WEILL HALL / SCHROEDER HALL JANUARY/FEBRUARY 2019
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H I G H L I G H T S
WEILL HALL | SCHROEDER HALL
WE SHALL OVERCOME A CELEBRATION OF DR. MARTIN LUTHER KING, JR. FEATURING DAMIEN SNEED SAT, MARCH 2 AT 7:30 P.M.
MONTEREY JAZZ FESTIVAL ON TOUR 60TH ANNIVERSARY CELEBRATION
FEATURING CÉCILE MCLORIN SALVANT, BRIA SKONBERG, MELISSA ALDANA, CHRISTIAN SANDS, YASUSHI NAKAMURA, AND JAMISON ROSS
THU, APRIL 4 AT 7:30 P.M.
RODGER GUENVEUR SMITH FREDERICK DOUGLASS NOW SUN, MARCH 3 AT 7 P.M.
TALLIS SCHOLARS FRI, APRIL 5 AT 7:30 P.M.
JONATHAN DIMMOCK, organ SUN, MARCH 24 AT 3 P.M.
TAIKOPROJECT SURROUNDING SUNS SAT, APRIL 13 AT 7:30 P.M.
MONICA BILL BARNES & CO. HAPPY HOUR! THU, MARCH 28 AT 6 & 8:30 P.M.
VILLALOBOS BROTHERS SAT, APRIL 20 AT 7:30 P.M.
ANNE AKIKO MEYERS, violin & JASON VIEAUX, guitar SAT, MARCH 30 AT 7:30 P.M.
DELPHI TRIO AMONG FRIENDS SUN, MARCH 31 AT 3 P.M.
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GUCHI, piano GIL SHAHAM, violin & AKIRA EGUCHI, FRI, APRIL 26 AT 7:30 P.M.
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TABLE OF CONTENTS 5
FROM THE PRESIDENT
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CAMPUS CORNER
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BACK TO SCHOOL AT THE GREEN
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MARTHA REDBONE
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JOSHUA BELL
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A FAR CRY
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WILD UP
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THE CHIEFTAINS
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VERONICA SWIFT
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BANDA MAGDA
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ANNUAL GIFTS
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CORPORATE PARTNERS
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DONOR SPOTLIGHT
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BOARD AND ADMINISTRATION
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PHOTO GALLERY
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PATRON INFORMATION
COVER PHOTO: JOSHUA BELL (PORTRAIT BY LISA MARIE MAZZUCCO)
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FROM THE PRESIDENT
Photo: Liz Lovi
WELCOME TO SONOMA STATE UNIVERSITY’S GREEN MUSIC CENTER! Whether you’re here to take in a jazz show in the intimate Schroeder Hall or to enjoy music from around the world in the stunning Weill Hall, I am grateful that you have decided to entrust us with a few hours of your time in exchange for entertainment, inspiration, and perhaps even the chance to learn something new. This season and always, the Green Music Center is dedicated to bringing multiple communities to engage with us, and is showcasing a wide variety of incredible talent. This can be seen in the stellar artists who join us on their world tours to the vibrant student and faculty performers and ensembles who bring life to these two halls. From the incredible jazz talents of Cécile McLorin Salvant, Christian Sands, and the entire company of the Monterey Jazz Festival Tour, to the fiddling skills of musicians like the Villalobos Brothers, Anne Akiko Meyers, Joshua Bell, and Gil Shaham, the events this semester showcase the range of performers we are thrilled to present on our stages. To our friends and fans, our students, donors, and advisory board members, I am humbled by each and every person who partners with us. Thank you for the countless ways you show your support for the arts and help to establish and enliven a culture of curiosity on our campus and in Sonoma County. With gratitude,
Judy K. Sakaki University President
GMC.sonoma.edu
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CA M PUS CO R N E R H. Andrea Neves and Barton Evans Social Justice Lecture Series featuring Charles Blow Tuesday, February 26, at 7:30 pm Weill Hall
Social justice is a central pillar of Sonoma State University’s core values. This year’s Social Justice Week takes place February 25 - March 3, 2019, with various events across campus. A focal point for the week, the University is thrilled to host Charles M. Blow as this year’s speaker at the annual H. Andréa Neves and Barton Evans Social Justice Lecture. Charles Blow is an Op-Ed columnist at The New York Times tackle hot-button issues such as social justices, racial equality, presidential politics, police violence, gun control, and the Black Lives Matter Movement. Tickets to the lecture are available at gmc.sonoma.edu. The H. Andréa Neves and Barton Evans Social Justice Lecture Series is sponsored by philanthropist and former SSU professor Andréa Neves and her late husband, Silicon Valley engineer and executive Barton Evans. It is co-hosted annually by the School of Education and School of Social Sciences. Beginning in 2005, the series invites a distinguished and inspiring speaker to address the topic of social justice in a public lecture at Sonoma State University. Past speakers have included Cornel West, Dolores Huerta, Julian Bond, Jonathan Kozol, and many others.
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THIS SEASON, WE’RE GOING “BACK TO SCHOOL” WITH A SERIES OF FEATURES AIMED AT EXPANDING OUR MINDS AS WE HIGHLIGHT EXCITING POINTS AND ESSENTIAL PERSPECTIVES OF THE PERFORMING ARTS WORLD. ARTS AS ACTIVISM Art and activism do different work in the world. Activism, as the name suggests, is the activity of challenging and changing power relations. Art, on the other hand, tends not to have such a clear target. Its value often lies in providing us perspective and new ways to envision our world. Good art always seems to contain an abundance of meaning: a series of ephemeral moments that fill us with thoughts we can’t quite describe but move us nonetheless. At first glance, these two things seem to be in conflict with one another. Activism moves the material world, while art moves the heart and soul. But upon further reflection, there is a complimentary relationship between the two. Social change doesn’t just happen, it happens because people decide to make a change. As any seasoned activist can tell you, people just don’t decide to change their mind and act accordingly, they are personally moved to do so by emotionally powerful stimuli. Artistic activism is a practice aimed at generating emotionally resonant experiences that lead to measurable shifts in power, perfectly suited for an age of 8
cell phone cameras and social networks. People don’t share policy papers, they share things that move them. Artistic activism creates an opportunity to bypass seemingly fixed ideals and remap cognitive patterns, providing a moment when hearts can be touched and minds reached, perhaps leaving both changed. Putting this into practice, conductor and composer Christopher Rountree says of his approach, “I think of scenarios that will change people’s mind about something, then set them up, and see what happens.” Artistic activism is aimed at the inner human experience, not bodies or buildings. This approach is as common today as it has been throughout history. The goal is not to force compliance, which art can never do, but to persuade by creating moving experiences that prompt people to question the world as it is, imagine a world as it could be, and join together to make that new world real. Witness these ideas in process and “see what happens” on Friday, February 22 when Christopher Rountree and the LAbased chamber orchestra Wild Up take the stage at Weill Hall with their presentation of We, the People: Arts as Activism.
