Free organ concert by world award winner at St. John's Mar. 12

Dongho Lee will be the guest artist at Wednesday's free noon concert at St. John's Episcopal Church, Lafayette Square

 

The public is invited to a free noontime organ concert Wednesday at St. John's Episcopal Church, Lafayette Square, where Dongho Lee, award winner at global competitions, will play Felix Mendelssohn's Aria and Variations, the introduction and passacaglia from Joseph Rheinberger's Sonata No. 8, G.T. Thalben-Ball's Elegy, and Variations on "America" by Charles Ives.

At the annual meeting of the American Guild of Organists in 2010, Ms. Lee placed first and won the audience prize in the National Young Artists' Competition.  She is a world virtuoso, playing in arenas in the U.S., Europe, Canada, and Asia.

Currently, she is the associate director of music at Christ Church, Episcopal in Charlotte, N.C.  Ms. Lee is a native of South Korea, and holds graduate degrees from Yonsei University and Yale's Institute of Sacred Music, and is working on her doctorate at Indiana University. Her first recording on the Pro Organo label in 2011 featured 20th century music. 

St. John's hosts First Wednesday concerts every month from October through June, however, last week's Ash Wednesday services changed this month's presentation to March 12. 

The church is known to many Washington residents and visitors as the welcoming yellow church at Lafayette Square, the “Church of the Presidents.” President James Madison, who served as president from 1809 to 1817, began a tradition for all presidents who have either attended or joined St. John's. A plaque at the rear of the church designates the Lincoln Pew where President Abraham Lincoln often sat when he stopped by St. John's during the Civil War.

Other St. John's First Wednesday concerts, all starting at 12:10 p.m., are:

April 2: The U.S. Air Force Strings conducted by 2nd Lt. Shanti Nolan, with Michael Lodico, organist, performing Francis Poulenc's Organ Concerto

May 7: Easter music for trumpet and organ with A. Scott Wood and Benjamin Hutto

June 4: Organist Alan Morrison

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

Who on March 12:  Dongho Lee, organist

What: First Wednesday Concerts (the second Wednesday in March)

When: 12:10 p.m., March 12, 2014

Where: St. John’s, Lafayette Square, 1525 H Street, NW, at the corner of 16^th and H, Washington, D.C. 20005

How much: No charge

Duration: About 35 minutes

Wheelchair accessible

Metro stations: McPherson Square, Farragut North, or Farragut West

Food trucks: Located two blocks away at Farragut Square

For more information: Contact Michael Lodico at 202-270-6265, Michael.Lodico@stjohns-dc.org.

patricialesli@gmail.com

Baltimore Symphony presents 'From Russia with Love'

Nadja Salerno-Sonnenberg was the guest artist at Thursday's performance at Strathmore by the Baltimore Symphony Orchestra/Photo by Christian Steiner

It was a night of music from Russia. 

Forget Putin but think Shostakovich (1906-1975) and Rachmaninoff (1873-1943), my two favorite composers, who filled the house and the program by the Baltimore Symphony Orchestra at Strathmore Thursday evening.

What was not to like?

The evening began with Sergei Rachmaninoff's always popular Vocalise followed by the powerful presentation by guest artist, Nadja Salerno-Sonnenberg, who delivered Dimitri Shostakovich's Violin Concerto No. 1 in A minor. 

From the first movement, when the sounds from her violin expressed sadness and later, foreshadowing, with singular percussion, a haunted tension led to the fierce passion of the second, the scherzo, and the melodies of the third, culminating in the lively but harsh finale.

The fervor Salerno-Sonnenberg utilized in interpretation matched the color of her red top which matched the blouse Maestro Marin Alsop wore which matched the evening's energy exuded by all the forces on stage.

Members of the Baltimore Symphony Orchestra/Photo, BSO

While she pierced her instrument with her bow, Salerno-Sonnenberg moved up and down, bending at times almost at right angles, frequently grimacing and expressing anguish.

Music and stand were unnecessary since she seemed to play with her eyes closed most of the time, or so they appeared to me in my chair nearby.

She pounded the violin strings, leaving one guessing how the poor instrument was able to endure her strength and intensity without breakage, but it answered in perfect response every time, softly and eloquently as she required, alas, no doubt fearful of going astray.

At times, during a violin respite, Salerno-Sonnenberg stood and turned her back to the audience, becoming a fan to enjoy majestic achievement by the Baltimore Symphony Orchestra while Maestro Alsop weaved and led nearby.

