UCSB Arts & Lectures - Winter Program 2016

Winter Program 2016

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Best of the 40th Annual

Banff Mountain Film Festival TUE, FEB 23 & WED, FEB 24 / 7:30 PM / ARLINGTON THEATRE $16 / $13 UCSB students and youth (18 & under) An Arlington facility fee will be added to each ticket price

A Santa Barbara institution, the Banff Mountain Film Festival World Tour is a perennial A&L fan favorite. Featuring the world’s best films and videos on mountain subjects, the tour awes viewers with thrills and grandeur captured in exotic locations the world over. The show’s wide variety of film subjects – from extreme sports to mountain culture and the environment – will amaze audiences. An entirely different program screens each evening.

The Banff Mountain Film Festival World Tour is presented by National Geographic and The North Face and is sponsored by Deuter, Clif Bar & Company, Bergans of Norway, Icebreaker Merino Clothing, and Treksta with support from Petzl, Kicking Horse Coffee, World Expeditions, The Lake Louise Ski Resort & Summer Gondola, Mammut, and Banff Lake Louise Tourism.

Local Event Sponsor:

25 Years

in Santa Barbara photo: Les Drus, Chamonix, France © Soren Rickards

Just Added Winter Events The Salt of the Earth

Stacy Schiff

A documentary about Sebastião Salgado

The Witches: Salem, 1692

WED, JAN 20 / 7:30 PM / CAMPBELL HALL / FREE

MON, JAN 25 / 7:30 PM CAMPBELL HALL

Nenet Nomads, Wind Storm, Siberia, Russia 2011 © Sebastião Salgado /Amazonas Images Courtesy Peter Fetterman Gallery; Salgado portrait photo credit: UNICEF/HQ01-0123/ Nicole Toutounji

Event Sponsors: Lynda Weinman & Bruce Heavin With support from our Community Partner the Orfalea Family

Event Sponsors: Betsy & Jule Hannaford

Juan Felipe Herrera

2015 Women’s World Cup Champion Finalist: Women’s World Player of the Year

An Evening with the 2015-16 United States Poet Laureate

Presented in Association with UCSB Athletics

An Evening with

MON, FEB 1 / 7:30 PM CAMPBELL HALL / FREE

Carli Lloyd “Carli Lloyd isn’t just on a roll. She has morphed into a one-woman tsunami.” USA Today

Adam Grant Originals: How Non-Conformists Move the World THU, FEB 4 / 7:30 PM CAMPBELL HALL / FREE

“Originals is one of the most important and captivating books I have ever read.”

– Sheryl Sandberg Event Sponsors: Patricia & Jim Selbert With support from our Community Partner the Orfalea Family

photo: Rich Lam

TUE, JAN 26 / 6:30 PM ARLINGTON THEATRE

With support from our Community Partner the Orfalea Family

Kenneth R. Feinberg Unconventional Responses to Unique Catastrophes: Tailoring the Law to Meet the Challenges WED, MAR 16 7:30 PM / THE NEW VIC 33 W. VICTORIA ST. / FREE

Event Sponsors: Gretchen & Robert Lieff

(805) 893-3535 / www.ArtsAndLectures.UCSB.edu

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 choosing to be inspired. Thank you for choosing to take a chance on the magic that just might happen on stage tonight. Thank you for opting to spend the evening among people who love arts and culture and who celebrate new ideas. But what we really want you to know about, is the magic that happens beyond the stage, right here in our community.

In the past several months, A&L was honored to bring an incredible lineup of artists and speakers that made local connections and a big splash in the media.

Malala Yousafzai, whose Santa Barbara appearance garnered international coverage in London’s Independent; Twyla Tharp, who wrote about her experience teaching 100 local dancers at Alameda Park in The New York Times; and our very own Santa Barbara Middle School Teen Press, whose interview with David McCullough made a lasting impression on them, and us.

The magic continues this winter, as some of today’s most remarkable artists engage with our community one-on-one, and you can be a part of it. The reigning diva of the opera world, the incredible Renée Fleming will teach a vocal master class at the Lobero Theatre, free and open to public observation (Feb. 29) – do not miss it! The Silk Road Ensemble with Yo-Yo Ma will lead an extensive residency – discussions, workshops, master classes – on campus and in our community. Check our website, where we’ll post details about public outreach events that you can attend.

We believe, wholeheartedly, that inspiring our community is essential.

Arts & Lectures is making a difference in our city, and even having a global impact that we can all be proud of: subscribers, students, Producers Circle members and more. This is your program, your Arts & Lectures. Truly, Arts & Lectures begins with you.

With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

The Orlando Consort

Voices Appeared: Silent Cinema and Medieval Music – The Passion of Joan of Arc (La Passion de Jeanne d’Arc) SUN, JAN 10 / 4 PM / HAHN HALL MUSIC ACADEMY OF THE WEST

Running time: Approx. 100 minutes, no intermission Up Close & Musical series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman

Matthew Venner, countertenor Mark Dobell, tenor Angus Smith, tenor

Donald Greig, baritone Robert Macdonald, bass

About the Program “Voices appeared” is Jeanne d’Arc’s gnomic explanation of how angels were made manifest to her. It aptly describes the paradox of a silent movie that is essentially a courtroom drama about a woman inspired by the sound of voices. It is also the starting point for our project.

In common with many other great works of art, when Carl Theodor Dreyer’s La Passion de Jeanne d’Arc was first released, its qualities weren’t immediately recognized. It opened in Copenhagen in April 1928, though it wasn’t until October in that same year that it received its second premiere in Paris, and that only after changes insisted upon by the French church. Across the channel in England, it was banned for a year because of its depiction of the brutality of the English soldier, ironic given that their real treatment of Joan was considerably worse. Of the reviewers, only Mordaunt Hall, writing in The New York Times, focused on the things for which the film is now known – its startling visual style and the central performance: “France can well be proud of... The Passion of Jeanne d’Arc, for while Carl Dreyer, a Dane, is responsible for the conspicuously fine and imaginative use of the camera, it is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement.”

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A historical context informed Dreyer’s choice of Joan of Arc as his subject. She was canonized in 1920 and in 1925, Joseph Delteil published a flamboyant biography of the new Saint, the rights to which Dreyer acquired. Ultimately, he set Delteil’s text aside and instead devoted himself to his more familiar approach – research. His main source was the transcripts of the trial, edited by Jules Quicherat in the 1840s, from which all of the film’s dialogue comes. This commitment to authenticity extended to the design, and a staggering one million of the seven million franc budget was given over to building the set. The production designer Hermann Warm had worked on the German Expressionist classic The Cabinet of Dr. Caligari, but Dreyer eschewed grand vistas of medieval architecture and townscapes in favor of close-ups and fast editing, reducing the art direction to mere details glimpsed in the background. The producers were not best pleased and one can only assume Warm was considerably more irked.

Much has been written about Dreyer’s visual rhetoric. The anachronistic use of irises to mask the image, a refusal to adhere to the conventions of screen direction in looks and movement (well-established since the first decade of the

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20th century), the concentration on close-ups to the exclusion of comprehensible spatial logic and the low camera positions produce paralyzing claustrophobia and confusion.

Maria Renée Falconetti’s appearance is counted as one of the great screen performances, but part of its power is due to an effect first noted by Kuleshov, the Russian film director, who demonstrated that the spectator’s reading of an actor’s emotion is contingent on the surrounding shots. Falconetti’s face here becomes a second screen onto which we project our own psychic discomfort, thereby doubling the heroine’s emotional state.

and with good reason: Joan’s own faith is never in doubt and Dreyer himself argued that the priests were not so much hypocrites as misguided zealots. Hopefully, our approach answers those specific points and might even have met with Dreyer’s approval.

Certainly, Dreyer makes the would-be composer’s task difficult. With no establishing shots – obvious moments for musical cues – and an almost schizophrenic alternation between rapid cutting (the film has 1,500 cuts in its 96 minutes) and still contemplation, most notably of Falconetti’s face, the rhythm of the film poses specific problems. All of which makes our choice of pre-existing music surprisingly appropriate. The tactus (beat) of this music remains broadly organic, as opposed to the enslaved cueing of modern scores (where computers dictate metronome speeds measured to the second decimal place). Our response echoes the practice of original silent-film accompaniment, though in place of a conductor we have an onscreen guide track. Ultimately, though, the film is the emotional prompt and the fluid flexibility of ensemble singing governs our performance.

Music, no less than montage, contains the same potential power to construct meaning. With this in mind, our initial task was to determine the emotional point of each scene and second-guess Dreyer’s intentions. Here we followed the tried and tested method of matching music to image that continues today, where the director and composer ‘spot’ the film, i.e. decide where the music cues should begin and end and its function. Sometimes the music we chose has a secondary, tangential relation to the scene – textual, historical, liturgical; and we have certainly not eschewed the more obvious clichés of film music (Mickey-Mousing as it is pejoratively known) where a dynamic or rhythmic motif coincides with specific action. But our guiding principle is that at all times the performance should serve and ultimately illuminate this extraordinary film.

Exactly what kind of music Dreyer wanted to accompany screenings of La Passion de Jeanne d’Arc is unknown, but the notion that he wanted his music to be appreciated in chaste silence is an exaggeration. He made the comment to Eileen Bowers, film curator of the Museum of Modern Art in New York City and qualified it: he wasn’t happy with the scores that he had thus far heard. One only has to look at his next project, Vampyr (1932), a very different film in many ways (not least because it was the first time he worked with sound) to note a preference for a through-composed score.

All of the music you will hear comes from the early years of the 15th century, the period of Joan’s brief life, though whether Joan herself would ever have heard it is an unanswerable question. Charles VII, her king, was so short of money that he could no longer afford his own travelling choir (given such circumstances it is hardly surprising that so many French-born composers took up offers of employment in Italy), whereas Philip the Good, Duke of Burgundy, was patron to Guillaume Dufay and Gilles Binchois, and the Regent of France, the Duke of Bedford, was patron to John Dunstaple. It seems likely that Joan would have encountered at least some of the repertoire. An assiduous attendee of Mass, her travels took her to many large towns and cities, like Orléans, Troyes and Blois, all of which had choral foundations of one sort of another.

As the director, he would have had little control over the exhibition of his film, nor did he have any hand in the two scores written for its premieres. His thoughts about the 1951 version, cobbled together by Giuseppe Maria Lo Duca with music by Bach and Scarlatti amongst others, are well documented. Aside from what the film historian did to the careful compositions (the added sound strip involved cropping the image), Dreyer’s objections were twofold: firstly, the music was from the wrong era; secondly, the dynamic of the music was an ill-fitting fortissimo. A further criticism leveled by others at the Lo Duca version was that in using religious music, the soundtrack misrepresented the anti-clerical argument of the film, yet this point was never made by Dreyer,

The early 15th century was a transitional period for polyphonic music. The earlier style is rooted in the 14th century represented here by Richard Loqueville’s Sanctus (used in the scene in the torture room) and Billart’s Salve Virgo virginum (for the final hectic crowd scenes). Parallel fifths, fourths and octaves abound, as do the characteristic stark sixth-to-octave cadences. What will most strike the listener is the rhythmic interest and virtuosic flair in the upper parts which contrasts with the stolid plainchant in the accompanying voices. The later, more melodic style is evinced, not surprisingly, in the secular chansons – Dufay’s Je me complains (for which we have substituted words from the contemporary chronicler Christine de Pizan’s La Ditié

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de Jeanne d’Arc, written a year before Joan’s capture) and Gautier Libert’s haunting De Tristesse. Several other pieces display this sweeter, more consonant approach, such as Johannes De Lymburgia’s Descendi in hortum meum, and several instances of fauxbourdon – an improvised system of parallel first-inversion chords – which display a fondness for thirds and sixths characteristic of English music.

For though England, France and Burgundy were almost constantly at war with each other, musical influence paid no heed to territorial boundaries. Indeed, the English style, represented here by the Agincourt Carol and the anonymous O Redemptor, initiated the very transition from the earlier to the later styles. It was described by Martin Le Franc as the Contenance Angloise in his Le Champion des Dames, a work dedicated to Philip the Good, Duke of Burgundy, which elsewhere in its 24,000 verses made daring reference to Jeanne d’Arc, whom Philip had sold to the English.

A final note on the performance of the music. It is now generally accepted that all of the music you will hear was performed by voices alone, even where it is untexted.

Whatever one’s position on this musicological issue, the more intimate medium of five unaccompanied voices is particularly appropriate to the portrayal of a woman whose divine inspiration came in the form of the voices of St. Michael, St. Catherine and St. Margaret.

Soundtrack devised and developed by Donald Greig Program notes by Donald Greig

About the Orlando Consort Formed in 1988 by the Early Music Network of Great Britain, the Orlando Consort rapidly achieved a reputation as one of Europe’s most expert and consistently challenging groups performing repertoire from the years 1050 to 1550.

Their work successfully combines captivating entertainment and fresh scholarly insight; the unique imagination and originality of their programming together with their superb vocal skills has marked the Consort as the outstanding leaders in their field. The Consort has performed at many of Britain’s top festivals (including the BBC Proms and the Edinburgh International Festival) and has in recent years made visits to France, Holland, Belgium, Germany, Italy, Sweden, Poland, the Czech Republic, Estonia, the U.S., Canada, South America, Singapore, Japan, Greece, Russia, Austria, Slovenia, Portugal and Spain.

as Early Music CDs of the Year by Gramophone magazine in 1996 and 2003 respectively; their CDs of music by Compère, Machaut, Ockeghem, Josquin, Popes and Anti-Popes, Saracen and Dove and Passion have also all been short-listed.

Their 2008 release of Machaut’s Messe de Notre Dame and Scattered Rhymes, an outstanding new work by the young British composer Tarik O’Regan and featuring the Estonian Philharmonic Chamber Choir, was short-listed for a BBC Music Magazine Award. This is their second recording in a series for Hyperion exploring the polyphonic songs of Guillaume de Machaut; the first release (Le Voir Dit) was selected by New York Times critics as one of their favorite classical CD releases of 2013.

The Consort’s performances also embrace the spheres of contemporary music and improvisation: To date, they have performed over 30 world premieres and created striking collaborations with the jazz group Perfect Houseplants and, for a project exploring historic Portuguese and Goan music, the brilliant tabla player Kuljit Bhamra. The Consort currently holds a residency at Nottingham University and recent concert highlights include their debut at New York’s Carnegie Hall. Their live performances to La Passion de Jeanne d’Arc commenced in the U.K., Europe and the U.S. in early 2015.

Film Credits Originally exhibited in Denmark as Jeanne d’Arc’s Lidelse og Død (Joan of Arc’s Suffering and Death) Director: Carl Theodor Dreyer Script: Carl Theodor Dreyer Historical Adviser: Pierre Champion Cinematography: Rudolf Maté Art Directors: Hermann Warm and Jean Hugo Costumes: Valentine Hugo Assistant Directors: Paul La Cour and Ralph Holm Jeanne: Renée Maria Falconetti Pierre Cauchon: Eugène Silvain Jean D’Estivet: André Berley Nicolas Loyseleur: Maurice Schutz Jean Massieu: Antonin Artaud Jean Lemaître: Gilbert Dalleu Guillaume Erard: Jean d’Yd Jean Beaupère: Louis Ravet Special thanks to

The Consort’s impressive discography for Saydisc, Metronome, Linn, Deutsche Grammophon and Harmonia Mundi USA includes a collection of music by John Dunstaple and The Call of the Phoenix, which were selected

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Monterey Jazz Festival on Tour THU, JAN 14 / 8 PM / CAMPBELL HALL

photos: ©2016 R. R. Jones / Monterey Jazz Festival

Raul Midón, vocals & guitar Ravi Coltrane, tenor & soprano saxophone Nicholas Payton, trumpet Gerald Clayton, piano & music director Joe Sanders, bass Gregory Hutchinson, drums The program will be announced from the stage.

There will be no intermission.

A Brief History of Monterey Jazz Festival All-Star Bands “All-Star” bands, assembled master jazz musicians under the “Monterey All-Stars” banner, have been a tradition at the Monterey Jazz Festival since 1966. More than 20 Monterey All-Star bands have graced the MJF stages and featured artists like Gil Evans, Gerry Mulligan, Elvin Jones, Dizzy Gillespie, Clark Terry, Ray Brown, Sonny Stitt, Max Roach, John Lewis, Shelly Manne, Bobby Hutcherson and many others.

To celebrate the Festival’s 50th Anniversary in 2007, General Manager and Artistic Director Tim Jackson decided to break the Monterey Jazz Festival’s All-Star mold by taking these special bands nationwide to embody the past, present and future of jazz and to spread MJF’s artistic footprint beyond the Monterey County Fairgrounds. The All-Stars have performed at the September Festival and then toured in the early months of the following year to represent both musical excellence and jazz education activities, core components of MJF’s mission statement.

Members of the All-Star touring groups have been Monterey Artists-In-Residence; participated as students in the Festival’s Next Generation Jazz Festival; been members of Monterey’s Next Generation Jazz Orchestra as high school students; or have otherwise made lasting contributions to jazz education. Since the touring groups have gone on the road, MJF has reached more than 104,000 fans in 135 shows across the U.S. and Canada.

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Monterey Jazz Festival’s 2016 tour is its fourth national tour, featuring critically-acclaimed, Grammy-winning artists. The band will perform 28 shows in 10 states, including a five-night run at Birdland in New York City.

About the Artists Ravi Coltrane is a critically-acclaimed, Grammynominated saxophonist, bandleader and composer. In his 20-plus year career, Coltrane has worked as a sideman to many noteworthy albums for himself and others and founded a prominent independent record label, RKM. Born in Long Island, the second son of John Coltrane and Alice Coltrane, Ravi Coltrane was named after Indian sitar legend Ravi Shankar. He was raised in Los Angeles, where his family moved after his father’s death in 1967.

His mother was a significant influence, and it was he who encouraged Alice to return to the recording studio after a long absence. Subsequently, Coltrane produced and played on Alice Coltrane’s powerful Translinear Light (2004).

Coltrane has released six albums as a leader. His latest, Spirit Fiction, was released in 2012 for the Blue Note label.

Additional credits include performances and recordings with Elvin Jones, Terence Blanchard, Kenny Barron, Steve Coleman, McCoy Tyner, Jack DeJohnette, Matt Garrison, Jeff “Tain” Watts, Geri Allen, Joanne Brackeen and The Blue Note 7, among others. He is a co-leader of the Saxophone Summit with Joe Lovano and Dave Liebman.

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Coltrane lives in Brooklyn and maintains a fast-paced touring, recording, composing and performance schedule. He leads the effort to restore the John Coltrane Home in Dix Hills, Long Island, and presides over important reissues of his parents’ recordings.

Raul Midón, singer-songwriter and guitarist, has earned renown as one of music’s most distinctive and searching voices. He is “a one-man band who turns a guitar into an orchestra and his voice into a chorus” (The New York Times). Midón has collaborated with such heroes as Herbie Hancock and Stevie Wonder and contributed to recordings by Jason Mraz, Queen Latifah, Snoop Dogg and the soundtrack to Spike Lee’s She Hate Me. The New Mexico native, blind since birth, has released seven albums since 1999, including State of Mind (Manhattan/EMI, 2005), A World Within a World (Manhattan/EMI, 2007) and Synthesis (Decca/Universal, 2009). Midón’s most recent release is the captivating CD/DVD Invisible Chains – Live from NYC. Inspirations of Donny Hathaway and Richie Havens can be heard in his work, as well as Sting and Paul Simon. But Midón’s questing musicality makes him, as the Huffington Post put it, “a freeman beyond category.”

His classic Verve recordings include From This Moment (1994); Gumbo Nouveau (1995); the Grammy-winning Doc Cheatham & Nicholas Payton (1997); Payton’s Place (1998); Nick@Night (1999); Dear Louis (2001); Sonic Trance (2003, Warner Bros.); Into the Blue (2008, Nonesuch); and Bitches (2011, In+Out Records). Payton now records for his own imprint, Paytone Records, where he has released Numbers, and Sketches of Spain. Payton released #BAM Live at Bohemian Caverns (2013) his first recording for his label, BMF Records.

Significant collaborators include Ray Brown, Ray Charles, Dr. John, Stanley Jordan, Elvin Jones, Roy Haynes, Joe Henderson, Zigaboo Modeliste, Jill Scott, Clark Terry, Allen Toussaint, Chucho Valdes, Dr. Michael White, Nancy Wilson and many others. He is credited on more than 120 recordings. His ambitious 2012 work, The Black American Symphony, is performed with a full orchestra.

Some of Payton’s television and film credits include Kansas City; original music (and an appearance) in HBO’s Treme and on FX Channel’s The Americans; Nick @ Night; Icons Among Us; and The Tonight Show.

On screen, Midón can be seen in the documentary on Herbie Hancock’s album Possibilities and is featured with soul icon Bill Withers in the documentary Still Bill. He has demonstrated progressive techniques performing for the idea-sharing series TED. Ever since childhood, when he was told that his blindness meant “you can’t do this, you can’t do that,” Midón has lived a life devoted to shattering stereotypes. He added the title producer-engineer to his new album, Don’t Hesitate, with computer software for the blind that enabled him to engineer sessions in his home studio. The project includes collaborations with Withers, R&B singer-songwriter Lizz Wright, Cameroonian jazz bassist Richard Bona and Grammy-winning jazz singer Dianne Reeves.