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MARTHA REDBONE
BONE HILL: THE CONCERT THURSDAY, JANUARY 24, 2019, AT 7:30 P.M. PROGRAM BONE HILL Music and Lyrics by Martha Redbone and Aaron Whitby Bone Hill is a new musical work for theater created and developed by librettist/composers Martha Redbone and Aaron Whitby at Joe’s Pub and the Public Theater. In its current Song Cycle iteration, Redbone becomes the characters from four generations of a family in the hills of coal-mining Appalachia, and the musicians are the townsfolk. In telling their stories the audience is taken on an epic, unexpected American exploration of family, history, and cultural identity. Inspired by her own life and the women Martha Redbone is descended from, the lives of the Bone family members are told in songs that span a swathe of American music telling a parallel history. From traditional Cherokee chants and lullabies to Bluegrass, Blues, Country, Gospel, Jazz, Rock & Roll, Rhythm n Blues. Dark and violent at times, Bone Hill is uncompromising in its desire to be honest about uncomfortable subjects particularly colonization and race. The piece addresses issues and stories rarely heard in musical theater- The plight of the Cherokee people who returned home after the Trail of Tears, the US government’s racial reclassification legislatures of the Mid-Atlantic states, the American Indian and African-American interracial dynamic and the ancient burial mounds on the Eastern seaboard, land which was desecrated for coal and the building of new mining towns during the early 1800s. Beyond reflecting the cultural and aesthetic diversity of today’s theater, Bone Hill adds diverse missing narratives– racial dynamics between Native and African Americans, Native American and European, stories from the perspective of the women and the lives of people of color living in Appalachia, their culture and music. It reveals erased, forgotten truths and it does so with humor, pathos and exuberance. You Caught My Eye is a song selection from the piece recorded live at the original workshop commissioned by at Joe’s Pub and The Public Theater’s NY Voices artist initiative. A waltz describing the day Redbone’s grandfather, a sharecropper from Mississippi, migrated to Kentucky to work in the coalmines and met her Cherokee grandmother. Redbone and Whitby are currently engaged in residencies to develop their full theatrical vision, and perform some work-in-progress workshop readings during this process. This concert is supported in part by
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MARTHA REDBONE, Herself/Easter/Little Red/Sweetcake/Janice/Junior/Creech/ Tommy Sizemore Redbone is one of the most vital voices in American Roots music. A multi award-winning musician, the charismatic songstress is celebrated for her tasty gumbo of roots music embodying the folk and mountain blues sounds of her childhood in the Appalachian hills of Kentucky mixed with the eclectic grit of her teenage years in pre-gentrified Brooklyn. With her gospel singing father’s voice and the spirit of her Cherokee/Choctaw mother’s culture, Redbone broadens the boundaries of Americana. Her latest CD “The Garden of Love- Songs of William Blake”, produced by Nitty Gritty Dirt Band founder/Grammy Winner John McEuen is an unexpected twist– “a brilliant collision of cultures” (New Yorker) Martha’s magnificent voice, Blake’s immortal words and a masterful cornucopia of roots music (folk, country, piedmont blues, gospel, bluegrass, soul and traditional Native). Redbone and her longtime collaborator, pianist Aaron Whitby are called “the little engine that could” by their “band of NYC’s finest blues and jazz musicians” (Larry Blumenthal-Wall Street Journal). From humble beginnings with residencies at the original Living Room on the Lower East side and at Joe’s Pub and nationally at powwows across Indian Country in support of her debut album “Home of the Brave” (“Stunning album, the kind of woman who sets trends”-Billboard) Redbone has built a passionate fan base with her mesmerizing presence and explosive live shows. Her album “Skintalk” is described as the soulful sound of “Earth, Wind and Fire on the Rez”(Native Peoples magazine) and is recognized as an example of Contemporary Native American music in the Permanent Library Collection at the Smithsonian National Museum of the American Indian. The Redbone/Whitby team’s newest work, Bone Hill-The Concert, is based on the
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stories of her Appalachian mining family’s heritage and culture. In the piece Redbone travels back in time to her own childhood and beyond into the memories and tales of her Cherokee ancestors revealing an untold American story fueled in a celebration of American music. Redbone is a 2016 Fellow of the Native Arts and Cultures Foundation. AARON WHITBY, Mr. Whitaker/Music Director/Piano/Organ Co-creator of Bone Hill, London-born and raised Whitby, producer, composer/ songwriter and pianist, mentored by Walter “Junie” Morrison of Parliament Funkadelic and Ohio Players, is best known for the multiple award-winning albums he has written and produced with longtime collaborator Martha Redbone. Whitby also tours with wife Redbone whose band he leads. He engineered Natalie Cole’s Grammy winning single “Living for Love” and has recorded and/or performed with George Clinton, Randy Brecker, Lisa Fischer, John McEuen, Raul Midon, Nona Hendryx, Vernon Reid, Omar Faruk Tekbilek, Mino Cinelu, Snehasish Mozumder, Keith Secola among many others. Bone HillThe Concert is Redbone and Whitby’s first foray into musical theater sparked by a New York Voices commission from Joe’s Pub/The Public Theater and the NEA. Since then the team have also been commissioned by the New York Theater Workshop: “Plurality of Privacy” project in partnership with the Goethe Institute, and are contributing composers for “Primer for a Failed Superpower,” a new work directed by Rachel Chavkin of Natasha, Pierre and the Great Comet of 1812 and Hadestown. They are also working as composers with Gung Ho Theater Company in a collaboration with a Chinese Theater company based in Liang-Shin an autonomous indigenous zone of the Ye people for a piece to be premiered in China in the fall of 2018.
Whitby, an accomplished jazz pianist, has his own album project, Cousin from Another Planet, a jazz/funk exploration featuring Charlie Burnham, Keith Loftis, Fred Cash, Jerome Harris, Gary Fritz and Rodney Holmes. Album due for release Spring 2019 on Ropeadope Records. ROCKY BRYANT, Drums Native of NJ, Rocky Bryant’s diverse drumming abilities have kept him on stage and in the studio with some of the best names in music. He has performed and/or recorded with Dianne Reeves (Grammy-award winning CD), Branford Marsalis & Buckshot LeFonque, Lalah Hathaway, Peter Frampton, Maxwell, Cyndi Lauper, David Sanborn, Faith Hill, Brandy, Daryl Hall, Paula Abdul and Billy Joel to highlight but a few. Rocky started taking drum lessons while in the fifth grade. While being taught in a somewhat classical style, he was also moved by the popular R&B of bands like The Ohio Players, and Sly & the Family Stone. Rocky involved himself in every musical situation he could find including, orchestra, jazz ensemble, and marching band. He auditioned for and landed a position in the NJ All State Orchestra while in the sixth and seventh grade. While in eleventh grade
he did his first recording with actor/singer, Joe Morton. After high school graduation, Rocky attended the Drummers Collective in NY to study vibraphone. Soon after, he began touring and continued recording with a host of artists from the NY area. CHARLIE BURNHAM, Tibby/Storyteller/ Violin/Harmonica/ Brooklyn born and raised Charles Burnham is a singular, versatile and virtuosic American violinist and composer, whose highly imaginative improvisational style crosses bluegrass, delta punk, free jazz, blues, classical and chamber jazz. Worldly and other-worldly sounds can be heard from Burnham’s soulful voice. He has graced the recordings of many: Cassandra Wilson, James Blood Ulmer, Steven Bernstein, Susie Ibarra, Peter Apfelbaum, Henry Threadgill, String Trio of New York, Ted Daniel, Medeski, Martin & Wood, Living Colour, Queen Esther, John Zorn, Steve Swell, Rufus Wainwright, Krishna Das, Kenny Wollesen, Norah Jones, Billie Joe Armstrong, Jason Kao Hwang, The Woes, Hem, Elysian Fields, and many, many others. Burnham also performs on harmonica and mandolin and is a highly regarded singer. GMC.sonoma.edu
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ALAN BURROUGHS Storyteller/Background Vocals/Dobro and Electric Guitar Chicago native, Burroughs, a recording artist in his own right of jazz and blues has both recorded and toured with Martha Redbone since 2000. Burroughs hails from an esteemed musical heritage, his great uncle was the legendary bandleader Fletcher Henderson known as one of the founders of Jazz and the band which launched the great Louis Armstrong. Burroughs is one of the most in-demand guitar players worldwide, known for his versatility of styles, from blues, jazz, rock, reggae, soul and funk, Burroughs plays and sings it all effortlessly. He has recorded for Film and TV and worked with such artists as Miles Davis, Art Porter, Philip Bailey of Earth, Wind and Fire, The Dells, Captain Sky Band many, many more. FRED CASH JR., Storyteller/Bass Chicago native, Cash has recorded and toured with Martha Redbone since 2000. Cash attended the American Conservatory of Music in Chicago. Cash hails from a musical family, his father is Fred Cash Sr. of the legendary vocal group The Impressions and Fred Jr is one of the most indemand bass players around. He has recorded for Film and TV and worked with such artists in addition to Martha Redbone as Alicia Keys, Nona Hendryx, George Clinton, Henry Butler, Jean-Paul Bourelly, India Arie, Jerry Butler, Toshi Reagon, Michelle Dorrance, Sweet Honey in the Rock, Barbara Streisand, Marika Hughes and many, many more. SONI MORENO, Liza/Storyteller/Vocals Bay Area born and raised, Yaqui/Apache Actress, Singer, Composer, Poet and Trapeze Artist – Known for her incredible vocal range, Moreno is one of the founding members of the multi-award winning trio, Ulali, a traditional Native American vocal
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group. A student at the American Conservatory Theatre in San Francisco, Ca. she played the role of Chrissie in the original productions of “Hair”, danced with the Copasettics, and performed at LaMama Theater and ETC in New York and Europe with their production of “Aladdin’s Lamp” and appeared on Broadway in “The Leaf People”, by Tom O’Hargan. Soni sings with many Country and Blues groups including studio work for TV and Radio commercials and jingles. Moreno is a member of the Board of Directors of the American Indian Community House in NYC and also worked with the Smithsonian Institution on the opening of the National Museum. MARVIN SEWELL, Banjo/Acoustic and Electric Guitars Chicago born and raised Marvin Sewell learned how to play the guitar with many Chicago basement bands and was exposed to a variety of styles of music as Blues, Gospel, and Soul, Rock, and Fusion, playing with many famous local Chicago musicians such as Von Freeman, Ramsey Lewis, Billy Branch, Big Time Sarah, and Barbara La Shore, He studied Composition at Roosevelt University in Chicago. Residing in Brooklyn since 1990, Sewell plays with various bands of different styles of music, both acoustic and electric. He has performed and/or recorded with Jack Dejohnette, Diedre Murray, Fred Hopkins, Gary Thomas. Sewell in Hannibal Peterson’s composition African Portraits, an opera in collaboration with the St. Louis Symphony, New Music Symphony, and the Westchester Symphony Orchestra, David Sanborn, Marcus Miller, Greg Osby, George Benson, Sekou Sundiata, Cassandra Wilson, Regina Carter and a host of many other esteemed musicians including his own band, The Marvin Sewell Group.
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j os h ua b e ll ,
violin
FRIDAY, FEBRUARY 8, 2019, AT 7:30 P.M. ARTIST ROSTER Joshua Bell, violin Sam Haywood, piano PROGRAM Sonata for Violin and Piano No. 4 in A Minor, Op. 23 Presto Andante scherzoso, piĂš allegretto Allegro molto Sonata for Violin and Piano No. 2 in D Major, Op. 94a Moderato Scherzo. Presto Andante Allegro con brio
Ludwig van Beethoven (1770-1827)
Sergei Prokofiev (1891-1953)
INTERMISSION Sonata for Violin and Piano No. 2 in G Major, Op. 13 Lento doloroso – Allegro vivace Allegretto tranquillo Allegro animato Additional works to be announced from the stage.
