UCSB Arts & Lectures - Spring Program 2016 by UCSB Arts & Lectures

Spring Program 2016

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3/1/16 5:21 PM

2 0 1 6 S U M M E R F E S T I VA L

ACADEMY FESTIVAL ORCHESTRA SERIES

Alan Gilbert

AFTERNOON OF A FAWN & PINES OF ROME Larry Rachleff conductor SAT, JUN 25, 7:30 PM Berlioz ROMAN CARNIVAL OVERTURE | Brahms VARIATIONS ON A THEME BY HAYDN Debussy PRELUDE TO THE AFTERNOON OF A FAWN | Respighi THE PINES OF ROME

CONCERTO CELEBRATION & STRAVINSKY’S FIREBIRD Case Scaglione conductor SAT, JUL 9, 7:30 PM Wagner PRELUDE TO DIE MEISTERSINGER VON NÜRNBERG CONCERTO EXCERPTS (to be announced) | Stravinsky FIREBIRD SUITE (1919)

GILBERT CONDUCTS BEETHOVEN Alan Gilbert conductor SAT, JUL 16, 7:30 PM Haydn THE REPRESENTATION OF CHAOS FROM THE CREATION Berg THREE PIECES FOR ORCHESTRA | Beethoven SYMPHONY NO. 3, “EROICA”

RIMSKY-KORSAKOV’S SCHEHERAZADE James Gaffigan conductor SAT, AUG 6, 7:30 PM Sean Shepherd MAGIYA PIANO CONCERTO (to be announced) | Rimsky-Korsakov SCHEHERAZADE

A l l c o n c e r t s p r e s e n t e d a t t h e G ra n a d a T h e a t r e Tickets / $10 Community Access / $40 / $50 / $60 Box Seats / 7-17s FREE musicacademy.org The Orchestra Series is generously supported by Robert W. Weinman.

By finding, filtering, shaping, curating, certifying, editing, promoting, disseminating and rewarding ideas, a scholarly publisher helps convert them into cultural products that enable their transmission from the minds of writers and editors into the minds of readers. Ziyad Marar, Global Publishing Director

Dear Arts & Lectures’ Friends and Supporters, Thank you for joining us tonight. I hope that your participation here today will be as rewarding for you as it is for those on stage – and for those behind the curtain too. Arts & Lectures’ speakers and artists thank you also. We’re often told by visiting authors that our halls are packed with active, engaged audiences while other stops on their book tours may draw only a few hundred people. Or a few dozen. Visiting artists often remark on the level of excitement and enthusiasm generated by large numbers of students in the audience, how refreshing and rewarding that is, and how they, the artists and performers, feed on that excitement resulting in even better performances. Apparently, unbridled enthusiasm beats polite applause every time. While you’re waiting for tonight’s program to start, I hope you’ll browse this book to see the enormous breadth of activity we’re bringing to Santa Barbara in April and May. There is a full list of events on page 43 – many new names and some long-time favorites, including author Pico Iyer (here this time with public radio’s Krista Tippett), violinist Jennifer Koh (with pianist Shai Wosner), raconteur David Sedaris, and the always-astounding Alvin Ailey American Dance Theater with two separate programs on two nights (and you might consider diving deep into dance with tickets to both performances). In addition to moments of wild enthusiasm for what’s on stage we need those laugh-out-loud moments also, and we’re looking to Conan O’Brien (at the Arlington on April 16, get your tickets now) for an afternoon of laughs, insights, candid conversation, and more laughs. Thank you for your support of Arts & Lectures. We can’t do it without you – your contributions, your ticket purchases, your willingness to explore the new talent, your undying support for our long-time favorites… and your wild enthusiasm. It makes a difference! With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

Grupo Corpo

Paulo Pederneiras, Artistic Director SAT, APR 2 / 8 PM / GRANADA THEATRE

photo: Jose Luiz Pederneiras

Running time: Approx. 94 minutes including intermission Dance series sponsored in part by: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Dorothy Largay & Wayne Rosing

Program

- Intermission -

Suíte Branca

Dança Sinfônica

When the first guitar chords and the sinuous silhouette of a ballerina strike the air, there is a hint of mystery on stage. Soon the aridity of an eerily white landscape emphasizes the enigmatic atmosphere.

Created to celebrate Grupo Corpo’s 40th anniversary, Symphonic Dance is built on the memorialist theme proposed by Artistic Director Paulo Pederneiras. In this first symphony created especially for the Minas Gerais dance company, Marco Antônio Guimarães, the author of anthological works such as 21 (1992) and Bach (1996), combines a sophisticated plot with original pieces and evocative musical passages from ballets recently produced by Grupo Corpo. The set of themes, written masterfully for the 90-member Philharmonic Orchestra of Minas Gerais and interconnected by ingenious musical bridges performed by the Uakti group, allows choreographer Rodrigo Pederneiras to revisit the best works from the group’s entire repertoire and also to process, with the experience accumulated through decades of working on detachment of form, a kind of synthesis of a choreographic scripture assembled over 34 years of residence at the company.

Choreography: Cassi Abranches Music: Samuel Rosa Set Design: Paulo Pederneiras Costume Design: Freusa Zechmeister Lighting: Paulo Pederneiras and Gabriel Pederneiras

Dressed in white from start to finish, moving across the white linoleum and against a backdrop that gradually reveals glacier-like peaks and valleys, the dancers drift through the web of themes composed by Samuel Rosa. Idealized as the old Roman blank slates, or a blank page on which a new story begins to be written, White Suite marks the first collaboration between Cassi Abranches, a young choreographer from São Paulo, and the dance company from Minas Gerais. Among undulating arms and hips, pendular movements, suspensions and considerable floorwork, the score suggests an interaction with the law of gravity, where it is possible to see the distinctive traits of Grupo Corpo that for so long have inhabited our imagination and, at the same time, to glimpse the strength of an unequivocal otherness.

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Choreography: Rodrigo Pederneiras Music: Marco Antônio Guimarães Set Design: Paulo Pederneiras Costume Design: Freusa Zechmeister Lighting: Paulo Pederneiras and Gabriel Pederneiras

Taken from the private collections of professionals who have collaborated with or had an influence on the trajectory of Grupo Corpo over these 40 years – from dancers

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and maîtres de ballet to technicians and stewards – more than a thousand informal photographic snapshots make up the backdrop panel, establishing the mood for the show.

Paulo Pederneiras, Artistic Director, Set and Lighting Designer

In contrast to the everyday character of the situations represented in the photographs, wine-red velvet curtains cover the base of the theater while the legs of the dancers are covered in tights of the same color, giving the performance a discrete air of solemnity.

“Grupo Corpo is under nobody’s name: we were able to get an identity as a group,” says Paulo Pederneiras. It’s a fact: dance, music, lighting, costumes, stage setting, everything is integrated as one in Grupo Corpo’s creations. But someone must direct the group – and this was always Paulo Pederneiras’ job.

About the Company They are from Minas Gerais, Brazil, but their ballet crosses borders. Brazil as a whole, with all its cultural diversity, can see itself in Grupo Corpo, the dance company founded in 1975 in Belo Horizonte. In a world where the speed of information is producing an increasingly homogeneous landscape, they stand out for having developed a signature of their own. There are three basic reasons for the uniqueness of the company in the contemporary dance scene. First, there is Rodrigo Pederneiras, the house choreographer, one of the few able to mix classic ballet and folk dances and then set to motion bodies that push the limits of technical rigor. Second, there is the wisdom with which Paulo Pederneiras transforms choreography into a dance artwork. Besides directing the company, he signs the scenography and lighting designs that customize the scenic finishing for each production with a kind of quality that continues to introduce new references. Part of those are the costumes by Freusa Zechmeisteir, the result of a skill capable of translating clothing into movement. And third, there is a balanced cast of dancers, stars in their own right, fine-tuning each other with exquisite precision. When one sees Grupo Corpo dance on stage it is as if all questions concerning the transit between nature and culture were being fully answered. All facets of Brazil, past and future, erudite and popular, foreign influence and local color and the urban and the suburban come to being as art. Brazilian art. World art. – Helena Katz

As general and artistic director of the company, which was founded by him in 1975, Pederneiras is also responsible for the lighting of the ballets and, since Bach (1996), he’s been participating in the creation of stage setting. Light is a strong presence, which both illuminates as it serves as a space for dancing. He says, “I think of the space the same way I think of the lighting. Sometimes the light is the space.” This approach is evident in the piece O Corpo (2000), where the distinction between stage setting and lighting virtually disappears and the dancers dance in red. Or in 21 (1992), where a spotlight serves as a mobile tunnel for a block of bodies. Or in Sete ou oito peças para um ballet (1994) where, at the end, each dancer individualize themselves in a vertical column of color. Or in so many other moments when light itself seems to direct the counterpoint of the bodies on stage, which it makes be seen and understood. Yet understanding to Pederneiras is a poor name for not knowing things; it’s a commitment with amazement or with reticence, which is at the core of each new work. This goes from the time the ballet is being imagined to the way the team works. Pederneiras says, “To question one’s own work is fundamental. It’s always a risk, but a productive risk. To try to see what one has and to try to undo or to dismantle one’s own methodology. Art must have that or no steps are taken forward. It’s either that or it will be a dishonest art.” Since its foundation in 1975, Grupo Corpo has been dealing with the dilemmas which involve not only the learning process but the control over a language and also the administrative maintenance of the company. To look for funds and to support one’s own work, without compromising quality, has been a consistent characteristic of Grupo Corpo. And Grupo Corpo is known throughout the world today. Besides his work with Grupo Corpo, Pederneiras has done lighting projects for several operas, such as: Don Giovanni, Suor Angelica, Lucia de Lammermoor, La Voix Humaine, Salomé and Orfeo, to mention a few. He has also done the

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set designing for exhibits such as the section for “Indigenous and Anthropologic Art” at the Brazil 500 years Exhibit at Ibirapuera Park, São Paulo (2000). “A Brazilian company has great physical diversity. Each dancer’s movement is different, and yet the idea of being a group is not lost. That’s where the dance draws its strength from.” Pederneiras’ words describe the dancers, but equally serve to describe the company. Under the direction of Pederneiras, Grupo Corpo made a virtue out of its diversities. And it continues making this virtue the principle of creation, a way of knowing and not knowing, a bet on the unknown, in order to always reach a new dance, which will always be its own dance.

Rodrigo Pederneiras, Choreographer “It was only in 1988, when working in Uakti, that I started thinking about what it would be like to make a dance which would be more inside our body.” Rodrigo Pederneira’s words define a crucial moment not only for his career but also for Grupo Corpo. His work since can be seen in a variety of exploration of this dance “inside our body,” which is the dance of Corpo. “Our body” learned how to dance on the street and the language of Pederneiras is essentially a modern one. In his own way, he harbors the xaxado, the samba, the ballroom dance, the celebrations, the capoeira. Everything is translated into a private world, where dynamics and balance have even more meaning than movement. Everything with a certain amount of joy and humor, which, even though joyous and good humored, does not hide the violence and the ambiguity of our condition.

thing hard to achieve,” he says. Which does not mean that things become easier. Much to the contrary. “I may make a mistake one thousand times while creating, until I find that which I want.” But, Pederneiras continues, “This is not possible with other dance companies. There are pressures for time.” If Grupo Corpo has a language all its own today, it is Pederneiras’ language; it has his unmistakable accent, which is understood by everybody, because it is our body that he induces to dance.

Dancers Andressa Corso joined Grupo Corpo in 2008 having previously danced with Grupo Free Dance and Kleine Szene. She began her dance studies in 1999. Bianca Victal began her dance studies in 2006. Before joining Grupo Corpo in 2014, she danced with Companhia Jovem de Ballet do Rio de Janeiro and Companhia de Dança do Sesc. Carol Rasslan began her dance studies in 1999 and has danced with Ballet Jovem do Palácio das Artes. She joined Grupo Corpo in 2013. Dayanne Amaral joined Grupo Corpo in 2012 having previously danced with Cia Sesiminas de Dança. She began her dance studies in 2001. Edmárcio Junior began his dance studies in 2002 and danced with Ballet Jovem do Palácio das Artes before joining Grupo Corpo in 2014.

Always guided by music, Pederneiras breaks the classical movements in an intensely Brazilian way, though entirely free from the exotic, from boastful and from easy identities.

Edson Hayzer, before joining Grupo Corpo in 2001, worked with Ballet do Teatro Guaira and began his dance studies in 1997.

Corpo’s choreographer since 1978, Pederneiras’ work is now recognized internationally. He has choreographed for Ballet do Theatro Municipal do Rio de Janeiro, Ballet do Teatro Guaíra, Ballet da Cidade de São Paulo and Companhia de Dança de Minas Gerais.

Elias Bouza started his dance studies in 1989. He danced with Ballet Nacional de Cuba, Companhia de Dança de Minas Gerais, Ballet do Teatro Castro Alves and Cia Deborah Colker before joining Grupo Corpo in 2009.

Outside Brazil, he has choreographed for Deutsche Oper Berlin Company (Germany), Gulbenkian (Portugal), Les Ballets Jazz Montréal (Canada), Stadttheater Saint Gallen (Switzerland) and Opéra du Rhin (France). But creating for Grupo Corpo remains his main interest. “Grupo Corpo today has its own language, which is some-

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Filipe Bruschi joined Grupo Corpo in 2005 having previously danced with Raça Companhia de Dança and Ballet do Teatro Castro Alves. He began his dance studies in 1993. Gabriela Junqueira, after beginning her dance studies in 1993, danced with Grupo Camaleão. She joined Grupo Corpo in 2005.

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Grey Araújo started his dance studies in 2000. He worked with Ballet Jovem do Rio de Janeiro, Ballet Contemporaneo de Caracas, Moinho Cultural Sul-Americano, Ballet de la Provincia and São Paulo Cia de Dança before joining Grupo Corpo in 2008. Helbert Pimenta joined Grupo Corpo in 2004 having previously danced with Companhia de Dança de Minas Gerais, Grupo Camaleão and Quik Companhia de Dança. He began his studies in 1996. Janaina Castro began her dance studies in 1981 and danced with Companhia de Dança de Minas Gerais before joining Grupo Corpo in 2000. Lucas Saraiva, after beginning his dance studies in 2006, danced with Cia de Teatro e Dança Ivaldo Bertazzo, Bienal de Dança Contemporânea de Veneza and Cia de Dança Deborah Colker. He joined Grupo Corpo in 2013. Malu Figueiroa began her dance studies in 1990. She danced with Grupo Camaleão, Ballet do Teatro Castro Alves and Ballet Jovem do Palácio das Artes before joining Grupo Corpo in 2011. Mariana do Rosário, before joining Grupo Corpo in 2005, danced with Ballet do Teatro Guaira and Balé da Cidade de São Paulo. She began her dance studies in 1989. Rafael Bittar started his dance studies in 2002 and danced with Cia Mario Nascimento before joining Grupo Corpo in 2012. Rafaela Fernandes started her dance studies in 1998 and joined Grupo Corpo in 2011. Silvia Gaspar, after beginning her dance studies in 1981, danced with Ballet da Cidade de São Paulo and Companhia de Dança de Minas Gerais. She joined Grupo Corpo in 2001.