Payton has also served as Distinguished Artist and Visiting Lecturer at Tulane University and has taught master classes, clinics and workshops at more than 40 institutions, including Berklee College of Music, The Connecticut Forum (with Beverly Sills, Bobby Weir and Trey Anastasio), Cornell University, Stanford University, Thelonious Monk Institute and many more.

Nicholas Payton was hailed as a virtuoso before he was even out of high school. When he was barely in his 20s, Payton made his major-label recording debut as a leader with From This Moment. Since then, Payton has consistently committed himself to developing his distinct voice. Born in New Orleans into a musical family, Payton was a member of the All-Star Brass Band, performing and touring extensively by the age of 12. During his high school years, Payton attended the New Orleans Center for Creative Arts to study with Clyde Kerr Jr. and after graduation attended the University of New Orleans, where he studied with Harold Battiste and Ellis Marsalis.

Born in the Netherlands in 1984 and raised in Southern California, Clayton took his first piano lessons before age 7 with the support and encouragement of his father, jazz bassist, composer and bandleader, John Clayton. He attended the LA County High School for the Arts and then enrolled at the USC Thornton School of Music. While at USC, he temporarily relocated to New York to study at the Manhattan School of Music. In 2006, Clayton received the second place prize in the prestigious Thelonious Monk Institute of Jazz Piano Competition. He was introduced to trumpeter Roy Hargrove when they were both featured artists at a performance of the Henry Mancini Orchestra, which resulted in three years of extensive touring together

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Gerald Clayton has established himself as a leading figure in the up-and-coming generation of jazz artists who are fluent in the range of styles that make up today’s jazz lexicon.

A “huge, authoritative presence” (The New York Times), he boasts three albums as a leader, several studio projects as a sideman, and countless worldwide performances.

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(2006-2009) and appearances on Hargrove’s recordings, Earfood (2008) and Emergence (2009). Clayton also appeared on recordings by Diana Krall, Kendrick Scott, Melissa Morgan, Terell Stafford and Dick Oatts; and more recently, Michael Rodriguez, Terri Lyne Carrington, and the Clayton Brothers Quintet, led by his father and his uncle, saxophonist Jeff Clayton.

He released Two Shade (2009), his debut album as a leader with bassist Joe Sanders and drummer Justin Brown and received a 2010 Grammy nomination for Best Improvised Jazz Solo for his rendition of Cole Porter’s “All of You.” In 2011, Clayton received a second Grammy nomination, this time for Best Jazz Instrumental Composition, for his piece “Battle Circle” featured on The New Song and Dance.

Clayton released his sophomore album, Bond: The Paris Sessions (2011), and received his third Grammy nomination, this time for Best Jazz Instrumental Album. Life Forum, released in 2013 (Concord Records), is his most ambitious project to date.

Joe Sanders is one of the most sought-after young bass players of his generation. He has played, recorded, and toured with many great musicians including Ravi Coltrane, Herbie Hancock, Jimmy Heath, Wayne Shorter, Dave Brubeck, Mulgrew Miller, Geri Allen, Jeff “Tain” Watts, Karriem Riggins, Nicholas Payton, Roy Hargrove, Gerald Clayton; Geoffery Keezer, Lionel Loueke, Aaron Parks, Chris Potter, Ambrose Akinmusire, Christian Scott and Taylor Eigsti.

Sanders’ first teacher, Catherine McGinn, is a member of the Milwaukee Symphony Orchestra and guided him throughout middle school and high school. In 2002, he attended the Brubeck Institute to study under the tutelage of Christian McBride. After two years with McBride and many other jazz masters, Sanders headed to New York and through gigs and jam sessions, established his name in the city. In 2005, Sanders moved to Los Angeles to attend the prestigious Thelonious Monk Institute, under Artistic Director Terence Blanchard. While at the Monk Institute, Sanders honed his skills and embraced new musical concepts. He was challenged by others brought to the Monk Institute to share their concepts such as Jason Moran, Benny Golson, Wynton Marsalis, Stefon Harris and Lewis Nash, to name a few.

During this time, Sanders studied with exceptional bassists who inspired him to keep moving forward, including John Clayton, Bob Hurst, Ron Carter and Charlie Haden.

International Jazz Bass Competition. He leads his own band, Joe Sanders’ Infinity, and tours extensively in Europe and the States with Gerald Clayton Trio.

Gregory Hutchinson is a musician’s drummer, rooted in the jazz tradition, able to approach all styles of music with supreme accuracy and imagination, decorating compositions with his natural feel and mind-blowing innovation. Jazz Magazine describes him as “the drummer of his generation.” Born in 1970, the Brooklyn native began to nurture his passion for music at the age of 3. By age 12, he was arriving early and staying late at school each day to practice. After high school, he was accepted to the Manhattan School of Music, where Justin DiCioccio became his mentor. Hutchinson’s professional career began while still in college, when he was introduced to Red Rodney. He quickly became known as a young phenom in the jazz community, sharing the stage with Betty Carter and Ray Brown while still in his early twenties.

Since then, he has worked with a who’s who of the jazz world including Dianne Reeves, Betty Carter, Wynton Marsalis, John Scofield, Roy Hargrove, Charles Lloyd, Diana Krall, Harry Connick Jr., Joshua Redman, Christian McBride, Maria Schneider and many others. His time signatures and beat compositions have won him praise from the hip hop community as well, leading to collaborations with Common, super-producer Karriem Riggins, and Questlove of The Roots.

Dianne Reeves heralds Hutchinson as “pure genius,” and jazz critic Gary Giddins describes his drum work as “elegant and dancing.” Says Hutch: “I want to sing on the drums the way [Charlie Parker] sings on the horn.”

Acknowledgements

Produced by Absolutely Live Entertainment, LLC absolutelylive.net Producer: Danny Melnick Associate Producer: Tracy Reid Artistic Director: Tim Jackson for Monterey Jazz Festival Road Manager & Sound Engineer: Sam Walton Booking Agency: The Kurland Agency Special thanks to

Sanders returned to New York City upon graduation from the Thelonious Monk Institute. Recently, he placed second in the finals of the International Society of Bassists Jazz Bass Competition and the Thelonious Monk Institute’s

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Itzhak Perlman, violin Emanuel Ax, piano photos: Lisa Marie Mazzucco

THU, JAN 21 / 7 PM / GRANADA THEATRE

Event Sponsor: Sara Miller McCune With additional support from: Christine & Robert Emmons

Program

About the Program

Mozart: Sonata in C Major for Piano and Violin, K. 296 Allegro vivace Andante sostenuto Rondo: Allegro

Wolfgang Amadeus Mozart (1756-1791): Sonata in C Major for Piano and Violin, K.296

Fauré: Violin Sonata in A Major, op. 13 Allegro molto Andante Allegro vivo Allegro quasi presto - Intermission Strauss: Violin Sonata in E-flat Major, op. 18 Allegro, ma non troppo Andante cantabile Andante; Allegro Additional works to be announced from the stage

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In the fall of 1777 Mozart and his mother set out on a long trip which the family hoped would finally land the 21-year-old composer a position worthy of his talents (father Leopold could not get free of his obligations in Salzburg and so remained behind). After a brief stopover in Munich, they arrived in Mannheim in October for a five-month stay. Here Mozart was impressed by the superb Mannheim orchestra, wrote several works for flute, and finally learned – to his dismay – that there was no possibility of a position for him in that city. Just before he left for Paris, Mozart became interested in writing sonatas for violin and keyboard and quickly wrote seven of them: the Sonata in C Major on this program was composed on March 11, 1778, three days before his departure. In Paris, Mozart had six of these sonatas published, but he held back the Sonata in C Major and did not publish it until three years later, shortly after his arrival in Vienna.

This sonata has always been a favorite. Audiences like it because Mozart frames a genuinely expressive slow movement with two outer movements full of fire. Violinists like it because it is so much fun to play. Scholars like it because it is so clearly a transitional work: where most of the Mannheim sonatas were in two-movement form, here Mozart writes in full three-movement form. Previous sonatas (including Mozart’s own) had essentially been

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keyboard sonatas with violin accompaniment: the violin can be eliminated from these sonatas with almost no loss of music content. But an acute reviewer in Vienna recognized the increasingly important role of the violin in this music, describing it as “Very brilliant and suited to the instrument. At the same time the accompaniment of the violin is so artfully combined with the clavier part that both instruments are kept constantly on the alert; so that these sonatas require just as skillful a player on the violin as on the clavier.”

The Sonata in C Major rings with the spirit and sweep which that key always seemed to evoke from Mozart. The very opening has been compared to a march, with the piano’s triplet turn snapping the music forward. Quickly the instruments are answering each other, and the music rides forward breathlessly on the piano’s sparkling runs.

The piano has the delicate second subject as the violin vigorously accompanies, and Mozart offers a repeat of both exposition and development. Especially effective is the coda, where the jaunty spirit of the opening march propels the music to its energetic close.

Alfred Einstein has noted that Mozart took the main theme of the Andante sostenuto from the aria “Dolci aurette” by Johann Christian Bach. Again the piano leads, but at the center section the violin takes up the melody, and on a series of graceful turns leads it through unexpected keys full of the expressive harmonic shading that marks Mozart’s mature music. Rather than opting for a literal return of the opening section, Mozart offers a coda that gradually dissolves into silence. The finale returns to the spirit of the opening movement. It is the expected rondo, but Mozart ingeniously builds some of the contrasting episodes on variants of the main theme as the sonata drives to its spirited close.

Gabriel Fauré (1845-1924): Violin Sonata in A Major, op. 13 One of Fauré’s students, the composer Florent Schmitt, described his teacher as an “unintentional, unwitting revolutionary.” The term “revolutionary” hardly seems to apply to a composer best-known for his gentle Requiem, songs, and chamber works. But while Fauré was no heaven-storming radical bent on undoing the past, his seemingly quiet music reveals enough rhythmic, harmonic, and melodic surprises to justify Schmitt’s claim. The Violin Sonata in A Major, written in the summer of 1876 while Fauré was vacationing in Normandy, is dedicated to his friend, the violinist Paul Viardot. Following its first performance, the sonata was praised by Fauré’s teacher

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Saint-Saëns for its “formal novelty, quest, refinement of modulation, curious sonorities, use of the most unexpected rhythms… charm [and]… the most unexpected touches of boldness.” This is strong praise, but close examination of the sonata shows that Saint-Saëns was right.

One of the most interesting features of the opening Allegro molto occurs in the accompaniment, which is awash in a constant flow of eighth-notes. The first theme appears immediately in the piano, and already that instrument is weaving the filigree of accompanying eighthnotes that will shimmer throughout this movement: one of the challenges for performers is to provide tonal variety within this continual rustle of sound. The movement is in sonata form, and the descending second theme, introduced by the violin, is accompanied by a murmur of triplets from the piano. The movement concludes on a fiery restatement of its opening theme.

Distinguishing the Andante is its rhythmic pulse: a 9/8 meter throbs throughout the movement, though Fauré varies its effect by syncopating the accents within the measure. The third movement, a scherzo marked Allegro vivo, goes like a rocket. Fauré chooses not the expected triple meter of the traditional scherzo but a time signature of 2/8, an extremely short rhythmic unit, particularly when his metronome marking asks for 152 quarter-notes per minute. He further complicates the rhythm by writing in quite short phrases, so that the effect is of short phrases rapidly spit out, then syncopated by sharp off-beats.

A lovely, graceful trio gives way to the opening material, and the movement suddenly vanishes in a shower of pizzicato notes.

The tempo marking for the finale – Allegro quasi presto – seems to suggest a movement similar to the third, but despite its rapid tempo the last movement flows easily and majestically. Or at least it seems to, for here Fauré complicates matters harmonically. The piano opens in the home key – A major – but the violin seems always to prefer that key’s relative minor, F-sharp minor, and the resulting harmonic uncertainty continues throughout the movement until the sonata ends in unequivocal A major.

To emphasize this sonata’s originality may have the unhappy effect of making the music sound cerebral, interesting only for its technical novelty. That is hardly the case.

Fauré’s Sonata in A Major is one of the loveliest violin sonatas of the late nineteenth century, full of melodic, graceful, and haunting music.

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Richard Strauss (1864-1949): Violin Sonata in E-flat Major, op. 18 The Violin Sonata came at a pivotal point in Richard Strauss’ career. He wrote it in 1887-8, when he was only 24 and just beginning work on the symphonic poem Don Juan. The success of Don Juan would lead Strauss to concentrate on the symphonic poem and later on opera; the Violin Sonata, in fact, was his final piece of chamber music.

Coming at so important an intersection in his career, the Violin Sonata shows features of both the world Strauss was leaving and the world he was about to enter. In its structure and harmonic language, the sonata looks back to the classical tradition of Brahms and Schumann, but in its dramatic scope and the sheer panache of the writing, it looks ahead to the symphonic poems.

Not all listeners have found this combination convincing, and some have questioned whether Strauss’ Violin Sonata, full of volcanic fury and dense textures, is chamber music at all. Strauss’ biographer Norman Del Mar notes that “the piano part resembles nothing so strongly as a Liszt Piano Concerto, while the violin line… rather suggests a full body of strings.” The fusion of styles in Strauss’ Violin Sonata can be jarring, but this is nevertheless brilliant, exciting music.

Strauss played both piano and violin, and the writing for the two instruments is virtuosic. The piano opens the Allegro, ma non troppo, and its first figure – immediately picked up the by the violin – contains the rhythmic cell that will animate the entire movement: a sixteenth-note pickup leading into a triplet. This figure, full of the rhythmic snap so typical of Strauss’ tone poems, recurs throughout the movement.

The second theme soars through a range of two-and-a-half octaves, while the third – marked appassionato – climbs into the violin’s highest register. This sonata-form movement, marked by an exceedingly active development, closes on a restatement of the first idea.

The Andante cantabile was written after the outer movements were completed and published separately under the title Improvisation. It is in ABA form, with an opening section that has reminded many of Mendelssohn’s Songs Without Words. The interior sequence is impassioned, with the violin line riding high above shimmering arpeggios of 64th-notes in the piano; Strauss quotes Schubert’s song Erlkönig in the turbulent middle section and the slow movement of Beethoven’s “Pathetique” Sonata in the coda.

Nowhere does the transitional nature of this sonata appear more clearly than at the opening of the finale. After an Andante introduction that sounds as if it might have been

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written by Brahms, the first theme rockets upward at the Allegro, sounding very much like the great upward rush of orchestral sound at the beginning of Don Juan, written at almost the same time. The finale is much in the manner of the opening movement, with an espressivo second theme, a soaring third, and a superheated development. The coda is a graceful and imaginative extension of the opening theme.

Program notes by Eric Bromberger

About Itzhak Perlman Undeniably the reigning virtuoso of the violin, Itzhak Perlman enjoys superstar status rarely afforded a classical musician. Beloved for his charm and humanity as well as his talent, he is treasured by audiences throughout the world who respond not only to his remarkable artistry, but also to his irrepressible joy for making music.

The 2015-16 season commemorates Itzhak Perlman’s 70th birthday with three album releases and worldwide concert tours. For the first time in many years, he tours with pianist and longtime friend Emanuel Ax in special duo recitals that take them to eight cities across America including Los Angeles, Santa Barbara, San Francisco, Chicago and Washington D.C. In December 2015, he performed at Carnegie Hall in a rare trio collaboration with pianist Evgeny Kissin and cellist Mischa Maisky, marking the first time he and Kissin have performed together. In March 2016, he celebrates the 20th anniversary of his popular klezmer program, In the Fiddler’s House, in comeback concerts with klezmer greats Andy Statman, Hankus Netsky and special guests from the Klezmer Conservatory Band and Brave Old World in Boston, Miami and West Palm Beach. On the orchestral front, he performs season-opening gala concerts with the Toronto Symphony under Peter Oundjian and the Pittsburgh Symphony under Manfred Honeck and makes conducting appearances with the Los Angeles Philharmonic and San Francisco Symphony. Throughout the season, Mr. Perlman performs with his regular collaborator, pianist Rohan De Silva, in recitals that take them across North America, Asia and to Europe in their first appearances as a duo in London, Paris and Munich.

Itzhak Perlman has been honored with 16 Grammy Awards, four Emmy Awards and a Grammy Lifetime Achievement Award. In 2015, Mr. Perlman saw three record releases in celebration of his 70th birthday: a new Deutsche Grammophon album with pianist Emanuel Ax performing Fauré and Strauss Sonatas, a 25-disc box set of his complete Deutsche Grammophon and Decca

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discography and a 77-disc box set of his complete EMI/ Teldec discography.

Over the past two decades, Mr. Perlman has become more actively involved in music education through his work with the Perlman Music Program and The Juilliard School, where he currently holds the Dorothy Richard Starling Foundation Chair. He was awarded a Medal of Liberty from President Reagan in 1986; a National Medal of Arts from President Clinton in 2000; a Kennedy Center Honor in 2003; and in November 2015, President Obama bestowed Mr. Perlman with the Presidential Medal of Freedom, the nation’s highest civilian honor.

About Emanuel Ax Born in Lvov, Poland, Emanuel Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition; he went on to win the Young Concert Artists’ Michaels Award (1975), and the Avery Fisher Prize (1979).

Itzhak Perlman’s recordings can be found on the Deutsche Grammophon, Decca, Warner/EMI Classics, Sony Classical and Telarc labels. Emanuel Ax records for Sony Classical/Sony Music Entertainment. Their latest recording, a duo album featuring Faure and Strauss sonatas, can be found on Deutsche Grammophon.

Management for Itzhak Perlman: Primo Artists, 244 Fifth Avenue, Suite B222, New York, NY 10001 www.primoartists.com www.itzhakperlman.com Management for Emanuel Ax: Opus 3 Artists, 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com www.emanuelax.com 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

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Three prominent duo collaborations will be carried through Ax’s current season. Beginning with the release of sonatas by Fauré and Strauss on the Deutsche Grammophon label, Ax will partner with longtime friend and colleague Itzhak Perlman for concerts in Kansas City, Ravinia, Dallas, Washington, Los Angeles, San Francisco, Santa Barbara and La Jolla in the first half of the season. A return visit to Japan will be followed by concerts in Paris, Berlin, Rome, Tel Aviv and Amsterdam. As an annual guest with the New York Philharmonic, he will play Brahms with Alan Gilbert in addition to return visits to orchestras in Houston, Chicago and Pittsburgh as well as duos in Philadelphia and New York with violinist Pamela Frank in a program of Mozart sonatas.

Long-standing partner Yo-Yo Ma will join him in Norfolk, Washington D.C. and Carnegie Hall where they will perform all the Beethoven sonatas for cello and piano. Solo recitals in Tokyo, Arizona, Florida, Texas and Boston will culminate in Carnegie Hall as part of the hall’s 125th anniversary celebrations in May. A Grammy-winning artist exclusive to Sony Classical since 1987, his most recent release is a recital disc exploring “variations” by composers including Haydn, Schumann and Copland. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates from Yale and Columbia Universities.

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Tommy Emmanuel

It’s Never Too Late Tour with special guest wisherkeepers

photo: Simone Cecchetti

FRI, JAN 22 / 8 PM / CAMPBELL HALL

Give a listen to “Old Photographs,” the closing track on Tommy Emmanuel’s It’s Never Too Late, and you’ll hear the distinctive squeak of finger noise as he runs his hands across the frets of his Maton Signature TE guitar. Many musicians would edit those imperfections out, but to Emmanuel, those imperfections are perfect.

A master technician, Emmanuel started professionally at age 6, rising through the ranks as a studio player and member of several Australian rock bands before he set off on a solo career. One of only five musicians handpicked by his mentor, Chet Atkins, as a Certified Guitar Player (CGP), he’s piled up numerous accolades, including two Grammy nominations, two ARIA Awards from the Australian Recording Industry Association (the Aussie equivalent of the Recording Academy) and repeated honors in the Guitar Player magazine reader’s poll.

of every performance. Improvisation leaves him open to technical imperfections, but it also provides humanity to an other-worldly talent.

“It’s all about the feeling of the music,” Emmanuel says.

“And it has to make me feel something. I’m still playing for myself, you know, because I figure if I please me, then I’m pretty sure I’m gonna please you.”

Special thanks to

A noted fingerstyle guitarist, Emmanuel frequently threads three different parts simultaneously into his material, operating as a one-man band who handles the melody, the supporting chords and the bass all at once. His talents, which translate in any language, carry him to the far corners of the globe. Emmanuel never plays the same show twice, improvising much

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An Afternoon with

Salman Khan

Education Reimagined SUN, JAN 24 / 3 PM / GRANADA THEATRE

Event Sponsors: Susan & Craig McCaw With support from our Community Partner the Orfalea Family Salman Khan is the founder of the Khan Academy (khanacademy.org), a nonprofit with the mission of providing free, world-class education to “anyone, anywhere.”