This concert is sponsored in part by
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Edvard Grieg (1843-1907)
GMC.sonoma.edu
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ARTIST BIOGRAPHIES With a career spanning over thirty years as a soloist, chamber musician, recording artist, conductor and director, Joshua Bell is one of the most celebrated violinists of his era. Since 2011, Bell has served as Music Director of the Academy of St Martin in the Fields, succeeding Sir Neville Marriner, who formed the orchestra in 1958. Bell’s interests range from the repertoire’s hallmarks to commissioned works, including Nicholas Maw’s Violin Concerto, for which Bell received a Grammy® award. He has also premiered works of John Corigliano, Edgar Meyer, Jay Greenberg, and Behzad Ranjbaran. Committed to expanding classical music’s social and cultural impact, Bell has collaborated with peers including Chick Corea, Wynton Marsalis, Chris Botti, Anoushka Shankar, Frankie Moreno, Josh Groban, and Sting. In Spring 2019, Bell joins his longtime friends, cellist Steven Isserlis and pianist Jeremy Denk, for a ten-city American trio tour. Bell maintains an avid interest in film music, commemorating the 20th anniversary of The Red Violin (1998) in 2018-19. The film’s Academy-Award winning soundtrack features Bell as soloist; in 2018, Bell brought the film with live orchestra to various summer festivals and the New York Philharmonic. In addition to six Live From Lincoln Center specials, Bell is also featured on a PBS Great Performances episode, “Joshua Bell: West Side Story in Central Park.” Through music and technology, Bell further seeks to expand the boundaries of his instrument. He has partnered with Embertone on the Joshua Bell Virtual Violin, a sampler created for producers, engineers, and composers. Bell also collaborated with Sony on the Joshua Bell VR experience.
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An exclusive Sony Classical artist, Bell has recorded over 40 albums garnering Grammy®, Mercury®, Gramophone and ECHO Klassik awards. Sony Classical’s June 2018 release, with Bell and the Academy, featured Bruch’s Scottish Fantasy and G minor Violin Concerto. In 2007, a Pulitzer Prize-winning Washington Post story, on Bell performing incognito in a Washington, D.C. metro station, sparked a conversation regarding artistic reception and context. It inspired Kathy Stinson’s 2013 children’s book, The Man With The Violin, and a newlycommissioned animated film. Bell debuted the 2017 Man With The Violin festival at the Kennedy Center, and, in March 2019, presents a Man With The Violin festival and family concert with the Seattle Symphony. Bell advocates for music as an essential educational tool. He maintains active involvement with Education Through Music and Turnaround Arts, which provide instruments and arts education to children who may not otherwise experience classical music firsthand. Born in Bloomington, Indiana, Bell began the violin at age four, and at age twelve, began studies with Josef Gingold. At age 14, Bell debuted with Riccardo Muti and the Philadelphia Orchestra, and debuted at Carnegie Hall at age 17 with the St. Louis Symphony. Bell received the 2007 Avery Fisher Prize and has recently been named Musical America’s 2010 “Instrumentalist of the Year” and an “Indiana Living Legend.” He received the 2003 Indiana Governor’s Arts Award and a 1991 Distinguished Alumni Service Award from his alma mater, the Jacobs School of Music. Bell performs on the 1713 Huberman Stradivarius violin, with a François Tourte 18th-Century bow.
SAM HAYWOOD has performed to critical acclaim in many of the world’s major concert halls. The Washington Post hailed his ‘dazzling, evocative playing’ and ‘lyrical sensitivity’ and the New York Times his ‘passionate flair and sparkling clarity’. He embraces a wide spectrum of the piano repertoire and is equally at home as a soloist, chamber musician or with accompanying Lieder. He has had a regular duo partnership with Joshua Bell since 2010 and often performs with cellist Steven Isserlis. He has recorded two solo albums for Hyperion, one featuring the piano music of Julius Isserlis (grandfather of Steven Isserlis) and the other Charles Villiers Stanford’s preludes. His passion for period instruments led to a recording on Chopin’s own Pleyel piano, part of the Cobbe Collection. In 2013 Haywood co-founded Solent Music Festival in UK. The annual Lymington-based festival features highly varied programmes and projects in the local community. Guest artists have included the King’s Singers, the Bournemouth Symphony Orchestra, Steven Isserlis, Anthony Marwood, Michael Portillo, Mark Padmore and the Elias Quartet. He was mentored by David Hartigan, Paul Badura-Skoda and Maria Curcio. Following his early success in the BBC Young Musician of the Year competition, the Royal Philharmonic Society awarded him the Julius Isserlis Scholarship. He studied both at the Universität für Musik und darstellende Kunst in Vienna and at the Royal Academy of Music in London, of which he is an Associate (ARAM). As a composer Haywood has written several miniatures for piano. ‘The Other Side’ was recently premiered in the Konzerthaus in Vienna and the ‘Song of the Penguins’, dedicated to Roger Birnstingl, is published by Emerson
Editions. His invention ‘memorystars®’ can significantly reduce the time needed to memorise a music score. His other passions include literature, physics, natural history, technology, magic, fountain pens and table tennis. Originally from the English Lake District, he now lives in Kent with his wife Sophia, their baby son James and cockapoo puppy Poppy. PROGRAM NOTES LUDWIG VAN BEETHOVEN SONATA FOR VIOLIN AND PIANO NO. 4 IN A MINOR, OP. 23. On the surface, the first two years of the nineteenth century were productive and happy ones for Beethoven. A slew of wellreceived premieres and performances, as well as satisfying new personal and professional relationships, seemed to bode well for the composer as he entered his thirties. Yet amidst this increasing success, Beethoven harbored the now-famous secret of his encroaching deafness. What he first described as mere “humming and buzzing” steadily grew far direr. In July of 1801, around the time he began composing the Fourth Violin Sonata, he wrote to a friend, “Let me tell you that my most prized possession, my hearing, has greatly deteriorated. ... You will realize what a sad life I must now lead, seeing that I am cut off from everything that is dear and precious to me.... I must withdraw from everything; and my best years will rapidly pass away without my being able to achieve all that my talent and my strength have commanded me to do. Sad resignation, to which I am forced to have recourse. Needless to say, I am resolved to overcome all this, but how is it going to be done?” Despite these cruel vicissitudes of fate, Beethoven’s writing remained optimistic, even defiant. In another letter from 1801, he proclaimed, “Every day brings me nearer to the goal which I feel but cannot
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describe.... I will seize Fate by the throat; it shall certainly not bend and crush me completely.” Startling piano flourishes initiate the first-movement Presto, an unusual starting tempo for Beethoven. An insistent fournote figure, often descending, dominates the movement. Much like the opening notes of his Fifth Symphony, which Beethoven would complete later in the decade, these notes provide not so much a melody as an infectious pulse. A hesitant two-note figure opens the playful second movement. The music soon becomes a jocular, almost flirtatious, calland-response between the soloists. The players engage in frequent short outbursts but rarely in sustained loudness, instead settling into a shy piano. The piano introduces the main theme of the finale, which is then repeated by the violin. Three distinct episodes alternate with this theme in an ABACADA pattern. In an extended coda, all of these episodes make brief reappearances before suddenly winding down. SERGEI PROKOFIEV SONATA FOR VIOLIN AND PIANO NO. 2 IN D MAJOR, OP. 94A. Like many artists, Sergei Prokofiev fled Russia in the wake of the 1917 revolutions. He moved between America and Western Europe for a decade, avoiding the bloodiest chapters of the Revolution while remaining in touch with various friends and professional connections in Russia. He began visiting Moscow and Leningrad to perform concerts of his music and over the course of several years, the Stalinist government persuaded him to move back. Thinking himself immune from the censorship affecting other Soviet artists, Prokofiev returned to Moscow with his wife and children in 1936, just before Stalin’s Great Purge began in earnest. Prokofiev soon began to understand the
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cost of his homecoming; in one ominous episode, his passport was confiscated by the government with no explanation. Prokofiev would never leave the Soviet Union again. In response to the German invasion of the Soviet Union in 1941, the government evacuated Prokofiev and other high-profile artists from the major Russian cities. Prokofiev and his lover, Mira Mendelssohn, spent nearly two years in cities across Eastern Europe and Central Asia (his wife and children remained in Moscow). He worked on a variety of projects during the war, including film music, propagandistic pieces to bolster the war effort, his massive opera War and Peace, and a handful of intimate chamber works. One of these, the Flute Sonata, was a commission from the Union of Soviet Composers. He began writing the Sonata in Kazakhstan before the government relocated him to the city of Perm, where he completed it in the summer of 1943. Prokofiev and Mira returned to Moscow that fall; the Flute Sonata—his only work for solo flute— premiered there that December. Shortly after the premiere, the violinist David Oistrakh asked Prokofiev to create a new version for violin. The arrangement for violin and piano closely adheres to the original; the piano parts are identical. Prokofiev and Oistrakh left much of the flute part unchanged as well, though the violin arrangement takes advantage of some of the instrument’s idiomatic techniques, like multiple stopping. “I wanted,” Prokofiev wrote of the Flute/ Violin Sonata, “to write a sonata in delicate, fluid classical style.” The opening theme is cheerful and lyrical, as is the gently rocking theme that follows. Included in the score is a repeat of the exposition (a key feature of Classical-era sonata form), furthering Prokofiev’s desire for classical simplicity. As the two themes develop, they grow more animated and climb higher into the violin’s
top register. The movement ends with a soft, final repetition of the first theme high in the piano. A lively and darting scherzo follows, the violin’s bowed lines punctuated by cheeky pizzicato. The brief middle section is slower and more lyrical before returning to the opening theme, closed with a last defiant pluck. A light and graceful theme opens and closes the third movement Andante. Sandwiched between them, the music in this middle section is more subdued, winding and lilting with echoes of American jazz. Closing the sonata is a boisterous, virtuosic rondo. EDVARD GRIEG SONATA FOR VIOLIN AND PIANO NO. 2 IN G MAJOR, OP. 13. Grieg composed his Second Violin Sonata while on honeymoon in Oslo (then called Kristiania) with his wife Nina, a soprano and Grieg’s first cousin (their first daughter, Alexandra, was conceived on this trip as well). The Sonata was one of only a few works Grieg wrote that year. In addition to his new marriage, Grieg had opened the Norwegian Academy of Music in January, a serious undertaking that occupied most of his time. The opening of the Academy was part of a larger move toward nationalism that Grieg had recently begun; through the Academy and his own music, Grieg sought to create a distinctly Norwegian culture of art music. While Grieg found international success during and after his lifetime, he remained committed to his Scandinavian heritage. Late in his life, he wrote, “I do not believe… that one can get tired of the national; if that is the case it would not be an idea to fight for.” Of his limited output of chamber works, the three violin sonatas (composed in 1865, 1867, and 1887) held a special place in Grieg’s heart. Even into his sixties, Grieg took every opportunity to have them
performed, often playing the piano part himself. Reflecting on the trio of sonatas, Grieg remarked, “They represent periods in my development—the first naive…, the second national, and the third with a wider horizon.” The nationalistic character of the Second Sonata did not go unnoticed. Grieg’s old teacher and mentor, Danish composer Niels Gade, chided him for the work’s excessive Norwegianness. Undeterred, Grieg vowed to make his next sonata “even worse” (though the Third Sonata’s references to Norwegian folk music are less prominent). The first movement, a rollicking Norwegian springdans (running dance), begins with a slow, rhapsodic introduction in the minor key. At the start of the violin’s second phrase, a three-note descending figure is introduced that appears throughout the sonata. Nicknamed the “Grieg-motive,” Grieg wound this figure into numerous compositions throughout his life, including his Elegaic Melodies and the first notes of his Piano Concerto. Though not unique to Grieg’s music (or even to the folk music of Scandinavia), his use of the motive became something of a trademark. The waltz-like second movement has a simple ABA structure. Piano introduces the plaintive principal theme, which is then repeated by the violin. The second section is peaceful and hushed, almost a lullaby. Following the return of the opening theme, the movement ends with a haunting coda with folk-inflected ornamentation. Like the first movement, the third has roots in Norwegian folk dance. The piano opens with resonant droning—an allusion to the hardanger fiddle—introducing a graceful, lilting dance played by the violin. A tender and lyrical second theme follows. The lively dance reappears before an exuberant restatement of the second theme and an emphatic finish. ©Andrew McIntyre, 2018.