Artistic Director: Paulo Pederneiras Choreographer: Rodrigo Pederneiras Rehearsal Director: Carmen Purri Technical Director: Pedro Pederneiras Dancers: Andressa Corso, Bianca Victal, Carol Rasslan, Dayanne Amaral, Edmárcio Júnior, Edson Hayzer, Elias Bouza, Filipe Bruschi, Gabriela Junqueira, Grey Araújo, Helbert Pimenta, Janaina Castro, Lucas Saraiva, Malu Figueirôa, Mariana do Rosário, Rafael Bittar, Rafaela Fernandes, Sílvia Gaspar, Victor Vargas, Williene Sampaio, Yasmin Almeida Choreographic Assistants: Ana Paula Cançado, Carmen Purri, Miriam Pederneiras Ballet Mistress: Bettina Bellomo Pianist: Anna Maria Ferreira Technical Coordinator: Gabriel Pederneiras Technicians: André Pederneiras, Átilla Gomes, Eustáquio Bento, Stefan Bottcher Wardrobe Assistants: Alexandre Vasconcelos, Maria Luiza Magalhães Administrator: Marcelo Cláudio Teixeira Administrative Manager: Kênia Marques Administrative Assistant: Marcel Gordon Firing Secretary: Flávia Labbate Documentation: Cândida Braz Communication: Cristina Castilho Communication Assistant: Mateus Castilho Programme Coordinator: Cláudia Ribeiro Production: Michelle Deslandes www.grupocorpo.com.br www.youtube.com/grupocorpooficial Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Victor Vargas began his dance studies in 1999 and has danced with Ballet da Cidade de Niterói. He joined Grupo Corpo in 2007. Williene Sampaio before joining Grupo Corpo in 2012 worked with Washington Ballet and São Paulo Cia de Dança. She began her dance studies in 1990. Yasmin Almeida started his dance studies in 1999 and joined Grupo Corpo in 2012.

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Jennifer Koh, violin Shai Wosner, piano

Bridge to Beethoven Part II: Finding Identity through Music TUE, APR 5 / 7 PM (note special time) / HAHN HALL

photo:Juergen Frank

Up Close & Musical Series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman Additional support provided by Annette & Dr. Richard Caleel

Program

- Intermission -

Andrew Norman: Bridging I

Norman: Bridging III

Beethoven: Sonata in A Major for Violin and Piano, op. 30, no. 1 Allegro Adagio molto espressivo Allegretto con variazioni

Beethoven: Sonata in C Minor for Violin and Piano, op. 30, no. 2 Allegro con brio Adagio cantabile Scherzo: Allegro Finale: Allegro

Norman: Bridging II Beethoven: Sonata in G Major for Violin and Piano, op. 30, no. 3 Allegro assai Tempo di Minuetto, ma molto moderato e grazioso Allegro vivace

About the Program Andrew Norman (b. 1979): Bridging

Ludwig van Beethoven (1770-1827): Three Sonatas for Violin and Piano, op. 30

The composer has furnished a brief introduction to Bridging: Bridging I, II, and III are interludes written specifically to go between Beethovenâ&#x20AC;&#x2122;s Sonatas 6, 8, and 7. Each interlude begins with the end of one of the sonatas and transforms it, through repetition and variation into the beginning of the next.

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Beethoven liked to escape from hot Vienna to spend his summers in the countryside, and in April 1802 he moved to Heiligenstadt. Now a suburb of Vienna, Heiligenstadt was then a rural village, offering sunshine, streams and meadows, and a view of distant mountains. Yet for all its productivity,

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this was an agonizing summer for Beethoven – he finally had to face the fact that his hearing problems would eventually mean total deafness. In an extraordinary letter to his two brothers that fall before he returned to Vienna – never sent and perhaps written to himself – Beethoven confessed that he had considered suicide that summer.

inal finale – it would have overpowered the first two movements, and it now forms a proper conclusion to the massive “Kreutzer” Sonata. The present finale is a perfect close for this sonata. The opening theme undergoes six variations, all easily followed, as this graceful music moves to its poised conclusion.

But that summer proved extremely productive for the 31-year-old composer. In Heiligenstadt Beethoven completed the three violin sonatas of his Opus 30, the three piano sonatas of Opus 31, his Second Symphony, and several other works for piano. While there are occasional moments of turmoil in these works, this is in general some of the sunniest music – particularly the symphony – he ever wrote. Beethoven was much too great an artist to let the events of his own life dictate or stain his art. He would have agreed completely with T.S. Eliot that the greater the artist, the greater the separation he makes between his life and his art, and one looks in vain (fortunately!) for suicidal impulses in the music Beethoven wrote during the summer of 1802.

Sonata in G Major for Violin and Piano, op. 30, no. 3

Sonata in A Major for Violin and Piano, op. 30, no. 1 The first of these three sonatas – in A major – is the least familiar of the set. It is not stormy and dramatic like the second, nor brilliant like the third. This is music of neither flash nor dazzle, and in fact understatement is the key to its powerful appeal: the Sonata in A Major is music of quiet nobility. It is also apparently the sonata that gave Beethoven the most trouble; he had originally written a dramatic finale but discarded it and wrote a new final movement (the discarded movement later became the finale of the “Kreutzer” Sonata). The Allegro grows smoothly out of the piano’s quiet opening figure, the violin entering as part of the same noble rising phrase. The second theme, announced first by the piano and quickly repeated by the violin, is flowing and melodic. This movement defies easy description. Graceful and elegant it certainly is, and – despite some effective contrast of loud and soft passages – it remains gentle throughout. Yet even this description does not begin to convey the grandeur of this music, which is all the more effective because it refuses to become brilliant or go to dramatic extremes. The Adagio molto espressivo is built on the violin’s lovely opening melody. This movement sounds very much like Mozart’s cantabile slow movements – a long slow melody turns into a graceful arc of music. Beethoven gives the piano a quietly-rocking accompaniment, which later becomes quiet triplets. The last movement – Allegretto con variazioni – is also very much in the manner of Mozart, who used theme-and-variation form for the last movement of several of his violin sonatas. Beethoven was right to reject his orig-

The last of the three violin sonatas Beethoven wrote in Heiligenstadt has deservedly become one of his most popular. If the first of the three is characterized by quiet nobility and the second by turbulent drama, the last is marked by high spirits and energy. Of all Beethoven’s violin sonatas, this one looks the most “black” on the page, for its outer movements are built on an almost incessant pulse of sixteenth-notes. But for all its energy, this sonata never sounds forced or hurried. The very beginning of the Allegro assai sets the mood: quietly but suddenly the music winds up and leaps upward across nearly three octaves. Beethoven will make full use of the energy compressed into those three quick octaves. Almost instantly the flowing second theme is heard, and these two ideas – one turbulent, the other lyric – alternate throughout the movement before the music comes to a close made all the more effective by its sudden silence. Beethoven marks the second movement Tempo di Minuetto, but specifies ma molto moderato e grazioso. This is not the sort of minuet one might dance to, and the key signal is grazioso, for this is unusually graceful music. The piano has the haunting main theme, while the violin accompanies. But the violin accompaniment has such a distinct character that it is almost as if Beethoven is offering two quite different themes simultaneously. Both ideas are part of the development, interrupted at times by other episodes before the quiet close: the main theme breaks down into fragments and vanishes in a wisp of sound. The concluding Allegro vivace is a perpetual-motion movement: the piano launches things on their way, and both instruments hurtle through the good-natured finale. A second theme tries to establish itself but is quickly swept aside by the opening theme, which powers its way cheerfully forward. There are some nice touches along the way: at one point the music comes to a screeching stop, and then over the piano’s “oom-pah” rhythm Beethoven launches into the “wrong” key of E-flat, only to make his way back into the home key of G to bring this sonata to its brilliant close.

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Sonata in C Minor for Violin and Piano, op. 30, no. 2 The choice of key for this sonata is important, for C minor was the key Beethoven employed for works of unusual intensity. The recently-completed “Pathetique” Sonata, Fourth String Quartet, and Third Piano Concerto were in C minor, and in the next several years Beethoven would use that key for the Funeral March of the “Eroica,” the Fifth Symphony, and the Coriolan Overture. The musical conflict that fires those works is also evident in this sonata, which is – with the “Kreutzer” Sonata – the most dramatic of Beethoven’s ten violin sonatas. The opening movement is marked Allegro con brio, the same indication Beethoven would later use for the opening movements of the Third and Fifth Symphonies, and the sonata’s first movement has a dramatic scope similar to those symphonies. It opens quietly with a recurrent brooding figure that ends with a sudden turn, like the quick flick of a dragon’s tail. The violin soon picks this up and also has the second subject, which marches along clipped dotted rhythms. There is no exposition repeat, and Beethoven slips into the development quietly, but soon the energy pent up in these simple figures is unleashed – this dramatic music features massive chording by both instruments and drives to a huge climax. By contrast, the Adagio cantabile opens with a melody of disarming gentleness, once again announced by the piano, and much of this movement sings gracefully. As it develops, however, the accompaniment grows more complex, and soon these murmuring runs begin to take over the music; Beethoven makes sharp dynamic contrasts before bringing the movement to a quiet close. The brief Scherzo: Allegro is full of stinging accents and rhythmic surprises; its trio section is a subtle variation of the movement’s opening theme, here treated in canon. The Finale: Allegro returns to the mood of the opening movement – again there is a quiet but ominous opening full of suppressed energy that will later explode to life. This finale is in modified sonata-rondo form, and despite an occasional air of play and some appealing lyric moments, the movement partakes of the same atmosphere of suppressed tension that has marked the entire sonata. Beethoven brings it to a suitably dramatic close with a blazing coda marked Presto that remains resolutely in C minor. Program notes by Eric Bromberger

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Jennifer Koh Jennifer Koh is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. With an impassioned musical curiosity, she is forging an artistic path of her own devising, choosing works that both inspire and challenge. She is dedicated to performing the violin repertoire of all eras from traditional to contemporary, believing that the past and present form a continuum. She has been heard with leading orchestras worldwide and appears at major music centers and festivals as a prolific recitalist. Ms. Koh is Musical America’s 2016 Instrumentalist of the Year. A highlight of her 2015-16 season is Bridge to Beethoven with pianist Shai Wosner – a recital series that pairs Beethoven’s violin sonatas with contemporary works. She also performed Anna Clyne’s The Seamstress, a concerto composed for her, with the Princeton Symphony and BBC Philharmonic in its U.K. premiere, debuts with the Pittsburgh Symphony and Italy’s RAI National Symphony Orchestra, and returns to the Buffalo Philharmonic, Milwaukee Symphony, Minnesota Orchestra, and Helsinki Philharmonic, among other orchestras. Ms. Koh regularly records for the Cedille label. Her albums include Bach and Beyond Parts 1 and 2, based on her solo recital project of the same name that pairs Bach’s Sonatas and Partitas with works by modern-day composers; Signs, Games and Messages with Mr. Wosner; and a Grammy-nominated album, String Poetic. Born in Chicago of Korean parents, Ms. Koh made her debut with the Chicago Symphony at age 11 and went on to win the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition, and an Avery Fisher Career Grant. She has a Bachelor of Arts in English literature from Oberlin College and studied at the Curtis Institute, where she worked with Jaime Laredo and Felix Galimir. Ms. Koh is founder and Artistic Director of MusicBridge, a non-profit organization which promotes collaborations between artists of diverse disciplines and styles.

Shai Wosner Shai Wosner has attracted international recognition for his exceptional artistry, musical integrity and creative insight. His performances of a broad range of repertoire, from Beethoven and Mozart to Schoenberg and Ligeti, as well as music by his contemporaries, communicate his imaginative programming and intellectual curiosity. He has appeared with the Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, Orpheus Chamber Orchestra, Philadelphia Orchestra and San Francisco Symphony, among other orchestras in the U.S., and the Barcelona Symphony, Frankfurt Radio Symphony, Hamburg Symphony, LSO St. Luke’s and Staatskapelle

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Berlin in Europe. He is the recipient of Lincoln Center’s Martin E. Segal award, an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award – a prize he used to commission Michael Hersch’s concerto Along the Ravines, which he then performed with the Seattle Symphony and Deutsche Radio Philharmonie-Saarbrücken. In addition to performing in Bridge to Beethoven concerts with frequent recital partner violinist Jennifer Koh, Mr. Wosner’s engagements this season include performances with the Badische Staatskapelle Karlsruhe, Hungarian National Philharmonic Orchestra, Columbus Symphony, Florida Orchestra, Phoenix Symphony Orchestra, and Helsinki Philharmonic Orchestra. A noted Shubertian, Mr. Wosner’s discography includes two solo albums for the Onyx label featuring the composer’s works: a recording that pairs Schubert’s Six moments musicaux, D. 780 and Sonata in A Major, D. 959 with composer Missy Mazzoli’s Isabelle Eberhardt Dreams of Pianos and a selection of piano works by Schubert that incorporate elements of folk music. Born in Israel, Mr. Wosner enjoyed a broad musical education from a very early age, studying piano with Emanuel Krasovsky as well as composition, theory and improvisation with André Hajdu, and later, at The Juilliard School with Emanuel Ax.

