Concert • 2026/27 Season

Lush

February 21, 2027 • 3:00 pm

Crystal Ballroom, Hotel Leo
Bellingham, WA
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Single concert tickets will be available July 1st.

On the Program

Doreen Carwithen

String Quartet No.1 (1945) ~20min

Lenelle Morse, violin
Shu-Hsin Ko, violin
Lisa Humphrey, viola

Listen on Spotify

Doreen Carwithen (1922-2003)

Doreen Carwithen was a British composer of classical and film music who quickly rose in prominence in the male-dominated post-WWII film world. Her music has seen a resurgence of interest in recent years and her output includes a piano concerto, short orchestral works, two string quartets, vocal and solo instrumental works, and about 30 film scores. Carwithen is the third of the composers we are sharing from Leah Broad’s book Quartet: How Four Women Changed the Musical World.

 

Maurice Ravel

Introduction and Allegro (1905) ~12

Amelia Lukas, flute
Erika Block, clarinet
Laura Camacho, violin
Shu-Hsin Ko, violin
Lisa Humphrey, viola
Jill Whitman, harp

Listen on YouTube

Maurice Ravel (1875-1937)

Ravel was a French composer celebrated for his musical craftsmanship, vivid orchestration and perfection of form. Best known for his hypnotic 1928 orchestral piece Bolero, he pioneered 20th-century impressionism alongside his elder contemporary, Claude Debussy.

In the composers own words:
“Music, I feel, must be emotional first and intellectual second.”

Johannes Brahms

Quintet in G Major (1890) ~30min

Brittany Breeden, violin
Lenelle Morse, violin
Eric Keen, viola
Lisa Humphrey, viola

Listen on YouTube

Johannes Brahms (1833-1897)

A late work, the String Quintet in G major dates from 1890, in the last decade of Brahms’ life. Brahmsian hallmarks pervade the work, from the cross accents and rhythmically playful hemiolas in the opening 9/8 movement to the bittersweet melancholy of the D-minor Adagio and typically Brahmsian allegretto intermezzo. The Hungarian folk element of the finale calls back to the composer’s celebrated Hungarian Dances. —David Fick 

In the composers own words:

“It is not hard to compose, but what is fabulously hard is to leave the superfluous notes under the table.”