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A FA R C RY SYMMETRIES SATURDAY, FEBRUARY 16, 2019, AT 7:30 P.M.
PROGRAM – SYMMETRIES Brandenburg Concerto No. 3 in G Major, BWV 1048 Allegro Adagio Allegro Symphony No. 3 Movement I Movement II Movement III Movement IV
Johann Sebastian Bach (1685–1750)
Phillip Glass (b. 1937)
INTERMISSION Divertimento for string orchestra, Sz. 113, BB 118 Allegro non troppo Molto adagio Allegro assai
Béla Bartók (1881–1945)
Tenebrae (2002)
Osvaldo Golijov (b. 1960)
ARTIST BIOGRAPHIES Since its founding in 2007, the three-time Grammy-nominated string orchestra A Far Cry has developed a distinct approach to music-making, with playing and programming that encourage risk-taking and exploration for both player and audience. This year, A Far Cry was selected as Boston’s 2018 best classical ensemble by The Improper Bostonian, with one of its albums ranking at the top of Billboard’s Traditional Classical Chart. The self-conducted orchestra is a democracy in which decisions are made collectively and leadership rotates among the players (“Criers”). This structure has led to thoughtful and innovative programming, and impactful collaborations with celebrated performers and composers. Boston Musical Intelligencer sums up the group: “In its first decade, this conductor-free ensemble has earned and sustained a reputation for top-drawer playing, engrossing programming, and outstanding guest artists.” A Far Cry’s omnivorous approach has led to collaborations with artists such as Yo-Yo Ma, Simone Dinnerstein, Roomful of Teeth, the Silk Road Ensemble, Vijay Iyer, and David Krakauer. A Far Cry’s twelfth season in 2018-19 includes nine Boston-area concerts as part of the group’s own series, and three pairs of concerts as part of A Far Cry’s long-standing residency at the Isabella Stewart Gardner Museum. New projects include commissions from composers Jessica Meyer and Grammy- nominated oudist/composer Mehmet Ali Sanlikol. In May, A Far Cry 22
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will also collaborate with Boston’s Lorelei Ensemble in a new work by Syrian-American composer Kareem Roustom focusing on the women of the Odyssey. Recent tour highlights include two new commissioning projects: Philip Glass’ third piano concerto with soloist Simone Dinnerstein, and The Blue Hour, “a gorgeous and remarkably unified work” (Washington Post) written by a collaborative of five leading female composers – Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw, and Sarah Kirkland Snider – and featuring Grammy-winning singer Luciana Souza. Continuing with the ongoing success of the recent album, Circles, which debuted at #1 on Billboard’s Traditional Classical Chart, A Far Cry and pianist Simone Dinnerstein perform on the road, followed by a return to Boston to perform a new realization of Bach’s Goldberg Variations this February 2019. A Far Cry’s Crier Records launched auspiciously in 2014 with the Grammynominated album Dreams and Prayers. The
label’s second release, Law of Mosaics, was included on many 2014 Top 10 lists, notably from New Yorker music critic Alex Ross and WQXR’s Q2 Music, which named A Far Cry one of the “Imagination-Grabbing, Trailblazing Artists of 2014.” In September 2018, Crier Records released A Far Cry’s Visions and Variations, which recently received two Grammy nominations in the categories of Best Engineered Album (Classical) and Best Chamber Music/Small Ensemble Performance (Classical). Maintaining their strong roots in the community, the Criers live and work in Boston, rehearsing at their storefront office in Jamaica Plain and fulfilling the role of Chamber Orchestra- in-Residence at the Isabella Stewart Gardner Museum. A Far Cry is dedicated to passing on the spirit of collaborativelyempowered music to the next generation, and works closely with local students through educational partnerships with the New England Conservatory and Project STEP.. GMC.sonoma.edu
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wild up
W e , th e P e o p le : A rts a s Ac tivi s m FRIDAY, FEBRUARY 22 , 2019, AT 7:30 P.M. ARTIST ROSTER Christopher Rountree, conductor Andrew Tholl, violin Adrianne Pope, violin Linnea Powell, viola Derek Stein, cello Claire Chenette, oboe Archie Carey, bassoon Matt Cook, percussion Jodie Landau, percussion and voice PROGRAM Swell Piece
James Tenney (1934-2006)
John Sinclair
John Lennon (1940-1980)
Workers Union
Louis Andriessen (b. 1939)
Tuning Meditation
Pauline Oliveros (1932-2016)
Attica
Frederic Rzewski (b. 1938)
Stay On It
Julius Eastman (1940-1990)
And numerous new open score works for musicians and non-musicians This concert is sponsored in part by
Residency sponsored in part by
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GMC.sonoma.edu
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WILD UP
ARTIST BIOGRAPHIES Wild Up is a modern music collective; an adventurous chamber orchestra; a Los Angeles-based group of musicians committed to creating visceral, thoughtprovoking happenings. Wild Up believes that music is a catalyst for shared experiences, and that a concert venue is a place to challenge, excite and ignite a community of listeners. Wild Up has been called “Best in Classical Music 2015” and “…a raucous, grungy, irresistibly exuberant…funloving, exceptionally virtuosic family” by Zachary Woolfe of the New York Times, “Searing. Penetrating. And thrilling” by Fred Child of Performance Today and “Magnificent” by Mark Swed of the Los Angeles Times. Over the last eight years, Wild Up has collaborated with orchestras, rock bands and cultural institutions around the world. Integral to the fabric of classical music and contemporary art in L.A. and the U.S., Wild Up has premiered new operas with Julia Holter, David Lang and Mark Dion; created a concert for elephants with Allora and Calzadilla; improvised with Steve Coleman; played with San Fermin under the skeleton of a T-Rex at the LA Natural History Museum and with Bjork headlining FYF 2017; played live to film with Mica Levi of Micachu and the Shapes, Jon Brion, and Joanna Newsom. CHRISTOPHER ROUNTREE, Founder, Conductor, and Artistic Director Conductor, music director, curator, composer, and orchestra founder Christopher Rountree has distinguished himself as one of classical music’s most forward-thinking innovators in programming, conducting and community building. Whether presenting his beloved chamber group Wild Up in a museum bathroom, or leading the country’s most renowned ensembles through new music’s most exciting works at the world’s greatest 26
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concert halls, Rountree is the lynchpin between orchestral music and the future of performance. “I think of scenarios that will change people’s mind about something, then set them up, and see what happens,” Rountree, 35, says of his approach. “If I can imagine how a program will live in a space and that thought makes me smile, then I’m ready to start.” Rountree is well-known for creating the renegade 24-piece ensemble Wild Up in 2010. The group’s eccentric mix of new music, pop and performance art quickly jumped from raucous DIY bar shows to being lauded as the vanguard for classical music by critics for The New York Times, The Los Angeles Times, The Wall Street Journal, and public radio’s Performance Today. Now an institution in its own right, the success of Wild Up has led Rountree to collaborations with Björk, John Adams, David Lang, Scott Walker, and many of the planet’s greatest orchestras and ensembles. Rountree’s vision is fully realized this year and next as he curates and conducts the Los Angeles Philharmonic’s FLUXUS Festival, the experimental music component of the Phil’s 100th season in collaboration with the Getty Research Institute. The 16-concert FLUXUS Festival unites icons of contemporary art with classical music for the first time, placing Yoko Ono next to Ryoji Ikeda; La Monte Young next to Steven Takasugi next to John Cage. Ragnar Kjartansson’s “Bliss,” an ecstatic 12-hour rendering of Mozart, stands next to Alison Knowles’ “Make a Salad,” performed by 1,700 people. Lang’s “crowd out” takes over a block in downtown L.A., as orchestra musicians launch the watermelons of Ken Friedman’s “Sonata for Melons and Gravity” off the top of Walt Disney Concert Hall. As he’s become regarded as one of the most exciting and iconoclastic conductors and programmers in the field, Rountree’s inimitable style has taken him to revered
“We make music.
