David Finckel, Wu Han & Philip Setzer

In recent seasons, the dynamic husband-and-wife duo of David Finckel (cellist) and Wu Han (pianist) have teamed up with violinist Philip Setzer—David Finckel’s colleague in the legendary Emerson String Quartet for more than three decades—in performances of the piano trio literature. The Han-Setzer-Finckel Trio is a formidable triumvirate of three masterful musicians– what they can so individually, though, is surpassed by what they do together. As an ensemble, they present a systematic yet passionate approach that sets the bar for how chamber music should be played.

Violinist Philip Setzer, a founding member of the Emerson String Quartet, is a versatile musician with innovative vision and dedication to keep the art form of the string quartet alive and relevant. Mr. Setzer won second prize at the Marjorie Merriweather Post Competition in Washington, DC, and in 1976 received a Bronze Medal at the Queen Elisabeth International Competition in Brussels.

David Finckel and Wu Han are among the most esteemed and influential classical musicians in the world today. Recipients of Musical America’s Musicians of the Year award, the energy, imagination, and integrity they bring to their concert performances and artistic projects go unmatched. San Antonio audiences can still remember the concert they played on our series in March, 2013. Finckel and Han are also co-Artistic-Directors of the Chamber Music Society at Lincoln Center, Music @Menlo in the San Francisco Bay area, and a Winter Festival in Korea.

Here is an excerpt of an interview of Wu Han conducted by TheaterJones last November:

TheaterJones: This is probably a question that you get a lot, but what’s it like to be able to play at such a high level with your husband?

Wu Han: Yes, I do get that question a lot! [Laughs] We started our relationship playing together before being romantically involved and somehow that intensity and chemistry started from the first time we played together. So even before we were involved, people would come up to us and ask, “Are you guys married?” And at the beginning, we just laughed and thought, “What are they talking about?” We are very fortunate, though. We have to make sure we keep things incredibly professional—not taking personal issues into rehearsal or our professional activities. That we make separate. It’s an unusual and treasured relationship, musically especially, so we take it really seriously. We still rehearse a lot and love working together. We just don’t think about who forgot to do dishes last night or didn’t put their clothes away at any of our rehearsals or performances, which I think is what it should be.

A lot of times when chamber groups perform, the members haven’t necessarily played with each other very much, nor do they know each other very well. What’s it like to play in a trio with your husband and then a violinist he’s worked with for decades? How does that inform your rehearsals and performances, that you know each other so well?

It’s fascinating—people assume that if you know each other well, you’ll play well, but that’s never the case—I know many good friends or couples who hardly make music together—they just can’t play together at all. So I think—with David and Phil [Setzer] there’s always been this basic chemistry, even when they first met 35 years ago.

When they first met, they played in a piano trio with Phil’s ex wife on piano, and then they were instrumental in the founding of the Emerson Quartet. But the advantage of playing together for a long time is that you do know each other’s strong points and weak points, so you do very consciously prepare things and make decisions around that. Still, rehearsals are equally intense with people you’ve known 35 years or you’ve known five minutes. There’s no difference in my experience. We’re just very, very lucky that we enjoy each other’s company and enjoy each other’s playing. That’s another unusual aspect of this trio. So far, knock on wood, David and I have been married 29 years, and playing-wise have never really had a major disagreement. Knock on wood, knock on wood! [Laughs]

What’s really great about the repertoire for piano trio? What’s your favorite repertoire for trio, and why?

I love Schubert—there’s just no other composer I love more. So it all started with Schubert! My next favorite composer is Beethoven. These two composers, thank God, both devoted energy to the trio genre. Beethoven wrote seven throughout his life, Schubert wrote 2 major trios before he died. Piano trio is very different from other chamber music genres—each individual has to be a very, very strong player. There cannot be a weak link, either technically or with chamber music skills or listening skills. You have to play piano trios as well as you play your solo repertoire. At the same time, you have to have all the chamber music chops, meaning you have to be able to respond spontaneously, you have to be able to control your instrument, be able to really make sure the balance is correct within the whole, complete group, not just your individual part. It’s a very demanding genre, and we certainly love it. I just think piano trio is the best! This will be our first time playing for the Dallas audience as a trio. Besides the Brahms and Mendelssohn C Minor, there’s a lot more repertoire to go! We just played a program of Shostakovich and Beethoven—it was heaven!

On Sunday, April 28, the stars are aligned when these three legendary musicians come together for a first-time performance in San Antonio. Be there to experience the alchemy of the Han-Setzer-Finckel Trio and witness the magic of three consummate artists expressing diverse musical ideas in one voice.

