Fall Program 2017
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dinner nightly Sunday-Thursday 5-9pm | Friday-Saturday 5-10pm
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bouchonsantabarbara.com
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Dear Arts & Lectures’ Friends and Supporters, Thank you again for choosing to spend an evening with UCSB Arts & Lectures. Of the many options you may have weighed before deciding to join us, we’re hopeful that this is the one that will leave you with lasting memories. Whether it’s a stunning moment of dance, or a startling new idea heard at a lecture, or a beautiful phrase of music that haunts you, we hope that what you experience tonight will have a life of its own, well past the end of the evening. Looking ahead, we can’t be sure where the magic will be found, or when inspiration will strike. But I fully expect to encounter both magic and inspiration at these upcoming events, among others:
• Speaking with Pico – a new series of conversations, moderated by our great friend Pico Iyer, begins with author Zadie Smith (Nov. 29). Watch for more idea-fests with Pico come winter and spring 2018.
• Walter Isaacson – the head of the Aspen Institute and a game-changing thinker whose latest
book investigates Leonardo da Vinci (Oct. 14). When one brilliant mind considers another, I’m fairly certain that intellectual sparks will fly.
• Israel Philharmonic Orchestra – we’re thrilled to present the Santa Barbara debut of Israel’s preeminent cultural ambassador, along with celebrated maestro Zubin Mehta (Nov. 1). In a lush, elegant program of Mozart and Schubert, this venerable orchestra is not to be missed!
As much as we are awed and inspired by what happens on stage, day to day I am deeply moved by the generosity our of community, which fuels the magic on stage. I’m grateful to our event sponsors – if you know them, please thank them! – and to those angels who see Arts & Lectures as a vehicle for change, a force for good, and a tool for meeting their personal philanthropic goals. We are pleased to welcome as our Community Partners the Natalie Orfalea Foundation and Lou Buglioli, who have invested in our program to make a difference now and in the future. Lastly, another round of thanks to our Producers Circle members, who champion Arts & Lectures programs year in and year out, and our UCSB students who support these programs on stage and in the classroom. Much gratitude to you all!
With deepest appreciation,
Celesta M. Billeci Miller McCune Executive Director
Thematic Learning Initiative Transform your life. Transform your community. The Thematic Learning Initiative extends the conversation from the stage and into the community, inspiring lifelong learning opportunities that initiate change and empowerment. Join A&L and knowledge-seekers like you who want to learn more, know more and do more to improve ourselves and the world around us.
2017-2018 Themes:
Creating a Meaningful Life
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Our Changing World
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1. Pico Iyer 2. Walter Isaacson 3. Orchestra of Exiles 4. Mexrrissey 5. Avi Avital 6. Jon Meacham 7. Emily Esfahani Smith
Oct 11 Pico Iyer Author Discussion 12 PM / SB Public Library
Speaking with Pico series (p.9)
Oct 14 Oct 19
Walter Isaacson Public Lecture
2 PM / Arlington Theatre (p. 23)
Nov 10 Conversation with
Avi Avital and Kinan Azmeh
The Knights with Avi Avital & Kinan Azmeh perform Nov 9 (p. 54)
Nov 13 History Book Club Discussion,
Orchestra of Exiles Film Screening
Israel Philharmonic Orchestra performs Nov 1 (p.30)
7:30 PM / Campbell Hall
Check online for time / location
American Lion by Jon Meacham
7 PM / SB Public Library
Jon Meacham public lecture Nov 16 (p. 67)
Nov 3 Conversation with Camilo Lara
Nov 30 Emily Esfahani Smith (note new date)
and Ceci Bastida of Mexrrissey
Día de Los Muertos Tour performs Nov 3 (p. 38)
12 PM / SB Museum of Art
Bring more TLC into your life with Thematic
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Author Discussion
4 PM / SB Public Library
Emily Esfahani Smith public lecture Nov 30 (p. 69)
Learning Circles
What is it? Thematic Learning Circles are opportunities for anyone interested in delving deeper into the issues raised by A&L artists and speakers; connecting with others through book giveaways, discussions, online resources and more! What does it cost? It's FREE! How do I participate? Email TLC@ArtsAndLectures.UCSB.edu to receive updates about upcoming TLC events – or, simply attend one of the events above!
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Thematic Learning Initiative Book Selection Each quarter, we select a book written by an upcoming A&L speaker that expands upon one of the season's themes, and provide free copies for the community.
Fall 2017
"Beautifully written and rigorously researched, The Power of Meaning speaks to the yearning we all share for a life of depth and significance... This warm and wise book leads us down the path to what truly matters." – Susan Cain, author of Quiet Reserve your FREE copy of Emily Esfahani Smith’s The Power of Meaning online at https://TLCfall17book.eventbrite.com. Pick-up available at the A&L Ticket Office (UCSB bldg. 402) beginning Oct 1, and at the Nov 30 public lecture at Campbell Hall. Available while supplies last.
With thanks to our visionary partners, Lynda Weinman and Bruce Heavin, for their support of the Thematic Learning Initiative
Fall Thematic Learning kicks off on Oct 11 with a FREE discussion with Pico Iyer Catch the conversations on stage as well! Check out our new Speaking with Pico series.
Speaking with Pico series
$ 1 1Ser2ies
New A writer, a physician, an influential blogger and a bestselling novelist – inspiration today comes from surprising directions. Join Pico Iyer and discover fresh and hopeful ways to think about tomorrow. Award-Winning Novelist and Essayist
Zadie Smith
Wed, Nov 29 / 7:30 PM / UCSB Campbell Hall (note new date) Palliative Care Physician
BJ Miller, M.D.
Thu, Jan 11 / 7:30 PM / UCSB Campbell Hall Writer/Curator Behind Brain Pickings
Maria Popova
Thu, Apr 5 / 7:30 PM / UCSB Campbell Hall Pulitzer Prize-winning Author
Anthony Doerr
Thu, May 3 / 7:30 PM / UCSB Campbell Hall
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
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Lila Downs Wed, Sep 27 / 8 PM / Granada Theatre
photo: Marcela Taboada
Post-performance Producers Circle party with the band.
Lila Downs, vocals, jarana, güiro Paul Cohen, Musical Director, tenor saxophone, clarinet Rafael Gomez, electric & acoustic guitars Luis Guzman, electric bass Sinuhe Padilla Isunza, jarana, chaquiste, acoustic guitar, quijada de burro, zapateado Leo Soqui, accordion, keyboard, zapateado George Saenz Jr., trombone, accordion Josh Deutsch, trumpet Jerzain Vargas, trumpet Rocio Marron, violin Felicia Rojas, violin Suemy Gonzalez, violin Yayo Serka, drums Nikki Campbell, percussion Audio Engineers: Gustavo Vargas, Sascha Von Oertzen Lighting & Video: Christian LeMay Tour Management: Kat Cook
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Lila Downs has one of the world’s most singular voices and innovative approaches to music. Born in the state of Oaxaca, México, she is the daughter of a Mixtec Indian woman, Anastasia Sanchez, who ran away from her village at 15 to sing in Mexico City cantinas, and Allen Downs, a University of Minnesota professor. Downs grew up both in Minnesota and Oaxaca and studied classical voice and cultural anthropology at the University of Minnesota. Her music and vocal artistry have many influences and are as varied as the ancient cultures that serve as her inspiration. Downs’ compositions are often striking commentaries on social conditions, reflecting migration and the search for roots as a core human need. She makes an important and deep connection with her fans, who are of all ages, races and backgrounds. “I am very fortunate,” Downs says. “People who follow our music belong to all walks of life. Every day we connect with them.” For two decades, Downs has traveled throughout the world reinterpreting the roots of music, from blues, jazz and soul to cumbia, rock, even rap and klezmer music. She weaves various musical forms with traditional Mexican and native Mesoamerican music, singing in Spanish, English and the languages of the Mixtec, Zapotec, Maya and Nahuatl cultures. Her tremendous voice and the originality of her compositions create a musical concept that is highly innovative and unique. Not simply a Mexican artist, a jazz, blues or a world music artist, Downs’ music resists categorization. It is an exciting fusion of international sounds and musical genres.
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Downs has recorded nine studio albums, garnering a Grammy Award and four Latin Grammys. She has also won numerous awards for live performances, including the Lunas del Auditorio de Mexico, Prix Miroir – Festival d’été de Québec and the Antonio Carlos Jobim Award – Montreal Jazz Festival. Her current album, Salón Lágrimas y Deseo, is as regal and defiant as ever, combining the staggering power of her instrument with interludes of spoken word, smoldering duets and sensual boleros.
Other artists with whom she has collaborated in recordings and concerts include the San Francisco Symphony, the Chicago Symphony Orchestra, Mercedes Sosa, Carlos Santana, Juanes, Bunbury, Café Tacuba, Los Tigres del Norte, 1 Giant Leap, Wynton Marsalis, La Niña Pastori, Angélique Kidjo, Kevin Johansen and Juan Gabriel, among many others. www.liladowns.com Twitter.com/liladowns Instagram.com/liladowns Facebook.com/liladownsoficial
Speaking of her current work, Downs explains, “I ended up Special thanks to the Chinelos of Santa Bárbara and making an album that is very much feminine in spirit. I’ve Southern California and Grupo Folklorico de UCSB grown up in a field dominated by males, many of whom Raíces de mi Tierra are difficult to deal with. As a result, I learned to become strong and stubborn. I fought those men, but I also learned from the vast knowledge that they have. This album mirrors Funded in part by the Community Events & Festivals my point of view, my existence, the specific way in which I Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara ended up experiencing life.” County Office of Arts and Culture
Downs has performed at many of the world’s most prestigious festivals and venues. She has been invited to sing at the White Special thanks to House, and she performed on the 2012 Latin Grammy telecast as well as at the 75th Academy Awards ceremony, where she performed the Oscar-nominated song “Burn It Blue” from the movie Frida with Caetano Veloso. Her music has also been included in several other feature films such as The Counselor, Tortilla Soup, Real Women Have Curves, The Three Burials of Melquiades Estrada, Fados, Mariachi Gringo and Hecho en Mexico.
Three of today’s hottest alt-Latino groups tour together for the first time, showcasing the exciting and diverse sounds of Mexican music Thematic Learning Initiative: Our Changing World
Fri, Nov 3 / 8 PM / Campbell Hall Tickets start at $30 / $15 UCSB students (805) 893-3535 www.ArtsAndLectures.UCSB.edu
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Hubbard Street Dance Chicago Glenn Edgerton, Artistic Director
Tue, Oct 3 / 8 PM / Granada Theatre
photo: Quinn B. Wharton
Post-performance Dance series subscriber party with the artists.
Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay
Jessica Tong, Rehearsal Director Alejandro Cerrudo, Resident Choreographer LaMar Brown, Company Manager Lou Conte, Founding Artistic Director Dancers: Craig D. Black Jr. Jacqueline Burnett Rena Butler Alicia Delgadillo Kellie Epperheimer Michael Gross Elliot Hammans Alice Klock Myles Jean Lavallee Adrienne Lipson Florian Lochner Ana Lopez Andrew Murdock Minga Prather David Schultz Kevin J. Shannon 12
Cloudline Choreography: Robyn Mineko Williams Music: Jherek Bischoff, Emitt Rhodes, Sufjan Stevens, Julie London, Olafur Arnalds, Alice Sara Ott Sound Design: Loosebrains Costume Design: Branimira Ivanova Lighting Design: Burke Brown Music by Jherek Bischoff: “Eyes,” from the album Scores: Composed Instrumentals, recorded by Brassland, published by Nettwerk One B Music U.S. Music by Emitt Rhodes: “Lullabye,” from the album The Emitt Rhodes Recordings (1969-1973), courtesy of Universal Music Group, published by Manifesto Records. Music by Sufjan Stevens: “Now That I’m Older,” from the album Age of Adz, recorded by Asthmatic Kitty Records, published by New Jerusalem Music. Music by Arthur Kent and Sylvia Dee: “The End of The World,” as performed by Julie London, from the album The Very Best of Julie London, courtesy of Universal Music Group, published by Music Sales Corp. Music by Ólafur Arnalds: “Letters of a Traveller,” as performed by Ólafur Arnalds and Alice Sara Ott, from the album The Chopin Project, courtesy of Universal Music Group, published by Nettwerk One B Music U.S.
- Intermission -
ViolinCello
(Duet from Multiplicity. Forms of Silence and Emptiness.) Choreography: Nacho Duato Music: Johann Sebastian Bach Costume Design: Nacho Duato Lighting Design: Brad Fields Staging: Africa Guzmán Music by Johann Sebastian Bach: “Suite No. 1 in G Major, BWV 1007,” as performed by Anner Bylsma, from the album Bach: 6 Suites for Cello, BWV 1007-1012, courtesy of Sony Music Entertainment. Organization and Production: Carlos Iturrioz c/o Mediart Producciones SL (Spain). © 1997 Nacho Duato, all rights reserved
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Jardí Tancat
About the Company
Choreography: Nacho Duato Music: María del Mar Bonet Set Design: Nacho Duato Costume Design: Nacho Duato Lighting Design: Nicolás Fischtel Staging: Africa Guzmán Choreographer’s Assistant: Pablo Piantino
Hubbard Street Dance Chicago’s core purpose is to bring artists, art and audiences together to enrich, engage, educate, transform and change lives through the experience of dance. Celebrating Season 40 in 2017-18, under the artistic leadership of Glenn Edgerton, Hubbard Street continues to innovate, supporting ascendant creative talent while presenting repertory by internationally-recognized living artists. Hubbard Street has grown through the establishment of multiple platforms alongside the Lou Conte Dance Studio – now in its fifth decade of providing a wide range of public classes and pre-professional training – while extensive youth, education, community, adaptive dance and family programs keep the organization deeply connected to its hometown. Visit hubbardstreetdance.com for artist profiles, touring schedules and much more.
“Water, we asked for water; And You, oh Lord, You gave us wind; And You turn Your back to us; As though You will not listen to us.” This appeal is portrayed in the powerful movements of three couples, who are occupied with the sowing, planting and threshing of the barren Catalonian land. Music by María del Mar Bonet: “Cançó D’Es Collir Olives,”“Cançó D’Esterrossar,” and “Fora D’Es Sembrat,” from the album María del Mar Bonet; “Tonada De Treure Aigo” from the album Saba de Terrer, “La Canço de Na Ruixa Mantells,” from the album Jardí Tancat, courtesy of Sony Music Entertainment. Organization and Production: Carlos Iturrioz c/o Mediart Producciones SL (Spain). © 1997 Nacho Duato, all rights reserved
- Intermission -
One Flat Thing, reproduced Choreography: William Forsythe Music: Thom Willems Stage Design: William Forsythe Costume Design: Stephen Galloway Lighting Design: William Forsythe Technical Consultant: Tanja Rühl Staging: Ayman Aaron Harper, Cyril Baldy, Amancio Gonzalez, Mario Alberto Zambrano One Flat Thing, reproduced begins with a roar: 20 tables, like jagged rafts of ice, fly forward and become the surface, the underground and the sky inhabited by a ferocious flight of dancers. This pack of bodies rages with alacrity, whipping razor-like in perilous waves. Its score, by composer and longtime Forsythe collaborator Thom Willems, begins quietly before becoming a gale, gathering sonic force as the dancers’ bodies produce a voracious and detailed storm of movement. Created for and premiered by Ballett Frankfurt February 2, 2000 at Bockenheimer Depot, Frankfurt am Main, Germany. First perfowrmed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original music by Thom Willems. Used by permission of Thom Willems. Hubbard Street’s acquisition of One Flat Thing, reproduced is sponsored by the Harris Theater for Music and Dance, with support from Sandy and Jack Guthman through the Imagine campaign. Lead Individual Sponsors of this series are Jay Franke and David Herro. Additional support is provided by Individual Sponsors Sara Albrecht, Pam Crutchfield, Patti Eylar and Charles Gardner and Richard L. Rodes. The Elizabeth F. Cheney Foundation is the Lead Foundation Sponsor of the Season 38 Fall Series.
About the Choreographers Nacho Duato, born in Valencia, Spain, started professional ballet training with the Rambert School in London at 18, expanding studies at Maurice Béjart’s Mudra School in Brussels and completing his dance education at the Alvin Ailey American Dance Center in New York. In 1980, Duato signed his first professional contract with the Cullberg Ballet in Stockholm, and a year later, Jiří Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly incorporated into company and repertoire. His first choreographic attempt in 1983 turned into a major success: Jardí Tancat to Spanish/Catalan music by compatriot Maria del Mar Bonet won him the first prize at the International Choreographic Workshop (Internationaler Choreographischer Wettbewerb) at Cologne. Duato has created more than a dozen works for the two companies of Nederlands Dans Theater, and in 1988, was named resident choreographer next to Hans van Manen and Jiří Kylián. His ballets form part of the repertoire of companies including Paris Opera, Cullberg Ballet, Nederlands Dans Theater, Les Grands Ballets Canadiens, Deutsche Oper Ballet, Australian Ballet, Stuttgart Ballet, Ballet Gulbenkian, Finnish National Ballet, The Royal Ballet, The Singapore Ballet, Tulsa Ballet, Pacific Northwest Ballet, San Francisco Ballet, The Washington Ballet, Hubbard Street Dance Chicago, North Carolina Dance Theatre, The Boston Ballet, The Gothemburg Ballet, The Royal Swedish Ballet, The Royal Danish Ballet, The Northern Ballet, Ballet du Capitole, Ballet du Rhin, Teatro Comunale Florence, National Ballet of Portugal, The Norwegian Ballet, National Theatre Tokyo, The Universal Ballet, Stars Foundation Ballet, American Ballet Theatre, Staatstheater Berlin, Bolshoi Ballet and others. From 1990 to 2010, Duato was artistic director of Spain’s Compañía Nacional de Danza. In
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
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1995, he received the grade of Chevalier dans l’Ordre des Arts et des Lettres which is annually given by the French Embassy in Spain. In 1998, the Spanish Government rewarded him the Golden Medal of Merit in the Fine Arts. At the Stuttgart Opera in 2000, he was offered the Benois de la Danse, one of the most prestigious international awards for choreography, presented by the International Dance Association for his ballet Multiplicity. Forms of Silence and Emptiness. In 2011, he became artistic director of the Mikhailovsky Ballet in Saint Petersburg, Russia, and in 2014, he became intendant and artistic director of the Berlin State Ballet. William Forsythe was raised in New York and initially trained in Florida with Nolan Dingman and Christa Long. He danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed resident choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies throughout Europe and the United States. In 1984, he began a 20-year tenure as director of Ballett Frankfurt, where he created works such as Artifact (1984), Impressing the Czar (1988), Limb’s Theorem (1990), The Loss of Small Detail (1991, in collaboration with composer Thom Willems and designer Issey Miyake), Eidos: Telos (1995), Endless House (1999), Kammer/Kammer (2000) and Decreation (2003). After the closure of Ballett Frankfurt in 2004, Forsythe established a new, more independent ensemble, the Forsythe Company, founded with the support of the German states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main and private sponsors. His works are prominently featured in the repertoires of virtually every major ballet company in the world, including the Mariinsky Ballet, New York City Ballet, San Francisco Ballet, the National Ballet of Canada, London’s Royal Ballet and the Paris Opéra Ballet. Awards received by Forsythe and his ensembles include four New York Dance and Performance “Bessie” Awards and three Laurence Olivier Awards in the U.K.; he has been honored with the title of Commandeur des Arts et Lettres by the government of France; and he has received the German Distinguished Service Cross, the Wexner Prize, the Golden Lion of the Venice Biennale, the Samuel H. Scripps / American Dance Festival Award for Lifetime Achievement, and the Swedish Carina Ari Medal. Forsythe has also been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind, ARTANGEL, Creative Time and the SKD– Staatliche Kunstsammlungen Dresden, among others. As an educator, Forsythe is regularly invited to lecture and give workshops at universities and cultural institutions; he is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate
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from the Juilliard School in New York City. Forsythe is currently professor of dance and artistic advisor for the Choreographic Institute at the University of Southern California’s Glorya Kaufman School of Dance. Visit williamforsythe.de to learn more. Robyn Mineko Williams began her career at River North Dance Chicago, followed by 12 seasons as a member of Hubbard Street Dance Chicago, during which she performed choreography by renowned artists including Ohad Naharin, Jiří Kylián, William Forsythe and Johan Inger and originated roles in new works by Jorma Elo, Sharon Eyal, Twyla Tharp and Lar Lubovitch, among others. She began making her own work in 2001 through Hubbard Street’s Inside/Out Choreographic Workshop and has since created multiple premieres for Hubbard Street’s main company and Hubbard Street 2 (HS2). Williams has made work for Atlanta Ballet, Grand Rapids Ballet, GroundWorks DanceTheater, Thodos Dance Chicago and Visceral Dance Chicago; and presented at venues such as the Kennedy Center, the American Dance Festival and the Joyce Theater. Named one of Dance Magazine’s “25 to Watch” for 2014, Williams was selected for Northwest Dance Project’s 2012 Pretty Creatives International Choreographic Competition, received a 2013 Princess Grace Choreographic Fellowship and was selected as an emerging choreographer for Springboard Danse Montréal the same year. In 2015, she completed a Princess Grace Foundation-USA Works in Progress Residency at the Baryshnikov Arts Center and received a Choreography Mentorship Co-commission Award from the Princess Grace Foundation-USA in support of HS2 + Manual Cinema’s Mariko’s Magical Mix: A Dance Adventure. In 2016, Williams launched her independent project, Undercover Episodes, and was named among Newcity’s Players 50 list of local leaders in the performing arts and Best Choreographer by Chicago magazine.