New music. Old music. We’ll play it,
as long as we love it.”
concert halls the world over. In September 2018, Rountree debuted with Martha Graham Dance Company and Opéra national de Paris, conducting “Rite of Spring,” Samuel Barber’s “Medea,” and the Paris premiere of the Graham/Copland “Appalachian Spring” at Palais Garnier. Over the last couple of years, Rountree made his Lincoln Center debut premiering Ashley Fure’s Pulitzer finalist piece “Bound to the Bow” on the New York Philharmonic’s Biennale; conducted Ted Hearne’s 21st century masterwork “Law of Mosaics” with the Chicago Symphony; gave the world premiere of Missy Mazzoli’s opera about the death of the American Dream, “Proving Up,” at Washington National Opera; made multiple returns to the San Francisco Symphony’s SoundBox series; conducted the world premiere of David Lang’s opera “anatomy theater” at LA Opera; and premiered Annie Gosfield and Yuval Sharon’s magnum opus “War of the Worlds” with Sigourney Weaver, Los
Angeles Mayor Eric Garcetti and the LA Phil, simultaneously performed all over downtown Los Angeles and at Walt Disney Concert Hall. PROGRAM NOTES The greatest artists have been the voices of their communities. We the People is a residency / concert that celebrates the repertoire created by composers as a reflection of the civic dialogue. We the People is also a community engagement program for students and audiences to energize the arts moving forward in a continuing role of civic dialogue. In each site across the U.S. we’ll be looking to collaborate with students of any and all disciplines on campus: art, music, theater, writing, public policy, law, the sciences, and others to discuss and create. Includes work by John Lennon, Pauline Oliveros, Louis Andriessen, and maybe some future classics created during an accompanying residency. GMC.sonoma.edu
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Pa d dy M o l o n e y
T H E C H I E F TA I N S and special guests
SATURDAY, FEBRUARY 23, 2019, AT 7:30 P.M. PROGRAM To be announced from the stage ARTIST BIOGRAPHY 2019 marks the 57th Anniversary of The Chieftains. Since 1962 they have been six-time Grammy Award winners and been highly recognized for reinventing traditional Irish music on a contemporary and International scale. Their ability to transcend musical boundaries to blend tradition with modern music has notably hailed them as one of the most renowned and revered musical groups to this day. As cultural ambassadors, their performances have been linked with seminal historic events, such as being the first Western musicians to perform on the Great Wall of China, participating in Roger Water’s “The Wall” performance in Berlin in 1990, and being the first ensemble to perform a concert in the Capitol Building in Washington DC. In 2010, their experimental collaborations extended out of this world, when Paddy Moloney’s whistle and Matt Molloy’s flute travelled with NASA astronaut, Cady Coleman, to the international space station. Although their early following was purely a folk audience, the range and variation of their music and accompanying musicians quickly captured a much broader audience, elevating their status to the likeness of fellow Irish band, U2.
This concert is sponsored in part by
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In Ireland they have been involved in many major occasions, such as Pope John Paul II’s visit to Ireland in 1979 when they performed to an audience of over 1.3 million, and in 2011 as part of the historic visit to Ireland of HRH Queen Elizabeth II. In 2012, marking The Chieftains’ 50th Anniversary, they were awarded the inaugural National Concert Hall Lifetime Achievement Award at a gala event in Philadelphia hosted by The American Ireland Fund “in recognition of their tremendous contribution to the music industry worldwide and the promotion of the best of Irish culture.” To celebrate their 50th Anniversary, The Chieftains once again invited friends from all musical styles to collaborate on their latest album, Voice of Ages. Featuring some of modern music’s fastest rising artists (Bon Iver, The Decemberists and Paolo Nutini among them), this album is proof that their music transcends not only stylistic and traditional boundaries, but generational as well. The Chieftains are never afraid to shock purists and push genre boundaries, and the trappings of fame have not altered The Chieftains’ love of, and loyalty to, their roots. They are as comfortable playing spontaneous Irish sessions as they are headlining a concert at Carnegie Hall. After fifty years of making some of the most beautiful music in the world, The Chieftains’ music remains as fresh and relevant as when they first began.
GMC.sonoma.edu
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VERONICA SWIFT
WITH THE BENNY GREEN TRIO SUNDAY, FEBRUARY 24, 2019, AT 3 P.M. AND 7 P.M. ARTIST ROSTER Benny Green, piano Veronica Swift, vocals David Wong, bass Kenny Washington, drums PROGRAM To be announced from the stage. The 2018 studio release Then and Now, the latest album from Benny Green, which also features Veronica Swift, is now available for sale online and in stores. These concerst are sponsored in part by
ARTIST BIOGRAPHIES Throughout his career as one of the world’s premier living Jazz musicians, legendary bebopper Benny Green has established himself as a powerhouse pianist and bandleader, boasting concert appearances and recording credits with giants of the industry over the past 35 years. But prior to his forthcoming record Then And Now (his 20th album as leader), Green has never featured either vocals or flute on any of his albums. Painting with rich aural colors and textures, Green boldly steps into new musical space for Then And Now, featuring both vocal sensation Veronica Swift and flautist Anne Drummond. Jazz sensibility comes naturally to Green, the NYC-born son of a jazz saxophonist and a Berkeley, California native. At a young age Green’s ear became fine-tuned to the art form, and he soon found himself invited to perform alongside Jazz icons like Betty Carter, Freddie Hubbard and Ray Brown. Art Blakey found Green’s swinging musicality to be the right ingredient and invited Green to join the ranks of his elite Jazz Messengers – this relationship would
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prove deeply influential to Green, who has since dedicated his career to straight-ahead hard bop. Although featured in a wide variety of performance arenas, Green is in his element and shines as the leader of the Benny Green Trio. With drumming master Kenny Washington and revered bassist David Wong completing the piano trio, Green commands the stage, delighting international audiences in his 38th year as a bandleader. It was only natural that this trio would become the springboard for Green’s recent new musical adventures. A recording session led by prodigy vocalist Veronica Swift made such an impact on Green that he expanded his own generally instrumental traditions and began collaborating with both Swift and his trio. Green’s authoritative skill at the keyboard and hard-swinging ensemble were the perfect sonic landscape for Swift’s masterful musicianship and organic approach to scat singing, with Swift proving her voice was the perfect soloing instrument to complement Green’s stylistic swing.
GMC.sonoma.edu
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veronica swift
Veronica Swift, like Green, grew up in a musical family – her father a worldrenowned bebop jazz pianist Hod O’Brien, along with her mother, vocalist Stephanie Nakasian, had made Swift’s young life rich with Jazz tradition. Swift and Green were a well-matched pair, each dedicated to bebop and swinging Jazz styles. When Swift began performing together with the Benny Green Trio, they discovered a dynamic element of interactive group synergy and interplay. They regularly perform together still, celebrating the musical vision they share. With Then And Now, Green explores yet more new ideas and soundscapes, delving into the rich sounds of a Rhodes electric piano on a few tracks. The vintage Rhodes, with Green at the helm, becomes a new and darker sonic foundation for Swift’s voice. Flautist extraordinaire Anne Drummond joins Green on the new record as well, after having previously performed some of Green’s own original music on her recording Revolving. Green’s compositions for Then And Now exemplify the album’s title: this record is musically distinct from any of his previous records. Longtime fans of Green’s will immediately recognize his unparalleled mastery and swing, but will also hear him stretching out comfortably in these new colors. The juxtaposition of Green’s familiar trio format and the new voices and textures on Then And Now create a heartfelt program, anchored in the swinging tradition that’s always been so central to Green’s heart. The new album is definitively, authentically Benny Green – but it conveys a side of Benny Green you haven’t heard before. Then And Now begins with Green’s salute to revered soul singer, pianist, composer Donny Hathaway which quotes both the singer’s “Valdez in The Country” and his duet with Roberta Flack, “The Closer I Get to You; Green’s “Donny Hath A Way” is a hard-grooving tune featuring flute, percussion and Green on Rhodes. 32
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Swift joins Green on Dexter Gordon’s “For Regulars Only,” a childhood favorite of hers, and performs her own stunning vocal transcription of Freddie Hubbard and Dexter Gordon’s original trumpet and tenor saxophone parts. For Cedar Walton’s “Latin America,” Green explores the duality of the keyboard itself, playfully balancing the Rhodes and acoustic piano as two characters: the Latin character and the gringo character, respectively. Swift’s touching lyrics about life lessons, set to Green’s “Naturally,” feature Swift exploring her own sonic comfort zone, with her voice eventually layered over itself in delicious triple texture. Driven by Washington and Wong, Green and the trio lay down a hard-hitting arrangement of Hank Jones’s “Minor Contention”, followed by a meditative dedication to California wildlife, Green’s calming “Enchanted Forest” as chamber trio of flute, piano and bass. Washington plays a classic Art Blakeystyle 4-bar introduction out front on Horace Silver’s “Split Kick,” for which Swift rejoins the trio, covering the original trumpet and alto saxophone parts as played by Clifford Brown and Lou Donaldson with her voice. Green pays tribute to Duke Pearson, one of his favorite composers, with “Say You’re Mine”, and along with Swift recalls his mentor Walter Davis, Jr. with “Humphrey”, first recorded by Green in 1991 on his album Testifyin’. Swift’s vocals follow the trio’s opening chorus on “Something I Dreamed Last Night,” harkening Anita O’Day’s classic ballad style. But the crowning moments of the album are the “then” and the “now.” With “Hipsippy Blues” Green calls to mind his greatest musical influence, Art Blakey, and the time they’d spent playing together: a mindful musical glace back to “then.” Then Green turns to the “now”, celebrating the 25th anniversary of the release his own composition “Wiggin” (first recorded in 1993 on Green’s That’s Right. Green stands firmly in the present, surrounded by fascinating musical colors, textures, collaborators, and ideas.
