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Dates and times

Friday, February 24 *
6:45pm | VIP Reception
7:30pm | Performance

Saturday, February 25 *
6:45pm | VIP Reception
7:30pm | Performance

Sunday, February 26
2:00pm Performance

* Includes performance by Paquito D’Rivera

Location

Attack Theatre Studios
212 45th Street
Pittsburgh, PA 15201

 

Attack Theatre has a long history of performing with live music and this project furthers that career-long investigation. We were inspired by the deeply personal way in which each of these newly commissioned works were composed, and are thrilled to share this performance of dance and live music in such an intimate venue” says Michele de la Reza, Co-Artistic Director of Attack Theatre. 

Behind Ourself Concealed is a theatrical evolution of the celebrated 2022 album, Ourself Behind Ourself, Concealed, from powerhouse clarinetist Tasha Warren and internationally renowned cellist Dave Eggar. The album—developed during the COVID-19 pandemic—features six original pieces by contemporary composers: Native and African American vocalist and composer Martha Redbone, Haitian flutist and composer Nathalie Joachim, award-winning jazz violinist Meg Okura, multi-instrumentalist and composer Cornelius Boots, and Grammy-nominated jazz pianist and composer Pascal LeBoeuf, that explore themes of identity, home, and belonging. 

“These new works come to life to tell stories of beauty, power, joy, ecstasy, isolation, and unity. By seeking new voices and new stories to tell in classical music, Dave and I explore what makes a ‘classic’ in classical music today.” says Tasha Warren.

Co-founder and Artistic Director Peter Kope adds, “The six dances each highlight a different performer and explore how mirrors become a reflective tool to forge connections within ourselves and each other.”

 “We are honored to work with Attack Theatre, a celebrated company that continues to push the dance field forward through its imaginative programming. This performance also represents an evolution of CMP’s Pittsburgh Performs, and it will be a stunning opportunity for both of our audiences to engage with these artistic disciplines in a new way,” says Kristen Linfante, Executive Director of Chamber Music Pittsburgh.

“As a performer and an audience, this is a truly special musical event. With the legendary Paquito D’Rivera and the genre-defying Meg Okura together onstage, we bring together two generations of jazz from two different parts of the world together in Pittsburgh that holds such a rich jazz history.

I've been coming back to Pittsburgh and working with Attack Theatre for almost two decades and each time the project is so different. The authentically collaborative nature of Peter, Michele and the company is what makes each project fresh and exciting.” says cellist and long-time Attack Theatre collaborator Dave Eggar.

“Attack Theatre has a rich history of collaborating with musicians and composers.  From our collaborations in Japan with composers Miyuki Ito and Somei Satoh, to local bands Local Honey and Squonk Opera, to performances at Heinz Hall with the Pittsburgh Symphony; we are compelled by music and musicians in our creative process. This career-long curiosity led us to partner with Chamber Music Pittsburgh on various projects – including one of my personal favorites Igor Stravinsky’s  “L’Histoire du Soldat” with Sean Jones.

CMP’s Executive Director and violist Kristen Linfante and I were students together at The Juilliard School years ago. Kristen was the first person I called after I attended the musical premiere of “Behind Ourself Concealed” last April at Michigan State University. I was not only moved by the incredible chamber music, but by hearing the composers speak on their personal narratives and influences of identity on their work. I knew that these compositions would inspire choreography and a performance that of resonance and relevance – and that Chamber Music Pittsburgh would be the perfect partner. - Michele de la Reza (choreographer, performer, co-Artistic Director of Attack Theatre)

ABOUT THE TITLE:

The performance title is inspired by Emily Dickinson’s One Need Not be a Chamber — to be Haunted. The poem speaks to the complex passageways and darkness held inside our minds. These hidden chambers that lie within inspired this reflective creative journey for both the dancers and musicians.

One Need Not be a Chamber — to be Haunted

Emily Dickinson - 1830-1886

One need not be a chamber—to be haunted—
One need not be a House—
The Brain—has Corridors surpassing
Material Place—

Far safer, of a Midnight—meeting
External Ghost—
Than an Interior—confronting—
That cooler—Host—

Far safer, through an Abbey—gallop—
The Stones a’chase—
Than moonless—One’s A’self encounter—
In lonesome place—

Ourself—behind Ourself—Concealed—
Should startle—most—
Assassin—hid in Our Apartment—
Be Horror’s least—

The Prudent—carries a Revolver—
He bolts the Door,
O’erlooking a Superior Spectre
More near—