G U S TAV O DUDAMEL RESIDENCY I 2018/19 UNITING OUR WORLD THROUGH MUSIC
YEARS of MUSIC MAKING
Dear Friends, Welcome to Princeton University Concerts! Thank you for joining us as we mark our 125th anniversary 2018-19 season in a year-long musical party, celebrating both our historic past and our exciting future. Our “guest of honor,” Artistin-Residence Maestro Gustavo Dudamel, is the perfect embodiment of this celebration—I can think of no one better poised to propel the great traditions of live classical music forward in a vibrant, socially-relevant, and powerful way. The residency that Maestro Dudamel has crafted is a true testament to music’s capacity to bring people together and to serve as a platform for individual, societal, and world change. I very much hope that we, as a series and as a community, will continue to honor and realize this capacity for the next 125 years and beyond. Warmly,
Marna Seltzer Director of Princeton University Concerts
On the cover: Carlos Cruz-Diez, Induction Chromatique à double fréquence Ire, Paris, 2011, Chromography on aluminum, 100 x 300 cm, Cruz-Diez Art Foundation Collection
G U S TAV O DUDAMEL RESIDENCY I 2018/19
JANUARY 2019: EXPLORING ART & FAITH
PROGRAM BOOKLET
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Welcome by Gustavo Dudamel
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Art and Faith by Wendy Heller
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Program: Monday, January 7, 2019
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About the Program
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About Carlos Cruz-Diez
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Complete 2018–19 Dudamel Residency Schedule
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About Gustavo Dudamel
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About the Participants
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Celebrating 125 Years by Scott Burnham
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Our Supporters and Donors
G U S TAV O DUDAMEL RESIDENCY I 2018/19 UNITING OUR WORLD THROUGH MUSIC
December 2018 Dear Friends, Art is the education of the soul. It unlocks the imagination, encourages creative risk and exploratory self-expression, and embodies the skills and values that will define our future. That is why I care deeply about ensuring that the greatest expressions of our humanity are passed along to our next generations and encouraging young people to discover the potential of their own creative capacities. As Artist-in-Residence of Princeton University Concerts’ 125th anniversary season, I am honored by the opportunity to engage with the brilliant, committed, curious, and diverse Princeton community. Participating in this august environment is an immense privilege for me—growing up in Venezuela, I never had access to the kind of outstanding academic scholarship for which Princeton is renowned. But I had a mentor, Maestro José Antonio Abreu, who believed in me and taught me to understand different intellectual disciplines as mutually enriching aspects of our human imagination. In my career I have seen how music transcends these disciplines and acts as a catalyst for deeper human understanding and social transformation. Connecting artistic and intellectual worlds and uniting respected experts with inspired young people over the course of this residency, we will celebrate the bridges between communities and generations built through the unique language of music. I am particularly excited to engage with students across campus, to conduct the Princeton University Orchestra and Glee Club, to welcome young musicians from leading social-musical projects across the country, and, in cooperation with my Dudamel Foundation, to work with educators and children from vital programs in Trenton. I wish to thank Marna Seltzer and her remarkable team for everything they have done to make this dream possible. My gratitude to all our distinguished academic and creative contributors and to the members of my extended “musical families” at the Los Angeles Philharmonic, the Metropolitan Opera Orchestra, and the Berlin Philharmonic, who share a thirst for artistic excellence and a commitment to the values of quality education. And thanks to you, our public, for joining us in the spirit of adventure that, through what we share, we may enrich our experience of the world—and be moved to better it. Love,
Gustavo Dudamel
Art and Faith
Art and Faith By Professor Wendy Heller, © 2018
“Let everything that has breath praise the Lord. Hallelujah!” —Psalm 150 According to the ancients, the panpipes were invented when the great goat god Pan, breathing into the river reeds that had once been the body of Syrinx, the nymph he so desired, caused them to vibrate with his sighs. The sound of those sighs entered artistic expression. The performer makes small adjustments as air flows into her body, filling her lungs. Her exhalation might be merely a soft moan, part of the language of lament with which we are all naturally endowed; with a bit more intensity it is transformed into a cry, a word, a tone, a song. Unlike food, water, or air, the production of sound is not essential to human survival, excluding, perhaps, babies who rely upon the surprising power of their tiny vocal apparatuses to receive the breast or the bottle. But the instinct that compels us to make more complicated noises to communicate with those around us is perhaps the most salient element of being human. How miraculous it must have been when we first discovered the powerful music we can make when joining voices in spiritual communion to express our beliefs, desires, and passions. This miracle inspired the invention of new instruments that made it possible to surpass the range of the voice, to find new modes of expression, and to omit language altogether in favor of a different kind of syntax. I begin with this brief meditation on the humanity of breath, sound, and song to underscore the inherent magic and mystery not only of music but all art; everything we know about biology tells us that it is not essential for the survival of our species, and yet our species seems unable to survive without it. We might think of art as an ornament—a trill, a turn, a burst of coloratura that embellishes the melody of a life; or we might prefer to see it as the melody itself—the thread that connects us to each other and to our innermost selves. That art exists at all would seem to be evidence of something beyond that which we can see and feel; and while we may never agree about what that might be, our confidence in its existence might best be described as faith. History abounds with instances in which art and faith are intimately intertwined. Visually, this is apparent in masterpieces such as Saint Mark’s Basilica in Venice, whose domes, gold mosaics, and images of the saints are imbued with the
divine. Aurally, the urge to chant rather than speak—to use breath in the sustaining of tone to inflect prayers with extra layers of meaning and to do so within a collective—knows no particular time and place. We might travel back in time to medieval or early modern convents and monasteries, where the singing of the Divine Office was integral to the rhythm of the day, marking the progress of the earth’s daily rotation. From the perspective of the earsplitting twenty-first century, we struggle to imagine a pre-industrial world in which the organ was second in volume only to thunder or the tolling of church bells, a time when the Islamic call to prayer might be heard without loudspeakers that today permit this most soulful cry to be heard above the traffic in a modern city such as Istanbul. The border between the sacred and the profane has also been the site of frequent skirmishes, driven by the persistent fear that the divine might be contaminated by the worldly. For some, the representation of the divine in painting, sculpture, or fresco is the ultimate expression of devotion; for others, the second commandment’s admonition against graven images would forbid this kind of artistic expression. The boundaries in music are less clear. What happens when the sensual surface of music is too seductive, when the elements that are intended to evoke the spiritual realm in the listener seem too closely associated with earthly pleasures? “Let everything that has breath praise the Lord. Hallelujah!” declaims the psalmist, who calls upon us to praise God with horns, psalteries, harps, lyres, stringed instruments, timbrels, and even dancing. But following this simple biblical imperative was never straightforward. Such joyful celebrations, for instance, were deemed inappropriate for traditional Jewish prayer for a people still in mourning after the destruction of the Second Temple in Jerusalem in 70 CE. It was anxieties about music’s seductive power that for centuries kept women from singing in church, unless, as cloistered nuns, they were hidden behind the screen. Indeed, for many church authorities the problem was singers, who by incorrectly pronouncing words, singing chant with too little variation or too much freedom, taking excessive pleasure in virtuosic display of their voices or complex polyphony, did not merely err but in fact were committing sins. Composers, too, could veer into dangerous territory. Was it a good or bad thing that the duet between Jesus and the Soul in Bach’s cantata Wachet auf, ruft uns die Stimme borrowed from the musical language of the operatic love duet? What happens
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Art and Faith
when works such as Handel’s Messiah or Verdi’s Requiem are heard in the theater rather than church? What happens when one ritual replaces another, and music becomes less a part of a devotional practice than a spiritual experience? We experience music in the concert hall, in private meditation, in elevators, stores, or at the gym, and through wireless earbuds that provide soundtracks for our tedious commutes; occasionally we might sing or play ourselves, but it is no longer necessary to make music in order to hear it. Music is everywhere; and yet for those of us who are passionate about the arts, the danger may not be that music has become too powerful but rather that it has lost some of its sway. For us, it may be the ritual of the concert that invokes something of the divine, that transports us from the material world into the spiritual realm. Indeed, it is not surprising that Mozart’s A-Major clarinet quintet—secular chamber music to be sure—invokes a sense of the infinite, for there is something about the contrast between the strings, the instrument of Apollo, and the clarinet, a reed instrument much like the Pan’s pipe, that embodies the power of music so extolled by the ancients. We thus end where we began—with a breath. Whether the spirituality is expressed overtly, as in Arvo Pärt’s captured echoes and tintinambulations, in Mozart’s soaring clarinet melody, or in Juri Seo’s journey to recover the lost song of the Kaua‘i ‘ō‘ō bird, it is music that brings us together as one, to breathe, reflect, and exult, affirming the best that is in us all.
