P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
JAN / FEB 2 018
Cameron Carpenter unleashes his touring organ, a look at Bernstein and the American Sound, plus the greatest backup singer of all time.
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CONTENTS
Stanford Live Staff & Sponsors Welcome
p—6
Upcoming Events Scene & Heard
p—8
p—14
Behind the Scenes
Leonard Bernstein..
Membership
A Political Life
p—5
p—33
p—34
Stanford Live & p—36 Bing Concert Hall Donors
By Barry Seldes
Calendar
p—38
Plan Your Visit
P A G E — 24
Infographic
Artist Voices
Cameron Carpenter’s International
Rob Kapilow on Bernstein’s
Touring Organ
West Side Story
p—16
p—22
Featurette
Featurette
Benjamin Millepied’s
Composing the American Sound
L.A. Dance Project p—30
p—18
Photo Essay Darlene Love: The Greatest Backup Singer Ever p—20
3
p—39
Jan/Feb 2018 Volume 10, No. 3
S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8
STAFF
FOUNDATION & GOVERNMENT PARTNERS
Paul Heppner Publisher
Chris Lorway Executive Director
Susan Peterson Design & Production Director
Bryan Alderman Assistant Director of Development
Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Carol Yip Sales Coordinator
Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Robert Cable Communications Manager
IN-KIND PARTNERS
Ryan Davis Associate Director of Engagement and Public Programs Robert DeArmond Web Developer Laura Evans Director of Music Programs, Education, and Engagement Drew Farley Technical Manager Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR and Administrative Associate
MEDIA PARTNERS
Sierra Gonzalez Director of Marketing, Communications, and Patron Services Danielle Menona Development Associate
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Stanford Live’s 2017–18 season is generously supported by Helen and Peter Bing.
Egan O’Rourke Audio/Video Assistant Manager
Underwriting for student ticket discounts for the 2017–18 season is generously provided by the Bullard family.
Kimberly Pross Director of Production Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development Toni Rivera Operations Coordinator Ivan Rodriguez Artist Liaison/Cabaret Manager
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PHOTO CREDITS Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.
On the cover: Cameron Carpenter photo by Heiko Laschitzki. Page 3: Leonard Bernstein photo by Allan Warren, 1973. Page 6: Illustration by Hybrid Design. Pages 14 & 15: Photos 1, 3, 5, 6, and 8 by Harrison Truong; 2, 4, and 7 by Azar Kafaei. Pages 16 & 17: Photos by Marco Borggreve. Page 18: Photo by Rose Eichenbaum. Page 20: Photo by Christopher Logan. Page 24: Photo by Paul de Hueck, courtesy of Leonard Bernstein Office. Page 27: Photo by Al Ravenna, 1955, courtesy of the Library of Congress. Page 28: Photo by Bob Serating. Page 30: Aaron Copland photo by Eric Auerbach. Page 32: Photo by Carl Van Vechten. Page 34: Photo by Steve Castillo. Page 35: Photo 2 by Harrison Truong; 3 and 4 by Joel Simon.
5
WELCOME
C H R I S L O R WAY EXECUTIVE DIRECTOR
“Jazz is a white term to define black people. My music is black classical music.” —NINA SIMONE
It could be argued that the 20th
We kick off 2018 with performances by
Stanford Live presents
century in America was when
one of the country’s oldest orchestras,
a wide range of the finest
the country solidified its identity
the St. Louis Symphony, and one of its
performances from around the
through innovation and growth.
newest dance ensembles, Benjamin
world, fostering a vibrant learning
The arts were a big part of this,
Millepied’s collaborative L.A. Dance
community and providing dis-
giving voice to both the triumphs
Project, which has injected a new energy
tinctive experiences through the
and the pains that faced the
into the Los Angeles dance scene. We’ve
performing arts. With its home at
nation during this period. In the
also added new shows including k.d.
Bing Concert Hall, Stanford Live is
coming months, Stanford Live
lang, Stew, and Ute Lemper, alongside
simultaneously a public square, a
continues its exploration of this
talks by the acclaimed music critic Alex
sanctuary, and a lab, drawing on
artistic evolution—presenting
Ross and iconic filmmaker John Waters.
the breadth and depth of Stanford
the music of Charles Ives and
University to connect perfor-
Duke Ellington and living national
Finally, Stanford Live is excited to
mance to the significant issues,
treasures like Darlene Love (who joins
announce a new partnership with the
ideas, and discoveries of our time.
forces with the Stanford Symphony
Stanford Concert Network to bring a
Orchestra in February). We also mark
series of student-curated performances
the centenary of Leonard Bernstein,
to the Bing Studio. Read about the
who—as educator, collaborator,
project and the students involved on
activist, and musical populist—was
page 33.
a powerful voice throughout this “American Century.”
6
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JAN / FEB 2018
Upcoming Events KEY:
A M P L I F I C AT I O N
AU D I E N C E I N T E R AC T I O N
CLASSICAL
POP
POP
St. Louis
Ana
Julian Fleisher
Symphony
Gasteyer
in Concert: 1975
David Robertson: Music Director Augustin Hadelich: Violin
Lance Horne: Music Director
Lance Horne: Music Director
WHEN: F R I DAY, JA N UA RY 19, 7:30 P M
WHEN: F R I DAY, JA N UA RY 26, 8:00 PM & SAT URDAY, JA N UA RY 2 7, 10:00 PM
VENUE: B I N G C O N C E RT HALL
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: F R I DAY, JA N UA RY 26, 10:00 PM & SAT U R DAY, JA N UA RY 2 7, 8:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
The St. Louis Symphony—
Audiences fell in love with
This roof-raising, barn-
the second oldest in the
Ana Gasteyer on six seasons
burning concert is devoted
nation—performs Thomas
of Saturday Night Live,
to the proposition that 1975
Adès’ Dances from the opera
where she unabashedly
was the very best year in
Powder Her Face, Benjamin
played and sang at full
American pop. With his
Britten’s Violin Concerto, and
tilt. When she steps up to
Rather Big Band behind him,
Shostakovich’s Symphony
the mic, she evokes the
Fleisher takes the audience
No. 1.
swagger of an era when a
to church where the gospel is
lady ruled a nightclub.
the music of the 1970s.
8
DANCE
L.A. Dance Project Benjamin Millepied: Artistic Director
Our life here Chris Gandel and Misty, joined in 2014
WHEN: F R I DAY, JA N UA RY 26 & SAT U R DAY, JA N UA RY 27, 7 : 30 P M
VENUE: MEMORIAL AU D I TO R I U M
POST-SHOW TALK: JA N UA RY 26
Former Paris Opera Ballet Artistic Director Benjamin Millepied founded the L.A. Dance Project in 2012 to make new work for a small group of dancers in collaboration with visual artists, musicians,
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CLASSICAL
Jeremy Denk and Stefan Jackiw Play Ives
WHEN: S U N DAY, JA N UA RY 2 8, 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
Jeremy Denk, piano virtuoso and a MacArthur “Genius” award winner, visits the Bing with noted violinist Stefan Jackiw—and members of the Stanford Chamber Chorale— for a performance of all the sonatas of Charles Ives. Generously supported by Trine Sorensen and Michael Jacobson
CLASSICAL
T H E AT E R
POP
Cameron
Counting Sheep:
Darlene
Carpenter
A Guerrilla Folk
Love
Opera
Featuring the International Touring Organ WHEN: SAT U R DAY, F E B RUA RY 3, 7:30 P M
Lemon Bucket Orkestra WHEN: WEDNESDAY, FEBRUARY 7– SATURDAY, FEBRUARY 10, 8:0 0 P M
VENUE: B I N G C O N C E RT HALL
POP
Notes of a Native Song Stew and the Negro Problem
WHEN: F R I DAY, F E B RUA RY 2, 8 :0 0 P M
POST-SHOW TALK: EVENINGS
The singer-songwriter Stew—
WHEN: F R I DAY, F E B RUA RY 9, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
In a performance that
A sensation at the 2016
For more than 50 years,
promises to be one of a kind,
Edinburgh Festival Fringe,
singer Darlene Love has
Carpenter—who will be in
Counting Sheep, a Ukrainian
been making rock and
residence on campus—will
folk opera (featuring Toronto’s
roll’s world go ’round.
be playing his revolutionary
Lemon Bucket Orkestra, a
digital International Touring
guerrilla-folk party-punk
Presented in partnership
Organ.
band), recounts Ukraine’s Maidan Revolution.