Khan Academy has over 26 million registered students in 190 countries. A former hedge fund analyst with degrees from MIT and Harvard, Khan is also the author of The One World Schoolhouse, which explores the potential impact of the web as a teaching tool. It may be one of the most influential books about education in our time.

Khan’s journey began when he was helping a young cousin with math in 2004, communicating by phone and using an interactive notepad. When others expressed interest, he began posting videos of his hand-scribbled tutorials on YouTube. Demand took off, and in 2009, he quit his day job. The Khan Academy website now provides selfpacing software and unlimited access to free resources, featuring a library of over 7,000 video lessons in more than 36 languages on a wide range of subjects, including math, science, computer programming, history and economics.

Up to 14 million learners visit the website each month, and as of August 2015, they’ve received 580 million lessons and completed 3.8 billion practice problems.

Khan’s first book, The One World Schoolhouse: Education Reimagined, was published to great acclaim in 2012.

Innovators as varied as George Lucas and Nobel Peace Prize Laureate Muhammad Yunus have hailed it as “a must-read.” Al Gore had this to say: “Since its founding in 2006, Sal Khan’s project – the Khan Academy – has

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revolutionized our thinking on the potential and promise of unfettered, open-access online education. In his book The One World Schoolhouse, Khan presents his vision and blueprint for how online technology can, and should, play an integral role in educating communities across the globe, closing the opportunity gap and providing high-quality education for all.”

Khan has been profiled by 60 Minutes, featured on the cover of Forbes Magazine, and recognized as one of TIME Magazine’s “100 Most Influential People in the World.” A growing number of classrooms around the world are using Khan Academy to help build student mastery of topics and to free up class time for dynamic, project-based learning.

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

Special thanks to

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An Evening with

Carli Lloyd

photo: Getty Images / Rich Lam

TUE, JAN 26 / 6:30 PM (note special time) ARLINGTON THEATRE

Presented in Association with UCSB Athletics

Carli Lloyd is an American professional soccer midfielder for the U.S. Women’s National Soccer Team and the National Women’s Soccer League’s Houston Dash. A two-time Olympic Gold Medalist, Lloyd holds the unique distinction of scoring the game-winning goals in the finals at both the 2008 Games in Beijing and the 2012 Games in London. She also represented the U.S. at the past three Women’s World Cup tournaments.

At the 2015 Women’s World Cup, Lloyd led the U.S. team in record-setting fashion, bringing the World Cup back to the U.S. for the first time since 1999. During the final match against Japan, Lloyd scored an historic hat trick, with all three goals occurring within the first 16 minutes of the game. Her third and final goal of the game was widely described as one of the greatest shots of all time. For her performance in the tournament, Lloyd received the Golden Ball Trophy, awarded to the best player of the tournament, and the Silver Boot for her six tournament goals and one assist.

Following her extraordinary achievements, noted media and soccer analysts around the world called Lloyd’s performance among the best-ever on a world stage.

With a work ethic second to none, Lloyd has played in over 200 matches for the U.S. Women’s National Team and has scored 67 goals.

Lloyd was raised in Delran, N.J., and attended nearby Rutgers University, where she set records as the Scarlet Knights’ all-time leader in points, goals and shots. In 2013 Lloyd was inducted into the Rutgers Hall of Distinguished Alumni.

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Career Highlights 2015 Women’s Sports Foundation Sportswoman of the year 2015 World Cup Champion 2015 World Cup Golden Ball winner 2015 World Cup Silver Boot winner 2015 World Cup Goal of the Tournament 2015 Became the first woman in FIFA Women’s World Cup to score a hat trick in a final 2015 Became the first player in WNT history to score in four straight World Cup games 2014 CONCACAF Women’s Championship MVP 2012 FIFA World Player of the Year Shortlist 2012 Bleacher Report Top 100 Athletes of 2012 2013 Rutgers University Hall of Distinguished Alumni 2012 Candidate for U.S. Soccer Player of the Year 2012 Glamour Woman of the Year 2012 N.J. Youth Soccer Hall of Fame 2012 N.J. Sportswriters Woman of the Year 2008 U.S. Soccer Player of the Year 2007 Algarve Cup MVP & Top Goal Scorer Special thanks to

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33rd Anniversary Presentation

Culture Clash

Muse & Morros: True Stories – Real People WED, JAN 27 / 8 PM / CAMPBELL HALL

Running time: Approx. 90 minutes, no intermission

Created, written and performed by Culture Clash: Richard Montoya, Ric Salinas and Herbert Siguenza Sound Design: Culture Clash Choreographer & The Muse: Claudia Gomez Light Design: Lonnie Alcaraz About Culture Clash Culture Clash is fast approaching their 33rd year as the most prominent Chicano/Latino performance troupe in the country. In that span of time, their work has covered satiric sketch comedy; searing full-length dramas; full adaptations of Aristophanes; a resurrection of Frank Loesser’s long-lost musical Señor Discretion Himself; and a series of site-specific works from Miami, New York City, the U.S. border and beyond. Founded in 1984 on Cinco de Mayo in San Francisco’s historic Mission District, Culture Clash is Richard Montoya, Ric Salinas and Herbert Siguenza. Their work is steeped in social justice and committed to telling the stories and finding the true voice of America hidden deep in the margins of mainstream culture.

This prolific group’s most recent plays include American Night: The Ballad of Juan Jose for the Oregon Shakespeare Festival, in Ashland, Ore. This play was selected to launch American Revolutions: The United States History Cycle, along with other writers David Henry Hwang, Suzan-Lori Parks, Naomi Wallace and Robert Schenkkan. Additional

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plays include Peace at the Getty Villa; Palestine, New Mexico at The Mark Taper Forum; and Culture Clash in AmeriCCa at venues throughout the U.S. Water & Power was made into a feature film.

Culture Clash’s work has been produced by the nation’s leading theaters including The Mark Taper Forum, Lincoln Center, The Kennedy Center, La Jolla Playhouse, Berkeley Repertory Theatre, The Huntington Theatre Company in Boston, The Alley Theatre in Houston, South Coast Repertory, Seattle Repertory and The Goodman Theatre in Chicago, among others.

Published works include a cycle of California plays: Chavez Ravine, Zorro in Hell and Water & Power. Prior to that, Culture Clash focused on weaving personal narratives culled from interviews into an ongoing dramatic tapestry.

Their work gives immediate dramatic voice and expression to people in a certain time and place. It is theater of the

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moment, written and performed first for the people and communities on which it is based and second for a broader audience. Culture Clash uses history, geography, storytelling and what they term “urban excavation” and “forensic poetry,” together in a contemporary, movable theater narrative through a Chicano point of view – what Guillermo Gómez-Peña describes as “reverse anthropology.”

The troupe is the recipient of numerous awards, commissions and grants, including a grant from the Rockefeller Foundation, the Helen Hayes Award, the Latino Spirit Award, the Los Angeles Hispanic Media Award, the Nosotros Golden Eagle Award for Outstanding Golden Eagle Group and The Liberty Hill Foundation Award. Their videos, short films and art exhibits have been shown at The Smithsonian, The Whitney Museum of American Art, Sundance Film Festival, The San Juan, Puerto Rico Film and Video Festival, The Art Institute of Boston, The Palm Springs Film Festival and The Los Angeles Film Festival, among others.

Culture Clash’s new works include a Greek classic and an auto-biographical work. Their revival of Chavez Ravine won the 2015 Ovation Award for Best Production of Play (Large Theatre).

of Tijuana in Richard Montoya’s Federal Jazz Project at the Lyceum Theatre in Spring 2013. She is the choreographer, featured dancer and plays The Muse in Culture Clash’s Muse & Morros.

Currently, Gomez tap dances in San Diego with Trio Gadjo and Besos de Coco, an all-female, eclectic jazz, world and chamber trio.

Lonnie Rafael Alcaraz, Light Design Lonnie Rafael Alcaraz is a professor at University of California, Irvine, and a professional lighting designer. Alcaraz has had a long-standing relationship with Culture Clash, having designed The Birds at both South Coast Repertory and Berkeley Repertory, Culture Clash in AmeriCCa at South Coast Repertory and San Diego Repertory, Muse & Morros at the Segerstrom Center for the Arts and in Boston and Radio Mambo, their national touring show.

Special thanks to

Muse & Morros represents their lifelong journey to find the muse. Morros is a term of endearment their fathers used with affectation that means “little dark ones.”

Claudia Gomez, Choreographer & The Muse Claudia Gomez is a dancer and teacher who comes from a lineage of professional dancers, beginning with Mexican Ballet Folklórico dancers. Gomez teaches and performs in nightclubs and theaters throughout Southern California, New Orleans and New York City. Based in San Diego, she has taught tap and jazz dance for the City of San Diego Civic Dance Arts and Young Audiences of San Diego and currently teaches tap dance at Children’s Creative and Performing Arts Academy and Keiller Leadership Academy.

Gomez was a dancer and choreographer for Brick-orTreat Halloween Nights at Legoland California from 2011 through 2014. She is a dance instructor and choreographer at J*Company Youth Theatre, where she was nominated for Outstanding Choreography by National Youth Arts in 2012 for Thoroughly Modern Millie.

Other highlights in Gomez’s dance, choreography and acting career include choreographing and playing the role

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YAMATO the Drummers of Japan World Tour 2015-2016 Bakuon: Legend of the Heartbeat

photo: Masa Ogawa

SUN, JAN 31 / 3 PM & 7 PM / CAMPBELL HALL

Running time (3 PM): Approx. 75 minutes Running time (7 PM): Approx. 115 minutes, one intermission

The heartbeat that pulses through the human body A sound that will continue to beat to the end of humanity This sound, overflowing with energy, Tells the ancient tale that continues from the distant past to the eternal future Passed on from one generation to another, The series of this sound which never pauses even for a moment Spins a yarn that must not be permitted to pause even today The activities of people So many ways to live As long as the human world exists, this roaring sound, Even today on the threshold of heaven and earth Reverberates

Program (7 PM) Sen-nari (Thousand sound)

Habataki (Wingbeat)

My sound is one beat. Your sound is one beat. Anyone’s sound is one beat.

The beats echo here, there and everywhere.

A thousand sounds reverberate in unison to finally create one sound.

Since you have been put on this earth you muster your courage and flap your wings heading for the sky.

You can’t cower in the nest forever.

Now is the time.

Now is the moment.

Fly! This piece opens the 2015/2016 program Bakuon. The combination of shimedaiko and okedodaiko create the beat and the okedodaiko drummer dances a powerful dance on the stage.

This is a composition that makes you feel the energy of a challenge with the image of the moment of flying off into the sky.

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On the stage, the quiet sound of the taiko drum gives the premonition that something is about to be come into being.

The shimedaiko, which is the smallest of the Japanese taiko drums, can express a wide range of sounds which make you feel the appeal and potential of the Japanese taiko drum as an instrument. You can feel the synchronization of the hearts of the drummers who mutually put their emotions into each beat of the shimedaiko.

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Tamashy (Spirit)

Rakuda (Happy drumming)

All living things on the earth have a soul.

I listen carefully to its voice and strike.

The sound of my strike is a prayer for the repose of souls.

My sound is a song that delights in the first cry of life.

You walk and walk but never arrive – people’s lifetimes consist of boisterous merrymaking.

It’s OK to take it easy. It’s OK to have fun.

Are you having fun?

The sound of the odaiko directly echoes in people’s hearts.

To put it simply, even if a person takes hold of a drumstick and beats the skin of a taiko drum, it won’t make a good sound. Skill is required to make the taiko drum resound but feelings are more important than anything. There will be no reverberation if there are no feelings and feelings exist within reverberation. The sound of the odaiko; the sound of the drummer. Feelings worthy of the soul sound in unison with the members of the audience.

Playing the taiko drums is physically hard. The body becomes toned through daily training and at the same time, the spirit also becomes toned. All the drummer’s energy is poured into the performance and the drummer sends out the overflowing power from their bodies to the audience topped with a smile. When this is accomplished, the energy of the smile returns.

Ittetsu-Sakura-Fubuki If you think about it, the strength of a man is to head towards a single path.

The cherry tree gets through the winter and produces a momentary bloom. The resolute falling dance of the blossom is exactly the same as the path on which men must live.

No complaining, no grumbling, simply devote yourself to this way of life.

Enshrined before the odaiko, the drummer faces off. There is no way out and there can be no deception. Believing in the time spent repeatedly practicing, the drummer strikes.

As the cherry blossom that embodies the way of life that the Japanese deem acceptable dances to the ground, the odaiko rings out wholeheartedly.

- Intermission Gokujyoh (The best) I will sing again today.

Born under the heavens, tramping the plains, beyond the farthest reaches of the land to celebrate the best festival; the festival of life.

The voice and words have a soul, too. Voice and words without a soul do not resonate. The sound of singing reverberates. Off the walls, the floor, the ceiling. Off the sky, off the land, off the trees in the forest. Off the water, off the wind, off time. Off the minds and bodies of the people gathered here today in this moment.

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Garakuta (Scrap toys) Saying this is odds and ends at best does not mean I am being particularly petulant.

It’s just little old me and there are things I want to do, things I want to say.

Even odds and ends have half a soul.

It is difficult to say that the instrument called a chappa plays the leading role. However, it is not an instrument that we can do without. It seems unnecessary but is actually important, seems jarring yet pleasant and seems unpleasant to the eye yet you cannot dislike it.

Bakuon (The biggest sound) The beat of the heart that resides in the human body. The sound that never pauses while there is life.

As long as the human world exists, this roaring sound will never pause.

YAMATO members concentrate all their efforts for this last piece of the program with dozens of small and large taiko drums. The heartbeat that pulses through the body of the drummer is expressed in the sound of the Japanese taiko drums. The tale of the heartbeat spun by YAMATO begins here.

Program subject to change

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“Go anywhere if invited and make the world a little [happier]” is the group’s motto. With 150-200 performances a year worldwide, YAMATO takes their motto very seriously.

About the Program The theme of our new program is the story of a strong, passionate and continuous beat. The story is based on the sound of the heartbeat in every one of us. This sound of the heartbeat is continuous from our birth, growth and day-to-day existence. Above all, we who carry this sound are protagonists in this story of today, during this brief moment in the endlessness of time. In all that exists between the blue sky and green earth, our hearts are continuously beating throughout all that is vividly visible in this world. It has a quiet but strong pulse. Inspired by this sound, we wove this beat into the story of YAMATO. Each beat from the taiko drums in YAMATO represents its history, a life’s story of sweat and tears and the vast memories remembered within the sound of every person’s heart who is gathered here.Alas, although our place in this vast storyline may appear insignificant, we still endeavor to inscribe a new page into the story! Today we hope to share with our audience an earnest moment in time where together we somehow still exist.

From “YAMATO-no-kuni” to the world.

And from the world to “YAMATO-no-kuni” again.

We continue our journey.

Masa Ogawa, Representative of YAMATO, drum music composer, stage director Ogawa was born in 1967 and raised in Nara prefecture.

He came across Japanese drumming when he was trying to become a glass artist, after graduating from Kyoto Seika University School of Art in 1991. After that, he worked with several Japanese drum performance groups, and he established YAMATO in 1993. He composes, choreographs and works on the theatrical designs for all the pieces that are performed by YAMATO. He took charge of theatrical design as well as overall staging, to ensure powerful and visually beautiful performances that combined traditional instruments with new music, and he found a new direction for taiko, which had previously been considered only as Japanese traditional music. Ogawa has performed as a core member since YAMATO’s establishment. Currently, he provides music to other groups and teaches taiko aimed at all age levels. In recent years, he produced a YAMATO show in cooperation with Asuka-mura and Nara prefecture, which is YAMATO’s home base, contributing to the revitalization of the local culture.

About the Company YAMATO was founded by Masa Ogawa in 1993 in Nara, “the land of YAMATO,” which is said to be the birthplace of Japanese culture. Presently based in Asuka Village, Nara Prefecture, YAMATO travels all over the word with Japan’s traditional wadaiko drums, putting their very souls into the unusual instruments, whose sound stirs the hearts of people everywhere.

In the village of Asuka, a place with more than a thousand years of history and culture, YAMATO seeks new expression with wadaiko as its backbone. They think of the sound of the drums – made of animal skin and ancient trees, some of which are more than 400 years old – as a pulse or heartbeat (Shin-on), the center of life and the source of power which pulsates within the human body.

Like the strong and sturdy heartbeat of a lonely runner with a sleek and powerful body, YAMATO attempts to create the energy of life, which envelops the audience and performers. What one feels when surrounded by the sound of wadaiko, brought out by these highly trained performers, is what the Japanese call “Tamashy,” translated as soul, spirit and psyche, basic elements of life. It is something which is invisible and intangible but whose existence is certainly felt. The pulse, carried down from antiquity, will resonate within all the bodies gathered at any given performance.

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Special thanks to

@ArtsAndLectures

Cloud Gate Dance Theatre of Taiwan Rice

TUE, FEB 2 / 8 PM / GRANADA THEATRE

Lin Hwai-min, Founder and Artistic Director Running time: Approx. 70 minutes, no intermission

photo: Gia To

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

Sunlight

Chen Mu-han, Hou Tang-li, Huang Lu-kai, Huang Mei-ya, Su I-ping, Wong Lap-cheong

Soil

Yang I-chun Chen Mu-han, Cheng Hsi-ling Fan Chia-hsuan, Huang Mei-ya, Ko Wan-chun Kuo Tzu-wei, Lee Tzu-chun, Yeh Yi-ping

Grain

Wind

Ko Wan-chun, Su I-ping, Tsai Ming-yuan, Chen Tsung-chiao, Cheng Hsi-ling, Fan Chia-hsuan, Hou Tang-li, Huang Mei-ya, Huang Pei-hua, Kuo Tzu-wei Chen Mu-han, Chou Chen-yeh, Huang Li-chieh, Huang Lu-kai, Huang Yu-ling, Lin Hsin-fang, Wang Po-nien, Yang I-chun, Yeh Yi-ping

Pollen I

Chen Tsung-chiao, Chou Chen-yeh, Fan Chia-hsuan, Huang Yu-ling, Kuo Tzu-wei, Lee Tzu-chun, Lin Hsin-fang, Wang Po-nien, Wong Lap-cheong, Yeh Yi-ping,

Pollen II

Huang Li-chieh, Ko Wan-chun

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Chou Chang-ning Cheng Hsi-ling, Fan Chia-hsuan Huang Pei-hua, Huang Yu-ling, Kuo Tzu-wei Lee Tzu-chun, Yeh Yi-ping

Fire

Chen Tsung-chiao, Chou Chen-yeh, Hou Tang-li, Huang Li-chieh, Huang Lu-kai, Lin Hsin-fang, Tsai Ming-yuan, Wang Po-nien, Wong Lap-cheong,

Water

Yang I-chun Chen Mu-han, Cheng Hsi-ling Chou Chang-ning, Huang Mei-ya, Huang Pei-hua Ko Wan-chun, Kuo Tzu-wei, Lee Tzu-chun, Su I-ping, Yeh Yi-ping The music used in Rice is given permission by Wind Music International Corporation; Nightingale Classics AG.; Warner Classics; Universal Music Publishing Group; Victor Entertainment, Inc.; Deutsche Grammophon GmbH; and by arrangement with Boosey & Hawkes, Inc., o/b/o G. Ricordi & Co., B端hnen-und-Musikverlag GmbH. Premiere: November 22, 2013, National Theater, Taipei, Taiwan

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About the Program

About the Company

On the occasion of Cloud Gate Dance Theatre of Taiwan’s 40th anniversary in 2013, the internationally renowned Lin Hwai-min, who was honored with the prestigious Samuel H. Scripps / American Dance Festival Award for Lifetime Achievement that year, created Rice to revere the land that has nurtured “Asia’s leading contemporary dance theater” (The Times, U.K.).

The virtuosity of the Cloud Gate dancers has made critics ask, “When has one ever seen a company with such magical and beautiful bodies?” and confess that they “possess a control and articulation that verge on the superhuman.

These are performers who can make stillness every bit as eloquent as animation.”

The inspiration for Rice came from the landscape and story of Chihshang in the East Rift Valley of Taiwan. Previously tainted by the use of chemical fertilizer, this farming village has now regained its title as the Land of the Emperor’s Rice by adopting organic farming and has exported its rice to EU countries.

Awed by the immense waves of grain rolling across expansive fields of rice, and inspired by the environmentally-conscious farmers, Lin took the dancers to Chihshang, where they joined the farmers in harvesting the rice. Out of this experience in the field, Lin has created exuberant yet powerful movements woven through Soil, Sunlight, Wind, Water and Fire, telling the story of the land while contemplating the devastation of Earth.

Folk songs in Hakka, the oldest among the existing Chinese dialects, and operatic arias from the West, as well as the rustling of grain, soughing of wind and pealing of thunder recorded on-site, complete the soundscape.

A cinematographer spent two years on location capturing the cultivation of rice: flooding, sprouting, harvesting and burning of the field. These video images – of clouds reflected in the water, rice swaying in the wind and fire ravaging the fields – have become the essential visual elements of the production. Immersed in this landscape, the formidable Cloud Gate dancers, trained in Chi Kung and Internal Martial Arts, enact a human drama parallel to the life cycle of rice. It is a work about death and rebirth, devastation and resurrection.