and sexuality, art history, Italian literature, dance history, and the classical tradition. Author of the award-winning ‘Emblems of Eloquence: Opera and Women’s Voices in Seventeenth-Century Venice,’ Heller has published numerous essays on the music of Monteverdi, Strozzi, Cavalli, Purcell, Bach, and Handel. She was co-editor for ‘Staging History: 1780–1840’ and the volume, ‘Performing Homer: The Voyage from Epic to Opera,’ which will be published in 2019 by Routledge. Heller, who also trained as professional singer, maintains a strong interest in performance, promoting collaborations between scholars and performers, and has been a driving force in the production of baroque operas at Princeton, serving as dramaturg for Princeton University Music Theater’s productions of all three of Monteverdi’s extant operas. Heller has earned numerous fellowships and prizes from such organizations as the ACLS, The Andrew W. Mellon Foundation, and the Gladys Krieble Delmas Foundation. Winner of the Rome Prize, Heller has also been a been a Mellon Fellow at the Society of Fellows at Columbia University, an appointee at the Villa I Tatti Harvard University Center for Italian Renaissance Studies, and was also the Sylvan C. and Pamela Coleman Memorial Fund Fellow at the Metropolitan Museum of Art. Heller is currently completing a book entitled ‘Animating Ovid: Opera and the Metamorphoses of Antiquity in Early Modern Italy’ and critical editions of Handel’s ‘Admeto’ and Francesco Cavalli’s ‘Veremonda, l’amazzone di Aragona.’
Wendy Heller, Scheide Professor of Music History, is Chair of the Department of Music at Princeton University and also serves as Director of the Program in Italian Studies. Recognized as one of the leading scholars in the field of Baroque music, Heller has specialized in the study of 17th- and 18th-century opera from interdisciplinary perspectives, with special emphasis on gender
Calling all student writers & visual artists
WIN UP TO $1000 Reflect on the relationship between the ARTS (broadly conceived) & FAITH, NATURE, or SOCIAL CHANGE. 2018–2019
WIN UP TO $1000
Inspired by the Gustavo Dudamel Residency: Uniting Our World through Music For more information, visit princetonuniversityconcerts.org/for-students
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CONCERT PROGRAM
Monday, January 7, 2019, 7:00PM | Richardson Auditorium, Alexander Hall Musical Preview at 6:00PM by students from Youth Orchestra Los Angeles (“YOLA”)
MUSICIANS FROM THE LOS ANGELES PHILHARMONIC Bing Wang, Violin | Rebecca Reale, Violin | Teng Li, Viola | Ben Hong, Cello Boris Allakhverdyan, Clarinet with Juri Seo, Piano
ARVO PÄRT (b. 1935) Spiegel im Spiegel for Clarinet and Piano JURI SEO (b. 1981) Lost Songs for String Quartet and Clarinet (World Premiere) ARVO PÄRT Fratres for String Quartet
INTERMISSION
WOLFGANG AMADEUS MOZART (1756–1791) Quintet in A Major for Clarinet and Strings, K. 581 Allegro Larghetto Menuetto Allegretto con Variazioni
This concert will be followed by a discussion about Art & Faith hosted by Gustavo Dudamel. He will be joined by Professors Alexander Nehamas and Elaine Pagels.
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About the Program
About the Program By Peter Laki, © 2018 ARVO PÄRT (b. 1935) Spiegel im Spiegel (“Mirror in the Mirror”) (1978) for Clarinet and Piano
Tonight we shall hear two of Pärt’s signature pieces in the “tintinnabuli” style, written shortly before the composer left Soviet Estonia for Berlin, where he has lived ever since.
Fratres (“Brothers”) for String Quartet
Spiegel im Spiegel (“Mirror in the Mirror,” or “Mirrors in the Mirror”), originally written for violin and piano, has been arranged for many other instruments. The title evokes the image of an infinity mirror, in which a pair of parallel mirrors produce an endless series of reflections. Similarly in the music, the constant repetitions of an ascending and descending scale over an even accompaniment of undulating broken chords create a sensation of infinity. The piece has become something of a modern icon, used in several films and seen as a symbol of a new simplicity, one that inspires spirituality and meditation, and manages to say a great deal with only a few notes. The melody instrument never gets to play loud and fast, yet the challenge to play long-held notes with an even legato and consistent dynamics is greater than one might think.
It has always been difficult enough for a composer to go against the grain by writing music that breaks openly with received tradition. But it was doubly difficult to do so in the former Soviet Union, where artistic dissent was perceived as synonymous with political dissidence. And it was probably ten times more difficult for a composer such as Arvo Pärt, who, in addition to his unconventional writing, was known as a committed Russian Orthodox at a time when all forms of religion were strongly discouraged. In his early works, Pärt employed techniques of neo-classicism and then serialism, highly controversial at the time, only to turn away from them in frustration. After several years of creative silence, Pärt emerged in the late 1970s with an intensely personal new style that became known just as serialism was becoming more generally accepted. Pärt has always followed his own path, which led him—after exploring serialism, chance, and collage techniques as well as minimalism—to the discovery of an intensely personal voice that became known as the “tintinnabuli” style, from the Latin word for bells. The term implies not only the frequent use of bells and bell-like sonorities but also the preponderance of triadic sounds, employed in a way not unlike chimes playing the natural intervals octave, fifth, and third. Unlike consonances in classical music, those found in Pärt’s works do not form typical harmonic progressions and rarely modulate; they remain what they are, bell-like sounds in the service of an artistic message whose spiritual nature is impossible to miss. Pärt’s “tintinnabuli” style creatively combines the medieval principle of noteagainst-note organum and classical triadic harmony; the result is music of extreme structural simplicity that at the same time exhibits great spiritual depth. Pärt commented on this style in a statement quoted in Paul Hillier’s book on the composer: I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements—with one voice, with two voices. I build with the most primitive materials—with the triad, with one specific tonality. The three notes of the triad are like bells. And that is why I called it tintinnabulation.
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Fratres also exists in numerous versions, including arrangements for violin, cello, and string quartet. One of his earliest compositions written in the “tintinnabuli” style, it is based on recurrent harmonic progressions and rhythmic cycles that are reminiscent of the technique of 14th-century isorhythmic motets: a certain sequence of rhythmic units arranged in successive groups of 7/4, 9/4, and 11/4 measures, serves as the structural backbone of the piece. Each repeat is modified in some way, so that the work becomes something like a set of variations of the chaconne or passacaglia type, unfolding over a constant drone of a perfect fifth. In the violin version, the solo instrument surrounds the chord progression with a stream of virtuosic figurations that stop and start again to create a dramatic alternation of moods within the unchanging harmonic framework of the piece.
JURI SEO (b.1981) Lost Songs (World Premiere) Note by Juri Seo © 2018 We live in cycles, with birth and death being the primary conditions of our existence. The simple act of breathing encapsulates the cyclic nature of life. Song does too, though perhaps in a more abstract way. In song, a call awaits a response; in song, silence is broken and inevitably restored. The two main materials of Lost Songs are breaths and the songs of the now extinct Kaua‘i ‘ō‘ō bird (Moho braccatus). Thane Pratt’s 1976 recording from Cornell’s Macaulay
About the Program
Library captures the last call of the species, presumably that of a lone male looking in vain for a mate. It is a beautiful recording; the ‘ō‘ō sings with a distinctive flute-like tone. I began Lost Songs by transcribing and simplifying the ‘ō‘ō’s songs. I then extracted fragments from my transcription and treated them as musical motives. These song fragments are juxtaposed with breaths, tolling bells, and other gestures that evoke feelings of time and sorrow. While I found it necessary in this piece to confront darkness, in the end I was more interested in celebrating life. If the last calls of the ‘ō‘ō bird went unanswered in the forests of Kaua‘i, in my music, they are not only answered but transformed and multiplied into a choir of birds. In this depiction of a paradise, I sought respite from a recurring sense of loss. Loss may be complete and permanent to our physical world but not to our memory, nor to our music. WOLFGANG AMADEUS MOZART (1756–1791) Quintet in A Major for Clarinet and Strings, K. 581 (1789) In Mozart’s time, the clarinet was not yet fully established as a permanent member of the orchestra. Mozart used them in only a handful of his symphonies and concertos. But when he did call for clarinets (as in Symphony No. 39), he always made sure they played a prominent role. The clarinet’s special sound quality—especially its wonderful low register —quickly turned this newcomer among instruments into a real star. By the end of the 18th-century, the clarinet was certainly the most frequently used woodwind instrument in solo and chamber works.