Calder Quartet Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello “One of America’s most satisfying – and most enterprising – quartets.” Los Angeles Times

Exclusive management: Opus3 Artists 470 Park Avenue South,9th Floor North New York NY 10016 www.opus3artists.com

Co-presented with the UCSB Department of Music

SAT, APR 23 / 7 PM (note special time)

UCSB CAMPBELL HALL Tickets start at $25 / $10 UCSB students

- See page 32 -

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David Gergen

The 2016 Election and the Future Political Landscape THU, APR 7 / 8 PM / CAMPBELL HALL

Event Sponsors: Meg & Dan Burnham

With support from our Community Partner, the Orfalea Family David Gergen is a professor of public service and co-director of the Center for Public Leadership at the Harvard Kennedy School, positions he has held for more than a decade. In addition he serves as a senior political analyst for CNN. Gergen has served as a White House adviser to four U.S. presidents of both parties: Nixon, Ford, Reagan and Clinton. He wrote about those experiences in his New York Times best-seller, Eyewitness to Power: The Essence of Leadership, Nixon to Clinton (Simon & Schuster, 2001). In the 1980s he began a career in journalism. Starting with the McNeil-Lehrer NewsHour in 1984, he has been a regular commentator on public affairs for some 30 years. Twice he has been a member of election coverage teams that won Peabody awards. In the late 1980s he was chief editor of U.S. News & World Report, working with publisher Mort Zuckerman to achieve record gains in circulation and advertising.

Gergenâ&#x20AC;&#x2122;s work as co-director of the Center for Public Leadership at the Kennedy School has enabled him to work closely with a rising generation of younger leaders, especially social entrepreneurs, military veterans and Young Global Leaders chosen by the World Economic Forum. Through the generosity of outside donors, the Center helps to provide scholarships to more than 70 students a year, preparing them to serve as leaders for the common good. The Center also promotes scholarship at the frontiers of leadership studies. A native of North Carolina, Gergen is a member of the Washington, D.C. Bar, a veteran of the U.S. Navy, a member of the Council on Foreign Relations and a member of the U.S. executive committee for the Trilateral Commission. He is an honors graduate of Yale and the Harvard Law School. He has been awarded 26 honorary degrees.

Over the years he has been active on many nonprofit boards, serving in the past on the boards of both Yale and Duke universities. Among his current boards are Teach for America, City Year, Schwab Foundation, the Aspen Institute, Mission Continues and the advisory board for the Harvard Graduate School of Education. He also chairs the advisory board for the new School of Law at Elon University.

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Anoushka Shankar Land of Gold

photo: Yuval Hen/DeutscheGrammophon

MON, APR 11 / 8 PM / CAMPBELL HALL

Event Sponsors: Mary & Gary Becker

Anoushka Shankar, sitar Manu Delago, hang & percussion Tom Farmer, acoustic bass & keyboards/piano Sanjeev Shankar, shehnai Lighting Designer: John Brown FOH Sound Engineer/Production Manager: Dennis Fernandez Monitor Sound Engineer/ Technical Manager: Julian Hepple Anoushka Shankar Sitar player and composer Anoushka Shankar is a singular figure in the Indian classical and progressive world music scenes. Her dynamic and spiritual musicality has garnered several prestigious accolades, including five Grammy Award nominations, recognition as the youngest and first female recipient of a British House of Commons Shield, credit as an Asian Hero by Time magazine and a Songlines Best Artist Award. Deeply rooted in the Indian Classical music tradition, Shankar studied exclusively from the age of 9 under her father and guru, the late Ravi Shankar, and made her professional debut as a classical sitarist at the age of 13. By the age of 20, she had made three classical recordings and received her first Grammy Award nomination, becoming the first Indian female and youngest-ever nominee in the World Music category. In 2005 she released her self-pro-

duced breakthrough album Rise, which earned her a second Grammy Award nomination and she became the first Indian artist to perform at the Grammy Awards. In 2011 Shankar signed to Deutsche Grammophon and received three further consecutive Grammy Award nominations for Traveller, Traces of You and Home. As a composer Shankar has encouraged cross-cultural dialogue while demonstrating the versatility of the sitar across musical genres. As a result she has created a vital body of work with a prominent roster of artists such as Sting, M.I.A, Herbie Hancock, Pepe Habichuela, Karsh Kale, Rodrigo y Gabriela and Joshua Bell. The 2015-16 season sees a tour of India with her classical ensemble in support of Home, along with European perfor-

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mances at the Berlin Konzerthaus and Royal Albert Hall. Her new album, Land of Gold, Shankar’s response to the humanitarian trauma of displaced people fleeing conflict and poverty, was released on Deutsche Grammophon this spring. The release is followed by tours of North America, Europe and India. Forthcoming concerto performances include the MDR Symphony Orchestra Leipzig and the Beethoven Orchestra Bonn.

Manu Delago Manu Delago began what would become a very musically inclined life at the age of 2, as he sat behind his first drum kit. Four years later, he took accordion lessons and at the age of 10, he started playing the piano. As a teenager Manu Delago mainly played football and drummed for his rock band HotchPotch which won the Austrian Band Contest in 2003. After graduating in classical percussion in his hometown Innsbruck, Austria, he moved to London, England, where he studied jazz drums and composition. When Manu Delago discovered the hang – an enchanting sound sculpture manufactured by PanArt in Switzerland – he simultaneously discovered his passion for writing music. His hang solo piece “Mono Desire” has become the most popular hang video in the internet and was in the top 30 music videos on YouTube. With his ensembles Manu Delago Handmade and Living Room he has released several albums and performed in prestigious venues all over the world. The Austrian musician also frequently collaborates with artists such as Björk, The Cinematic Orchestra, Joss Stone, Andreya Triana, Shpongle, Bugge Wesseltoft, Didier Lockwood, Aurora Orchestra and the London Symphony Orchestra. http://www.manudelago.com

Tom Farmer Tom Farmer is a busy member of the British music scene, primarily with award winning quartet Empirical, but in many other ensembles and projects. He started his musical career as a pianist and electric bass player, before focusing on double bass in 2002, at the Guildhall School of Music and Drama. Graduating in 2006, Farmer joined Empirical in early 2007 and began intensively touring.

Joshua Redman, Fly, Bobby Hutcherson and John Scofield. Empirical was the 2011-12 Golubovich Jazz Scholars at Trinity Laban Conservatoire of Music and Dance, a junior fellowship award. Farmer has also been nominated for the 2011 Worshipful Company of Musicians Jazz Award, played in support of Chris Dave and Ron Carter, led workshops at Leeds College of Music and is an occasional teacher at Guildhall School of Music and Drama. As a composer, Farmer has recorded works on Tabula Rasa (Naim Jazz, 2013), Out ‘n’ In (Naim Jazz, 2009), Elements of Truth (Naim Jazz, 2011) and Dice Factory (Babel Label, 2012). A versatile bassist, Farmer takes an active role in many aspects of the London jazz scene, ranging from a core participant in the Jazz at the Con Cellar bar to regular appearances at The Late Late Show at Ronnie Scott’s Jazz Club. He has performed with many of today’s British jazz musicians.

Sanjeev Shankar Sanjeev Shankar was born into a family of musicians of the Banaras Gharana tradition in which the shehnai has been played for over 450 years. He developed a strong affinity towards music at the age of 7 and studied with his father, Pt. Daya Shankar, himself an internationally acclaimed shehnai player, and his grandfather, the legendary Pt. Anant Lal. After formal training in Raga, Taal and Laya, he was awarded a scholarship by the government of India, Department of Culture for his studies. He has toured the U.S. with the late Ravi Shankar and North America with Anoushka Shankar and performed at music festivals in India, Japan and much of Europe. Shankar has been featured on many artists’ recordings, such as tabla master Pt. Tanmoy Bose and famous gypsy guitarist Titi Robin. He can be heard on Anoushka Shankar’s albums Traveller and Traces of You. http://www.shankarshehnai.com/media.html Special thanks to

With Empirical, Farmer won the inaugural EBU Jazz competition at the North Sea Jazz Festival 2008. Since then the group has appeared at festivals worldwide and in support of artists including Branford Marsalis, Archie Shepp,

(805) 893-3535

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Alvin Ailey American Dance Theater Jacqueline Green and Jamar Roberts. Photo by Andrew Eccles

速

TUE, APR 12 & WED, APR 13 8 PM / ARLINGTON THEATRE

Dance series sponsored in part by: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Dorothy Largay & Wayne Rosing

Alvin Ailey, Founder Judith Jamison, Artistic Director Emerita

Robert Battle, Artistic Director Masazumi Chaya, Associate Artistic Director Company Members Hope Boykin, Jeroboam Bozeman, Sean Aaron Carmon, Elisa Clark, Sarah Daley, Ghrai DeVore, Samantha Figgins, Vernard J. Gilmore, Jacqueline Green, Daniel Harder, Jacquelin Harris, Collin Heyward, Demetia Hopkins-Greene, Michael Jackson, Jr., Megan Jakel, Yannick Lebrun, Renaldo Maurice, Michael Francis McBride, Rachael McLaren, Chalvar Monteiro, Akua Noni Parker, Danica Paulos, Belen Pereyra, Jamar Roberts, Samuel Lee Roberts, Kanji Segawa, Glenn Allen Sims, Linda Celeste Sims, Jermaine Terry, Fana Tesfagiorgis, Marcus Jarrell Willis Matthew Rushing, Rehearsal Director & Guest Artist

Bennett Rink, Executive Director Major funding is provided by the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, American Express, Bank of America, BET Networks, Bloomberg Philanthropies, BNY Mellon, Diageo, Doris Duke Charitable Foundation, FedEx, Ford Foundation, Howard Gilman Foundation, The Hearst Foundations, The Prudential Foundation, The Shubert Foundation, Southern Company, Target, The Wallace Foundation and Wells Fargo.

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Tue, Apr 12 Program

Wed, Apr 13 Program

Rennie Harris: Exodus (music: Raphael Xavier, Ost & Kjex)

Talley Beatty: Toccata (music: Lalo Schifrin, performed by Dizzy Gillespie and his Orchestra)

Ronald K. Brown: Open Door (music: Luis Demetria, Arturo O’Farrill, Tito Puente) Christopher Wheeldon: After the Rain Pas de Deux (music: Arvo Pärt) Alvin Ailey: Revelations (music: traditional spirituals)

Judith Jamison: A Case of You (music: Joni Mitchell, performed by Diana Krall) Ulysses Dove: Vespers (music: Mikel Rouse) Robert Battle: The Hunt (music: Les Tambours du Bronx) Ronald K. Brown: Four Corners (music: Carl Hancock Rux, Rahsaan Roland Kirk, Yacoub) Programs subject to change.

About the Company Alvin Ailey American Dance Theater grew from a now-fabled performance in March 1958, at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. The Ailey company has gone on to perform for an estimated 25 million people at theaters in 48 states and 71 countries on six continents – and has reached millions more through television broadcasts, film screenings and online platforms.

Robert Battle to succeed her in 2011, and The New York Times declared he “has injected the company with new life.”

In 2008 a U.S. Congressional resolution designated the Company as “a vital American cultural ambassador to the world” that celebrates the uniqueness of the AfricanAmerican cultural experience and the preservation and enrichment of the American modern dance heritage. When Ailey began creating dances, he drew upon his “blood memories” of Texas, the blues, spirituals and gospel as inspiration, which resulted in the creation of his most popular and critically acclaimed work, Revelations.

Robert Battle, Artistic Director

Although he created 79 ballets over his lifetime, Ailey maintained that his company was not exclusively a repository for his own work. Today the Company continues Ailey’s mission by presenting important works of the past and commissioning new ones. In all, more than 235 works by more than 90 choreographers have been part of the Ailey company’s repertory. Before his untimely death in 1989, Ailey named Judith Jamison as his successor, and over the next 21 years she brought the Company to unprecedented success. Jamison, in turn, personally selected

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Alvin Ailey American Dance Theater gratefully acknowledges The Joan & Sandy Weill Global Ambassador Fund, which provides vital support for Ailey’s national and international tours. The Ailey dancers are supported, in part, by The Judith McDonough Kaminski Dancer Endowment Fund

Robert Battle became artistic director of Alvin Ailey American Dance Theater in July 2011, making him only the third person to head the Company since it was founded in 1958. Battle has a longstanding association with the Ailey organization. A frequent choreographer and artist-in-residence at Ailey since 1999, he has set many of his works on Alvin Ailey American Dance Theater, Ailey II and The Ailey School. The Company’s current repertory includes his ballets No Longer Silent and Awakening. In addition to expanding the Ailey repertory with works by artists as diverse as Kyle Abraham, Aszure Barton, Ronald K. Brown, Rennie Harris, Matthew Rushing, Hofesh Shechter, Paul Taylor and Christopher Wheeldon, Battle has also instituted the New Directions Choreography Lab to help develop the next generation of choreographers.

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Battle’s journey to the top of the modern dance world began in the Liberty City neighborhood of Miami. He showed artistic talent early and studied dance at a high school arts magnet program before moving on to Miami’s New World School of the Arts, under the direction of Daniel Lewis and Gerri Houlihan, and finally to the dance program at The Juilliard School, under the direction of Benjamin Harkarvy, where he met his mentor, Carolyn Adams. He danced with The Parsons Dance Company from 1994 to 2001 and also set his choreography on that company starting in 1998. Battle founded his own Battleworks Dance Company, which made its debut in 2002 in Düsseldorf, Germany, as the U.S. representative to the World Dance Alliance’s Global Assembly. Battleworks subsequently performed extensively at venues including The Joyce Theater, Dance Theater Workshop, American Dance Festival and Jacob’s Pillow Dance Festival. Battle was honored as one of the Masters of AfricanAmerican Choreography by the Kennedy Center for the Performing Arts in 2005, and he received the prestigious Statue Award from the Princess Grace Foundation-USA in 2007. He has honorary doctorates from The University of the Arts and Marymount Manhattan College. Most recently Battle was named a 2015 Visiting Fellow for The Art of Change, an initiative by the Ford Foundation. He is a sought-after keynote speaker and has addressed a number of high-profile organizations, including the United Nations Leaders Programme and the UNICEF Senior Leadership Development Programme.