VENUE: B I N G C O N C E RT H A L L ST U D I O
SAT U RDAY, F E B RUA RY 3, 2:30 & 8 : 0 0 P M
VENUE: B I N G C O N C E RT H A L L ST U D I O
With the Stanford Symphony Orchestra
with Music at Stanford and generously supported by the Bullard Family
JAZZ
CLASSICAL
T H E AT E R
Bill Charlap
Sundays with
The Fever
Trio
the St. Lawrence
Uptown/Downtown: From Broadway to Harlem
St. Lawrence String Quartet
600 HIGHWAYMEN
known for his 2008 Tony winner, Passing Strange— pays homage to the art and activism of James Baldwin.
WHEN: SAT U R DAY, F E B RUA RY 10, 7:30 P M
WHEN: S U N DAY, F E B RUA RY 1 1 , 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
VENUE: B I N G C O N C E RT HALL
WHEN: W E D N E S DAY, F E B RUA RY 14 & T H U R S DAY, F E B RUA RY 1 5, 8:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
F RIDAY, F E B RUA RY 1 6, 7:00 & 9:00 PM
Charlap brings us on a tour
Joining forces with guest
600 HIGHWAYMEN present
of American popular song
violist Masumi Per Rostad, the
a story about a party and
with vocalists Mary Stallings
SLSQ performs a new work
request your participation.
and Freddy Cole.
by Stanford composer Mark Applebaum, alongside works
Generously supported by the
by Mozart and Tchaikovsky.
Koret Foundation
JAZZ PROJECT
11
Generously supported by the New England Foundation for the Arts’ National Theater Project,
Presented in partnership with
with lead funding from the
Music at Stanford
Andrew W. Mellon Foundation
JAN / FEB 2018
Upcoming Events
CLASSICAL
POP
DISCUSSION
Takács Quartet
Bumper Jacksons
Alex Ross
Marc-André Hamelin: Piano WHEN: F R I DAY, F E B RUA RY 23, 7:30 P M
The Search for the American Sound
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, F E B RUA RY 24, 8:00 & 10:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: M O N DAY, F E B RUA RY 26, 6: 0 0 P M
VENUE: B I N G C O N C E RT H A L L ST U D I O
FREE
In the latest of its highly
Bursting with rich threads
MacArthur Fellow Alex Ross
anticipated visits to the Bing,
of Americana, the Bumper
has been the music critic
the Takács partners with
Jacksons’ playfully creative
of the New Yorker since
Canadian piano virtuoso
originals and reimagined
1996. Join him in the Bing
Marc-André Hamelin for
roots music earned
Studio when he discusses
the Dohnányi Piano Quintet
them the titles Artist of
how some of the greatest
No. 1, alongside works by
the Year and Best Folk
composers have sought
Beethoven and Schubert.
Band at the Washington
to fashion a distinctly
Area Music Awards.
American classical music.
KEY:
A M P L I F I C AT I O N
AU D I E N C E I N T E R AC T I O N
WORLD
DANCE
Çudamani:
Monchichi
Gamelan and
Company Wang Ramirez
Dance of Bali
More Events JANUARY 31 Renée Fleming Generously supported by Helen and Peter Bing
WHEN: W E D N E S DAY, F E B RUA RY 28, 7:30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: W E D N E S DAY, F E B RUA RY 2 8, 8:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
FEBRUARY 7 Rob Kapilow’s What Makes It Great?
The traditional Balinese
This fusion of hip-hop and
Generously supported
art of gamelan has
contemporary dance was
by Bonnie and Marty
captivated composers like
created by the duo Wang
Tenenbaum
Canadian Colin McPhee and
Ramirez, a couple onstage
Americans Lou Harrison,
and off. Monchichi is a piece
Save the Date
Charles Ives, John Cage, and
full of humor and self-
Emerging Artists Curated
Steve Reich.
deprecation, a love story in
by the Stanford Concert
different languages.
Network
Generously supported by the
January 19, February 23,
Western States Arts Federation
and March 2
and the National Endowment for the Arts
For the full calendar, visit live.stanford.edu.
12
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JAN / FEB 2018
Scene & Heard
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1 4
6 7
14
3
1
2
S T R A D I VA R I U S
T H E DA I SY T H E AT R E
ENSEMBLE Master puppeteer Ronnie On October 29, Valery
Burkett works his magic with
Gergiev led his Stradivarius
the cast of The Daisy Theatre,
Ensemble, comprising top
presented in the Bing Studio
string players and soloists
in November.
from the Orchestra of the Mariinsky Theatre in St. Petersburg.
5
3
4
ANDREW BIRD
SA M A N T H A B E E
On October 20, the indie
It was a packed house in
innovator Andrew Bird,
Memorial Auditorium on
dubbed a “one-man
November 10 when Stanford
orchestra,” took the Bing
sociology professor Shelley
stage playing his violin,
Correll interviewed America’s
among other instruments,
“first lady of late night.”
to a series of experimental videos.
5
6
UNTIL THE LIONS
M A D S TO L L I N G
Ching-Ying Chien performs
Stephanie and Fred Harman,
with Akram Khan Dance
along with their daughter
Company in Until the Lions,
Allison Harman and Ravina
which had its exclusive Bay
Jain, pose with violinist Mads
Area engagement at Stanford
Tolling, whose performance
on September 27 and 28.
they sponsored on October 6.
7
8
M A RC U S S H E L BY
A BRIMFUL OF ASHA
In advance of his Such
Asha Jain, costar and
Sweet Thunder student
cocreator of A Brimful of
matinee, bassist Marcus
Asha, charms audience
Shelby looked at the
members before the play’s
history of the blues during
multiperformance run in the
a teacher workshop in the
Bing Studio in October.
8
Bing Studio on November 8.
Anatomy of Designed by
Cameron Carpenter fell in love with
Cameron Carpenter
the organ at age four. For the next 20
Cameron Carpenter
and constructed by
years, loving the organ meant loving the
Featuring the
master organ builders
pipe organ—from the tiny instrument
International Touring
Marshall & Ogletree
in his Pennsylvania hometown to the
Organ
of Needham,
great organs at the Royal Albert Hall,
Feb 3, 7:30 PM
Massachusetts, the
Disney Hall, the Berlin Philharmonie,
Bing Concert Hall
ITO is the first digital
and hundreds more. But it was playing
touring organ to
the Marshall & Ogletree organ at Trinity
be heard on four
Church Wall Street in 2004 that made
continents: a full-
him realize the instrument’s potential
scale portable organ
beyond being merely a “pipe organ.”
sonically tailorable
The console footprint is
to any acoustic
approximately 9’ x 7’.
environment.
16
The organ also contains an internal LED lighting system that can be wirelessly controlled by the venue lighting technician.
an
Organ
C A M E RO N C A R P E N T E R
Carpenter’s organ is the eighth built by the company. He commissioned it in 2013, after years of design discussions, and premiered it at Lincoln Center in New York in 2014.
Carpenter used the
The heart of the ITO
ITO to record his
is a supercomputer
2014 Sony Classical
that contains
CD/DVD, If You Could
samples from 34
Read My Mind, with
great American pipe
music ranging from
organs, including
Leonard Bernstein’s
three organs from
Candide and Marcel
Cameron Carpenter’s
Dupré’s virtuosic
childhood.
Variations sur un Noël to Astor Piazzolla, Leonard Cohen, Gordon Lightfoot, and some of his own compositions.