Mozart had the good fortune to be acquainted with two of the best clarinet players of the day, the brothers Anton and Johann Nepomuk Stadler. Both brothers were members of the court orchestra in Vienna, and Anton was particularly well known as a virtuoso. The first chamber-music work Mozart wrote for him was the so-called “Kegelstatt” trio (K. 498) in 1786. (The trio owes its nickname—“BowlingAlley Trio”—to the wholly unfounded rumor that Mozart composed it while he was out bowling one night.) In this trio, Mozart played the viola part, Stadler the clarinet, and one of Mozart’s pupils, Franziska von Jacquin, the piano. The Clarinet Quintet followed in 1789 and the Clarinet Concerto in 1791—two great tributes to Stadler’s musicianship and two masterpieces exceptional even by Mozartian standards. It is interesting that these two works were not originally written for the clarinet as we know it today. Stadler had devised a special instrument that probably no one else ever played, called the “basset clarinet.” This instrument extended the famous low register of the clarinet, the socalled “chalumeau” register, by an extra major third. It looked strikingly different from the regular clarinet in that its shape was not straight; the bell was at the end of a transverse pipe, perpendicular to the main body of the instrument. In both works, Mozart took full advantage of the additional low notes, but since the regular instruments didn’t have them, and Stadler’s model never quite caught on, the published versions of both the quintet and the concerto were adapted to the ordinary clarinet. Mozart’s original manuscripts are lost, so one can either attempt to reconstruct the originals (as several players have done) or forego the extra-low notes.
SPONSORED BY THE CENTER FOR ARTS & CULTURAL POLICY STUDIES AT THE WOODROW WILSON SCHOOL
“EL SISTEMA:” A PANEL DISCUSSION HOSTED BY PROFESSOR STANLEY KATZ
Professor of Public and International Affairs at the Woodrow Wilson School El Sistema, a publicly financed music education program for underserved children founded in Venezuela in 1975, has now grown to provide music access to young students around the world. Its most famous alumnus is none other than Gustavo Dudamel. Join the legendary conductor for a panel discussion about El Sistema, moderated by Stanley Katz.
Including: Maestro Gustavo Dudamel; Anne Fitzgibbon (Harmony Program, Founder and Executive Director); Lou Chen ’19 (Founder, Trenton Youth Orchestra); and Elsje Kibler-Vermaas (VP of Learning, Los Angeles Philharmonic)
Wednesday, January 9, 2019 at 4:30PM McCosh 10 I Princeton University Campus FREE AND OPEN TO THE PUBLIC
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About the Program
Tenderness and gentle lyricism are, perhaps, some of the words that come closest to describing the beauties of the Clarinet Quintet. From the very beginning, the strings set the intimate tone of the work, but when the clarinet enters, the gates to a hitherto unknown magical realm seem to open up before us. When the second theme, a graceful violin melody, is taken over by the clarinet, the tonality shifts from major to minor, agitated syncopations appear in the accompaniment, and classicism gives way to romanticism for a brief moment. The development section creates high tension just by having the five instruments trade simple arpeggio (broken-chord) figures back and forth. The romantic episode is even extended during the recapitulation, which ends with a reaffirmation of the heavenly opening theme. The second-movement Larghetto begins as an aria for the clarinet and later develops into a love duet between clarinet and first violin. The minuet avoids all rustic accents and remains poised, elegant, and well-balanced. There are two “trio” sections. The first one, a passionate piece in the dramatic minor mode, is scored for strings only, giving the clarinet a well-earned respite. After the repeat of the minuet, the second trio follows, with the clarinet as the leader in a graceful Austrian Ländler dance. A final repeat of the minuet closes this movement.
The finale is a set of variations on a beguilingly simple melody. Of the first four variations, Nos. 1, 2, and 4 feature the clarinet or the first violin in passages of increasing technical virtuosity; only the third variation strikes a more melancholy note, with a return of the minor mode and the melody assigned to the darker voice of the viola. As in many of Mozart’s variation movements, an introspective Adagio movement is inserted as the penultimate event, after which the fast conclusion sounds even more irresistable. Peter Laki, a native of Budapest, Hungary, graduated from the Franz Liszt Academy of Music in 1979 and received a PhD from the University of Pennsylvania in 1989. He served as program annotator of the Cleveland Orchestra and has taught courses at Case Western Reserve University, Kent State University, John Carroll University, and Oberlin College. Since 2007, he has served as a visiting associate professor at Bard College. Dr. Laki is the author of numerous musicological articles and editor of ‘Bartók and His World.’ He writes program notes for many orchestras and performing arts organizations around the country and lectures at many international conferences, most recently in Budapest.
SPONSORED BY THE PROGRAM IN LATIN AMERICAN STUDIES
LA MÚSICA COMO LIBERTAD: GUSTAVO DUDAMEL EN PRINCETON Una conversación pública entre el maestro Gustavo Dudamel y Javier Guerrero, Profesor de la Universidad de Princeton Martes 8 de Enero de 2019, 6:00 pm Trinity Church, 33 Mercer St, Princeton, NJ ENTRADA LIBRE, NO SE REQUIERE BOLETOS PARA ESTE EVENTO
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About Carlos Cruz-Diez
About Carlos Cruz-Diez “In my works, color appears and disappears during the course of a dialogue with real space and time. What also emerges is the undeniable fact that the information we have acquired and the knowledge we have memorized throughout our lifetime are, probably, not true... at least to some extent. When we view color through an ‘elementary prism’ that has been stripped of pre-existing meanings, it can awaken other sensory perception mechanisms that are more subtle and complex than those that have been ingrained in us by our cultural conditioning and the constant, ubiquitous barrage of information we face in our contemporary society.” —Carlos Cruz-Diez, “Reflexión sobre el color” [Reflection on Color], Fundación Juan March, Paris, 2009
The French-Venezuelan artist Carlos Cruz-Diez (Caracas, 1923) has lived and worked in Paris since 1960. He is a major protagonist in the field of Kinetic and Optical art, a movement that encourages “an awareness of the instability of reality.” (Jean Clay, “La peinture est finie” [Painting is finished], Robho. [Paris: s.n.], no. 1 [1967]). His body of work has established him as one of the key 20th-century thinkers in the realm of color. Carlos Cruz-Diez’s visual art explores the perception of color as an autonomous reality evolving in space and time, unaided by form or support, in a perpetual present. His artworks are housed in permanent collections of prestigious institutions such as the Museum of Modern Art (MoMA), New York; Tate Modern, London; Musée d’Art Moderne de la Ville de Paris; Centre Pompidou, Paris; Museum of Fine Arts, Houston; and Wallraf-Richartz Museum, Cologne.
About the Cruz-Diez Art Foundation “We want to become a source of inspiration, to rouse curiosity, to promote discovery, to encourage inventiveness and to think outside the box, regardless of the field.” —Adriana Cruz Delgado, President of the Cruz-Diez Art Foundation
The Cruz-Diez Art Foundation is a non-profit organization committed to preserving, promoting and transmitting the artistic and conceptual legacy of Carlos Cruz-Diez, a major kinetic artist and thinker of color theory of the 20th century. Created in Houston, Texas in 2005 at the Cruz-Diez family’s initiative and continued participation, the activities of the Cruz-Diez Art Foundation are diverse and globally-reaching. The Cruz-Diez Art Foundation considers safeguarding the future of the artist’s works, his research on color, his life philosophy and artistic education its priorities. Cruz-Diez has always included family in his work, making the next generation conscious of his legacy and through sharing their expertise.
The Cruz-Diez Art Foundation holds an extensive art collection. Selected and donated by the artist, with both historical and recent artworks that encompass all of Cruz-Diez’s artistic researches, the collection is available for lending to exhibitions, along with curated pedagogical exhibitions. Thanks to privileged access to Cruz-Diez’s meticulously kept archives the Cruz-Diez Art Foundation is able to issue Certificates of Authenticity and update the artist’s Catalogue Raisonné. The Cruz-Diez Art Foundation also focuses on education and culture by developing pedagogical activities for a new public audience of children and young people. For more information about the Foundation and our activities, please visit www.cruzdiezartfoundation.org
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G U S TAV O DUDAMEL RESIDENCY I 2018/19 UNITING OUR WORLD THROUGH MUSIC
SCHEDULE OF RESIDENCY EVENTS This schedule will continue to be updated. For more information visit princetonuniversityconcerts.org
EXPLORING ART, EDUCATION, & SOCIAL CHANGE
EXPLORING ART & FAITH
Saturday, December 1, 2018
Monday, January 7, 2019
8:00PM
FREE OPENING CELEBRATION
7:00PM
A public conversation between Maestro Dudamel and Don Michael Randel followed by a celebratory concert by Betsayda Machado and Jorge Glem.
MUSICIANS FROM THE LOS ANGELES PHILHARMONIC Works by Mozart, Pärt, and a new work by Princeton faculty composer Juri Seo. Musical Preview at 6:00PM by students from Youth Orchestra Los Angeles (“YOLA”). Post-concert talk with Professors Alexander Nehamas and Elaine Pagels moderated by Maestro Dudamel.
