Violinist and visual artist Nicholas DiEugenio presents a tour de force program featuring the complete sonatas and partitas for solo violin by Johann Sebastian Bach. Widely considered among the masterpieces of the Baroque era, the six works will be accompanied in this program by projections.
The Baltimore Classical Guitar Society presents classical guitarists Bokyung Byun and Lovro Peretić. Praised by Classical Guitar Magazine as “confident and quite extraordinary,” Korean guitarist, Bokyung Byun enjoys a reputation as one of the most sought-after guitarists of her generation. Peretić is an award-winning guitarist from Zagreb, Croatia, who has received top prizes in various guitar competitions and has performed widely throughout Europe.
By the early 1980s, American composer Morton Feldman (1926–1987) began to create works of unusually long duration, featuring intricate interplays of pitches and patterns that slowly unfold (and sometimes suddenly change) over time. Among these works is the evening-length solo piano composition Triadic Memories (1981), performed in this concert by distinguished pianist and composer Amy Williams.
UMBC Theatre presents Slime by Bryony Lavery, directed by Nigel Semaj. Welcome to the Third Annual Slime Crisis Conference! Seven grad students, all fluent in animal languages, linguistics, and culture, join delegates of almost every species to save life on earth from a toxic slime. As they debate and translate for dolphins, seabirds, and polar bears, they ask, “Who is coming to save us?” The answer might surprise you….
Join the District5 wind quintet as they step into the shadowy musical world of “death.” This transformative program shines a light on the complexity, beauty, and fragility within a seemingly dark place. Seamlessly combining works from the Medieval era through present day, the concert features the powerful voices of composers such as Hildegard con Bingen, Carlo Gesualdo, Reena Esmail, and Esa-Pekka Salonen. Now in their 10th season, District5 is known for their creative and engaging programming.
As part of the Spring 2024 Plays for Our Planet initiative, UMBC Theatre presents a Sustainable Theatre Design Panel with Lauren Gaston and Sandra Goldmark. Led by the authors of The Sustainable Production Toolkit, this talk and workshop introduces concrete tools and best practices for prioritizing the intertwined needs for greater environmental, social, and economic sustainability in the theatre industry.
In 1947, Martin Heidegger wrote what is now known as his “Letter on Humanism,” which is rich and revealing. At the center of the Letter stands a singular, pointed claim: that all previous “humanisms,” have failed to recognize the “proper dignity of human being.” Drawn from a book in progress, this talk by Sean D. Kelly of Harvard University will explore questions of our proper dignity, and the threat to it posed by the technological age. This event is part of the Spring 2024 Humanities Forum.
The Strata ensemble joins forces with cellist Amy Sue Barston in a program featuring Stomping Grounds (2015) by Karim Al-Zand (b. 1970) and Olivier Messiaen's timeless masterpiece Quatuor pour la fin du temps (Quartet for the End of Time), written while the composer was a prisoner of war in 1940–41.
The annual Low Lecture features Kevin Dawson, associate professor of history at the University of California, Merced, who will speak on Liquid Motion: Canoeing and Surfing in Atlantic Africa and the Diaspora, 1444–1888. “Liquid Motion” examines how African women and men perceived, understood, and interacted with oceans and rivers through swimming, underwater diving, surfing, canoe-making, and canoeing. Africans inspire us to rethink assumptions about maritime history, by considering maritime traditions that Westerns lacked. Enslaved Africans carried these maritime traditions to the Americas, where they used them to benefit their exploited lives and enslavers exploited them to generate wealth. This event is part of the Spring 2024 Social Sciences Forum.
Inscape performs a program featuring Samuel Coleridge-Taylor's Nonet along with vivacious works by Martinů and Britten. Each work is written for ensemble configurations that bridge the gap between chamber music and chamber orchestra. Coleridge-Taylor's long forgotten Nonet was premiered in 1894 and showcases his influence and admiration for the works of Dvořák. Martinů's Musique de Chambre No. 1 for harp, piano, and chamber players was his very last published work which stands in contrast to Britten's Sinfonietta for small orchestra, which he designed his "Opus 1" and dates from his student years.