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American String Quartet with Tom Sleigh & Phil Klay Concert

A Special Veterans Day “Extra-Musical” Event

November 11, 2018
Veterans Day
“Lyric in Time of War”

Music expresses what words cannot, but in addressing the issues of war and healing, these artists will combine the powers of both in this special Veterans Day concert

American String Quartet

Internationally recognized as one of the world’s finest quartets, the American String Quartet has spent decades honing the luxurious sound for which it is famous. The Quartet will celebrate its 45th anniversary in 2019, and, in its years of touring, has performed in all fifty states and has appeared in the most important concert halls worldwide. The group’s presentations of the complete quartets of Beethoven, Schubert, Schoenberg, Bartok, and Mozart have won widespread critical acclaim, and their MusicMasters Complete Mozart String Quartets, performed on a matched quartet set of instruments by Stradivarius, are widely considered to have set the standard for this repertoire.

In 2017-18 the American String Quartet created “Lyric in Time of War”, a major project in collaboration with National Book Award-winner, Iraq War veteran Phil Klay and Academy award-winning poet, war journalist Tom Sleigh in a groundbreaking, culturally significant program combining music and readings that examines the effects of war on people, their hearts, and their minds. Phil is a former U.S. Marine who served in Iraq, and Tom has reported on the bloody conflicts in Lebanon, Somalia, Iraq, and Libya. Short readings are interspersed with music such as Samuel Barber’s stunning Adagio; Bela Bartók’s March from Quartet No. 6, which captures the unendurable grief of war written in 1940 at the beginning of WWII; Shostakovich’s String Quartet No. 8, a piece famously dedicated to the victims of fascism and war; and Beethoven’s “Serioso”, composed during Napoleon’s invasion of Vienna and a period of serious inner turmoil for the composer. This program offers two perspectives on war; it acknowledges the hardships while recognizing and celebrating the sacrifices made by our veterans.

Phil Klay

Phil Klay is a graduate of Dartmouth College and a veteran of the U.S. Marine Corps. He served in Iraq’s Anbar Province from January 2007 to February 2008 as a Public Affairs Officer. After being discharged he received an MFA from Hunter College of The City University of New York.  Klay’s New York Times-bestselling short story collection won the National Book Award for Fiction in 2014.  Redeployment also received the Marine Corps Heritage Foundation’s James Webb award for fiction dealing with U.S. Marines or Marine Corps life, the National Book Critics’ Circle John Leonard Award for best debut work in any genre, the American Library Association’s W. Y. Boyd Literary Award for Excellence in Military Fiction, the Chautauqua Prize, and the Warwick Prize for Writing; and was short listed for the Frank O’Connor Prize.  He was also named a National Book Foundation ’5 Under 35′ honoree.  Klay’s writing has appeared in the New York Times, the New York Daily News, Washington Post, Wall Street Journal, Newsweek, Tin House and the Brookings Institution’s Brookings Essay series.

Tom Sleigh

Tom Sleigh is the author of ten books of poetry, including Army Cats, winner of the John Updike Award from the American Academy of Arts and Letters, and Space Walk which won the $100,000 Kingsley Tufts Award. In addition, Far Side of the Earth won an Academy Award from the American Academy of Arts and Letters, The Dreamhouse was a finalist for the Los Angeles Times Book Award, and The Chain was a finalist for the Lenore Marshall Prize. Station Zed was published in 2015 and includes his long poem about Iraq, “Homage to Basho,” a version of which received Poetry Magazine’s Editors Prize.

In 2018 a book of prose collecting his essays on refugees in the Middle East and Africa, The Land Between Two Rivers: Writing In An Age Of Refugees, is being published simultaneously by Graywolf Press as a companion piece to House of Fact, House of Ruin, his latest book of poems. He has also published a previous book of essays, Interview With a Ghost, and a translation of Euripides’ Herakles. Widely anthologized, his poems and prose appear in The New Yorker, Virginia Quarterly Review, Poetry, American Poetry Review, Yale Review, Threepenny, The Village Voice, and other literary magazines, as well as The Best of the Best American Poetry, The Best American Poetry, Best American Travel Writing, and The Pushcart Anthology. He has received the Shelley Prize from the Poetry Society of America, a Fellowship from the American Academy in Berlin, a Fellowship at the Civitella Ranieri Foundation, an Individual Writer’s Award from the Lila Wallace/Reader’s Digest Fund, a Guggenheim grant, and two National Endowment for the Arts grants, among many others.