Conductor Marin Alsop of the Baltimore Symphony Orchestra/Photo, BSO

Salerno-Sonnenberg's casual apparel (black skinny jeans) belied her performance which ended with shouts and cheers from the standing gallery and, for the first time, she smiled broadly and saluted her comrades, orchestra members whose output, as usual, was every bit as perfect as one has come to expect. 

The evening ended with Rachmaninoff's splendid Symphonic Dances with noticeable contributions from his beloved piano.  He wrote it only three years before he died, a summation, which he composed for the Russian ballet dancer, Fokine, according to program notes. 

For the encore, the orchestra played Shostakovich's Bolt Ballet Suite, No. 8 Final Dance and Apotheosis which was well received.

The Baltimore Symphony Orchestra/Photo, BSO

Strathmore's love affair with Maestro Alsop continues:  Her contract has been renewed for seven years.

Ms. Salerno-Sonnenberg, a U.S. citizen, was born in Rome in 1961 and emigrated with her family to the U.S. when she was eight years old. In 2008 she was appointed music director of the New Century Chamber Orchestra in San Francisco. 

You can take the music out of Russia but you can't take Russia out of the music.  Amen. 

Thank you to Total Wine & More for sponsoring the show. 

Please, once more I must ask what's wrong with Strathmore that it doesn't install more seats and tables for dinner patrons?  How many years have I been complaining about this?  Think of the missed revenue because of lousy facility management, not to mention customer satisfaction.

Although you may be seated at one of the tiny tables for dinner before the concert, it does not guarantee that a pushy patron (comparable to those at the Kennedy Center) will not uplift your chair and dump you right out upon the floor. Or so goes the feeling.

After being dumped, just try to enter the lobby outside the music hall and find a seat to drink your wine or coffee.  Reserved for ushers and closed to patrons until 7:30 p.m., if you please.

Where is a person to go? 

Oh, I forgot: The patio with a temperature of 30 degrees Fahrenheit. Конечно!

Coffee or wine may warm you up on the Strathmore patio/Photo, BSO

BSO performances coming up at Strathmore:

March 15: Bach's Brandenburgs

March 22: Mendelssohn's Violin Concerto

March 27: The Bee Gees and 'Stayin' Alive'

April 5:  Bugs!  (Two performances for young children)

April 5:  Andre Watts Returns!

April 10:  Itzhak Perlman

April 25: Off the Cuff:  Mahler's Titan

May 3: Moo, Baa, Neigh (Two performances for young children)

May 3:  Yefim Bronfman

May 15:  All That Jazz, celebrating Kander and Ebb

May 24:  Tchaikovsky's Violin Concerto

May 29:  A Midsummer Night's Dream Concert

June 7:  Summertime Movin' and Groovin' (Two performances for young children)

June 7:  Beethoven's Ninth

June 14:  Casablanca with music

Where:   Strathmore is located at 5301 Tuckerman Lane, N. Bethesda, MD 20852.

Park:  For free at the adjacent Metro Strathmore station.

Tickets:  Click here.



Patricialesli@gmail.com

 

Olney's 'I and You' is unforgettable

Rachael Tice and Thaddeus Fitzpatrick in Lauren Gunderson's I and You now on stage at Olney Theatre/photo by Stan Barouh

It hums along at a great pace but the ending will leave you gasping.

While you predict the last scene, be ready to drop jaw.

I thought it was only for teens and college students. I was wrong.

The Olney Theatre Center has gloriously exploded in production:  The King and I, Chorus Line, and now, I and You. 

Jason Loewith, Olney's artistic director, beamed when he talked before and after the production about his focus on new plays and female playwrights, including Lauren Gunderson who wrote I and You and was on hand Saturday night to witness the glowing reception her play received by a stunned crowd.

Loewith proudly announced I and You is a finalist for the 2014 Harold and Mimi Steinberg/American Theatre Critics Association New Play Award.  After you see it, you'll know why and that it will win.

Loewith noted that theatres have to concentrate on sure-fire winners to produce income which enables theatres to survive, thrive, and experiment with new material like I and You.

Rachael Tice and Thaddeus Fitzpatrick in Lauren Gunderson's I and You now on stage at Olney Theatre/photo by Stan Barouh

And back to it: The plot captures an afternoon in the lives of two teenagers, the entire cast, who grapple with the issues of today and always:  self, others, purpose, life and death.  Starring in their conversation is a gift for English teachers everywhere:  Walt Whitman's Leaves of Grass.  (Were copies sold in the lobby?) The youngsters use the book to read sections to each other while working on a joint Whitman project for a class.