Ba n da M ag da THURSDAY, FEBRUARY 28, 2019, AT 7:30 P.M. ARTIST ROSTER Magda Giannikou, voice and accordion Juan Andres Ospina, piano Andres Rotmistrovsky, bass Marcelo Woloski, percussion Ignacio Hernandez, guitar PROGRAM To be announced from the stage ARTIST BIOGRAPHIES BANDA MAGDA Like a distant shoreline, New York’s Banda Magda blurs distinctions and suggests wonders. Even if you don’t speak any of the 6 languages they sing in, you are still transported into beautiful imagery with tales of love and devotion, as strong as the bonds between the band’s diverse musicians. (Greece, Japan, Argentina, USA, Colombia, Brazil, Turkey, Israel, UK) Led by firecracker performer, composer and multi-instrumentalist Magda Giannikou, Banda Magda is a community; their camaraderie shining with cross-pollinating melody and rhythm that has resounded in discerning musical landmarks such Carnegie Hall, The Kennedy Center, Monterey Jazz Festival, WOMAD, Harare Festival of the Arts and Blue Note Tokyo. The rotating madcap fellowship has traveled to more than 22 countries in 5 continents combining whirlwind tours of music, transformative workshops and magically interactive moments led by Magda’s uncanny ability to engage the audience. Vibrating in bright, bold strokes, Banda Magda’s debut album was named one of the year’s best world music album by NPR. Three albums and many collaborations later (Kronos Quartet, Snarky Puppy, Nu Deco Ensemble) they are working on their 4th. In upcoming “Aurore” scattered loves and influences merge alongside Magda’s fancies towards the fantastic, walking away from genre and towards discovery.
This concert is presented in part by
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GMC.sonoma.edu
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Loanna Chatziandreou
BAN DA M AG DA
MAGDA GIANNIKOU Composer, arranger, producer, vocalist, pianist, and accordionist Magda Giannikou was born in Athens, Greece in the quiet coastal province of Voula. Daughter of a music collector and a music educator, the art form became paramount in her life at an early age. After 15 years of education on classical piano, she decided to widen her musical spectrum by studying film score, jazz improvisation, arranging, and music production at Berklee College of Music in Boston, USA. Founder and leader of the world music group “Banda Magda,” she has toured in 5 continents and 22 countries, performing in discerning venues and festivals such as WOMAD, Atlanta Jazz Festival, Vancouver Jazz Festival, L’Olympia, Jazz à Vienne, Canarias Jazz, Apollo Hammersmith, The Kennedy Center, Kathmandu Jazz Festival, and many more. Magda has also collaborated on several projects with two-time Grammy Award winning group Snarky Puppy. She has produced and arranged for Banda Magda’s first three albums (Amour, t’es là?, Yerakina, Tigre) and currently working on the 4th. 36
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In addition to leading Banda Magda, Magda is part of the Sundance Composer’s Lab and has worked as orchestrator for the Spanish 3D animation feature “La Tropa del Trapo” with composer Zeltia Montes, written music for iZLER and Curt Schneider for “Natural Selection” directed by Robbie Pickering, Edet Belzberg’s “Watchers of the Sky,” and Louis C.K’s “Louie.” In 2013 she was commissioned to compose and perform with the Kronos Quartet, celebrating their 40th anniversary at Lincoln Center in New York. Magda Giannikou is also committed to music education with artist residencies at various institutions such as Berklee Valencia (Valencia, Spain), Oberlin College (Oberlin, US), Artez (Rotterdam, The Netherlands), Kathmandu School of Music (Kathmandu, Nepal), Syddansk Folkemusik Talentskole (Odense, Denmark), Escuela Fernando Sor (Bogota, Colombia), Durham Academy, The Jefferson Center, and EMC (Buenos Aires, Argentina).
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Ms. Margaret McCarthy and Dr. Robert Worth The Press Democrat Irv and Coleen Rothenberg and Buckingham Wealth Strategies Dr. Brian Schmidt Les and Judy Vadasz Bill and Pat White Producer’s Circle $5,000 - $9,999 Debbie DeDomenico and Charlie Martin Sarah Dove, in memory of Duane Dove Bertha and John Garabedian Charitable Foundation Janice and Joel Hadary Dr. and Mrs. Earle Sweat Roselyne Chroman Swig Nancy and Tony Lilly Michael and Janet Verlander John and Teresa Votruba Presenter’s Circle $2,500 - $4,999 Abbey, Weitzenberg, Warren & Emery Mr. and Mrs. Arnold J. Carston Mr. Mark A. Dierkhising and Ms. Karen Brodsky Pauline “Polly” Fisher Richard and Lehn Goetz Gail and Ernst Habicht Dr. and Mrs. Robert Hales Melanie and Perry Karsen Roger and Julie Klein, in Memory of Dorothy McCray Amy and Joel Levine Suzy and Mike Marzalek
Judith and Irwin Miller Eric Norrbom and Dan Needham in memory of Yvonne Norrbom and Jim Miller Joan Ramsay Palmer Steps to a Brighter Smile, LLC Ms. Dorothy Thompson Mr. Michael J. Waldorf Kay Woods Benefactors $1,000 - $2,499 Anonymous (2) Michael and Paula Aja Mr. and Mrs. Lawrence V. Amaturo Mr. and Mrs. Stephen W. Bailey Dr. Eugene Belogorsky Timothy and Corey Benjamin Mr. Jon Jackson and Ms. Jane E. Brickey Cynthia and Frederick Brinkmann Corrick and Norma Brown Karin and Richard Burger Mr. and Mrs. Paul Buzanski Pamela and Timothy Chanter Kathy and Martin Cohn Tony Crabb and Barbara Grasseschi Dennis Cress and Te Smith Rocky Daniels and Deborah Trefz Jayne DeLawter and Kenneth Koppelman Joan Withers Dinner Joanne D. Dow Gordon J. Dow Richard and Jane Drever Mark and Kathie Elcombe
THANKS FOR YOUR SUPPORT! We are so grateful to our many generous donors. Your gifts allow us to provide diverse educational opportunities for Sonoma State University students, audiences, and community members; bring audiences together to build a sense of community; and make possible thrilling performances by captivating performers from a variety of artistic traditions. To learn more about the benefits of supporting the Green Music Center, please contact Gail Chadwin, Annual and Foundation Giving Manager, at 707.664.3661 or chadwin@sonoma.edu.