Masazumi Chaya, Associate Artistic Director Masazumi Chaya was born in Fukuoka, Japan, where he began his classical ballet training. Upon moving to New York in 1970, he studied modern dance and performed with the Richard Englund Repertory Company. Chaya joined Alvin Ailey American Dance Theater in 1972 and performed with the Company for 15 years. In 1988 he became the Company’s rehearsal director after serving as assistant rehearsal director for two years. A master teacher both on tour with the Company and in his native Japan, he served as choreographic assistant to Alvin Ailey and John Butler. In 1991 Chaya was named associate artistic director of the Company. He continues to provide invaluable creative assistance in all facets of its operations. Chaya has restaged numerous ballets by Alvin Ailey, including Flowers for the State Ballet of Missouri (1990) and The River for the Royal Swedish Ballet (1993), Ballet Florida (1995), National Ballet of Prague (1995), Pennsylvania Ballet

(1996), and Colorado Ballet (1998). He has also restaged The Mooche, The Stack-Up, Episodes, Bad Blood, Hidden Rites and Witness for the Company. At the beginning of his tenure as associate artistic director, Chaya restaged Ailey’s For ‘Bird’ - With Love for a Dance in America program entitled Alvin Ailey American Dance Theater: Steps Ahead. In 2000 he restaged Ailey’s Night Creature for the Rome Opera House and The River for La Scala Ballet. In 2002 Chaya coordinated the Company’s appearance at the Rockefeller Center Christmas tree lighting ceremony, broadcast on NBC. In 2003 he restaged The River for North Carolina Dance Theatre and for Julio Bocca’s Ballet Argentina. Most recently Chaya restaged Pas de Duke, Vespers, Bad Blood, Love Songs and Blues Suite for the Company. As a performer Chaya appeared on Japanese television in both dramatic and musical productions. He wishes to recognize the artistic contribution and spirit of his late friend and fellow artist, Michihiko Oka.

Alvin Ailey, Founder Alvin Ailey was born on January 5, 1931, in Rogers, Texas. His experiences of life in the rural South would later inspire some of his most memorable works. He was introduced to dance in Los Angeles by performances of the Ballet Russe de Monte Carlo and the Katherine Dunham Dance Company, and his formal dance training began with an introduction to Lester Horton’s classes by his friend Carmen de Lavallade. Horton, the founder of one of the first racially-integrated dance companies in the United States, became a mentor for Ailey as he embarked on his professional career. After Horton’s death in 1953, Ailey became director of the Lester Horton Dance Theater and began to choreograph his own works. In the 1950s and ’60s, Ailey performed in four Broadway shows, including House of Flowers and Jamaica. In 1958 he founded Alvin Ailey American Dance Theater to carry out his vision of a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African-American cultural experience. He established the Alvin Ailey American Dance Center (now The Ailey School) in 1969 and formed the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974. Ailey was a pioneer of programs promoting arts in education, particularly those benefiting underserved communities. Throughout his lifetime he was awarded numerous distinctions, including the Kennedy Center Honor in 1988 in recognition of his extraordinary contribution to American culture. In 2014 he posthumously received

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the Presidential Medal of Freedom, the country’s highest civilian honor, in recognition of his contributions and commitment to civil rights and dance in America. When Ailey died on December 1, 1989, The New York Times said of him, “You didn’t need to have known [him] personally to have been touched by his humanity, enthusiasm and exuberance and his courageous stand for multi-racial brotherhood.”

Judith Jamison, Artistic Director Emerita Judith Jamison joined Alvin Ailey American Dance Theater in 1965 and quickly became an international star. Over the next 15 years, Ailey created some of his most enduring roles for her, most notably the tour-de-force solo Cry. During the 1970s and ’80s she appeared as a guest artist with ballet companies all over the world, starred in the hit Broadway musical Sophisticated Ladies and formed her own company, The Jamison Project. She returned to Alvin Ailey American Dance Theater in 1989 when Ailey asked her to succeed him as artistic director. In the 21 years that followed, she brought the Company to unprecedented heights – including two historic engagements in South Africa and a 50-city global tour to celebrate the Company’s 50th anniversary. Jamison is the recipient of numerous awards and honors, among them a Primetime Emmy Award, an American Choreography Award, a Kennedy Center Honor, a National Medal of Arts, a Bessie Award, the Phoenix Award, and the Handel Medallion. She was also listed among Time magazine’s 100 Most Influential People and honored by First Lady Michelle Obama at the first White House Dance Series event. In 2015, she became the 50th inductee into the Hall of Fame at the National Museum of Dance. As a highly regarded choreographer, Jamison has created many celebrated works, including Divining (1984), Forgotten Time (1989), Hymn (1993), HERE… NOW. (commissioned for the 2002 Cultural Olympiad), Love Stories (with additional choreography by Robert Battle and Rennie Harris, 2004) and Among Us (Private Spaces: Public Places, 2009). Jamison’s autobiography, Dancing Spirit, was edited by Jacqueline Kennedy Onassis and published in 1993. In 2004, under Jamison’s artistic directorship, her idea of a permanent home for the Ailey company was realized and named after beloved chairman emerita Joan Weill. Jamison continues to dedicate herself to asserting the prominence of the arts in our culture and she remains committed to promoting the significance of the Ailey legacy, using dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future.

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Matthew Rushing, Rehearsal Director and Guest Artist Matthew Rushing was born in Los Angeles. He began his dance training with Kashmir Blake in Inglewood, and later continued his training at the Los Angeles County High School for the Arts. He is the recipient of a Spotlight Award and a Dance Magazine Award and was named a Presidential Scholar in the Arts. He was a scholarship student at The Ailey School and later became a member of Ailey II, where he danced for a year. During his career, Rushing has performed as a guest artist for galas in Vail, Colo., as well as in Austria, Canada, France, Italy and Russia. He has performed for Presidents George H. W. Bush, Bill Clinton, George W. Bush and Barack Obama, as well as at the 2010 White House Dance Series. During his time with the Company, he has choreographed three ballets: Acceptance In Surrender (2005), a collaboration with Hope Boykin and AbdurRahim Jackson; Uptown (2009), a tribute to the Harlem Renaissance; and Odetta (2014), a celebration of “the queen of American folk music.” In 2012 he created Moan, which was set on Philadanco and premiered at The Joyce Theater. Rushing joined the Company in 1992 and became rehearsal director in June 2010.

Alvin Ailey Dance Foundation Board of Trustees Daria L. Wallach, Chairman Debra L. Lee, President Gina F. Adams, Simin N. Allison, Arthur J. Mirante II, John H. Schaefer, Vice-Chairmen Frank R. Ahimaz Eleanor S. Applewhaite Robert Battle Nicole A. Bernard Kathryn C. Chenault Linda Houston Jenny Ireland Anthony S. Kendall Robert Kissane Ricki Lander

Michelle Y. Lee Natasha Leibel Levine, M.D. Anthony A. Lewis Leslie L. Maheras Doris Meister Stephen J. Meringoff Marylin L. Prince Richard Speciale Marc S. Strachan Roger C. Williams, Jr.

Philip Laskawy, Harold Levine, Stanley Plesent, Esq., Joan H. Weill, Chairmen Emeriti Henry McGee, President Emeritus Anthony M. Carvette, Lemar Swinney, Honorary Trustees

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Alvin Ailey Dance Foundation

Recipient of the National Medal of Arts Bennett Rink, Executive Director Pamela Robinson, Chief Financial Officer Thomas Cott, Senior Director of Marketing and Creative Content Kimberly Watson, Senior Director of Development

Alvin Ailey American Dance Theater

Matthew Rushing, Rehearsal Director Linda Celeste Sims, Assistant to the Rehearsal Director Dacquiri Tâ&#x20AC;&#x2122;Shaun Smittick, Director of Production Isabelle Quattlebaum, Director of Company Business Affairs Gregory Stuart, Company Manager Joseph Anthony Gaito, Technical Director Kristin Colvin Young, Production Stage Manager Al Crawford, Lighting Director Jon Taylor, Wardrobe Supervisor Mike Diaz, Master Carpenter David Kerr, Master Electrician Nicholas Correa, Sound Engineer Chris Theodore, Property Master Courtney Sauls, Assistant Company Manager Nicole A. Walters, Assistant Stage Manager Roya Abab, Associate Lighting Director Jesse Dunham, Wardrobe Assistant Katie Chihaby, Wardrobe Assistant DJ Adderley, Flyman Zane Beatty, Assistant Electrician Christina Collura, Performance and Production Project Manager David Claps, Production Associate Donald J. Rose, M.D., Director of the Harkness Center for Dance Injuries, Hospital for Joint Disease Shaw Bronner, Director of Physical Therapy Sheyi Ojofeitimi, Physical Therapist Sara Aingorn, Physical Therapist

Touring Contacts North American Agent Opus3 Artists Tel: 212-584-7500 opus3artists.com International Agent Askonas Holt Ltd. Tel: +44-20-7400-1700 askonasholt.co.uk Production Credits Lighting system provided by 4Wall Entertainment Touring sound system provided by Gibson Entertainment Services Domestic trucking services provided by Stage Call Corporation Alvin Ailey American Dance Theater is a proud member of Dance/USA, the national service organization for professional dance Ailey Tour Merchandise Ailey Tour Merchandise and AileyShop.com are managed by The Araca Group www.AileyShop.com Alvin Ailey American Dance Theater The Joan Weill Center for Dance 405 West 55th Street, NY, NY 10019-4402 Tel: 212-405-9000 AlvinAiley.org facebook.com/AlvinAileyAmericanDanceTheater Instagram: @alvinailey

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Special thanks to

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photo: David Bazemore

We educate, entertain AND inspire. This spring, the following artists and speakers will lead educational workshops, seminars and master classes throughout Santa Barbaraâ&#x20AC;Ś

Artists and speakers on campus: Grupo Corpo, Anoushka Shankar, Alvin Ailey American Dance Theater, Calder Quartet, CĂŠcile McLorin Salvant, Temple Grandin

Artists and speakers in the community*:

Arts & Lectures gratefully acknowledges the following people and organizations who help take artists and speakers off the stage and into K-12 schools and other public settings throughout our region to serve children and families with unique opportunities for arts engagement.

Jennifer Koh & Shai Wosner, David Gergen, Alvin Ailey American Dance Theater, Rhythmic Circus, Calder Quartet WILLIAM H. KEARNS FOUNDATION

Community Dance Class with Alvin Ailey American Dance Theater

Lynda Weinman & Bruce Heavin

MON, APR 11, 5:30 PM - 7:30 PM

Co-presented by UCSB Arts & Lectures, Santa Barbara Dance Arts and the Arts Mentorship Program For information and registration: www.sbdancearts.com

Community Partner, the Orfalea Family

*See A&L website for details and locations (public events only)

& Lectures: (805) 893-2174 (805) Support 893-3535Arts www.ArtsAndLectures.UCSB.edu

Please Give Now! Because inspiring our community is essential.

YAMATO, The Drummers of Japan with young fans

Monterey Jazz Festival on Tour musicians with San Marcos High School students

photo (right): David Bazemore

A&L education and outreach events serve thousands each year.

Because a great city deserves great art and ideas.

Melissa Etheridge at UCSB Campbell Hall

Cameron Carpenter featuring the International Touring Organ

U.S. Poet Laureate Juan Felipe Herrera at UCSB Campbell Hall

photos (this row): David Bazemore

A&L guest speakers and visiting artists set the standard for creative excellence.

Because A&L membership yields great benefits.

Author Stacy Schiff discusses her best-selling book, The Witches, at the home of Betsy & Jule Hannaford

Jim Mitchell and granddaughter, Daphne Maskrey, with 2015 FIFA Womenâ&#x20AC;&#x2122;s World Cup champion and Player of the Year Carli Lloyd

Support Arts & Lectures: (805) 893-2174

photos (this row): Kimberly Citro

Meet-and-greet opportunities greatly enrich the experience of A&L programs.

Join A&L Today! Leadership Circle

Executive Producers Circle

The Leadership Circle is a group of key visionaries giving $10,000 to $100,000 or more each year, making a significant, tangible difference in the community and making it possible for A&L’s roster of premier artists and global thinkers to come to Santa Barbara. A range of exclusive opportunities include hosting artists and speakers at private dinners or receptions, sponsoring events, VIP Concierge Service, and more.

•• High Priority Seating for all events •• Invitation to a post-performance Green Room

$10,000+

Plus all benefits of lower giving levels

Producers Circle $2,500+

$5,000+

meet-and-greet opportunity with a featured artist or speaker

•• Invitations to receptions at private residences with featured artists or speakers

•• New This Year: Complimentary parking at all ticketed A&L events at Campbell Hall

•• New This Year: Opportunity to bring guests to a select A&L event

Plus all benefits of lower giving levels

•• VIP Ticket Concierge Service and Priority Seating for all events

•• Invitation to A&L’s exclusive Season Announcement Party

•• Advance notice of selected events with early ticketbuying privileges

•• Invitation to Producers Circle receptions with featured artists and speakers

•• Invitation to be a guest of A&L at a performance or lecture of the season

•• Opportunity to attend master classes and other education outreach activities

•• Complimentary glass of wine in the McCune

Remember Us Help secure our future by remembering Arts & Lectures as part of your estate planning.

Founders Room during intermissions at A&L performances and lectures at The Granada Theatre

Plus all benefits of lower giving levels

Circle of Friends $100 - $1,000+

Contact Senior Director of Development Sandy Robertson at (805) 893-3755 to learn more.

See a full list of benefits online at www.ArtsAndLectures.UCSB.edu

& Lectures: (805) 893-2174 (805) Support 893-3535Arts www.ArtsAndLectures.UCSB.edu

UC Santa Barbara Arts & Lectures wishes to recognize those who are leading the way to educate, entertain and inspire by participating in

UC Santa Barbara Arts & Lectures is honored to recognize donors whose lifetime giving to A&L is $100,000 or more. We are very grateful for their longtime, visionary support of A&L and for believing, as we do, that the arts and ideas are essential to our quality of life.

Recognition based upon cumulative giving during The Campaign

Recognition is based on cumulative, lifetime giving.

$1,000,000 and above

◊ Indicates those who have made plans to support UCSB Arts & Lectures through their estate.

Anonymous (4) Judy & Bruce Anticouni ◊ Jody & John Arnhold Gary & Mary Becker ‡ Arlene & Barrie Bergman Meg & Dan Burnham ‡ Annette & Dr. Richard Caleel Marcy Carsey ‡ Marcia & John Mike Cohen ‡ Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Barbara Delaune-Warren Audrey & Timothy O. Fisher ◊‡ Ralph H. Fertig* Genevieve & Lewis Geyser Patricia Gregory, for the Baker Foundation Carla & Stephen* Hahn ‡ Eva & Yoel Haller ◊‡ The James Irvine Foundation Luci & Richard Janssen ‡ Ellen & Peter O. Johnson Gretchen & Robert Lieff Lillian & Jon* Lovelace Lynda.com Marilyn & Dick Mazess Susan & Craig McCaw ‡ Sara Miller McCune ◊‡ Kay R. McMillan ‡ Susan McMillan & Tom Kenny ◊‡ Orfalea Foundation Diana & Simon Raab Foundation Lady Leslie Ridley-Tree SAGE Publications ‡ Patricia & James Selbert Harold & Hester Schoen* Fredric E. Steck ‡ Heather & Tom Sturgess ◊‡ Anne & Michael Towbes ‡ James Warren Marsha* & Bill Wayne Lynda Weinman & Bruce Heavin ◊‡ William H. Kearns Foundation ‡ Yardi Systems, Inc.

