When I began formulating the concept for this show, I had no idea its themes would be so timely. 

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Each of the three works on tonight's program are connected through movement and subject matter. Together they represent an ongoing exploration of war, oppression, ritual, and refuge that has spanned two decades of my creative work. The two major pieces of music in this program are staples of the modern string quartet repertoire. Despite being composed by two very different artists from very different political and cultural backgrounds, these quartets were written only 10 years apart, and capture something essential about that period. As these pieces were chosen for their relevancy to these themes, I want to provide some more in-depth background on them.  

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Dmitri Shostakovich's String Quartet No. 8 was written during a period of profound personal and political turmoil for the composer, and is often regarded as an introspective reflection on the oppressive climate of the Soviet Union under Stalin's regime and the composer's own struggles with authority and artistic freedom. In 1960 Shostakovich was sent to East Germany to work on the score for a Soviet film set during the bombing of Dresden. While there, he composed his Eighth String Quartet in 3 days and dedicated it "In memory of victims of fascism and war." 

The quartet, however, was profoundly personal for Shostakovich. One of the most striking aspects of the work is its prevalent use of a 4-note theme derived from his own initials: D-S-C-H in German musical notation. This personal signature, which recurs throughout the work, adds an additional layer of meaning, suggesting a self-examination on the part of the composer. The quartet uses motifs and quotations from many of Shostakovich's earlier significant works. In a letter to a friend, he wrote, "I reflected that if I die someday then it's hardly likely anyone will write a work dedicated to my memory. So I decided to write one myself. You could even write on the cover: 'Dedicated to the memory of the composer of this quartet.'" Yet Stephen Harris wrote that the work "...transcends individual pain to address all human despair. It is this which explains its profundity. The torment that it voices is the tragic, human agony of all those who have experienced grievous loss whether it be due to fascism, war, or personal bereavement."

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We have attempted to reflect the heart-breaking tragedy depicted in the music through the choreography. Using the layered richness of the quartet as inspiration, the dance explores two interwoven themes: the horrors of war, and the burden of personal grief and psychological trauma. 

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Black Angels (Thirteen Images from the Dark Land) by avant-garde American composer George Crumb ranges from disturbing, dissonant, and frightening to melodic, delicate, and hauntingly beautiful. The composition is for electric string quartet, and is dated "Friday the Thirteenth, March 1970"-- completed 54 years ago this week--and during the Vietnam War. The piece is structured in three threnodies, or laments, from which the entire arc of the work is built. Musicologist Robert Greenberg believes that the recurring "Night of the Electric Insects" image is a reference to the military helicopters used so prominently by the US Air Force during Vietnam. 

The music is deeply philosophical, even mystical. Crumb describes the piece as the portrayal of "a voyage of the soul" and considered it a parable for a troubled contemporary world. In addition to symbolic numerology in which the numbers 13 and 7 are significant (transformation, divinity, fate, destiny), the work is full of allusions to or quotations of tonal music from different time periods such as Schubert's "Death and the Maiden" quartet or Tartini's "Devil's Trill." In addition to playing the instruments with extended techniques, the musicians are called upon to shout, whisper, strike tam-tams, maracas, and bow tuned crystal water goblets. The effect is ethereal and surreal. 

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The choreography moves through a series of dream-like impressions that are rich with gesture and meaning. It draws on different cultural aesthetics, from Baroque court spectacles to traditional Asian theater practices. The inspiration for the movement closely aligns with Crumb's ethos, touching on themes of human ritual, spirituality, community, and nature. 

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This evening includes a light-hearted work with a connection to Absurdist Theater: a post-war exploration of existentialist ideas around what happens when human existence lacks meaning or purpose. The dancers, entirely focused on themselves and their own illogic, gain nothing from their physical efforts and end where they began. The dance is set to what is arguably one of the most familiar works in the classical music repertoire, but with a twist that adds to the absurdity. 

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Our program has been years in the making, and we hope that you are moved by it. It has taken incredible hard work and dedication to bring to the stage, and I want to personally thank each and every dancer, musician, and production team member. Without them this work would be impossible, and I am extremely grateful for their artistry, tenacity, and authenticity.

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Thank you for sharing this experience with us!

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- Sarah