Mr. Russell W. and Dr. Claudette V. Engle Mary and Scott Farrar Sara Ferrandini Dr. and Mrs. Donald M. Friedrich Donald Gee Dan and Ann Gladding Drs. James and Michaela Glenn Mr. and Mrs. Louis Gonzalez Grant Street Enterprises LLC David Gray and Vrenae Sutphin Norman Greenbaum Dr. Michael Harmon Hashemian Family Fund Mr. John Hayes Lori Hercs Toby and Patt Herfindal Mike and Patty Hickey Bruce and Elizabeth Hoelter Ms. Kathy Horan Mr. Steven Isaacson Ms. Allison Keegan Gaye LeBaron Mrs. Joyce Lopes and Mr. Tom Lopes Bill and Marian Mapes Mr. Mark Mathews and Ms. Valerie J. Marshall Mr. and Mrs. William Meseroll Tim Muller and Family Barbara and Donald Niemann Frank Pope Thomas and Danni Randolph Riley and Pamela Rankin John and Susan Reed Todd Reed, PhD and Nancy Reed, PhD Dr. and Mrs. Alan Rubin Neil Rudolf and Susan Cluff Barbara and Gary Schepis
Mr. Warren A. Schneider Mr. Mark Setterland Jeffrey and Karen Sommers Gregory Sprehn Matthew and Polly Stone Carolyn Johnson and Rick Theis Drs. Karen Thompson and Bob Switky David and Alison Trezise Shawn and Mary Kay Tullock Mr. Andrew Turner and Mrs. Judith Turner Gregory Venegas Ms. Jennifer Walker Chuck and Ellen Wear Philip and Connie Woodward Phillip and Gail Wright Jacob and Debbie Yarrow Donors $500 - $999 Anonymous Ms. Maya Balenz Richard and Rickie Ann Baum Dr. Jean B. Chan and Mr. Ken Ross Ms. Allison W. Doolin and Mr. Timothy Doolin Paul and Hallie Downey Richard and Elaine Fohr Dr. Patti M. Hiramoto and Mr. Wayne Komure Marge & Thom Limbert Barbara and Jake Mackenzie Kate Ecker and John Mackie Mr. Michael R. Martin and Ms. Laura L. Holms Gerald and Lynn McIntyre Mr. Toru Mori
Mrs. Glee Murphy Lorna and Neil Myers Marv and MaryAnn Nickel Cynthia and Bill Noonan Chuck and Kati Quibell Ms. Marlene Russell and Mr. Dennis Center Mrs. Beverly Singer Susan and John Stapp Margaret and Hans Steuck Toby and JoAnn Tyler Mr. and Mrs. Robert A. U’Ren Dr. Lisa Vollendorf and Mr. Scott Votey Mr. and Mrs. Zeigler BANJOS AND BOURBON BENEFIT EVENT Lead Underwriters Codding Foundation Admiral James O. Ellis Jr. and Dr. Elisabeth Paté-Cornell Hansel Auto Group Underwriters Basin Street Properties Henry Beaumont/PCD Inc. John Boland & James Carroll Donald & Maureen Green Foundation The Press Democrat Santa Rosa Symphony Listing Reflects donations made October 1, 2017–November 1, 2018
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CORPORATE AND INSTITUTIONAL PARTNERS
Through their generous support, the partners listed below empower the Green Music Center to bring world-renowned artists to campus and support the range of educational and community offerings that are the cornerstone of our work. In reflection of your support, we offer effective activation strategies, meaningful recognition, and hospitality benefits. For more information on partnership opportunities, please contact Eric Singer at 707.664.3589 or eric.singer@sonoma.edu.
Presenting Sponsor
Media Sponsor
PREMIER WINE PARTNER
Official Timepiece
GOLD CIRCLE & ABOVE
SILVER CIRCLE Breathless Sparkling Wines Chandi Hospitality Group Clover Sonoma Exchange Bank Iron Horse Vineyards Lynmar Estate Martin Ray Winery Marmot Mountain LLC U.S. Bank Foundation
BRONZE CIRCLE Astro Motel Freeman Vineyard & Winery The Gables Wine Country Inn Kanzler Family Vineyards North Coast Brewing Co. Oxford Suites Park Avenue Catering Sally Tomatoes Seismic Brewing Company Tri Counties Bank Wilson Artisan Wineries
Benefactor Ballast Point Brewery Balletto Vineyards Coors Light Corona Hyatt Regency Santa Rosa Lagunitas Brewing Company Marimar Estate Vineyards & Winery
INSTITUTIONAL SUPPORTERS The William and Flora Hewlett Foundation County of Sonoma, Community Investment Fund New England Foundation for the Arts The Andrew W. Mellon Foundation WESTAF | California Arts Council National Endowment for the Arts | Art Works CSU Entertainment Alliance
In-Kind Partners Altamont Beerworks Astro Motel Amaturo Sonoma Media Ballast Point Brewing Co. Barrel Brothers Brewing Bear Republic Brewing Company Black Kite Cellars Bohemian Creamery Breathless Sparkling Wines Brown Foreman Bump City Bakery Cartograph Wines Chandi Hospitality Group Chevoo Clover Ale House Cooperage Brewing Company Coors Corona
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Dierk’s Parkside Café DoubleTree by Hilton Ethic Cider Fogbelt Brewing Company Foxcraft Cider Freeman Vineyard & Winery The Gables Wine Country Inn Halleck Vineyard HenHouse Brewing Company Horse & Plow Hyatt Regency Santa Rosa Iron Horse Vineyards Jeff Cohn Cellars Jimmy Johns Lagunitas Brewing Company Lynmar Estate Marimar Estate Vineyards & Winery Martin Ray Winery Mountain Mike’s North Coast Brewing Company
Moonlight Brewing Old Redwood Brewing Company Oxford Suites Plow Brewing The Press Democrat Red Bird Bakery Redwood Curtain Brewing Redwood Empire Stereocasters Russian River Brewing Sally Tomatoes Seismic Brewing Co. Sonoma-Cutrer Vineyards Sonoma Media Investments 2 Tread Brewing Company Valley of the Moon Winery West & Wilder Wilson Artisan Wineries Wine Country Radio Yanni’s Sausages
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DONOR SPOTLIGHT In 2018, BONNIE LASKY made a planned gift to Sonoma State University’s Green Music Center on behalf of her late husband, Henry. Her generosity will allow future generations to enjoy the gift of live performance in Sonoma County. Bonnie’s involvement with the Green Music Center commenced long before Weill Hall’s debut concert in 2012. When she and Henry heard about the idea for building a new performing arts center at Sonoma State, they immediately became enchanted and offered their support. Bonnie’s excitement stemmed in part from a love of music as a child, when she lived in Europe with her family. As her father was an Air Force pilot, she had the opportunity to live in several countries where she developed an appreciation for a variety of genres, particularly western classical music. Later in life, she and Henry became patrons of both the San Francisco and Santa Rosa symphony orchestras. Bonnie believes the Green Music Center is making a major impact in our region. “I think humanity is built on the arts,” she said. “The Green Music Center is an important gift to our community, not only because of its architectural beauty, craftsmanship and acoustics, but also it brings unique opportunities for enriching our students’ educational experience.” Bonnie’s new philanthropic focus is to ensure the Green Music Center is maintained and that our doors stay open—now and for many years to come. “As many supporters of arts organizations know, ticket sales don’t come close to covering costs. It’s imperative that we all help.” With this goal in mind, and to honor Henry’s memory, Bonnie generously established an endowment fund through an estate bequest. The gift will be divided between the Green 42
Music Center and the Osher Lifelong Learning Center (OLLI), a learning community for older adults at Sonoma State. “Gifts like Bonnie’s are critical to the future of the Green Music Center,” said Marge Limbert, Senior Director of Development. “It is very easy for individuals to make the largest gift of their lives through their estate, and I love helping in the process. It’s fun getting to know people who are so dedicated to music and culture in Sonoma County. Our planned giving donors become members of our Nichols Society as a way of becoming intimately acquainted with the institution they choose to support with a lifetime gift.” Bonnie’s gift will make a tangible and longlasting impact in Henry’s name. “What you give to others lives on forever,” she said. “My husband loved the Green Music Center and OLLI. This endowment in his name makes these great organizations available to others for years to come. Being able to make this contribution has been one of the highlights of my life.” “I encourage you to consider joining me in making a planned gift. Your support will ensure that you and your loved ones and the whole community can continue to experience the magic of music and its impact on our lives,” Bonnie added. The Green Music Center family is very grateful to Bonnie for her generous gift, and for choosing to honor Henry through an estate gift. If you would like to join Bonnie and learn more about making a planned gift to the Green Music Center, please contact Marge Limbert at (707) 664-3814.
CHANTICLEER
Garrop, William Hawley, Jake Heggie, Jackson Hill, Kamran Ince, Jeeyoung Kim, Tania León, Jaakko Mäntyjärvi, Michael McGlynn, Peter Michaelides, John Musto, Tarik O’Regan, Roxanna Panufnik, Stephen Paulus, Shulamit Ran, Bernard Rands, Steven Sametz, Carlos Sanchez-Guttierez, Jan Sandström, Paul Schoenfield, Steven Stucky, John Tavener, Augusta Read Thomas and Janike Vandervelde. Named for the “clear-singing” rooster in Geoffrey Chaucer’s Canterbury Tales, Chanticleer was founded in 1978 by tenor Louis A. Botto, who sang in the Ensemble until 1989 and served as Artistic Director until his death in 1997. Chanticleer was named Ensemble of the Year by Musical America in 2008, and inducted in the American Classical Music Hall of Fame the same year. William Fred Scott begins his tenure as Chanticleer’s fifth Music Director in 2015. WILLIAM FRED SCOTT, Music Director, was the Artistic Director of the Atlanta Opera from 1985-2005 and the Associate Conductor of the Atlanta Symphony Orchestra from 1981-1988–a post offered him by Robert Shaw. As Associate Conductor and Artistic Administrator of the Opera Company of Boston, he worked alongside that company’s legendary founder Sarah Caldwell from 1975-1981. He is a frequent guest conductor at many of the world’s opera companies and symphony orchestras and the Director of Choral Music at The Westminster Schools, Atlanta. His first encounter with Chanticleer was in 1994, when he conducted Chanticleer and the Atlanta Symphony Orchestra in a program of music of the Mexican Baroque. * please use small headshot with this bio
PROGRAM NOTES MY SPIRIT SANG ALL DAY: GERALD FINZI Born in England in 1901, the reclusive and introspective composer Gerald Finzi lived only fifty-five years, dying before his time from Hodgkin’s Disease. Much of his time was spent composing, attending concerts, lecturing, collecting music and befriending the likes of Gustav Holst and Ralph Vaughan 40
WEILL HALL AT THE GREEN MUSIC CENTER
Williams. His output includes orchestral and choral music as well as many solo songs and essays. He shows a brilliance in the way he sets words by finding the essence of the text without the need for over-embellishment. My Spirit Sang All Day is from a set of seven part-song settings of poetry by Robert Bridges (1844-1930) and is an ecstatic declaration of the joy wrought by love. S’ANDASSE AMOR A CACCIA: CLAUDIO MONTEVERDI Claudio Monteverdi, revered as a revolutionary composer whose music spurred the transition between Renaissance and Baroque idioms, was born to a surgeon in Cremona, Italy. He began his musical training in the church at a young age and quickly showed promise as a composer. Though his legacy is strongly tied to the composition of two remarkable operas (L’Orfeo, 1607 and L’incoronazione di Poppea, 1642), his focus until age forty was primarily the mastery of madrigal composition, both sacred and secular. Monteverdi’s madrigals, divided into nine volumes, can be seen as a snapshot of his evolution as a composer. S’andasse Amor a caccia comes from Monteverdi’s second book of madrigals (published 1590, Venice), setting a flirtatious text by Tasso, perhaps seen as witty commentary on the fine line between love and lust. THERE IS SWEET MUSIC: EDWARD ELGAR Sir Edward Elgar was born the son of a piano-tuner and musician. He learned to play the organ by ear and took violin lessons, and played both of these instruments professionally as an adult. Elgar may have a reputation as a quintessentially British composer, but in fact stated openly that he felt more connected to the musical culture of mainland Europe. He is most famous for his orchestral work, though his compositional output is large and includes staged works, solo songs, chamber music, and choral pieces. The distinctive There is Sweet Music is the first piece in Elgar’s Opus 53 -- a collection of four part-songs for mixed voices. The composer considered the set his best work for chorus, and among them, There is Sweet Music was his favorite. It is notable not only for GMC.SONOMA.EDU
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What to eat and where to eat it (weekly). Subscribe to our Cork + Fork newsletter and be the first to know where to eat and drink!