Company Profiles Glenn Edgerton (Artistic Director) joined Hubbard Street Dance Chicago after an international career as a dancer and director. At the Joffrey Ballet, he performed leading roles, contemporary and classical, for 11 years under the mentorship of Robert Joffrey. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater (NDT), where he danced for five years. He retired from performing to become its artistic director, leading NDT 1 for a decade and presenting the works of Jiří Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger, Paul Lightfoot and Sol León, among others. From 2006 to 2008, he directed the Colburn Dance Institute at the Colburn School of Performing Arts
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in Los Angeles. Edgerton joined Hubbard Street as associate artistic director in 2008; since becoming artistic director in 2009, he has built upon more than three decades of leadership in dance performance, education and appreciation established by founder Lou Conte and continued by Conte’s successor, Jim Vincent. Lou Conte (Founding Artistic Director), after a performing career that included roles in Broadway musicals such as Cabaret, Mame and How to Succeed in Business Without Really Trying, established the Lou Conte Dance Studio in 1974. Three years later, he founded what is now Hubbard Street Dance Chicago. Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned dancemakers Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow as the company grew. Conte continued to build Hubbard Street’s repertoire by forging a key relationship with Twyla Tharp in the 1990s, acquiring seven of her works as well as original choreography. It then became an international enterprise with the inclusion of works by Jiří Kylián, Nacho Duato and Ohad Naharin. Throughout his 23 years as the company’s artistic director, Conte received numerous awards including the first Ruth Page Artistic Achievements Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995 and a Chicagoan of the Year award from Chicago magazine in 1999. In 2003, Conte was inducted as a laureate into the Lincoln Academy of Illinois, the state’s highest honor, and in 2014, was named one of five inaugural recipients of the City of Chicago’s Fifth Star Award. He has been credited by many for helping raise Chicago’s cultural profile and for creating a welcoming climate for dance in the city, where the art form now thrives. Hubbard Street Dance Chicago 1147 West Jackson Boulevard Chicago, Illinois 60607 (312) 850-9744 hubbardstreetdance.com Facebook + YouTube /HubbardStreetDance Twitter + Instagram @HubbardStreet North American Representation Sunny Artist Management Ilter Ibrahimof, Director ilter@sunnyartistmanagement.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 Office of Arts and Culture
Coming in Winter: Two performances!
Compañia Nacional de Danza Johan Inger’s Carmen
Tue, Mar 6 & Wed, Mar 7 8 PM / Granada Theatre Tickets start at $35 / $19 UCSB students A Granada facility fee will be added to each ticket price
Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay Corporate Sponsor:
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
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Cory Henry & The Funk Apostles Wed, Oct 4 / 8 PM / Campbell Hall
Cory Henry, keys Nicholas Semrad, keys TaRon Lockett, drums Sharay Reed, bass Adam Agati, guitar Denise Stoudmire, background vocals Tiffany Stevenson, background vocals
“The human voice is so powerful,” says Cory Henry. “When I’m singing, it’s like this extra way of connecting and communicating with people beyond what I can do just playing the organ. I’m able to convey these messages that are really important and meaningful to me through my words. Being front and center like this every night, it’s a challenge, but I’m up for it.” On his debut album with The Funk Apostles, Chapter 1: The Art of Love, organ virtuoso Cory Henry demonstrates that he’s more than up for the challenge, moving from sideman to frontman with seemingly effortless grace and cool. Praised by AllMusic as “one of the finest Hammond B-3 organ players of his generation,” Henry also proves himself to be a remarkable singer and songwriter here, one of extraordinary depth and vision. He and the band whip up an intoxicating blend of blues, soul, R&B, Afrobeat, gospel and jazz on the record, blurring genres and upending expectations at every turn. Simultaneously futuristic and retro, experimental and classic, it’s the sound of one of modern music’s most inventive minds coming fully into his own as a bandleader and storyteller. A Brooklyn native, Henry may be best known for his role in Snarky Puppy, the instrumental jazz-pop orchestra hailed by Rolling Stone as “one of the more versatile groups on the planet right now.” He’s won a pair of Grammy Awards for his work with the band since 2012, but Henry’s deft keyboard skills have been blowing minds around the world for more than two decades now. At age 6, he made his debut at Harlem’s legendary
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Apollo Theater, and at 19, he joined the touring band of jazz icon Kenny Garrett. Since then, he’s toured or recorded with a range of artists from Bruce Springsteen and The Roots to P. Diddy and Yolanda Adams, in addition to cracking the Top 10 on Billboard’s jazz charts with a pair of solo albums. NPR called him “a master” and said his “musical charisma is a match for a nearly 400 pound organ,” while Keyboard Magazine dubbed his playing “soulful, church-y, playful, restrained and virtuosic,” and The Boston Globe raved that “if anyone’s going to preach the gospel of the Hammond organ, it should be Cory Henry.” The gospel, in fact, is where it all began for Henry. He grew up performing and singing in church (a recent documentary titled Gotcha Now features incredible footage of him tearing up the organ there at the age of 4), but he refrained from sharing his voice with the world outside those holy halls for many years. “I just didn’t think my voice was good enough,” he confesses. “I didn’t think anyone else would want to hear it. But now that I’ve overcome my fear of singing, I’ve gotten comfortable with my voice, and it’s become just like another instrument for me.” Henry’s vocals on the album are smooth and breathy, with an intimate delivery that’s alternately understated and ecstatic. While his keyboard playing often draws comparisons to Oscar Peterson and Herbie Hancock, Henry’s singing reveals a whole different side of his musical personality, one that synthesizes everything from
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Michael Jackson and Marvin Gaye to Stevie Wonder and Prince. “Every influence that I could think of growing up is in this record,” reflects Henry. “I’m trying to break the barriers. The word funk is in our name, but I want people to know that this band is bigger musically than any one genre.” Henry pieced together The Funk Apostles’ lineup out of players he met on the road over the years, and each member of the band is an all-star in their own right. Guitarist Adam Agati, who co-wrote the album’s lyrics with Henry, has worked with everyone from Booker T. Jones to Ludacris, while bassist Sharay Reed has performed with Patti LaBelle, Aretha Franklin, Chakha Khan and more. Henry met drummer TaRon Lockett while he was playing with Snarky Puppy, and the latter has performed with some of the biggest names in R&B including Erykah Badu and Montell Jordan; keyboardist Nick Semrad’s credits include Miss Lauryn Hill, Bilal and Gabriel Garzon-Montano. Recorded in Williamsburg, Brooklyn, Chapter 1: The Art of Love was tracked live to tape in an effort both to capture the inimitable energy of the band’s live shows and to channel the warm analog vibes of the 1970s. While Henry may be renowned for his gifts as an improviser, the album serves as a showcase for his skills as a songwriter and producer, rich with intricate arrangements and memorable hooks. That’s not to say it’s without spontaneity, though. The band worked with minimal rehearsal (Henry estimates they’ve had three in the two years since the band started playing together), and several tracks are actually first-take recordings.
in it. “Find a Way” is an anthem to making life better through compassion and empathy, frequent show-closer “Give Me a Sign” is a blues and gospel-tinged love letter to music itself and the punchy “Takes All Time” is Henry’s true-life account of his journey to manhood, his “testimony to love and not rushing to find it.” The album ends on a more political note with “Free,” a gritty tune inspired by current events that features Henry’s most impassioned vocal performance yet as he promises, “we gonna fight / live or die for our rights / everywhere.” “I want to make music that really means something,” he explains. “I think of the ’60s and ’70s as this golden era of music, and if you look at some of the top artists then like Curtis Mayfield and Stevie Wonder, they were singing about what was happening around them in this creative way that made people want to act. They used music as a tool to reach the world and bring about change to help make it a better place. I want to do that, too.” It’s an ambitious goal, to be sure, but if there’s one thing this album proves, it’s that Cory Henry is up for the challenge. Special thanks to
The driving, funky “In the Water” combines a relentlessly pulse-pounding rhythm section groove with swirling synthesizer underneath Henry’s insistent, charismatic vocals. Like much of the album, the song is an examination of love: what it means, what it takes, what makes it last. On lead single “Trade It All,” he offers up a vulnerable, honest account of the sacrifices he’d make for a lover, while the sensual and smooth “Just a Word” sets a sultry mood for romance, and the fluid, elegant “Our Affairs” finds him asking, “Babe tell me why / You put me through Hell when Heaven’s where true love resides?” As a writer, Henry is clearly interested in love beyond just the romantic sense of the word, though, often zooming out to take a big picture look at a world that seems to be sorely lacking
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Bill Murray, Jan Vogler & Friends New Worlds
Bill Murray, actor Jan Vogler, cello Mira Wang, violin Vanessa Perez, piano Fri, Oct 6 / 7 PM (note special time) / Granada Theatre photo: Marco Grob
Post-performance Leadership Circle members-only party with the artists.
Event Sponsors: Meg & Dan Burnham Corporate Sponsor:
Program Ernest Hemingway: “Did You Even Play a Musical Instrument?” from “The Art of Fiction No. 21” from The Paris Review Johann Sebastian Bach: Prelude from Cello Suite No. 1 in G Major, BWV 1007 Walt Whitman: from “Song of the Open Road” and “Song of Myself” James Fenimore Cooper: from The Deerslayer with music by Franz Schubert: from Piano Trio No. 1 in B-flat Major, D. 898 Ernest Hemingway: “Group Feeling” from “The Art of Fiction No. 21” from The Paris Review Maurice Ravel: Blues from Violin Sonata No. 2 in G Major Ernest Hemingway: “With Pascin at the Dome” from A Moveable Feast Astor Piazzolla: “La Muerte del Angel” (arr. José Bragato) George Gershwin: “It Ain’t Necessarily So” from Porgy and Bess (arr. Jascha Heifetz) Astor Piazzolla: “Oblivion” Billy Collins: “Forgetfulness” Stephen Foster: “Jeanie with the Light Brown Hair”
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Musical Surprise Van Morrison: “When Will I Ever Learn To Live in God” (arr. Stephen Buck) Mark Twain: from Adventures of Huckleberry Finn with music by Henry Mancini: “Moon River” (arr. Manfred Grafe) Dmitri Shostakovich: Allegro from Cello Sonata in D Minor, op. 40 James Thurber: “If Grant Had Been Drinking at Appomattox” from Writings & Drawings (The Library of America) Leonard Bernstein: “Somewhere”,“I Feel Pretty” and “America” from West Side Story (arr. Stephen Buck)
About the Program Bill Murray and Jan Vogler met during their travels and became friends in New York. Curious about each other’s artistic world and interests, the actor and the cellist soon had the idea to work together on a project. A program that showcases the core of the American values in literature and music. A show that communicates the bridges artists have built between America and Europe. Twain, Hemingway, Whitman, Cooper, Bernstein, Gershwin and Foster are some of the strongest voices that influenced generations of humans in America and gave the world a picture of the charm, energy and creative force of the New World. In 2017, their idea for a joint program celebrates its premiere. The Hollywood star’s love for classical music is young and his art of language boundless. All the more reason to look forward to a fascinating encounter between great music and great literature featuring two masters of their art.
Bill Murray Bill Murray is an American actor, comedian and writer. The fifth of nine children, he was born William James Murray in Wilmette, Illinois. He and most of his siblings worked as caddies, which paid his tuition to Loyola Academy, a Jesuit school. After giving up his medical studies, he dedicated himself to his second passion, acting. Murray joined the National Lampoon Radio Hour in 1973 with fellow members Dan Aykroyd, Gilda Radner and John Belushi. He became a fixture among the authors and performers of the legendary TV show Saturday Night Live in 1976, for which he won an Emmy Award for Outstanding
Writing in a Comedy-Variety or Music Series. He has starred in numerous comedy films, including Meatballs (1979), Caddyshack (1980), Stripes (1981), Tootsie (1982), Ghostbusters (1984), Ghostbusters II (1989), Scrooged (1988), What About Bob? (1991) and Groundhog Day (1993). He also co-directed Quick Change (1990). In 1999, he starred in Wes Anderson’s Rushmore, which brought him several awards including Best Supporting Actor from both the New York Film Critics Circle and the National Society of Film Critics. He further collaborated with Anderson in The Royal Tenenbaums (2001), The Life Aquatic with Steve Zissou (2005), Moonrise Kingdom (2012) and Grand Budapest Hotel (2014). For his role in Sofia Coppola’s 2003 Lost in Translation, he received numerous awards including a Golden Globe and a BAFTA Award for Best Actor, as well as an Academy Award nomination for Best Actor. He also received Golden Globe nominations for his roles in Ghostbusters, Rushmore (1998), Hyde Park on Hudson (2012), St. Vincent (2014) and the HBO miniseries Olive Kitteridge (2014), for which he later won his second Primetime Emmy Award for Outstanding Supporting Actor in a Limited Series or a Movie. Recognized as a humorist as well as an actor, Murray was awarded the Mark Twain Prize for American Humor in 2016. His passion for baseball and golf is just as famous as his ability to turn everything into art, and his eccentric and irreverent style have caused him to be seen by many as a folk hero.
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Jan Vogler Cellist Jan Vogler is one of today’s most renowned soloists, praised for his “soulful, richly hued playing” (The New York Times) and his “spiraling virtuosity” (Gramophone). He frequently performs with leading international orchestras – including the New York Philharmonic, Boston, Pittsburgh and Montreal Symphony Orchestras, Bavarian Radio Symphony Orchestra, Deutsche Symphonie-Orchester Berlin, Mozarteum Orchestra Salzburg as well as Orchestra dell’Accademia di Santa Cecilia – and collaborates with conductors such as Andris Nelsons, Fabio Luisi, Sir Antonio Pappano, Valery Gergiev, Thomas Hengelbrock, Manfred Honeck and Kent Nagano. Currently, Vogler is focusing on the historically-informed sound of the cello repertoire and performing with gut strings on his latest album of Schumann’s cello concertos with Dresden Festival Orchestra under the baton of Ivor Bolton. He is also the creative mind and key player for the New Worlds project, which aims to intertwine American literature with European music. Upcoming highlights include a recital tour with long-term duo partner Hélène Grimaud in Germany. A prolific and multiaward-winning artist, Vogler records exclusively for Sony Classical. Among his most recent albums is a Tchaikovsky recording with the Frankfurt Radio Symphony Orchestra, conducted by Andrés Orozco-Estrada, and the Moritzburg Festival Ensemble. For his recording of Bach’s Six Suites for Solo Cello he was awarded his third Echo Klassik award in the category Instrumentalist of the Year 2014 (cello). Vogler plays the 1707 Stradivari Ex Castelbarco/Fau cello.
Mira Wang A native of China, violinist Mira Wang studied with Roman Totenberg at Boston University, from which she graduated with distinction and the prestigious Kahn Award for outstanding musicians. She has appeared with numerous orchestras in the U.S., Europe and Asia, including the Staatskapelle Dresden, the Royal Liverpool Philharmonic Orchestra, the Orchestre de la Suisse Romande, the Singapore Symphony Orchestra and the Hong Kong Philharmonic Orchestra. As a chamber musician, she has performed at many international festivals, including the Marlboro Festival, Les Museiques in Basel, the Kuhmo Festival, the MDR Music Summer and the Moritzburg Festival. Highlights of her career include the world premiere of Spring in Dresden by Chen Yi with the Staatskapelle Dresden and Iván Fischer; performing Chain 2 by W. Lutoslawski with the American Symphony Orchestra at Lincoln Center; the world premiere of John Harbison’s Double Concerto with Jan Vogler and the Boston Symphony Orchestra; and the premiere of Wolfgang Rihm’s Duo Concerto on three continents with Jan Vogler. The label
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Berlin Classics has released several albums featuring Mira Wang, including the Violin Concerti by Saint-Saëns with the NDR Radio Philharmonic and Prokofiev with the German Radio Philharmonic Saarbrücken. She has also appeared on recordings for Sony Classical, including on the Moritzburg Festival’s Mozart production (winner of an Echo Classical Award) and its Tango album.
Vanessa Perez Venezuelan-American pianist Vanessa Perez has been praised for a bold, passionate performing style allied to musicianship of keen sensitivity. The Washington Post reports, “Vanessa Perez is not to be taken lightly.” She has performed across the United States, Latin America and Europe, and with musicians such as pianists Gabriela Montero and Ingrid Fliter, cellist Jan Vogler and conductors Gustavo Dudamel, John Axelrod, Enrique Batiz, Gustav Meier, James Judd, David Gimenez Carreras and Diego Matheuz. Among other high-profile experiences in the studio, Perez joined superstar violinist Joshua Bell for his At Home with Friends album, released by Sony Classical in 2009. She also teamed with Jan Vogler for the cellist’s 2008 Sony album, Tango. As a solo artist, she has recorded for VAI – Presenting Vanessa Perez, and received high praise for her Telarc recording of Chopin: The Complete Preludes, which reached No. 5 on the Billboard charts. Her most recent recording, Spain, was released by Steinway & Sons in 2016. Perez began her studies in Caracas, Venezuela at the age of 7 at the Colegio Emil Friedman. She has degrees from the Royal Academy of Music in London and Yale University. She was featured this past December in Amazon’s series Mozart in the Jungle, performing Olivier Messiaen’s Turangalîla with Gael Garcia Bernal and Ondist Suzanne Farrin. Perez is a Steinway Artist. Lighting Design: Rick Siegel Sound Engineer: Chace Deschene Tour Management and Booking Dorn Music GmbH & Co KG Tanja Dorn and Susanne Schmieder www.dornmusic.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 Office of Arts and Culture
Special thanks to
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An Evening with
Ira Glass
Seven Things I’ve Learned
photo: Jesse Michener
Sat, Oct 7 / 8 PM / Granada Theatre
Event Sponsors: Suzi & Glen Serbin
Ira Glass is the host and creator of the public radio program This American Life. The show is heard each week by more than 2.2 million listeners on more than 500 public radio stations in the United States, Australia and Canada, with another 2.5 million downloading each podcast. For years, it was the most popular podcast on iTunes, until the staff created the program Serial, which had more than 10 million people downloading each episode. Glass began his career as an intern at National Public Radio’s network headquarters in Washington, D.C., in 1978, when he was 19 years old. Over the years, he worked on nearly every NPR network news program and held virtually every production job in NPR’s Washington headquarters. He has been a tape cutter, newscast writer, desk assistant, editor, reporter and producer. He has filled in as host of Talk of the Nation and Weekend All Things Considered.
Under Glass’ editorial direction, This American Life has won the highest honors for broadcasting and journalistic excellence, including five Peabody awards. The American Journalism Review declared that the show is “at the vanguard of a journalistic revolution.” Books are available for purchase in the lobby
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 Office of Arts and Culture
Special thanks to
A television adaptation of This American Life ran on Showtime for two seasons in 2007 and 2008, winning three Emmys. Glass is one of the producers of Mike Birbiglia’s film Don’t Think Twice and produced and co-wrote Birbiglia’s first film Sleepwalk with Me.
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Béla Fleck & Abigail Washburn Sun, Oct 8 / 8 PM (note special time) / Campbell Hall
Event Sponsors: Marilyn & Dick Mazess Béla Fleck and Abigail Washburn, “the king and queen of the banjo” (Paste Magazine), have a musical partnership like no other. Béla Fleck is a 15-time Grammy Award winner who has taken the instrument across multiple genres, and Abigail Washburn a singer-songwriter and clawhammer banjo player who re-radicalized it by combining it with Far East culture and sounds. The two met at a square dance, began collaborating musically and eventually fell in love. Over the years, they played together most visibly in the Sparrow Quartet alongside Ben Sollee and Casey Driessen, and informally at a pickin’ party here, a benefit there, or occasionally popping up in each other’s solo shows. Fans of tradition-tweaking acoustic fare eagerly anticipated that Fleck and Washburn would begin making music together as a duo. Fleck has the virtuosic, jazz-to-classical ingenuity of an iconic instrumentalist and composer with bluegrass roots. His collaborations range from his groundbreaking, standard-setting ensemble Béla Fleck and the Flecktones to a staggeringly broad array of musical experiments. From writing concertos for full symphony orchestra to exploring the banjo’s African roots, to jazz duos with Chick Corea, many tout that Fleck is the world’s premier banjo player.