17
F E AT U R E T T E
L.A. Dance Project performing Murder Ballades, featuring choreography by Justin Peck and an original score by Bryce Dessner.
Benjamin Millepied’s L.A. Dance Project Becoming a Company Like No Other
L.A. Dance Project presents a fusion
choreographed the movie Black Swan.
Dancer Rachelle Rafailedes shared a
of top-notch balletic technique,
But as head of L.A. Dance Project,
few thoughts with us about her own take
choreographic innovation, and
he is charting new frontiers for ballet
on L.A. Dance Project’s unique verve.
multidisciplinary collaboration.
in the 21st century. The company
Founded in 2012, L.A. Dance Project
champions dynamic emerging
What would you say distinguishes
is led by powerhouse choreographer
choreographers, such as Justin Peck,
L.A. Dance Project from other
and director Benjamin Millepied.
whose Murder Ballades will appear in
repertory companies?
Having established his career in
its program at Stanford, alongside the
I think what distinguishes L.A. Dance
the traditional centers of the dance
new Second Quartet by Noé Soulier.
Project from other repertory companies
world—as a principal dancer and
While supporting new original dance
is the wide spectrum of dance that the
choreographer at the New York City
compositions, the company is also
company performs as well as the means
Ballet and later as artistic director
expanding the dimensions of dance
in which it presents work. In a single
of the Paris Opera Ballet—Millepied
into an array of other media—from
evening, LADP’s repertory can stretch
is most widely known for having
cinema to fashion and digital curation.
from early American modern dance
18
S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8
“In a single evening, LADP’s repertory can stretch from early American modern dance such as Graham and Cunningham to Ohad Naharin and new creations by Benjamin Millepied.” — R AC H E L L E R A FA I L E D E S C O M PA N Y DA N C E R
such as Graham and Cunningham
to create dance films in the beautiful
to Ohad Naharin and new creations
locations that LA has to offer.
by Benjamin Millepied. The extreme diversity in the repertory is unlike many
Los Angeles is often associated
other companies. Another aspect
with its film and entertainment
of L.A. Dance Project that is unique is that the company often performs in unconventional venues and via
industry but also has an established visual arts scene. Do the visual arts influence the making of the work?
unconventional methods such as
Benjamin is very interested in
exclusively online live performances.
collaborating with artists from all
From Los Angeles’ Union Station to
different genres when he is making
Philip Johnson’s Glass House and
or commissioning new work. He is
the gardens of Versailles, LADP pushes the boundaries of where and how dance can be presented. How does Los Angeles affect the making of the work somehow, especially now that L.A. Dance Project has a permanent home in Los Angeles? As a dancer, Los Angeles as a city is a breath of fresh air. It feels like there is an excitement about dance and art in general. In other cities that have established histories in dance, things can start to feel predictable; however,
very in tune with what is happening
UNPA RA L L E L E D PE R SO NA L SERV I C E I N A L L - I NCL U S I V E L UXURY
in many aspects of the art world, and I think he is excited to collaborate with artists that he admires and respects, regardless of the medium. We have had beautiful sets made by Barbara Kruger, Mark Bradford, Liam Gillick, Christopher Wool, and Sterling Ruby. Original scores by Nico Muhly have been commissioned as well as costumes designed by Rodarte and Alessandro Sartori. A focus of L.A. Dance Project is to bring many art forms together to create work that is fresh and forward-thinking.
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in LA there is a feeling of spontaneity and risk-taking that is refreshing. I think that vibrant energy finds its
L.A. Dance Project Fri, Jan 26 & Sat, Jan 27
way into the work that is made. I
7:30 PM
also believe that the city inspires our
Memorial Auditorium
director, Benjamin Millepied, to want
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The Greatest Backup Singer Ever
Darlene Love:
Rolling Stone proclaimed Darlene Love
in relative anonymity in the recording
Darlene Love
“one of the greatest singers of all time,”
studio backing up others—and in the
With the Stanford
while the New York Times declared that
process becoming the most successful
Symphony Orchestra
her “thunderbolt voice is as embedded
unknown singer in rock-and-roll history.
Fri, Feb 9
in the history of rock and roll as Eric
Now she’s finally having her moment.
7:30 PM
Clapton’s guitar or Bob Dylan’s lyrics.”
Here’s a look back at some milestones.
Bing Concert Hall
But if Love’s name doesn’t quite have the familiar ring of Clapton’s and Dylan’s, it’s because she worked for so many years
20
1962
Phil Spector Darlene Love caught the ear of groundbreaking producer Phil Spector and went on to sing backup (and uncredited lead) on the most well-known “girl group” songs to come out of his hit factory.
1963
1964
“Be My Baby,” the Ronettes Along with Love, Phil Spector invited a pre-famous Cher, Sonny Bono, Bobby Sheen, and Nino Tempo to participate in the backup vocal sessions for the hit “Be My Baby.” It was the first Ronettes song produced by Spector and it exemplifies his “Wall of Sound” production technique, where he layered lots of instruments and used echo effects.
1968
The Blossoms with Marvin Gaye With the Blossoms, Love contributed backing vocals behind many of the biggest stars of the 1960s, among them
“If I Can Dream,”
Marvin Gaye. In 2015, she joined an
Elvis Presley
all-star tribute to the singer to promote
“If I Can Dream” ranks as
epilepsy awareness.
Love’s all-time favorite Elvis song. She sang backup on his historic
1991
NBC special with the Blossoms and remembers, “Whenever we had a break, he would go, ‘Darlene! Do you know this one?’ He’d go get his guitar, and I’d say, ‘Yeah. Come on, let’s sing it,’ and we’d go off in the corner to sing it.”
“Power of Love (Love Power),” Luther Vandross Luther Vandross was the
2013
last person Love ever sang background for and, according to her, was the only
Twenty Feet from Stardom
person that was serious about
Love’s story as a backup singer was
background singers. “Luther
at the center of the Oscar-winning
was the greatest,” she says,
documentary 20 Feet from Stardom.
“because he started out in
And she stole the show at the 2014
the business as a background
Academy Awards, receiving a standing
singer, so his sessions were
ovation after showing off her pipes.
always so much fun.” 21
ARTIST VOICES
Bernstein’s West Side Story: Reality, Identity, and the Imagination By Rob Kapilow
In 1955, West Side Story’s
that poor and I’ve never
life in Shakespeare’s London.
to be religious rather than
book writer, Arthur
even known a Puerto Rican.”
Like the Mississippi River
ethnic—closer to the actual
for Kern, Catfish Row for
experiences of anti-Semitism
an almost completely
For Sondheim, never having
Gershwin, the Wild West
shared by Robbins, Laurents,
unknown 26-year-old
been poor or Puerto Rican
for Copland, and Annie
and Bernstein. But that story
Stephen Sondheim and
instinctively made him
Oakley for Berlin, the New
had already been done in
told him that Leonard
feel like he would be a
York City street gangs
the play Abie’s Irish Rose,
Bernstein was looking
bad match for the show,
depicted in West Side
and when Bernstein and
for someone to co-write
though it didn’t seem to
Story ultimately existed
Laurents happened to read
lyrics for an updated
bother anyone else on the
nowhere but in Bernstein’s,
an article in the Los Angeles
musical version of Romeo
creative team. It never
Robbins’, Sondheim’s, and
Times about rioting Chicano
and Juliet. However, when
struck them as odd that four
Laurents’ imaginations.
gangs in Los Angeles, the
Laurents explained that
upper-class, white, Jewish,
they intended to reset
gay men were writing a
The original idea had been
Jewish-Catholic East Side
Shakespeare’s play in
musical about poor, tough,
to set the story on the East
Story into a ripped-from-
the present-day world of
inner-city Puerto Rican
Side of New York, not the
the-headlines West Side Story
Puerto Rican street gangs
gangs, though in many
West Side, with a Jewish
transformed the project.