He is a Distinguished Professor in the MFA Program at Hunter College and lives in Brooklyn. During the last decade, he has also worked as a journalist in Syria, Lebanon, Somalia, Kenya, Iraq, and Libya.

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Lyric in Time of War” has been an incredibly successful program all over the country, as it speaks to the very real feelings, fears, and hopes of Americans. In addition, the outreach opportunities are vast: the musicians and authors have worked in VA hospitals, taken questions and bookstores, met with veterans’ groups privately. It’s a way to really make an impact on the community.

The program, around 80 minutes, will be performed without intermission. Readings will take place in between musical movements, creating an exciting and moving sound collage. The concert is a dialogue between the spoken word and music, summoning the power of both to transform and inspire.

Bach: Praeludium in F minor, BWV 857, from the Well-Tempered Clavier
Shostakovich: Quartet No. 8
Bartók: Marcia from Quartet No. 6
Barber: Adagio from Quartet for strings, Op. 11
Beethoven: Quartet in F minor, Op.95, “Serioso”

“The finesse, the thoughtfulness and depth of the performance could not be surpassed.”

Berliner Morgenpost

“Luxurious, beautifully sculptured performances”

The New York Times

Members:

Peter Winograd (violin)
Laurie Carney (violin)
Daniel Av­sha­lo­mov (viola)
Wolfram Koes­sel (cello)
Tom Sleigh (author)
Phil Klay (author)

Program

Lyric in Time of War
The following pieces will be interwoven with readings by Mr. Sleigh and Mr. Klay

BACH
Praeludium in F minor, BWV 857, from the Well-Tempered Clavier

SHOSTAKOVICH
Quartet No. 8 in C minor, Op. 110

BARTÓK
String Quartet No. 6

BARBER
String Quartet, Op. 11

BEETHOVEN
Quartet in F minor, Op. 95 “Serioso”

Venue

Temple Beth-El
Address: 211 Belknap Place
Time: 3:15 PM

Moving Day

I am presently surrounded by all of my worldly possessions: everything from a grade school picture to my mother-in-law’s best crystal candleholders; every possible-sized pot and dishes from at least 3 sets; hair brushes of unknown provenance, pots full of defunct ballpoint pens, 4 oriental rugs of varying sizes, and one forlorn dwarf bamboo in a moldering pot.  And that’s only what I can presently see!  As I relocate from my home of 25 years to an apartment (which I thought was spacious), I have learned some valuable lessons which I will impart to you.

Lesson 1:

The three most dreaded words in the English language are, “Have you seen…” followed closely by “Where is the…” and “It’s here somewhere.”

Lesson 2:

You know you’re getting old when you need more space for your medicine collection than for your makeup (and note that all your makeup, which has been hidden away for years, begins with some variant of “anti-aging”).

Lesson 3:

If you say to yourself, “Where did this ever come from?” or “Is this mine?” toss it!  If you haven’t seen/used it in memory, you don’t need it.

Lesson 4:

If you and your significant other are still on speaking terms after a couple of weeks of this, you’re good for all eternity – or at least until one or the other of you walks out in disgust.

Lesson 5:

Keys.  If you have any idea of what all these keys you’ve accumulated over the years unlock, you’re a better person than I.  Corollary:  put tags on all keys while you still have some idea, albeit vague, of what they go to.  Another corollary: do you know how hard it is to throw away a key?  What if…?

Lesson 6:

Carefully label all boxes as they are packed.  That way, you’ll have a perfectly good reason to burst into tears when, unpacking, you find your good silverware at the bottom of a box of coat hangers.

Lesson 7:

When you just can’t take the sight of clutter as far as the eye can see, when your beautiful, light-filled apartment is pitch black because there are boxes stacked against the windows, when you find one more piece of something you know goes with something else but you can’t remember what and you don’t dare throw it away because you know that sooner or later you’ll find what it goes to, when it’s all just too much – well, it’s time to find a wine glass and a bottle of good wine, put the classical guitar music on and just try not to think about it for a while.  It will still be there when you’ve finished the wine, but you just won’t care.

I feel like a coral reef without the pretty fish!  Layers upon layers of boxes, paintings, pitchers and pictures, lamps and lamp shades, international things that I’m sure caught my eye in Bolivia or Beijing, Egypt or Copenhagen – what is it and why do I have it?  Or does it have me?