Fei called the Ripple Effect, with the goal of uniting and opening hearts through the unique sounds and harmony of American and Chinese folk music. On stage, Fleck and Washburn perform pieces from their Grammy-winning self-titled debut as well as their new record, Echo in the Valley (Rounder 2017). With one eye on using the banjo to showcase America’s rich heritage and the other on pulling the noble instrument from its most familiar arena into new and unique realms, Fleck and Washburn meet in the mean, head-on, to present music that feels wildly innovative and familiar at the same time. Whether at home, on stage or on record, their deep bond, combined with the way their distinct musical personalities and banjo styles interact, makes theirs a picking partnership unlike any other on the planet. belafleck.com abigailwashburn.com Special thanks to
Washburn has the earthy sophistication of a postmodern, old-time singer-songwriter who has drawn critical acclaim for her solo albums. She has done fascinating work in folk musical diplomacy in China, presented an original theatrical production and has contributed to singular side groups Uncle Earl and The Wu-Force. In addition, Washburn has recently created a nonprofit with Chinese zither-master Wu
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Walter Isaacson
Leonardo da Vinci: The Secrets of History’s Most Creative Genius
photo: The Aspen Institute
Sat, Oct 14 / 2 PM (note special time) / Arlington Theatre
Event Sponsors: Monica & Timothy Babich Presented in association with the Santa Barbara Museum of Art Thematic Learning Initiative: Creating a Meaningful Life
Walter Isaacson served as president and CEO of the Aspen Institute for 14 years. He recently announced that he will step down to join Tulane University – in his native New Orleans – as a history professor in January 2018. He has been the chairman and CEO of CNN and the editor of Time magazine. Isaacson’s most recent book, Leonardo da Vinci (2017), brings history’s most creative genius at the crossroads of the humanities and the arts to life and highlights the importance of creativity and challenging the status quo. Isaacson is also author of The Innovators: How a Group of Hackers, Geniuses and Geeks Created the Digital Revolution (2014), a biographical tale of the people who invented the computer, Internet and the other great innovations of the digital age. His other books include Steve Jobs (2011), Einstein: His Life and Universe (2007), Benjamin Franklin: An American Life (2003) and Kissinger: A Biography (1992). He is co-author of The Wise Men: Six Friends and the World They Made (1986).
He is chair emeritus of Teach for America, which recruits recent college graduates to teach in underserved communities. From 2005 to 2007 he was vice-chair of the Louisiana Recovery Authority, which oversaw the rebuilding after Hurricane Katrina. Isaacson was appointed by President Barack Obama and confirmed by the Senate to serve as chairman of the Broadcasting Board of Governors, which runs Voice of America, Radio Free Europe and other international broadcasts of the United States, a position he held from 2009 to 2012. He is on the board of United Airlines, Tulane University, the Overseers of Harvard University, the New Orleans Tricentennial Commission, Bloomberg Philanthropies, the Carnegie Institution, the Society of American Historians and My Brother’s Keeper Alliance. Books are available for purchase in the lobby and a signing follows the event
Born in New Orleans, Isaacson is a graduate of Harvard College, and of Pembroke College of Oxford University, where he was a Rhodes Scholar. He began his career at The Sunday Times of London and then New Orleans’ Times-Picayune. He joined Time magazine in 1978 and served as a political correspondent, national editor and editor of digital media before becoming the magazine’s 14th editor in 1996. Isaacson became chairman and CEO of CNN in 2001 and then president and CEO of the Aspen Institute in 2004.
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Andrew Bird Sat, Oct 14 / 8 PM / Campbell Hall
photo: Addie Juell
Andrew Bird, vocals, whistling, violin, guitar, glockenspiel Alan Hampton, bass, vocals Abraham Rounds, drums
Andrew Bird is an internationally acclaimed multi-instrumentalist, vocalist, whistler and songwriter who picked up his first violin at the age of 4 and spent his formative years soaking up classical repertoire completely by ear. Since beginning his recording career in 1997, Bird has released 13 albums and performed extensively worldwide. He has recorded with the Preservation Hall Jazz Band, appeared as Dr. Stringz on Jack’s Big Music Show and headlined concerts at Carnegie Hall, Sydney Opera House and festivals worldwide. In recent years, he performed as the Whistling Caruso in Disney’s The Muppets movie, scored the FX series Baskets, performed at the New Yorker Festival and collaborated with inventor Ian Schneller on Sonic Arboretum, an installation that exhibited at New York’s Guggenheim Museum, Boston’s ICA and the MCA Chicago. Bird has been a featured TED Talk presenter, a New York Times
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op-ed contributor and is an advocate for Everytown for Gun Safety. Additionally, Bird hosts an ongoing Facebook Live series of performances called Live From the Great Room, putting the creative process on display for fans as he performs and converses with friends and collaborators in a candid, intimate setting. Bird is currently working on a series of site-specific improvisational short films and recordings called Echolocations, recorded in remote and acoustically interesting spaces. The next installment, Echolocations: River (recorded under Los Angeles’ Hyperion Bridge), is slated for release in October. Special thanks to
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ODC/Dance boulders and bones
photo: RJ Muna
Tue, Oct 17 / 8 PM / Granada Theatre
Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay
Choreographers: Brenda Way and KT Nelson Concept: Andy Goldsworthy Commissioned Score: Zoë Keating Visuals: RJ Muna Lighting and Scenic Design: Alexander V. Nichols Dancers: Jeremy Smith, Natasha Adorlee Johnson, Brandon Freeman, Jeremy Bannon-Neches, Tegan Schwab, Alec Guthrie, Daniel Santos, Keon Saghari, Rachel Furst, Lani Yamanaka, Mia J. Chong Cello: Erin Wang
About the Program Inspired by the work of visual artist Andy Goldsworthy and set to a commissioned score by acclaimed avant cellist Zoë Keating, Brenda Way and KT Nelson’s fearless choreography touches on transformation in both art and nature. RJ Muna’s cinematic mise en scène, which traces the shifting light, changing landscape and building process of Goldsworthy’s installation, takes us through the chaos of creative process to the clarity of realization.
About the Company Founded in 1971 by Artistic Director Brenda Way, who trained under the legendary George Balanchine, ODC (Oberlin Dance Collective – named after Oberlin College in Ohio, where Way was on faculty) loaded up a yellow school bus and relocated to San Francisco in 1976. Way’s goal was to ground the company in a dynamic pluralistic urban setting. ODC was one of the first American companies to return, after a decade of pedestrian exploration, to virtuosic technique in contemporary dance and to commit major resources to interdisciplinary collaboration and musical commissions for the repertory. ODC/Dance Company, comprised of 11 world-class dancers, performs its imaginative repertory for more than 50,000 people per year. In addition to two annual home seasons in San Francisco (Dance Downtown and its holiday production, The Velveteen Rabbit), past highlights include numerous appearances at the Joyce Theater in New York, sold-out performances at the Kennedy Center, standing-room-only engagements in Europe and Russia and two USIA tours to Asia. Way’s work was selected by Brooklyn Academy of Music (BAM) for the inaugural DanceMotion USA tour in 2010. In 43 years, ODC/Dance has performed for more than a million people in 32 states and 11 countries, with support from the NEA, the U.S. State Department and many state and city arts agencies. The company has been widely recognized for its rigorous technique and numerous groundbreaking collaborations with, among others, composers Marcelo Zarvos, Bobby McFerrin, Zoë Keating, Zap Mama, Pamela Z and Paul Dresher; writer/ singer Rinde Eckert; actors Bill Irwin, Geoff Hoyle and Robin
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Williams; visual artists Andy Goldsworthy, Wayne Thiebaud, Jim Campbell and Eleanor Coppola; and welder/bike designer Max Chen.
About the Choreographers Brenda Way (Founder and Artistic Director) received her early training at The School of American Ballet and Ballet Arts in New York City. She is the founder and artistic director of ODC/Dance and creator of the ODC Theater and ODC Dance Commons, community performance and training venues in San Francisco’s Mission District. Way launched ODC and an inter-arts department at Oberlin College and Conservatory of Music in the late ’60s before relocating to the Bay Area in 1976. She has choreographed more than 80 pieces over the last 43 years. Among her commissions are Unintended Consequences: A Meditation (2008), Equal Justice Society; Life is a House (2008), San Francisco Girls Chorus; On a Train Heading South (2005), CSU Monterey Bay; Remnants of Song (2002), Stanford Lively Arts; Scissors Paper Stone (1994), Alvin Ailey American Dance Theater; Western Women (1993), Cal Performances, Rutgers University and Jacob’s Pillow; Ghosts of an Old Ceremony (1991), Walker Art Center and The Minnesota Orchestra; Krazy Kat (1990), San Francisco Ballet; This Point in Time (1987), Oakland Ballet; Tamina (1986), San Francisco Performances; and Invisible Cities (1985), Stanford Lively Arts and the Robotics Research Laboratory. Her work Investigating Grace was named an NEA American Masterpiece in 2011. Way’s work was selected by the Brooklyn Academy of Music in 2010 to represent the U.S. in a tour of Southeast Asia sponsored by the State Department. She is a national spokesperson for dance, has been published widely, has garnered numerous awards – including Isadora Duncan Dance Awards for both choreography and sustained achievement – and has received 40 years of support from the National Endowment for the Arts. She is a 2000 recipient of the John Simon Guggenheim Fellowship. In 2009, she was the first choreographer to be a Resident of the Arts at the American Academy in Rome, and in 2012, she received the Helen Crocker Russell Award for Community Leadership from the SF Foundation. KT Nelson (Co-artistic Director) joined ODC/Dance in 1976 and partners with Brenda Way directing the ODC/ Dance Company. Nelson choreographed and directed the company’s first full-length family ballet in 1986, The Velveteen Rabbit, which has since been performed annually in the Bay Area as a holiday production. Nelson has been awarded the Isadora Duncan Dance Award four times: in 1987 for Outstanding Performance, in 1996 and 2012 for Outstanding Choreography and in 2001 for Sustained Achievement. Her collaborators have included
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Bobby McFerrin, Geoff Hoyle, Shinichi Iova-Koga, Max Chen, Zap Mama and Joan Jeanrenaud. In 2008, her work RingRoundRozi, a collaboration with French-Canadian composer Linda Bouchard, was selected to be performed at the Tanzmesse International Dance Festival. In 2009, Nelson was one of three artists selected for Austin Ballet’s New American Talent Competition. In 2012, she created new work for Western Michigan University as part of their Great Works Dance Project. In addition to her work as a choreographer, Nelson served on the Zellerbach Community Arts Panel from 2005 to 2011, ran the summer dance department for Center for Creative Youth at Wesleyan University from 2003 to 2006 and founded the ODC Dance Jam (teen dance company) in 1997. During the last 25 years, Nelson has played a major role in defining and implementing ODC’s ongoing as well as project-based outreach programs. She has mentored with Margaret Jenkins’ CHIME Project and continues to mentor emerging artists in the Bay Area and abroad. Kimi Okada (Associate Choreographer) is a founding member of ODC/Dance. Her work includes more than 26 choreographed works for ODC/Dance, as well as commissions and collaborations with Geoff Hoyle, Bill Irwin, Julie Taymor and Robin Williams. She has choreographed productions for the American Conservatory Theater/San Francisco, Yale Repertory Theater, The New Victory Theater in New York, The Children’s Theater Company in Minneapolis, Theatre for a New Audience in New York, Berkeley Repertory Theatre, The American Music Theater Festival, The Santa Fe Opera, Los Angeles Music Center Opera, Los Angeles Theatre Center, The Pickle Family Circus and the San Francisco Mime Troupe. She was nominated for a Tony Award for the Broadway production of Largely New York, which she co-choreographed with Bill Irwin. In 2010, she choreographed the American Conservatory Theater production of Scapin and The Composer is Dead at Berkeley Repertory Theater. In 2013, she choreographed the First Voice production of Mu, an evening length theater/dance/music piece which premiered at the San Francisco Jewish Community Center. She received a 2014 Isadora Duncan Dance Award for Outstanding Choreography for Two If by Sea. Since 1996, Okada has served as director of the ODC School, which she has brought to the forefront of international and national dance education for youth and adults. She has been honored with a California State Legislature Assembly Resolution for choreographic and community contributions. She directs the teen company, the ODC Dance Jam. 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 Office of Arts and Culture
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An Afternoon with
Vice President Joe Biden
photo: David Lienemann
Sat, Oct 21 / 4 PM (note special time) / Arlington Theatre
Event Sponsors: Marcy Carsey Audrey & Tim Fisher Susan & Bruce Worster
As a senator from Delaware for 36 years, Joe Biden was a leading architect of domestic policy on some of the most pressing issues facing the country. Then-Senator Biden served as chairman or ranking member of the Senate Judiciary Committee for 17 years and was a preeminent voice on criminal justice issues, including authoring both the landmark 1994 Crime Act and the Violence Against Women Act. Biden has worked relentlessly since the passage of the Violence Against Women Act in 1994 to change the culture around domestic violence and sexual assault and protect and strengthen victims’ rights. As the 47th vice president of the United States, Biden oversaw the implementation of the American Recovery and Reinvestment Act, which was integral to rescuing the economy from the brink of another Great Depression. The Recovery Act added 2 million jobs to the economy and made an unprecedented investment in America’s infrastructure. According to the nonpartisan Government Accountability Office, under former Vice President Biden’s oversight, more than $800 billion dollars were injected into the economy with less than two tenths of one percent waste, fraud or abuse – making it one of the most efficient government programs in history. As vice president, Biden also chaired the MiddleClass Task Force, an administration-wide effort to improve the everyday lives and livelihoods of working men and women, and oversaw the administration’s Skills Initiative to improve federal workforce training programs. He authored “Ready to Work: Job-Driven Training and American Opportunity,” a report to the
president on how best to ensure American workers are trained for the jobs of the 21st century. Biden also led the administration’s efforts to implement meaningful reforms to reduce gun violence in this country, which resulted in federal actions aimed at strengthening the background check system and addressing mental health issues linked to gun violence, among others. President Obama awarded Biden the Presidential Medal of Freedom, with Distinction – the highest civilian honor in the U.S. Since leaving the White House, Vice President Biden continues his legacy of expanding opportunity for all with the creation of the Biden Foundation, the Penn Biden Center for Diplomacy and Global Engagement at the University of Pennsylvania, and the Biden Domestic Policy Institute at the University of Delaware. Vice President Biden and his wife Dr. Jill Biden have also founded the Biden Cancer Initiative to end cancer as we know it. Biden is an alumnus of the University of Delaware, Class of 1965. 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 Office of Arts and Culture
Special thanks to
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J.D. Vance
Hillbilly Elegy: A Culture in Crisis Mon, Oct 23 / 7:30 PM / Granada Theatre
J.D. Vance is an investor, commentator and author of the No. 1 New York Times bestseller Hillbilly Elegy: A Memoir of a Family and Culture in Crisis, described by the National Review as a “brilliant book” and by The Economist as “one of the most important” reads of 2016. Ron Howard and Brian Grazer of Imagine Entertainment have announced plans to produce a movie based on Vance’s book.
In early 2017, Vance joined as a partner in AOL founder Steve Case’s venture capital company, Revolution LLC, which concentrates on bolstering entrepreneurship and disruptive, high-growth companies outside of the sphere of Silicon Valley. He also returned home to Ohio to found Our Ohio Renewal, a nonprofit organization dedicated to addressing the state’s opioid crisis and bringing high-quality employment and educational opportunities to Ohioans.
Raised by his working-class grandparents in Middletown, Ohio, Vance graduated from Middletown High School in 2003 and then immediately enlisted in the U.S. Marine Corps. During his time in the Marines, he deployed to Iraq in support of Operation Iraqi Freedom.
He regularly discusses politics and public policy, having appeared on ABC, CBS and FOX News. He currently serves as a contributor on CNN.
When he finished his four-year enlistment, Vance enrolled at Ohio State University, where he studied political science and philosophy and helped coordinate the university’s bipartisan voter education drive in 2008. After graduating from college, he studied at Yale Law School, where he worked at Yale’s Veterans Legal Services Clinic, providing free legal counsel to veterans of our nation’s wars in Vietnam and Iraq. Vance earned his law degree in 2013.
Pre-signed books are available for purchase in the lobby
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 Office of Arts and Culture
After a stint at a large corporate law firm, Vance moved to San Francisco to work in the technology industry. He serves as a principal at the leading Silicon Valley venture capital firm Mithril Capital, co-founded by Peter Thiel and Ajay Royan. As an investor, Vance has taken a special interest in the biotechnology industry and other transformative sectors of the economy.
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Rhiannon Giddens
The Freedom Highway Tour
photo: Tanya Rosen
Thu, Oct 26 / 8 PM / Campbell Hall
Rhiannon Giddens, vocals, fiddle Dirk Powell, guitar, keys, fiddle Hubby Jenkins, guitar Jamie Dick, drums Jason Sypher, bass Event Sponsor: Barrie Bergman
Singer-songwriter Rhiannon Giddens is the co-founder of the Grammy Award-winning string band Carolina Chocolate Drops, in which she also plays banjo and fiddle. She began gaining recognition as a solo artist when she stole the show at the T Bone Burnett-produced Another Day, Another Time concert at New York City’s Town Hall in 2013. The elegant bearing, prodigious voice and fierce spirit that brought the audience to its feet that night is also abundantly evident on Giddens’ critically acclaimed solo debut, the Grammy Award-nominated album Tomorrow Is My Turn, which masterfully blends American musical genres like gospel, jazz, blues and country, showcasing her extraordinary emotional range and dazzling vocal prowess.
among other programs. Giddens received the BBC Radio 2 Folk Award for Singer of the Year and won the Steve Martin Prize for Excellence in Bluegrass and Banjo in 2016. Giddens, who studied opera at Oberlin, makes her acting debut with a recurring role on the recently revived television drama Nashville, playing the role of Hanna Lee “Hallie” Jordan, a young social worker with “the voice of an angel.” Special thanks to
Giddens’ follow-up album Freedom Highway was released in February 2017. It includes nine original songs Giddens wrote or co-wrote, along with a traditional song and two civil rights-era songs, “Birmingham Sunday” and the Staple Singers’ well-known “Freedom Highway,” from which the album takes its name. Giddens’ recent televised performances include The Late Show, Austin City Limits, Later…with Jools Holland and both CBS Saturday and Sunday Morning, among numerous other notable media appearances. She performed for President Obama and the first lady in a gospel music installment of In Performance at the White House, along with Aretha Franklin and Emmylou Harris; the program was televised on PBS. Giddens duets with country superstar Eric Church on his powerful anti-racism song “Kill a Word.” The two have performed the song on The Tonight Show and at the Country Music Association Awards,
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Santa Barbara Debut!
Israel Philharmonic Orchestra Zubin Mehta, Music Director
The Music Director’s position is endowed by the William Petschek Family
Wed, Nov 1 / 7 PM / Arlington Theatre Event Sponsors: Sara Miller McCune Shanbrom Family Foundation
Merryl Snow Zegar & Charles Zegar Anne Towbes, in honor of Michael Towbes
photo: Shai Skiff
Tonight’s performance honors the life and legacy of our dear friend Michael Towbes Presented in association with CAMA, Congregation B’nai B’rith and the Taubman Foundation Symposia in Jewish Studies at UCSB
Program
About the Program
Amit Poznansky: ”Footnote”, Suite for orchestra
Amit Poznansky (b. 1974): “Footnote”, Suite for orchestra
Mozart: Symphony No. 36 in C Major, K. 425 (“Linz”) Adagio; Allegro spiritoso Andante Menuetto Presto - Intermission Schubert: Symphony No. 9 in C Major, D. 944 (“The Great”) Andante; Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Finale: Allegro vivace
“Footnote”, Suite for orchestra, comprises several of the main musical themes from the soundtrack I composed for Joseph Cedar’s film Footnote. The Suite has a neo-classical character and is built like a waltz, which undergoes many transformations throughout it. The music reflects the main characters in the film and their contrasting forces: the strictness and seriousness of Eliezer, the father, against the tenderness and forgiveness of Uriel, the son. Yet, each one has a hint of the other. These two forces collide at times, but they create a beautiful harmonic musical reflection of the complexity of the storyline. The film won the Cannes Film Festival Award for Best Screenplay (2011), was nominated for an Academy Award in the category of Best Foreign Language Film (2012), and the soundtrack was chosen as Best Original Score (Feature Film) at the International Samobor Film Music Festival in Croatia (2013). The original soundtrack was recorded by the Jerusalem Symphony Orchestra under the baton of Doron Salomon. Program note by Amit Poznansky
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Wolfgang Amadeus Mozart (1756-1791): Symphony No. 36 in C Major, K.425 (“Linz”) Mozart married Constanze Weber in Vienna in August 1782, and the following summer the couple made a somewhat tremulous visit to Salzburg so that Constanze could meet her father-in-law. The three-month visit was not wholly successful, and the young couple was doubtless relieved to head back toward Vienna at the end of October 1783. On the way, they were guests in Linz of Count Thun, the wealthy father of one of Mozart’s students, but they arrived to discover that the Count had scheduled a concert for only a few days later. Mozart wrote to his father: “On Thursday, November 4, I am going to give a concert in the theater, and as I have not a single symphony by me, I am writing at breakneck speed a new one, which must be ready by then. I now end because I positively must get on with my work.” Not “a single symphony!” Even Mozart, who could write at blinding speed, must have felt a little pressed this time, but he finished the symphony on November 3, and it was premiered the next day. Yet there is not the faintest trace of rush about this magnificent music, which is polished and complete in every way. The Symphony in C Major is the first symphony Mozart wrote after moving to Vienna (the “Haffner” Symphony was compiled from music originally written in Salzburg), and some have heard the influence of Haydn in the slow introduction, the singing slow movement, and the sturdy minuet. But the “Linz” Symphony, as it has come to be known, is pure Mozart, particularly in its perfect sense of form and expressive chromatic writing. There is a special quality about this symphony, almost impossible to define: the music glows with health and energy, its sunny C-major energy propelled along at moments by dotted-rhythm fanfares. The thunderous slow introduction (the first in a Mozart symphony) instantly rivets attention, but serves little musical purpose beyond that: none of its themes reappears in the rest of the movement. That movement leaps ahead at the aptly-named Allegro spiritoso where the first violins’ opening theme has a rhythmic snap that will characterize the entire symphony; the second subject is one of those wonderful Mozart themes that changes key and character even as it proceeds. The Andante is a long flow of easy melody, so graceful that it is easy to overlook the fact that Mozart does something extremely unusual here: he uses trumpets and timpani in a slow movement, and their color – beautifully restrained – gives this music rare expressive power. The minuet is
forthright (and somewhat foursquare), while the trio section, with its ländler tune in the winds, beautifully overlaps phrases in its later strains. The Presto finale, in sonata form rather than the expected rondo, zips along with such unremitting energy that it almost feels like a perpetual-motion movement. So dazzling is this energy that the subtlety of Mozart’s writing nearly gets lost in the rush: all three of this movement’s themes are related. Throughout, Mozart’s chromatic writing allows the music to slide effortlessly through many different moods until the symphony is rounded off with a coda that is shining, heroic – and quite brief.