in New York City, Sondheim
respects, the reality of New
Maria and an Italian-
instantly said that he was
York City gang life was as
Catholic Tony at the time
Though a great deal of
the wrong man for the job
remote from their personal
of Easter and Passover.
critical attention has been
because “I’ve never been
experience as Elizabethan
The conflict was intended
paid to West Side Story’s
Laurents, approached
idea of turning an outdated
22
S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8
“In a profound sense, it was this desire for connection that drove Bernstein’s creative life as an educator, conductor, composer, and collaborator”
depiction of contemporary
they all had considerable
of City Ballet dancers.
that drove Bernstein’s
New York City gang life, that
firsthand experience with
Perhaps the biggest
creative life as an educator,
was never what the show
prejudice and intolerance as
difference between Romeo
conductor, composer, and
was really about. The music
Jewish gay men with leftist
and Juliet and West Side Story
collaborator, and it was
actual teenagers danced to
politics in the conservative
is the fact that Maria does
at the center of his entire
in gyms was rock and roll,
1950s of Eisenhower, the
not die in the end. In the
personality. Perhaps it
not Bernstein’s sophisticated
Cold War, and Joseph
show’s powerful final scene,
was only in his art that
reworking of Latin American
McCarthy’s fanatical anti-
Maria’s grief over Tony’s
this kind of connection
dance music, and their
Communist crusade.
death moves the two gangs
could be perfectly realized,
to end their feud, unite, and
and perhaps it is only in
dance moves bore no real resemblance to the ones
In the libretto for “Tonight,”
lift Tony’s body together.
the artificial world of a
Jerome Robbins invented.
Laurents writes an
The tragedy has allowed the
musical that prejudice
The street slang that the
extraordinarily poetic
community to reach a new
can be overcome. But a
Sharks and the Jets used
stage direction—“And now
space, a new communion. It
belief in its possibility—a
in the musical—“Cut the
the buildings, the world
is a place Bernstein strove to
belief that there is a
frabbajabba” and “Chung!
fade away, leaving them
reach over and over again
“somewhere” where this
Chung!”—was actually
suspended in space.”
in the ending of theater
kind of connection can
invented by Laurents so that
Though West Side Story
pieces like Candide (“Make
happen—is, in its own
it would not be mistaken
may have been inspired
Our Garden Grow”) and
way, a happy ending.
for reality.
by New York City gang life,
Mass (“Pax: Communion”),
this stage direction offers
as well as in his famous
On the first page of his
the real location where
performance of Beethoven’s
copy of Romeo and Juliet,
the story takes place: an
Ninth Symphony when the
Bernstein had scrawled, “An
imaginary world where the
Berlin Wall fell in 1989. He
out and out plea for racial
buildings and the city have
wanted to lead us to a place
tolerance. Prejudice will
faded away, where Tony and
where “Alle Menschen werden
be the theme of the new
Maria could use a kind of
Brüder”—where all men shall
work,” and that was what
stylized language Sondheim
be brothers, where difference
Rob Kapilow’s
the show was ultimately
found unbelievable, where
and prejudice are overcome,
What Makes It Great?
about. Though neither
Bernstein’s operatic impulses
where we are all connected.
Songs of Leonard Bernstein
Laurents, Robbins, nor
could flourish, and where
Bernstein had any firsthand
Robbins’ gangs could
In a profound sense, it was
experience with gang life,
move with the precision
this desire for connection
Wed, Feb 7, 7:30 PM
23
Bing Concert Hall
M A I N F E AT U R E
1
Leonard Bernstein: A Political Life By Barry Seldes On the morning of May 14, 1959, an
theater—would be proof visible of
leading the New York Philharmonic
excited crowd of thousands gathered
New York’s cultural ascendancy. In
in a performance of Aaron Copland’s
at Broadway and West 64th Street to
the words of urban-planning czar
Fanfare for the Common Man. Bernstein
witness ground-breaking ceremonies
Robert Moses, Lincoln Center would
then introduced the guest of honor,
for the Lincoln Center for the Performing
make the city the “World Center of the
President Eisenhower, who thanked
Arts. The day was a glorious one for
Performing Arts,” a complement to its
the artists and praised the many
New Yorkers, for their new complex—
place as “World Political Capital.”
people within government, labor, business, and charitable foundations
concentrating in one place the city’s world-class dance, orchestral, and
Festivities began at 11 a.m. with master
who had worked to make Lincoln
operatic ensembles and a new repertory
of ceremonies Leonard Bernstein
Center possible. He predicted that the
24
S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8
“increasing interest in America in cultural
Copland’s Fanfare, only a tiny minority
matters” would “influence...peace and
of the onlookers were likely aware, as
understanding throughout the world.”
Bernstein certainly was, that only six
The president then dug up a shovelful of
years before, in 1953, Eisenhower had
earth to inaugurate construction of the
banned a performance of Copland’s
center’s first building, Philharmonic Hall,
Lincoln Portrait at his inauguration
and turned to shake Bernstein’s hand.
because Copland was a supporter of left-wing causes. Did the crowd know
This handshake was a fitting way to
that President Truman, in February
celebrate the partnership between
1950, had banned Bernstein’s music
American political aspiration and high
from overseas State Department
culture. For some years, Bernstein had
libraries and functions? Or that in
been a cultural ambassador for the
1953, Eisenhower’s State Department
United States. He had toured Latin
had revoked Bernstein’s passport on
America with the New York Philharmonic
the grounds that the maestro was a
in 1958 and, at the behest of the State
security risk, returning it only after
Department, was about to go on tour to
Bernstein, his conducting career on the
the Soviet Union, a trip that had great
verge of wreckage, agreed to sign an
significance in the administration’s
affidavit confessing to political sins?
quest for a thaw in the otherwise glacial
These darker events were certainly
Cold War. If anyone fit E. B. White’s
in Bernstein’s mind, and perhaps
idea of the immigrant to the city who
Eisenhower’s, as the two Olympians
greatly enhances its life and culture, it
shook hands in joint celebration.
was Leonard Bernstein. Born in Boston in 1918 and arriving in New York in
Such were the paradoxes and ironies
1941, soon to become a champion of
of that day—the fanfare, waving flags,
American music, he was the composer
and hearty handshakes masking a
of the great New York ballet Fancy Free
closely guarded tale of presidentially
and the New York musicals On the Town
authorized censorship, intimidation,
(1944), Wonderful Town (1953), and West
and humiliation. This tale, and other
Side Story (composed in 1957 and just
aspects of Bernstein’s political life—his
coming to the end of its great Broadway
blacklisting by CBS in 1950, his later
run at the time of the Lincoln Center
removal from the blacklist, and his
groundbreaking), and he had been
return to the podium of the New York
the principal conductor of the New
Philharmonic as principal conductor
Imagine twenty-six enchanted
York Philharmonic. Now, on this day
and then music director—is the one I
acres of organic gardens,
of celebration, the already formidable
tell in my book Leonard Bernstein: The
Bernstein, the most magisterial of New
Political Life of an American Musician.
orchards & vineyards for your
York’s creative and performing artists, was receiving the president’s personal
Those who have written about
recognition as the sovereign of this
Bernstein have tended to avoid
new center for the performing arts.
thematic discussion of his political life. This gap is unfortunate, because
Yet this seemingly unambiguously
Bernstein was highly political. He was
celebratory day had interesting
inevitably responsive to developments
ironies, known only by Bernstein and
in the political and moral climate; his
a few others. For example, as the
choice of texts to set to music often
maestro gave the downbeat to the
revealed his political concerns. To
philharmonic’s brass section to begin
ignore the impact of political forces 25
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M A I N F E AT U R E
S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8
upon Bernstein is to miss out on much
the other sources they illuminate
Bernstein never deserted his
of what enlivened and motivated him.
