P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
MAR / APR 2018
Tanya Tagaq and the Kronos Quartet champion new works, plus classical music goes Hollywood, the subversive world of John Waters, and more.
CONTENTS
Stanford Live Staff & Sponsors Welcome
p—6
Upcoming Events Scene & Heard
p—8
p—14
Behind the Scenes
Classical Music Goes Hollywood
p—5
Membership
p—32
p—34
Stanford Live & p—36 Bing Concert Hall Donors
By John Mauceri As atonality bombarded the concert hall, traditional symphonists turned to film.
Calendar
p—38
Plan Your Visit
p—39
P A G E— 2 2
Featurette
Campus Voices
Kronos Quartet’s Bold Initiative
Stanford’s Jon Davies and Michael
Comes to Stanford
Kinney Discuss Filmmaker John Waters
p—16
p—28
Photo Essay
Infographic
Sights and Sounds from
Karaoke Culture in the Philippines
The Green Fog p—30
p—20
Featurette A Film Score Playlist
p—26
3
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Mar/Apr 2018 Volume 10, No. 4
S TA N FO R D L I V E M AG A Z I N E M A R / A P R 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
Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Sara Keats Marketing Manager Ciara Caya Customer Service Representative & Administrative Assistant
Maurice Nounou Assistant Director of Ticketing and Sales Noreen Ong Executive and Contracts Administrator
Stanford Live’s 2017–18 season is generously supported by Helen and Peter Bing.
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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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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.
Jan Sillery General Manager Bill Starr House Manager Krystina Tran Marketing Manager
PHOTO CREDITS On the cover: Tanya Tagaq, photo courtesy of Six Shooter Records. Page 6: Illustration by Hybrid Design. Pages 14-15: Photos 1, 3, 4, 5, and 7 by Azar Kafaei; 2 and 8 by Joel Simon; 6 by Cathy Xang. Page 16: Kronos Quartet, photo by Jake Blakesberg; Tanya Tagaq, photo by Katrin Naleid. Page 17: Photo by Tommy Lau. Pages 20-21: Photos courtesy of SFFILM and Tommy Lau. Page 34: Photo by Joel Simon. Page 35: Photo 2 by Azar Kafaei, 3 by Linda Cicero/Stanford News Service, 4 by Harrison Truong.
5
WELCOME
C H R I S L O R WAY EXECUTIVE DIRECTOR
“So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it’s gratifying to have something you have done linger in people’s memories.” —JOHN WILLIAMS
I’ve often wondered why the U.S. is
the “contemporary music” crowd are now
Stanford Live presents
the only G8 nation that doesn’t have
viewed as some of the most important
a wide range of the finest
a Ministry of Culture. One theory is
contributors to the 20th–century classical
performances from around the
that the successful mass market of
music canon in this country.
world, fostering a vibrant learning community and providing dis-
commercial American cultural exports— film, TV, and music in particular—
We are excited to present the work of
tinctive experiences through the
mitigates the need for government
some of the most famous living film
performing arts. With its home at
support for the arts. Case in point: Few in
composers. This year’s Bing Fling will
Bing Concert Hall, Stanford Live is
the world don’t know the iconic opening
feature the Boston Pops playing the
simultaneously a public square, a
bars of the Star Wars theme.
music of popular composer and former
sanctuary, and a lab, drawing on
conductor John Williams. And composer
the breadth and depth of Stanford
As our journey into understanding
Danny Elfman will provide Stanford
University to connect perfor-
the evolution of the American sound
students a rare opportunity to perform
mance to the significant issues,
continues into post–World War II
his new violin concerto, written for soloist
ideas, and discoveries of our time.
America, we examine how opportunities
Sandy Cameron. Finally, we have co-
associated with a burgeoning film
commissioned with SFFILM a new score
industry caused a split in the classical
by Bay Area composer Jacob Garchik for
music community. John Mauceri’s essay
Guy Maddin’s The Green Fog—performed
details the long-standing relationship
live by the Kronos Quartet.
between storytelling and music and how composers who were once ostracized by
See you at the movies!
6
MAR / APR 2018
Upcoming Events
CLASSICAL
CLASSICAL
FA M I LY
Curtis
Stanford
Machine de
on Tour
Symphony
Cirque
Orchestra John Mauceri: Conductor Sandy Cameron: Violin
The American Sound
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
WHEN: S U N DAY, M A RC H 4, 4 :00 P M
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, M A RC H 1 0, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: F R I DAY, M A RC H 1 6, 7 : 30 P M
VENUE: MEMORIAL AU D I TO R I U M
SUN DAY, MA RC H 1 1 , 2 : 30 P M
SAT URDAY, M A RC H 1 7, 2 : 30 P M
This program pays tribute
John Mauceri, “a doyen
Machine de Cirque, founded
to Leonard Bernstein
of musical theatre”
in 2013 with the aim of
(a Curtis Institute alum),
(Gramophone), leads
engaging imaginations in the
Aaron Copland, and George
the Stanford Symphony
group’s community, adroitly
Gershwin, composers of some
Orchestra in Danny Elfman’s
blends acrobatics, juggling,
of America’s most iconic and
new violin concerto Eleven
music, dance, clowning, and
beloved music.
Eleven.
derring-do.
Generously supported by
Presented in partnership with
Mary and Clinton Gilliland
Music at Stanford
8
CLASSICAL
Ute Lemper and the Vogler Quartet Paris Days, Berlin Nights WHEN: SAT U R DAY, M A RC H 1 7, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
Sultry German chanteuse Ute Lemper joins her countrymen for a journey through time via Europe and Argentina.