Franz Schubert (1797-1828): Symphony No. 9 in C Major, D. 944 (“Great”) Schubert’s final year has become the stuff of legend. Before he died in November 1828 at age 31, he composed a series of extraordinary masterpieces, including the Mass in E-flat Major, three final piano sonatas, the songs of the Schwanengesang cycle and the Cello Quintet. Towering above all these is his “Great” C-Major Symphony, whose manuscript is dated March 1828. And, as the legend has it, Schubert never heard a note of any of these works – the manuscripts were consigned to dusty shelves upon his death, and it was years before the music was performed, much longer before it was understood. Not until 11 years after Schubert’s death did Robert Schumann discover the manuscript of the symphony in Vienna and send it off to Leipzig, where Felix Mendelssohn led the premiere on March 21, 1839. That dramatic beginning established it as one of the masterpieces of the symphonic literature. This has always made a terrific story, even though most of it is untrue. Recent research (which includes dating the manuscript paper that Schubert used in different years) has shown that he actually composed this symphony during the summer of 1825. He had recently recovered from a serious illness, and now he went on a walking tour of Upper Austria with his friend, the baritone Michael Vogl. In the town of Gmunden, mid-way between Salzburg and Linz, Schubert began to sketch a symphony and worked on it all that summer and over the next two years (the date “March 1828” on the manuscript may be the date of final revisions). And Schubert did hear at least some of this music. Orchestral parts were copied, and the orchestra of the Gesellschaft der Musikfreunde played through it in the composer’s presence before rejecting it as too difficult. Far from being welcomed into the repertory following Mendelssohn’s premiere, the symphony actually made its way very slowly. Attempts to perform it in London and Paris in the 1840s foundered when
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players jeered the music and refused to continue because of its difficulty; the American premiere had occurred (1851) before this symphony was heard in those two cities. Schubert scores the symphony for classical orchestra (pairs of winds, plus timpani and strings), but he makes one addition that transforms everything. To Mozart’s orchestra he adds three trombones, which are given important roles thematically (it is part of the originality of this symphony that Schubert is willing, for the first time, to treat the trombone as a thematic – rather than supportive – instrument). Their tonal heft dictates a greatly increased string section and occasional doubling of the woodwind parts, and everything about this music – its sonority and range of expression – suggests that Schubert envisioned its performance by a large orchestra. Very early this symphony acquired the nickname “Great,” a description that needs to be understood carefully. It was originally called the “Great C-Major” to distinguish it from Schubert’s brief Symphony No. 6 in C Major, inevitably called the “Little C-Major.” And so in its original sense, “Great” was an indication only of relative size. But that description has stuck to this music, and if ever a symphony deserved to be called “Great,” this is it. It has a magic beginning. In unison, two horns sound a long call that seems to come from a great distance. In the classical symphony, the slow introduction usually had nothing to do thematically with the sonata-form first movement that followed but served only to call matters to order and prepare the way for the Allegro. It is one more mark of Schubert’s new vision that this slow introduction will have important functions in the main body of the movement. Schubert repeats this opening melody in various guises before the music rushes into the Allegro ma non troppo, where strings surge ahead on sturdy dotted rhythms while woodwinds respond with chattering triplets – Schubert will fully exploit the energizing contrast between these two rhythms. The second subject, a lilting tune for woodwinds, arrives in the “wrong” key of E minor (Schubert deftly nudges it into the “correct” key of G major), and all seems set for a proper exposition, when Schubert springs one of his best surprises: very softly, trombones intone the horn theme from the very beginning, their dark color giving that noble tune an ominous power. That theme now begins to penetrate this movement, and the rhythm of its second measure will take on a thematic importance of its own. The development is brief, but the recapitulation is full, and Schubert drives the movement to a thrilling conclusion: trombones push the music forward powerfully, and the opening horn call is shouted out in all its glory as the movement hammers to its close.
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The slow movement is marked Andante con moto, and the walking tempo implied in that title makes itself felt in the music’s steady tread. Solo oboe sings the sprightly main theme, while the peaceful second subject arrives in the strings. There is no development, but Schubert creates another moment of pure magic: over softly-pulsing string chords, a solo horn (once again sounding as if from far away) leads the way into the recapitulation. Schumann’s description of this passage, often quoted, is worth hearing again: “Here everyone is hushed and listening, as though some heavenly visitant were quietly stealing through the orchestra.” The recapitulation itself is not literal, and Schubert drives to a great climax where the music is suddenly ripped into a moment of silence, the only point in the entire movement where the steady opening tread is not heard. Only gradually does the orchestra recover as the cellos lead to a luminous restatement of the second subject, now richly embellished. The Allegro vivace is the expected scherzo and trio, but again Schubert surprises us: the movement is in sonata form and develops over such a generous span that if all repeats are taken, it can approach the length of the two opening movements. Strings stamp out the powerful opening, and violins soar and plunge as it begins to develop. Part of the pleasure here lies in the way Schubert transforms the sledgehammer power of the opening into a series of terraced, needle-sharp entrances in the course of the development. By contrast, the trio sings with a rollicking charm before horns lead the way back to a literal reprise of the scherzo. The finale, also marked Allegro vivace, opens with a salvo of bright fanfares. So quickly do these whip past that one does not at first recognize that they make the same contrast between dotted and triplet rhythms that powered the first movement – now these return to drive the finale along a shaft of white-hot energy. This is the movement that caused early orchestras to balk, and it remains very difficult, particularly for the strings. It is in sonata form with two subjects, the first growing smoothly out of the flying triplets and a second that rides along the energy of four pounding chords. The first theme provides the speed – those showers of triplets almost seem to throw sparks through the hall – while the second subject and its pounding chords take on a menacing strength as Schubert builds to the climax. Along the way, attentive listeners will hear a whiff of the finale of Beethoven’s Ninth Symphony, and Schubert’s own close is as powerful as those of the master he so much admired. Mozart and Schubert program notes by Eric Bromberger
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About the Orchestra The Israel Philharmonic Orchestra (IPO) is one of Israel’s oldest and most influential cultural institutions. Since its founding in 1936, the Israel Philharmonic Orchestra has dedicated itself to presenting the world’s greatest music to audiences in Israel and around the world. Founded by Polish violinist Bronislaw Huberman, the Israel Philharmonic Orchestra represents the fulfillment of his dream “to unite the desire of the country for an orchestra with the desire of the Jewish musicians for a country.” Huberman spent countless hours persuading first-chair musicians of Eastern European and German orchestras, who had lost their jobs as a result of Nazism, to immigrate to Palestine. In doing so, Huberman created an “orchestra of soloists” which, under the esteemed leadership of Zubin Mehta, continues to absorb new immigrants and act as a dynamic, global community for musicians from across the world. Major soloists and conductors have always performed with the Israel Philharmonic Orchestra. Its inaugural concert was conducted by Arturo Toscanini, who felt his participation was a means to demonstrate his opposition to Fascism. Its members traveled in armored cars to play in a besieged Jerusalem during the War of Independence, and, among Israelis, the memory of IPO Laureate Conductor Leonard Bernstein conducting the Orchestra in front of 5,000 soldiers on the Negev dunes after the battle for Beersheba is an historic moment. Through it all, the Orchestra has enjoyed associations with such renowned artists as Emanuel Ax, Daniel Barenboim, Yefim Bronfman, Yoel Levi, Yo-Yo Ma, Lorin Maazel, Honorary Guest Conductor Kurt Masur, Itzhak Perlman, Jean-Pierre Rampal, Arthur Rubinstein, Gil Shaham, Isaac Stern and Pinchas Zukerman. The Israel Philharmonic Orchestra is Israel’s premier cultural ambassador and travels extensively throughout the world, particularly to countries where there is little or no Israeli representation. The goodwill created by these tours – which have included historic visits to Japan, Argentina, Poland, Hungary, Russia, China and India – is of enormous value to the State of Israel. In 2005, the Orchestra traveled to Berlin to commemorate 40 years of diplomatic relations between Israel and Germany; to London, Paris and Geneva on a tour co-sponsored by the Weizmann and Pasteur Institutes; and to South America where the Orchestra visited eight cities in 20 days. In April 2013, Maestro Mehta led the IPO with violinist Julian Rachlin in a tribute concert at Poland’s National Opera, commemorating the 70th anniversary of the Warsaw Ghetto Uprising. 2017 sees the orchestra touring in China, the Republic of Georgia and across North America, including a first trip to Canada in 26 years.
Due to the efforts of the Israel Philharmonic Orchestra Foundation, the American Friends of the Israel Philharmonic Orchestra and the generous support of donors worldwide, the orchestra returned to its home at TelAviv’s newly renamed Charles R. Bronfman Auditorium in March 2013 following extensive renovations. 2016 marked the 80th anniversary of the Israel Philharmonic Orchestra. Currently, the Orchestra gives more than 100 performances each year in Israel to their 26,000 subscribers, where 14 different concert series are presented in Tel Aviv, Jerusalem and Haifa. The IPO KeyNote Education and Outreach Program brings classical music to the audience of the future through music.
About Zubin Mehta Zubin Mehta was born in 1936 in Bombay and received his first musical education under the guidance of his father Mehli Mehta, who was a noted concert violinist and the founder of the Bombay Symphony Orchestra. After a short period of pre-medical studies in Bombay, he left for Vienna in 1954 where he eventually entered the conducting program under Hans Swarowsky at the Akademie für Musik. Mehta won the Liverpool International Conducting Competition in 1958 and was also a prize-winner of the summer academy at Tanglewood. By 1961, he had already conducted the Vienna, Berlin and Israel Philharmonic Orchestras and has recently celebrated 50 years of musical collaboration with all three ensembles. Mehta was music director of the Montreal Symphony Orchestra from 1961 to 1967 and also assumed the music directorship of the Los Angeles Philharmonic Orchestra in 1962, a post he retained until 1978. In 1969, he was appointed music adviser to the Israel Philharmonic Orchestra and was made music director of that orchestra in 1977. In 1981, the Israel Philharmonic Orchestra awarded him the title of music director for life. Mehta has conducted more than 3,000 concerts with this extraordinary ensemble, including tours spanning five continents. Mehta will end his tenure with the IPO in October 2019, 50 years after his debut. In 1978, he took over as music director of the New York Philharmonic, commencing a tenure that lasted 13 years, the longest in the orchestra’s history. From 1985 to 2017 he has been chief conductor of the Orchestra del Maggio Musicale Fiorentino in Florence. Mehta made his debut as an opera conductor with Tosca in Montreal in 1963. Since then he has conducted at the Metropolitan Opera in New York, the Vienna State Opera, the Royal Opera House, Covent Garden, La Scala Milano
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and the opera houses of Chicago and Florence as well as at the Salzburg Festival. Between 1998 and 2006 he was music director of the Bavarian State Opera in Munich. In October 2006 he opened the Palau de les Arts Reina Sofia in Valencia and was the president of the annual Festival del Mediterrani in Valencia until June 2014, where he conducted the celebrated Ring cycle with La Fura dels Baus in co-production with the Florence Opera House. Other Ring cycles were completed at the Chicago Opera and the Bavarian State Opera. Mehta’s list of awards and honors is extensive and includes the “Nikisch-Ring” bequeathed to him by Karl Böhm. He is an honorary citizen of both Florence and Tel Aviv and was made an honorary member of the Vienna State Opera in 1997, the Bavarian State Opera in 2006 and the Gesellschaft der Musikfreunde Wien in 2007. The title of honorary conductor was bestowed on him by the following: Vienna Philharmonic Orchestra (2001), Munich Philharmonic Orchestra (2004), Los Angeles Philharmonic (2006), Teatro del Maggio Musicale Fiorentino (2006), Staatskapelle Berlin (2014) and Bavarian State Orchestra (2006), with whom he performed in Srinagar, Kashmir in 2013. In 2016, the Teatro di San Carlo in Naples appointed Zubin Mehta as honorary music director. In 2008, Mehta was honored by the Japanese Imperial Family with the Praemium Imperiale. In 2011, Mehta received a special distinction: a star on the Hollywood’s Walk of Fame. The Commander’s Cross of the Order of Merit of the Federal Republic of Germany was bestowed to him in 2012. The Indian Government honored him in 2013 with the Tagore Award for Cultural Harmony, which a year earlier was awarded to Ravi Shankar. Mehta continues to support the discovery and furtherance of musical talents all over the world. Together with his brother Zarin, he is a co-chairman of the Mehli Mehta Music Foundation in Bombay, where more than 200 children are educated in Western classical music. The Buchmann-Mehta School of Music in Tel Aviv develops young talent in Israel and is closely related to the Israel Philharmonic Orchestra, as is a new project of teaching young Arab Israelis in the cities of Shwaram and Nazareth with local teachers and members of the Israel Philharmonic Orchestra.
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The Israel Philharmonic Orchestra Music Director: Zubin Mehta - The Music Director’s position is endowed by the William Petschek Family Laureate Conductor (1947-90): Leonard Bernstein Honorary Guest Conductor (1992-2015): Kurt Masur Principal Guest Conductor: Gianandrea Noseda Orchestra Members / 2017-18 Season First Violins Ilya Konovalov, Concertmaster • David Radzynski, Concertmaster • Gjorgi Dimcevski, Concertmaster ■ Alexander Stark, Asst. Concertmaster - Marilyn & Sigi z”l Ziering Family Endowed Chair Saida Bar-Lev Nitzan Canetty Sharon Cohen Marina Dorman Zhanna Gontarenko ■ Adelina Grodsky Genadi Gurevich Eleonora Lutsky Sivann Maayani Robert Mozes Dumitru Pocitari Gilad Rivkin Lazar Shuster Yelena Tishin Drorit Valk Polina Yehudin Second Violins Semion Gavrikov * Yevgenia Pikovsky * Amnon Valk *** Emanuel Aronovich Hadar Cohen Alexander Dobrinsky Yitzhak Geras ■ Shmuel Glaser Kalman Levin Asaf Maoz
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Hagar Maoz Marianna Povolotzky Vitaly Remeniuk Maria Rosenblatt Elyakum Salzman ■ Avital Steiner ◆ Olga Stern Ella Vaulin-Slatkin ■ Violas Miriam Hartman* - Susan & Elihu Rose Endowed Chair Igor Polesitsky * ■ Roman Spitzer * ◆ - Claire & Albert Schussler Endowed Chair Amir van der Hal *** Dmitri Ratush *** Lotem Beider Ben Aharon Jonathan Gertner Vladislav Krasnov Klara Nosovitsky Matan Noussimovitch Evgenia Oren Gili Radian-Sade Aharon Yaron Cellos Gal Nyska * - The Annenberg Foundation Chair Emanuele Silvestri * Linor Katz *** Yoram Alperin ■ - Ruth Ziegler Endowed Chair Marcel Bergman ■ Dmitri Golderman Simon Hoffmann Iakov Kashin Enrique Maltz Kirill Mihanovsky Felix Nemirovsky Yifat Weltman
Basses Peter Marck * Robin Ellsworth Kessekman * ■ Nir Comforty *** Brad Annis Uri Arbel Eran Borovich ■ Nimrod Kling Noam Massarik David Segal Omry Weinberger
Piccolo Clarinets Ron Selka Yevgeny Yehudin
Harp Julia Rovinsky * Zina Poliakov ■
Contrabassoon Carol Patterson
Bass Clarinet Jonathan Hadas Bassoons Daniel Mazaki * Uzi Shalev *** Gad Lederman Carol Patterson
Piccolo Lior Eitan
Horns James Madison Cox * Dalit Segal *** Michael Slatkin *** Yoel Abadi Itamar Leshem ■ Sally Meth Ben Moshe Michal Mossek Gal Raviv ■ Amit Salomon ■
Oboes Marco Salvatori * ■ Dudu Carmel * - Marilyn & Sigi z”l Ziering Family Endowed Chair Merrill Greenberg ■ Dmitry Malkin Tamar Narkiss-Melzer
Trumpets Yigal Meltzer * Ram Oren ** Erez Hodara ■ Eran Reemy - Hannah & Randy Polansky Endowed Chair Yuval Shapiro
English Horn Merrill Greenberg ■ Dmitry Malkin
Trombones Nir Erez * Yehoshua Pasternak *** Tal Ben Rei Micha Davis
Flutes Yossi Arnheim * - Rochelle & David A. Hirsch Endowed Chair Guy Eshed * Boaz Meirovitch Lior Eitan
Clarinets Ron Selka * Yevgeny Yehudin * Shelly Davis Jonathan Hadas
Tuba Shemuel Hershko * Timpani Dan Moshayev * Elliot Beck *** Percussion Tom Betsalel ■ Alexander Nemirovsky - Natalie & Murray S. Katz Endowed Chair Ayal Rafiah Harpsichord Iris Globerson Hirsh ■ Piano Israel Kastorianon - Judith & Burton Resnick Endowed Chair
• Canada Concertmaster Chair * Principal ** Assoc. Principal *** Asst. Principal ◆ On Leave or Sabbatical ■ Guest-player
Bass Trombone Micha Davis
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Principal Librarian: Rachel Daliot Assistant Principal Librarian: Tal Rockman Assistant Librarian: Yuval Broner Operational & Stage Manager: Amit Cohen Technical Assistants: Doron Amitay and Denis Rubin Board of Directors: Aharon Fogel (Chm’n), Ephraim Abramson, Anath Levin, Rivka Saker, Michael Zellermayer IPO Management: Yoel Abadi (Chm’n), Lior Eitan, Aharon Yaron Secretary General: Avi Shoshani Audit Committee: Shlomo Handel (Chm’n), Prof. Shmuel Penchas, Gili Izkovich Musicians’ Council: Amir van der Hal (Chm’n), Yoel Abadi, Lotem Beider Ben Aharon, Sharon Cohen, Lior Eitan, Asaf Maoz, Boaz Meirovitch, Michal Mossek, Aharon Yaron Personnel Manager: Michal Bach Inspector: Enrique Maltz Assembly Chm’n: Uzi Shalev Observers: Peter Marck, Daniel Mazaki Finance Manager: Alex Ziv Marketing Manager: Yael Yardeni-Sela Chief Accountant: Anat Eldar Treasurer: Racheli Mizrachi KeyNote Director: Irit Rub Mgr. Subscription Dept.: Nira Oryan Team Mgr.: Bagrat Chen, Leon Franco IT Mgr.: Shlomi Mizrachi Asst. Sec. Gen.: Iris Abramovici Tevet Tours Coordinator: Ziva Hefetz Asst. Marketing Mgr.: Liz Fisher Public Liaison: Rachel Levy Asst. Personnel Manager: Netta Pniny Payroll Manager: Orly Zabib Payroll Accountant: Liat Ohayon Accountant: Mira Rotem Bookkeeper: Orly Golan Program Editor: Orly Tal Asst. Program Editor: Tsilli Rudik Archives Mgr.: Avivit Hochstadter Public Relations: Shalom Tel Aviv Legal Advisors: Jacob Katz & Co. Law Office Auditors: Kost Forer Gabbay
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The Israel Philharmonic Orchestra gratefully acknowledges Milton and Tamar Maltz for their generous underwriting of the Orchestra’s United States touring program and American Friends of the Israel Philharmonic Orchestra as the principal underwriter of this tour. Exclusive Tour Management and Representation: Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com For Opus 3 Artists David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists & Attractions Tania Leong, Associate, Touring Division Samantha Cortez, Associate, Artists & Attractions Kay McCavic, Company Manager Carol Patella, Assistant Company Manager John Gilliland, Assistant Company Manager Don Irving, Stage Manager 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 Office of Arts and Culture
Special thanks to
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Robert Reich
How Did We Get Into This Mess?: Reclaiming Our Economy and Our Democracy
photo: Svetlana Cvetko
Thu, Nov 2 / 4 PM (note special time) / Campbell Hall
Co-presented with the UCSB Blum Center for Global Poverty Alleviation and Sustainable Development
Robert B. Reich is one of the world’s leading thinkers about work and the economy. Now Chancellor’s Professor of Public Policy at the University of California at Berkeley, he has served under three national administrations, most recently as Secretary of Labor under Bill Clinton. He also served on President Barack Obama’s economic transition advisory board. In 2008, Time magazine named him one of the 10 most successful cabinet secretaries of the past century. Reich is the author of 15 books including The Work of Nations, which has been translated into 22 languages, and several other national bestsellers. He has a reputation for seeing where politics and the economy are going before they get there. For example, in his 2007 bestseller Supercapitalism, he warned of the perils of an under-regulated and over-leveraged financial system. In his 2010 bestseller, Aftershock: The Next Economy and America’s Future, he predicted a tepid recovery that would last for years, with volatile political consequences.