Social media is spot-on.  The girl, Caroline (Rachael Tice) is ill and confined to her home.  She texts her mother downstairs. Anthony (Thaddeus Fitzpatrick), a high school classmate, drops in, seeking help on their project, and his poster reveals he needs it, all right. Maybe a fourth-grader crafted it.

That Caroline likes Elvis movies (!), John Lennon and Jerry Lee Lewis (!), and Anthony favors Miles Davis and John Coltrane without any mention of current artists that I heard, is a reach to older audiences, I suppose.

The play of just 80 minutes takes place in three scenes in Caroline's jammed and "messy" (she says; she don't know what "messy" is) bedroom of books, pictures, posters, red bedding, and a "turtle," the significance of which I still ponder.

Their conversation is so today and so "teen talk." They say what adults wonder about, but don't state or ask.  For a while, Caroline is damaged goods and seeking help.  The roles reverse, and Anthony becomes the wounded.  They call each other "weird."  She calls him "Senator."  He calls her "Senator Shut-In."  They banter and knock each other. She talks exactly like every teenaged girl I've ever been around.

Some parts were just "weird," too, like Caroline showing no curiosity about the dead classmate's name or that her mother never showed up or communicated, wondering what was going on upstairs in her daughter's bedroom where a strange boy had parked himself for hours.

Towards the end the script began to drift a little, but then...

I and You is director Eleanor Holdridge's first play at the Olney where she skilfully managed the actors who obviously revel in their roles.

After the play, Ms. Tice and Mr. Fitzpatrick excitedly talked a little about their backgrounds and how jubilant they are to be at the Olney. For the role Ms. Tice auditioned in her hometown, New York, where Mr. Fitzpatrick is a transplant from the University of Alabama where he studied theatre. This spring Ms. Tice makes her film debut in Slider.

They are such a twosome and will travel next to Rochester to act in the play there, another stop in the National New Play Network Rolling World Premiere.

For her terrific and special effects, lighting designer Nancy Schertler gets special kudos.  Those dark colored bulbs in the beginning didn't fool me. I was hoping they would light up sooner or later. 

Other important people in the production:  Dan Conway, scenic designer, Ivania Stack, costumes,  Matthew M. Nielson, sound, Becky Reed, stage manager, and Amy Marshall, managing director.  Bravo!

What: I and You

When:  Extended until March 30, 2014

Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832

How much: Tickets start at $48.50.

Parking:  Abundant, free, and on-site

For more information:301-924-3400

For more area productions and reviews, click DC Metro Theater Arts.


.


Patricialesli@gmail.com
 

Latino art closes today at the Smithsonian

Luis Jimenez (1940-2006) born El Paso, TX , Man on Fire, 1969, made of fiberglass and acrylic urethane, and standing about 6.5 feet tall, opens the exhibition, "Our America:  The Latino Presence in American Art."  Gift of Philip Morris, Inc., Smithsonian American Art Museum/photo by Patricia Leslie

 

Hurry! 

Only one day left to see a marvelous array of color, images and explosive art selected by E. Carmen Ramos, the curator of Latino art for the Smithsonian American Art Museum whose collection supplies the exhibition for "Our America:  The Latino Presence in American Art" up through March 2 at the museum.

Amalia Mesa-Bains, born Santa Clara, CA 1943, An Ofrenda for Dolores del Rio, 1984, rev. 1991. Museum purchase, Smithsonian American Art Museum. The label said Ms. Mesa-Bains made this memorial in honor of the famous Mexican actress (1905-1983)/photo by Patricia Leslie.

 

Amalia Mesa-Bains, born Santa Clara, CA 1943,  close-up of An Ofrenda for Dolores del Rio, 1984, rev. 1991. Museum purchase, Smithsonian American Art Museum/photo by Patricia Leslie

The variety and subjects of past and present by 72 artists whose 92 pieces are included will astonish and amaze. Modern, abstract, stories, sound, film, photography, and sculpture are here for all to see.

Melesio Casas, b. El Paso, TX 1929, Humanscape 62, 1970. Museum purchase, Smithsonian American Art Museum.  The centerpiece of Casas' oil is the former mascot for Frito-Lay corn chips which Chicano activists successfully lobbied the company to remove, according to the label. Casas surrounds the mascot with "brown" objects meant to critique "rich cultures" which stereotype Chicanos.