FREE but ticketed
Tickets: $30, $10 students with valid ID
Sunday, December 2, 2018 2:00PM
QUARTET 212 & EMILY D’ANGELO, Mezzo-soprano
Tuesday, January 8, 2019 6:00PM
“LA MÚSICA COMO LIBERTAD: GUSTAVO DUDAMEL EN PRINCETON”
Works by Haydn, Respighi, Verdi, and a new work by Princeton faculty composer Donnacha Dennehy. Musical Preview at 1:00PM by students of the Boston String Academy, an El Sistema-inspired program. Post-concert talk with Maestro Dudamel and New York Philharmonic President Deborah Borda, free to ticketholders.
Wednesday, January 9, 2019
Tickets: $30, $10 students with valid ID
4:30PM
A conversation in Spanish between Maestro Dudamel and Professor Javier Guerrero. Trinity Church, 33 Mercer Street, Princeton, NJ. FREE
EL SISTEMA: A PANEL DISCUSSION Moderated by Professor Stanley Katz. Panelists include Elsje Kibler-Vermaas (VP of Learning, Los Angeles Philharmonic), Anne Fitzgibbon (Harmony Program, Founder and Executive Director), and Lou Chen ’19 (Founder, Trenton Youth Orchestra). McCosh 10. FREE
6:00PM
MUSIC MADE VISIBLE: METAPHORS OF THE EPHEMERAL A gallery reception. Works by artist Marsha Levin-Rojer. Bernstein Gallery, Woodrow Wilson School. FREE
RELATED EVENT November 30, 2018– January 31, 2019
“Music Made Visible: Metaphors of the Ephemeral,” an exhibition by artist Marsha Levin-Rojer Bernstein Gallery, Woodrow Wilson School. FREE, open Monday–Friday, 9:00AM–5:00PM
YEARS OF MUSIC MAKING
EXPLORING ART & NATURE Monday, April 22, 2019 7:30PM
FILM SCREENING: THE LIBERATOR
Friday, April 26, 2019 7:30PM
With a score by Gustavo Dudamel, this film by Alberto Arvelo recounts Simón Bolívar’s struggle to liberate South America. A Q&A will follow.
PRINCETON UNIVERSITY ORCHESTRA & GLEE CLUB GUSTAVO DUDAMEL, Conductor Works by Schubert, Tchaikovsky, and Mendelssohn. Pre-concert panel discussion at 6:30PM moderated by Professor Stanley Katz with Professors Rachel Price and Javier Guerrero.
Screening and tickets at the Princeton Garden Theatre
This concert is sold out.
Tuesday, April 23, 2019 7:00PM
MUSICIANS FROM THE BERLIN PHILHARMONIC
Saturday, April 27, 2019 4:00PM
Works by Schubert, Wagner, and a new work by Princeton faculty composer Steven Mackey. Musical Preview at 6:00PM by students from the Harmony Program of New York City. Post-concert talk moderated by Maestro Dudamel.
The program above is repeated in a concert FREE and open to all. Patriots Theater at the War Memorial, Trenton, NJ. FREE but ticketed. Tickets will be released on Monday, April 1, 2019
Tickets: $30, $10 students with valid ID
Wednesday, April 24, 2019 8:00PM
LATE NIGHT CHAMBER JAM Amateur musicians are invited to join members of the Berlin Philharmonic in a community sight-reading fest! FREE but reservations required
PRINCETON UNIVERSITY ORCHESTRA & GLEE CLUB GUSTAVO DUDAMEL, Conductor
Sunday, April 28, 2019 3:00PM
EL SISTEMA FESTIVAL PERFORMANCE The residency concludes in a public concert featuring hundreds of students from Trenton Music Makers, the El Sistema New Jersey Alliance, and invited guests. FREE, a Communiversity event
Thursday, April 25, 2019 8:00PM
THE ARTIST IN SOCIETY Gustavo Dudamel in conversation with Fintan O’Toole, one of Ireland’s leading public intellectuals, moderated by Professor Melissa Lane. A reception will follow. FREE but reservations required
ALL EVENTS TAKE PLACE IN RICHARDSON AUDITORIUM, ALEXANDER HALL, unless otherwise noted.
TICKETS 609.258.9220 princetonuniversityconcerts.org
BEHIND THE SCENES In addition to public events, Maestro Dudamel will engage with campus and community partners in a number of ways: a conversation at the Center for Human Values; visits with student musicians in the Trenton Music Makers program and in Trenton Public Schools; and classroom discussions on a range of topics including conducting, the human voice, and Verdi opera.
About Gustavo Dudamel
About Gustavo Dudamel
A lifelong advocate for music education and social development through art and champion of access to the arts for young people around the world, Gustavo Dudamel is in his tenth year as Music and Artistic Director of the Los Angeles Philharmonic. Under his direction, the LA Phil has become one of the leading orchestras in the world, admired for its unmatched commitment to new music, diversity and inclusion, and the development of groundbreaking digital initiatives. Shaped by his childhood experience with El Sistema, the extraordinary program of immersive musical training initiated in 1975 by José Antonio Abreu, Dudamel also marks his 19th season as Music Director of the Simón Bolívar Symphony Orchestra of Venezuela. Dudamel carries on the work of the late Maestro Abreu with his ongoing commitment to El Sistema in Venezuela and by supporting numerous Sistema-inspired projects around the world, including Big Noise in Scotland, Vienna’s Superar program, SerHacer in Boston, and El Sistema Sweden. His 2018 “Americas” tour with the Vienna Philharmonic was highlighted by an Art and Citizenship workshop in Mexico City bringing together 300 young people from across North and South America in an expression of cultural solidarity. He has worked to raise awareness of the importance of music education by appearing at the United Nations and The White House and delivered an address on the unity of the Arts and Sciences at the 2017 Nobel Prize Concert. Dudamel also
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continues to expand the reach of his Youth Orchestra Los Angeles (“YOLA”) initiative. Founded in 2007, the program has provided access to quality music education to tens of thousands of children from underserved communities around Los Angeles. 2019 will see the construction of a new Frank Gehry-designed facility for YOLA in Inglewood, California. One of the few classical musicians to truly reach mainstream audiences while maintaining the highest musical integrity, Gustavo Dudamel has been featured three times on CBS’ 60 Minutes and was the subject of a PBS special, Dudamel: Conducting a Life. He has been interviewed by Christiane Amanpour on CNN, Conan O’Brien on Late Night with Conan O’Brien, Stephen Colbert on The Late Show, and Elmo on Sesame Street. He had a cameo role in Amazon Studio’s award-winning series Mozart in the Jungle and, together with members of YOLA, became the first classical musician to participate in the 2016 Super Bowl halftime show, appearing alongside pop stars Coldplay, Beyoncé, and Bruno Mars. In 2017, he was the youngest-ever conductor to lead the Vienna Philharmonic’s famous New Year’s Day Concert, watched annually by over 60 million people in 90 countries. At John Williams’ personal request, Dudamel guest-conducted on the soundtrack for Star Wars: The Force Awakens; he also recorded James Newton Howard’s soundtrack to Disney’s holiday blockbuster The Nutcracker and the Four Realms, in which he makes an on-screen cameo.