Eighth Blackbird

Eighth Blackbird, hailed as “one of the smartest, most dynamic contemporary classical ensembles on the planet” (Chicago Tribune), began in 1996 as a group of six entrepreneurial Oberlin Conservatory students and quickly became “a brand-name defined by adventure, vibrancy and quality” (Detroit Free Press). Over the course of more than two decades, Eighth Blackbird has continually pushed at the edges of what it means to be a contemporary chamber ensemble, presenting distinct programs in Chicago, nationally, and internationally, reaching audiences totaling tens of thousands. The sextet has commissioned and premiered hundreds of works by composers both established and emerging, and have perpetuated the creation of music with profound impact, such as Steve Reich’s Double Sextet, which went on to win the 2009 Pulitzer Prize. The ensemble’s extensive recording history, primarily with Chicago’s Cedille Records, has produced more than a dozen acclaimed albums and four Grammy Awards for Best Small Ensemble/Chamber Music Performance, most recently in 2016 for Filament. Longstanding collaborative relationships have led to performances with some of the most well-regarded classical artists of today from heralded performers like Dawn Upshaw and Jeremy Denk, to seminal composers like Philip Glass and Nico Muhly. In recent projects, Eighth Blackbird has joined forces with composers and performers who defy the persistent distinction between classical and non­classical music, including works by The National’s Bryce Dessner and Arcade Fire’s Richard Reed Perry, and performances with Justin Vernon of Bon Iver, My Brightest Diamond frontwoman Shara Nova, Will Oldham aka Bonnie “Prince” Billy and Iarla Ó Lionáird of The Gloaming, among others.

Eighth Blackbird first gained wide recognition in 1998 as winners of the Concert Artists Guild Competition. Since 2000, the ensemble has called Chicago home, and has been committed to serving as both importer and exporter of world class artistic experiences to and from Chicago. A recent year-long pioneering residency at the Museum of Contemporary Art-Chicago, during which the ensemble served as a living installation with open rehearsals, performances, guest artists, and public talks, exemplified their stature as community influencers. Receiving the prestigious MacArthur Award for Creative and Effective Institutions, Chamber Music America’s inaugural Visionary Award, and being named Musical America’s 2017 Ensemble of the Year have supported Eighth Blackbird’s position as a catalyst for innovation in the new music ecosystem of Chicago and beyond.

Eighth Blackbird’s mission—moving music forward through innovative performance, advocating for new music by living composers, and creating a legacy of guiding an emerging generation of musicians —extends beyond recording and touring to curation and education. The ensemble served as Music Director of the 2009 Ojai Music Festival, has held residencies at the Curtis Institute of Music and at the University of Chicago, and holds an ongoing Ensemble-in-Residence position at the University of Richmond. In 2017, Eighth Blackbird launched its boldest initiative yet with the creation of Blackbird Creative Laboratory, an inclusive, two-week summer workshop and performance festival for performers and composers in Ojai, CA.

The members of Eighth Blackbird hail from the Great Lakes, Keystone, Golden, Empire and Bay states. The name “Eighth Blackbird” derives from the eighth stanza of Wallace Stevens’s evocative, imagistic poem, Thirteen Ways of Looking at a Blackbird: “I know noble accents / And lucid, inescapable rhythms; / But I know, too, / That the blackbird is involved / In what I know.”

Cavatina Duo

The Cavatina Duo – Eugenia Moliner, flute (Spain) and Denis Azabagic, guitar (Bosnia)—has become one of the most impressive combinations of its kind in the world. Dedicated soloists and chamber musicians, the Cavatina Duo breaks convention with their combination of instruments. Add to that their daring choices of varied and versatile repertoire, and the result is new sounds, colors and musical phrasings, which in return awakens a high level of emotion and audience response. A Cavatina Duo concert is a musical experience you don’t want to miss.

The Cavatina Duo has captivated audiences with their electrifying performances in such major venues and festivals as Ravinia’s Rising Stars series (Chicago), Da Camera Society (Los Angeles), Aix-en-Provence Summer Festival (France), the National Concert Hall of Taipei (Taiwan), National Center for the Performing Arts in Beijing (China), National Flute Convention Gala Concert (USA), the Harris Theater (Chicago), Kolkata International Guitar Festival (India), Foundation Principe Felipe and Palau de la Musica (Spain), among many others.

Radio and television stations in Europe and North America such as WFMT and NPR have broadcast the duo’s performances. They have been the subjects of interviews in international magazines such as Chamber Music America, TodoFlauta (Spain), FluteTalk (USA), Classical Guitar (UK), Guitarra Magazine (web), Soundboard (USA) and Flute—the British Flute Society. They are the first guitar and flute duo to be featured on the covers of both Classical Guitar Magazine (UK) and the cover of FluteTalk (USA)

Cavatina Duo has performed with orchestras and string quartets in Europe, USA, India, South Korea and Mexico including the Chicago Sinfonietta, Traverse Symphony, Sarajevo Philharmonic, Daejeon Philharmonic and the Youth Orchestra of Monterrey, Mexico. In 2010 Cavatina Duo gave the world premier of another work commissioned by them from Alan Thomas, “Concerto for Flute, Guitar and Orchestra,” with the Camerata Serbica at the Guitar Art Festival in Belgrade.

Eugenia Moliner has been acclaimed as “brilliant” by the British Flute Society magazine. She has performed with principal musicians from the Chicago Symphony, Rotterdam Philharmonic and Toronto Symphony orchestras as well with many chamber ensembles, including the Chicago Chamber Musicians, Civitas Ensemble, Chinese Fine Arts Musicians. This season she will collaborate with the Aspen String Trio. Her discography includes seven CDs.

A prize-winner in twenty-four international competitions, Denis Azabagic has been described as a “virtuoso with flawless technique” by Soundboard Magazine. He has appeared as soloist with orchestras such as the Chicago and Madrid Symphonies, among many others. Azabagic has collaborated with the Chicago Chamber Musicians, the Civitas Ensemble and the Cuarteto Casals. His discography includes twelve CDs, two DVDs and a manual.

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.

***************************

“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”