The presentation advances the Smithsonian's goal "to build a significant collection of Latino art," said Elizabeth Broun, the museum's director, in a statement.  The effort took three years to put together, and the outcome "truly represents the Latino experience in this country," she said.

Pepon Osorio, born Santurce, Puerto Rico, 1955, El Chandelier, 1988. Museum purchase, Smithsonian American Art Museum. According to the label, the inspiration behind this work came from "elaborate chandeliers hanging in humble apartment homes" which the artist saw while working as a social worker in New York City/photo by Patricia Leslie

If you miss the show in Washington, you may still see it in other U.S. cities since it travels to Florida International University in Miami for exhibition from March 28 - June 22, 2014; the Crocker Art Museum in Sacramento, CA, Sept. 21, 2014 - Jan. 11, 2015;  the Utah Museum of Fine Arts, Salt Lake City, Feb. 6, - May 17, 2015;  the Arkansas Art Center in Little Rock, Oct. 16, 2015 - Jan. 17, 2016; and the Delaware Art Museum in Wilmington, March 5 - May 29, 2016.

Arturo Rodriguez, born Ranchuelo, Cuba, 1956, Sin Titulo, from the series, "The Tempest." Gift of Liza and Pedro J. Martinez-Fraga, Smithsonian American Art Museum.  The label copy said Giorgione's The Tempest (c. 1505).was the inspiration for this painting.

 

Ester Hernandez, born Dinuba, CA 1944, Sun Mad, 1982. Gift of Tomas Ybarra-Frausto, Smithsonian American Art Museum

 

What: Our America:  The Latino Presence in American Art

When: Closes Sunday, March 2, 2014.  The museum is open from 11:30 a.m. - 7 p.m. Sunday.

Where: Smithsonian American Art Museum, 8th and F streets, N. W., Washington, D.C.

How much: No charge

For more information: 202-633-1000 or visit the web site

Metro station: Gallery Place-Chinatown or walk 10 minutes from Metro Center


patricialesli@gmail.com



 

Philadelphia's surrealism show closes March 2

Enrico Donati, The Evil Eye, 1947, Philadelphia Museum of Art. This is a new addition to the collection and is not as large as it appears here. (See below.) Photo by Patricia Leslie

For all D.C. surrealist fans, the City of Brotherly Love just up the road a bit is well worth a rush trip this weekend to see The Surrealists:  Works from the Collection at the Philadelphia Museum of Art.

It closes March 2 which, on the first Sunday of the month,  happens to be "Pay What You Can Day."

It's not a big show, just three galleries, but the art is more than enough to keep your mind occupied long past your exit from the museum.

A better perspective from the floor of Enrico Donati's 1947 The Evil Eye. On the left wall is label copy.  Surrealists were intrigued by "the eye" and often made it their subject, portending more government spying. Would this not make a good illustration for the NSA? Or Google? Photo by Patricia Leslie

Oils, photographs, sculpture, furniture, printed materials, rare books, and clothing, all from the museum's collection, are represented in 100 creations by 50 artists who explore their subconscious minds, dreams, and fears.  They made visual, the unconscious; real, unreality; and they exaggerated. 

Valentine Hugo, Dream Painting (Playing Cards and Lotus Blossoms), 1935, Philadelphia Museum of Art.

Curator John Vick led a tour and said the surrealists revolted against traditional names and values and practiced their own personal styles. The movement "about diversity, difference, and individuality," became "a real driving force in Europe" in the 1920s, spanning the aftermath of World War I, the entirety of World War II. and the Spanish Civil War (July, 1936 - April, 1939).

What would a surrealism show be without a Dali? Not a surrealism show.  This is a close-up of Salvador Dali's Soft Construction with Boiled Beans (Premonition of Civil War), 1936, Philadelphia Museum of Art/Photo by Patricia Leslie

Vick said it was Philadelphia's "first exhibition [where] we've been able to feature our surrealism collection in a comprehensive format." 

The show unfolds chronologically and geographically as artists fled Paris and Europe for New York, joining thousands displaced by World War II.

Not all the names are familiar (Pierre Roy, Eli Lotar, Esteban Frances, Wifredo Lam) but most are well known:  Joan Miro, Kay Sage, de Chirico, Giacometti, Max Ernst, and hometown boy, Man Ray. Some of the works have never been shown.