About Gustavo Dudamel
Dudamel’s cinema, TV, radio, and online broadcasts have reached hundreds of millions of people around the world. Dudamel’s Grammy® Award-winning discography also includes landmark recordings of John Adams’ Gospel According to the Other Mary (commissioned and performed by the Los Angeles Philharmonic); the soundtrack to the motion picture The Liberator, for which Dudamel composed the score; a Richard Strauss disc with the Berlin Philharmonic; Mahler Symphonies 5 and 7 with the Simón Bolívar Symphony Orchestra; and Mahler 9 with the Los Angeles Philharmonic. A special charity LP release of Mendelssohn’s “Scottish” Symphony with the Vienna Philharmonic raised funds for music education projects in Latin America, and children from Vienna’s El Sistema-inspired Superar program participated in his most recent Deutsche Grammophon release, Mussorgsky’s Pictures at an Exhibition. Dudamel has independently produced an all-Wagner recording available exclusively for download and streaming, a set of the complete Beethoven symphonies from Barcelona’s Palau de la Música, and a broadcast of two Stravinsky ballets in cooperation with the Berlin Philharmonic’s Digital Concert Hall. In recognition of his advocacy for the proliferation of the arts in the Americas, he received the 2018 Paez Medal of Art and the Pablo Neruda Order of Artistic and Cultural Merit, the Americas Society Cultural Achievement Award in 2016, and the 2014 Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society from the Longy School of Music. He was named Musical America’s 2013 Musician of the Year, one of the highest honors in the classical music industry, and was voted into the Gramophone Hall of Fame. In October of 2011, he was named Gramophone Artist of the Year, and, in May of the same year, was inducted into the Royal Swedish Academy of Music in consideration of his “eminent merits in the musical art.” The previous year, he received the Eugene McDermott Award in the Arts at MIT. Dudamel was
inducted into l’Ordre des Arts et des Lettres as a Chevalier in Paris in 2009 and received an honorary doctorate from the Universidad Centroccidental Lisandro Alvarado in his hometown of Barquisimeto, Venezuela. He also received an honorary doctorate from the University of Gothenburg in 2012. In 2008, the Simón Bolívar Youth Orchestra was awarded Spain’s prestigious annual Prince of Asturias Award for the Arts and, along with his mentor José Antonio Abreu, Dudamel was given the “Q Prize” from Harvard University for extraordinary service to children. He was named one of Time magazine’s 100 most influential people in 2009. Gustavo Dudamel was born in 1981 in Barquisimeto, Venezuela. He began violin lessons as a child with José Luis Jiménez and Francisco Díaz at the Jacinto Lara Conservatory. He continued his violin studies with Rubén Cova and José Francisco del Castillo at the Latin American Academy of Violin. His conducting studies began in 1993 when he was hired as an Assistant Conductor with the Amadeus Chamber Orchestra. In 1996, he studied with Rodolfo Saglimbeni and was named Music Director of the Amadeus Chamber Orchestra. In 1999, he was appointed Music Director of the Simón Bolívar Youth Orchestra and began conducting studies with the orchestra’s founder, Dr. Abreu. Dudamel achieved international attention by winning the inaugural Bamberger Symphoniker Gustav Mahler Competition in 2004. He then went on to become Music Director of the Gothenburg Symphony (2007–2012), where he currently holds the title Honorary Conductor. Inspired by Dudamel’s early musical and mentoring experiences, the Gustavo Dudamel Foundation, a registered charity, was created in 2012 with the goal of promoting access to music as a human right and a catalyst for learning, integration, and social change. For more information about Gustavo Dudamel, visit his official website: gustavodudamel.com.
About the Gustavo Dudamel Foundation The Gustavo Dudamel Foundation is committed to highlighting and enriching the crucial nexus between the arts and society. The Foundation believes that music provides a universal language that transcends differences and encourages individual empowerment and social integration. For that reason, its mission is to expand access to music and art for as many children as possible, while providing tools and opportunities for young people to shape their creative futures.
The Dudamel Foundation is proud to contribute to the lasting impact of Maestro Dudamel’s 2018/19 residency at Princeton University by supporting the ongoing engagement between Princeton University and vital musical-social initiatives in Trenton, New Jersey and the Tri-State region. For more information about the Foundation, please visit www.dudamelfoundation.org.
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About the Participants
About the Participants LOU CHEN ‘19 Founder, Trenton Youth Orchestra Originally from San Bernardino, CA, Lou Chen is a senior at Princeton University in the Music Department with certificates in Orchestral Conducting and American Studies. He currently serves as Founder/Director of the Trenton Youth Orchestra, Associate Conductor of the Princeton University Sinfonia, Outreach Director of the Princeton Chamber Music Society, and Founder/Director of the Trenton Central High School—Princeton University Collaborative Concert. For his work with the Trenton Youth Orchestra, he has received the Santos-Dumont Prize for Innovation and the Fisher Award. He is also a recipient of Princeton’s Shapiro Prize for Academic Excellence and was elected to Phi Beta Kappa this fall.
ANNE FITZGIBBON Founder and Executive Director, the Harmony Program Anne Fitzgibbon is Founder and Executive Director of the Harmony Program in New York City, a non-profit music education organization inspired by Venezuela’s national system of youth orchestras, “El Sistema,” which Ms. Fitzgibbon studied on a year-long Fulbright Fellowship in 2007. Prior to founding the Harmony Program, Ms. Fitzgibbon worked for five years as a policy advisor in the New York City Mayor’s Office. She holds a master’s degree in public affairs from the Woodrow Wilson School at Princeton University, graduated from Barnard College, and studied clarinet at The Juilliard School.
JAVIER GUERRERO Associate Professor, Department of Spanish and Portuguese; Program in Latin American Studies, Princeton University Javier Guerrero’s research focuses on the intersection between visual culture and sexuality in twentieth and twenty-first century Latin America. His scholarship traces the multiple alterations that the body has undergone in contemporary art, cinema, and literature, but also and most importantly at the intersections of these media. In recent years, he has paid special attention to new materialities and conditions, such as synthetic bodies and darkness, that allow him to reconsider concepts, archives, and knowledges shaped by tradition and binary oppositions. Guerrero is the author of many books including Tecnologías del cuerpo (Iberoamericana, 2014), a book on
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the Venezuelan filmmaker Mauricio Walerstein (FCN, 2002), and the novel Balnearios de Etiopía (Eterna Cadencia, 2010). He is currently working on two new books, Synthetic Skin: On Dolls and Miniature Cultures and The Impertinence of the Eyes: Darkness, Opacity, Blindness. Javier Guerrero holds a PhD in Latin American Studies from New York University and a Licenciatura in Film Studies from the Universidad Central de Venezuela. Before coming to the U.S., he was President of the Venezuelan Cinemateca Nacional, where he curated more than twenty-five international film series and festivals.
MUSICIANS FROM THE LOS ANGELES PHILHARMONIC Clarinetist BORIS ALLAKHVERDYAN was appointed Principal Clarinet of the Los Angeles Philharmonic in 2016. He previously served as Principal Clarinet of the Metropolitan Opera Orchestra and Associate Principal Clarinet of the Kansas City Symphony. Allakhverdyan is a founding member of the Prima Trio, the Grand Prize and Gold Medal winner of the prestigious 2007 Fischoff National Chamber Music Competition. Boris Allakhverdyan has appeared as a soloist with the Seattle, Bakersfield, and Springfield Symphony Orchestras. He has participated in the Lucerne Festival Academy in Switzerland, the Mecklenburg-Vorpommen Festival in Germany, and the Emilia Romagna Music Festival in Italy. Allakhverdyan is a winner of the Rimsky-Korsakov International Woodwind Competition, the Rozanov International Clarinet Competition, the Hellam Concerto Competition, and the Tuesday Musical and the Oberlin Concerto Competitions. An active educator, Allakhverdyan served on the faculty at the Pacific Music Festival in Sapporo, Japan, Interlochen Clarinet Institute in Michigan, and Philadelphia International Music Festival. He has given master classes at Manhattan and Mannes Schools of Music, Oberlin Conservatory of Music, Oregon University, University of Missouri-Kansas City, Truman State University, Latin American Clarinet Academy in Caracas, Venezuela, and Shenzhen International Music Festival in Shenzhen, China. As a chamber musician, Boris Allakhverdyan has performed throughout the United States and Europe on such series as the Chicago Chamber Music Society, La Jolla Athenaeum, Dumbarton Oaks, the Dayton Art Institute, CityMusic Columbus, Da Camera Society, Fontana Chamber Arts, and Cleveland Chamber Music Society, to name a few. Cellist BEN HONG joined the Los Angeles Philharmonic in 1993 at age 24 as Assistant Principal Cello. He currently serves as Associate Principal Cello, appointed in 2015 by
About the Participants
Music Director Gustavo Dudamel. Hong also performs frequently as soloist and as a member of chamber music ensembles. He has collaborated with such artists as pianists Emanuel Ax and Yefim Bronfman, violinist Janine Jansen, pianist Lang Lang, and conductors Sir Simon Rattle and Esa-Pekka Salonen. Concerto appearances with the LA Phil have included the U.S. premiere of MarkAnthony Turnage’s cello concerto Kai, with Sir Simon Rattle conducting at the Ojai Music Festival, and the premiere of Tan Dun’s Crouching Tiger Concerto, conducted by Long Yu at the Hollywood Bowl. In 2009, Hong was hired by DreamWorks Pictures to train several members of the cast of the movie The Soloist, including actor Jamie Foxx. In addition, he was the featured soloist on the soundtrack, which was released on the Deutsche Grammophon label. Born in Taipei, Taiwan, Hong won his native country’s National Cello Competition three years in a row before leaving home at age 13 for The Juilliard School. Later he studied with Lynn Harrell at the University of Southern California before joining the LA Phil. In 2012, Hong joined the faculty of USC’s Thornton School of Music as an Adjunct Professor. Violist TENG LI is Principal Violist of the Los Angeles Philharmonic and spent more than a decade as Principal with the Toronto Symphony Orchestra. Ms. Li is also an active recitalist and chamber musician participating in the festivals of Marlboro, Santa Fe, Mostly Mozart, Music from Angel Fire, Rome, Moritzburg (Germany) and the Rising Stars Festival in Caramoor. She has performed with the Guarneri Quartet in New York City, at Carnegie Hall (Weill Recital Hall), and with the 92nd Street Y Chamber Music Society. Teng was featured with the Guarneri Quartet in their last season and was also a member of the prestigious Lincoln Center Chamber Music Society Two program. She is a member of the Rosamunde Quartet (led by Noah BendixBalgley, Concertmaster of the Berlin Philharmonic) and the Toronto-based Trio Arkel.