reveals Bernstein as a politically
progressivism. In the 1940s, he had
engaged man. One comes to see
continued to hold to the idea that an
Deep study of the archival
that his political commitments and
enduring Popular Front might realize
documents—from the Leonard
activities were highly important to
in peacetime the wartime utopian
Bernstein Collection at the Library
him, that he was victimized because
goals of a united humankind. Like so
of Congress to the extensive dossier
of them, and that they often played a
many other progressives, Bernstein
the FBI kept on his activities—and
significant role in his artistic career.
learned the price of not toeing the line set by the orthodox Cold Warriors. He was blacklisted, but he was lucky: the liberal humanists who operated the machinery of the cultural Cold War got him off the blacklist without most of the public knowing he had been on it, years before the blacklist era came to an end and, in fact, while others were still being victimized. He also knew how to take advantage of the American cultural media’s need to create and fetishize stars for commodification’s
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But Bernstein brooded about those “dark times” when, as Hannah Arendt wrote, following Bertolt Brecht’s poem “To Those Born Later,” malign forces operate and the citizen must make choices of relatively great consequence. To disengage from politics and take flight into other realms, such as the aesthetic or the scientific domains, would be craven; to confront these political forces alone was quixotic or even suicidal. Lone individuals might manage to remain ethically connected to their fellows by remaining mindful of the evil and malignant power. They do not forget the dark times, and one such individual was Leonard Bernstein. Once off the blacklist and safely established as music director of the New York Philharmonic, he could have easily taken an inner migration into sheer aestheticism and into purely private issues of the inner life or the family. Instead, he retained and acted upon his progressive impulses. He appeared in political rallies and meetings from
M A I N F E AT U R E
S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8
3 1. Leonard Bernstein conducting. 2. Bernstein at work in 1955. 3. President Dwight D. Eisenhower breaking ground for Lincoln Center in 1959.
the 1960s until his death in 1990; he
well that he would invite FBI inquiry.
one in his Norton Lectures at Harvard
was a member of the Committee
And true to form, J. Edgar Hoover,
in 1973. But he did attempt to express
for a Sane Nuclear Policy (SANE)
ever frustrated in finding evidence
his philosophic outlook through his
and participated in the civil rights
to arrest Bernstein for denying
music, and in this form, he did think
and anti-Vietnam War movements;
Communist Party membership in his
profoundly. In his attempt, mistaken
and he pointedly refused to accept
1954 affidavit, tried to destroy him in
as it was, to ground tonality within
George Bush’s invitation to the White
the early 1970s. Bernstein survived,
the innate capacities of the human
House because of cuts in federal
but the “dark times” prevailed, and
mind and thereby provide evidence of
funding for the arts. He intervened,
over the next nearly 20 years until his
its universality, he sought a common
in short, to defend the progressive
death in 1990, he continually sought
aesthetic ground on which humanity
heritage from its detractors and to
to express in musical form the deep
might find common incantation
shore up liberals demoralized by the
contradictions in American culture.
and expression. He had formed this universalistic outlook at the family
conservative onslaught. Some of his celebrity service work was of relatively
Bernstein’s optimism was that of an
dinner table in the Hebrew prophetic
symbolic significance—for example,
extrovert, but in his later decades,
declarative voice of his father. He may
his appearance in Montgomery to
this upbeat aspect of his personality
have upset his father by not taking on
meet the marchers who had come
cohabited with the darker, prophetic
a rabbinical voice in the synagogue,
from Selma—next to the heroic
vision of a Jeremiah contemplating
but his concert halls were in a sense
activities of others. But the authentic
America gone off track, if not, at times,
gathering points for congregations,
Leonard Bernstein, not the celebrity,
gone mad. He was not a prophet-
assemblies wherein his voice might
quietly sought out Daniel Berrigan in
philosopher with a systematic body
light in his audience a glimmer of
Danbury Penitentiary, knowing full
of thought, though he tried to create
that lost tribe, united humanity.
28
musical theater and reaches a wide and receptive audience. But by his own assessment, Bernstein never found the text for which to compose music that would break the hearts of his fellow Americans and let them gain a glimpse into their history and their potential for social renewal. That text remained, as we know, elusive. But Bernstein did find one means for prophetic expression. His predecessor Mahler had stretched
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and Bernstein had found in Mahler’s music the long narrative of catastrophe and terror that had engulfed European
FA M I LY L AW G R O U P, P. C .
civilization in the first half of the 20th century and seemed to go on endlessly. Mahler spoke for his generation about the loss of belief in enlightened and progressive values. And so in conducting Mahler, perhaps more than any other composer, Leonard Bernstein the ecstatic magus was able to communicate to orchestra and audience his own tragic vision. Excerpted from Leonard Bernstein: The Political Life of an American Musician with permission from the University of California Press.
Rob Kapilow’s What Makes It Great? Songs of Leonard Bernstein Wed, Feb 7, 7:30 PM Bing Concert Hall Bill Charlap Trio Sat, Feb 10, 7:30 PM Bing Concert Hall The American Sound Curtis on Tour Sunday, Mar 4, 4:00 PM Bing Concert Hall
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L A W
entered the concert-hall canon and
Business, meet box office.
F A M I LY
He composed a lot of music that has
Proud to Support the Arts at Stanford
1
Composing the American Sound How Musicians Served as Architects of Modern American Identity
Inspired by Leonard Bernstein’s quest to capture some national essence through his musical compositions, we wanted to call attention to some of his contemporaries engaged in the project of defining a multifaceted
the opening section of Billy the Kid; the texture and soul of the heartland seemed implicit in their sparse, openended contours, their lonely but happy melodies, their tangy tonal harmonies, and their climactic tableaux of
American sound in classical music.
sounding brass and drums. At the
AARON COPLAND
collectivist ethos of the New Deal and
Copland seized the nation’s attention by forging a universally recognizable national sound. Works such as Billy the Kid, Rodeo, Lincoln Portrait, Fanfare for the Common Man, and Appalachian Spring became synonymous with the “open prairie,” as Copland titled 2 30
same time, the music matched the Second World War period—the spirit of “common discipline,” as Roosevelt put it in his first inaugural address. —Alex Ross, the New Yorker, 2007
F E AT U R E T T E
S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8
3
VIRGIL THOMSON As a composer and a critic throughout a life that nearly spanned the 20th century, Virgil Thomson helped American music find its own voice and its own audience. His music has often, and correctly, been called “witty,” though he once said, “I don’t think music’s ever very funny.” It has also correctly been called “cosmopolitan,” but it is rooted in and draws its strength from the music he heard in childhood: hymns that he used to play as an organist in the Southern Baptist church his family attended, popular songs of the 19th century, and the jazz and ragtime that were intensively cultivated in Kansas City, Missouri, where he was born in 1896. —Joseph McLellan, the Washington Post, 1989 CHARLES IVES
1.
His music has been judged to be ahead
WILLIAM GRANT STILL
of its time and uniquely innovative,
Add another member to the growing
rebellious, and modernist. At the same
company of American musical
2.
time, Ives’ personal history, writings,
embryonics…Mr. Still has a very
Charles Ives.
and use of vernacular materials in his
sensuous approach to music. His
music—the sources and strategy of
employment of his instruments is at
quotation and borrowing—reveal an
once rich and nude and decided. The
allegiance to a past remembered, a
upper ranges of his high soprano have
4.
premodern, 19th-century America.
an original penetrating color. And the
Carlos Chávez.
Cultural nostalgia and aesthetic
use of jazz motives…is more genuinely
innovation seem inextricably but
musical than any to which they have
counterintuitively linked in Ives’ music.
been put, by Milhaud, Gershwin, or
—Leon Botstein, Charles Ives and
anyone else.
His World, 1996
—Paul Rosenfeld, Musical Chronicle, 1925 31
Aaron Copland.