‡ Indicates those that have made gifts to UC Santa Barbara Arts & Lectures endowed funds, in addition to their annual program support

* In Memoriam

Anonymous ◊‡ Eva & Yoel Haller ◊‡ Lynda.com Susan & Craig McCaw ‡ Sara Miller McCune ◊‡ Heather & Tom Sturgess ◊‡ Anne & Michael Towbes ‡

$500,000 - $999,999 Anonymous ‡ Audrey & Timothy O. Fisher ◊‡ Orfalea Foundation Lady Leslie Ridley-Tree SAGE Publications ‡

$250,000 - $499,999 Anonymous ‡ Meg & Dan Burnham ‡ Marcy Carsey ‡ Marcia & John Mike Cohen ‡ Carla Hahn ‡ Luci & Richard Janssen ‡ Fredric E. Steck ‡ William H. Kearns Foundation ‡

$100,000 - $249,999 Anonymous ‡ Jody & John Arnhold Arlene & Barrie Bergman Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Ellen & Peter O. Johnson Susan McMillan & Tom Kenny ◊‡ Marilyn & Dick Mazess Kay R. McMillan ‡ Marsha* & Bill Wayne Yardi Systems, Inc.

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Council for Arts & Lectures

Arts & Lectures Legacy Circle

Arts & Lectures is privileged to acknowledge our Council, a group of insightful community leaders and visionaries who help us meet the challenge to educate, entertain, and inspire.

Arts & Lectures is pleased to acknowledge the generous donors who have made provisions for future support of our program through their estate plans.

Sara Miller McCune (Co-chair) Dan Burnham (Co-chair) Barrie Bergman Timothy O. Fisher Richard Janssen Tom Kenny Kath Lavidge Susan McCaw Lois Mitchell Natalie Orfalea Lady Leslie Ridley-Tree Fredric E. Steck Tom Sturgess Anne Towbes Milton Warshaw Lynda Weinman

Arts & Lectures Ambassadors Arts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by providing advice to the A&L Miller McCune Executive Director, cultivating new supporters and assisting with fundraising activities. Judy Anticouni Arlene Bergman Meg Burnham Annette Caleel Genevieve & Lewis Geyser Eva Haller Luci Janssen Nancy Walker Koppelman Alicia Lancashire Donna Christine McGuire Maxine Prisyon Bobbie Rosenblatt Heather Sturgess Anne Towbes

Leadership Circle The Leadership Circle is a group of key visionaries giving $10,000-$100,000 or more each year, making a significant, tangible difference in the community and making it possible for A&L’s roster of premier artists and global thinkers to come to Santa Barbara.

Diamond ($100,000+) Anonymous (2) Marcy Carsey and the Carsey Family Foundation Susan & Craig McCaw Sara Miller McCune Orfalea Foundation Lady Leslie Ridley-Tree SAGE Publications Anne & Michael Towbes Lynda Weinman & Bruce Heavin William H. Kearns Foundation

Platinum ($50,000+)

Arts & Lectures Program Advisor Bruce Heavin

Judy & Bruce Anticouni Estate of Helen Borges Estate of Ralph H. Fertig Audrey & Timothy Fisher Eva & Yoel Haller Sara Miller McCune Susan McMillan & Tom Kenny Estate of Hester Schoen Connie J. Smith Heather & Tom Sturgess Lynda Weinman & Bruce Heavin Irene & Ralph Wilson

Anonymous (2) Jody & John Arnhold Meg & Dan Burnham Carla Hahn Eva & Yoel Haller Luci & Richard Janssen Ellen & Peter O. Johnson Santa Barbara Foundation Fredric E. Steck Heather & Tom Sturgess The Towbes Foundation

Gold ($25,000+) Arlene & Barrie Bergman Marcia & John Mike Cohen Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Audrey & Timothy Fisher Genevieve & Lewis Geyser Stefan & Irina Hearst Patricia & John MacFarlane Marilyn & Dick Mazess Mission Wealth Diana & Simon Raab Foundation Justine Roddick & Tina Schlieske Dr. Bob Weinman Yardi Systems, Inc.

Silver ($10,000+) Anonymous Judy & Bruce Anticouni Sarah Argyropoulos Monica & Tim Babich Mary & Gary Becker Jill & Arnold Bellowe Sheila & Michael Bonsignore Bentson Foundation Nancy Brown Annette & Dr. Richard Caleel Casa Dorinda Carolyn Chandler Curvature Barbara Delaune-Warren Christine & Robert Emmons Christine & Bill Fletcher Connie Frank & Evan Thompson Martha & John Gabbert Fred and Linda Gluck Patricia Gregory, for the Baker Foundation Betsy & Jule Hannaford Melissa & Ralph Iannelli Irma & Morris Jurkowitz Margaret & Barry Kemp Gretchen & Robert Lieff Lillian Lovelace Kay R. McMillan Susan McMillan & Tom Kenny Mosher Foundation Jillian & Pete Muller Sharon & William Rich Patricia & James Selbert Sansum Medical Clinic Bill & Jill Shanbrom Laura & Craig Shelburne Stephanie & James Sokolove Russell Steiner

The Stone Family Foundation Judy Wainwright & Jim Mitchell Bill Wayne in honor of Marsha* Wayne Noelle & Dick Wolf Nicole & Kirt Woodhouse Bruce & Susan Worster

Producers Circle Recognition is based upon a donor’s cumulative giving/pledges within a 12-month period. Every effort has been made to assure accuracy. Please notify our office of any errors or omissions at (805) 893-2174. List current as of March 15, 2016.

Executive Producer ($5,000+) Leslie & Ashish Bhutani Albert and Elaine Borchard Foundation Lyn Brillo Sarah & Roger Chrisman Darcy & Dean Christal Tana & Joe Christie NancyBell Coe & William Burke ‡ Guy Comer William J.J. Gordon Family Foundation Ruth & Alan Heeger Samvada Hilow & Jeff Frank Judith Hopkinson ‡ Joan & Palmer Jackson, Sr. Hollye & Jeff Jacobs Ann & Lawrence Jett Peter and Martha* Karoff Jamie & Julie Kellner Elaine & Herb Kendall Maia Kikerpill & Daniel Nash Linda Kiefer-Roberts & Jerry Roberts Lisa Loiacono & Christopher Lloyd Siri & Bob Marshall Mrs. James McIntyre ‡ Suzanne & Duncan Mellichamp Stacy & Ron Pulice Susan Rose & Allan Ghitterman Lynda & Mark Schwartz Nancy & Mike Sheldon Elva & Byron Siliezar Mark Sonnino Barbara Stupay Westmont College Crystal & Clifford Wyatt Laura & Geofrey Wyatt

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Producers Circle ($2,500+) Anonymous (2) Roxana & Fred Anson Pat & Evan Aptaker Margo Baker Barbakow & Jeffrey Barbakow Laurel Beebe Barrack Hiroko Benko Celesta M. Billeci & John Hajda Vicky Blum & David Lebell Susan D. Bowey Maria Brant Karen & Peter Brill Michael Brinkenhoff Michele & Arnold Brustin Frank Burgess Elizabeth & Andrew Butcher Chris Carter & Dori Pierson Susan & Claude Case Robin & Daniel Cerf Willy Chamberlin* ‡ Zora & Les Charles Karla & Richard Chernick Mary & Richard Compton Trudy & Howard Cooperman William B. Cornfield Lilyan Cuttler & Ned Seder Ann Daniel Deanna & Jim Dehlsen Jane Delahoyde & Edwin Clark David W. Doner Jr., MD Ginni & Chad Dreier Cinda & Donnelley Erdman Doris & Tom Everhart Miriam & Richard Flacks Paul Gauthier Cindy & Robert Gelber Nancy & Michael Gifford Melinda Goodman & Robert Kemp Paul Guido & Stephen Blain Deirdre Hade & Will Arntz Laurie Harris & Richard Hecht Mary J. Harvey Linda Hedgepeth & Michael Millhollan Andrea & Richard Hutton Jodie Ireland & Chris Baker Shari & George Isaac Michelle Joanou Cheryl & G.L. Justice Linda & Sidney Kastner Jenny & James Kearns Susan Keller & Myron Shapero, M.D. Connie & Richard Kennelly Linda & Bill Kitchen ‡ Jill & Barry Kitnick Robert W. Kohn

Nancy Walker Koppelman & Larry Koppelman Carol Kosterka The Lapin Family Fund The Lehrer Family Foundation Denise & George Lilly Lynda.com Marilyn Magid Maison K Nohl Martin & Stephen Vella Kay & Dr. Bruce McFadden Sheila & Frank McGinity Nancy McGrath Ronnie Haran Mellen & Chase Mellen III Diane Meyer Simon Anne & Hale Milgrim Ginger & Marlin Miller Lois & Mark Mitchell Betsey Von Summer Moller & John Moller Val & Bob Montgomery Maryanne Mott Myra & Spencer Nadler Dale & Michael Nissenson Nancy & Doug Norberg Jan Oetinger Nancy Paley Joan Pascal & Ted Rhodes Anne & Michael Pless Lisa Reich & Robert Johnson Deborah Richards Victoria Riskin & David W. Rintels Barbara & Dr. Raymond Robins Kyra & Tony Rogers Gayle & Charles Rosenberg Bobbie & Ed Rosenblatt Bruce S. Russell & Andy Oakley Ginger Salazar & Brett Matthews Dr. William E. Sanson Jo & Ken Saxon Kim Schizas & Mark Linehan Anitra & Jack Sheen Fred & Stephanie Shuman Judith & Lawrence Silverman Anita & Eric Sonquist ‡ Joan Speirs Carol Spungen & Aaron Lieberman Linda Stafford Burrows Suzanne & John Steed Pru & Rob Sternin Debra & Stephen Stewart Fiona Stone Mary Jo Swalley Denise & James S. Taylor Leah & Robert Temkin Patricia Toppel Ina Tornallyay

Barbara & Samuel Toumayan Iona & Burton Tripathi Sandra & Sam Tyler Dianne & Daniel Vapnek Mary Beth & Jim Vogelzang Sue & Bill Wagner Kathleen & Will Weber Judith & Mort Weisman White & Grube Orthodontics Carol Wilburn & Charles McClintock Irene & Ralph Wilson ‡ Carolyn & Philip Wyatt Eileen & Anant Yardi Karen Young Deann & Milton Zampelli Diane & Steve Zipperstein A special thanks to all our new Producers Circle members – your support is making a difference!

Circle of Friends Director ($1,000+) Anonymous Peggy & Steve Barnes Paul Blake & Mark Bennett Rochelle & Mark Bookspan Carol & E. Alan Brumberger Wendel Bruss Jan Campbell Diana & Steve Charles Yvon Chouinard & Malinda Pennoyer Nancy Englander & Harold Williams Olivia Erschen & Steve Starkey Jane & Norman Habermann Anne & Houston Harte Donna & Daniel Hone Margaret Ingalls Lisa & Scott Johnson Patricia Lambert & Frederick Dahlquist Alexandra Lamm & Tonia Simon Shirley & Seymour Lehrer Linda & Richard Lynn Donna & Ron Melville Steve Mendell Almeda & J. Roger Morrison Nanette & Henry Nevins Elizabeth & Charles Newman Christopher Quilter Susannah E. Rake Anne Ready & David Gersh Julie & George Rusznak Diane & Charles Sheldon Delia Smith

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Channing Soladar Dale & Greg Stamos Jo Beth Van Geldern Alexis & Mike Weaver

Partner ($500+) Catherine Brozowski Beth & Dodd Geiger Stacey & Raymond Janik Diana Katsenes Danson Kiplagat Genni Klein Elinor & James Langer Janice Toyo & David Levasheff Fima & Jere Lifshitz Lynn & Mel Pearl Colleen & Tony Premer Christiane Schlumberger Lynne Sprecher

Patron ($250+) Catherine Albanese Christine Allen & Gerald Jacobs Maria Alway Pamela Benham & Paul Hansma Robert Brunswick Sue & John Burk Dinah & Ricardo Calderon Lynne Cantlay & Robert Klein Annie & George Cheng Sally & Bob Corlett Margaret & Foster Corwith Edward S. DeLoreto Jeana Dressel, Ph.D. Ann & David Dwelley Margaret & Jerrold Eberhardt Jennifer & Jim Eby Rebecca Eldridge Peyton Evans Priscilla & Jason Gaines Ghita Ginberg Susan Gwynne Douglas H. Harris Laura Haston & Frank Davis Hannah-Beth Jackson & George Eskin Pamela & Russell Lombardo Susan Matsumoto Ronnie Morris Judith Mosley Joan & William Murdoch Carol & Steve Newman Kathlyn & William Paxton Julie & Chris Proctor Maryan Schall Gary R. Simpson Drs. Beverly & Michael L. Steinfeld Gail & David Teton-Landis

Anne & Anson Thacher Claire Vanblaricum Jo Ellen & Thomas Watson Helayne & Ronald White Anna & Don Ylvisaker

Friend ($100+) Anonymous (3) Diane Adam Caren & Joel Adelman Lynn & Joel Altschul Libby Appel Ariana & Christopher Arcenas-Utley Vickie Ascolese & Richard Vincent Bernadette Bagley Lisa Bass John & Nan Bedford Norrine Besser JoAnn & Howard Chase Wilma & Burt Chortkoff Arthur Collier Ann Cady Cooper Adrianne & Andrew Davis Gwen & Rodger Dawson Lila Deeds Victoria Dillon Elizabeth Downing & Peter Hasler Michael K. Dunn Carol & Ron Fox Cynthia & Thomas Frank Gail Gelles ‡ Stephanie J. Glatt Lynda Healy Maren Henle Kristine Herr M. Josef Istrin Sarah Jacobs Mary Ann Jordan & Alan Staehle Susan Kadner Mel Kennedy Whitney Kimmel Paula Kislak Anna & Petar Kokotovic Kim Kosai Carol & Don Lauer Dr. Barbara & Ilan Levi Catherine & Wayne A. Lewis Sherry & Craig Madsen Diana Magana Frances Shannon Marsh Sandra McCartney Julie McLeod Christine & James McNamara Ron Meyer Ellicott Million Phyllis Myers Susan & Max Neufeldt