M. Klein International String Competition, and the ARD International Music Competition in Munich, Germany. She was also a winner of the Astral Artistic Services 2003 National Auditions. Teng is a graduate of the Central Conservatory in Beijing, China and The Curtis Institute of Music in Philadelphia. Violinist REBECCA REALE began studying the violin when she was just two and a half years old. Her passion for music led her to Boston at an early age to attend boarding school for the arts. While there, she studied with Muir Quartet member and Boston University professor Peter Zazofsky. She then went on to receive her bachelors degree from Rice University as a full scholarship student, where she studied with Kathleen Winkler. Ms. Reale was a fellow with the New World Symphony for their 2015–2016 season. During her time there, she won the concerto competition and performed Mozart’s Violin Concerto No. 5 in A Major with the orchestra. Prior to joining the Los Angeles Philharmonic, Rebecca was the Associate Principal Second Violin of the Houston Symphony, and served as Acting Principal Second for the 2016–2017 season. Violinist BING WANG joined the Los Angeles Philharmonic as Associate Concertmaster in 1994. She previously held the position of Principal Second Violin of the Cincinnati Symphony and has served on the faculty and as concertmaster at the Aspen Music Festival and School since 2003. Since 2009, she has also been Guest Concertmaster of her hometown orchestra, the Shanghai Symphony Orchestra, where her tenure was highlighted by a televised New Year’s concert conducted by Riccardo Muti.
Ms. Li has been featured as soloist with the National Chamber Orchestra, the Santa Rosa Symphony, the Munich Chamber Orchestra, the Haddonfield Symphony, Shanghai Opera Orchestra, the Canadian Sinfonietta, and Esprit Orchestra. Her performances have been broadcast on CBC Radio 2, National Public Radio, WQXR (New York City), WHYY (Philadelphia), WFMT (Chicago), and Bavarian Radio (Munich).
As a soloist, Wang has won critical praise for her appearances with the Los Angeles Philharmonic. In September 1997, during the Philharmonic’s celebration of the Brahms anniversary year, she performed the composer’s Double Concerto with Music Director Esa-Pekka Salonen at the Hollywood Bowl. She made her Walt Disney Concert Hall concerto debut in May of 2005 and appears annually as both concertmaster and soloist at the Hollywood Bowl under the baton of composer John Williams. Wang has appeared regularly with the American Youth Symphony since 1997, and she has also been featured as a soloist with the Cincinnati the Manhattan Symphonies. In 2002, she gave her first performances in China since emigrating to the U.S., touring as a soloist with the Shanghai Symphony Orchestra.
She has won top Prizes at the Johanson International and the Holland-America Music Society competitions, the Primrose International Viola Competition, the Irving
Active as a chamber musician, Wang has collaborated with such distinguished artists as pianists Lang Lang, Yefim Bronfman, Emanuel Ax, and Jean-Yves Thibaudet. She also
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About the Participants
performs regularly on the Philharmonic’s Green Umbrella and Chamber Music series. Bing Wang began studying the violin with her parents at the age of six. She entered the middle school of the Shanghai Conservatory of Music, where she was concertmaster of the school orchestra and graduated with highest honors. After coming to the United States to study with Berl Senofsky at the Peabody Conservatory, she received her master’s degree from the Manhattan School of Music under the tutelage of Glenn Dicterow. In 2012, Bing Wang was named Adjunct Associate Professor at the USC Thornton School of Music.
YOUTH ORCHESTRA LOS ANGELES (“YOLA”) Through Gustavo Dudamel’s Youth Orchestra Los Angeles (YOLA) program—inspired by Venezuela’s revolutionary El Sistema— the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,200 students from vulnerable communities, empowering them to become vital citizens, leaders, and agents of change. YOLA provides each student, from the ages of 6 to 18, with a strong musical and social foundation through participation in 12–15 hours of programming each week. With YOLA sites in South L.A., the Rampart District, and East L.A., YOLA engages students from more than 200 schools in L.A. County. Music study is complemented by leadership development opportunities, parent workshops, and performances. YOLA’s young musicians have performed on great stages all over the world, including the LA Phil’s two iconic venues— the Hollywood Bowl and Walt Disney Concert Hall; in many other locations throughout Southern California; on national and international television broadcasts; and alongside the greatest artists. Located in South Los Angeles and founded in collaboration with the Harmony Project in 2007 as the first YOLA site, YOLA at EXPO Center is a partnership of the Los Angeles Philharmonic, Harmony Project, and the EXPO Center, a City of Los Angeles Department of Recreation and Parks facility. YOLA at HOLA is located in the Rampart District, one of L.A.’s most densely populated and diverse neighborhoods. Founded in 2010, this program is a partnership of the Los Angeles Philharmonic Association and Heart of Los Angeles (HOLA). In East Los Angeles, what began in 2014 as YOLA at LACHSA, in partnership with the L.A. County Office of Education and with support from Supervisor Hilda L. Solis, is continuing this school year at East LA Performing Arts Magnet at Torres High School. Now known as YOLA at Torres, the program establishes a long-term relationship with LAUSD and Beyond the Bell. YOLA at Camino Nuevo, located in the Westlake/MacArthur
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Park area of Los Angeles, is the first in-school YOLA model, allowing the LA Phil to bring music instruction into the school day and extend it after school. Launched in 2017, this program will serve all students at the Kayne Siart Campus of Camino Nuevo Charter Academy. On August 15, 2018, the Los Angeles Philharmonic unveiled the architectural design by Gehry Partners, LLC, for its new Judith and Thomas L. Beckmen YOLA Center @ Inglewood: the first permanent, purpose-built facility for YOLA. Audrey Chung, Horn Daniel Egwurube, Flute* John Gonzalez, Bassoon* Fabiola Marinero, Violin Alice Morales, Oboe* Sergio Paez, Violin Gizelle Polanco, Cello Jackelinne Rodriguez, Cello Juliana Rodriguez, Viola* Jennifer Santos, Viola Dameon Williams, Clarinet
*YOLA Alumni
STANLEY KATZ Professor of Public and International Affairs; Director, Center for Arts and Cultural Policy Studies Princeton University Stanley Katz is President Emeritus of the American Council of Learned Societies, the national humanities organization in the United States. Mr. Katz graduated magna cum laude from Harvard University in 1955 with a major in English History and Literature. He was trained in British and American history at Harvard (PhD, 1961), where he also attended Law School in 1969-70. His recent research focuses upon developments in American philanthropy. He is the Editor-in-Chief of the Oxford International Encyclopedia of Legal History, and the Editor Emeritus of the Oliver Wendell Holmes Devise History of the United States Supreme Court. He also writes about higher education policy, and has published a blog for The Chronicle of Higher Education. He is the co-founder and editor of the history of philanthropy blog (www.histphil.org). Formerly Class of 1921 Bicentennial Professor of the History of American Law and Liberty at Princeton University, Katz is a specialist on American legal and constitutional history, and on philanthropy and non-profit institutions. The author and editor of numerous books and articles, Mr. Katz has served as President of the Organization of American Historians and the American Society for Legal History and as Vice President of the Research Division of the American Historical Association. He was awarded the National Humanities Medal by President Obama in 2011.
About the Participants
ELSJE KIBLER-VERMAAS Vice President of Learning, Los Angeles Philharmonic As Vice President of Learning for the Los Angeles Philharmonic, Elsje Kibler-Vermaas oversees all LA Phil learning initiatives, including YOLA and YOLA National. Her leadership of these programs places Kibler-Vermaas at the forefront of a movement to advance positive social change through music education and empower young people from populations historically excluded from intensive instrumental and ensemble training. Prior to rejoining the LA Phil in 2017, having served as its Manager, Education earlier in her career, she led programs at the Concertgebouw in Amsterdam, the Hartford Symphony Orchestra, and the Longy School of Music of Bard College. Ms. Kibler-Vermaas is a pianist and graduate of the Utrecht Conservatory in the Netherlands.
ALEXANDER NEHAMAS Carpenter Professor in the Humanities; Professor of Philosophy and Comparative Literature Princeton University Alexander Nehamas was born in Athens and attended Swarthmore College and Princeton University. Before returning to Princeton, he taught at the University of Pittsburgh and the University of Pennsylvania. He is the author of Nietzsche: Life as Literature, The Art of Living: Socratic Reflections from Plato to Foucault, Virtues of Authenticity: Essays on Plato and Socrates, Only a Promise of Happiness: The Place of Beauty in a World of Art, and On Friendship. He has also translated, with Paul Woodruff, Plato’s Symposium and Phaedrus into English. At Princeton, he has chaired the Council of the Humanities, directed the Program in Hellenic Studies, and was the Founding Director of the Society of Fellows in the Liberal Arts. In 1993, he was the Sather Lecturer at the University of California at Berkeley. He has received a Andrew W. Mellon Foundation Award for Distinguished Achievement in the Humanities, he was named a Commander of the Order of the Phoenix by the Greek Government, and he was recently elected to the Chair of the History of Philosophy in the Academy of Athens.