Rice is an international co-production by Sadler’s Wells Theatre (London), HELLERAU European Center for the Arts Dresden (Germany), The National Theater & Concert Hall, the National Performing Arts Center, R.O.C. (Taiwan), New Vision Arts Festival (Hong Kong), Esplanade – Theatres on the Bay (Singapore) and Théâtre de la Ville (Paris).

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Cloud Gate is the name of the oldest known dance in China.

In 1973 choreographer Lin Hwai-min adopted this classical name for the first contemporary dance company in any Chinese speaking community.

Its 24 dancers receive trainings of meditation, Chi Kung (an ancient form of breathing exercise), internal martial arts, modern dance, ballet and calligraphy. Through Lin Hwai-min’s choreography, the company transforms ancient aesthetics into thrilling modern celebration of motion.

Cloud Gate has toured extensively with frequent engagements at the Next Wave Festival in New York, the Sadler’s Wells Theatre and Barbican Centre in London, the Moscow Chekhov International Theatre Festival and the Internationales Tanzfest NRW directed by Pina Bausch.

In 2003 Cloud Gate opened the Melbourne International Arts Festival with Cursive II (now known as Pine Smoke), winning both the Age Critics Award and the Patrons Award; Moon Water was named the best dance of the year by The New York Times. In 2006 Cursive: A Trilogy was chosen as the best dance choreography of the year as a result of critics polls by Ballet-Tanz and Theater Heute.

At home, Cloud Gate also enjoys high acclaim and popularity. In addition to the regular seasons in theaters, the company stages annual free outdoor performances in various cities in Taiwan, drawing audiences of up to 60,000 per performance.

Cloud Gate 2 was founded in 1999 to foster young choreographers in Taiwan. In 1998 Cloud Gate Dance School was founded to bring the joy of dance to students age 4 to 84.

In 2003, in recognition of Cloud Gate’s contribution to the cultural life of Taipei, the Taipei City Government named Fu-Hsing North Road Lane 231, home of Cloud Gate’s office, as Cloud Gate Lane. In 2010 a new asteroid, discovered

by National Central University, Taiwan, was named after Cloud Gate. In 2014, China Airlines created the Cloud Gate Liveried Aircraft, adorned with dancers’ likenesses, to celebrate the group as the “pinnacle of Taiwan culture.”

@ArtsAndLectures

Most of Cloud Gate’s productions have been made into videos. Among them, Songs of the Wanderers, Moon Water, Bamboo Dream and Cursive II (now known as Pine Smoke) were filmed in Europe.

Lin Hwai-min, Founder and Artistic Director Honoring Lin Hwai-min with a Lifetime Achievement Award in 2009, the jury of the International Movimentos Dance Prize, Germany, hailed him as “a foremost innovator of dance” and said “Lin Hwai-min ranks amongst artists of the century such as William Forsythe, George Balanchine [and] Birgit Cullberg.”

In July 2013, Lin followed in the footsteps of Martha Graham, Merce Cunningham and Pina Bausch to receive the prestigious Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement. The festival announcement stated, “Mr. Lin’s fearless zeal for the art form has established him as one of the most dynamic and innovative choreographers today... His choreographic brilliance continues to push boundaries and redefine the art form.” He is the first recipient of this award who is based in Asia. Invited by the International Theatre Institute, Lin served as the author for the 2013 International Dance Day Message.

In his homeland, Taiwan, Lin Hwai-min was first known as a critically acclaimed writer. In 1969, at the age of 22 and with two books of fiction published, he went to study in the United States and obtained a Master of Fine Arts from the Writer’s Workshop at the University of Iowa. He also studied modern dance at the university and in New York.

Lin Hwai-min founded Cloud Gate Dance Theatre of Taiwan in 1973, the Dance Department at the Taipei National University of the Arts in 1983 and Cloud Gate 2 in 1999.

Heralded as “the most important choreographer in Asia,” Lin often draws his inspiration from traditional Asian culture and aesthetics to create original works with contemporary resonance, which have made Dance Europe acclaim: “No company in the world dances like Cloud Gate. It presents a distinct and mature Chinese choreographic language.

The importance of this evolution in Asian dance is no less profound than the impact of Forsythe’s Ballett Frankfurt on European classical ballet.”

Among the honors Lin Hwai-min has received are honorary doctorates from six universities in Taiwan and Hong Kong, the Taiwan National Award for Arts, the Ramon Magsaysay Award, the John D. Rockefeller 3rd Award, the award for Best Choreographer at the Lyon Biennial Dance Festival,

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the Distinguished Artist Award presented by International Society for the Performing Arts (ISPA) and the Chevalier of the Order of Arts and Letters from the French Ministry of Culture. In 2005 he was honored by Time magazine as one of Asia’s Heroes. In 2013 President Ma Ying Jeou awarded him with the First Rank Order of Brilliant Star with Special Grand Cordon. He is the second artist, after film director Ang Lee, to have been bestowed the highest honor from the government of Taiwan. In 2015, he was honored with the first Tsai Wantsai Taiwan Contribution Award, for his relentless efforts in sharing dance performances with grassroots audiences.

Lin Hwai-min has been the subject of full-length television documentaries, including Portraits Taiwan: Lin Hwai-min (Discovery Channel), Floating on the Ground (Opus Arte) and Lin Hwai-Min - Interface Between Worlds (ARTE/ZDF).

From 2000 to 2014, he served as the Artistic Director of Novel Dance Series for the Novel Hall for Performing Arts, Taipei, introducing contemporary dance to audience in Taiwan. Choreographers featured in the series include Eiko and Koma, Meredith Monk, Susanne Linke, Akram Kahn, Ea Sola, Sidi Larbi Cherkaoui and Jerome Bel. From 2012 to 2013, Lin Hwai-min served as the mentor of dance for Rolex Mentor and Protégé Arts Initiative, guiding Eduardo Fukushima, a young Brazilian choreographer selected from around the world by a panel of dance experts.

Lee Ching-chun, Associate Artistic Director Lee Ching-chun obtained her MA degree in Dance Studies from City University of Laban Centre, London, in 1999.

In 2004 she received the National Award for the Arts from Taiwan National Culture and Arts Foundation, the highest award for artists in Taiwan.

Joining Cloud Gate in 1983, Lee has since taken leading roles in Lin Hwai-min’s works including Wild Cursive, Cursive II (now known as Pine Smoke), Cursive, The Road to the Mountain, Smoke, Bamboo Dream, Burning the Juniper Branches, Portrait of the Families, Songs of the Wanderers, Nine Songs, The Dream of the Red Chamber and Legacy. She has also danced in Helen Lai’s The Rite of Spring, Invisible Cities, La Vie en Rose and Frida.

Her choreographic works include Woman and Man, Man and Woman for Cloud Gate and While White Is Revealing for Spotlight Dance Company, both of which premiered in 1996.

In 1999, in a collaboration with Canadian stage designer Tania Etienne, she choreographed and performed the dance solo work Courtyard of Pearls. In 2006 she choreographed Blossom and Moonlight for Kaohsiung City Ballet Company.

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Serving as rehearsal director for nine years, Lee was appointed as the Associate Artistic Director in 2003. In 2004 and 2005, she represented Lin Hwai-min to re-stage his works Smoke and White, for Zurich Ballet in Switzerland and Introdans in the Netherlands, respectively.

program in Taiwan and has completed over 70 facilities in Taiwan, ranging from multi-form arts centers theaters and concert halls to international conference halls and dance studios.

Lulu W.L. Lee, Lighting Design

Lee is also the Chief Consultant for Cloud Gate Dance School and has helped to create and develop class syllabuses for students from ages 4 to 84.

Lin Keh-hua, Set Design Lin Keh-hua is one of the most celebrated designers in the Chinese-speaking diaspora. In August 2003, Lin published Lighting and Scenery for Stage: An Aesthetics, reflecting on his many years as a leading set and lighting designer.

Lin’s designs employ Western aesthetics and technology, as well as Oriental philosophy and perspective. He combines lighting design with set design, applying his experiences from projection and image design, theater space design and architectural lighting design to create a unique space and lighting aesthetic of his own. His design style has received recognition among international choreographers and other performing artists, such as Lin Hwai-min, Lo Man-fei, Helen Lai, Lo King Man, David Jiang, Mei Chu Yin, Charlotte Vincent, Wu Kuo-Chu and Akram Khan. He is a major set designer for several leading performance groups, including U Theatre, Taipei Crossover Dance Company, Hang Tang Yue Fu and Contemporary Legend Theatre.

Lin has served as the principal designer for Cloud Gate since 1974. His design credits encompass the company’s repertoire, including lighting in Rice, Cursive II (now known as Pine Smoke), Burning the Juniper Branches, Portrait of the Families, Nine Songs, The Dream of the Red Chamber and Legacy; and set in Listening to the River, Whisper of Flowers, Lost Shadows, Wind Shadow, Cursive, Requiem and Dreamscape. His design for Nine Songs was praised by the world-renowned lighting designer Jennifer Tipton as a “masterpiece.”

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Lee’s lighting design works encompass operas, dance works and theater productions for various performance companies, including Guo Guang Chinese Opera Company, Golden Bough Theatre, Creative Society, Ping-Fong Acting Troupe and Cloud Gate Dance Theatre of Taiwan. Her design credits with Cloud Gate include White Water and DUST (2014), Rice (2013), How can I Live on Without You (2011), Water Stains on the Wall (2010), Listening to the River (2010), Oculus (2007) and Lost Shadows (2006) as lighting designer and Bamboo Dream (2001), Cursive II (2003) and The Road to the Mountain (2004) as assistant lighting designer.

Appointed as technical director in 2010, Lee had worked closely with Cloud Gate for many years as project lighting director.

Ann Yu Chien, Costume Design/Execution Ann Yu Chien received her Master of Architecture from University of Pennsylvania and worked for many years as an architect in Philadelphia, Pa.

Lin’s innovative and creative designs have also earned him an internationally artistic reputation. He served as the lighting designer in the La Biennale di Venezia for Taiwan Pavilion in 2002 and Kris Yao Artech in 2014, a member of the creative crew in the Games of the XXIX Olympiad Beijing in 2008, Artistic Director of the creative crew in Taiwan’s Centennial Grand Countdown in 2010 and a member of the Taiwan Pavilion Expo at Shanghai in 2010.

Lin is the founder of the first theater technology training

Lulu W. L. Lee holds an MFA in Theater Lighting Design from Temple University, and has worked as the architecture lighting designer at The Lighting Practice, the technical supervisor for 2001 Taipei Lantern Festival, the resident stage manager at Novel Hall and the technical manager for Taipei Arts Festival.

Since returning to Taiwan in 1991, Ann has devoted herself to the evolution of design education and campus renovation for two decades. Respected as a pioneer in Taiwan who emphasized liberal arts education in the architect design department, she has served as the dean of the Design School, chairperson of the Space Design Department and director of the Campus Master Plan for SCU Taipei campus at Shih Chien University.

Li-Ting Huang, Costume Design/Execution Li-Ting Huang received her master’s degree in Architecture Design from Barlett School of Architecture and bachelor’s degree from Chelsea College of Art & Design in London.

@ArtsAndLectures

Serving as an assistant professor at Department of Fashion Design, Shih Chien University since 2001, Huang has been appointed as the chairperson of the Department and has curated many important exhibitions for Shih Chien University. For her own creation, she focuses on the special relationship between body and clothing, using color and fibers to create and experiment on space and form. Her work has been exhibited in museums and numerous art fairs.

Ethan Wang, Projection Design Ethan Wang received his Master of Arts in Communication Design majoring in New Media Pathway from Central Saint Martins College of Art & Design, University of the Arts, London.

Wang served as the visual art designer for Museum of Contemporary Art Taipei and the guest art designer for the Hua-shan Art District, Taipei. He founded his own studio, Over Quality, in 2006, devoting in digital graphic animation creations. His credits on moving images & multimedia slideshows encompass White Water and Dust, Rice, Water Stains on the Wall, Listening to the River, Wind Shadow and Cursive by Cloud Gate Dance Theatre of Taiwan; Reed Field

by Taipei Crossover Dance Company; and Next Exit at the 8th International Architecture Exhibition in Venice, Italy.

His talent also extends to the graphic designs for Taishin Arts Award, and Dancing Allegories and Bevy by Taipei Crossover Dance Company. He worked as a multi-media designer for the opening ceremony of 2010 Taipei International Garden and Horticulture Exposition.

Wang has won numerous awards, including the Grand Prize of More Than A Face graphic competition in 2000, hosted by The National Association of Architects R.O.C., and the Selected of Macromedia Digital Graphic Design in 2002. He is also the winner of the 2013 World Stage Award and the 2014 Knight of Illumination Award in Theatre for his projection designs of Cloud Gate’s Water Stains on the Wall and Rice, respectively.

He currently serves as the resident artist at Taipei National University of the Arts and adjunct instructor at Yuan Ze University and Taipei National University of the Arts.

Howell Hao-jan Chang, Videography Chang Hao-jan holds a master’s degree from Graduate School of Applied Media Arts and a bachelor’s degree from the Film Department of National Taiwan University of Arts. His works encompass graphic image, video and photography and comprise music videos, commercials, projec-

(805) 893-3535

tion designs, short fiction and documentary films. In 2007 his short film BR-14’s April won the second prize of Imagine Cup hosted by Microsoft in Seoul, Korea. In 2008 his short films BR-14’s April, Planet La Roue and Circle were presented in the Digital Art Festival Taipei.

Chang’s credits with performing arts groups include projection design for The Tempest and Media by Contemporary Legend Theater.

Concept/Choreography: Lin Hwai-min Set Design: Lin Keh-hua Lighting Design: Lulu W.L. Lee Projection Design: Ethan Wang Videographer: Chang Hao-jan (Howell) Costume Design/Execution: Ann Yu Chien, Li-Ting Huang and Department of Fashion Design from Shih Chien University Creative Assistant to Mr. Lin: Liang Chun-mei Commission: Wen C. Ko

Music

Hakka traditional folk songs Drum music by Liang Chun-mei “Monochrome II” by Ishii Maki performed by Ondekoza “Casta Diva” from opera Norma by Vincenzo Bellini “Le Rossignol et la Rose” by Camille Saint-Saëns Fourth Movement from Symphony No. 3 in D Minor by Gustav Mahler

Cloud Gate Culture and Arts Foundation

Honorary Chairman: Lee Yuan-tseh Chairperson: Shen Hsueh-yung Board of Directors: Cheng Tsung-lung, Hong Min-hong, Rock Hsu, Ko Wen-chang, Barry Lam, Lin Hwai-min, Stan Shih, Tsai Hong-tu, F. C. Tseng, Wang Chi-mei, Kate Huei-wen Wen, Wing Hung Wong, Diane Ying Executive Director: Yeh Wen-wen

Cloud Gate Dance Theatre

Founder/Artistic Director: Lin Hwai-min Associate Artistic Director: Lee Ching-chun Music Consultant/Creative Assistant to Mr. Lin: Liang Chun-mei Chi Kung Masters: Hsiung Wei, Lee Kuo-wei Internal Martial Arts Master: Adam Chi Hsu Ballet Teachers: Lee Shu-hui, Wu Ching-yin Modern Dance Teacher: Huang Hsu-hui

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Rehearsal Directors: Chou Chang-ning, Tsai Ming-yuan Rehearsal Assistant: Yang I-chun Medical Consultant: Chou Ching-long Accompanists: Kuo Tsung-han, Wu Chia-ching

Dancers:

Chou Chang-ning, Huang Pei-hua, Tsai Ming-yuan, Huang Mei-ya, Ko Wan-chun, Liu Hui-ling, Su I-ping, Yang I-chun Hou Tang-li, Lee Tzu-chun, Lin Hsin-fang, Wong Lap-cheong Chen Mu-han, Kuo Tzu-wei, Wang Po-nien, Yeh Yi-ping Chen Tsung-chiao, Cheng Hsi-ling, Fan Chia-hsuan Huang Li-chieh, Huang Lu-kai

Exclusive North American Tour Representation Rena Shagan Associates, Inc., 16A West 88th Street, New York, NY 10024 Tel: ++1-212-873-9700 Fax:++1-212-873-1708 www.shaganarts.com

Co-producers

The National Theater & Concert Hall, the National Performing Arts Center, Taiwan, R.O.C. New Vision Arts Festival, Hong Kong Esplanade –Theatres on the Bay, Singapore Sadler’s Wells Theatre, London HELLERAU European Center for the Arts Dresden, Germany Théâtre de la Ville, Paris

Apprentices: Chen Lien-wei, Chou Chen-yeh, Huang Yu-ling

Administrative Staff on Tour

Director of International Programs: Joanna J.H. Wang Senior International Project Manager: Janice S.C. Wang International Project Manager: Liu Pei-chen

Technical Staff on Tour

Technical and Lighting Director: Lulu W.L. Lee International Production Manager: Chen Chih-feng Stage Manager and Sound Supervisor: Li Chia-nung (Vicky) Stage Supervisor: Lin Ching-kai Lighting Supervisor: Lin Szu-chen Projection Supervisors: Chen Chih-feng, Chen Yi-ling Wardrobe Mistress: Hsu Wen-wen Concept/Choreography: Lin Hwai-min

This tour is made possible by grants from the Ministry of Culture, and the Ministry of Foreign Affairs, Republic of China (Taiwan)

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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@ArtsAndLectures

Cameron Carpenter

Featuring the International Touring Organ TUE, FEB 9 / 7 PM / GRANADA THEATRE

The program will be announced from the stage.

There will be one intermission.

About Cameron Carpenter

About the International Touring Organ

Cameron Carpenter is having a ball smashing the stereotypes of organists and organ music, all the while generating international acclaim and controversy unprecedented in his field. Cameron’s repertoire – spanning the complete works of Bach, film scores, original compositions and hundreds of transcriptions and arrangements – is perhaps the largest and most diverse of any organist. He is the first concert organist to be outspoken about his preference for the digital organ versus the pipe organ and to champion it as the future of the instrument.

Since its debut in 2014, Cameron Carpenter’s International Touring Organ has become Carpenter’s instrument of choice, quickly eclipsing the pipe organ. “It’s where my heart lies,” he says.

In 2014 Carpenter launched his International Touring Organ – a monumental cross-genre digital organ built by Marshall & Ogletree to his own design – in extensive tours in Europe and the U.S. His Sony Music debut album If You Could Read My Mind entered Billboard’s Traditional Classical chart at No. 1 on its U.S. release.

The International Touring Organ is the eighth organ by Marshall & Ogletree, the Needham, Mass. organ builders redefining the digital organ as an instrument of artistic significance. Its concept is simple: innovate the relationship between organ and organist. While the uniqueness of each pipe organ contributes to the instrument’s collective magic, the stationary nature of traditional organs means that traveling organists are unable to perform consistently, as, for example, a violinist would be able to do by forming a relationship through years of playing a single violin.

A child prodigy, Carpenter trained at the American Boychoir School and the North Carolina School of the Arts and has two degrees from The Juilliard School. He holds the 2012 Leonard Bernstein Award, is the first solo organist ever nominated for a Grammy for a solo album and has appeared with many of the great orchestras around the world. He has spoken and debated at numerous think tanks and conferences, including TED, IdeaCity and The Entertainment Gathering, among others.

Marshall & Ogletree sampled sounds from many traditional pipe organs, including many of Cameron’s favorite instruments, from the cathedral to the Wurlitzer. They designed an organ not for size, limitless variety or to model any particular pipe organ, but rather to make a great organ internationally mobile. The true scale of the project’s ambitiousness can be seen in its console and extensive touring sound system, which ensure the organ’s consistency from venue to venue. This consistency not only creates a specific acoustic experience for the listener, but also allows the artist to maintain his relationship with his instrument.

For more information please visit www.cameroncarpenter.com.

“One of the things that is so important about this touring organ, one of its great trump cards – one of the things that

(805) 893-3535

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the pipe organ can never provide – is a sense of psychological home,” Carpenter says. “I can call up sounds from the organ that in some sense first made me want to do what I’m doing.”

The entire organ assembles in less than three hours and travels in a single large truck; identical European and American sound systems stored in Berlin, Germany and Needham, Mass. make it internationally mobile. Its sound system is a massive complex of specially sourced sound support and amplification equipment housed in mobile, location-adaptable touring cases. The organ console is assembled manually and hydraulically from only six modular parts, and, like the sound system, travels in robust purpose-built touring cases.

Thank You!

A maverick in the traditional world of organ building, Marshall & Ogletree shot to prominence in 2003 with their Opus 1 at Trinity Church Wall Street in New York City, a landmark organ controversial for having replaced the former Aeolian-Skinner pipe organ damaged by debris on September 11, 2001. Unique among organ builders, the firm’s principals are also acclaimed organists – Douglas Marshall, a competition-winning former student of Virgil Fox, and David Ogletree, a Curtis Institute graduate.