Reich has a nationally-syndicated column and he also writes frequently for The Wall Street Journal, The New York Times and The Financial Times. He is a contributor to CNBC and a frequent panelist on ABC’s This Week and other television programs. In late 2003, Reich was awarded the prestigious Václav Havel Prize for his original contributions to economic thinking. The Wall Street Journal has named him one of the nation’s top 10 thought leaders. Pre-signed books are available for purchase in the lobby
In his most recent book, Saving Capitalism – also a national bestseller – he foresees a widening political divide not between Democrats and Republicans but between establishment elites and anti-establishment populists in both parties. Reich is the co-creator and host of the widely acclaimed 2013 documentary Inequality for All, in which he explains the underlying forces that are shaping our economy and lays out pragmatic solutions for a broader prosperity.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
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Día de los Muertos Tour
La Santa Cecilia Mexrrissey photo: Humberto Howard, La Marisoul
Mariachi Flor de Toloache Fri, Nov 3 / 8 PM / Campbell Hall
Thematic Learning Initiative: Our Changing World
La Santa Cecilia “La Marisoul” Hernández, lead vocals, jarana Miguel “Oso” Ramírez, percussion, vocals “Alex” Bendaña, bass guitar, vocals “Pepe” Carlos, accordion, requinto, vocals Marco Sandoval, guitar La Santa Cecilia started their career by serenading passersby on Los Angeles’ historic Olvera Street. Named after the patron saint of music, La Santa Cecilia is a musical phenomenon that defies musical and cultural boundaries. The band has become the voice of a new bicultural generation in the U.S., fully immersed in modern music, but still close to their Latin American influences and Mexican heritage. They have won a Grammy Award; toured from coast to coast; collaborated with legends including Elvis Costello, Bunbury and Fito Paez; appeared on Conan; and most recently shared the stage with Pepe Aguilar and Led Zeppelin’s John Paul Jones. 2017 performances include a show at the Hollywood Bowl in Los Angeles with Café Tacvba and Mon Laferte. La Santa Cecilia burst onto the scene in 2011 with the release of their debut album Noche y Citas. This album gave them their first nomination at the Latin Grammy Awards for the single “La Negra.” It was also with this release that they first voiced their sympathy for various human rights movements and have since used their music to openly support these causes.
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They followed that album with the eclectic El Valor in 2012, which was named one of the best albums of the year by NPR’s Alt.Latino. Their major label debut, Treinta Días was recorded in 2013 and showed the band moving in a more sophisticated direction, while holding true to themselves. They combined cumbia, reggae, soul, tango and their LA spice to create an album that went on to win the Grammy Award for Best Latin Rock, Urban or Alternative Album in 2014. The album featured the anthem “ICE (El Hielo),” which brought to light the struggle of undocumented immigrants in the U.S. The video for the song humanized the controversial topic of immigration, it was nominated for Video of the Year at Premios Lo Nuestro. In 2014, La Santa Cecilia followed the award winning Treinta Días with the EP Someday New, which included their unique version of “Strawberry Fields Forever.” They presented the music video at the League of United Latin American Citizens (LULAC) luncheon in New York, accompanied by First Lady Michelle Obama. La Marisoul had the honor of singing the national anthem to the more than 1,500 Latino leaders in attendance. Later that summer, the band played the sold-out Reventón festival for more than 20,000 people. In March of that same year, the band opened the legendary Vive Latino festival. La Santa Cecilia’s music then hit the big screen. They recorded the song “Tu Vida es un Escenario” for the award-winning film Cantinflas and collaborated with two(Continued on page 46) time Grammy winner Gustavo
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Arts & Lectures Remembers
Last spring we lost two dear friends and we remember them here, and always. Both were rare individuals who left a lasting impact on our community and on our lives.
Michael Towbes
Nancy Walker Koppelman
Michael Towbes was a visionary philanthropist, pillar of the community, honorable gentleman and trusted friend. Michael’s support of countless causes sustained and enhanced our community while his business leadership, in housing development and banking, shaped the city and the region. Michael and Anne championed Arts & Lectures for many years, as patrons, sage advisors and enthusiastic audience members. Michael had a twinkle in his eye and a contagious smile that we remember fondly. While his presence will be missed, his impact will endure and his legacy will be celebrated for years to come. Anne & Michael Towbes with cellist Yo-Yo Ma
As an Arts & Lectures Ambassador and founding member of our Producers Circle, Nancy Walker Koppelman was instrumental in establishing the exemplary networks of philanthropy and community support that have enabled A&L to grow and flourish. But her impact was felt far beyond our community, as she rounded up support and advocated for change on the national stage. Her kindness, humor, courage and force-of-nature strength will be long remembered.
Nancy Walker Koppelman with journalist and news anchor Gwen Ifill
photo: David Bazemore
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(Continued from page 38) Santaolalla on “The Apology Song” for the animated hit film The Book of Life, directed by Guillermo del Toro. Their songs have also appeared in popular TV shows like Weeds, Entourage and The Bridge. La Marisoul was also featured as a guest performer on Pepe Aguilar’s MTV Unplugged – the first Unplugged by a Ranchero artist – and Aguilar later invited the band on stage at the National Auditorium in Mexico. She was also invited to sing with The Roots and Elvis Costello on their highly acclaimed album Wise Up Ghost. In 2015, the band released the song “I Won’t Cry For You,” produced by 17-time Grammy Award winner Sebastian Krys. The song is a fusion of traditional swing and norteño, continuing LSC’s long tradition of genre-bending music. “Calaverita” was released that fall. The song is a tribute to the great Mexican tradition of the Day of the Dead – in celebration and of those we’ve lost. Buenaventura was released in 2016 and is an album on which La Santa Cecilia express their gratitude for making music, traveling and performing throughout the world and living a life filled with love and music. The album was nominated for a Latin Grammy in the Best Pop/Rock Album category, and was nominated for a Grammy Award in the Best Latin Rock, Urban or Alternative Album category. The album includes the rousing anti-violence anthem “Nunca Más” which was performed at the 2016 Latin American Music Awards and Hispanic Heritage Awards. In 2017, the band again broke new ground by recording a unique visual album of traditional Mexican and Latin American music titled Amar y Vivir. The 12-song set was recorded entirely live in five days in the streets, bars and parks of Mexico City. The album is an exploration of the band’s roots and includes collaborations with the iconic Mexican singer Eugenia Leon, Chilean star Mon Laferte and the legendary Mariachi America, among others. www.lasantacecilia.com
Mexrrissey: Mexico Goes Morrissey Camilo Lara, bandleader, vocals Ceci Bastida, keyboard Jay de la Cueva, bass, vocals Luis “Chetes” Garza, guitar, vocals Ricardo Najera, drums Alex Gonzalez, trumpet
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“Nothing the world holds could match the love waiting for me in Mexico City.” – Morrissey In Mexico, Morrissey has always been a prophet with honor. His songs of love, loss and longing have found a huge audience and chimed with generations raised on rancheras, mariachis and singers who were not afraid to cross the line. Now the love has been returned, with a band made in Mexico City reinventing Morrissey and The Smiths songs south of the border. Together they sound like a brassand string-led combo from the smallest village with the biggest bleeding heart. The first of the gang is Camilo Lara, the force inside Mexican Institute of Sound, who, in Mexrrissey, has put together a team of musical gunslingers from Mexico’s finest bands. The band has had an incredible trajectory: from a first tryout show in Mexico City in 2015, to a sold-out mainstage debut at the Barbican during La Linea Festival in London, a U.K. tour, triumphant shows at BAM in New York and The Regent in Los Angeles and tours of Australia and New Zealand in 2017. The band’s debut album, No Manchester, released in 2016, was recorded in Mexico City and Tucson, Ariz. The album was produced by Camilo Lara, with arrangements by Lara and Sergio Mendoza. The album was mixed by Jack Lahana, winner of multiple Grammy Awards for his work with Phoenix and Daft Punk. No Manchester is a Mexican slang phrase meaning “no way” or “are you kidding me?” but more than that it means that these songs, born in Manchester, have grown up, changed their hair and the clothes they wear and are living in Mexico under an assumed name. Live, the band performs as a five-piece with a revolving and evolving lineup of the who’s who of the new Mexican music scene, which has included underground legend Chetes (Zurdok) on guitar, Jay de la Cueva (Moderatto/Titán) on bass, Ceci Bastida (Tijuana No) on keyboards, Adan Jodorowsky (Adanowsky) on guitar, Liber Teran (Los de Abajo) on guitar, Alejandro Flores (Café Tacvba’s favorite violin player), Alex Gonzales on trumpet (Twin Tones), Ricardo Najera on drums (Furland), Clemente Castillo (Jumbo), Sergio Mendoza and Jacob Valenzuela (both from Calexico) on vibes, accordion and trumpet respectively – and always Camilo Lara adding his trademark sampling and electronics. Vocals are shared between four of the band members, who also add other flavors from a range of traditional instruments.
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Andy Wood, director of La Linea Festival in London, approached Camilo Lara with the initial idea to put together Mexrrissey. Wood says, “It just felt like time. I had a sense of the feeling for Morrissey in Mexico and the way that his music could connect with so much in Mexican music. It was time to return the love and Camilo was the man who could round up the right posse of dirty pretty things.” Lara takes up the story: “I always thought that there were these invisible lines between what Morrissey and Manchester represents and what Mexico City and Mexican pop culture has. And if these are tiny coincidences, we’re making them a little bit bigger on this occasion with a concert of broken hearts and forgotten dreams.” Sergio Mendoza worked on the arrangements with Lara: “I think we took a really big risk with all these arrangements and the way we’re really flipping these songs.” One starting point was to either find a song with a Mexican connection or something that Camilo and Sergio could imagine recasting with a Mexican flavor. There are some obvious selections, like Morrissey’s paean to the country Mexico. Another starting point was to simply select a song that they were big fans of such as “Everyday Is Like Sunday.” Lara says, “I think for the people that know the songs (which is probably everyone!), I’m sure that they will be amazed that the songs can go into these directions of cumbia and boleros and sound actually as if they were written in that style. Though it’s the words, the playful turns of phrase and the sighs that are the trickiest to translate into Spanish.” Camilo adds “We try to get a glimpse of the poetry in Morrissey’s work and to capture the irony, the anger and the happiness at the same time; that has been a challenge.”
Mariachi Flor de Toloache Eunice Aparacio, guitarron Julie Acosta, trumpet, vocals Mireya Ramos, violin, vocals Shae Fiol, guitar, vocals Latin Grammy nominees Mariachi Flor de Toloache made New York City history as its first and only all-female mariachi group. Founded in 2008 by singers Mireya I. Ramos and Shae Fiol, the group started as a trio: harp, violin and vihuela. Today, Mariachi Flor de Toloache performs as a full Mariachi ensemble. The members hail from diverse cultural backgrounds such as Mexico, Puerto Rico, Dominican Republic, Cuba, Australia, Colombia, Germany, Italy and the United States. This defines their unique flavor
and sound. The result of this cultural bouquet is an edgy, versatile and fresh take on traditional Mexican music. They coalesce as would a band of sisters, with a grace and vibrant beauty that casts a spell over their audiences not unlike the legendary toloache flower still being used in Mexico as a love potion. While working to preserve centuries-old traditions of Mariachi, their mélange of the traditional and the modern pushes the boundaries of the genre and brings Mariachi music to new audiences. Over the last few years, Mariachi Flor de Toloache’s performances have illuminated stages in Europe and India. In November 2015, the group embarked on an extensive European and U.S. tour as the opening act of Black Keys singer Dan Auerbach’s new band, The Arcs. After performances to sold-out audiences in the U.K., Germany, Holland, Italy and France, they continued to captivate crowds in the U.S. at legendary venues such as First Avenue in Minneapolis, The Vic in Chicago, Terminal 5 in New York, DC’s 9:30 Club and Nashville’s Ryman Theater (The Grand Ole Opry). Mariachi Flor de Toloache’s critically-acclaimed self-titled debut album received a Latin Grammy nomination for Best Ranchera Album of 2015. Sharing the podium with legends Pedro Fernández and Aida Cuevas meant an embrace from the Latin Music community. The group’s live performances were praised by Rolling Stone, Billboard magazine, The New Yorker, GQ and The New York Times. Following a highly praised NPR “Tiny Desk Concert,” their collaboration with rock supergroup The Arcs landed them on the Late Show with Stephen Colbert and BBC 2’s Later with Jools Holland. The group recently recorded their follow-up album with Daptone-distributed, New York-based Chulo Records, which was also the connecting bridge between Mariachi Flor de Toloache and The Arcs. Their album was released in 2016. Other collaborations and featured appearances include an album with Chicano Batman and Snarky Puppy guitarist Chris McQueen. In 2016 the group performed with The Arcs, including the Coachella Festival. Special thanks to
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
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OK Go Sun, Nov 5 / 7 PM / Campbell Hall
Damian Kulash, lead vocals, guitar Timothy Nordwind, bass guitar, vocals Andrew Ross, guitar, keyboard, vocals Dan Konopka, drums
photo:
A Q&A with the artists will follow the performance.
Event Sponsors: Judy Wainwright & Jim Mitchell
With a career that includes award-winning videos; New York Times op-eds; a major label split and the establishment of a DIY transmedia mini-empire (Paracadute); collaborations with pioneering dance companies and tech giants, animators and Muppets; and an experiment that encoded their music on actual strands of DNA, OK Go continue to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved.
To accompany the music of Hungry Ghosts, OK Go released a selection of imaginative new videos, including a mind-bending journey through an optical-illusion-filled warehouse, an elaborately-choreographed dance performed on Honda’s UNI-CUB personal mobility devices and a stunning display of zero gravity acrobatics in moving aircraft. Their video for “The One Moment” captures 325 events in literally one moment (4.2 seconds).
Formed as a quartet in Chicago in 1998 and relocated to Los Angeles three years later, OK Go (Damian Kulash, Tim Nordwind, Dan Konopka, Andy Ross) have spent their career in a steady state of transformation. The band released their fourth full-length album, Hungry Ghosts, via their own Paracadute/BMG, adding to a curriculum vitae filled with experimentation in a variety of mediums.
OK Go has been honored with a Grammy Award, three MTV Video Music Awards (one of them from Japan!), a CLIO, three U.K. Music Video Awards, two WEBBY Awards (including one for their collaboration with The Muppets and Sesame Street), a spot in a Guggenheim installation, a total of 10 Cannes Lions and a Smithsonian American Ingenuity Award in the Visual Arts.
Drawn from the same marching orders issued to such big-hearted happiness creators as Queen, T. Rex, The Cars or Cheap Trick and a lifetime of mixed tapes exchanged by lifelong music fans, Hungry Ghosts reaffirms the sounds and ideas that brought the band together in the first place. Building on (and deconstructing) 15 years of pop-rock smarts, musical friendship and band-of-thefuture innovations, Hungry Ghosts offers melancholic fireworks (“The Writing’s on the Wall”), basement funk parties (“Turn Up The Radio”), IMAX-sized choruses (“The One Moment”) and space-age dance floor bangers (“I Won’t Let You Down”).
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Leila Josefowicz, violin John Novacek, piano
photo: Chris Lee
Wed, Nov 8 / 7 PM (note special time) / Hahn Hall
Up Close & Musical Series Sponsor: Dr. Bob Weinman
Program
About the Program
Jean Sibelius: Valse triste, op. 44, no. 1 (arr. Friedrich Hermann)
Jean Sibelius (1865-1957): Valse triste, op. 44, no. 1 (arr. Friedrich Hermann)
Serge Prokofiev: Violin Sonata No 1. in F Minor, op. 80 Andante assai Allegro brusco Andante Allegrissimo
At the beginning of the 20th century, Jean Sibelius – then in his late 30s – began to achieve success as a composer: his Second Symphony of 1902 and Violin Concerto of 1905 finally brought him the performances and international fame he had long sought. Between these two works, Sibelius was asked to provide incidental music to the play Kuolema (“Death”) by his brother-in-law, the distinguished Finnish writer Arvid Jarnefelt. For the first production of the play, Sibelius wrote a suite of six numbers and then added two more when the play was revived in 1911.
- Intermission Kaija Saariaho: Calices Gustav Mahler: Adagietto from Symphony No. 5 in C-sharp Minor (arr. Otto Wittenbecher) Bernd Alois Zimmermann: Sonata for Violin and Piano Sonata: Allegro moderato, rubato Fantasia: Andante sostenuto Rondo: Allegro con brio
In 1904, the year after the first production, Sibelius pulled out some of this music and revised it for independent publication, and by far the most successful of these pieces was the brief Valse triste. In Jarnefelt’s play, a dying woman is attended by her son, who falls asleep at her bedside. Distant music is heard, and the frail woman rises and begins to dance, her trailing bedclothes taking on the aspect of a ball gown. Memories from her past intrude upon this ghostly dance, and she recalls dancing with her late husband. Suddenly a knock on the door rings out, the music fades, the dream-dancers around her vanish, and Death is at the door. Sibelius’ “Sad Waltz” is not a literal depiction of this, but instead a remembrance of that waltz long ago, as phantom figures flit past in the woman’s misty memories.
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Valse triste itself seems to emerge from the mists of memory. It begins with mere fragments that gradually coalesce into the waltz rhythm, and then the violin sings the wistful waltz tune. The dance ebbs and flows, sometimes rushing ahead, sometimes falling back, until it reaches a turbulent climax, then fades into silence. A sad footnote: needing cash, Sibelius sold all rights to Valse triste to his publisher for the trifling sum of 300 marks. To his astonishment, this little waltz instantly became an international sensation and was performed around in the world in a variety of arrangements that made the publisher an extraordinary amount of money. Sibelius never received a penny of this. On this recital Valse triste is performed in an arrangement for violin and piano by Friedrich Hermann.
Serge Prokofiev (1891-1953): Violin Sonata No. 1 in F Minor, op. 80 Prokofiev’s First Violin Sonata had a difficult genesis. Prokofiev began work on it in 1938 during the one of the most horrifying moments in Soviet history – the period of Stalin’s purges – but found that he could not complete it. He set the score aside, but before he could return to it, another of the most traumatic events in Russian history – the Second World War – occurred. In response to the war, Prokofiev wrote some of his greatest scores, including the opera War and Peace and the mighty Fifth Symphony. Only after the war was over did he return to complete this sonata, eight years after it was begun. This made for problems with numbering: during the war, Prokofiev had written another violin sonata; he called this his Second, even though it was completed before the First. Violinist David Oistrakh, dedicatee of the First Sonata, gave the premiere performance in Moscow on October 23, 1946. While the Second Sonata is one of Prokofiev’s sunniest scores (it shows no trace of the war that raged during its creation), the First is grim, and Soviet commentators were quick to put the politically-correct interpretation on such dark music: some heard it as resistance to the Nazis, others as a portrait of oppressed Russia, and so on. 70 years after the completion of this sonata, it is far better to let the music speak for itself than to impose extraneous interpretations on it. Beneath the lyric surface of this music, the mood is often icy and dark – even brutal. Some of this unsettling quality comes from Prokofiev’s extremely fluid metrical sense: in this score, the meter sometimes changes every measure. The marking for the opening Andante assai is 3/4 4/4,
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and Prokofiev alternates those two meters, though he will sometimes fall into just one of them for extended passages. The somber first movement opens with an ostinato-like piano passage over which the violin makes its muttering, tentative entrance. Much of the main section is double-stopped, and in the final moments come quietly-racing runs for muted violin; Prokofiev said that these should sound “like the wind in a graveyard,” and he marks the violinist’s part freddo: “cold.” The second movement, Allegro brusco (“brusque”) is in sonata form. The pounding opening subject gives way to a soaring second theme marked eroico; the brusque and the lyric alternate throughout this movement, which ends with the violin rocketing upward to the concluding high C. Prokofiev began the Andante – which he described as “slow, gentle and tender” – before the war, but did not complete it until 1946. Muted throughout, the violin has the main subject over rippling triplets from the piano. The concluding Allegrissimo brings back the metrical freedom of the opening movement: Prokofiev’s metric indication is 5/8 7/8 8/8. The alternating meters give the music an asymmetric feel, which is intensified by the aggressive quality of the thematic material. The cold winds from the first movement return to blow icily through the sonata’s final pages and to bring this music to its somber close.
Kaija Saariaho (b. 1952): Calices Kaija Saariaho wrote her violin concerto, which she titled Graal Théâtre, for Gidon Kremer, who gave the premiere at the London Proms in August 1995 with Esa-Pekka Salonen leading the BBC Symphony Orchestra. Graal Théâtre was inspired by a recent translation of several volumes of medieval poetry about the Knights of the Round Table and the Holy Grail. The concerto was a success – it has been performed frequently and has been recorded – and it has proven a particularly fertile work for its composer, for Saariaho has derived several other pieces from it. The first of these was a reduction of Graal Théâtre for violinist and chamber orchestra – the violin part remains the same, but she composed a smaller-scaled accompaniment. The other came about in 2009, when Saariaho was asked for a piece by the Fundación Albéniz for the Escuela Superior de Música Reina Sofía, Madrid. For that commission, Saariaho returned to Graal Théâtre, drew material from it, and used these ideas to write a new piece for violin and piano, which she called Calices (that title translates as either “calyxes” or “chalices”). Calices draws us into a very particular sound-world. Saariaho trained as a violinist, and she notates this music with scrupulous precision. The violinist is instructed
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exactly when to play sul tasto (over the fingerboard to produce a disembodied sound), when to play sul ponticello (on top of the bridge to produce a grainy sonority), how to trill (usually in semi-tones) and when to bow so fiercely as to produce a “scratch tone.” This music can be delicate and soft, and Saariaho writes much of it in harmonics, yet parts erupt into violence where she specifies Tumultuoso, furioso, con ultima forza. Calices demands performers who are in complete control of their instruments and able to master the most difficult passages while projecting the subtle and understated colors the music demands. Each of the three movements has an initial tempo marking, but these are only the opening impulse – tempo and mood vary sharply across each of the movements. All three movements evolve into conflict and subside to close very quietly, as if this music’s tensions have been controlled and transcended. Listeners should not search for a narrative in Calices but instead enter fully into Saariaho’s sound-world – this is music of glinting colors, of flickering moods and – finally – of peace.