Curator Vick said Picasso never really joined the trend, being "slightly outside" of it, however, two of his are thrown in for good measure (Bullfight, 1934, and Head of a Woman, 1937). (Picasso is a draw.)

Salvador Dali painted Soft Construction with Boiled Beans (Premonition of Civil War) in 1936 when the Spanish Civil War broke out, when he witnessed his country torn apart by bloodshed.  The label quotes him describing  Soft Construction as "a vast human bodybreaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of auto strangulation."  The surrealists were fascinated by and often portrayed the desecration of the human body, especially Dali.  (Who would have known?)

 Salvador Dali, Soft Construction with Boiled Beans (Premonition of Civil War), 1936, Philadelphia Museum of Art.

Many consider surrealism art to be anti-feminist.

In her self-portrait, Birthday, named by her future husband, Max Ernst, Dorothea Tanning paints herself as a sex tool, grabbing her skirt, clothed in a robe of human bodies.  Pretty, huh? At the same time she reaches for a door leading to a long hallway of open doors (an escape or a prison?). Her expression exudes self-doubt and sadness.  What do you see?

Dorothea Tanning, Birthday, 1942, Philadelphia Museum of Art.

The show contains violence, including violence against women (I could not locate it or them), torment, self-destruction, and exorcism of demons. 

Maybe it will help exorcise your demons when you see theirs and realize yours aren't so bad, after all.  The artists intended to shock, said Mr. Vick, and they still do today.

When: Now through March 2, 2014.  The museum is open every day except Monday, 10 a.m. – 5 p.m., and Wednesday and Friday until 8:45 p.m.

 

Where: Philadelphia Museum of Art, 26th Street and the Benjamin Franklin Parkway
Philadelphia 19130

Admission: "Pay what you wish" on Sunday, March 2.  Customary prices are $20 (adults); $18 (seniors; 65 and over); $14 (students and youth, ages 13-18); free (children, under age 13); and members, no charge.

Getting there from Washington: Train, plane, bus, or car.

 

For more information: 215-763-8100 or visitorservices@philamuseum.org.


patricialesli@gmail.com




 

Scenes from a musical petting zoo at the Kennedy Center

"Johann, this is how you hold it." At Sunday's "instrument petting zoo" at the Kennedy Center/Photo by Patricia Leslie

What fun to go and see all these fine instruments up close! To touch them, to hold them, and blow them all up!

Between performances at last Sunday's Peter and the Wolf at the Kennedy Center, everyone was invited to check out and play instruments on the Terrace Level. KenCen volunteers and members of the Lake Braddock High School Band were on hand to help the budding musicians, clean mouth pieces, and provide direction.  Smiles, galore!  What fun!  And free.

Which instrument do you think was the most popular?  Just take a guess, and I'll bet you are wrong. Answer is in the photos.

At Sunday's "instrument petting zoo" at the Kennedy Center ("I don't know if I trust this guy or not. He's a little scary to me in that checkered shirt.")/Photo by Patricia Leslie

"Stand back!  It's my turn, and I don't need your help! I can play these just fine."  Rat-a-tat-tat! At Sunday's "instrument petting zoo" at the Kennedy Center/Photo by Patricia Leslie

"Now, honey, it's Daddy's turn." At Sunday's "instrument petting zoo" at the Kennedy Center/Photo by Patricia Leslie

 

At Sunday's "instrument petting zoo" at the Kennedy Center/Photo by Patricia Leslie

"Open wide like you're at the dentist's and say "'aahhhh.'" At Sunday's "instrument petting zoo" at the Kennedy Center/Photo by Patricia Leslie

Cameras, photographers, and proud parents were in abundance at Sunday's "instrument petting zoo" at the Kennedy Center/Photo by Patricia Leslie

At Sunday's "instrument petting zoo" at the Kennedy Center/Photo by Patricia Leslie

Shoulder-to-shoulder or instrument-to-instrument at Sunday's "instrument petting zoo" at the Kennedy Center it was /Photo by Patricia Leslie

And the Number One Most Popular Instrument at Sunday's "instrument petting zoo" at the Kennedy Center was the cello.  The line to play it stretched from wall to wall, far more than for any other instrument.  Where was the bass?  Hiding in the orchestra pit/Photo by Patricia Leslie

 

 

 

 

patricialesli@gmail.com

 

Hark! The angels sang at Dumbarton Concert

Dumbarton Church in Georgetown, one block off Wisconsin Avenue, is the home of Dumbarton Concerts/Photo by Patricia Leslie

For all the babies and children who have trouble going to sleep, for parents and caregivers, the ethereal 
"Good Night" by Anton Seidl (1850-1898) which the Washington National Cathedral Boy and Girl Choristers sang at the Dumbarton Concert Saturday evening is an answer to prayers for slumber.