Peter Passell Dennis Perry Sophia Reinders-Peterzell & Paul Peterzell Doris Phinney & Owen Patmor Deborah Pontifex Albert Reid Leslie & Gary Robinson Adele Rosen Kent Schmidt Judy & Dale Seborg Erlaine H. Seeger Rhonda & Larry Sheakley Homer Sheffield Joan & Steven Siegel Barbara Silver Mary Sipes Janet & George Sirkin Louise & Raymond L. Stone Art & Terry Sturz Zoe Ann & Jeff Summers Rosemary Talley Jocelyne Tufts David Turpin Marion & Frederick Twichell Mary Walsh John Warnock John W. Watson Richard Watts Theresa Yande *In Memoriam

Granting Organizations

Arts & Lectures Staff

Celesta M. Billeci, Miller McCune Executive Director Bentson Foundation Roman Baratiak, Albert & Elaine Borchard Foundation Associate Director Cohen Family Fund of the Community Heather Silva, Foundation for Southeast Michigan Programming Manager The James Irvine Foundation Sandy Robertson, New England Foundation for the Arts’ Senior Director of Development National Dance Project & Special Initiatives National Endowment for the Arts Alina Harper, Orfalea Foundation Development Analyst Santa Barbara County Arts Commission Caitlin Karbula, Santa Barbara Foundation Director of Development UCSB Office of Academic Preparation Hector Medina, William E. Weiss Foundation, Inc. Development & Marketing Assistant Meghan Bush, Director of Marketing Arts & Lectures & Communications Endowments Michele Bynum, The Fund for Programmatic Senior Artist Excellence Kevin Grant, The Commissioning of New Work Fund Business Analyst The Education and Outreach Fund Mari Levasheff, Beth Chamberlin Endowment for Cultural Marketing Business Analyst Understanding Caitlin O’Hara, The Harold & Hester Schoen Endowment Senior Writer/Publicist Sonquist Family Endowment Cathy Oliverson, Manager for Performing Arts & Educational Outreach Thank You! Beatrice Martino, Arts & Lectures is especially grateful to Performing Arts Coordinator UCSB students for their support through Janelle Kohler, registration and activity fees. These funds Financial Analyst directly support lower student ticket Ashley Aquino, prices and educational outreach by A&L Administrative Assistant artists and writers who visit classes. Rachel Leslie, Ticket Office Operations Analyst Donovan Cardenas, Assistant Ticket Office Manager

Campbell Hall Staff Miguel DeCoste, Public Events Manager Erik Moore, Manager and Technical Director Cameron Squire, Public Events Manager

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An Afternoon with

Conan O’Brien

Hosted by TV Producer Dick Wolf SAT, APR 16 / 4 PM (note special time) ARLINGTON THEATRE

Event Sponsors: Russell Steiner Bentson Foundation

Conan O’Brien With “a comic identity as distinctive as his name,” according to The New York Times, Conan O’Brien has firmly established himself in the late night comedy universe. A Harvard graduate and two-time president of the venerable and notorious Harvard Lampoon, O’Brien moved to Los Angeles upon graduation and joined the writing staff of HBO’s Not Necessarily the News. Lorne Michaels, Executive Producer of Saturday Night Live, hired O’Brien as a writer in 1988. He left SNL in 1991 and wrote and produced a TV pilot and then signed on as a writer/producer for The Simpsons, where he later became the show’s supervising producer. In 1993 Michaels selected O’Brien to succeed David Letterman as the new host of Late Night on NBC. During his years at Late Night, O’Brien and his team were consistently honored with Emmy nominations for Outstanding Comedy-Variety Series and, in 2007, the Late Night writing team won their first Emmy for Outstanding Writing in a Comedy, Music or Variety Series, after ten years of nominations. O’Brien and the Late Night writing staff also won six Writers Guild Awards for Best Writing in a Comedy/Variety Series, including two consecutive wins in 2002 and 2003 and 12 nominations overall. On June 1, 2009, Will Ferrell became Conan’s first guest on the The Tonight Show with Conan O’Brien with Pearl Jam as

the first musical guest. O’Brien made his final appearance as host of The Tonight Show on January 22, 2010. On April 12, 2010 Conan hit the road, launching his aptly titled comedy roadshow, the Legally Prohibited from Being Funny on Television Tour. The two-month, 30-city tour sold out every location. Along with starting the tour that day, Conan also announced via Twitter that he had agreed with TBS, the comedy-oriented cable channel in the Turner network lineup, to launch a brand new talk show. The show, appropriately titled Conan, premiered on November 8, 2010. Conan has a strong influence in both the broadcast and digital space, with clips from the show often going viral. His recent historic trip to Cuba was marked with both critical and ratings success. Born in Brookline, Massachusetts, O’Brien is married with two children and currently resides in Los Angeles.

Dick Wolf Two-time Emmy-winning and Grammy-winning producer, and New York Times best-selling author Dick Wolf is one of television’s most respected drama series creator/producers and the architect of one of the most successful brands in the history of television – Law & Order. He serves as creator and executive producer of all of the Law & Orderbranded series from Wolf Entertainment and Universal Television, including Law & Order: Special Victims Unit,

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in its 17th season on NBC, renewed for season 18 and now the fourth-longest running scripted filmed series in the history of television (behind Gunsmoke and Law & Order). And Wolf has extended his branding expertise to the Windy City, with three hit NBC series, all renewed for the 2016-17 season: Chicago Fire (season five); Chicago PD (season four) and Chicago Med (season two). He is also developing Law & Order: You the Jury for NBC, where the audience will decide the binding result of a civil court case.

In 2007, Wolf executive produced the critically-acclaimed HBO original movie Bury My Heart at Wounded Knee, which won six Emmy Awards, including Outstanding Made for Television Movie. Wolf ’s debut novel, The Intercept, is a New York Times bestselling thriller about Jeremy Fisk, a new kind of hero for a new kind of enemy and his follow up book, The Execution debuted in January 2014 and, like its predecessor, was both popular and critically-acclaimed. The Ultimatum, the third installment of the series, was released in June 2015 from HarperCollins and has been receiving excellent reviews. Wolf is also an Honorary Consul of Monaco and is actively involved in the principality’s annual Monte Carlo Television Festival which is celebrating its 55th anniversary this year, and is its primary liaison with the entertainment community. He is also the founder (with Marcy Carsey) of the prestigious Carsey-Wolf Center for Media at the University of California, Santa Barbara and, with his wife Noelle, is a benefactor to numerous philanthropic endeavors including MOXI, the Wolf Museum of Exploration and Innovation, the Alliance for Children’s Rights and the Princess Grace Foundation. Special thanks to

photo: Anne Fishbein

Wolf Films also produced two award-winning documentaries. Twin Towers, is the 2003 Academy Award-winning short documentary about two brothers, one a policeman and the other a fireman, who lost their lives in the line of duty on September 11. When You’re Strange is the Emmy-nominated documentary about The Doors which also won a Grammy Award for Outstanding Longform Video in February 2011.

AN EVENING WITH

DAVID SEDARIS SUN, MAY 1 / 7 PM (note special time)

ARLINGTON THEATRE

Tickets start at $25 / $19 UCSB students An Arlington facility fee will be added to each ticket price

- See page 37 -

(805) 893-3535

www.ArtsAndLectures.UCSB.edu

Calder Quartet SAT, APR 23 / 7 PM (note special time) / CAMPBELL HALL

photo: Autumn de Wilde

Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola Eric Byers, cello

Co-presented with the UCSB Department of Music

Program

- Intermission -

Adès: The Four Quarters Nightfalls Serenade: Morning Dew Days The Twenty-fifth Hour

Beethoven: String Quartet in E-flat Major, op. 127 Maestoso; Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale

Britten: String Quartet No. 2 in C Major, op. 36 Allegro calmo, senza rigore Vivace Chacony: Sostenuto

About the Program Thomas Adès (b. 1971): The Four Quarters Trained at the Guildhall School of Music and at King’s College, Cambridge, Thomas Adès has become the leading British composer of his generation. He has had works commissioned by the New York, Berlin, and Los Angeles Philharmonics, the Royal Opera House, Covent Garden and Glyndebourne, and many others, and Adès’ two operas – Powder her Face (based on the life of the Duchess of Argyll, a London society figure of the 1930s) and The Tempest (based on Shakespeare’s play) – have been performed in the United States, Europe, and Australia; a third opera has recently been commissioned by the Salzburg Festival. The composer has served as Artistic Director of

the Aldeburgh Festival, Music Director of the Birmingham Contemporary Music Group, composer-in-residence at the Ojai Festival, and Britten Professor at the Royal Academy of Music. The New Yorker has noted that Adès “has outgrown his status as the wunderkind of a vibrant British scene and become one of the most imposing figures in contemporary classical music.” Commissioned by the Carnegie Hall Foundation and composed in 2010 for the Emerson String Quartet, The Four Quarters was premiered by the Emerson at Carnegie Hall on March 12, 2011. The titles of the four movements have seemed to some observers to suggest the cycle of a single

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day, but The Four Quarters is not descriptive music per se, and audiences should not approach it expecting a tone poem that paints scenes inspired by different times of the day. Adès’ titles are evocative rather than descriptive, and it is far better to listen to The Four Quarters simply as music than to search for pictorialism, for this is most impressive music on its own terms, rich in sound and complex in its voicing and rhythmic subtlety. The opening Nightfalls is meditative and quiet, a nocturne in the most literal sense of the term, while Morning Dew makes imaginative use of pizzicato sonorities. Days is built on a series of imposing ostinatos, and the concluding movement – titled The Twenty-Fifth Hour – appears to take us into a realm outside the normal cycle of twenty-four hours. This movement is remarkable for its rhythmic complexity: Adès invokes the movement’s title in his unusual meter 25/16, and he then subdivides and accents those twenty-five beats in completely unexpected ways. This is exhilarating music to hear – and extraordinarily difficult music to perform – and it brings The Four Quarters to an impressive conclusion.

Benjamin Britten (1913-1976): String Quartet No. 2 in C Major, op. 36 On November 21, 1945, an unusual concert took place in London’s Wigmore Hall. That day was the 250th anniversary of the death of Henry Purcell, universally acclaimed England’s first great composer, and one of those represented on the program was Benjamin Britten. Britten, whose opera Peter Grimes had been triumphantly premiered six months earlier, had a lifelong passion for Purcell’s music. The following year he would write his Young Person’s Guide to the Orchestra, based on a great Purcell theme, and he would make arrangements of Purcell’s vocal music throughout his career, as well as a string orchestra version of Purcell’s Chaconne in G Minor. That anniversary concert saw the premiere of an original work by Britten that paid tribute to the earlier master, the String Quartet No. 2. Britten’s tribute to Purcell in this quartet is oblique: he quotes no music of Purcell, but the last movement – which dominates the structure – makes use of a technique that Britten associated with the earlier composer. The quartet is in three movements, and it is original from its first instant. Rather than adopting a standard sonata form, which opposes and contrasts material, Britten builds the opening Allegro calmo senza rigore on three themes, all of which are announced in the first few measures and all of which are similar: all three themes begin with the upward leap of a tenth. The movement is centered around the key of C major, and the first statement of the theme begins on middle C, with each successive statement rising higher in

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the quartet’s register. The exposition of these three themes becomes so complex that a clear division of the movement into development and recapitulation is lost, and at the climax Britten is able to make all three themes coalesce into one simultaneous statement before the music falls away to a quiet close. The Vivace is a blistering – and very brief – scherzo in ternary form. Britten mutes the instruments throughout and moves to C minor for the outer sections; the music feels consciously nervous, skittering and driving constantly ahead. The central section, in F major and based on a variant of the scherzo theme, brings little relaxation–the sense of nervous energy continues even in the major tonality. The massive final movement – nearly as long as the first two movements combined – brings the tribute to Purcell. Britten calls this movement Chacony, the English name for the chaconne. This is a variation form: a ground bass in triple time repeats constantly, while a composer spins out variations above each repetition. As noted, Britten very much admired Purcell’s Chaconne in G Minor, and in tribute to the older composer he writes a chaconne as his finale. It is built on 21 repetitions of the nine-bar ground bass, which is presented in unison (in B-flat major) at the start of the movement. Britten groups his variations imaginatively: the first six are followed by a cello cadenza, the next six by a viola cadenza, the next six by a violin cadenza, and the final three drive to a conclusion that ringingly affirms C major.

Ludwig van Beethoven (1770-1827): String Quartet in E-flat Major, op. 127 When Russian prince Nikolas Galitzin wrote to Beethoven in the fall of 1822 to commission three string quartets, his request met a sympathetic response: the composer had been thinking about writing string quartets for some time and promised to have the first done within a month or two. After seven years of intermittent activity he had resumed sustained composing in 1820 with a set of three piano sonatas, but other projects now intervened, and despite the prince’s frequent inquiries Beethoven had to complete the Missa Solemnis, Diabelli Variations, and Ninth Symphony before he could begin work on the first of the three quartets in the summer of 1824. This quartet – in E-flat major – was not complete until February 1825. Performed immediately by the string quartet of Ignaz Schuppanzigh, the music was a failure at its premiere on March 6, 1825. Furious, Beethoven quickly had it rehearsed and performed by a quartet led by Joseph Böhm. The composer attended their rehearsals and supervised their interpretation (though

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deaf, he could follow their performance by watching the movement of their bows). The second performance was successful, and this quartet was performed publicly at least ten more times in 1825 – an extraordinary number of performances for a new work – and always to great acclaim. That fact is important because it undercuts the notion that Beethoven’s late quartets were far ahead of their time. Certain features of the late quartets did defy quick comprehension, but this was not true of the Quartet in E-flat Major. At first glance, this is the most traditional of Beethoven’s late quartets. It has a relatively straightforward structure: a sonata-form first movement, a variation-form slow movement, a scherzo in ABA form, and a dance-finale. But to reduce this music to such simplicity is to miss the extraordinary originality beneath its appealing and gentle surface. In the first movement, Beethoven seems to set out intentionally to blur the outlines of traditional sonata form, which depends on the opposition of material. Contrast certainly seems to be implied at the beginning, which opens with a firm chordal Maestoso, but this Maestoso quickly melts into the flowing and simple main theme, marked Allegro (Beethoven further specifies that he wants this melody performed teneramente – “tenderly”– and sempre piano e dolce). The powerful Maestoso returns twice more, each time in a different key, and then drops out of the movement altogether; Beethoven builds the movement almost exclusively out of the opening melody and an equally-gentle second subject. Here is a sonata-form movement that does not drive to a powerful climax but instead remains understated throughout: the movement evaporates on a wisp of the opening Allegro theme. Two softly-pulsing measures lead to the main theme of the Adagio, a gently-rocking and serene melody introduced by the first violin and repeated by the cello. There follow six melodic variations, each growing organically out of the previous one until the music achieves a kind of rhapsodic calm – and the original theme has been left far behind. Four sharp pizzicato chords introduce the scherzo, and these four chords then vanish, never to re-appear. The fugue-like opening section, built on a dotted figure and its inversion, leads to a brief – and utterly different – trio section. In E-flat minor, this trio whips past in a blistering blur: Beethoven’s phrase markings here stretch over twenty measures at a time. Beethoven brings back the opening section, then offers a surprise at the ending by including a quick reminiscence of the trio just before the cadence.