Gustav Mahler (1860-1911): Adagietto from Symphony No. 5 in C-sharp Minor (arr. Otto Wintenbecher) Mahler composed his Fifth Symphony during the summers of 1901 and 1902, spent at his new summer-house looking out over the Wörthersee in central Austria. At its premiere in Cologne in 1904, the symphony was a complete failure with an audience unprepared for its stupendous power and dizzying dramatic scope. Yet a century later, the Fifth has become one of Mahler’s most popular symphonies, and one critic has gone so far as to call it “one of the seven wonders of the symphonic world.” Part of the problem for early audiences lay in the sheer extremes of this music: the symphony is long, it is scored for a gigantic orchestra, and its music-drama is full of sonic and psychic violence. But not all of this symphony earned the audience’s scorn. The fourth movement, an Adagietto (“little Adagio”) scored only for strings and harp, is an island of calm in the seething tumult of the Fifth Symphony. Its gentle sound and restrained atmosphere made this movement instantly attractive to audiences, and it was often performed by itself during the decades before Mahler’s music became popular (and before we frown at that practice, we should remember that one of the conductors who led the Adagietto as a separate work was Mahler himself). The music comes to life almost outside time and motion, emerging from the silence on soft, sustained string notes and bits of harp sound. Mahler’s markings make clear exactly what he wanted from
a performance: espressivo, seelenvoll (“soulful”) and mit innigster Empfindung (“with the most heartfelt sentiment”). Beginning very quietly, this music is soon full of longing: its arcing, graceful melodies unfold with a bittersweet intensity, rise gradually to a soaring climax and finally fall back to the peaceful close. The Adagietto is heard on this recital in an arrangement for violin and piano by Otto Wittenbecher.
Bernd Alois Zimmermann (1918-1970): Sonata for Violin and Piano Bernd Alois Zimmermann’s life was intense, and it was relatively brief. He attended a Catholic secondary school and began his musical studies at the Hochschule für Musik in Cologne but was drafted into the German army shortly after the war began. Discharged for medical reasons in 1942, he was unable to complete his studies until 1947. He attended the Darmstadt summer courses in 1948 and studied with Wolfgang Fortner and René Leibowitz. Zimmermann first supported himself by working as an arranger and a radio composer, and later he taught composition in Cologne. Gradually he forged a style of his own and composed prolifically (if with difficulty) over the next two decades. Zimmermann’s Catholic faith remained strong throughout his life, and he once described himself as “a Rhenish mixture of monk and Dionysian.” By his early 50s, however, Zimmermann was suffering from deteriorating vision, depression and illness; he took his own life in the summer of 1970. Zimmermann went his own way as a composer, and this has made him difficult to describe or classify. He refused to identify with any school and was willing to incorporate all manner of compositional techniques into his own music, whether it was serial music, jazz, collage, electronics, quotation or layers of music in different styles; his style has sometimes been described as “pluralism.” Among the animating forces in his music were his religious faith, a profound sense of history and particularly of time and an awareness of the suffering around him. Zimmermann’s music is extremely difficult to perform. His opera Die Soldaten, which many regard as his masterpiece, was initially rejected by the Cologne Opera as “unplayable,” and one of his final major works – Requiem for a Young Poet – calls for more than 300 performers, including narrator, soprano, bass, two actors, three choirs, jazz ensemble, tape, a huge orchestra and organ. Zimmermann composed his Sonata for Violin and Piano in 1950, just as the 32-year-old composer began teaching
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at Cologne University. The first performance was given in November of that year on the Nordwestdeutscher Rundfunk in Hamburg by violinist Lothar Ritterhoff and pianist Hans Richter-Haaser. The sonata, which spans about a quarter of an hour, is in three movements in a (general) fast-slow-fast sequence, but that may be the only traditional thing about this music. This sonata combines a gritty dramatic sense with a virtuosic brilliance in a way that at moments seems more suited to a concerto than a sonata. The first movement gets off to a powerful beginning with the violin’s jagged line over the piano’s great chords. Matters settle almost immediately as the music moves into a passage marked Tranquillo (frequent tempo changes will characterize the entire sonata). Zimmermann specifies that the violinist should play here with “broad strokes,” and this theme is virtually a 12-tone row, though it incorporates some repetition. After this hyper-energetic opening paragraph, the second theme-group, marked Allegro commodo (“comfortable”), brings saucy, graceful contrast. Zimmermann alternates these two ideas, and the movement hurtles to its close on a unison A stamped out by both instruments. The central Fantasia takes us into a different world entirely, full of trills and arabesques. Zimmermann creates a particular sonority here by asking that some of the piano’s accompanying chords be arpeggiated downward, and the movement fades into silence on chords marked quadruple piano. The concluding Rondo brings back the energy and virtuosity of the opening movement. One of the alternating episodes is marked Tempo di Rumba. Here Zimmermann re-stresses the 2/4 meter as if it were 3+3+2, and the music dances agreeably along this uneven rhythm. This sonata’s kinship with a concerto is reaffirmed in its closing moments, when the piano drops out and the violin is given a substantial cadenza. The piano rejoins the violin, and the sonata concludes violently with the fierce superimposition of an F-minor chord atop a B-flat minor chord. Program notes by Eric Bromberger
About Leila Josefowicz Leila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programs and enthusiasm to perform new works. She frequently collaborates with leading composers and works with orchestras and conductors at the highest level around the world. In 2008, she was awarded a prestigious MacArthur Fellowship, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life. Highlights of Josefowicz’s 2017-18 season include concerts with the Los Angeles Philharmonic, Concertgebouw Orchestra and Iceland, Boston, Lahti and Finnish Radio symphony orchestras, as well as Washington’s National Symphony Orchestra. She performs recitals in Reykjavik, Leeds, Chicago, San Francisco, Santa Barbara and Halifax (Nova Scotia) and has appeared recently at world-renowned venues such as New York’s Zankel Hall and London’s Wigmore Hall, where she returns in autumn 2017. Violin concertos have been written especially for Leila Josefowicz by composers including John Adams, Esa-Pekka Salonen, Colin Matthews and Steven Mackey. Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) by Adams was given its world premiere by Josefowicz in 2015 with the New York Philharmonic. Luca Francesconi’s concerto Duende – The Dark Notes, also written for Josefowicz, was given its world premiere by her in 2014 with Swedish Radio Symphony Orchestra and Susanna Mälkki before being performed by Josefowicz, Mälkki and the BBC Symphony Orchestra at the BBC Proms in 2015. Recent highlights include engagements with the Berliner Philharmoniker, Tonhalle-Orchester Zürich, Helsinki Philharmonic and Tokyo Metropolitan, St. Louis, San Francisco and Minnesota symphony orchestras. In summer 2017, Josefowicz appeared at Birmingham’s Symphony Hall and London’s Royal Albert Hall at the BBC Proms with City of Birmingham Symphony Orchestra. She returned to the London Symphony Orchestra in December 2016, performing John Adams’ Scheherazade.2 in London, Paris and Dijon. Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal and Warner Classics and was featured on Touch Press’ acclaimed iPad app, The Orchestra. Her latest recording, featuring Scheherazade.2 with the St. Louis Symphony conducted by David Robertson, was released in 2016 and nominated for a Grammy Award. Josefowicz’s recording of Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer was also nominated for a Grammy Award in 2014.
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About John Novacek Pianist John Novacek regularly tours the Americas, Europe and Asia as solo recitalist, chamber musician and concerto soloist; in the latter capacity he has presented more than 30 concerti with dozens of orchestras. Novacek’s major American performances have been heard in New York City’s Carnegie Hall, Lincoln Center for the Performing Arts’ Avery Fisher Hall and Alice Tully Hall, 92nd Street Y, Columbia University’s Miller Theater, Merkin Concert Hall, The Metropolitan Museum of Art and Symphony Space, Washington, DC’s Kennedy Center for the Performing Arts, Boston’s Symphony Hall, Chicago’s Symphony Center and Los Angeles’ Dorothy Chandler Pavilion, Hollywood Bowl and Royce Hall, while international venues include Paris’ Theatre des Champs-Elysées, Salle Gaveau and Musée du Louvre, London’s Wigmore Hall and Barbican Centre, as well as most of the major concert halls of Japan. He is also a frequent guest artist at festivals here and abroad, including New York City’s Mostly Mozart Festival, California’s Festival Mozaic and those of Aspen, Cape Cod, Caramoor, Chautauqua, Colorado College, Mimir, Ravinia, Seattle, SummerFest La Jolla, Wolf Trap, BBC Proms (England), Braunschweig (Germany), Lucerne, Menuhin and Verbier (Switzerland), Majorca (Spain), Sorrento (Italy), Stavanger (Norway), Toulouse (France) and Sapporo (Japan). Novacek’s current season is highlighted by his debut with the Orquesta Filarmónica de la Ciudad de México. Often heard on radio broadcasts worldwide, Novacek has appeared on NPR’s Performance Today, St. Paul Sunday and, as both featured guest composer and performer, on A Prairie Home Companion with Garrison Keillor. He was also seen and heard on TV, including The Tonight Show with Johnny Carson, Entertainment Tonight and CNN International.
Novacek took top prizes at both the Leschetizky and Joanna Hodges international piano competitions, among many others. He studied piano with Polish virtuoso Jakob Gimpel at California State University, Northridge, where he earned a Bachelor of Music degree, summa cum laude. Subsequently, he earned a Master of Music degree from New York City’s Mannes College of Music, where his instructors were Peter Serkin in piano and Felix Galimer in chamber music. Novacek’s coaches in composition included Frederick Werle, Aurelio de la Vega and Daniel Kessner. Novacek’s own compositions and arrangements have been performed by the Pacific Symphony, The 5 Browns, Concertante, Manasse/Nakamatsu Duo, Harrington String Quartet, Ying Quartet, Millennium, Quattro Mani and The Three Tenors. He has recorded more than 30 CDs, encompassing solo and chamber music by most major composers from Bach to Bartók, as well as many contemporary and original scores. Novacek records for Philips, Nonesuch, Arabesque, Warner Classics, Sony/BMG, Koch International, Universal Classics, Ambassador, Pony Canyon, Four Winds, Arkay, Virtuoso and EMI Classics. CD titles include Road Movies (2004 Grammy nomination for Best Chamber Music Performance), Great Mozart Piano Works, Spanish Rhapsody, Novarags (original ragtime compositions), Classic Romance, Hungarian Sketches, Intersection, Romances et Meditations and, with Leila Josefowicz, Americana (Gramophone: Editor’s Choice), For the End of Time, Shostakovich and Recital (BBC Music Magazine: 5 stars/June 2005’s chamber choice). Novacek is a Steinway Artist. Special thanks to
Novacek is a much sought-after collaborative artist and has performed with Joshua Bell, Matt Haimovitz, Leila Josefowicz, Cho-Liang Lin, Yo-Yo Ma, Truls Mork, Elmar Oliveira and Emmanuel Pahud as well as with the Colorado, Harrington, Jupiter, New Hollywood, St. Lawrence, SuperNova and Ying string quartets. He also tours widely as a member of Intersection, a piano trio that includes violinist Kaura Frautschi and cellist Kristina Reiko Coooper. Novacek has also given numerous world premieres and worked closely with composers John Adams, John Harbison, Jennifer Higdon, George Rochberg, John Williams and John Zorn.
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The Knights
Colin Jacobsen and Eric Jacobsen, Artistic Directors with Avi Avital, mandolin and Kinan Azmeh, clarinet
photo: Shervin Lainez
Thu, Nov 9 / 7 PM / Campbell Hall
Thematic Learning Initiative: Our Changing World
Program
- Intermission -
Suite Upon One Note: Kinan Azmeh, Avi Avital and The Knights: Improvisation Upon One Note Henry Purcell: Fantasia Upon One Note Giovanni Sollima: “La Camera Bianca” from Viaggio in Italia Avi Avital, mandolin Kinan Azmeh, clarinet
Franz Schubert: Der Hirt auf dem Felsen (The Shepherd on the Rock) (arr. Colin Jacobsen) Avi Avital, mandolin Kinan Azmeh, clarinet Alex Sopp, flute
Osvaldo Golijov: Lullaby and Doina Alex Sopp, flute Kinan Azmeh, clarinet
Kinan Azmeh: “November 22nd” from Suite for Improvisers and Orchestra
Kinan Azmeh: Concertino Grosso (World Premiere) Co-Commissioned by Carnegie Hall, UC Santa Barbara Arts & Lectures and University of Indiana at Bloomington
Colin Jacobsen and Siamak Aghaei: Ascending Bird
Johann Sebastian Bach: Harpsichord Concerto No. 1 in D Minor, BWV. 1052 (arr. Avi Avital) I. Allegro II. Adagio III. Allegro Avi Avital, mandolin
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About the Program
Osvaldo Golijov (b. 1960): Lullaby and Doina
The Knights are always seeking musical adventurers – musicians, like us, who come from a deeply rooted tradition but are eager to look beyond those roots and embrace new means of expression. Mandolinist Avi Avital and clarinetist Kinan Azmeh are our ideal collaborators, bringing new awareness to their instruments through an inventive virtuosity. We’re so thrilled to present a program for you tonight that embraces a wide diversity of musical languages, all while remaining rooted in our shared classical tradition.
This piece starts with a set of variations on a Yiddish lullaby that I composed for Sally Potter’s film The Man Who Cried, set to function in counterpoint to another important music theme in the soundtrack: Bizet’s aria “Je Crois Entendre Encore,” from The Pearl Fishers. In her film, Sally explores the fate of Jews and Gypsies in Europe during the midyears of the 20th century, through a love story between a Jewish young woman and a Gypsy young man. The lullaby metamorphoses into a dense and dark doina (a gypsy slow, rubato genre) featuring the lowest string of the violas. The piece ends in a fast gallop boasting a theme that I stole from my friends of the wild gypsy band Taraf de Haïdouks.
From Europe, we will experience the pastoral longings of an alpine shepherd in one of Franz Schubert’s last works, Der Hirt Auf dem Felsen (The Shepherd on the Rock), newly arranged in an instrumental version for The Knights with Kinan and Avi. We also will hear some of Elizabethan England’s most astonishing counterpoint and harmonies in Purcell’s Fantasia Upon One Note. A new world premiere by Kinan pays homage to the Baroque tradition of multiple solo voices in dialogue with the collective in his original work, Concertino Grosso. We also travel through the Mediterranean and Middle East with Sicilian composer Giovanni Sollima, the piece Ascending Bird, based on an ancient Persian parable of spiritual transcendence, and with Avi and Kinan’s solos, improvisations, and compositions throughout the night. Thank you for joining us for this adventure! – Colin Jacobsen
Suite Upon One Note: Azmeh/Avital/The Knights: Improvisation Upon One Note Henry Purcell (1659-1695): Fantasia Upon One Note Giovanni Sollima (b. 1962): “La Camera Bianca” This opening suite of three interconnected pieces introduces The Knights and our special guests, Avi Avital and Kinan Azmeh. We also get a chance to look carefully at the building blocks of music, as melody comes to the forefront of a modal improvisation over a “C” drone note. That “C” drone carries on throughout Purcell’s kaleidoscopic counterpoint, which introduces harmony into the program, but still tied to one note. Finally, in contemporary composer Giovanni Sollima’s “La Camera Bianca,” rhythm becomes the primary driving element of a piece that very much is indebted to Sicilian history as a crossroads of the Mediterranean. – Colin Jacobsen
– Osvoldo Golijov
Johann Sebastian Bach (1685-1750): Harpsichord Concerto No. 1 in D Minor, BWV. 1052 (arr. Avi Avital) Bach has always been a dominant part of my musical life. It is the absolute nature of Bach’s music that has given me the freedom to offer this interpretation of the Concerto for Harpsichord, Strings and Continuo in D minor. The original is lost, but there are reconstructions written for violin and these feel organic to play on the mandolin. However, the music goes far beyond any given instrument. I wanted to go further: I wanted to underline Bach’s universality. My transcription falls somewhere between the harpsichord and violin versions, looking deep into the music to find out what it needs and what adaptations I can make. The D minor Concerto involves long sections written almost continuously in semiquavers/16th notes. These carry the intensity of this incredibly dramatic piece. But if you “zoom out,” you can hear the structure more clearly. I seek to give a sense of these solid, long phrases. Bach’s music is full of secrets. No matter how long you’ve been playing it, there is still something to discover every time. Using a different instrument allows you to hear its timelessness in a new way. – Avi Avital
Franz Schubert (1798-1828): Der Hirt auf dem Felsen (The Shepherd on the Rock), (arr. Colin Jacobsen) The Knights have a special place in our hearts for Schubert, whose music lived mostly in living rooms and salons during his lifetime. The Knights’ journey also began in a living room setting, and one of our missions is to attempt
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to transform any space that we’re in – whether it’s a large concert hall, a club, or public park – into one of intimacy and connection. Der Hirt auf dem Felsen (The Shepherd on the Rock) was Schubert’s penultimate composition, bursting with sweet longing and a virtuosic ebullience in the final section. The clarinet is given a large role in the original song (for voice, clarinet and piano), helping to paint the outdoor alpine scene of a shepherd longing for his love far below in the valley. At first glance, it is hard to imagine that Schubert was on the brink of death’s door while writing this song, especially in light of the opening and ending sections. However, the middle section text speaks of all hope being abandoned. Even in the coda, the idea of springtime coming and the desire to wander to a better place could be read as Schubert hinting at his own sense of mortality. Schubert often used the sounds of the street (i.e. hurdy gurdy in Wintereisse) and folk music to connect both to nature and the internal life of the characters in his songs. In arranging this song I found that the mandolin enhances this bucolic atmosphere. – Colin Jacobsen
Kinan Azmeh (b. 1967): Concertino Grosso When I was approached by The Knights to write this piece, I immediately imagined the excitement that might come from having a collective of individuals from different musical backgrounds approach a written score with maximum freedom and flexibility. I imagined a piece that can take a variety of forms; solo parts that are not bound by the instruments and most importantly, an interaction between the individual (soloists) and the collective (orchestra) that is spontaneous and fragile. In this piece, everyone is a decision-maker and part of the creative process while giving room to the two main characters (in this case, a clarinet and a violin) to tell their stories. I love writing for people and not for instruments, and writing for a group that one knows, loves and trusts is a dream for any composer. Thank you to The Knights for this beautiful opportunity. – Kinan Azmeh
Kinan Azmeh (b. 1967): “November 22nd” from Suite for Improvisers and Orchestra “November 22nd” is a meditative work that depicts sonic homesickness for the familiar ambient sounds of childhood. I wrote this piece while living abroad, inspired by memory of the sounds of the market that used to exist behind my parents’ apartment in Damascus, and the way the slow and steady rhythm of life keeps moving regardless of one’s emotions. – Kinan Azmeh
Colin Jacobsen (b. 1978) and Siamal Aghaei (b. 1974): Ascending Bird In the summer of 2004, I had the opportunity to visit Iran, the home of Siamak Aghaei and Kayhan Kalhor, musicians and friends who I met through Yo-Yo Ma’s Silk Road Project. The visit was a cultural exchange made possible by the Silkroad and was to prove a life-changing experience. Besides learning more about traditional Persian architecture, calligraphy, arts and crafts and their close link to Persian music, I spent many hours in the homes of both Kayhan and Siamak listening to them play and talk about the philosophy behind their music. Siamak is a bit of a modern-day Bartók in that he travels around Iran making field recordings of folk musicians from the many and varied traditions represented by the different regions of Iran. He dusted off one such recording and the sound that emerged from the speakers gave me a form of vertigo. My ears were held to attention by the sound of an incredibly potent and piercing instrument, which Siamak told me was made out of the fused bones of a bird and measured little more than two inches in length. The music also encoded a popular mythical story of a bird attempting to fly to the sun. Failing on the first two attempts, on the third try the bird loses its physical body in the radiant embrace of the sun, a metaphor for spiritual transcendence. What emerged from this experience was Ascending Bird – comprised of Siamak’s reinterpretation of the traditional tune to which I added further textural layers and a combined with an original introduction and coda. My first orchestration of this tune was for string quartet (Brooklyn Rider) and we recently recorded this full orchestral version (which I like to call “Big Bird”) for our album Azul, which features our friend and mentor Yo-Yo. – Colin Jacobsen
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The Knights
Avi Avital, mandolin
The Knights are a collective of adventurous musicians, dedicated to transforming the orchestral experience and eliminating barriers between audiences and music. Driven by an open-minded spirit of camaraderie and exploration, they inspire listeners with vibrant programs that encompass their roots in the classical tradition and passion for artistic discovery. Through adventurous programming, unbridled energy, and a collaborative music-making process, The Knights bring classical music to life in a way that surprises and inspires both new and longtime listeners.