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

www.marshallandogletree.com 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

photos: David Bazemore

Special thanks to

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@ArtsAndLectures

photo: David Bazemore

We educate, entertain AND inspire.

This winter, the following artists and speakers will lead educational workshops, seminars and master classes throughout Santa Barbara

Artist workshops on campus:

Salman Khan, Culture Clash, Cloud Gate Dance Theatre, Cameron Carpenter, Silk Road Ensemble with Yo-Yo Ma, Sarah Koenig & Julie Snyder, Taylor Mac, Rosanne Cash, Jose Gonzalez & yMusic

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.

Artist workshops in the community*:

Monterey Jazz Festival On Tour, Juan Felipe Herrera, Lisa Fischer, Silk Road Ensemble with Yo-Yo Ma, Danish String Quartet

Special Community Event: RenĂŠe Fleming Master Class

WILLIAM H. KEARNS FOUNDATION Lynda Weinman & Bruce Heavin

MON, FEB 29 / 12 PM / LOBERO THEATRE

Revered soprano RenĂŠe Fleming will coach UCSB students in a special one-on-one intensive presented by Arts & Lectures and the UCSB Department of Music.

The class is open to public observation. Admission is free and available on a first-come first-served basis.

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

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Please Give Now! Because inspiring our community is essential.

photos left and right: David Bazemore

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

Because a great city deserves great art and ideas.

photos from left: Dizzy One Ventures, Dean Zatkowsky, David Bazemore

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

Because A&L membership yields great benefits.

A&L Council member Rich Janssen and A&L Ambassador Luci Janssen with Ray Chen and Julio Elizalde

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A&L Leadership Circle members Monica and Tim Babich with Troy “Trombone Shorty� Andrews

Support Arts & Lectures: (805) 893-2174

photos left and right: Kimberly Citro

Members-only events greatly enrich the experience of A&L programs.

Join A&L Today!

Leadership Circle $10,000+

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.

Plus all benefits of lower giving levels

Producers Circle $2,500+

Executive Producers Circle $5,000+

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

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

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Plus all benefits of lower giving levels

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

•• Complimentary glass of wine in the McCune

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

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

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

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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

Anonymous (4) Judy & Bruce Anticouni ◊ Jody M. & John P. 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 ‡

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

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

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* In Memoriam

Support Arts & Lectures: (805) 893-2174

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 Smith 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+) 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 M. & John P. Arnhold Meg & Dan Burnham Marcia & John Mike Cohen Audrey & Timothy O. Fisher Carla Hahn Eva & Yoel Haller Luci & Richard Janssen Ellen & Peter O. Johnson Santa Barbara Foundation Patricia & James Selbert Fredric E. Steck Heather & Tom Sturgess The Towbes Foundation

Gold ($25,000+) Arlene & Barrie Bergman Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg & The Cohen Family Fund 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 Sarah Argyropoulos Monica & Tim Babich Mary & Gary Becker Jill & Arnold Bellowe Sheila & Michael Bonsignore Nancy Brown Casa Dorinda Carolyn Chandler Curvature Barbara Delaune-Warren Christine & Robert Emmons Christine & Bill Fletcher Connie Frank & Evan Thompson Martha & John Gabbert 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 Sansum Medical Clinic Laura & Craig Shelburne Stephanie & James Sokolove The Stone Family Foundation Judy Wainwright & Jim Mitchell Bill Wayne in honor of Marsha* Wayne Westmont College Noelle & Dick Wolf Nicole & Kirt Woodhouse

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 November 15, 2015.

Executive Producer ($5,000+) Judy & Bruce Anticouni Pat & Evan Aptaker Laurel Beebe Barrack 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 Deckers Outdoor Corporation Deanna & Jim Dehlsen William J.J. Gordon Family Foundation Lisa & George Hagerman 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 Linda Kiefer-Roberts & Jerry Roberts Lisa Loiacono & Christopher Lloyd Mrs. James McIntyre ‡ Suzanne & Duncan Mellichamp Lynda & Mark Schwartz Nancy & Mike Sheldon Elva & Byron Siliezar Mark Sonnino Linda Stafford Burrows Barbara Stupay Leah & Robert Temkin William E. Weiss Foundation Susan & Bruce Worster Crystal & Clifford Wyatt Laura & Geofrey Wyatt

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

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Producers Circle ($2,500+) Anonymous (2) Roxana & Fred Anson Margo Baker Barbakow & Jeffrey Barbakow Kathleen Barry Hiroko Benko Celesta M. Billeci & John Hajda Vicky Blum & David Lebell Susan E. Bower Susan D. Bowey Maria Brant Karen & Peter Brill Michael Brinkenhoff Michele & Arnold Brustin Frank Burgess Elizabeth & Andrew Butcher Robin & Daniel Cerf Willy Chamberlin* ‡ Zora & Les Charles Vicki & Stephen Cherner Karla & Richard Chernick Mary & Richard Compton Trudy & Howard Cooperman William B. Cornfield Lilyan Cuttler & Ned Seder Ann Daniel Judy Dart Laurie Dean & Joe Medjuck Deanna & Jim Dehlsen Jane Delahoyde & Edwin Clark Phyllis DePicciotto & Stan Roden David W. Doner Jr., MD Ginni & Chad Dreier Cinda & Donnelley Erdman Doris & Tom Everhart Miriam & Richard Flacks Carole & Ron Fox Teri & Eric Gabrielsen Cindy & Robert Gelber Marianne & Paul Gertman Nancy & Michael Gifford Melinda Goodman Paul Guido & Stephen Blain Deirdre Hade & Will Arntz Laurie Harris & Richard Hecht Mary J. Harvey Linda Hedgepeth & Michael Millhollan Faith & Mel Henkin Andrea & Richard Hutton Jodie Ireland & Chris Baker Shari & George Isaac Sharyn Johnson Cheryl & G.L. Justice Linda & Sidney Kastner Susan Keller & Myron Shapero, M.D. Connie & Richard Kennelly

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Linda & Bill Kitchen ‡ Jill & Barry Kitnick Robert W. Kohn Carol Kosterka The Lapin Family Fund Diana & Carl Lasner The Lehrer Family Foundation Denise & George Lilly Marilyn Magid ‡ Maison K Siri & Bob Marshall ‡ 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 Val & Bob Montgomery Maryanne Mott Myra & Spencer Nadler Dale & Michael Nissenson Nancy & Doug Norberg Jan Oetinger Nancy Paley Joan Pascal & Ted Rhodes Dori Pierson & Chris Carter Anne & Michael Pless Stacy & Ron Pulice Lisa Reich & Robert Johnson Victoria Riskin & David W. Rintels Barbara & Dr. Raymond Robins Kyra & Tony Rogers Susan Rose & Allan Ghitterman ‡ 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 Susan & Howard Silver Judith & Lawrence Silverman Anita & Eric Sonquist ‡ Joan Speirs Carol Spungen & Aaron Lieberman Suzanne & John Steed Russell Steiner Pru & Rob Sternin Debra & Stephen Stewart Fiona Stone Mary Jo Swalley Denise & James S. Taylor Caroline & Steve Thompson

Patricia Toppel Ina Tornallyay Barbara & Samuel Toumayan Iona & Burton Tripathi Sandra & Sam Tyler Dianne & Daniel Vapnek Sherry & Jim Villanueva Mary Beth & Jim Vogelzang Sue & Bill Wagner Nancy Walker Koppelman & Larry Koppelman Kathleen & Will Weber Judith & Mort Weisman 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 Lyn & David H. Anderson Peggy & Steve Barnes Paul Blake & Mark Bennett Rochelle & Mark Bookspan Carol & E. Alan Brumberger Wendel Bruss Susan & Claude Case Yvon Chouinard & Malinda Pennoyer Drs. Susanne & J.W. Colin Jennifer & Jim Eby Nancy Englander & Harold Williams Olivia Erschen & Steve Starkey Cynthia & Thomas Frank Elizabeth Gaylord Joyce M. Greene Jane & Norman Habermann Anne & Houston Harte Cecia & Milt Hess Margaret Ingalls Mary & Thomas* Jacob Lisa & Scott Johnson John La Puma, M.D. Patricia Lambert & Frederick Dahlquist Alexandra Lamm & Tonia Simon Alicia Lancashire Shirley & Seymour Lehrer

Support Arts & Lectures: (805) 893-2174 @ArtsAndLectures

Linda & Richard Lynn Betsey Von Summer Moller & John Moller Almeda & J. Roger Morrison Nanette & Henry Nevins Pacific Rim Adventures, Inc ‡ Christopher Quilter Susannah E. Rake Julie & George Rusznak Lila & Joe* Scher Channing Soladar John Sonquist Lynne Sprecher Dale & Greg Stamos Jo Beth Van Geldern Alexis & Mike Weaver The Weidemann Foundation

Partner ($500+) Catherine Brozowski Rachel & Douglas Burbank Beth & Dodd Geiger Danson Kiplagat Genni Klein Elinor & James Langer Janice Toyo & David Levasheff Fima & Jere Lifshitz Lynn & Mel Pearl Colleen & Tony Premer Robin Rickershauser Christiane Schlumberger Diane & Charles Sheldon David Turpin Diana Woehle

Patron ($250+) Catherine Albanese Christine Allen & Gerald Jacobs Pamela Benham & Paul Hansma Linda & Peter Beuret Robert Brunswick Diana & Steve Charles Jo Ann Chase Annie & George Cheng Sally & Bob Corlett Barbara Lynn Degroot Edward S. DeLoreto Jeana Dressel, Ph.D. Ann & David Dwelley Rebecca Eldridge Peyton Evans Ghita Ginberg Susan Gwynne Douglas H. Harris Dr. Renee Harwick Laura Haston & Frank Davis Pamela & Russell Lombardo

Susan Matsumoto Donna & Ron Melville Ellicott Million Joan & William Murdoch Carol & Steve Newman Elizabeth F. & Charles A. Newman Kathlyn & William Paxton Deborah & Kenneth Pontifex Julie & Chris Proctor Gary R. Simpson Drs. Beverly & Michael L. Steinfeld Gail & David Teton-Landis Anne & Anson Thacher Jo Ellen & Thomas Watson Helayne & Ronald White

Friend ($100+) Anonymous (3) Diane Adam Caren Adelman Lynn & Joel Altschul Libby Appel Vickie Ascolese & Richard Vincent Bernadette Bagley Lisa Bass Ila Bayha John & Nan Bedford Norrine Besser Mary & John Blair Suzanne Tomlinson Brown & Peter Brown Drs. Paula & Thomas Bruice Janeen & James Cassidy Wilma & Burt Chortkoff Arthur Collier Ann Cady Cooper Thomas Dain Adrianne & Andrew Davis Gwen & Rodger Dawson Lila Deeds Victoria Dillon Barbara Ann Dobbs-White Elizabeth Downing & Peter Hasler Michael K. Dunn Margaret & Jerrold Eberhardt Priscilla & Jason Gaines Gail Gelles ‡ Linda & Robert Gruber Betty & Stan Hatch Lynda Healy Maren Henle Kristine Herr Geoffrey Hornby Gail & Stephen Humphreys M. Josef Istrin Hannah-Beth Jackson & George Eskin Sarah Jacobs Barbara & Donald Janelle

Mary Ann Jordan & Alan Staehle Whitney Kimmel Paula Kislak Kim Kosai Diane & Dan Krieger-Carlisle Carol & Don Lauer Jere & Fima Lifshitz Catherine & Wayne A. Lewis Alix-Ann Loveland & Tim Cardy Sherry & Craig Madsen Diana Magana Frances Shannon Marsh Sandra McCartney Julie McLeod Christine & James McNamara Ron Meyer Ronnie Morris Phyllis Myers Susan & Max Neufeldt Peter Passell Dennis Perry Sophia Reinders-Peterzell & Paul Peterzell Doris Phinney & Owen Patmor Minie C. & H.F. Pompe van Meerdervoort Albert Reid Leslie & Gary Robinson Adele Rosen Kent Schmidt Erlaine H. Seeger Rhonda & Larry Sheakley Cynthia Shilkret Barbara Silver Mary Sipes Janet & George Sirkin Dena Stein Louise & Raymond L. Stone Zoe Ann & Jeff Summers Doris Thome Marion & Frederick Twichell Mary Walsh John Warnock John W. Watson Theresa Yandell Anna & Don Ylvisaker *In Memoriam

Granting Organizations Albert & Elaine Borchard Foundation Cohen Family Fund of the Community Foundation for Southeast Michigan The James Irvine Foundation New England Foundation for the Arts’ National Dance Project National Endowment for the Arts Orfalea Foundation Santa Barbara County Arts Commission Santa Barbara Foundation UCSB Office of Academic Preparation William E. Weiss Foundation, Inc.

Arts & Lectures Endowments The Fund for Programmatic Excellence The Commissioning of New Work Fund The Education and Outreach Fund Beth Chamberlin Endowment for Cultural Understanding The Harold & Hester Schoen Endowment Sonquist Family Endowment

Beth Chamberlin Fund for Cultural Understanding Arts & Lectures would like to acknowledge those who have honored the late Willy Chamberlin with a gift to the Beth Chamberlin Endowment for Cultural Understanding.

Rebecca & Peter Adams Robert Brunswick Catharine Epperson of the Santa Barbara Sage Hens, Inc. Margaret & Donald Mahaney Sophia Reinders-Peterzell & Paul E. Peterzell Colleen & Tony Premer Maryan Schall Rosemary Talley

Arts & Lectures Staff Celesta M. Billeci, Miller McCune Executive Director Roman Baratiak, Associate Director Ashley Aquino, Administrative Assistant Meghan Bush, Director of Marketing & Communications Michele Bynum, Senior Artist Donovan Cardenas, Assistant Ticket Office Manager Rachel Crandall, Ticket Office Operations Analyst Kevin Grant, Business Analyst Alina Harper, Development Analyst Caitlin Karbula, Director of Development Janelle Kohler, Financial Analyst Mari Levasheff, Marketing Business Analyst Beatrice Martino, Performing Arts Coordinator Hector Medina, Development & Marketing Assistant Caitlin O’Hara, Senior Writer/Publicist Cathy Oliverson, Manager for Performing Arts & Educational Outreach Sandy Robertson, Senior Director of Development & Special Initiatives Heather Silva, Programming Manager

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

Thank You! Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

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

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Ms. Lisa Fischer & Grand Baton

photo: Djeneba Aduayom 2014

WED, FEB 17 / 8 PM / CAMPBELL HALL

Lisa Fischer, vocals JC Maillard, musical director, arranger, guitar, SazBass and backing vocals Thierry Arpino, drums & percussion Aidan Carroll, bass & backing vocals

Lisa Fischer is stepping into the spotlight at last. After four decades of singing background for icons like the Rolling Stones, Tina Turner, Chaka Khan and Nine Inch Nails, she offers her own humble, heartfelt song, accompanied by her inventive new band, Grand Baton.

Now, Fischer fronts her own band, Grand Baton, her ideal co-conspirators. The band’s organic fusion of African, Middle Eastern and Caribbean rhythms along with psychedelic soul and progressive rock awakens and ignites her flexibility and freedom of expression. “Collectively they bring amazing musicianship, hearts and souls and most importantly a sense of playfulness,” she says. “It’s a dream to be sonically surrounded with this kind of sensitivity and care.” The band has helped her realize her lifelong desire to make music that heals but still rocks the house. In performance, she draws from eclectic influences, whether putting her stamp on Led Zeppelin and Little Willie John or recasting rock anthems from her tours with the Stones and Tina Turner. While Fischer’s range is legendary, her greatest gift is the ability to connect; to reach the hearts of her listeners.

The unexpected success of the Academy Award-winning documentary Twenty Feet from Stardom (2013) altered the course of Fischer’s musical journey. The film told her story, complete with clips of her 1991 Grammy-winning R&B hit “How Can I Ease the Pain” and live footage of her legendary duets with Mick Jagger on “Gimme Shelter.” Alongside vocal trailblazers like Darlene Love and Merry Clayton, Fischer candidly discusses the delicate balance between life and career, success and challenges as well as the nuance of singing with other vocalists. It showcased her virtuosity and vulnerability, opened a window on her sometimes lonely life on the road, earned her a second Grammy and left audiences eager to see and hear more.

“Ms. Fischer has become the unexpected star of Mr. Neville’s film,” said The New York Times. “She’s the empress of that world,” music legend Patti Austin declared in the film. “That’s a powerhouse voice. I think of her as a star,” said Sting. Between her down-to-earth persona in interview footage, her vocal mastery in archival clips and her multi-tracked performance of Samuel Barber’s “Sure on This Shining Night,” Fischer moved viewers with her voice, her soft-spoken charm and her thought-provoking insights.

“This movie is going to make Lisa Fischer a star,” heralded music industry expert Bob Lefsetz. “And she deserves it, because she’s just that damn good.”

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Raised in the Fort Greene neighborhood of Brooklyn, Lisa emerged from New York’s fervent studio scene in the early-1980s and quickly became session singer royalty.

She paid her dues as a member of the Marvelettes before legendary vocalist Luther Vandross invited her to sing background with his touring band. He became her mentor and friend, nurturing her talent over a 20-year period until his untimely passing in 2005. During Fischer’s two decades working with Vandross, her voice also powered albums by a constellation of music legends, including Aretha Franklin, Bobby McFerrin, George Benson, Diana Ross, Laurie Anderson, Teddy Pendergrass, Dionne Warwick, Grover Washington, Billy Ocean, Melba Moore, Al Jarreau, Patti LaBelle and other major recording artists.

@ArtsAndLectures

Fischer joined the Rolling Stones on tour for the first time for their 1989 Steel Wheels tour and has graced their stage for 26 years. When the spotlight catches her singing with Mick Jagger, she is a quintessential rock and roll goddess, soaring above the band’s earthy groove. “It’s always a high point in the show for me,” says Jagger.

Coming in Spring!

In 1991, in the midst of touring with both the Stones and Luther Vandross, Fischer recorded a solo album, So Intense, for Elektra Records. The album featured Fischer’s songwriting collaborations with producer Narada Michael Walden on both the Top 10 R&B hit “Save Me” and the No. 1, Grammy-winning R&B single “How Can I Ease the Pain.” Fischer also won the Grammy for Best R&B Vocal Performance, Female, an honor she shared with Patti LaBelle, whose award-winning project Burnin’ also featured Fischer on background vocals.

photo: Alvin Ailey American Dance Theater’s Rachael McLaren. Photo by Andrew Eccles

Whether fronting her own band or supporting other artists, Fischer’s passion for music in all its forms leads her to constant growth and experimentation with different styles. She recorded the title track for Billy Childs’ all-star tribute to Laura Nyro, Map to the Treasure (2014), collaborated with Yo-Yo Ma and Gregory Porter and co-created music with JC Maillard for the Alonzo King LINES Ballet. “It’s an exciting new chapter for an artist who had early career success but eschewed the trappings of celebrity in favor of the satisfaction of making honest music every night,” Broadway World observes. With spiritual truth-telling as her compass and loving kindness as her guide, Ms. Lisa Fischer is on a creative journey, destination unknown. “Inspiration is all around,” Fischer said in an interview with New York’s Daily News. “My heart is wide open and I’m in love with the thought of singing to anyone who wishes to listen.”

Special thanks to

(805) 893-3535

APRIL

2 Grupo Corpo 3 National Geographic Live: Nizar Ibrahim

5 Jennifer Koh, violin & Shai Wosner, piano

7 David Gergen

11 Anoushka Shankar 12&13 Alvin Ailey® American Dance Theater

14 Boban and Marko Marković Orchestra

16 An Afternoon with Conan O’Brien

17 Rhythmic Circus, Feet Don’t Fail Me Now!

18 Bryan Stevenson

23 Calder Quartet

27 Cécile McLorin Salvant

MAY

1 David Sedaris 2 Yuja Wang, piano 10 Temple Grandin

www.ArtsAndLectures.UCSB.edu

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The Silk Road Ensemble with Yo-Yo Ma

Yo-Yo Ma, Artistic Director Joseph Gramley, Associate Artistic Director photo: Todd Rosenberg

SUN, FEB 21 / 7 PM / GRANADA THEATRE MON, FEB 22 / 8 PM / GRANADA THEATRE

Kinan Azmeh, clarinet Jeffrey Beecher, bass Mike Block, cello Nicholas Cords, viola Sandeep Das, tabla

Event Sponsor: Lady Leslie Ridley-Tree

Chris Froh, percussion (Feb 21) Haruka Fujii, percussion Johnny Gandelsman, violin Joseph Gramley, percussion Kayhan Kalhor, kamancheh and setar

Yo-Yo Ma, cello Cristina Pato, gaita, piano Shane Shanahan, percussion Kojiro Umezaki, shakuhachi Michi Wiancko, violin

About the Silk Road Ensemble Since 2000 the Silk Road Ensemble has been redefining music for 21st-century audiences. Formed by Yo-Yo Ma as a way of bringing together performers and composers from around the world, the ensemble continues to break new ground. The group has been called “vibrant and virtuosic” by the Wall Street Journal, “one of the 21st century’s great ensembles” by the Vancouver Sun, and a “roving musical laboratory without walls” by the Boston Globe.