3. Florence Price.
F E AT U R E T T E
S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8
CARLOS CHÁVEZ No other composer who has used folk material has more successfully solved the problem of its complete amalgamation into an art form… [His music] exemplifies the complete overthrow of 19th-century Germanic ideals which tyrannized over music for more than a hundred years…[it is] healthy, clear, and clean sounding without shadows or softness…Chávez is one of the few American musicians about whom we can say that he is more than a reflection of Europe…one of the first authentic signs of a New World with its own new music. —Aaron Copland, the New Republic, 1928 LOUIS BALLARD Music history is replete with examples of composers who championed the cause of oppressed people. Composers and their music sustained the spirit of their people at a time of foreign cultural attack and domination. Dvořák, in 1893, predicted that America should have a form of nationalistic music built upon Indian music and black slave songs. So I felt that I was in good company when I took up my pen to express the sufferings of my people, 4
their regeneration and hopes for a better future life. —Louis Ballard, program note for
FLORENCE PRICE
American nationalist elements are
Nationalism was the backdrop
integral to the style. The deceptively
against which African American
simple musical structure of their
composers in the 1920s and early
orchestral music is inherently bound
1930s adapted old artistic forms
to the folk tradition in which they
into self-consciously racial idioms.
are rooted…Price’s music reflects
The affirmation of the values of
the romantic nationalist style of
The Search for the American Sound
the black cultural heritage had a
the period but also the influence
With Alex Ross
decisive impact on William Grant
of her cultural heritage. Her music
Mon, Feb 26, 6:00 PM
Still, Florence Price, and William L.
demonstrates that an African
Bing Concert Hall Studio
Dawson, who had as their primary
American composer could transform
goal the incorporation of Negro
received musical forms, yet articulate
The American Sound
folk idioms, that is, spirituals, blues,
a unique American and artistic self.
Curtis on Tour
and characteristic dance music in
—Rae Linda Brown, program note for
Sun, Mar 4, 4:00 PM
symphonic forms. In the orchestral
Price’s Symphony No. 1 in E Minor,
Bing Concert Hall
music of these composers, the African
performed at Lincoln Center, 1994 32
Incident at Wounded Knee, 1999
JAN / FEB 2018
Behind the Scenes
Stanford University is a hotbed of emerging talent, brains, and vision. Over the last year, we’ve been working on making Stanford Live a proving ground for tomorrow’s leaders in live music and the performing arts. Starting this winter, the Bing Concert Hall Studio will be home to a series of performances curated by the Stanford Concert Network.
1 3
We’ve handed over the
2
creative reins to SCN and invited them to assign six lead student producers to scout and book promising young artists who would speak to the diverse Stanford student body. This new series kicks off with Monte Booker (Jan. 19) and Kweku Collins (Feb. 23). And our student producers are involved in every step of the process! Meet three of our student curators. C H R I S LO RWAY E X EC U T I V E D I R EC TO R
1
2
3
J OSE SERR AN O
J ENNY NOVA
K EL LY B L A K E
Hometown:
Hometown:
Hometown:
Chicago, IL
Sonoma, CA
Manhattan Beach, CA
Class Year/Study:
Class Year/Study:
Class Year/Study:
Senior/Political Science
Sophomore/Data Science
Sophomore/Management
Life-Changing Performance:
& Sociology
Science & Engineering
Paul McCartney at
Life-Changing Performance:
Life-Changing Performance:
Lollapalooza
Grimes at Outside Lands
John Mayer
Nostalgia Song: “You Get
Nostalgia Song: “Rivers and
Nostalgia Song:
What You Give” by the New
Roads” by the Head and the
“Basket Case” by Green Day
Radicals
Heart
Genre Curating:
Genre Curating: Hip-hop
Genre Curating: Casual funk
Alternative/indie rock
33
Membership
JAN / FEB 2018
1
Bing’s Fifth Anniversary January 11, 2018, marks the
take place in Bing, whether
his own birthday by DJing a
fifth anniversary of Bing
looking forward with world
dance party in the lobby.
Concert Hall’s opening. As we
premieres or closing our
blow out our five candles, it’s a
eyes to experience ancient
We wouldn’t be able to
time to think about some other
Byzantine chant in the
celebrate any of this without
exciting numbers. Over the last
digitally simulated acoustics
our generous donors. We are
five years, Bing has hosted over
of Istanbul’s Hagia Sophia.
deeply grateful to the inaugural Bing Concert Hall donors (on
500 events, and we’ve issued Bing has revealed possibilities
page 37), whose initial gifts
we couldn’t have imagined
made the building of the hall
Bing has been a place to
when it opened, from last
possible; to our generous
experience astonishing
summer’s mini re-creation of
Bing Experience Fund donors,
artistry, with performances
Woodstock on the lawn to
whose endowment gifts
by musical legends such as
the new cabaret space we’ve
have supported access and
Yo-Yo Ma, Audra McDonald,
created in the Bing Studio.
programming at Bing; and to
over 275,000 tickets!
all our Stanford Live donors,
Wynton Marsalis, Sheryl And it’s been a place to have
whose ongoing gifts to our
fun! After a stellar cabaret
Annual Fund continue to make
We’ve experienced unique
set, Tony-winning actor Alan
Bing Concert Hall a home for
programs that could only
Cumming even celebrated
amazing arts experiences.
Crow, and Philip Glass.
34
2
3
4
Bing Memberships, concert and series sponsorships, and giving to our Annual Fund all help make Bing Concert Hall a home for amazing arts experiences. To make a gift to support Stanford Live, please contact Danielle Menona at 650.725.8782 or dmenona@live.stanford.edu. 1 OPENING NIGHT
2 PHILIP GLASS
3 S H E RY L C ROW
4 I N P RO G R E S S
“Isn’t this exciting?” Michael
Stanford Live launched its
Country and pop music
The first musical performance
Tilson Thomas gushed to
fifth season in September
star Sheryl Crow performed
within the still-unfinished
the opening-night audience
2016 with a performance of
a sold-out show in October
Bing Concert Hall actually
before leading the San
Philip Glass’ complete piano
2014 and still made time for
took place in June 2012
Francisco Symphony in
études, kicking off the iconic
Stanford students beforehand
when the Stanford Laptop
John Adams’ Short Ride in a
composer’s 80th-birthday
to share her life stories in a
Orchestra (SLOrk) played
Fast Machine. The inaugural
celebrations.
private conversation.
a private concert for the construction crew.
weekend included seven concerts in three days.