The first mandolin soloist to be nominated for a classical Grammy Award, Avi Avital is one of the foremost ambassadors for his instrument. More than 90 contemporary compositions, 15 of them concertos, have been written for him, while his inspired reimaginings of music for other instruments include the arrangements heard on his 2015 ECHO Klassik Award-winning Deutsche Grammophon recording, Vivaldi. Enhanced by his infectious spirit of adventure and the warm rapport he fosters with his audience, Avital’s path-breaking championship of his instrument is taking the mandolin center stage.
Since their inception in New York City in the early 2000s, The Knights have challenged assumptions about orchestral music. The ensemble grew out of informal chamber music readings at the home of brothers Eric and Colin Jacobsen – now the group’s artistic directors – and was incorporated as a non-profit organization in 2007. The 36 members of The Knights are graduates of the Juilliard School, the Curtis Institute of Music, and other leading music schools and conservatories. They are accomplished soloists, orchestral players, and chamber musicians as well as composers, singer-songwriters, and improvisers who bring a range of cultural influences to the group. The Knights’ notable accomplishments include a 2017 Grammy Award nomination for a recording with violinist Gil Shaham; a performance at Jazz at Lincoln Center’s Rose Theater as part of the NY Philharmonic Biennial; a debut at Carnegie Hall in the New York premiere of Steven Stucky and Jeremy Denk’s opera The Classical Style; a U.S. tour with banjo virtuoso Béla Fleck; a European tour with soprano Dawn Upshaw, including the group’s debut at Vienna’s Musikverein; a debut at the Kennedy Center, as part of the inaugural SHIFT: A Festival of American Orchestras; frequent festival appearances at Ravinia, Caramoor, Big Ears, and Tanglewood. In recent years, The Knights have collaborated and toured with world-renowned musicians including Yo-Yo Ma, Itzhak Perlman, Lise de la Salle, Joshua Redman, Silk Road virtuoso Siamak Aghaei, and pipa virtuoso Wu Man. The group has also collaborated with artists coming from a wide range of artistic disciplines including the Mark Morris Dance Group, visual artist Kevork Mourad, and Pulitzer Prize-winning poet Paul Muldoon. Their most recent album, Azul, featured the world premiere recording of Osvaldo Golijov’s work “Azul” with soloist Yo-Yo Ma. theknightsnyc.com | twitter.com/theknightsnyc | facebook.com/theknightsnyc youtube.com/theknightsnyc | instagram.com/theknightsnyc
Avital’s unprecedented Grammy nomination honored his recording of Avner Dorman’s Mandolin Concerto, a work he commissioned in 2006, with New York’s Metropolis Ensemble under Andrew Cyr. As the first mandolin soloist to become an exclusive Deutsche Grammophon artist, he has made three recordings for the label to date; including Vivaldi, a 2012 album featuring his own Bach concerto transcriptions, and Between Worlds in 2014. He won his first ECHO Klassik Award for his 2008 collaboration on Sony Classical with the David Orlowsky Trio. Recent performance highlights include Beijing’s National Centre for the Performing Arts, London’s Wigmore and Royal Albert Halls, the Berlin Philharmonie, Zurich’s Tonhalle, Barcelona’s Palau de la Música Catalana, the Paris Philharmonie, and, with a live telecast on Arte, the Palais de Versailles. In spring 2016, Avital undertook an international tour with a program of arrangements for mandolin, accordion and percussion drawn primarily from Between Worlds. Avital has partnered leading artists in a variety of genres, including Dawn Upshaw, Andreas Scholl, Juan Diego Flórez, Giora Feidman, Ray Chen, David Greilsammer, Mahan Esfahani, Richard Galliano and Ksenija Sidorova, Itamar Doari, and the Enso and Danish String quartets, as well as a host of international orchestras from the Mahler Chamber Orchestra to the Israel Philharmonic. He is also a favorite on the international festival circuit, having appeared at the Aspen, Salzburg, Tanglewood, Spoleto, Ravenna, and Verbier festivals, among many others. Winner of the first-prize Doris and Mori Arkin Award at Israel’s prestigious Aviv Competitions in 2007, Avital is the first mandolinist in the history of the competition to be so honored. aviavital.com | twitter.com/aviavital | facebook.com/aviavital youtube.com/aviavital | instagram.com/aviavital
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Kinan Azmeh, clarinet
The Knights
Hailed as a “virtuoso” and “intensely soulful” by The New York Times, “Spellbinding” by the New Yorker and for his “incredibly rich sound” by the CBC, Kinan Azmeh’s utterly distinctive sound across a variety of musical genres is fast gaining international recognition.
Violins Colin Jacobsen Guillaume Pirard Christina Courtin Emily Daggett Smith Amie Weiss Kristi Helberg
Born in Damascus, Syria, Azmeh was the first Arab to win the premier prize at the 1997 Nicolai Rubinstein International Competition in Moscow. He is a graduate of New York’s Juilliard School, as a student of Charles Neidich, and of both the Damascus High Institute of Music, where he studied with Shukry Sahwki, Nicolay Viovanof and Anatoly Moratof, and Damascus University’s School of Electrical Engineering. He earned his doctorate in music from the City University of New York in 2013. Kinan Azmeh has appeared worldwide as a soloist, composer and improviser. Notable appearances include Opera Bastille, Tchaikovsky Grand Hall, Carnegie Hall, Alice Tully Hall, the UN General Assembly, Royal Albert Hall, Teatro Colon, der Philharmonie, the Library of Congress, Kennedy Center, the Mozarteum, and the Damascus Opera House for its opening concert in his native Syria. As a soloist Azmeh has appeared with the Bavarian Radio Orchestra, West-Eastern Divan Orchestra, NDR BigBand, Kiev Camerata, The Knights, the Izmir State Opera Orchestra, Corasara Orchestra, Osnabruck Symphony, Morgenland Festival Orchestra, Qatar Philharmonic, New Juilliard Ensemble and the Syrian Symphony Orchestra, among others. He has shared the stage with Yo-Yo Ma, Marcel Khalife, Aynur, Daniel Barenboim, Jivan Gasparian, Zakir Hussain, François Rabbath, Simon Shaheen, and members of the Berlin Philharmonic Orchestra, among others.
Violas Miranda Sielaff Mario Gotoh Alissa Smith Cellos Caitlin Sullivan Paul Wiancko Bass Shawn Conley Flute Alex Sopp Percussion Jeremy Smith Management: Opus 3 Artists 470 Park Avenue South - 9th Floor North New York NY 10016 www.opus3artists.com
Kinan Azmeh’s compositions include several solo, orchestra, and chamber music works as well as pieces for film, live illustration and electronics. His discography comprises three albums with his ensemble HEWAR, several soundtracks for film and dance, a duo album with pianist Dinuk Wijeratne, and a recent album with his New York Arabic/Jazz quartet. He serves as artistic director of the Damascus Festival Chamber Music Ensemble, with whom he released an album of new contemporary Syrian chamber music. Azmeh is also a frequent guest faculty at the Apple Hill Center for Chamber Music and is on the advisory board of the Nova Scotia Youth Orchestra. He is a member of Yo-Yo Ma’s Silk Road Ensemble. kinanazmeh.com | twitter.com/kinanazmeh | facebook.com/kinanazmehpublic
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photo: TM & (c) Turner Entertainment Networks. A Time Warner Company. photo:
An Evening with
Samantha Bee
In Conversation with Starshine Roshell Thu, Nov 9 / 8 PM / Arlington Theatre
Event Sponsors: Marcia & John Mike Cohen
Samantha Bee Samantha Bee has quickly established herself as having one of the most unique and sharp comedic voices on television with her late-night show Full Frontal with Samantha Bee. Born and raised in Toronto, Canada, Bee began her career performing as a member of the all-female sketch comedy troupe The Atomic Fireballs. In 2003, Bee joined the “Best F#@king News Team” on Comedy Central’s The Daily Show with Jon Stewart. During her time at The Daily Show, Bee was the sole female correspondent from 2006 until 2008, and – despite her departure in 2015 – she currently holds the record for being the longest-serving regular Daily Show correspondent of all time (12 years). Bee has received global recognition from the success of her very own late-night comedy series, Full Frontal with Samantha Bee, which premiered in February 2016 on TBS. Full Frontal offers a unique, satirical take on weekly news and explores other important stories in-depth that have been largely overlooked by more traditional media outlets. Full Frontal received rave reviews, was picked up by TBS for a full season within weeks of its premiere and was renewed for a second season. In a landscape of male late-night talk show hosts, critics have appreciated Bee’s “fiery and fierce” delivery (The New York Times) and have embraced Full Frontal as a “daring, innovative addition to the late-night slate” (Entertainment Weekly).
Bee earned a 2016 Television Critics Association Award nomination for Individual Achievement in Comedy for her work on Full Frontal, and the show received its own nomination in the category of Outstanding News and Information. She and the show were also nominated for a Primetime Emmy in 2016 in the category of Outstanding Writing for a Variety Series. Bee hosted the highly-praised “Not the White House Correspondents’ Dinner” on April 29, 2017, the evening of the traditional White House Correspondents’ Dinner. Presented on TBS, her event celebrated the importance of a free and open press under President Donald Trump’s administration. Bee and her husband Jason Jones also co-created the 10-episode, half-hour comedy series The Detour, which had its second season premiere on TBS in February 2017. The Detour, which stars Jones, is inspired by the couple’s personal experiences on family getaways. The show follows Nate (Jones), Robin (Natalie Zea) and their two kids, Delilah and Jared, for what Nate believes will be the adventure of a lifetime on a road trip to Florida, which quickly turns into a disaster. The series was renewed for second season ahead of its April 2016 premiere. In 2015, Bee appeared opposite Tina Fey and Amy Poehler in the comedy film Sisters, directed by Jason Moore and written by Paula Pell. In 2014, Bee appeared in Learning to Drive, alongside Patricia Clarkson and Ben
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Kingsley. Additionally, she starred opposite Jason Jones in the 2010 film titled Coopers’ Christmas. In 2010, Simon & Schuster published Bee’s collection of personal essays, I Know I Am, But What Are You? She is currently writing a middle-grade novel for Farrar, Straus and Giroux.
Starshine Roshell Starshine Roshell is an award-winning journalist who waxes wise and witty on sex, parenting, politics and culture. Raised in Los Angeles’ entertainment industry, she’s worked as a daily newspaper reporter and feature writer for dozens of magazines and blogs, including TheWeek, The Hollywood Reporter and the New York Post. Insightful and audacious, playful and literate, Roshell has authored a popular blog on SheKnows.com, taught writing at UCSB and LinkedIn Learning and interviewed George Clooney, Ellen DeGeneres, Steve Martin and Tom Hanks for stories. Recent columns include interviews with Gloria Steinem, Serial host Sarah Koenig, Sandra TsingLoh, Orange Is the New Black author Piper Kerman and #ShoutYourAbortion founder Amelia Bonow. Local readers have voted her Best Columnist for 11 years in a row for her can’t-miss column in the Santa Barbara Independent. Books are available for purchase in the lobby
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 Office of Arts and Culture Special thanks to
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Seong-Jin Cho, piano
photo: RAMI Studio
Tue, Nov 14 / 7 PM / Hahn Hall
Up Close & Musical Series Sponsor: Dr. Bob Weinman
Program
About the Program
Beethoven: Sonata No. 8 in C Minor, op. 13 (“Pathétique”) I. Grave - Allegro di molto e con brio II. Adagio cantabile III. Rondo. Allegro
Ludwig van Beethoven (1770-1827): Piano Sonata No. 8 in C Minor, op. 13 (“Pathétique”)
Beethoven: Sonata No. 30 in E Major, op. 109 I. Vivace ma non troppo. Adagio espressivo II. Prestissimo III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo - Intermission Debussy: La plus que lente, L. 121 Debussy: L’isle Joyeuse, L. 106 Chopin: 4 Ballades No. 1 in G Minor, op. 23 No. 2 in F Major, op. 38 No. 3 in A-flat Major, op. 47 No. 4 in F Minor, op. 52
In 1792, Beethoven’s patron in Bonn, the Archduke Maximilian Francis, sent the young composer to Vienna to study under Haydn and Antonio Salieri. Beethoven quickly began making a name for himself in Europe’s musical epicenter, performing numerous small concerts and premiering a series of well-received compositions. Fortunately for Beethoven, he secured the patronage of several wealthy and powerful families in the Viennese elite. The most notable of these patrons, the Prince Karl von Lichnowsky, had been a friend of Mozart’s (the two were brothers in the same Masonic lodge). Lichnowsky provided Beethoven his first lodging in the Austrian capital, and his family’s warm relationship with the composer would last for many years. Beethoven would dedicate seven works to Lichnowsky, including the Piano Sonata No. 8. Among the 135 works published in Beethoven’s lifetime, 32 of them were piano sonatas. Of these, the first 20 were written in the eight years before 1802. Among these roughly two dozen compositions, it was the Eighth Piano Sonata that secured Beethoven’s status as a bright star in the Viennese musical firmament. Musicologist Marion Scott wrote that “Pathétique is tragedy as the young feel it, with the glamour, urgency, even exaltation of a Romeo and Juliet.” Like many of Beethoven’s
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stormiest works, including the Fifth Symphony, the Pathétique Sonata bears the key signature of C minor. A slow and grave introduction, unusual for Beethoven, introduces a tempestuous and virtuosic Allegro. Twice Beethoven returns to this introduction before closing the movement with a swift final cadence. The Adagio evokes a languid aria, or the opening verses of Beethoven’s cycle An die ferne Geliebte (To the distant beloved). Beethoven repeats this cantibile theme three times, separating them with minor-key sections. Briefly stormy, the music ultimately returns to a place of respite. The main theme which opens the Rondo shares the first four notes as the second theme of the first movement Allegro. Using sforzando chords as signposts, the music takes on a frenzied sense of urgency as it dashes forward. In the brief codetta, a version of the main theme is heard in the major key but quickly turns dark, closing in one last sullen outburst.
Ludwig van Beethoven (1770-1827): Piano Sonata No. 30 in E Major, op. 109 By the end of his fifth decade, Beethoven had gone completely deaf. He relied extensively on written conversation books to communicate with friends, family and publishers. That year, his conversation books reveal him at work on his massive Missa solemnis, as well as a “little new piece” he would ultimately expand into the Piano Sonata in E major. In the Vivace, Beethoven introduces a graceful tune comprised of broken figures that move between the left and right hands, darting back and forth to coalesce into a unified melody. Hurried and urgent yet not frantic, the first movement is surprisingly short. Contemporary listeners were mystified by it. One reviewer opined that the sonata “begins in the manner of a prelude, as if one were testing a harp to see if it were in tune.” An even shorter second movement begins with the presentation of two themes simultaneously; Beethoven indicates that the slower-moving bassline be played ben marcato (wellmarked). The darkness of the E minor key signature contrasts with the brightness of the E-major Vivace. A hushed una corda passage sings like the whispered hymns of ghosts, only to be dispelled by a full-voiced return of the main themes. Nervous and frenetic, the music surges an abrupt close. The final movement, a slow and song-like theme with six variations, is more than twice the combined length of the first two movements. Its opening bars, voiced more like a string quartet than a solo piano, point toward his late string quartets, of which
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he would write six in the last three years of his life. Tempos, key signatures and even meters change; some variations are repeated, while others, like the virtuosic third, disappear in a flash. Beethoven was fascinated by theme and variation as a developmental device, particularly in his late period works. Here he uses the variations to expound upon ideas presented earlier in the sonata. The second uses the two-note figure heard at the opening of the first movement. In the sixth and final variation, a series of repeated notes in the upper voice recalls a similar motive in the second movement. To close these varied and at times complicated reworkings of the theme, Beethoven returns almost exactly to its original statement: simple, direct and unadorned.
Claude Debussy (1862-1918): La plus que lente, L 121. In the second half of the first decade of the 1900s, Debussy turned away from large-scale compositions to create smaller, more intimate works, many of these for solo piano. Among these are Images, Children’s Corner, and the first set of Préludes (modeled on those of Frédéric Chopin, one of Debussy’s idols), published in 1910. A year prior, Debussy had received a devastating diagnosis of rectal cancer. Despite aggressive and at-the-time cutting edge surgery, the disease would claim his life within a decade. Debussy wryly named his composition La plus que lente, translated as “The Even Slower [Waltz].” He wrote the piece in response to the surging popularity of the valse lente (slow waltz) in the years prior to the First World War. The waltz as a popular dance had thrived in Europe since the 18th century; Chopin would popularize the waltz as a distinct concert genre. Following the end of the War, the waltz declined in popularity across the continent, coming to be viewed as a relic of a bygone era. Another, less ironic inspiration for the work supposedly came from the sculpture La Valse. Created by Camille Claudel, a close friend of Debussy’s, the sculpture depicts two nude lovers entwined in passionate embrace, their bodies frozen, whirling in time to unheard strains of melody. Debussy, who called her sculptures “the most perfect examples of intimate lyricism,” kept a reproduction of La Valse – a gift from Claudel – on his mantelpiece until his death. The waltz, though intimate and graceful, is infused with the composer’s sardonic wit and ennui. In the opening bars, the right hand introduces an alternating minor third motive that pervades the entire piece, a wistful and obsessive idée fixe. The final bars of the score are marked morendo (dying away); languorous notes hang suspended like clouds of smoke in a crowded salon.
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Claude Debussy (1862-1918): L’isle joyeuse, L 106. Though Claude Debussy did not grow up by the ocean – he once wrote to a friend that he did not even know how to swim – he grew up with the sea flowing through his veins. Debussy’s father, a marine infantryman in his youth, wanted his son to follow in his footsteps, but Debussy instead pursued a career in composition. However, his early experiences sailing and visiting seaside villages instilled in him a lifelong love for the water. L’isle joyeuse is far from Debussy’s only composition about the ocean. Some of his other notable works on the subject include La Mer, La cathédrale engloutie, and “Sirènes,” a movement for wordless female chorus and orchestra from his Trois Nocturnes. This last work points to Debussy’s fascination with depicting nature, particularly the sea, in musical and visual media. “It is the musicians alone,” Debussy wrote, “who have the privilege of being able to convey all the poetry of night and day, of earth and sky.” Debussy composed L’isle joyeuse during a period of personal upheaval. Having recently left his wife, he and his lover Emma Bardac fled to the island of Jersey, followed by Great Britain, for a long holiday. The title of this piece may refer to their happy sojourn abroad, though it has been suggested that Debussy took inspiration from Watteau’s eighteenth-century painting The Embarkation for Cythera, a work steeped in images of Greek love and eroticism. The piece begins with a trill and cadenza, fast-moving whole tone scales creating ripples like stones tossed into a still pond. Falling triplets in the middle section evoke the crash and spray of waterfalls. Exuberant and enchanting, L’isle joyeuse requires rhythmic flexibility and virtuoso passagework. In the last two measures, Debussy’s writing spans nearly the entire range of the piano, plummeting from the instrument’s crystalline upper register to its very lowest note.
Frédéric Chopin (1810-1849): 4 Ballades Unlike song cycles or Chopin’s own sets of Études, his Ballades were not intended to be a unified set. Written across multiple countries, each dedicated to a different person, and published by two different firms, it was only after the separate publication of all four pieces that the Ballades were united. Chopin’s own letters show him eager to sell the pieces as soon as he had finished writing them. The pieces take their name from the ballade, a sung narrative poem. Many have claimed a link between Chopin’s Ballades and the poetry of fellow Pole Adam Mickiewicz, though
this supposed connection likely stems from a tendency to romanticize Chopin’s own role in the struggle for Polish sovereignty. Chopin composed the Ballades over the course of more than a decade. The first, in G minor, he began sketching in 1831 while in Vienna. Then a young man, Chopin had fled Poland shortly ahead of the failed November Uprising against Russia. German composer Robert Schumann wrote that the G minor ballade “seems to be a work closest to [Chopin’s] genius.” Its slow introduction, the only of its kind among the set, blossoms into a complex work of stormy virtuosity and melancholic obsession. The second ballade, by contrast, begins with a tranquil and pastoral theme that alternates with a fiery, clangorous second theme. Composed over a three-year period, including a disastrous winter holiday in Majorca with his close friend, the pseudonymous woman author George Sand, Chopin dedicated it to Robert Schumann. Schumann, unfortunately, found it less compelling than the first. Less tempestuous than the others, Chopin wrote the third ballade at George Sand’s country estate. He dedicated it to his pupil Pauline de Noailles, who is said to have remarked, “There is moonlight in this music, and sunlight too.” The final ballade is the longest and most complex of the four. Its major-key opening belies the heartbreak that follows, and ultimately concludes with an impassioned, virtuosic climax and four last, thundering chords. Program notes by Andrew McIntyre, 2017
About Seong-Jin Cho Seong-Jin Cho was brought to the world’s attention in October 2015 when he won First Prize at the Chopin International Piano Competition in Warsaw. Four years before, at age 17, he had won Third Prize at the Tchaikovsky competition. With his overwhelming talent and natural musicality, Seong-Jin Cho is rapidly embarking on a world-class career and is considered one of the most distinctive artists of his generation. Cho’s thoughtful and poetic, assertive and tender, virtuosic and colorful playing can combine panache with purity and is driven by an impressive natural sense of balance. He plays with conductors at the highest level, such as Valery Gergiev, Esa-Pekka Salonen, Yuri Temirkanov, Gianandrea Noseda, Antonio Pappano, Kzysztof Urbanski, Myung-Whun Chung, Vassily Petrenko, Jakub Hrusa, Marek Janowski, Leonard Slatkin and Mikhail Pletnev. Orchestral appearances include
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the Royal Concertgebouw Orchestra, Orchestre de Paris, London Symphony Orchestra, Mariinsky Orchestra, Munich Philharmonic Orchestra, Rundfunk Sinfonie Orchester Berlin, Orchestre Philharmonique de Radio France, NHK Symphony Orchestra, Philharmonia Orchestra, Seoul Philharmonic Orchestra, Czech Philharmonic Orchestra, Budapest Festival Orchestra, Danish National Symphony Orchestra and the Russian National Orchestra. In 2017, Cho played recitals in some of the world’s most prestigious concert series, with debuts at Carnegie Hall’s virtuoso series in the main hall, Amsterdam’s Concertgebouw’s Master Pianists series and recitals at Suntory Hall Seoul’s new Lotte Hall, Paris’s new Seine Musicale, KKL Lucerne and St. Petersburg’s Mariinsky Theater.