The Silk Road Ensemble performers and composers hail from more than 20 countries. Passionate about learning from one another’s traditions and incorporating them into their own artistic voices, these rooted explorers co-create art, performance and ideas. Through engaging, high-energy programs, the Silk Road Ensemble draws on a rich tapestry of traditions that make up our shared cultural heritage, creating a new musical language – an engaging and accessible encounter between the familiar and the previously unknown.

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Throughout Asia, Europe and North America, the Silk Road Ensemble has performed for more than 1.8 million people and in some of the world’s most lauded venues, including Carnegie Hall, Suntory Hall, the Concertgebouw and the John F. Kennedy Center for the Performing Arts. Ensemble performances have also highlighted the Nobel Prize celebrations in Stockholm, the Sir Bani Yas Forum in the United Arab Emirates, the Special Olympics in Shanghai, the Lucerne Festival in Switzerland and London’s BBC Proms.

The group has recorded six albums. Their new album, Sing Me Home, will be released in April 2016. The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble, a documentary about musicians from the Silk Road Ensemble by Academy Award-winning filmmaker Morgan Neville (20 Feet from Stardom), premiered at the Toronto Film Festival in September 2015 and had its European premiere at the Berlin Film Festival on February 15, 2016. The film will be released in theaters in June 2016.

@ArtsAndLectures

About Silkroad

Mon, Feb 22 Program

Inspired by his curiosity about the world and eager to forge connections across cultures, disciplines and generations, cellist Yo-Yo Ma founded the nonprofit organization Silkroad in 1998. Through Silk Road Ensemble performances, the creation of new music and programs for educators and teaching artists, Silkroad is committed to exploring the role of the arts in fostering cross-cultural understanding, deepening learning and promoting innovation.

With a conviction that by exploring our differences we enrich our humanity, this community of globally minded artists, passionate learners and cultural entrepreneurs strives to create unexpected connections, collaborations and communities in pursuit of meaningful change. Recognizing every tradition as the result of successful innovation, Silkroad works at the edge where education, business and the arts come together to spark new ways of looking at our world.

Kinan Azmeh: Ibn Arabi Postlude Giovanni Sollima: Taranta Project ‡ Traditional Galician and Edward Perez: The LATINA 6/8 Suite ‡‡ I. Tarantella-Muiñeira II. Tanguillo: The High Seas III. Joropo-Festejo: Muiñeira de Chantada IV. Fandango: Prueba de Fuego - Intermission Sandeep Das, Kayhan Kalhor, Kinan Azmeh, Mike Block: Chaugalbundi

Sun, Feb 21 Program

Cristina Pato: Caronte

Cristina Pato, Kojiro Umezaki: Vojo

Sandeep Das, Kojiro Umezaki: If you shall return…

Traditional Malian, arr. Shane Shanahan: Ichichila

Kinan Azmeh, Jeffrey Beecher: Syrian improvisation

John Zorn, arr. Cristina Pato: Khabiel, from Book of Angels *

Michio Mamiya: Finnish Folk Songs III. Miero vuotti uutta kuuta V. Joiku

Osvaldo Golijov: Night of the Flying Horses David Bruce: Move the Earth, from Cut the Rug ** Sandeep Das, arr. Matt Small: King Ashoka *** (world premiere)

Kayhan Kalhor, arr. Ljova: Parvaz Traditional Japanese and Kojiro Umezaki: Tsuru no sugomori (Nesting Crane)

- Intermission -

Traditional Persian, arr. Siamak Aghaei, Colin Jacobsen: Ascending Bird

Kojiro Umezaki: Tsuru no Ongaeshi (Repayment from a Crane)

‡ Commissioned by Silkroad ‡‡ Arrangement commissioned by Silkroad based on an idea by Cristina Pato for her LATINA project

Glenn Kotche: Mille Etoiles (world premiere) **

Miero vuotti uutta kuuta appears on Silk Road Journeys: When Strangers Meet (Sony Classical).

Kinan Azmeh: Wedding

If you shall return... appears on Sing Me Home, scheduled for release in Spring 2016 (Sony Classical). Pre-­order is available; please visit www.silkroadproject. org for more information about the album and the Ensemble.

* Arrangement commissioned by Silkroad ** Commissioned by Silkroad *** Commissioned anonymously for Silkroad Night of the Flying Horses appears on ‘New Impossibilities’ (Sony Classical).

(805) 893-3535

Like what you hear? Follow @silkroadproject on Facebook, Instagram, and Twitter or visit www.silkroadproject.org/concerts. Subscribe to be the first to hear about all our activities and future performances.

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A Message from Yo-Yo Ma

A Message from Laura Freid

Artistic Director and Founder, Silkroad

CEO and Executive Director, Silkroad

Culture Matters

A Silk Road for Our Time

Culture gives us the tools we need to understand the world beyond ourselves. It helps us to make sense of who we are and how we relate to one another. Culture helps us express ideas that have enormous importance for society, but at the scale of an individual human being.

In the Silk Road Ensemble, we acknowledge that every cultural tradition is the product of innovation, and that much of that innovation comes from unexpected connections and encounters. I’m delighted that our own encounters have allowed our performers to compose and arrange much of the music we will play for you tonight. Our curiosity about each other’s traditions has produced a program whose sources of inspiration span the globe, from Japan to Syria, and with a few unexpected stops in between.

I am tremendously thankful for the opportunity to undertake this work with friends and audiences who share our conviction that – today more than ever – culture matters.

Yo-Yo Ma

When Yo-Yo Ma formed the Silk Road Ensemble in 2000, there was no music for unusual combinations of instruments like violin, cello, Chinese pipa, Persian kamancheh and Indian tabla. So we traveled the world to find composers who were excited to join us in a new way of making music. Today the Silk Road Ensemble has performed new works for more than 1.8 million people on three continents. I think one of the reasons audience members respond so powerfully to Silk Road Ensemble concerts is that our music tells a story. In performance, we share our identities, express our values and respond to the world around us. photo: Constance Brown

photo: Jason Bell

Throughout my travels around the world, I have met and been guided by musicians who, like my Silk Road Ensemble colleagues, share my wonder at the creativity that exists where cultures intersect. The joy we have when encountering and learning from other perspectives is one reason we are so pleased to share our stories and music with all of you here in California.

This spring, our new documentary film The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble will be released in theaters. The musicians’ life stories give us powerful and poignant responses to the question, “Why does culture matter?” While this inquiry is complicated, one answer is very simple. Culture matters because it gives our lives meaning.

While we may come from different traditions and backgrounds, music, art and literature help us to develop the empathy and imagination to transcend our own experience and connect with the unfamiliar – a critical ability at a time when our greatest challenges require solutions that are bigger than one group of people or one country.

At Silkroad, we aspire to be a catalyst for cultural citizenship.

We want to model the ways that culture can be a force for positive change and, most of all, to help others tap into this transformative power. We are excited to be back in California and hope that you will enjoy your musical journey tonight.

We also want to thank our generous supporters who share our belief that culture matters, including our Lead Sponsor, Hyosung Corporation.

Please share your thoughts about why culture matters to you, using #culturematters. You can find us @silkroadproject on Facebook, Twitter and Instagram, or email us at laura@silkroadproject.org. We look forward to hearing from you.

Laura Freid

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@ArtsAndLectures

Tour Management Mary Pat Buerkle, Senior Vice President Manager, Artists & Attractions Opus 3 Artists

CURIOSITY. GENEROSITY. FLEXIBILITY. COMMUNICATION. The qualities that make a great performance are the same qualities that can change our world for the better.

Silkroad Laura Freid, CEO/executive director Cristin Canterbury Bagnall, director of artistic and learning programs Julie DeBenedictis, executive assistant Liz Keller-Tripp, artistic administrator Christopher Marrion, deputy director Jessica Shuttleworth, digital media and events specialist Ed Sweeney, comptroller and business manager Lori Taylor, education specialist Production Jody Elff, sound engineer Lisa Porter, stage manager John Torres, lighting designer Elijah Walker, monitor engineer 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

“The arts teach us that we are all connected by something greater than ourselves.”

– Yo-Yo Ma

We are deeply grateful to the friends, partners, and colleagues who share our vision of a world transformed through the arts and are committed to making it a reality.

Special thanks to

Corporate Sponsor of Silkroad

While in residence, The Silk Road Ensemble will lead intensive discussions, workshops and master classes, bringing together scholars from diverse disciplines to share ideas and inspiration for professional and personal development. Select outreach events will be open to public observation. Details to be posted at www.ArtsAndLectures.UCSB.edu.

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www.ArtsAndLectures.UCSB.edu

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Renée Fleming, soprano photo: Decca/Timothy White

SUN, FEB 28 / 2 PM / CAMPBELL HALL

Event Sponsors: Audrey & Tim Fisher Eva & Yoel Haller With additional support from: Heather & Tom Sturgess

Renée Fleming, soprano One of the most beloved and celebrated musical ambassadors of our time, soprano Renée Fleming captivates audiences with her sumptuous voice, consummate artistry and compelling stage presence. At a White House ceremony in 2013, the President awarded her the National Medal of Arts, America’s highest honor for an individual artist. Known as “the people’s diva” and winner of the 2013 Grammy Award for Best Classical Vocal Solo, she continues to grace the world’s greatest opera stages and concert halls, now extending her reach to include other musical forms and media. Over the past few seasons, Fleming has hosted a wide variety of television and radio broadcasts, including the Metropolitan Opera’s Live in HD series for movie theaters and television and Live From Lincoln Center on PBS. She brought her voice to a vast new audience in 2014 as the first classical artist ever to sing the National Anthem at the Super Bowl.

As a musical statesman, Fleming has been sought after on numerous distinguished occasions, from the 2006 Nobel Peace Prize ceremony to performances in Beijing during the 2008 Olympic Games. In 2014 she sang in the televised concert at the Brandenburg Gate to commemorate the 25th anniversary of the fall of the Berlin Wall. In 2012, in an historic first, she sang on the balcony of Buckingham Palace in the Diamond Jubilee Concert for HM Queen Elizabeth II. An additional distinction was bestowed in 2008 when, breaking a precedent, Fleming became the first woman in the 125-year history of the Metropolitan Opera to solo headline an opening night gala.

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Fleming was seen as Countess Madeleine in Strauss’s Capriccio at Lyric Opera of Chicago, under the baton of Sir Andrew Davis and conductor Christian Thielemann at the Semperoper Dresden in 2014. On New Year’s Eve of 2015, she sang the title role in a new production of Lehar’s The Merry Widow at the Metropolitan Opera and performed the role again in November at the Lyric Opera of Chicago. Last April, she made her Broadway debut as an actress in the comedy Living on Love, for which she was nominated for a Drama League Award.

Fleming’s recital and concert schedule in recent years has spanned the globe, including Rio de Janeiro, Buenos Aires, Bogota, Sydney, Paris, Geneva, London, Vienna, Hong Kong, Beijing and Taipei. In 2013 she joined with the John F. Kennedy Center for the Performing Arts to present American Voices, a concert and 3-day festival celebrating the best American singing in all genres. The festival was the subject of a Great Performances documentary on PBS in January of 2015.

Known for bringing new audiences to classical music and opera, Fleming has sung not only with Luciano Pavarotti and Plácido Domingo but also with Elton John, Sting, Lou Reed, Josh Groban, Joan Baez and even the Muppets.

A four-time Grammy winner, Fleming won the 2013 Best Classical Vocal Solo Grammy Award for Poèmes, a collection of 20th-Century French music, including works composed especially for her by Henri Dutilleux. Her first-ever holiday album Christmas in New York, was released by Decca in October of 2014. Also last year, she was featured with Yo-Yo Ma on the Billy Childs album, Map to the

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Treasure: Reimagining Laura Nyro, their track “New York Tendaberry” winning the Grammy for Best Arrangement, Instruments and Vocals. In 2010 Decca and Mercury records released the CD Dark Hope, which features Fleming covering songs by indie-rock and pop artists. In recent years, this 14-time Grammy nominated artist has recorded everything from Strauss’s complete Daphne to the jazz album Haunted Heart to the movie soundtrack of The Lord of the Rings: The Return of the King. Her recent opera DVDs include Strauss’s Arabella and Ariadne auf Naxos and Donizetti’s Lucrezia Borgia. Other recent DVD releases include Lehar’s The Merry Widow, Handel’s Rodelinda, Massenet’s Thaïs and Rossini’s Armida, all three in the Metropolitan Opera Live in HD series, and Verdi’s Traviata, filmed at London’s Royal Opera House.

Among Fleming’s numerous awards are the Fulbright Lifetime Achievement Medal; Sweden’s Polar Prize; the Chevalier de la Légion d’Honneur from the French government; Honorary Membership in the Royal Academy of Music; and honorary doctorates from Harvard University, Duke University, Carnegie Mellon University, the Eastman School of Music and The Juilliard School.

In 2010 Fleming was named the first-ever Creative Consultant at Lyric Opera of Chicago, where she is also a member of the Board and a Vice President. She is currently a member of the Board of Trustees of the Carnegie Hall Corporation, the Board of Sing for Hope, the Board of Trustees of Asia Society and the Artistic Advisory Board of the Polyphony Foundation, which works to bridge the divide between Arab and Jewish communities in Israel by creating a common ground where young people come together around classical music. www.reneefleming.com Renée Fleming appears by arrangement with IMG Artists www.imgartists.com (212) 994-3500 Ms. Fleming is an exclusive recording artist for Decca and Mercury Records (UK) Ms. Fleming’s jewelry is by Ann Ziff for Tamsen Z Special thanks to

Gerald Martin Moore, piano Gerald Martin Moore is a highly sought-after singing teacher and a vocal consultant. He has worked closely with Renée Fleming for many years since first collaborating on the production of Alcina with William Christie at the Palais Garnier in Paris. He then went on to work with Fleming on many subsequent roles, Decca recordings and recitals, and he toured South America with her in 2012. Other leading artists he has prepared for roles and recordings include Natalie Dessay, Joyce DiDonato, Marie McLaughlin, Elīna Garanča, and Sarah Connolly. He has worked in such houses as Covent Garden, La Scala, the Metropolitan Opera, Aix-en-Provence, Edinburgh and Glyndebourne Festival, San Francisco, Opéra Bastille, Champs-Élysées and Châtelet in Paris.

An authority on vocal technique, Gerald is a regular broadcaster and was honored with an hour-long special interview on BBC Radio 3’s Voices, focused particularly on American singers and child stars. For OPERA magazine, he interviewed Beverly Sills on the technique of coloratura singing. Gerald may currently be heard as a regular host of the Metropolitan Opera Quiz. He is also in demand as a judge for prestigious vocal competitions, including the Metropolitan Opera regional auditions.

In addition to voice teaching, Gerald has assisted William Christie and Les Arts Florissants, preparing the soloists for productions and recordings. He similarly assisted Sir Charles Mackerras at the Edinburgh Festival for Mozart’s Idomeneo and La Clemenza di Tito, Donizetti’s Maria Stuarda, together with Rossini’s Zelmira, Adelaide di Borgogna and La Donna del Lago conducted by Maurizio Benini. As a specialist in ornamentation, Gerald has composed countless embellishments for leading singers, notably in his role as vocal consultant to Opera Rara and Decca. An additional area of specialty is the neglected French repertoire of Delibes, Thomas, Gounod, Meyerbeer, and Massenet.

Gerald is featured as a vocalist with soprano Rebecca Caine in a cabaret evening they created and recorded as an album, celebrating legendary stars of the British musical stage, entitled Leading Ladies. He has performed before such dignitaries as President Obama and the First Lady, President Clinton and Secretary of State Hillary Clinton, HRH Prince Charles, Justice Ruth Bader Ginsburg and UN Secretary General Kofi Annan.

(805) 893-3535

www.ArtsAndLectures.UCSB.edu

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Danish String Quartet TUE, MAR 1 / 7 PM / CAMPBELL HALL

Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello Co-presented with the UCSB Department of Music

Education Sponsor: Sonquist Family Endowment

Program

About the Program

Beethoven: String Quartet in B-flat Major, op. 18, no. 6 Allegro con brio Adagio, ma non troppo Scherzo: Allegro Adagio: “La Malinconia”; Allegretto quasi Allegro

Ludwig van Beethoven (1770-1827): String Quartet in B-flat Major, op. 18, no. 6

Janáček: String Quartet No. 1 (“The Kreutzer Sonata”) Adagio; Con Moto Con Moto Con Moto Con Moto - Intermission Mendelssohn: String Quartet in A Minor, op. 13 Adagio; Allegro vivace Adagio non lento Intermezzo: Allegretto con moto Presto 50

Beethoven worked for two years on his first string quartets, completing that cycle of six in 1800, the year he also composed his First Symphony. While the quartets were not composed in the order they were published, the sixth of the set was in fact the last to be written, and it shows a number of unusual features. This is a quartet that grows more interesting as it proceeds – Beethoven was apparently experimenting here with making the finale a weightier and more significant conclusion than the usual high-spirited rondo of classical form.

Such a shift in emphasis inevitably means that the first movement – which establishes the character of a piece of music – will seem less important, and Philip Radcliffe has called the opening Allegro con brio of this quartet “lightweight” and “superficially Haydnesque.” Yet it is hard to dislike this spirited opening movement, with its propulsive exchanges between first violin and cello and its endless energy. The movement is remarkably short – its brevity is one of Beethoven’s ways of de-emphasizing its importance – and the development is concerned almost exclusively with the opening theme. The first violin lays out the elegant main melody of the Adagio, ma non troppo

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(the first violin has an unusually prominent part in this quartet), and this idea develops through a lengthy elaboration. The third movement is a scherzo rather than the minuet of the high-classical string quartet, and this one is full of cross-rhythms, as Beethoven sets three beats against two; the skittering trio belongs almost entirely to the first violin before a quick bridge in B-flat minor leads back to the scherzo.

The finale opens with a long Adagio that Beethoven calls “La Malinconia.” The source of this melancholy is unclear.

It does not seem to reflect anything in Beethoven’s own life – perhaps it is a generalized expression of an emotional pose. The composer stresses that it should be played “with the greatest delicacy,” and this remarkable music proceeds through unexpected modulations and sharp dynamic contrasts before leading without pause into the sparkling main section of the finale, marked Allegretto quasi Allegro.

This music, in a quick 3/8 meter, has some of the feel of a waltz, and once again the first violin does most of the dancing. Beethoven brings back several reminiscences of “La Malinconia” near the close, but the music finally dashes to its close on the sunny waltz music, now accelerated to a Prestissimo.

Leoš Janáček (1854-1928): String Quartet No. 1 (“The Kreutzer Sonata”) Czech composer Leoš Janáček labored for years in obscurity. And at the time of his sixtieth birthday in 1914 he was known only as a choral conductor and teacher who had achieved modest success with a provincial production of his opera Jenufa ten years earlier. Then in 1917 came a transforming event. The aging composer fell in love with Kamila Stösslová, a 25-year-old married woman and mother of a small child. This one-sided love affair was platonic – Kamila was mystified by all this passionate attention, though she remained an affectionate and understanding friend. But the effect of this love on Janáček was staggering: over the final decade of his life he wrote four operas, two string quartets, the Sinfonietta, the Glagolitic Mass, and numerous other works, all in some measure inspired by his love for Kamila (he also wrote her over 600 letters).

Not surprisingly, Janáček became consumed in these years with the idea of women: their charm, their power, and the often cruel situations in which they find themselves trapped by love. The theme of a woman who makes tragic decisions about love is portrayed dramatically in the opera Katya Kabanova (1921) and abstractly in his two string quartets. The second of these quartets, subtitled “Intimate Pages,” is a direct expression of his love for Kamila, while

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the first, subtitled “The Kreutzer Sonata,” takes its inspiration from Tolstoy’s novella of the same name. In Tolstoy’s story, a deranged man tells of his increasing suspicion of his wife, who is a pianist, and the violinist she accompanies in a performance of Beethoven’s Kreutzer Sonata. He returns home unexpectedly, finds them together, and stabs his wife to death.

Working very quickly in the fall of 1923, Janáček composed a string quartet inspired by Tolstoy’s story (the actual composition took only nine days: October 30-November 7). A few days before the premiere of the quartet in 1924, Janáček wrote to Kamila, telling her that the subject of his quartet was “the unhappy, tormented, misused and ill-used woman as described by the Russian writer Tolstoy in his work, The Kreutzer Sonata.” Janáček’s biographer Jaroslav Vogel reports that the second violinist at the premiere (who was in fact the composer Joseph Suk) said that “Janáček meant the work to be a kind of moral protest against men’s despotic attitude to women.”

Listeners should be wary of trying to hear exact representations of these ideas in the quartet, for this is not music that explicitly tells a story. Some have claimed to hear an elaborate “plot” in this music, but it is much more useful to approach the First String Quartet as an abstract work of art that creates an agitated, even grim atmosphere.