The last movement has proven the most difficult for commentators, perhaps because of its apparent simplicity. Marked only Finale (there is no tempo indication), it opens with a four-measure introduction that launches off in the wrong direction before the true main theme appears in the first violin. Of rustic simplicity, this melody has been compared to a country-dance, and the second theme – a jaunty march-tune decorated with grace notes – preserves that atmosphere. The tunes may be innocent, but Beethoven’s treatment of them in this sonata-form movement is quite sophisticated, particularly in matters of modulation and harmony. The ending is particularly striking. At the coda Beethoven rebars the music in 6/8, moves to C major, and speeds ahead on violin trills, chains of triplets, and shimmering textures. The very end, back in E-flat major, is calm, resounding – and perfect. Program notes by Eric Bromberger

About the Quartet The Calder Quartet, called “outstanding” and “superb” by the The New York Times, performs a broad range of repertoire at an exceptional level, always striving to channel and fulfill the composer’s vision. Already the choice of many leading composers to perform their works – including Christopher Rouse, Terry Riley and Thomas Adès – the group’s distinctive approach is exemplified by a musical curiosity brought to everything they perform, whether it’s Beethoven, Mozart, Haydn, or sold-out rock shows with bands like The National or The Airborne Toxic Event. Winners of the 2014 Avery Fisher Career Grant, they are known for the discovery, commissioning, recording and mentoring of some of today’s best emerging composers (over 25 commissioned works to date). The group continues to work and collaborate with artists across musical genres, spanning the ranges of the classical and contemporary music world, as well as rock, and visual arts; and in venues ranging from art galleries and rock clubs to Carnegie and Walt Disney concert halls. Inspired by innovative American artist Alexander Calder, the Calder Quartet’s desire to bring immediacy and context to the works they perform creates an artfully crafted musical experience. Recent season highlights include debuts at New York’s Mostly Mozart Festival, the Metropolitan Museum of Art, London’s Wigmore Hall, Barbican Festival and the Edinburgh International Festival. They returned to the Los Angeles Philharmonic’s 2014 Minimalist Jukebox, and in 2013 the quartet performed Terry Riley’s The Sands with the Cleveland Orchestra. The quartet also returned to Australia for the Adelaide Festival with Iva Bittova, and it

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appeared at the Laguna Beach Festival alongside Joshua Bell and Edgar Meyer. They have performed in venues such as Carnegie Hall, Cleveland Museum of Art, Walt Disney Concert Hall, and Hollywood Bowl.

Yuja Wang,

The quartet has been featured in extremely popular TV shows such as The Late Show with David Letterman, The Tonight Show with Jay Leno, KCRW’s Morning Becomes Eclectic, The Tonight Show with Conan O’Brien, Late Night with Jimmy Kimmel, and The Late Late Show with Craig Ferguson. In 2011 the Calder Quartet launched a non-profit dedicated to furthering its efforts in commissioning, presenting, recording, and education, collaborating with the Getty Museum, Segerstrom Center for the Arts, and the Barbican Centre in London.

piano

“Superhuman keyboard technique with artistic eloquence that is second to none.”

The Calder Quartet formed at the University of Southern California’s Thornton School of Music and continued studies at the Colburn Conservatory of Music with Ronald Leonard, and at The Juilliard School, receiving the Artist Diploma in Chamber Music Studies as the Juilliard Graduate Resident String Quartet. The quartet regularly conducts master classes and has taught at the Colburn School, The Juilliard School, Cleveland Institute of Music, University of Cincinnati College Conservatory and USC Thornton School of Music.

San Francisco Chronicle

For more information, visit www.calderquartet.com Calder Quartet records for E1 Entertainment, and has self-released albums.

Management: Alliance Artist Management 98B Long Highway Little Compton, RI 02837 Special thanks to

Norbert Kniat / DeutscheGrammaphon

Follow Calder Quartet on Facebook and Twitter.

MON, MAY 2 / 7 PM (note special time)

GRANADA THEATRE

Tickets start at $35 / $15 UCSB students A Granada facility fee will be added to each ticket price

- See page 38 -

(805) 893-3535

www.ArtsAndLectures.UCSB.edu

Cécile McLorin Salvant WED, APR 27 / 8 PM / CAMPBELL HALL

photo: John Abbot

Cécile McLorin Salvant, vocals Sullivan Fortner, piano Paul Sikivie, bass Lawrence Leathers, drums

Event Sponsors: Marcia & John Mike Cohen

Shortly before the release of Cécile McLorin Salvant’s debut Mack Avenue album WomanChild, critic Ben Ratliff made a bold prediction in the pages of The New York Times. McLorin Salvant, he claimed, “is still mostly unknown to jazz audiences” – then added: “though not for much longer.” McLorin Salvant has more than validated that forecast, going on to a whirlwind of success and acclaim, including a Grammy Award this year for her lauded new album For One to Love.

later, the Jazz Journalists Association selected McLorin Salvant as Up-and-Coming Jazz Artist of the Year and as Top Female Vocalist. NPR honored WomanChild as the Best Jazz Vocal Album of the Year in its annual critics poll. For One to Love is her follow-up Mack Avenue album, a more intimate project that reveals new dimensions of this young vocalist’s artistry. “I’m not playing anyone else here but myself,” McLorin Salvant explains. “I can look at many of these songs and see that this is an event that really happened, or a feeling I’ve lived through myself. That’s what makes it so difficult to share. It’s almost like a diary entry.”

McLorin Salvant grew up in a bilingual household in Miami, the child of a French mother and Haitian father. She started piano studies at age five, and at eight began singing with the Miami Choral Society. After graduating from high school, McLorin Salvant decided to pursue her education in Aix-enProvence in the south of France, where troubadours invented the Western love song almost one thousand years ago. In this unlikely setting, McLorin Salvant embarked on a new career as a jazz performer, while pursuing a degree in French law and her training as a classical and baroque singer. The young vocalist first came to the attention of jazz fans with her triumph at the 2010 Thelonious Monk International Jazz Competition, where an illustrious panel of judges – Dee Dee Bridgewater, Dianne Reeves, Kurt Elling, Patti Austin and Al Jarreau – took note of McLorin Salvant’s remarkable voice and striking ability. McLorin Salvant’s first album, WomanChild, earned a bevy of honors, including a Grammy Award nomination and Jazz Album of the Year by the DownBeat International Critics Poll. That magazine also honored McLorin Salvant in three other categories, including Best Female Jazz Vocalist. A few months

On the new album, McLorin Salvant shows her uncanny knack for channeling her own personality into the work of her predecessors, both the acclaimed (Bessie Smith) and the less well-known (Blanche Calloway, whose fame during her lifetime was eclipsed by her brother Cab). “I’ve made some choices about celebrating strong women,” McLorin Salvant explains. “And I want to celebrate independence, the courage not to look or act a certain way.” Yet McLorin Salvant is increasingly making her strongest musical statements via her own compositions, which stand out as the centerpiece of the album and serve as proof positive that Cécile McLorin Salvant has not only arrived, but she is still going places. Special thanks to

@ArtsAndLectures

An Evening with

David Sedaris

photo: Anne Fishbein

SUN, MAY 1 / 7 PM (note special time) / ARLINGTON THEATRE

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s preeminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today. David Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames and Let’s Explore Diabetes with Owls, each of which became an immediate bestseller. The audio version of Let’s Explore Diabetes with Owls was nominated for a Grammy Award for Best Spoken Word Album. He is the author of The New York Times bestselling collection of fables entitled Squirrel Seeks Chipmunk: A Modest Bestiary (with illustrations by Ian Falconer). He was also the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’s pieces appear regularly in The New Yorker and have twice been included in The Best American Essays. There are a total of ten million copies of his books in print and they have been translated into 25 languages. He and his sister, Amy Sedaris, have collaborated under the name The Talent Family and have written half-a-dozen plays which have been produced at La Mama, Lincoln Center and The Drama Department in New York City. These plays include Stump the Host, Stitches, One Woman Shoe, which received an Obie Award, Incident at Cobbler’s Knob and The Book of Liz, which was published in book form by Dramatists Play Service.

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Sedaris’ original radio pieces can often be heard on the public radio show This American Life. He has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His latest audio recording of new stories (recorded live) is David Sedaris: Live for Your Listening Pleasure (2009). A feature film adaptation of his story C.O.G. was released after a premiere at the Sundance Film Festival (2013). Since 2011 he can be heard annually on a series of live recordings on BBC Radio 4 entitled Meet David Sedaris. Sedaris’ next book will be a collection of his diaries entitled Theft By Finding (2017). Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Books are available for purchase in the lobby and a signing follows the event

Special thanks to

www.ArtsAndLectures.UCSB.edu

Yuja Wang, piano

photo: NorbertKniat/Deutsche Grammaphon

MON, MAY 2 / 7 PM (note special time) / GRANADA THEATRE

Program

- Intermission -

Brahms: Ballades, op. 10 No. 1 in D Minor No. 2 in D Major

Beethoven: Piano Sonata in B-flat Major, op. 106 (“Hammerklavier”) Allegro Scherzo: Assai vivace Adagio sostenuto Largo; Allegro; Allegro risoluto

Schumann: Kreisleriana, op. 16 Ausserst bewegt Sehr innig und nicht zu rasch Sehr aufgeregt Sehr langsam Sehr lebhaft Sehr langsam Sehr rasch Schnell und spielend

About the Program Johannes Brahms (1833-1897): Ballades, op. 10 No. 1 in D Minor and No. 2 in D Major Originally, a ballad was a literary rather than a musical form, and while ballades were often sung to a dramatic narrative text, that term has no precise musical meaning. But a number of composers have been drawn to that title, perhaps because of the ballad’s association with dramatic events and poetic tale-telling. Chopin was the first to

adopt the title (and his four Ballades include some of his greatest music), but other composers have used it as well: Liszt, Franck, Grieg, Fauré, Barber, and others have written short pieces they titled “ballade.”

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In the summer of 1854 Johannes Brahms wrote four short piano pieces that he called ballades. This was a very intense time for Brahms. He was very young – 21 – and only a few months earlier had come a catastrophe: his friend and mentor Robert Schumann had attempted suicide and was now committed to an asylum. Brahms was steadfast in his aid to the Schumann family, helping to support and organize the shattered household, visiting Robert in the asylum, and consoling Clara. And at a deeper level, Brahms was wrestling with a private demon: the collision between his own youthful love for Clara and his unwavering support for her husband. It was under these conditions that Brahms wrote the Four Ballades. Brahms would never wear his heart on his sleeve, so we should not look for autobiographical meaning in this music, but there is no question that these are four very intense pieces. This recital offers the first two of the Four Ballades. The first – and most famous – of them blurs the meaning of the title even further because this ballade is in fact based on a literary ballad. Brahms had been intrigued by the old Scottish ballad “Edward”, which he had first encountered in Herder’s translation, and on the first page of the music he made the connection clear: “After the Scottish ballad ‘Edward.’” That ballad tells a dark tale: young Edward comes home from the hunt with bloody hands and laments that he has killed his falcon, but it soon becomes clear that he has killed his father (and in some versions had done so at the instigation of his mother). There is evidence Brahms originally planned this music as a song (the rhythm of Brahms’ opening section matches the language of the ballad in both the Scottish and in Herder’s German translation), but he eventually completed it as a piano piece. This music has been much admired, and Brahms’ biographer Karl Geiringer hears a “tragic power” in it. The opening section alternates two somber chordal themes. These explode in the violent middle section, marked Allegro, and the return of the quiet opening material is unsettled by the triplets that now murmur deep in the pianist’s left hand. The second ballade, marked Andante, is inevitably referred to as a “lullaby,” and its gentle song is softly blurred by the syncopated accompaniment – Brahms’ marking is espressivo e dolce. But this piece is not in simple ternary form, and suddenly pounding chords push the music in entirely new directions, which include a section encrusted with grace notes. Finally the opening material does return, but it has grown more complex as its winds its way into silence.

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Robert Schumann (1810-1856): Kreisleriana, op. 16 Few composers have been as well-read as Robert Schumann, who found inspiration in a range of writers, from Shakespeare to Goethe to Jean Paul to Byron. One of the strongest literary influences on Schumann was the work of the German writer E.T.A. Hoffmann (17761822), author of novels and fantastic tales. Hoffmann named one of his sets of fantastic stories Fantasiestücke, and Schumann borrowed that title for several of his own works, but it was Hoffmann’s fictional character Johannes Kreisler who seems to have struck Schumann most strongly. A musician and critic (like Schumann himself), Kreisler was a perfect example of the literary concept known as Zerrisenheit: the artist-hero who is torn apart by the conflict between his idealized sense of order and the claims of the world he must live in; one of Hoffman’s original working titles, in fact, appears to have been Lucid Intervals of an Insane Musician. Schumann, one of the most mentally tormented of all composers, saw in Johannes Kreisler a spiritual brother, and he borrowed that name for this collection of eight piano pieces, which he specifically called “fantasies.” Schumann wrote Kreisleriana in the spring of 1838. He was 27 years old, his efforts to marry Clara Wieck were being thwarted by the opposition of her father, and music seemed to pour out of the young composer. From January 1838 came his Novelletten, followed by the Kinderszenen in February; in March Schumann composed the Fantasy in C Major, and in April – in the space of four days – he wrote Kreisleriana. Schumann may have called these pieces “fantasies,” which implies formlessness, but they are in fact quite disciplined works. They do, however, defy easy classification: some are in ABA form, some are in simple binary form, and several have forms all their own. As a very general rule, it might be observed that the odd-numbered movements are fast and dramatic, the even slow and expressive, but even this observation is undercut by the frequent internal episodes at contrasting tempos. Particularly striking is the variety of mood and expression in this music – one moment it can be simple and lyric, the next it turns mercurial, and suddenly it is violent and extroverted. Yet this music tells no tales, paints no pictures, nor does it try to translate Hoffmann’s magical stories into music – these eight pieces are abstract music, complete in themselves. Throughout, one feels Schumann’s instinctive and idiomatic understanding of the piano, and the end of Kreisleriana is stunning: after the galloping, hammering energy of the final piece, the music grows quiet and suddenly vanishes like smoke on two barely-audible strokes of sound.

