and his bride Louise Bourdeau de Courtrai. Ysaÿe played the sonata that very day for his guests. He would give the public premiere of the work a couple of months later, and it has taken on a life of its own ever since.

César Fanck (1822-1890)

Sonata for Violin and Piano in A Major (1868)

I. Allegretto ben moderato

II. Allegro (D minor)

III. Recitativo-Fantasia. Ben moderato — Molto lento

IV. Allegretto poco mosso

Artists: TBD, piano; Maria Sampen, violin

Courtney Bryan (b. 1982)

Requiem

for treble vocal quartet, clarinet, trumpet, trombone, tuba and percussion

I. All go to the same place; all come from dust, and to dust all return.

II. Listen, I will tell you a mystery! We will not all die, but we will all be changed… 

III. The Lord is my shepherd, I shall not want…

Pie Jesu Domine, dona eis requiem. Dona eis requiem sempiternam.

Kyrie eleison. Christe eleison. Kyrie eleison.

IV. [no text]

V. See, the home of God is among mortals…

Intermission

César Fanck (1822-1890)

Sonata for Violin and Piano in A Major (1868)

I. Allegretto ben moderato

II. Allegro (D minor)

III. Recitativo-Fantasia. Ben moderato — Molto lento

IV. Allegretto poco mosso

Artists: Timothy Christie, viola; James Doyle, percussion; Billy Ray Hunter, trumpet; Paul Mergen, tuba; Quince Vocal Ensemble; Maria Sampen, violin; Kevin Schempf, clarinet; Weston Sprott, trombone

Quince Vocal Ensemble: Amanda DeBoer Bartlett, soprano; Liz Pearse, soprano; Carrie Henneman Shaw, soprano; Elisa Sutherland, mezzo-soprano