Listeners should also not expect the normal structure of the classical string quartet. Janáček’s late music is built on fragmentary themes that develop through repetition, abrupt changes of tempo and mood, and an exceptionally wide palette of string color. The opening movement alternates Adagio and Con moto sections, and the other three movements, all marked Con moto, are built on the same pattern of alternating sections in different speeds, moods, and sounds. There are several striking touches: the arcing melodic shape heard in the first measures of the quartet will return throughout (the quartet ends with a variation of this figure), while the opening of the third movement is a subtle quotation from the Kreutzer Sonata of Beethoven, a composer Janáček disliked. Throughout the span of the eighteen-minute quartet, the music gathers such intensity that its subdued ending comes as a surprise.

Janáček’s performance markings in the score are particularly suggestive: by turn he asks the players to make the music sound “grieving,” “weeping,” “sharp,” “lamenting,” “desperate,” “lugubrious,” and – at the climax of the final movement – “ferocious.” One does not need to know Janáček’s markings, however, to feel the intensity of this music.

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Felix Mendelssohn (1809-1847): String Quartet in A Minor, op. 13

the second movement is heard briefly, and the quartet ends with the heartfelt music that opened the first movement.

Mendelssohn turned 18 early in 1827, a year that was important for many reasons. Already the composer of two masterpieces – the Octet (1825) and the Overture to A Midsummer Night’s Dream (1826) – Mendelssohn spent the summer on a walking tour of the Harz Mountains in central Germany and in the fall entered the University of Berlin, where he attended Hegel’s lectures. One other event from 1827 had a profound effect on the young composer: Beethoven died on March 26.

What are we to make of the many references to Beethoven’s late quartets in this quartet by the teenaged Mendelssohn? Are they slavish imitation? The effort of a young man to take on the manner of an older master? An act of homage? There may be no satisfactory answers to these questions, but Mendelssohn’s Quartet in A Minor – the work of an extremely talented young man still finding his way as a composer – is accomplished music in its own right: graceful, skillfully made, and finally very pleasing.

Mendelssohn never met Beethoven – he had grown up in northern German cities, far from Vienna where Beethoven lived the final 35 years of his life. But the young composer regarded Beethoven as a god. In the fall of 1827, only months after Beethoven’s death, Mendelssohn wrote his String Quartet in A Minor. This quartet seems obsessed by the Beethoven quartets, both in theme-shape and musical gesture, and countless listeners have wondered about the significance of these many references.

Program notes by Eric Bromberger

About the Quartet

The Quartet in A Minor opens with a slow introduction.

This Adagio, which evokes memories of Beethoven’s Quartet in A Minor, Opus 132, also quotes one of Mendelssohn’s own early love-songs, “Ist es wahr?” and that song’s principal three-note phrase figures importantly in the first movement. The music leaps ahead at the Allegro vivace, and Mendelssohn’s instructions to the players indicate the spirit of this music: agitato and con fuoco.

The second movement also begins with a slow introduction, an Adagio that has reminded some of the Cavatina movement of Beethoven’s String Quartet in B-flat Major, Opus 130; the main body of the movement is fugal, based on a subject that appears to be derived from Beethoven’s String Quartet in F Minor, Opus 95.

Embodying the quintessential elements of a chamber music ensemble, the Danish String Quartet has established a reputation for their integrated sound, impeccable intonation and judicious balance. With their technical and interpretive talents matched by an infectious joy for music-making and ”rampaging energy” (Alex Ross, The New Yorker), the quartet is in demand worldwide by concert and festival presenters alike. Since making their debut in 2002 at the Copenhagen Festival, the group of musical friends has demonstrated a passion for Scandinavian composers, whom they frequently incorporate into adventurous contemporary programs, while also proving skilled and profound performers of the classical masters. In 2012 The New York Times selected the quartet’s concert as a highlight of the year, saying the performance featured “one of the most powerful renditions of Beethoven’s Opus 132 String Quartet that I’ve heard live or on a recording.” This scope of talent secured them a three-year appointment in the coveted Chamber Music Society of Lincoln Center’s CMS Two Program that began in the 2013-14 season. The quartet was also named as a BBC Radio 3 New Generation Artist for 2013-15.

The charming Intermezzo is the one “non-Beethoven” movement in the quartet. In ABA form, it opens with a lovely violin melody over pizzicato accompaniment from the other voices; the center section (Allegro di molto) is one of Mendelssohn’s fleet scherzos, and he combines the movement’s principal themes as he brings it to a graceful close. The sonata-form finale opens with a stormy recitative for first violin that was clearly inspired by the recitative that prefaces the finale of Beethoven’s String Quartet in E-flat Major, Opus 127. Not only does Mendelssohn evoke the memory of several Beethoven quartets in this finale, but at the very end he brings back quotations from this quartet’s earlier movements: the fugue subject from

The Danish String Quartet’s 2015-16 season includes a release of their debut disc on ECM Records, a first-time tour of China as well as summer performances at the Mostly Mozart Festival, Maverick Concerts, Cape Cod Chamber Music Festival, Toronto Summer Music Festival and Ottawa Chamberfest. International highlights include concerts in Berlin, Copenhagen, Glasgow, London and a debut at the Louvre Museum in Paris. With increasing popularity, the Danish String Quartet is considered one of the most sought after chamber ensembles in the world. Their repertoire is diverse, including Nielsen, Abrahamsen, Adès, Shostakovich, Beethoven, Mendelssohn, Debussy and Haydn. Currently in their third season with the CMS Two program, they will

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perform all four of the Nielsen String Quartets in the Rose Studio and the final concert of a six-concert Beethoven cycle at Alice Tully Hall. In November 2014, the quartet launched their recording of Danish folk songs entitled Wood Works, released by the Dacapo label and distributed by Naxos, at SubCulture in New York. It was selected by NPR as one of the best classical albums of 2014 and the Quartet was featured on a NPR Tiny Desk Concert performing works from the highly acclaimed album.

In addition to their New York performances, the quartet’s robust North American schedule takes them to Ann Arbor, Seattle, Orange County, Santa Barbara, Phoenix, Buffalo, Durham, Humboldt, Cedar Falls and Calgary this season, as well as two weeks of residency activities and performances at the University of California, Berkeley. The quartet will make their debut at the Savannah Music Festival in spring 2016. Last season the quartet presented the U.S. premiere of Danish composer Thomas Agerfeldt Olesen’s Quartet No. 7, “The Extinguishable,” at the University of Chicago Presents series and subsequently performed the work in St. Paul, Santa Barbara, Pasadena, New Haven, Gainesville, Jacksonville and Laramie. In addition to its commitment to highlighting Scandinavian composers, the Danish String Quartet derives great pleasure in traditional Scandinavian folk music.

The Danish String Quartet made their west coast debut in summer 2013 at Music@Menlo, described by San Francisco Classical Voice as “A concert of one ravishing performance after another, culminating in the Beethoven, weaving magic over the full house, which gave a genuine standing ovation to the quartet, not one of those half-hearted crouching applauses. No, this was very real, really loud, and more than well-deserved.” They returned to Menlo in 2014 to perform programs of Haydn and Beethoven quartets as part of a busy summer festival schedule that also included performances in Ireland, France and at home in Denmark.

Since winning the Danish Radio P2 Chamber Music Competition in 2004, the quartet has been greatly desired throughout Denmark and in October 2015 they presented the ninth annual DSQ-Festival, a four-day event held in Copenhagen that brings together musical friends the quartet has met on its travels. In 2009 the Danish String Quartet won First Prize in the 11th London International String Quartet Competition, as well as four additional prizes from the same jury. This competition is now called the Wigmore Hall International String Quartet Competition, and the Danish String Quartet has performed at the famed hall on several occasions. They returned to Wigmore Hall in March 2015 to perform a program of Haydn and Shostakovich.

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The Danish String Quartet was awarded First Prize in the Vagn Holmboe String Quartet Competition and the Charles Hennen International Chamber Music Competition in Holland and the Audience Prize in the Trondheim International String Quartet Competition in 2005. They were awarded the 2010 NORDMETALL-Ensemble Prize at the Mecklenburg-Vorpommern Festival in Germany and, in 2011, received the prestigious Carl Nielsen Prize.

In 2006 the Danish String Quartet was Danish Radio’s Artist-in-Residence, giving them the opportunity to record all of Carl Nielsen’s string quartets in the Danish Radio Concert Hall, subsequently released to critical acclaim on the Dacapo label in 2007 and 2008. The New York Times review said “These Danish players have excelled in performances of works by Brahms, Mozart and Bartok in New York in recent years. But they play Nielsen’s quartets as if they owned them.” In 2012 the Danish String Quartet released an equally-acclaimed recording of Haydn and Brahms quartets on the German AVI-music label. Anthony Tommasini of The New York Times said: “What makes the performance special is the maturity and calm of the playing, even during virtuosic passages that whisk by. This is music making of wonderful ease and naturalness.” They recorded works by Brahms and Fuchs with award-winning clarinetist Sebastian Manz at the Bayerische Rundfunk in Munich, released by AVI-music in 2014, and recently signed with ECM Records for future recording projects.

Violinists Frederik Øland and Rune Tonsgaard Sørensen and violist Asbjørn Nørgaard met as children at a music summer camp where they played both football and music together, eventually making the transition into a serious string quartet in their teens and studying at Copenhagen’s Royal Academy of Music. In 2008 the three Danes were joined by Norwegian cellist Fredrik Schøyen Sjölin. The Danish String Quartet was primarily taught and mentored by Professor Tim Frederiksen and have participated in master classes with the Tokyo and Emerson String Quartets, Alasdair Tait, Paul Katz, Hugh Maguire, Levon Chilingirian and Gábor Takács-Nagy. www.danishquartet.com The Danish String Quartet has recorded for ECM, DaCapo and CAvi-Music/BR Klassik Exclusive Representation: Kirshbaum Associates Inc. 711 West End Avenue, Suite 5KN New York, NY 10025 www.kirshbaumassociates.com

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An Evening with

photo credit: UNICEF/HQ01-0123/ Nicole Toutounji

Sebastião Salgado

in conversation with Pico Iyer WED, MAR 2 / 8 PM / ARLINGTON THEATRE

Event Sponsors: Lynda Weinman & Bruce Heavin With support from our Community Partner the Orfalea Family

About Sebastião Salgado For the last 40 years, Salgado has been traveling through the continents, in the footsteps of an ever-changing humanity. He has witnessed some of the major events of our recent history, including international conflicts, starvation and exodus. Salgado has traveled in over 100 countries for his photographic projects. Most of the resulting work, besides appearing in numerous publications, has been presented in books, such as Other Americas (1986), Sahel: The End of the Road (1988), Workers (1993), Terra (1997), Migrations and Portraits (2000), Africa (2007) and his most recent project, Genesis (2013). Touring exhibitions of his work are presented throughout the world.

In 2004 Sebastião Salgado began his Genesis project, aiming to present the unblemished faces of nature and humanity. It consists of a series of photographs of landscapes and wildlife, as well as of human communities that continue to live in accordance with their ancestral traditions and cultures. This body of work is conceived as a potential path to humanity’s rediscovery of itself in nature.

While creating Genesis, Salgado was the subject of The Salt of the Earth, the Academy Award-nominated documentary

by Wim Wenders and co-directed by Salgado’s son Juliano Ribeiro Salgado. The film documents Salgado as he embarked on the discovery of pristine territories, of wild fauna and flora and of grandiose landscapes as part of his huge photographic tribute to the planet’s beauty.

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Sebastião Salgado was born on February 8th, 1944 in Aimorés, in the state of Minas Gerais, Brazil. He now lives in Paris, where he began his career as a professional photographer in 1973. He worked with the photo agencies Sygma, Gamma and Magnum Photos until 1994, when he and his wife, Lélia Wanick Salgado, formed Amazonas Images, an agency created exclusively for his work.

Together, Lélia and Sebastião Salgado have worked since the 1990s on the restoration of a small part of the Atlantic Forest in Brazil. In 1998 they succeeded in turning this land into a nature reserve and created the Instituto Terra.

The Instituto is dedicated to a mission of reforestation, conservation and environmental education.

Sebastião Salgado has been awarded numerous major photographic prizes in recognition of his accomplishments.

He is a UNICEF Goodwill Ambassador and an honorary member of the U.S. Academy of Arts and Sciences.

About Pico Iyer Pico Iyer is the author of 12 books, on subjects as varied as Cuba, globalism, Islamic mysticism and the XIVth Dalai Lama. He writes up to 100 articles a year for magazines including The New York Review of Books, Harper’s, Vanity Fair and Wired, among numerous others. He delivered TED talks in 2013 and 2014 that have each been viewed more than two million times. His most recent book is a small TED Original on the theme of stillness. He has written a

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photos from top: Gold mine, Serra Pelada, Brazil (Figure Eight) 1986 ; Iceberg between Paulet Island & the Shetlands Islands, Antarctica 2005; Nenet Nomads, Wind Storm, Siberia, Russia 2011 Š Sebastião Salgado /Amazonas Images Courtesy Peter Fetterman Gallery

Exhibition: Salgado Photographs at Just Folk (Feb 11 - Apr 7, 2016) Opening reception: Feb 7, 5 pm - 7 pm; 2346 Lillie Avenue, Summerland Gallery hours: Wed-Sat, 10 AM-5 PM & Sun 11 AM - 5 PM film script for Miramax, liner notes for Leonard Cohen and introductions to more than 50 other books. Born in Oxford, England, and educated at Eton, Oxford and Harvard, Iyer has been based in Western Japan since 1987. He travels widely, traversing destinations as varied as North Korea, Ethiopia, Yemen and Easter Island. His writing is most known for uncovering surprising intersections of disparate cultures.

Books are available for purchase in the lobby

Special thanks to

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership Special thanks to with the Santa Barbara County Arts Commission Peter Fetterman Gallery

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www.ArtsAndLectures.UCSB.edu

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Sarah Koenig & Julie Snyder Binge-Worthy Journalism: Backstage with the Creators of Serial

photos; Meredith Heuer

THU, MAR 3 / 8 PM / CAMPBELL HALL

About Sarah Koenig

About Julie Snyder

Sarah Koenig is the host and co-creator of Serial.

Launched in 2014, Serial became the most popular podcast in the history of the form. The first season of the podcast was a 12-part series on the case of a 1999 murder in Baltimore. It captivated an audience that downloaded the episodes more than 100 million times (and counting), turning it into a cultural phenomenon and creating a new form of modern storytelling.

Julie Snyder has been the guiding force behind two of the most successful ventures in audio broadcasting. She is the co-creator of the podcast Serial and the senior producer of This American Life, heard by more than 4 million listeners a week.

Koenig started out as a newspaper reporter – her first reporting job was at her weekly hometown paper. She lived in Moscow, Russia for several years, where she worked for The New York Times, and once she returned, went to work for the Concord Monitor in New Hampshire. She did stints as a crime reporter and then as a political reporter – the same beats she’d go on to cover at the Baltimore Sun. In 2004 she became a producer at the radio show This American Life (TAL). She’s guest hosted TAL several times, most memorably for the “No Coincidence, No Story” show, and she’s produced and reported some of TAL’s most popular shows, including “Switched at Birth,” “Dr. Gilmer and Mr. Hyde” and “Habeas Schmabeas,” a Peabody Award-winning show about Guantanamo Bay. In 2015 Sarah Koenig was named one of Time magazine’s 100 Most Influential People.

Snyder began working at This American Life in 1997 – almost from its inception – and along with host Ira Glass, has set the editorial agenda for the program, winning four Peabody awards along the way. She has produced many of This American Life’s most entertaining and memorable episodes, including “24 Hours at the Golden Apple” and “Notes on Camp,” while also heading up the program’s most ambitious and topical programs, notably shows covering the wars in Iraq and Afghanistan, health care reform and urban violence in Chicago.

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

Listen at SerialPodcast.org

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@ArtsAndLectures

Taylor Mac

A 24-Decade History of Popular Music: 1916-1936

photo: Kevin Yatarola

TUE, MAR 8 / 8 PM / CAMPBELL HALL

There will be no intermission.

Conceived, written, performed and co-directed by Taylor Mac Music Director, piano, backing vocals: Matt Ray Co-director: Niegel Smith Costume Designer: Machine Dazzle Dramaturg: Jocelyn Clarke Executive Producer: Linda Brumbach Associate Producers: Kaleb Kilkenny and Alisa E. Regas Co-produced by Pomegranate Arts and Nature’s Darlings About the Program I suppose I’ve been subconsciously kicking around the idea for A 24-Decade History of Popular Music for many years.

I can pinpoint the catalyst to an AIDS action I attended in 1987. The action was a profound experience for me, a fairly isolated suburban queer kid who had never met an out-ofthe-closet homosexual, as I was suddenly exposed to thousands of queers. What has stuck with me from that day was experiencing a community coming together – in the face of such tragedy and injustice – and expressing their rage (and joy at being together) via music, dancing, chanting and agency. Not only was the community using itself to destroy an epidemic but the activists were also using a disease, their deterioration, and human imperfection as a way to aid their community. In many ways my entire career has been about reenacting this experience on the stage, in one form

(805) 893-3535

or another, but a couple years ago I decided to consciously go at it. The result is a durational work that explores the various ways imperfection can foster community.

Most of my work uses the technique of content dictating the form (thank you Mr. Sondheim). So when figuring out what form would best represent the content/theme of Imperfection Fostering Community, I was drawn to popular music. One could argue that a classical song’s goal is to touch the hem of God (to strive for perfection), whereas a popular song is written and performed to touch the people.

Popular songs use their simplicity, imperfection and humanity to rally people towards a cause (whether that cause is to love, fight, celebrate or mourn). They are egalitarian songs; ones we have easy access to and can all join in on. As

www.ArtsAndLectures.UCSB.edu

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a result, I’ve decided the popular song was the form I wanted for a show about imperfection fostering community. But one song or one concert wouldn’t do. A community is built over a number of years and experiences and is multifaceted. I needed variety and a form that would not only represent the thing but actually do the thing I was interested in exploring.

So I’m making a durational concert that spans multiple years and locations and contains an onslaught of popular songs. It goes like this: For a number of years (at least five but perhaps ten) I’ll be performing, in New York, the U.S., and abroad, over 240 popular songs from the last 240 years of the United States (1776-2016). The songs aren’t necessarily American songs but songs that were popular in the U.S. and the set list is broken down into themed concerts, decade concerts (made up of songs originated in the particular decade) and other shorter durational concerts: a 24-song concert, a 10-hour 19th Century concert, a 10-hour 20th Century Concert and [this year] in New York City, the mother of them all, a 24-hour concert that includes all 240 songs and during which I’ll be performing almost non-stop (a few bathroom breaks) with a 24-piece-orchestra (bring your bedding and toiletries).

The goal is that with each performance we build the community that is participating in this durational work. To date we’ve performed 14 of the decades at least once and more and more audience members are becoming a part of the 24-Decade History of Popular Music community (we call them The Guild of Lilies). They’re starting to get to know each other and are using the ritual of a shared experience as the impetus for further involvement (businesses have been started, lovers have been made, weddings are even being planned). Our next phase is to start shooting live video-feed of the concerts so that audience members who have seen various concerts in New York or Chicago can watch what happens in London and stay connected with the progression of the work.

It’s a dream come true to share this work here and if this is your first time joining us, welcome.

– Taylor Mac

Taylor Mac Taylor Mac is a theater artist (who uses the gender pronoun, judy) which means judy’s a playwright, actor, singer-songwriter, cabaret performer, performance artist, director and producer. TimeOut New York has called Mac “One of the most exciting theater artists of our time” (nam-

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ing judy the best cabaret performer in New York in 2012 and a future theater legend). American Theater Magazine says, “Mac is one of this country’s most heroic and disarmingly funny playwrights. The New Yorker says (of Mac’s acting in the title role of Brecht’s Good Person of Szechwan), “One of contemporary theater’s more unforgettable performances.” The Village Voice named judy the best theater actor in New York (2013), The New York Times says of Mac in general, “Fabulousness can come in many forms, and Taylor Mac seems intent on assuming every one of them.”

Judy’s work has been performed at New York City’s Lincoln Center and The Public Theater, the Sydney Opera House, American Repertory Theater, Stockholm’s Sodra Theatern, the Spoleto Festival, Dublin’s Project Arts Centre, London’s Soho Theatre and literally hundreds of other theaters, museums, music halls, cabarets and festivals around the globe.

Judy is the author of 16 full-length plays and performance pieces including Hir (recently premiered at San Francisco’s Magic Theater), The Lily’s Revenge (Obie Award), The Walk Across America for Mother Earth (named One of the Best Plays of 2011 by The New York Times), The Young Ladies Of (Chicago’s Jeff Award nomination for Best Solo), Red Tide Blooming (Ethyl Eichelberger Award), The Be(a)st of Taylor Mac (Edinburgh Festival’s Herald Angel Award) and in collaboration with Mandy Patinkin, Susan Stroman and Paul Ford, Mac created The Last Two People On Earth: An Apocalyptic Vaudeville, which judy is currently performing/ touring with Mr. Patinkin. Mac is currently creating and performing sections from A 24-Decade History of Popular Music (sections of which have been performed for Lincoln Center, The Under The Radar Festival at the Public Theater (as well as Joe’s Pub), and Chicago’s Museum of Contemporary Art (among many others). Playscripts, Vintage Press, New York Theatre Review and New York Theatre Experience have published judy’s plays and judy is the recipient of a Helen Merrill Playwriting Award, two Sundance Theater Lab residencies, three Map Grants, The Creative Capital Grant, The James Hammerstein Award for playwriting, three GLAAD Media Award Nominations, two New York State Council on the Arts Grants, a Massachusetts Council of the Arts Grant, an Edward Albee Foundation Residency, The Franklin Furnace Grant, a Peter S. Reed Grant and The Ensemble Studio Theatre’s New Voices Fellowship in playwriting. Mac is a proud alum of the HERE Arts Center Resident Artists program and is currently a New Dramatists fellow and a New York Theater Workshop Usual Suspect. Taylor Mac is the recipient of the 2015 Herb Alpert Award for Theater.