Had a host of angels descended upon the sanctuary of the historic Dumbarton United Methodist Church to enthrall the audience with beauty and harmonies never anticipated?  I believe all in the packed hall would have agreed.

More than 100 years have passed since the composition was last performed, according to musicologist Joseph Horowitz who discovered the score while conducting research for a book.

Anton Seidl, 1895/Arnie Dupont/U.S. Library of Congress/Wikimedia Commons

The choristers, under the direction of Cannon Michael McCarthy, were the featured artists on the program entitled "Scenes From Childhood," presented to honor the centennial birthday of Benjamin Britten (1913-1976) and the bi-centennial birthday of Richard Wagner (1813-1892) whose written works for children were performed.  Mr. Seidl was a Wagner protege. 

Benjamin Britten, 1968/photo by Hans Wild/Wikimedia Commons

The evening's program began with "In Paradisum" from Requiem, Op. 48 by Gabriel Faure (1845-1924) which the choir sang from the balcony where their heavenly sounds seemed to have better effect, filling the church of stained-glass windows and lighted candles more eloquently than from the main stage of the sanctuary, their destination where they walked while singing the first of 11 movements of Mr. Britten's A Ceremony of Carols, Op. 28 which only lasted 20 minutes. They sang in Middle English and Latin.

What words are there to adequately describe such music, chimes and reception?  Made more perfect by the accompaniment of the harp, played by Jacqueline Pollauf, who rewrote the piano composition of  "Good Night" for harp.

After intermission and "Good Night," the choristers presented  "Schlaf, Kindchen, Schlafe," a lullaby they sang with a lonely oboe's hymn.  It is part of Wagner's Siegfried Idyll which the PostClassical Ensemble performed as the night's last selection and the audience answered, to no one's surprise, with a standing ovation.

Wagner wrote Siegfried Idyll in 1870 for a special birthday gift for his wife, Cosima, to honor their son's birth in 1869. Several years later, Cosima was dismayed to learn her private birthday gift would remain private no more for her husband had to "go public" with it to satisfy creditors.  How would the couple ever know their anguish would become a gift for millions for more than a century? 

Fritz Luckhart (1843-1894) made this photograph of the Wagners on May 9, 1872 in Vienna/Wikimedia Commons

The PostClassical Ensemble's music director, Angel Gil-Ordonez, was the evening's conductor.  Mr. Horowitz is the ensemble's executive director.  Ensemble members are David Salness, concertmaster, Claudia Chudacoff, violin, Chris Shieh, viola; Evelyn Elsing, cello;  Ed Malaga, bass;  Beth Plunk, flute; Fatma Daglar, oboe;  David Jones and Chris Reardon, clarinets;  Erich Heckscher, bassoon;  Chandra Cervantes and Mark Hughes, horns; and Chris Gekker, trumpet.    

The 22 members of the Washington Cathedral Choristers are Elliott
Bamford, Caroline Blanton, Grace Brigham, Elizabeth Brogan, Landon Chin, Constantine Desjardins, Sophie Evans, Selin Everett, Doris Farje, Nathan Heath, Madeline Kushan, Maya Millward, Luke Mott, Nolan Musslewhite, Bronwyn Redvers-Lee, Annabel Ricks, Christian Schmidt, Lucie Shelley, Teresa Speranza, Rubii Tamen, Ben Vacher, and Logan Whittaker.

                    Good-night! And sweet be thy repose

                    Through all their shining way,

                    Till darkness goes, and bird and rose,

                    With rapture greet the day,--

                    Good-night!

From Edna Dean Proctor's poem which Mr. Seidl adopted for "Good Night"

The next and last Dumbarton Concert for the 2013-14 season is:

March 15: A quintet with the Linden String Quartet and pianist Michael Brown

Where: Historic Dumbarton Church, 3133 Dumbarton Street, NW, Washington, D.C. 20007

Tickets: $30 to $35

For more information: 202-965-2000

Free parking is available beginning at 6:30 p.m. at the Hyde School, 3219 O Street on a first come, first served basis. Your ticket is necessary for the attendant.

Metro station:  Not in Georgetown