35
Stanford Live Donors Stanford Live thanks the following donors for generously supporting the 2017–18 season. BING CIRCLE ($25,000+) Anonymous Jeanne & Larry Aufmuth Helen & Peter Bing Sharon & Edward Bullard Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Scott & Molly Forstall Jill & John Mary & Clinton Gilliland Marcia & John Goldman Drs. Lynn Gretkowski & Mary Jacobson Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Stephanie & Fred Harman Rick Holmstrom & Kate Ridgway The Hornik Family Leslie & George Hume Michael Jacobson & Trine Sorensen Fong Liu Deedee & Burton McMurtry Phyllis Moldaw Barbara Oshman Mindy & Jesse Rogers Bonnie & Marty Tenenbaum Priscilla & Ward Woods
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SUSTAINER ($2,500–$4,999) Keith Amidon & Rani Menon Jonathan, Frances, & Alison Axelrad Deborah & Jonathan Berek Celeste & Wendell Birkhofer James Canales & James McCann William Coggshall & Janet Littlefield Stanley Falkow & Lucy Tompkins The Stephen and Margaret Gill Family Foundation Judy & Jerrol Harris Karen Hohner & Randall Keith Mary Ittelson Iris & Hal Korol Charlotte & Larry Langdon Judy Mohr & Keith Reeves Og & Ogina Ann Tsukamoto-Weissman & Irving Weissman Susan & David Young
BING ARTIST’S CIRCLE ($7,500–$14,999) Anonymous Felicity Barringer & Philip Taubman Luiz Barroso & Catherine Warner Alison & Joe Barta Sally Benson & Terry Surles Nancy & James Bildner Recia & Mark Blumenkranz Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Diane & Stephen Ciesinski Carla Baird & David Crane Ann & David Crockett Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey Phyllis & William Draper III Debbie Duncan & Bill Stone Barbara Edwards Melissa & Trevor Fetter Mary & William Fitch Jean-Marc Frailong & Richard Halton Lynn & James Gibbons Fred Grauer Ann Griffiths Gail & Walter Harris Eleanor & Bruce Heister Anne & Jack Holloway Larry Horton & George Wilson Elizabeth & Zachary Hulsey Wende & Tom Hutton Sallie De Golia-Jorgenson & John Jorgenson Betty & Bob Joss Roberta & Charles Katz Lisa Keamy & Lloyd Minor Kathy & John Kissick Ingrid Lai & William Shu Sujitpan Lamsam & Scott Sagan Carolyn & William Langelier Bren & Lawrence Leisure Robert Lence Debra & Mark Leslie Cynthia & Richard Livermore Jane & Michael Marmor Victoria & James Maroulis Jim McLaughlin & Cathy McMurtry Bill Meehan Nancy & Lawrence Mohr David Morandi Tashia & John Morgridge Dean Morton Susan & Bill Oberndorf John O’Farrell & Gloria Principe Lynn & Susan Orr Anthony Paduano & Ruth Porat Donna & Channing Robertson Barbara & Greg Rosston Tom Sadler & Eila Skinner Meryl & Rob Selig Charlotte & George Shultz Barbara & Arnold Silverman Peter Staple & Harise Stein
PARTNER ($1,000–$2,499) Anonymous Marian & Jim Adams Lysbeth Anderson & John Working Keith Baker Linda & Laurence Baker Lindy Barocchi Lisa Barrett Bernard Beecham & Cheryl Lathrop Jill & Bruce Bienenstock Carolyn & Gary Bjorklund Susan Breyer Terri Bullock Jane & Peter Carpenter John Carter & Edie Goldberg Alexis & David Colker Joanne & Michael Condie Janet & Richard Cory Sommer William Coughran Jr. Toni Cupal & Mike Volpi Thomas Dienstbier & Joyce Firstenberger Stan Drobac & Michelle Swenson Diane Elder & Bruce Noble Margaret Ann & Don Fidler Betsy & David Fryberger Jane & Bruce Gee Susan Goodhue Ed Haertel & Drew Oman Eric Hanushek & Margaret Raymond Nancy & Jerre Hitz Leslie Hsu & Richard Lenon Lucie Jay Julie Kaufman & Doug Klein Grace Kim Kay & Ed Kinney Amy L. Ladd M.D. Sally & Charles Lannin Albe & Ray Larsen Ayleen & Emory Lee Philip Lee & Carlene Wong Shirley Liebhaber Marge & Roger Lobbes
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Joan Mansour Yoshiko Matsumoto & John Ryan Dick Miller & James Stutts Evelyn Miller & Fred Snively Betsy Morgenthaler Paula Moya & Ramon Saldivar Joyce & Joseph Nishimura Edward & Nadine Pflueger Robert & Shirley Raymer Laura Richardson Sara Eisner Richter & Michael Richter Nancy & Norman Rossen Lela & Gerry Sarnat Doris Sayon J. Schwabacher Family Diane Shemanski Deborah & Michael Shepherd Charles Sieloff Srinija Srinivasan Onnolee & Orlin Trapp Mary & John Wachtel Kenneth Weinberg Mariko Yang Sharon & Robert Yoerg
ADVOCATE ($500–$999) Anonymous (8) Laura Adams Bill Albright & Jeryl Hilleman Dorothy & Ted Anderson Lois & Edward Anderson Janice & William Anderson Markus Aschwanden & Carol Kersten Therese Baker-Degler Corrine & Alan Barkin Jeff & Jamie Barnett Marie & Douglas Barry Brigid Barton & Orrin Robinson Elaine Baskin & Kenneth Krechmer Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Mary Bechmann Ann & John Bender Mildred & Paul Berg Susan Berman & Leon Lipson Charlotte & David Biegelsen Matthew Bien & Grace Lee Stephanie Biorn Richard Bland & Marlene Rabinovitch Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Charles Bliss & Caroline Bowker Linda & Steve Boxer Prudence Breitrose Maude & Philip Brezinski Joan B. Brown Thomas Bush & Grace Sanchez Lise Buyer Thomas Byrnes Katharine Carroll & Alison Rosenthal Tasha Castaneda Andrew Chan Donald Cheu Gloria & Michael Chiang Shelli Ching Joyce Chung & Rene Lacerte Ann Clark Holly & Andrew Cohen Mark Cohen & Jackie Pelavin Sheila Cohen & Richard Mazze Lisa K. Colburn Kalyani Comal & Arun Ramakrishnan Paula Cooper Jacqueline & Robert Cowden Suzanne & Bruce Crocker Melanie & Peter Cross Ken Daigle & John Schramm III Jo & John De Luca Richard De Luce Cornelia Dekker
Donato Desopo & Marian Sagan Christina Reid Dickerson Michael Dickey Harvey L. Dixon Carol Dressler Michael Duff Kathleen Dumas Robert Dutton & Carol Walsh-Dutton Ellen & Tom Ehrlich Eleanor Eisner Patricia Engasser Anna Espinosa Dennis Facchino & Angela Sowa Sally & Craig Falkenhagen Lynne & Michael Federle Alex Fielding Joan & Allan Fisch Shela & Stephen Fisk Barry Fleisher Diana & Freeman Ford Margaret Forsyth & Glenn Rennels Rona Foster Sarah & Stanley Freedman Carol & Joel Friedman Aileen Furukawa Catharine & Daniel Garber Dianne & Wesley Gardiner Karen & Edward Gilhuly Charles Goldenberg & Pamela Polos Margaret Gong Edward Goodstein Elizabeth & Jeff Grammer Brian Gray Sally Gressens & Lee Yearley Ester Gubbrud & Charles Ross Elizabeth M. Gulevich Jeanette & Harold Guthart Jamie Hale Sara & Michael Hammond David Hants & Ilze Silis Celia & Terry Harms Joyce & James Harris Stephen Harris Joerg Heilig Anne & William Hershey Freda Hofland & Lester Thompson Robin & Linc Holland Tamaki & Takeo Hoshi Chris Iannuccilli & Michele Schiele Alyson & James Illich Sally & Rob Jackson Dorothy & Rex Jamison Leigh & Roy Johnson Lil & Todd Johnson Robert Jones Martha & Michael Kahn Pamela S. Karlan Inge Keuppens & Marc Vanlerberghe Edie & Bob Kirkwood Barbara Klein & Stanley Schrier Phillip Klimke Renate Klipstas Christina Kong Maureen & Kerry Kravitz Nora & Charles Kruger Jean Lane Janna & Kurt Lang Lisa Lapin Cathy & Stephen Lazarus Cynthia & Bob Leathers Hau Lee Lucy & Jason Lee Joan & Philip Leighton Doreen & David Leith Roxanne Leung Sanford Lewis Adele & Mark Lieberman Marcia Linn & Jack Morris Laurel & Joe Lipsick Sherry Listgarten Deveda & Ernest Littauer Kristen K. Lo Penny & John Loeb Teri Longacre Kathryn Naylor Low