Coming in Winter
Calidore String Quartet
Highlights of the 2017-18 and 2018-19 seasons include concerts with the Detroit Symphony Orchestra and music director Leonard Slatkin, Hessicher Rundfunk Orchester and music director Andrès Orozco-Estrada, London Symphony Orchestra and principal guest conductor Gianandrea Noseda, NDR Elbphilharmonie Orchester with Krzysztof Urbanski in Hamburg, Finnish Radio Orchestra with Gustavo Gimeno, and tours with the Santa Cecilia Orchestra and Antonio Pappano, the LSO and Michael Tilson-Thomas, the WDR Sinfonie Orchester and Marek Janowski and the Philadelphia Orchestra and Yannick Nézet-Seguin. He will also play recitals in key venues like Verbier Festival, Munich’s Prinzregententheater, Stuttgart’s Liederhalle, Kissinger Sommer Festival, Heidelberger Frühling, La Roque d’Anthéron Festival and Baden Baden Festspielhaus. In 2016, Cho signed an exclusive contract with Deutsche Grammophon. The first CD of this collaboration features Chopin’s first concerto with the London Symphony Orchestra and Gianandrea Noseda and the four Ballades, released in 2016. A solo Debussy album will be released in 2017. Born in 1994 in Seoul, Cho started studying the piano at age 6 and gave his first public recital five years later. He is now based in Berlin. Exclusive Management: Opus 3 Artists 470 Park Avenue South 9th Floor North New York NY 10016 www.opus3artists.com Special thanks to
Sun, Feb 11 / 3 PM / Hahn Hall, Music Academy of the West $35 / $9 UCSB students
A Hahn Hall facility fee will be added to each ticket price
Program Mendelssohn: String Quartet No. 3 in D Major, op. 44, no. 1 Janáček: String Quartet No. 1 (“Kreutzer Sonata”) Beethoven: String Quartet No. 9 in C Major, op. 59, no. 3 Arrive an hour early for a pitch-perfect party and enjoy complimentary pre-performance tastings of wine and craft beer paired with savory bites from C’est Cheese. Up Close & Musical Series Sponsor: Dr. Bob Weinman
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Simon Shaheen, ‘oud & violin with Ensemble
photo: Joslyn Duncan
Wed, Nov 15 / 8 PM / Campbell Hall
Simon Shaheen Simon Shaheen dazzles his listeners as he deftly leaps from traditional Arabic sounds to jazz and Western classical styles. His soaring technique, melodic ingenuity and unparalleled grace have earned him international acclaim as a virtuoso on the ‘oud and violin. Shaheen is one of the most significant Arab musicians, performers and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. This unique contribution to the world of arts was recognized in 1994, when Shaheen was honored with the prestigious National Heritage Award at the White House. In the 1990s, he released four albums of his own: Saltanah (Water Lily Acoustics), Turath (CMP), Taqasim (Lyrichord) and Simon Shaheen: The Music of Mohamed Abdel Wahab (Axiom), while also contributing cuts to producer Bill Laswell’s fusion collective, Hallucination Engine (Island). He has contributed selections to soundtracks for The Sheltering Sky and Malcolm X, among others, and composed the entire soundtrack for the United Nations-sponsored documentary, For Everyone Everywhere. Broadcast globally in December 1998, this film celebrated the 50th anniversary of the United Nations Human Rights Charter. But perhaps his greatest success has come with Blue Flame (ARK21, 2001), where he leads his group, Qantara, on a labyrinthian journey through the world of fusion music to discov-
er the heart of the Middle East. The album was nominated for 11 Grammy Awards, and the band’s performances have been called “glorious.” A Palestinian born in the village of Tarshiha in the Galilee in 1955, Shaheen’s childhood was steeped in music. His father, Hikmat Shaheen, was a professor of music and a master ‘oud player. “Learning to play on the ‘oud from my father was the most powerful influence in my musical life,” Shaheen recalls. He began playing on the ‘oud at the age of 5, and a year later he began studying violin at the Conservatory for Western Classical Music in Jerusalem. “When I held and played these instruments, they felt like an extension of my arms.” After graduating from the Academy of Music in Jerusalem in 1978, Shaheen was appointed its instructor of Arab music, performance and theory. Two years later he moved to New York City to complete his graduate studies in performance at the Manhattan School of Music and later in performance and music education at Columbia University. In 1982, Shaheen formed the Near Eastern Music Ensemble in New York, establishing a group that would perform the highest standard of traditional Arab music. This time also marked the beginning of Shaheen’s workshops and lecture/ demonstrations in schools, colleges and universities to educate the younger generation. As a champion and guardian of Arab music, Shaheen still devotes almost 50 percent of his time to working with schools and universities, includ-
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ing Juilliard, Columbia, Princeton, Brown, Harvard, Yale, UC San Diego, University of Michigan in Ann Arbor and many others. He also teaches at Berklee College of Music in Boston and directs the Qantara Berklee Arabic music ensemble. His concert credits are a veritable compendium of the world’s greatest venues: Carnegie Hall, Kennedy Center, Cairo’s Opera House, Theatre de la Ville in Beirut and Belgium’s Palais des Beaux-Arts. In May 2004, Shaheen appeared at Quincy Jones’ We Are the Future fundraising concert in Rome in front of a half-million-strong crowd. As a composer, Shaheen has received grants from the National Endowment for the Arts, the New York State Council on the Arts, Meet the Composer, the Jerome Foundation, Continental Harmony and Yellow Springs Institute. In addition to his recorded work, his theatrical repertoire includes Majnun Layla, (performances included the Kennedy Center in Washington, DC, and The Museum of Natural History in New York), The Book and the Stranger (from Kalilah Wa-Dimanah), Possible City and Collateral Damage with actress Vanessa Redgrave. He has also written the music for the documentary of the British Museum’s Egyptian collection, which has toured U.S. museums.
Coming in Winter
Wu Man and the Huayin Shadow Puppet Band
Since 1994, Shaheen produced the Annual Arab Festival of Arts Mahrajan al-Fan. Held in New York, the festival showcases the work of the finest Arab artists, while presenting the scope, depth and quality of Arab culture. To continue this exposure to Arab music and culture, Shaheen founded the Annual Arabic Music Retreat in 1997. Held each summer at Mount Holyoke College, this weeklong intensive program of Arabic music studies draws participants from the U.S. and abroad. For the past several years, though, Shaheen has focused much of his energies on Qantara. The band, whose name means arch in Arabic, brings to life Shaheen’s vision for the unbridled fusion of Arab, jazz, Western classical and Latin American music, a perfect alchemy for music to transcend the boundaries of genre and geography. Special thanks to
“Watching the musicians let fly on lutes, fiddles and gongs, as the singers roared through lively ballads recounting folk tales and myths, you were swept up by their energy and charisma.” The New York Times
Thu, Mar 8 / 8 PM / Campbell Hall Tickets start at $25 / $15 UCSB students
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Jon Meacham
The Art of Leadership: Lessons from the American Presidency Thu, Nov 16 / 7:30 PM / Campbell Hall
photo: Gasper Tringale
Event Sponsors:
& Lou Buglioli
Thematic Learning Initiative: Our Changing World
Presidential historian, Pulitzer Prize-winner and contributor to Time magazine and The New York Times Book Review, Jon Meacham is one of America’s most prominent public intellectuals. A regular guest on Morning Joe, he is known as a skilled raconteur with a depth of knowledge about politics, religion and current affairs. He understands how issues and events impact our lives and why historical context matters. Meacham’s latest presidential biography, Destiny and Power: The American Odyssey of George Herbert Walker Bush, debuted at No. 1 on the New York Times bestsellers list in November 2015. The Times said, “Destiny and Power reflects the qualities of both subject and biographer: judicious, balanced, deliberative, with a deep appreciation of history and the personalities who shape it.” His No. 1 New York Times bestseller Thomas Jefferson: The Art of Power was hailed as “masterful and intimate” by Fortune magazine. His other national bestsellers include Franklin and Winston; American Gospel; and American Lion: Andrew Jackson in the White House, which won the Pulitzer Prize in 2009.
He has appeared on Meet the Press, The Colbert Report and Ken Burns’ documentary series The Roosevelts: An Intimate History. Fox News produced an hour-long special about Meacham’s Destiny and Power in November 2015. Named a “Global Leader for Tomorrow” by the World Economic Forum, he is a member of the Council on Foreign Relations and a fellow of the Society of American Historians, and he chairs the National Advisory Board of the John C. Danforth Center on Religion and Politics at Washington University. Meacham is a Distinguished Visiting Professor of History at The University of the South and a Visiting Distinguished Professor at Vanderbilt. He is currently at work on a biography of James and Dolley Madison. Books are available for purchase in the lobby and a signing follows the event
A contributing editor at Time magazine, Meacham writes for the magazine’s Ideas section. He also pens “The Long View” column in The New York Times Book Review, in which he “looks back at books that speak to our current historical and cultural moment.” He served as Newsweek’s managing editor from 1998 to 2006 and editor from 2006 to 2010. The New York Times called him “one of the most influential editors in the news magazine business.”
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
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An Evening with
Zadie Smith
In Conversation with Pico Iyer
photo: Dominique Nabokov
Wed, Nov 29 / 7:30 PM / Campbell Hall
Thematic Learning Initiative: Creating a Meaningful Life
Novelist Zadie Smith’s acclaimed first novel, White Teeth (2000), is a vibrant portrait of contemporary multicultural London, told through the stories of three ethnically diverse families. The book won a number of awards and prizes, including the Guardian First Book Award, the Whitbread First Novel Award, the Commonwealth Writers Prize (Overall Winner, Best First Book) and two BT Ethnic and Multicultural Media Awards (Best Book/Novel and Best Female Media Newcomer). It was also shortlisted for the Mail on Sunday/John Llewellyn Rhys Prize, the Orange Prize for Fiction and the Author’s Club First Novel Award. White Teeth has been translated into more than 20 languages and was adapted for a television broadcast in fall of 2002.
Smith was born in North London in 1975 to an English father and a Jamaican mother. She studied English at Cambridge, graduating in 1997. She is currently a tenured professor of Creative Writing at New York University. Books by both authors are available for purchase in the lobby and a signing follows the event
Special thanks to
Zadie Smith’s The Autograph Man (2002), a story of loss, obsession and the nature of celebrity, won the 2003 Jewish Quarterly Wingate Literary Prize for Fiction. In 2003 and 2013 she was named by Granta magazine as one of 20 Best of Young British Novelists. On Beauty won the 2006 Orange Prize for Fiction and NW was shortlisted for the Royal Society of Literature Ondaatje Prize and the Women’s Prize for Fiction and was named as one of The New York Times 10 Best Books of 2012. Smith writes regularly for The New Yorker and the New York Review of Books. She published one collection of essays, Changing My Mind: Occasional Essays (2009) and is working on a book of essays entitled Feel Free (2018). She is also working on a book of short stories and a new novel. Her most recent novel is Swing Time (2016), which was longlisted for the 2017 Man Booker Prize for Fiction. In 2017, she was elected a Foreign Honorary Member of the American Academy of Arts and Letters.
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@ArtsAndLectures
Emily Esfahani Smith The Power of Meaning: Making Your Life, Work, and Relationships Matter
photo: Jonathan Durling
Thu, Nov 30 / 7:30 PM / Campbell Hall
Thematic Learning Initiative: Creating a Meaningful Life
Meaning, not happiness, is the key to a good life. That’s the vital message at the core of Emily Esfahani Smith’s book, The Power of Meaning, which outlines four pillars essential to living a life that matters: belonging, purpose, transcendence and storytelling. From the TED 2017 mainstage to her viral Atlantic article “There’s More to Life than Being Happy,” Smith helps us develop genuine cultures of meaning – in life and at work. We’re all striving for happiness – but our culture’s obsession with instant gratification is only making us miserable. After more than a hundred interviews as well as years of research into positive psychology, neuroscience, philosophy and literature, Smith has discovered a more enriching way to live a good life: and that’s through the search for meaning. In her compelling book The Power of Meaning: Crafting a Life That Matters, Smith offers methods for individuals to let go of unreasonable, unattainable standards of happiness, overcome adversity and pursue goals that reward over the long haul. And for organizations, it means embedding a sense of purpose into corporate culture – making beliefs and values align for personal wellbeing as well as the bottom line.
Smith is an instructor in positive psychology at the University of Pennsylvania. She is also a columnist for The New Criterion as well as an editor at Stanford University’s Hoover Institution, where she manages the Ben Franklin Circles project: a collaboration with the 92nd Street Y and Citizen University to build meaning in local communities. Born in Zurich, Switzerland, Smith grew up in Montreal, Canada. She graduated from Dartmouth College and earned a masters of applied positive psychology from the University of Pennsylvania. Books are available for purchase in the lobby and a signing follows the event
Smith’s articles in The Atlantic have been read more than 30 million times and her writings on culture and psychology – drawing on neuroscience, philosophy and literature – have also appeared in The Wall Street Journal, The New York Times, Time and other publications. Smith’s talks help us think differently about the stories we tell ourselves and help us identify what makes life worth living.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
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Pink Martini A Holiday Spectacular with singer China Forbes Sat, Dec 2 / 8 PM / Arlington Theatre
photo: Autumn de Wilde
One intermission
Event Sponsor: Patricia Gregory, for the Baker Foundation
In 1994, in his hometown of Portland, Ore., Thomas Lauderdale was working in politics, thinking that one day he would run for mayor. Like other eager politicians-in-training, he went to every political fundraiser under the sun… but was dismayed to find the music at these events underwhelming, lackluster and un-neighborly. Drawing inspiration from music from all over the world and hoping to appeal to conservatives and liberals alike, he founded the “little orchestra” Pink Martini in 1994 to provide more beautiful and inclusive soundtracks for causes such as civil rights, affordable housing, the environment, libraries, public broadcasting and education. One year later, Lauderdale called China Forbes, a Harvard classmate, and asked her to join Pink Martini. They began to write songs together. Their first song, “Sympathique,” became an overnight sensation in France, was nominated for “Song of the Year” at France’s Victoires de la Musique Awards and to this day remains a mantra (“Je ne veux pas travailler” or “I don’t want to work”) for striking French workers. Says Lauderdale, “We’re very much an American band, but we spend a lot of time abroad and therefore have the incredible diplomatic opportunity to represent a broader, more inclusive America… the America which remains the most heterogeneously populated country in the world… composed of people of every country, every language, every religion.” Featuring a dozen musicians, Pink Martini performs its multilingual repertoire on concert stages and with symphony orchestras throughout Europe, Asia, Greece, Turkey, the Middle East, Northern Africa, Australia, New Zealand, South America and North America. Pink Martini made its European debut at the Cannes Film Festival in 1997 and its
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orchestral debut with the Oregon Symphony in 1998 under the direction of Norman Leyden. Since then, the band has gone on to play with more than 50 orchestras around the world, including multiple engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony, the Cleveland Orchestra and the BBC Concert Orchestra at Royal Albert Hall in London. Other appearances include the grand opening of the Los Angeles Philharmonic’s Frank Gehry-designed Walt Disney Concert Hall, with return sold-out engagements for New Year’s Eve 2003, 2004, 2008 and 2011; four sold-out concerts at Carnegie Hall; the opening party of the remodeled Museum of Modern Art in New York City; the Governor’s Ball at the 80th Annual Academy Awards in 2008; the opening of the 2008 Sydney Festival in Australia; multiple sold-out appearances – and a festival opening – at the Montreal Jazz Festival, two sold-out concerts at Paris’ legendary L’Olympia Theatre in 2011; and Paris’ fashion house Lanvin’s 10-year anniversary celebration for designer Alber Elbaz in 2012. In its 20th year, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame. 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 Office of Arts and Culture
Special thanks
@ArtsAndLectures
The Blind Boys of Alabama Holiday Show featuring Preservation Hall Legacy Horns with special guest Ruthie Foster Sat, Dec 16 / 8 PM / Campbell Hall Post-performance Producers Circle members-only holiday party.
The Blind Boys will be joined for this performance by the world-renowned Preservation Hall Legacy Horns from New Orleans, and celebrated vocalist Ruthie Foster, whose indescribable blend of gospel, blues and soul has been likened to that of Aretha Franklin and Mavis Staples.This special concert will feature songs from the Talkin’ Christmas! album as well as the band’s previous Grammy-winning Christmas recording, Go Tell It on the Mountain, along with Blind Boys’ gospel classics.
The Blind Boys of Alabama After touring in the gospel caravans of the 1940s and 50s, the Blind Boys have since enjoyed accolades and awards from all parts of the music world, including a remarkable five Grammy Awards, Lifetime Achievement Awards from the National Endowment for the Arts (NEA) and the National Academy of Recording Arts and Sciences (NARAS), and an induction into the Gospel Music Hall of Fame. The Blind Boys have appeared on recordings with Lou Reed, Peter Gabriel, Susan Tedeschi, Aaron Neville, Ben Harper, Justin Vernon of Bon Iver and many other great artists. The band has also been featured on The Tonight Show, Late Night with David Letterman, the Grammy Awards telecast, 60 Minutes, The Colbert Report, and were co-stars in the Broadway musical The Gospel at Colonus with Morgan Freeman. The Blind Boys of Alabama have attained the highest levels of achievement in a career that spans over 75 years and shows no signs of diminishing.
Preservation Hall Legacy Horns Comprised of some of the most revered Preservation Hall alumni, this trio represents a tradition that started in 1961, when the Hall first opened in the French Quarter. Many of the Preservation Hall Legacy Horns have toured the world with The Preservation Hall Jazz Band for decades. Formed with the help of the nonprofit Preservation Hall Foundation, The Preservation Hall Legacy Horns continue the Band’s exciting exploration of the boundaries of New Orleans jazz, and help maintain a connection with the Hall’s musical legacy. PreservationHallJazzBand.com
Ruthie Foster With a naturally expressive voice that draws comparisons to Aretha Franklin and Ella Fitzgerald, Texas-based singer-songwriter Ruthie Foster has a wide palette of American song forms including gospel, blues, jazz, folk and soul. She has three Grammy nominations in addition to seven Blues Music Awards, three Austin Music Awards, the Grand Prix du Disque award from the Académie Charles-Cros in France and a Living Blues Critics’ Award for Female Blues Artist of the Year. She wows audiences with her powerfully transfiguring live performances, powerful voice and stylistic range. RuthieFoster.com Special thanks to
BlindBoys.com
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
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Thank You to Our Generous Sponsors
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Wed, Oct 18 / 7:30 PM / Campbell Hall $15 / $10 UCSB students and youth (18 & under) Related Event: Mountainfilm on Tour - Kids’ Showcase Sun, Jan 21 / 3 PM / Campbell Hall Part of the Family Fun series; Single tickets also available.
(805) 893-3535 www.ArtsAndLectures.UCSB.edu
SANTA BARBARA SYMPHONY 2017-18 SEASON October 14 & 15, 2017
February 17 & 18, 2018
May 19 & 20, 2018
Nir Kabaretti, Conductor With State Street Ballet and Symphony Chorus
Nir Kabaretti, Conductor Lisa Vroman, Soprano Santa Barbara Choral Society
Nir Kabaretti, Conductor Anne Akiko Meyers, Violin Jessica Guideri, Violin
Mozart in Dance
Bernstein & Americana
November 18 & 19, 2017
March 24 & 25, 2018
Nir Kabaretti, Conductor Pablo Sáinz-Villegas, Guitar
Nir Kabaretti, Conductor Alexander Romanovsky, Piano
Spanish Guitar
January 20 & 21, 2018
The Red Violin – film with live orchestra accompaniment
Carolyn Kuan, Guest Conductor Lara St. John, Violin
Liszt and Tchaikovsky April 21 & 22, 2018
Mahler 6
Nir Kabaretti, Conductor
Violin Fest
December 31, 2017
New Year’s Eve Pops 8:30-10:30pm
Bob Bernhardt, Guest Conductor With Troupe Vertigo
Non-subscription concerts November 25, 2017
The Carnival of the Animals Family Concert 3-4pm
Laura Webber, Guest Conductor DeAndre Simmons, Host & Singer
Tickets available at 805.899.2222 or visit us at thesymphony.org
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FALL 2017 PERFORMANCE SEASON A VIEW FROM THE BRIDGE NOV 3 - 19 / PERFORMING ARTS THEATER
KING LEAR
FALL DANCE CONCERT DEC 7 - 9 / HATLEN THEATER
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