Machine Dazzle, costume design Machine Dazzle (né Matthew Flower) moved to New York City in 1994 after attending the University of Colorado,

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Boulder. Mixing odd jobs by day with art and dance clubs by night erupted into a unique lifestyle grounded in costume and performance art. Machine’s DIY and transgressive nature comes face to face with his conceptualist-as-artist identity; the results can be seen on stages all over the world. Machine has worked with Taylor Mac, Justin Vivian Bond, Joey Arias, Julie Atlas Muz, Big Art Group, The Crystal Ark, The Dazzle Dancers, Stanley Love Performance Group and The Pixie Harlots, to name a few.

Matt Ray, music director/piano/backing vocals Matt Ray can be seen in some of New York’s most notable venues, where he performs nightly either fronting his own band or accompanying some of the city’s most dynamic performers. Recent work includes performing at Carnegie Hall with Kat Edmonson, touring with Reggae legend Burning Spear, music directing The Billie Holiday Project at the Apollo Theater in Harlem, string and piano arrangements for the fifth season finale of Showtime’s Nurse Jackie, performances at Joe’s Pub with Joey Arias, performing in Paris with Mx. Justin Vivian Bond and monthly gigs at Joe’s Pub with Bridget Everett and the Tender Moments. Other recent work includes performing at the Edinburgh Fringe with Lady Rizo and touring the world with Taylor Mac and the Nature’s Darlings ensemble in A 20th Century History of Popular Music. In addition, Ray was music director for and played piano in Taylor Mac’s Obie award winning play The Lily’s Revenge at the HERE Arts Center in New York. Ray has released two jazz albums as a leader: We Got It! (2001) and Lost In New York (2006); and one album of original pop/folk material called Songs For the Anonymous (2013). www.mattraymusic.com

Niegel Smith, co-director Niegel Smith is a performance artist and theater director.

His theater work has been produced by The Public Theater, Classical Theatre of Harlem, Magic Theatre, Mixed Blood, HERE Arts Center, Hip Hop Theatre Festival, Summer Play Festival, New York Fringe Festival and the Phoenix Theatre Ensemble, and his walks have been produced by Elastic City, American Realness, the Prelude Festival, Abrons Arts Center, Visual AIDS, the Van Alen Institute and PS 122. He often collaborates with artist Todd Shalom. Together, they conceive and stage interactive performances in public and private environments. Smith was the associate director of the Tony Award-winning musical FELA! – restaging that production in London, Lagos and its world tour. He was the assistant director of the off-Broadway production of The 25th Annual Putnam County Spelling Bee and both the Broadway and off-Broadway productions of Tony Kushner’s Caroline, or Change. He has worked on the artistic staffs of The Public

(805) 893-3535

Theater, Trinity Repertory Company and Providence Black Rep. He is the artistic director of The Flea Theater. www.niegelsmith.com

Pomegranate Arts, Executive Producer Pomegranate Arts is an independent production company dedicated to the development of international contemporary performing arts projects. Pomegranate Arts is the exclusive producer and management for the revival of Robert Wilson, Philip Glass and Lucinda Childs’ Olivier award-winning production of Einstein on the Beach. Since its inception, Pomegranate Arts has conceived, produced or represented projects by Philip Glass, Laurie Anderson, London’s Improbable Theatre, Sankai Juku, Dan Zanes, Lucinda Childs and Goran Bregovic. Special projects include Dracula: The Music And Film with Philip Glass and the Kronos Quartet; the music theater work Shockheaded Peter; Brazilian vocalist Virginia Rodrigues; Drama Desk Award winning Charlie Victor Romeo; Healing The Divide, A Concert for Peace and Reconciliation, presented by Philip Glass and Richard Gere; and Hal Willner’s Came So Far For Beauty, An Evening Of Leonard Cohen Songs. Upcoming projects include the remount of Available Light by John Adams, Lucinda Childs and Frank Gehry, the North American tour of Sankai Juku’s newest work Umusuna, Taylor Mac’s 24-Decade History of Popular Music and a new work in development by Lucinda Childs, Philip Glass and James Turrell.

Pomegranate Arts www.pomegranatearts.com info@pomarts.com Founder and President: Linda Brumbach Managing Director, Creative: Alisa E. Regas Managing Director, Operations: Kaleb Kilkenny Associate General Manager: Linsey Bostwick Company Management Associate: Katie Ichtertz Office Manager: Eva Amessé A 24-Decade History of Popular Music is commissioned in part by Carole Shorenstein Hays, The Curran SF; Carolina Performing Arts, at the University of North Carolina at Chapel Hill; Center for the Art of Performance at UCLA; Hancher Auditorium at the University of Iowa; Lincoln Center for the Performing Arts; Museum of Contemporary Art Chicago; New Haven Festival of Arts & Ideas; New York Live Arts; OZ Arts Nashville; University Musical Society of the University of Michigan.

This work was developed with the support of the Park Avenue Armory residency program and the 2015 Sundance Institute Theatre Lab at the Sundance Resort.

A 24-Decade History of Popular Music was made possible with funding by the New England Foundation for the Arts’ National Theater Project, with lead funding from The Andrew W. Mellon Foundation.

www.ArtsAndLectures.UCSB.edu

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photo: ClayPatrickMcBride

Rosanne Cash with John Leventhal

The River and the Thread

WED, MAR 9 / 8 PM / CAMPBELL HALL

Event Sponsors: Arlene & Barrie Bergman

The River and the Thread With The River and the Thread, Rosanne Cash has added the next chapter to a remarkable period of creativity. In 2015 Cash was awarded three Grammy Awards, where her album won for Best Americana Album and the track “Feather’s Not a Bird,” which she co-wrote with her longtime collaborator (and husband) John Leventhal, won for Best American Roots Performance and Best American Roots Song. Her last two albums, Black Cadillac (2006) and The List (2009), were both nominated for Grammy Awards.

The List – an exploration of essential songs as selected and given to her by her father, Johnny Cash – was also named Album of the Year by the Americana Music Association. In addition, her best-selling 2010 memoir, Composed, was described by the Chicago Tribune as “one of the best accounts of an American life you will likely ever read.”

Cash wrote all of the new album’s songs with Leventhal, who also served as producer, arranger and guitarist.

Featuring a long list of guests – from young guns like John Paul White (The Civil Wars) and Derek Trucks to such legends as John Prine, Rodney Crowell and Tony Joe White – The River and the Thread is a kaleidoscopic examination of the geographic, emotional and historic landscape of the American South. The album’s unique sound, which draws from country, blues, gospel and rock, reflects the soulful mix of music that traces its history to the region.

“When we started forming the idea for this record,” says Cash, “it felt like it was going to be the third part of a trilogy – with Black Cadillac mapping out a territory of

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mourning and loss and then The List celebrating my family’s musical legacy. I feel this record ties past and present together through all those people and places in the South I knew and thought I had left behind.”

As the themes and subjects of The River and the Thread emerged, Cash gradually envisioned how she wanted to connect the dots into a cohesive work, connecting her own story to the rich history of a region. “I guess I weave in and out of these songs, in a way,” she says. “I don’t think I had a complete map of it, but John really became a guide. We would write something and say, ‘This is part of the geography, both emotional and physical.’”

Rosanne Cash acknowledges that it was difficult to start writing songs again after spending several years immersed in the masterful compositions featured on The List. “You cannot keep that in your mind, except as an inspiration, a standard to aspire to,” she says. “To say, ‘I’m going to write a song as great as “Take These Chains”‘ – you’re not! So the only way to not get dismantled by that is to stay connected to your own muse and immerse yourself completely in what you’re doing so it can be as rich and authentic as it can possibly be. That’s all you can hope for.”

With The River and the Thread, she has risen to that challenge and emerged with a beautiful and haunting album, one of the finest works in an extraordinary career.

@ArtsAndLectures

Rosanne Cash, vocals, guitar

John Leventhal, guitars, vocals, music director

One of the country’s preeminent singer/songwriters, Rosanne Cash has released 15 albums of extraordinary songs that have earned four Grammy Awards and nominations for 11 more, as well as 21 top-40 hits, including 11 No. 1 singles. She is also an author whose four books include the best-selling memoir Composed, which the Chicago Tribune called “one of the best accounts of an American life you’ll likely ever read.” Her essays have appeared in The New York Times, Rolling Stone, the OxfordAmerican, The Nation and many more print and online publications. In addition to continual touring, Cash has partnered in programming collaborations with the Minnesota Orchestra, Lincoln Center and SF JAZZ (San Francisco Jazz Organization). She completed a residency at the Library of Congress in December 2013.

John Leventhal is a Grammy Award-winning musician, producer, songwriter and recording engineer who has produced albums for Rosanne Cash, Michelle Branch, Shawn Colvin, Joan Osborne, Marc Cohn, Rodney Crowell and many others. As a musician, he has worked with all of the above as well as artists such as Elvis Costello, Dolly Parton, Willie Nelson, Jackson Browne, Emmylou Harris, Bruce Hornsby and Charlie Haden. As a songwriter, he has had over 100 songs recorded by various artists. In 1998 he won a Grammy for Record and Song of the Year for producing and co-writing the song “Sunny Came Home.” He won Instrumentalist of the Year at the 2015 Americana Honors and Awards.

Special thanks to

She was awarded the SAG/AFTRA Lifetime Achievement award for Sound Recordings in 2012 and received the 2014 Smithsonian Ingenuity Award in the Performing Arts. She was chosen as a Perspective Series artist at Carnegie Hall and will host four concerts (including a major show of her own in February) during their 2015-16 season. She also served as 2015 Artist-in-Residence at the Country Music Hall of Fame and Museum in Nashville. She performed three concerts there in September. On October 11, she was inducted into the Nashville Songwriters’ Hall of Fame.

Cash’s landmark 2009 album, The List, won the Americana Music Album of the Year award. In her latest release, The River and the Thread, a collaboration with husband/ co-writer/producer and arranger John Leventhal, Cash evokes a kaleidoscopic examination of the geographic, emotional, musical and historic landscape of the American South. The album has received impressive worldwide acclaim and attained the highest debut in the Billboard charts of any of her previous albums. It received three Grammy Awards earlier this year.

(805) 893-3535

www.ArtsAndLectures.UCSB.edu

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José González and yMusic

photo: Malin Johansson

THU, MAR 10 / 8 PM / CAMPBELL HALL

José González and yMusic will play unique chamber ensemble arrangements of José González songs following a special performance by yMusic

José González Since releasing In Our Nature in 2007, José González has been steadily collecting ideas for new songs.

An album consisting of years’ worth of musical sketches might naturally sprawl wildly in production and style, Vestiges & Claws is a collection of songs that cohere just about perfectly. It travels from the glowering, riff-driven “Stories We Build, Stories We Tell” via the groovy “Leaf Off /The Cave” to the anthemic “Every Age.” For those familiar with González’s earlier work, there is little doubt as to who is behind these recordings.

“I started out thinking that I wanted to continue in the same minimalistic style as on my two previous records,” says González. “But once I started the actual recordings I soon realized that most of the songs turned out better with added guitars and a more beat-like percussion, and with more backing vocals. Personally, I think this made it a more interesting and varied album.”

describes his process for the album: It was no doubt a conscious decision to work without a producer. I don’t want this to be too polished, or too “in your face” Most of all, it’s fun to be in complete control of the artistic aspect. Also, I have been inspired by and picked up a lot of tricks from the producers I have worked with in the past. I like to use distortion and let things be a little overdriven, which gives things a warmer sound. Sometimes people complain that my music is too muddled, but I really do not want a modern crisp sound. I’d much rather aim somewhere between Shuggie Otis and Simon & Garfunkel.

He adds, “Sonically I think it is the sound of softness and comfort that people mostly connect with my music. It happens quite often that people come up to me to tell me that they’ve used my music to calm their kids.”

The result is less purist, less strict. One can find traces of inspired protest songs and eccentric folk rock here. It’s a collection that is simultaneously confident, free and tentative.

González has been far from idle in the seven years since the release of In Our Nature. Besides making two albums as José and Junip, his project with fellow Swedish musician Tobias Winterkorn, and touring the world both solo and with the band, he has been active in the studio in various contexts.

Like González’s previous releases, Vestiges & Claws was largely recorded in his home and partly in Svenska Grammofonstudion, both in Gothenburg. Chirping birds, creaking doors and off-mic chattering appear on the recordings. He is careful to avoid editing out these imperfections; he wants you to feel the intimacy of the setting. González

One project in 2013 was González’s contribution to the soundtrack to The Secret Life Of Walter Mitty, directed by and starring Ben Stiller. In addition to previously released songs by José and Junip, the film contains exclusively written material as well as an interpretation of John Lennon’s “#9 Dream.”

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Earlier this autumn, the AIDS awareness group Red Hot Organization released the compilation Master Mix: Red Hot + Arthur Russell, on which González and guests play a sax-laden version of Russell’s “This Is How We Walk On The Moon.” Another of González’s cover versions, his classic interpretation of The Knife’s “Heartbeats,” has tallied an impressive nearly 50 million streams on Spotify.

Vestiges & Claws is, however, the first album on which González has chosen to include exclusively original material, largely revolving around ideas of civilization, humanism and solidarity.

“I think that might be where there is some sort of common thread on this new record: The zoomed out eye on humanity on a small pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are here at all, an aim to encourage us to understand ourselves and to make the best of the one life we know we have – after birth and before death. And also, I’ve been okay with using rhymes this time,” González said with a smile. He added, “In general I think that the lyrics are clearer this time. And a little less self-pitying.”

But there is another side to José González’s songwriting on this album. The more than six minutes long “What Will” sounds feverish, tight and angry. “Stories We Build, Stories We Tell” focuses on a riff and the repeated line, “Ooh they’ll get to you, hope they’ll get to you,” sounding almost threatening. “Anger is something I have dealt with on all my records,” he explains. “I have noticed that several of my songs have a pissed off, accusatory tone to them. It can be found in several of my older songs too.”

Where González’s previous albums, Veneer and In Our Nature, might have sounded sparse and barren in parts, Vestiges & Claws has an altogether new feeling to it, at once warmer and darker than before. He talks about how he’s found inspiration in sprawling 70’s Brazilian productions, American folk rock and West African desert blues and how he’s decided to waive the principle of having everything on the album reproducible in a live context.

González sums it up: “I’ve focused more on the role of being a producer this time around. I’ve spent more time thinking of what’s best for the song and the recording.”

(805) 893-3535

yMusic Hailed by NPR’s Fred Child as “one of the groups that has really helped to shape the future of classical music,” yMusic is a group of six New York City instrumentalists flourishing in the overlap between the pop and classical worlds. Their virtuosic execution and unique configuration (string trio, flute, clarinet and trumpet) has attracted the attention of high profile collaborators – including Ben Folds, Dirty Projector and José González – and more recently inspired an expanding repertoire of original works by some of today’s foremost composers.

In 2014 yMusic released Balance Problems, the much-anticipated follow-up to 2011’s Beautiful Mechanical (Time Out New York’s #1 Classical Record of the Year). The record features stunning new compositions from Nico Muhly, Sufjan Stevens, Andrew Norman, Mark Dancigers, Jeremy Turner, Marcos Balter and Timo Andres, all realized through the ensemble’s striking performances.

In addition to performing its own repertoire, yMusic serves as a ready-made collaborative unit for bands and songwriters. Their most recent collaboration is with Ben Folds, with whom they co-arranged and recorded So There, available as of September 11, 2015. Recent joint performances include The Royal Opera House at Covent Garden and CBS Saturday Sessions. At the inaugural Eaux Claires Festival, curated by Justin Vernon and Aaron Dessner, the group performed with The Tallest Man on Earth, S. Carey and The Staves in the afternoon, then joined Bon Iver for three songs in its evening set. Other recent collaborations include a recording with Antony & the Johnsons for the Red Hot Organization, opening for and performing with Blake Mills and shows with José González.

Since their inception in 2008, yMusic has striven to bring a classical chamber music aesthetic to venues outside the traditional concert hall. Its members have individually toured and recorded with artists such as Bon Iver, Paul Simon, Bjork, The National, Meredith Monk, Antony & the Johnsons, David Byrne, The New York Philharmonic and Sufjan Stevens.

Special thanks to

www.ArtsAndLectures.UCSB.edu

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Santa Barbara Independent Schools

Spotlight on Excellence setting The Stage for success…

Anacapa School • 7–12 Bishop Garcia Diego High School • 9–12 Crane Country Day School • K–8 El Montecito School • Preschool–6 Garden Street Academy • K–12 Howard School • Preschool–8 The Knox School of Santa Barbara • K–8 Laguna Blanca School • EK–12 Marymount of Santa Barbara • JK–8 Montessori Center School • Toddler–6 Providence, A Santa Barbara Christian School • PK–12 Santa Barbara Middle School • 6–9 Santa Barbara Montessori School • Toddler–8 The Waldorf School of Santa Barbara • Preschool–8

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An Afternoon with

SAT, APR 16 / 4 PM / ARLINGTON THEATRE $125 Gold Circle (limited availability) $70 / $55 / $20 all students An Arlington facility fee will be added to each ticket price

“Modest, wry, self-effacing and demonstrably the most intelligent of the late-night comics.”

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• Complimentary Breakfast Buffet • Complimentary speCialty Coffees • free Wi-fi everyWhere • fitness Center on site • transportation to and from airport/uCsB • Walk to restaurants & shops www.santa-barbara-hotel.com info@santa-barbara-hotel.com 5620 Calle Real, Goleta, CA

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WINTER PERFORMANCES SANTA BARBARA DANCE THEATER 40TH ANNIVERSARY SEASON artistic director CHRISTOPHER PILAFIAN

JAN 20 - 24

a NAKED SHAKES production

THE DEATH OF KINGS PART I: “I COME BUT FOR MY OWN”

from Shakespeare, adapted and directed by IRWIN APPEL

FEB 19 - MAR 6

a NAKED SHAKES production

THE DEATH OF KINGS PART II: “THE WHITE ROSE AND THE RED”

from Shakespeare, adapted and directed by IRWIN APPEL

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ranch in the 1920s. Today, the Inn provides a wide range of accommodations, from singles to suites, individually decorated with an emphasis on comfort, privacy, and the highest level of personalized service.

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2015-16 SEASON

LET’S PLAY Come experience world class musicians performing music you know, remember and cherish

Santa Barbara Choral Society

2015-16 Season

Thomas Yee, Violin

January 16-17, 2016 Handel’s Water Music, Bartok and more!

February 13-14, 2016 Rachmaninoff’s Most Popular March 12-13, 2016 Maestro’s Favorites: The Best of Wagner, Hummel and Brahms

April 9-10, 2016 Timothy Chooi Returns! with Tchaikovsky’s Violin Concerto & Sounds of the Ocean 3 favorite interpretations May 14-15, 2016 The Best of Classical Guitar with Orchestra Concerts are on Saturdays at 8pm and Sundays at 3pm at the Granada Theatre.

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Behind the Music at the Granada Theatre is generously sponsored by Marilynn L. Sullivan and Marlyn Bernard Bernstein

Sun, Surf, and Sophistication in a Chic Santa Barbara Beach Hotel Located in the heart of Santa Barbara’s beloved West Beach, a favorite hangout for local residents and visitors alike.

Just adjacent to the hotel is iconic Stearns Wharf and in the other direction sits the harbor and pier. State Street and the Funk Zone, Santa Barbara’s popular arts district, are just a short stroll away. Wine abounds and can be found in the city itself, in the tasting rooms along the Urban Wine Trail, or, for a full vineyard experience, just a short drive away in the Santa Ynez Valley. When the weather is nice — and it almost always is — the mountain trails beckon for biking or hiking, and the ocean calls to ride the waves.

HOTEL MILO IS A MEMBER OF THE INDEPENDENT COLLECTION The Independent Collection (IC) is a growing collection of cultivated and intimate lifestyle hotels located in unique residential neighborhoods of gateway cities across the US. IC hotels are created for the INDEPENDENTLY MINDED TRAVELER and invite guests to discover the true spirit of these unique locales.

Visit www.independentcollection.com to discover all the hotels of the IC and their vibrant neighborhoods.

202 W. Cabrillo Boulevard | Santa Barbara, CA 93101 | Reservations: 800.965.9776 | www.hotelmilosantabarbara.com