Liqun Luo Ruth Lycette Emily Ma Kathy Mach & David Scherer Charlene & Dick Maltzman Allison & Nino Marakovic Sandra & Joseph Martignetti Bettina McAdoo & Gordon Russell Marylin McCarthy Chris McKillop Penny & Jim Meier James & Victoria Merchant John Metcalfe Maureen Missett Jose Montoya David Moor Martha Morrell & Jaime Tenedorio James Murphy Mariam Nayiny Kirstin & Frederic Nichols Christine & Ronald Orlowski Shari & Donald Ornstein Kevin Osinski & Marc Sinykin Carmela & Eli Pasternak Nancy & Stephen Player Barbara & Warren Poole Mary & Matthew Powell Kitty & Lee Price Kathryn Pryor Kathleen Quinn Katherine & Gary Reback Richard & Karen Schneider Recht Rossannah Reeves Kyoko Robinson Christine Robles Diane & Joe Rolfe Amy Rosenberg & John Slafsky Maureen & Paul Roskoph Annette & William Ross Ann Rossi Elise & Jay Rossiter Diana & Philip Russell Thompson W. Ryan Loren & Shelley Saxe Elizabeth & Mark Schar Paula & George Schlesinger Cora Schmid Sue Schmitt Brent & Michelle Schmitz Nancy & Richard Schumacher Vandana & Arvind Sharma Lee Ann & Martin Shell Craig Sherman & Susan Shin Judith & William Shilstone Katie & John Shoven Judy & Lee Shulman Diane & Branimir Sikic Mary Ann Sing Hannah & Richard Slocum Cristina Valdes Smith Karen & Frank Sortino Susan Speicher Nancy Stanwood Barbara & Charles Stevens Judith Stewart Edward Storm Eleanor Sue Linda & Jeffrey Suto Rosalinda & Michael Taymor Carol & Christopher Thomsen Alicia Torregrosa & Stuart Weiss Connie Turkington Ann & John Varady Wendy & Roger Von Oech Penelope & Robert Waites Joan & Roger Warnke Ben Wegbreit Karen & Rand White Mansie & Gary Williams Polly Wong Robert Wood Marilyn & Irvin Yalom Wai Yau Mary H. Young
Roy Zemlicka Jiecheng Zhang Selma Zinker
SUPPORTER ($250–$499) Byron Bader Mary Bellack Dana Bloomberg Ann & George Crane Judith Dean & Ben Encisco Susan Emerick Leah & Lawrence Friedman Paul Goldstein & Dena Mossar Jane & William Johnson Vera Luth Meghan McGeary & Chih Sung Maura McGinnity & Eric Rausch Wendy McPherson Elyce Melmon Elisabeth Merkel John Micek Jean & Bryan Myers Joan Norton Cynthia & James Nourse Audrey Shafer Carla Shatz Nerija Sinkeviciute-Titus Gayle & Scott Spencer Elizabeth Trueman & C. Raymond Perrault Susan & Lew Wexler Jeri & Kevin Wheaton
PERFORMANCE SPONSORS Jeanne & Larry Aufmuth Helen & Peter Bing Roberta & Steven Denning Scott & Molly Forstall Marcia & John Goldman Stephanie & Fred Harman The Hornik Family Michael Jacobson & Trine Sorensen Bonnie & Marty Tenenbaum
INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 Anonymous Nathan Cummings Foundation, with the support and encouragement of Jaimie Mayer Ann and Gordon Getty Foundation Drs. Ben and A. Jess Shenson Funds National Endowment for the Arts $1,000–$9,999 California Arts Council Aaron Copland Fund for Music Kinder Morgan Foundation Mid Atlantic Arts Foundations New England Foundation for the Arts Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 12/18/17. For corrections, or to make a contribution, please contact Danielle Menona at 650.725.8782 or dmenona@stanford.edu. To learn more about giving to Stanford Live, visit live.stanford/edu/give. § Deceased
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2017–18 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide strategic advice on programmatic goals and visions, financial sustainability, communications and marketing, community outreach and education, and the overall arts branding at Stanford University. Leslie P. Hume, Cochair George H. Hume, Cochair Jeanne Aufmuth Peter Bing Fred Harman Rick Holmstrom Bren Leisure Betsy Matteson Linda Meier Trine Sorensen Srinija Srinivasan Doug Tanner David Wollenberg Ex officio: Maude Brezinski Stephen Sano Matthew Tiews
Bing Concert Hall Donors BUILDING DONORS Peter and Helen Bing Cynthia Fry Gunn and John A. Gunn John Arrillaga Family Anne T. and Robert M. Bass Roberta and Steve Denning Elizabeth and Bruce Dunlevie Jill and John Freidenrich Frances and Theodore Geballe Andrea and John Hennessy Leslie and George Hume Susan and Craig McCaw Deedee and Burt McMurtry Linda and Tony Meier Wendy Munger and Leonard Gumport Jennifer Jong Sandling and M. James Sandling Regina and John Scully Madeline and Isaac Stein Akiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND DONORS With appreciation for the following donors, who provide major support for programming and musical instruments for Bing Concert Hall. Anonymous Apogee Enterprises, Inc. The Adolph Baller Performance Fund for Bing Concert Hall Friends of Music at Stanford Fred and Stephanie Harman Fong Liu Elayne and Thomas Techentin, in memory of Beatrice Griffin Bonnie and Marty Tenenbaum The Fay S. and Ada S. Tom Family Turner Corporation The Frank Wells Family Maurice and Helen Werdegar
MAR / APR 2018
Calendar
Wed
APR 20
MARCH
APRIL 11
The Music of Duke Ellington
Thu
Rob Kapilow’s What Makes It
MARCH 1
Great?
Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma
Sat–Sun APRIL 14–15
Fri
The Triplets of Belleville
MARCH 2
k.d. lang
Wed
Ingénue redux 25th
APRIL 18
Anniversary Tour
John Waters in Conversation with Noah Cowan (SFFILM)
Sat
Sat
MARCH 3
MARCH 17
SsingSsing
Ute Lemper and the
Thu APRIL 19
Vogler String Quartet Sun
Paris Days, Berlin Nights
MARCH 4
The American Sound
Sun
Curtis on Tour
MARCH 18
Songs of Freedom: Mitchell, Lincoln, and Simone Fri
Zurich Chamber Orchestra Fri
APRIL 20
Bing Fling Boston Pops Esplanade
MARCH 9
Orchestra
APRIL
Corelli the Godfather Philharmonia Baroque Orchestra
Wed
Fri
APRIL 25
APRIL 6
Sat–Sun
Kronos Quartet featuring
MARCH 10–11
Tanya Tagaq
Beethoven Unleashed Philharmonia Baroque Orchestra and Chorale
Stanford Symphony Orchestra with John Mauceri,
Sat
conductor, and Sandy
APRIL 7
Cameron, violin
APRIL 29
Manila Disco Fever
Sundays with the St. Lawrence
Fri–Sat
Sun
Sun
St. Lawrence String Quartet
MARCH 16–17
APRIL 8
Machine de Cirque
Toumani and Sidiki Diabaté
Sun APRIL 29
Uriel Herman Quartet
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38
Plan Your Visit
Things to Know The Interlude Café in Bing
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Large-print programs
Concert Hall’s lobby serves
Exchange your tickets or make
are available with 72
guests before performances
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and during intermission. For
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the administrative office.
complete hours, menus, and
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preordering options, visit
Wheelchair seating, with up
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to three companion seats per wheelchair space, is available
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Latecomers arriving after
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indicate your needs when
year. For more information,
at a suitable interval in the
purchasing tickets so that an
please send an email to
program or at intermission.
appropriate location can be
bstarr@stanford.edu.
We recommend that you
reserved for you.
arrive at least 30 minutes Sign language interpreting
prior to performances.
is available with five business Assisted-listening devices
days’ notice given to the
are available. Please visit
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show for more information.
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Performance Venue Information Bing Concert Hall & Bing UN
Concert Hall Ticket Office AR
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Frost Amphitheater
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Memorial Church
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Memorial Auditorium
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Stanford Ticket Office
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Anderson Collection at
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Directions For driving directions or
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public transportation
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can be found along the Oval at the end of Palm Drive, on
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Lot and on Lasuen Street, the Oval.
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Alum Centeni r
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Alumni Center
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Alumni Café, Arrillaga
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Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays after 4:00 pm and on weekends at all times. Disabled parking, loading, and servicevehicle restrictions are enforced at all times.
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information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit http://visit.stanford.edu/plan/ parking.html.
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