How did all this stuff accrete to me?  I feel like a coral reef without the pretty fish!  Layers upon layers of boxes, paintings, pitchers and pictures, lamps and lamp shades, international things that I’m sure caught my eye in Bolivia or Beijing, Egypt or Copenhagen – what is it and why do I have it?  Or does it have me?  I look enviously at refugees, carrying all their worldly possessions in bundles and, while I don’t wish to be in their number, I respect their ability to put all of their really important possessions in a sheet or serape, bring the corners together in a knot and sling everything over their shoulders.

I did miss one very important lesson:  if you can find some clean clothes somewhere, put them on and come to a concert.  November 11th, the American String Quartet along with Tom Sleigh and Phil Klay will be performing at our regular venue, Temple Beth-El, at our regular time 3:15.  You can come inside, shut off the clutter and confusion for a couple of hours and just relax, re-lax.  It will all be there when you get back, but I am a believer in escape, no matter how transitory.  And if you see someone with a serape full of possessions over her shoulder, well that will be yours truly.

– E Doyle

Brentano String Quartet Outreach Event

Brentano String Quartet at the Juvenile Detention Center on October 8th, 2018

On October 8th the San Antonio Chamber Music Society sponsored their third outreach event at the Juvenile Detention Center. It is always interesting to attend an event at this facility.  The staff that cares for the youth at the center focuses on education, not punishment.  The Brentano String Quartet members commented that the behavior and attention of these students was above average for any given group of students.

Audience members were treated to music by Haydn, Purcell, Bartok, Dvorak, and Mendelssohn.  Violinist Serena Canin beautifully described the Purcell movement which depicts love, loss, and sorrow – then she summed up as she tapped her heart, by saying “all of those things…” Serena’s comment left me rather breathless.

The second movement of the Bartok second quartet was the piece that really drew them in.  Violinist, Mark Steinberg introduced the work explaining how Bartok gathered much of his musical material for compositions in the small villages of Hungary.  In this work, Bartok was imitating tribal and ritual drumming.  Students visibly became more engaged during this music.

Those of us observing the concert could see how the students’ demeanor changed from arriving with slumped shoulders, to sitting up a little straighter (and in awe) during the Bartok, to all out toe-tapping during the Mendelssohn quartet movement which concluded the program.

Towards the end of the concert, one girl asked violist Misha Amory “Why are you here?”  His response was “We were invited.”  She seemed in disbelief.  So, he emphasized that “yes, we were invited and of course we accepted.”

At the end of the program cellist Nina Lee spontaneously told the students how happy the quartet was to have been able to spend the morning with them and share their music. One girl shouted out “if you played like that in court I would confess to everything!”

Submitted by Allyson Dawkins

Something Really Extraordinary

This will come as a shock to you, but brace yourself.  I think Dawn Upshaw cheats!  She makes the incredibly complicated seem effortless, the atonal sound melodic and the enormous range of her voice seem expected, controlled and crystalline.  Now you tell me:  how does anyone do that?  Maybe she is super-human; I don’t know, but I do know quality and perfection when I hear it, and I heard it Sunday at the first concert of the San Antonio Chamber Music Society’s 2018-19 season.

Of course, it helps to share a program with the Brentano String Quartet.  These masterful musicians performed – among other selections – a work by one of my personal favorites, Franz Josef Haydn.  The thing about Haydn is that his music in the wrong hands can sound tinkly (is that a word?) and tinny and metronomic.  I should know.  When I was but seven, I was already destined to be a concert pianist, and what do aspiring concert pianists perform (to the beat of a metronome, of course)?  Haydn, that’s what.  But as time went on and my piano career came to a screeching halt in high school, I came to understand and appreciate the works of Haydn.  And I have often thought, as I did Sunday, that if Haydn himself could have listened to the Brentano performing his work, taking full measure of the imagination, the humor inherent in his String Quartet in C, he would smile.  In fact, he would clap his hands in glee as the Brentano brought this beautiful composition to life once again.

…so I adjusted my inner ear and resolved to understand and enjoy… I never thought I would have goosebumps! …the quality of the performance made it irresistible!

Something else I would like to ponder:  the Respighi composition.  Respighi is well known for his tone poems; he brings such wonderful sights to mind as the listener enjoys the range of his music.  Il tramonto (The Sunset) as performed by the Brentano and Dawn Upshaw was a vision of the majesty of a sunset, captured forever in this composition.