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The apparent inspiration for this music was Hoffmann’s character, but Schumann chose to dedicate Kreisleriana “To His Friend Frederic Chopin.” His letters, however, make clear that the real inspiration for this music was his love for Clara Wieck – he wrote to tell her: “Play my Kreisleriana occasionally. In some passages there is to be found an utterly wild love, and your life and mine.”

Ludwig van Beethoven (1770-1827): Piano Sonata in B-flat Major, op. 106 (“Hammerklavier”) Beethoven spent the summer of 1817 in the small village of Mödling, about twelve miles south of Vienna. These were miserable times for the composer (he himself referred to this as a period of “oppressive circumstances”): he was in poor health, locked in a bitter legal struggle for custody of his nephew Karl, and sinking deeper into deafness. Worse, he found himself at a creative standstill. Since the dissolution of the Heroic Style five years earlier, he had fallen into a long silence as – from the depths of his illness and deafness – he searched for a new musical language. Yet Beethoven took pleasure in the village in the lovely valley of Brühl, where he would go for long walks. He was joined on one of these by the pianist Carl Czerny, who reported that Beethoven told him “I am writing a new sonata that will become my greatest.” But progress was slow. Beethoven began the sonata in the fall of 1817 and had only the first two movements complete by the following April. He returned to Mödling for the summer of 1818 and had the sonata done by the end of that summer. It had taken a year of work. Many would agree with Beethoven that this sonata is his greatest, and – at 45 minutes – it is certainly his longest. When it was published in September 1819, it acquired the nickname “Hammerklavier,” a nickname that originated – obliquely – with the composer himself. Beethoven in these years had become convinced that the piano was a German invention, and he did not want to use the Italian title pianoforte for the instrument (during this period he was also coming to prefer German performance markings to Italian). When this sonata and the Sonata in A-flat Major, op. 101 were published, Beethoven specified that they were “für das Hammerklavier,” which was simply the German word for piano (a piano with the strings struck by hammers). The title “Hammerklavier,” has stuck only to the second of those sonatas, but that nickname – with its latent subtextual implication of vast power – is inextricably linked to our sense of this music. We never think of it as the Sonata in B-flat Major. We think of it only with one powerful word: “Hammerklavier.”

Coming as it does between the collapse of the Heroic Style and the arrival of the Late Style, the “Hammerklavier” is inevitably a transitional work, though that hardly need imply an inferior one. It is traditional in the sense that it retains the four-movement structure of the sonata: a sonata-form first movement, a scherzo, a lyric slow movement, and a powerful fast finale, yet in every other sense this music looks ahead, and Maynard Solomon is quite right when he describes the “Hammerklavier” as “the crystallization of the late style.” Those old forms may be present, but Beethoven is transforming them beyond recognition even as he holds onto them. The Allegro opens with a powerful, almost defiant chordal gesture, yet Beethoven quickly follows this with a flowing, lyric idea and then brings the music to a brief pause – in those opening eight bars, he has provided enough material to fuel virtually the entire movement. There is a second theme, a quiet chorale set high in the pianist’s right hand while the left accompanies this with swirling sextuplets; Beethoven marks this cantabile dolce ed espressivo, but it is really the sonata’s opening that will dominate this movement – the chorale theme does not reappear until almost the end of the exposition, and Beethoven treats it thereafter more as refrain than as an active thematic participant. The drama comes from that sharply-contrasted opening idea, and Beethoven builds much of his development on a fugal treatment of the opening gesture before the movement drives to a powerful close on a coda derived from that opening. After that mighty first movement, which lasts a full dozen minutes, the Scherzo whips pasts in barely two. It is in standard ternary form, but Beethoven experiments with the whole notion of theme here: the outer section is built virtually on one rhythmic pattern, the dotted figure heard at the very beginning. The brief central episode, in D-flat major and written in octaves, leads to a dazzling return to the opening: a Prestissimo run across the range of the keyboard and great flourish set up the beautifully-understated reappearance of the opening. The ending is just as brilliant: Beethoven writes a very brief Presto that begins in colossal power and – almost before we know it – has vanished like smoke. The Adagio sostenuto is not just the longest movement in this sonata but one of the longest slow movements Beethoven ever wrote. He specifies that it should be Appassionata e con molto sentimento, and the simple, moving chordal melody at the beginning gradually expands across the long span of this movement, taking us through a range of experience, intense and heartfelt. The final movement opens with a long introduction marked Largo; some

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of this is unbarred and gives the impression of existing outside time, yet in the middle of this slow introduction the music suddenly rushes ahead on a five-measure Allegro that sounds as if it had come directly from Bach’s WellTempered Clavier. The Largo resumes, gathers power on a series of trills, and suddenly the main section – Allegro risoluto – bursts to life. This massive finale is one long fugue in three voices, which Beethoven then develops with great power, originality, and complexity; perhaps he saw in the fugue, with its combination of intellectual and emotional power, an ideal conclusion to so powerful a sonata. This finale makes fiendish demands on the pianist (it is scarcely easier for the listener), and it has produced some stunned reactions: Barry Cooper notes that “There is in this finale… an element of excessiveness… An instinct to push every component part of the music… not just to its logical conclusion but beyond.” And in fact the sonata is so overwhelming – technically, musically, emotionally – that it has left all who write about it gasping for language that might measure its stride. Paul Bekker calls the slow movement “the apotheosis of pain, of the deep sorrow for which there is no remedy… the immeasurable stillness of utter woe.” The pianist and pedagogue Ernest Hutcheson virtually concedes defeat: “The immensity of this composition cannot fail to strike us with awe. We gaze at its vast dome like pygmies from below, never feeling on an intellectual or moral level with it.” Perhaps it is best to leave the last word to Beethoven himself, who mailed this music off to his publisher with a wry observation: “Now there you have a sonata that will keep the pianists busy fifty years hence.”

Orchestra; Orchestre de Paris; Royal Concertgebouw Orchestra; Berlin and Munich Philharmonics; Orquesta Nacional de España; Accademia di Santa Cecilia; Mariinsky Orchestra; the Israel and China Philharmonics; NHK Symphony; Melbourne and Sydney Symphonies; and Orquesta Sinfónica Simón Bolívar. Championed early on by preeminent maestros including Gustavo Dudamel, Michael Tilson Thomas, and the late Claudio Abbado, she is one of today’s most sought after soloists. Outside the concerto repertoire, Yuja is additionally a fiercely dedicated chamber musician and recitalist, appearing at concert halls and festivals worldwide. An exclusive Deutsche Grammophon artist since 2009, Yuja has released three solo albums and two concerto recordings to date, garnering two Grammy nominations. Intriguing the public both with her artistry and with her sense of style, Yuja has been the subject of television documentaries and graced the pages of magazines ranging from arts and culture to fashion. Born in Beijing in 1987, Yuja began piano lessons at the age of six and completed studies at Beijing’s Central Conservatory of Music, Calgary’s Mount Royal College Conservatory, and Philadelphia’s Curtis Institute. Yuja is a Rolex ambassador and a Steinway Artist. www.yujawang.com www.facebook.com/yujawang twitter.com/YujaWang instagram.com/yujawang.official Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Program notes by Eric Bromberger

About Yuja Wang “She is, quite simply, the most dazzlingly, uncannily gifted pianist in the concert world today, and there’s nothing left to do but sit back, listen and marvel at her artistry.” San Francisco Chronicle

Special thanks to

A pianist who radiates palpable magnetism and a distinctly contemporary sensibility, Yuja Wang is an astounding artist whose awe-inspiring technique is matched only by her eloquence as a musician. Since her breakthrough debut with the Boston Symphony Orchestra in 2007 while still a student at the Curtis Institute of Music, she has established herself as an international sensation and a fixture among the world’s leading orchestras, including those of Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco and Washington; the London Symphony

(805) 893-3535

www.ArtsAndLectures.UCSB.edu

Temple Grandin

Different Kinds of Minds Contribute to Society TUE, MAY 10 / 8 PM / GRANADA THEATRE

Event Sponsors: Lynda Weinman & Bruce Heavin With support from our Community Partner, the Orfalea Family Temple Grandin, Ph.D., is the most accomplished and well-known adult with autism in the world. Her fascinating life, with all its challenges and successes, was brought to the screen in the HBO full-length film Temple Grandin, starring Claire Danes. The film, which won seven Emmy Awards and a Golden Globe, shows Grandin’s life as a teenager and how she started her career. Grandin is a speaker who inspires and motivates others through her story. She didn’t talk until she was 3 years old, communicating her frustration instead by screaming, peeping and humming. In 1950 she was diagnosed with autism and her parents were told she should be institutionalized. She recounts “groping her way from the far side of darkness” in her book Emergence: Labeled Autistic, a book that stunned the world because until its publication, most professionals and parents assumed that an autism diagnosis was virtually a death sentence to achievement or productivity in life. Even though she was considered “weird” in her young school years, she eventually found a mentor who recognized her interests and abilities. Grandin later developed her talents into a successful career as a livestock-handling equipment designer, one of very few in the world. She has now designed the facilities in which half the cattle are handled in the United States, consulting for firms such as Burger King, McDonald’s, Swift and others. She currently works as a professor of animal science at Colorado State University and speaks around the world on both autism and cattle handling.

a Cow, ABC’s Primetime Live, The Today Show, Larry King Live, 48 Hours and 20/20 and has been written about in publications, including Time (she was included in the magazine’s annual “2010 Time 100” List of the world’s most influential people), People, Forbes, U.S. News and World Report and The New York Times. Among numerous other recognitions by the media, Bravo did a half-hour show on her life and she was featured in the best-selling book Anthropologist from Mars. Grandin’s best-selling book is The Way I See It: A Personal Look at Autism and Asperger’s. She also authored Unwritten Rules of Social Relationships; Animals Make Us Human; Animals in Translation; Thinking in Pictures; and Emergence: Labeled Autistic. She has also produced several DVDs. Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

Books are available for purchase in the lobby and a signing follows the event

Special thanks to

Grandin has been featured on NPR and television programs including the BBC special The Woman Who Thinks Like

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Arts & Lectures Spring Events Helen Macdonald

Just added!

An Evening with the Author of H Is for Hawk FRI, APR 1 / 7:30 PM / THE NEW VIC

Grupo Corpo

Paulo Pederneiras, Artistic Director

Just added!

In Conversation with Pico Iyer Becoming Wise: An Inquiry into the Mystery and Art of Living WED, APR 20 / 7:30 PM / CAMPBELL HALL

SAT, APR 2 / 8 PM / GRANADA THEATRE

Levitated Mass:

National Geographic Live Nizar Ibrahim, Paleontologist

THU, APR 21 / 7:30 PM / CAMPBELL HALL

Spinosaurus: Lost Giant of the Cretaceous SUN, APR 3 / 3 PM / CAMPBELL HALL

Jennifer Koh, violin Shai Wosner, piano

Bridge to Beethoven Part II: Finding Identity through Music TUE, APR 5 / 7 PM / HAHN HALL

David Gergen

The 2016 Election and the Future Political Landscape THU, APR 7 / 8 PM / CAMPBELL HALL

Anoushka Shankar Land of Gold

MON, APR 11 / 8 PM / CAMPBELL HALL

Alvin Ailey® American Dance Theater TUE, APR 12 & WED, APR 13 8 PM / ARLINGTON THEATRE

Conan O’Brien

Just added! FILM

The Story of Michael Heizer’s Monolithic Sculpture

Calder Quartet SAT, APR 23 / 7 PM / CAMPBELL HALL

Cécile McLorin Salvant WED, APR 27 / 8 PM / CAMPBELL HALL Just added! DOUBLE FEATURE

Troublemakers: The Story of Land Art & Alexander Calder THU, APR 28 / 7:30 PM / CAMPBELL HALL An Evening with

David Sedaris SUN, MAY 1 / 7 PM / ARLINGTON THEATRE

Finding Vivian Maier

Just added! FILM

THU, MAY 5 / 7:30 PM / CAMPBELL HALL

Hockney

Just added! FILM

THU, MAY 12 / 7:30 PM / CAMPBELL HALL

An Afternoon with

photo: Jose Luiz Pederneiras (Grupo Corpo, Suíte Branca)

Krista Tippett

Special Event!

Hosted by TV Producer Dick Wolf SAT, APR 16 / 4 PM / ARLINGTON THEATRE

Rhythmic Circus

MON, MAY 2 / 7 PM / GRANADA THEATRE

UCSB Economic Forecast Project

2016 Santa Barbara County Economic Summit

Feet Don’t Fail Me Now!

THU, MAY 5 / 8:30 AM / GRANADA THEATRE

SUN, APR 17 / 3 PM / CAMPBELL HALL UCSB Reads Author Event

Bryan Stevenson

Yuja Wang, piano

Just added!

Just Mercy: A Story of Justice and Redemption MON, APR 18 / 8 PM / CAMPBELL HALL / FREE

Temple Grandin

Different Kinds of Minds Contribute to Society TUE, MAY 10 / 8 PM / GRANADA THEATRE

Thank You to Our Generous Sponsors

Thank You! to UCSB students for your continued support through registration and activity fees.

Master Class with New York City Ballet MOVES and UCSB students

Master Class with Danish String Quartet and UCSB students

photos: David Bazemore

SPRING PERFORMANCES

ASPIRE Spring Dance Concert

April 7 - 9, Hatlen Theater

TOO MUCH WATER

a workshop production by KJ SANCHEZ* directed by JENNY MERCEIN and JOYELLE BALL *in collaboration with Jenny Mercein and ensemble

May 6 - 15, Performing Arts Theater

WE WANT THE FUNK, A RUSTBELT LULLABY ON THE ONE! a LAUNCH PAD preview production of a play by IDRIS GOODWIN

May 19 - 27, Hatlen Theater

805.893.2064 WWW.THEATERDANCE.UCSB.EDU photo credit David Bazemore

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