Known as a versatile artist and innovator across multiple genres, Seth Parker Woods is redefining classical music. From interpreting traditional works to commissioning new ones that propel classical music into the future, the Grammy-nominated artist is bringing his own flair. Join us for a musical journey with cellist Seth Parker Woods.
PROGRAM: Thus Spoke Their Verse
Seth Parker Woods, solo cello
Bach: Suite No.1, BWV 100: Sarabande
Coleridge-Taylor Perkinson: “Calvary Ostinato” from Lamentations: Black Folk/Song Suite
Scelsi: Maknongan for solo cello
Fredrick Gifford: Difficult Grace, for speaking cellist and electronics (2018)
Bach: Suite No.2, BWV 1008: Sarabande
Nathalie Joachim: Dam Mwen Yo (2017) for cello and electronics
Monty Adkins: Winter Tendrils for cello and fixed electronics (2014/15)
Alvin Singleton: Argoru II (1970) for cello solo
Bach: Suite No. 5, BWV 1011: Sarabande
Conrad Beck: Drei Epigramme für solo cello (1975)
Andrea Casarrubios: SEVEN (2020)
Chinary Ung: Khse Buon (1980) for solo cello
“A cellist of power and grace”
ABOUT THE ARTIST
Seth Parker Woods, hailed by The Guardian as “a cellist of power and grace” who possesses “mature artistry and willingness to go to the brink,” has established a reputation as a versatile artist straddling several genres. In addition to solo performances, he has appeared with the Ictus Ensemble (Brussels, BE), Ensemble L’Arsenale (IT), zone Experimental (CH), Basel Sinfonietta (CH), Ensemble LPR, Orchestra of St. Luke’s, and the Atlanta and Seattle symphonies. Recipient of the 2022 Chamber Music America Michael Jaffee Visionary Award, Woods has been a fierce advocate for contemporary arts, collaborating with a wide range of artists ranging from the likes of Louis Andriessen, Elliott Carter, Heinz Holliger, G. F. Haas, Helmut Lachenmann, Klaus Lang and Peter Eötvos to Peter Gabriel, Sting, Lou Reed, Dame Shirley Bassey and Rachael Yamagata to such visual artists as Ron Athey, Vanessa Beecroft, Jack Early, Adam Pendleton and Aldo Tambellini. His debut solo album, asinglewordisnotenough (Confront Recordings-London), has garnered acclaim since its release in 2016 and has been profiled in the New York Times, the Chicago Tribune, the Los Angeles Times and The Guardian, among other publications.