ELAINE PAGELS Harrington Spear Paine Professor of Religion Princeton University
research interests in late antiquity. Her most recent books include Beyond Belief: The Secret Gospel of Thomas (on The New York Times best-seller list) and Revelations: Visions, Prophecy, and Politics in the Book of Revelation (2012). In 2016 President Obama awarded her a National Humanities Medal for her exploration of faith and its traditions.
JURI SEO Assistant Professor of Music, Department of Music Princeton University Juri Seo seeks to write music that encompasses extreme contrast through compositions that are unified and fluid, yet complex. She merges many of the fascinating aspects of music from the past century—in particular its expanded timbral palette and unorthodox approach to structure— with a deep love of functional tonality, counterpoint, and classical form. With its fast-changing tempi and dynamics, her music explores the serious and the humorous, the lyrical and the violent, the tranquil and the obsessive. She hopes to create music that loves, that makes a positive change in the world—however small—through the people who are willing to listen. Her composition honors include a Guggenheim Fellowship, a Koussevitzky Commission from the Library of Congress, a Goddard Lieberson Fellowship from the American Academy of Arts and Letters, the Kate Neal Kinley Memorial Fellowship, Copland House Residency Award, and the Otto Eckstein Fellowship from Tanglewood. She has received commissions from the Fromm Foundation, Barlow Endowment, Tanglewood Music Center, the 21st Century Piano Commission Competition from the University of Illinois, and the Renée B. Fisher Piano Competition. Her debut album “Mostly Piano” was released by Innova Recordings in 2017. She holds a D.M.A. (Dissertation: Jonathan Harvey’s String Quartets, 2013) from the University of Illinois at Urbana-Champaign where she studied with Reynold Tharp. She has also attended the Accademia Nazionale di Santa Cecilia (Rome, corsi di perfezionamento with Ivan Fedele) and Yonsei University (Seoul, B.M.). Since 2009, she has been a composition fellow at the Tanglewood, Bang on a Can, and SoundSCAPE Festivals, the Wellesley Composers Conference, and the Atlantic Center for the Arts. In Fall 2014, she joined the composition faculty at Princeton University as Assistant Professor. Visit juriseomusic.com for more information.
Elaine Pagels joined the Princeton faculty in 1982, shortly after receiving a MacArthur Fellowship. Perhaps best known as the author of The Gnostic Gospels, The Origin of Satan, and Adam, Eve and the Serpent, she has published widely on Gnosticism and early Christianity and continues to pursue
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Celebrating 125 Years of Music Making
YEARS OF MUSIC MAKING
2018-2019 SEASON
Glimpses of a Remarkable History: Princeton University Concerts over the Past 125 Years By Professor Emeritus Scott Burnham, © 2018 Imagine Princeton in 1894, the year Princeton Borough began governing itself as an entity fully independent from Princeton Township. And now imagine the Old Princeton Inn, a building that stood where Borough Hall stands today. At half past three on a Monday afternoon in late October, a group of music enthusiasts gathered there to enjoy a concert performance by the renowned Kneisel Quartet. They concluded with a piece of new music, namely Antonin Dvorák’s most recent string quartet, the so-called “American” quartet, which the Kneisel players had premiered in Boston some months earlier and which was one of the fruits of Dvorák’s extended stay in America. That inaugural concert was organized by the “Ladies Musical Committee,” founded in 1894 by Philena Fobes Fine. Mrs. Fine was a remarkable spirit who persuaded the community to rally round and underwrite this new venture, which in its early years presented about six concerts annually. She was the first in a long line of such spirits: to an extraordinary degree, the history of Princeton University Concerts is a history of determined women making wonderful things happen. The initial committee was all women, and the driving forces for supporting and managing the concert series throughout the entire history of Princeton University Concerts have been mostly women, exclusively so for the first fifty years. Mrs. William F. Magie became chair of the committee after Mrs. Fine’s death in 1928 (in an interesting parallel, her husband, William F. Magie, had succeeded Mrs. Fine’s husband, Henry B. Fine, in the role of Princeton University’s Dean of Faculty back in 1912). And for a fifteen-year span during the 20s and 30s, Mrs. Williamson U. Vreeland did much of the heavy lifting, organizing the concerts, choosing the artists, and managing the finances. Had you been around in the 1920s, you would have caught the Princeton debut of violinist Fritz Kreisler in March of 1920;
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or heard Pablo Casals, then lauded as the world’s greatest cellist, play Bach in 1922; or heard 23-year-old Jascha Heifetz play five encores after his concert on April 7, 1924; or attended the historic concert in 1925 that featured Polish pianist, composer, and statesman Ignacy Jan Paderewski in a program including Beethoven’s “Waldstein” Sonata and Liszt’s Hungarian Rhapsody. Not to mention a steady array of orchestral performances by the New York Philharmonic, The Philadelphia Orchestra, and the Boston Symphony Orchestra. A turning point for the Ladies Musical Committee came in 1929, marking a new and crucial stage in its relationship with Princeton University. The first move was to stabilize and augment the committee’s finances. Mrs. Fine had led the concert series for over thirty years at the time of her death. During those years, she had managed to raise about $35,000 to support the concerts. In 1929, Mrs. Jenny Hibben and others helped increase that number to about $52,000, and the committee established a fund in Mrs. Fine’s memory, stating that the monies had “been raised for the purpose of securing for Princeton audiences better music than they could otherwise afford.” The name of the committee changed to Princeton University Concerts Committee at this time as well, but its constitution insisted that “at least a majority of the members shall be women” (this wording was not altered until 1977!). In accordance with the name change, the University became increasingly involved throughout the 1930s and 40s. Nominations to the committee had forthwith to be approved by the President of Princeton University (the President at the time was John Grier Hibben, husband of Mrs. Jenny Hibben); the university Controller’s Office soon began keeping the books; and in 1946 President Harold Dodds authorized payment for the building of a stage set that would enable the chamber concerts to move to McCarter Theater, where the orchestral concerts and showcase recitals were already happening. When Mrs. Magie resigned in 1944, Professor Roy Dickinson Welch took over as head of the committee. Welch was also the father of the Music Department, which began in 1934 as a subsection of the Art and Archaeology Department. A dozen years later, in 1946, Music became an official university department, housed in Clio Hall. In that same year, Welch hired Mrs. Katharine (“Kit”) Bryan as concert manager. They had collaborated before: in 1935, Mrs. Bryan co-founded the Princeton Society of Musical Amateurs with Welch; the group still exists today. Among the many highlights during Mrs. Magie’s tenure was the historic 1937 appearance of American singer Marian Anderson, who sang four sets of arias and lieder and then concluded with a stirring set of spirituals. Also notable were several concerts by the Trapp Family Singers in the early 1940s. Highlights of Mrs. Bryan’s early years as concert
Celebrating 125 Years of Music Making
manager include performances by the recently formed Bach Aria Group, founded and directed by Princeton legend William H. Scheide. When Mrs. Bryan retired in 1964, she was replaced by Mrs. Maida Pollock, who greatly professionalized the entire operation, bringing it up to speed in ways that are still in effect today. A force of nature, Mrs. Pollock ran the Princeton University Orchestra as well and was also very involved with the Princeton Friends of Music. Due to the greatly increased expense of hiring symphony orchestras, the concert series stopped programming orchestras in 1975 and began focusing exclusively on chamber music. In a recent interview, Pollock asserted that her most cherished goal was to get a worthy concert hall for chamber music up and running at the university, and in the 20th year of her 22-year tenure, her efforts were finally rewarded. Richardson Auditorium became the concert hall it is today in 1984, thanks to a donation from David A. Richardson ‘66, in memory of his father David B. Richardson ’33, a lifelong enthusiast of classical music. One of the most memorable nights of Mrs. Pollock’s reign was almost a disaster, because Spanish singer Victoria de los Ángeles had to cancel at nearly the last minute. Pollock quickly obtained the services of Russian soprano Galina Vishnevskaya, who happened to be the wife of Mstislav Rostropovich; he played the piano for her in an electrifying performance. After Mrs. Pollock retired, Nate Randall took over in 1988. Randall broadened the purview of Princeton University Concerts, introducing programs of jazz music and world music. He also oversaw the 100th anniversary season of the series, and assisted with the inauguration of the Richardson Chamber Players, along with their Co-Founding Director, Michael Pratt. Our current Concert Director, Marna Seltzer, came to Princeton in 2010. Recognized by Musical America in 2017 as one of their
“30 Movers and Shapers,” Seltzer’s many audience-friendly innovations have clearly established Princeton University Concerts at the forefront of the future of classical music. These include new ways to interact with the musical artists, such as live music meditation sessions, late-night chamber jams, and “Performances Up Close” that feature onstage seating. In introducing these additional ways to get involved in music, Marna Seltzer continues to honor the original and sustaining intention of Philena Fobes Fine: that Princeton University Concerts should reflect the values of our community as a whole. As such, it enjoys pride of place as perhaps the finest ongoing town/gown affiliation in Princeton. The history of Princeton University Concerts has been remarkably consistent for these past 125 years. Passionate, committed women (and a few men) have presented the premier musical artists of their age, from fiery 20-somethings taking the concert world by storm to larger-than-life stars who can captivate us merely by taking the stage. An exalted lineup of the world’s finest string quartets has always maintained pride of place in the series, from the Kneisel Quartet in the first decades through the Budapest Quartet in the 1930s to the Takács, Brentano, and Jerusalem Quartets today. A special relationship has always endured between all these musical artists and their Princeton presenters. Back in the day, Mrs. Fine, Mrs. Magie and Mrs. Vreeland often entertained artists after the concert; as an early history of the Concerts Committee put it: “the artists came to think of Princeton people as their friends.” That holds true now more than ever, for our visiting artists regularly declare that they love playing in Richardson Auditorium, they love the way they are treated by Marna and her staff, and they love all of you, who so demonstrably value the experience of music, who take in and give back the brilliant energy of their cherished performances. “Music offers infinite capacity for infinite self-renewal.” This is what Music Department founder Roy Dickinson Welch fervently believed, and this is what Princeton University Concerts will continue to offer us, one unforgettable concert after another.