And now for the Schoenberg.  I wasn’t too sure I would enjoy this composition as I am not an ardent admirer of the composer.  I’d have to say I’m kind of hot and cold on his work; it’s a mindset, I guess, and also what you bring to it.  Well, I brought an admiration for the performers, so I adjusted my inner ear and resolved to understand and enjoy.  I never thought I would have goosebumps!   Shoenberg and thrills just don’t go together for me in the usual course of events, but the quality of the performance made it irresistible.  So goosebumps it is.

When you have the pleasure of hearing musicians such as the Brentano and Ms Upshaw, you know you have witnessed something really extraordinary.  And I know with equal certainty that the remaining concerts in the SACMS season will also be extraordinary.  Circle November 11 for the next music extravaganza, the American String Quartet with Tom Sleigh and Phil Klay.  Here come the goosebumps!

– E Doyle

Brentano String Quartet with Dawn Upshaw Concert

October 7, 2018

Brentano String Quartet

Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. Within a few years of its formation, the Quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award; and in 1996 the Chamber Music Society of Lincoln Center invited them to be the inaugural members of Chamber Music Society Two, a program which was to become a coveted distinction for chamber groups and individuals. The Quartet had its first European tour in 1997, and was honored in the U.K. with the Royal Philharmonic Award for Most Outstanding Debut. That debut recital was at London’s Wigmore Hall, and the Quartet has continued its warm relationship with Wigmore, appearing there regularly and serving as the hall’s Quartet-in-residence in the 2000-01 season. In recent seasons the Quartet has traveled widely, appearing all over the United States and Canada, in Europe, Japan and Australia. It has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. The Quartet has participated in summer festivals such as Aspen, the Music Academy of the West in Santa Barbara, the Edinburgh Festival, the Kuhmo Festival in Finland, the Taos School of Music and the Caramoor Festival.

Dawn Upshaw

Joining a rare natural warmth with a fierce commitment to the transforming communicative power of music,  Dawn Upshaw has achieved worldwide celebrity as a singer of opera and concert repertoire ranging from the sacred works of Bach to the freshest sounds of today. Her ability to reach to the heart of music and text has earned her both the devotion of an exceptionally diverse audience, and the awards and distinctions accorded to only the most distinguished of artists. In 2007, she was named a Fellow of the MacArthur Foundation, the first vocal artist to be awarded the five-year “genius” prize, and in 2008 she was named a Fellow of the American Academy of Arts & Sciences. From Salzburg, Paris and Glyndebourne to the Metropolitan Opera, where she began her career in 1984 and has since made nearly 300 appearances, Dawn Upshaw has also championed numerous new works created for her including The Great Gatsby by John Harbison; the Grawemeyer Award-winning opera, L’Amour de Loin and oratorio La Passion de Simone by Kaija Saariaho; John Adams’s Nativity oratorio El Niño; and Osvaldo Golijov’s chamber opera Ainadamar and song cycle Ayre. It says much about Dawn Upshaw’s sensibilities as an artist and colleague that she is a favored partner of many leading musicians, including Gilbert Kalish, the Kronos Quartet, James Levine, and Esa-Pekka Salonen. In her work as a recitalist, and particularly in her work with composers, Dawn Upshaw has become a generative force in concert music, having premiered more than 25 works in the past decade. From Carnegie Hall to large and small venues throughout the world she regularly presents specially designed programs composed of lieder, contemporary works in many languages, and folk and popular music. A five-time Grammy Award winner, Dawn Upshaw is featured on more than 50 recordings, including the million-selling Symphony No. 3 by Henryk Gorecki for Nonesuch Records.

“the Brentanos are a magnificent string quartet…This was wonderful, selfless music-making”

London Times

“Upshaw’s instrument has the kind of power, clarity and pure beauty that can transfix a listener.”

The Pioneer Press

Members:

Misha Amory (viola) Serena Canin (violin) Nina Lee (cello) Mark Steinberg (violin) Dawn Upshaw

Program

GESUALDO Two madrigals (from Books V and VI) HAYDN String Quartet in C, Op. 20 No. 2 (Hob. III:32) RESPIGHI Il tramonto (The Sunset), for voice & string quartet, P. 101 -Intermission- SCHOENBERG Quartet No. 2 in F-sharp minor, for string quartet and soprano, Op. 10

Venue

Temple Beth-El
Address: 211 Belknap Place
Time: 3:15 PM

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