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Green Music Center B o a r d & S ta f f UNIVERSITY PRESIDENT
Green Music Center Staff
BOARD OF ADVISORS
Administration & Programming Jacob Yarrow, Executive Director Becky Cale, Executive Assistant & Board Relations Coordinator Caroline Neyman, Director of Artistic Administration
Judy K. Sakaki
Executive Committee
Henry Hansel, Chair Anne Benedetti, Vice Chair and Nominating Committee Chair Rebecca Green Birdsall, Secretary William C. White, Finance Committee Chair Margaret McCarthy, Member-at-large MEMBERS
John Boland Sonu Chandi Connie Codding Bruce Dzieza Mark Elcombe Joseph B. Flannery Mike Hall Sandra Velasco Jordan John Mackey H. Andréa Neves Irv Rothenberg John Ryan Greg Sarris Brian F. Schmidt John Webley Ex Officio
Judy K. Sakaki, University President Jacob Yarrow, Executive Director Lisa Vollendorf, Provost & Executive Vice President for Academic Affairs Joyce Lopes, Vice President for Administration and Finance Laura Watt, Chair of the Faculty Carley Chatterley, Associated Students President
Emeritus
Donald Green, Co-Chair Emeritus
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Development Marge Limbert, Senior Director of Development Eric Singer, Director of Corporate Partnerships Gail Chadwin, Annual and Foundation Giving Manager Production & Facilities Kamen Nikolov, Director of Production Operations Jerry Uhlig, Associate Director of Production Joseph McNiff, Stage Technician Anthony Melin, Front of House Audio David Montijo, Front of House Audio David Neubauer, Lighting Designer Madison Annala, Facilities Manager Marketing & Communications Andy Shepherd, Senior Marketing Manager Christine Jossey, Marketing & Communications Specialist Box Office Megan Christensen, University Box Office Manager Carly Davis, University Box Office Specialist Guest Services Lori Hercs, Director of Guest Services Andrew Cronomiz, House Manager Hospitality Kelley Kaslar, Director of Hospitality Talmadge Savage, Prelude Restaurant Manager Alison Schneider, Prelude Restaurant Assistant Manager Don Cortes, Executive Chef, Sonoma State University
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CLIENT SERVICES ASSISTANTS Olivia Basso Birgitte Kvendset Melissa Madrid Kymell Mitchell Laura Nunes LeeAnn Paul Candice Velasquez SONOMA MEDIA INVESTMENTS, LLC Managing Member Darius Anderson Chief Executive Officer Steve Falk Chief Operating Officer Bill Hooper Chief Financial Officer Stephen Daniels Chief Revenue Officer Karleen Arnink-Pate Chief Operations Officer Troy Niday President, Magazine Division Michael Zivyak
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PH OTO GALLE RY What an incredible few months of performances in the 2018-19 Season. Take a look at some of the fall highlights, and be sure to connect with us online for more information about what’s coming up next! For a complete listing of the incredible artists we are lucky to have gracing our stages during the remainder of this season, visit gmc.sonoma.edu.
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Brennan Spark PhotographyŠ
1. Las Cafeteras performing an encore with Sonoma State University Mariachi Class 2. Sonoma State students with signed posters from Las Cafeteras 3. Soweto Gospel Choir 4. Kenny Barron Quintet 5. Joan Baez performing to a sold-out crowd 6. Calmus performing in our first ever Loft in Weill Hall setup 7. Navidad Mexicana with Mariachi Reyna de Los Angeles
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G R E E N M U S I C C E N T E R PAT R O N I N F O R M AT I O N HALL AMENITIES • Indoor restrooms are located: on the first floor at the end of Dwight Courtyard Gallery, adjacent to Person Lobby; on the second floor at the north end of the hall. • Drinking fountains are located in the foyer of the first and second floor restrooms. • Elevator service for Weill Hall is located on the north end of Person Lobby for access to the Choral Circle and Balcony. COAT CHECK/LOST & FOUND • Coat check is available in Person Lobby at no charge. For Lost and Found items, please visit Coat Check in the lobby while at the performance or call the House Manager at 707.664.3957. Thereafter, call the SSU Seawolf Service Center at 707.664.2308. DINING & BAR SERVICE • Prelude at the Green Music Center is a fine-dining restaurant located at the end of Dwight Courtyard Gallery. Prelude is open on most concerts nights before, during intermission, and after the performance. Reservations are strongly advised: 1.866.955.6040 ext. 2. • Refreshment bars are located in Person Lobby, and are open prior to the performance and during intermission. No food is allowed in the concert hall; drinks in Green Music Center tumblers are allowed. FIRST AID SERVICES • First Aid services are available on-site. Patrons requiring medical attention can speak to any member of the Guest Services staff.
SMOKING POLICY • Smoking, including electronic cigarettes and vaporizers, is not permitted anywhere on the Green Music Center grounds or the Sonoma State University campus. EMERGENCY EXITS • In case of an emergency, please walk calmly to the lighted “Exit” sign nearest to your seat. LATE SEATING • All concerts will begin promptly. Ushers will seat latecomers at appropriate intervals at the discretion of the performer. If you need to exit the hall following your arrival, please present your ticket to a ticket taker for exit scanning.
• Large-print / Braille programs: contact the Box Office two weeks prior to your concert date to request specialty programs. Pre-ordered programs may be retrieved from the service desk in Person Lobby. • Sign language interpretation: contact the Box Office at least three weeks prior to your concert date. FACILITY RENTALS • For more information on renting a space for your next event, please contact Conference and Event Services at 707.664.4091. CHILDREN • A ticket is required for everyone entering the hall. • Children under 2 are free.
STANDING • Standing is not permitted inside of Weill Hall for the duration of the performance.
PETS • With the exception of service animals, no pets are allowed on the Green Music Center grounds.
RECORDING DEVICES • The use of cameras, recording devices and other electronic equipment is strictly prohibited both inside and outside during all performances. Devices may be used prior to the show.
VOLUNTEERS • The GMC is accepting volunteer requests. For more information, visit gmc.sonoma.edu/about/volunteer.
PATRONS WITH DISABILITIES • Weill Hall has accessible seating for people with mobility limitations. Please notify us of any special needs at the time you purchase tickets. • Assisted listening devices for the hearing-impaired are available at the coat check room in Person Lobby.
TICKET SALES • Our Box Office is happy to assist you with all your ticketing needs.
BOX OFFICE BUSINESS HOURS Monday – Friday, 10:00 am – 6:00 pm WALK-UP SALES Tickets may be purchased in-person at the Info & Tickets desk in the lobby of the SSU Student Center, Monday through Friday from 10 am until 6 pm. The Green Music Center Box Office located in the courtyard of Weill Hall is open one hour prior to most performances. PHONE: 1.866.955.6040 ONLINE: gmc.sonoma.edu EMAIL: tickets@sonoma.edu EMERGENCY MESSAGES: 707.664-3956 GENERAL INFORMATION: greenmusiccenter@sonoma.edu
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What could possibly go wrong?
Our Urgent Care and After Hours centers are here to handle life’s little surprises. From bumps and bruises to fevers and fractures, to those ideas that … “seemed good at the time.” Life is full of unexpected mishaps. Thankfully, St. Joseph Health is here to serve Sonoma County with seven Urgent Care and After Hours centers, open daily with no appointment needed.
Learn more at StJosephHealth.org/UC
Urgent Care and After Hours locations: Santa Rosa 510 Doyle Park Dr – After Hours Care 925 Corporate Center Pkwy, Ste A – Urgent Care Sebastopol 652 Petaluma Ave, Ste B – After Hours Care Rohnert Park 1450 Medical Center Dr – Urgent Care
Windsor 8911 Lakewood Dr, Ste 13 – After Hours Care 6580 Hembree Ln, Ste 270 – Urgent Care Petaluma 905 E. Washington St – After Hours Care