Thank You! Princeton University Concerts is grateful for the partnership of the following organizations that have contributed programming and support to make Gustavo Dudamel’s residency possible: Bernstein Gallery, Woodrow Wilson School of Public and International Affairs | Center for Arts & Cultural Policy Studies at the Woodrow Wilson School I Cruz-Diez Art Foundation I Gustavo Dudamel Foundation I Humanities Council: David A. Gardner ‘69 Magic Project | Lewis Center for the Arts I Princeton Garden Theatre I Princeton University Center for Human Values Princeton University Department of Music | Princeton University Program in Latin American Studies I Trenton Music Makers Princeton University Concerts thanks Princeton Violins for their support of Youth Orchestra Los Angeles. For violins, violas, and cellos, visit Princeton Violins at 240 Nassau Street, Princeton, NJ.
master Luthier In the Cremonese tradition
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SUPPORT US Supporting Princeton University Concerts is critical to our future. Ticket sales cover less than half of the cost of presenting the very best in world-class music. Remaining funds come, in part, from our generous endowment, left to PUC by the Ladies’ Musical Committee in 1929. We remain eternally grateful for the support of the Philena Fobes Fine Memorial Fund and the Jesse Peabody Frothingham Fund.
Other support comes from donors like you. We are grateful to the individuals whose support at all levels ensures that the musical performance remains a vital part of Princeton, the community, and the region. If you wish to make a donation to Princeton University Concerts, please call us at 609.258.2800, visit princetonuniversityconcerts. org, or send a check payable to Princeton University Concerts to: Princeton University Concerts, Woolworth Center, Princeton, NJ 08544.
We are deeply grateful for all of the support we receive from our donors, staff and volunteers. The list below acknowledges gifts of $100 or more, received between April 1, 2018 and December 1, 2018. If you see an error, or would like to make a change in your listing, please contact the Concert Office at 609.258.2800. Brahms ($500+) Carolyn Ainslie John & Leigh Constable Bartlett Angela Creager Doug DeVincenes Anne & Klaus Florey Lor & Michael Gehret Hinda Greenberg Stan & Adria Katz Norman & Nancy Klath Gail E. Kohn Andrew Moravcsik & Anne-Marie Slaughter Reba Orszag Don Michael Randel Ann Reichelderfer Judith Scheide Ralph & Joan Widner Mitsuru Yasuhara Mendelssohn ($250-499) Melanie & John Clarke Chris Coucill & Liz Fillo Ellis & Phyllis Finger Brandon C. Gaines Patricia Graham Russell & Helene Kulsrud Maurice D. Lee, Jr. Melissa Lane & Andrew Lovett Anya & Andrew Littauer Donald Mills Jacqueline Mislow Ellen Morehouse Lucy Anne S. Newman Harriet Rubenstein Anne & Mitch Seltzer Marcia Snowden Kurt & Judit Stenn William Stowe & Karin Trainer Alec Tsuo & Xiaoman Chen Helmut & Caroline Weymar Susan Wilson Inkyung & Insu Yi Beethoven ($100-249) Sigmund Amster Rita Z. Asch Gisella Berry Karen I. Blu
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Theodore Chase, Jr. Radu Constantinescu John Madison Cooper Julie Denny Joanne Elliott Arthur C. Eschenlauer Mort Gasner Nancy Greenspan & John Ricklefs Roe Goodman Lilian Grosz Judith Guder Henry Halpern Pei Ying Hsiang Janet Joshua Judith Klotz Richard Kraeuter Phyllis Lehrer Lydia Lenaghan Marsha Levin-Rojer Celia Lidz Daniel Lister Edward Martinsen Ruth & Bernie Miller Elizabeth Morgan & Steven Lestition Armando Orozco Elaine Pascu Suzanne & Charles Rebick Naomi Rose Inez & Richard Scribner Laura Sinderbrand Alice Small Claire H. Thomas Andros Thomson Jeanette Tregoe Anne M. VanLent Rhoda Wagman Ariana Wittke
Princeton University Concerts
Marna Seltzer Director John Burkhalter Subscription Manager Kerry Heimann Operations & Patron Services Manager Olga Kalantarov-Hautin Graphic Designer Dasha Koltunyuk Marketing & Outreach Manager Deborah Rhoades Accounts Manager Lisa Tkalych 125th Anniversary Project Manager
2018–2019 Princeton University Concerts Committee Michael Gehret Chair Scott Burnham Gabriel Crouch Ellis Finger Christine Gage Brandon Gaines John Hoffmeyer ‘19 Wendy Heller Gail E. Kohn Dorothea von Moltke Don Michael Randel Marcia Snowden William Stowe Marue Walizer
2018–2019 Student Ambassadors of Princeton University Concerts Sérgio Martins De Iudicibus ‘20 Co-Chair Tim Ruszala ‘20 Co-Chair
Campus Venue Services
Nick Robinson Director Kathleen Coughlin Assistant Director, Performing Arts Services James Allington Audio Engineer Anne Cutrona Theater Operations Technician Matthew Halbert Theater Operations Technician Lindsay Hanson Artist Services Manager Mary Kemler Assistant Director, Client Resources Bryan Logan Production Manager, Performing Arts Services Sharon Maselli Audience Services Manager Bill Pierce Theater Operations Technician James Taylor Systems and Support Manager Presenting the world’s leading classical musicians at Princeton University since 1894, Princeton University Concerts aims to enrich the lives of the widest possible audience. We are grateful to Wendy Heller, Chair/Scheide Professor of Music History, and the Department of Music for its partnership in and support of this vision. For more information about the Department and its vibrant student and faculty led programming, please visit music.princeton.edu.
The artwork on this program cover, Induction Chromatique à double fréquence Ire, is by artist Carlos Cruz-Diez. Chromatic Inductions are closely related to the phenomenon of post-image, which is also known as the retinal persistence or simultaneous contrast effect. This means that if a viewer stares at a red plane briefly and then looks away, the retina preserves the image for a few seconds, but the image appears green, which is the induced color, or the complementary color. In other words, the retina of the eye, after gazing at a colored plane for a certain length of time, retains, even after it looks away, an image of the colored plane, which is perceived as a complementary color. These phenomena occur separately, one after the other; Chromatic Inductions, however, reproduce them all at the same time. They therefore manage to stabilize—and render visible—a phenomenon that can only be captured fleetingly and under very special circumstances. The color that appears is both there and not there; it has a virtual existence, but is just as real as the pigments that have been used. The artist has said “These are linear structures that simplify the perception of the phenomenon of complementary color or simultaneous contrast that is normally a fleeting, more complex event.” Carlos Cruz-Diez, a friend of Maestro Dudamel, is considered to be one of the greatest artistic innovators of the 20th and 21st centuries. His art draws out the kinetic energy of color much in the same way that Maestro Dudamel energizes our world through music.
About the Participants
YEARS of MUSIC MAKING
The use of recording or photographic equipment is strictly prohibited.
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