CLASSICAL
Zurich Chamber Orchestra Daniel Hope: Music Director and Violin
WHEN: S U N DAY, M A RC H 1 8, 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
Daniel Hope leads the ensemble in an unusual pairing of The Four Seasons with minimalist composer Max Richter’s Recomposed, an exciting reimagining of Antonio Vivaldi’s classic.
POP
BLUE: The Songs of Joni Mitchell Our life here
Queenie van de Zandt
Chris Gandel and Misty, joined in 2014 WHEN: F R I DAY, M A RC H 2 3, 8:00 PM
Amazing
SMILES Frequent Wags.
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VENUE: B I N G C O N C E RT H A L L ST U D I O
SAT URDAY, MA RC H 24, 8:00 PM
Australian chanteuse Queenie van de Zandt, along with musical director Max Lambert and a live band, explores her love of all things Joni.
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A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 435294364 COA #246. EPWH755-01KB 090117
SLA048.indd 10
2/6/18 3:38 PM
JAZZ
FILM
NEW MUSIC
POP
Jazzmeia
Vertigo
Kronos
Manila
Horn
Screening
Quartet
Disco Fever
With Special Guest Tanya Tagaq WHEN: S U N DAY, M A RC H 25, 7: 00 P M
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: W E D N E S DAY, A P R I L 4, 6 :00 P M
VENUE: OSHMAN HALL
WHEN: F R I DAY, A P R I L 6, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, A P R I L 7, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
FREE
Winner of the 2015 Thelonious
In the nearly 60 years
The program features
Take a trip down memory
Monk International Jazz
since its premiere, this
The Green Fog, a new work
lane to the Filipino disco
Vocals Competition, Jazzmeia
romantic story of obsession,
for Kronos by filmmaker Guy
songs of the Manila Sound,
Horn has a name that speaks
manipulation, and fear has
Maddin, who set himself the
which began in Quezon City
for itself.
become the most studied
challenge of remaking Vertigo
in the late 1970s, continuing
and discussed film of Alfred
without using footage from
into the early 1980s.
Hitchcock’s career.
Hitchcock’s classic.
Generously supported by Stephanie and Fred Harman and the Koret Foundation JAZZ PROJECT
WORLD
FILM
JAZZ
DISCUSSION
Toumani and
The Triplets of
Akira Tana
John Waters in
Sidiki Diabaté
Belleville
and His Secret
Conversation
Le Terrible Orchestre de Belleville
Agent Band
With Noah Cowan, SFFILM
WHEN: S U N DAY, A P R I L 8, 2: 30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, A P R I L 14, 7:30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, A P R I L 14, 7:00 PM & 9:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: W E D N E S DAY, A P R I L 1 8, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
SUNDAY, APRIL 15, 2:30 P M
One of Africa’s greatest
This much-beloved animated
Spend an evening with music
For 50 years, the iconic
musicians, Grammy-winning
film will be screened as
from the world of James Bond.
filmmaker has been shocking
Toumani Diabaté and his
composer Benoît Charest
son Sidiki make mesmerizing
leads a live performance of
Malian music flavored with
his original score for the film.
Generously supported by Stephanie and Fred Harman and the Koret Foundation
American soul.
JAZZ PROJECT
and delighting audiences with his hilariously transgressive cult movies (such as Hairspray, Pink Flamingos, and Serial Mom).
11
SLA048.indd 11
2/6/18 3:38 PM
MAR / APR 2018
Upcoming Events
JAZZ
CLASSICAL
WORLD
Songs of
Boston Pops
Nano
Freedom
Esplanade
Stern
Joni Mitchell, Abbey Lincoln, and Nina Simone
Orchestra
WHEN: T H U R S DAY, A P R I L 19, 7:30 P M
Bing Fling 2018
VENUE: B I N G C O N C E RT HALL
WHEN: F R I DAY, A P R I L 2 0, 8:00 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
Under the baton of conductor Keith Lockhart, the worldExplore the 1960s through the
renowned orchestra brings
Singer and guitarist Nano
work of three prolific artists.
the music of celebrated
Stern is riding the crest of
Generously supported by
American film composer John
the new wave of Chilean
Williams to the Bing.
song with a style that is
the Koret Foundation
Generously supported by KEY:
WHEN: SAT U R DAY, A P R I L 2 8, 7:00 PM
indie-folk-rock-jazz fusion.
Marcia and John Goldman
JAZZ PROJECT
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
JAZZ
Sundays with
Uriel Herman
the St. Lawrence
Quartet
St. Lawrence String Quartet
More Events MARCH 1 Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma Generously supported by Marcia and John Goldman
WHEN: S U N DAY, A P R I L 29, 2:30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: S U N DAY, A P R I L 2 9, 7:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
MARCH 2 k. d. lang Generously supported by Jeanne and Lawrence
The SLSQ performs music
This classically trained pianist
by Canadian composer
and composer operates on
R. Murray Schafer, in addition
the seam between jazz, rock,
to Haydn and Korngold,
and grunge.
with longtime accompanying
Generously supported by
pianist Stephen Prutsman.
Stephanie and Fred Harman
Presented in partnership with
and the Koret Foundation
Music at Stanford
Aufmuth APRIL 11 Rob Kapilow’s What Makes It Great? The Music of Duke Ellington Generously supported by Bonnie and Marty Tenenbaum and the Koret Foundation
JAZZ PROJECT
For the full calendar, visit live.stanford.edu.
12
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MAR / APR 2018
Scene & Heard
2
1 4
6 7
14
3
1
2
H O L I DAY S TO M P
THE RED VIOLIN
Even the little ones were
Violin soloist Lara St. John,
feeling the holiday stomp
with conductor Paul Phillips
when the Hot Sardines took
and Stanford Philharmonia
the Bing stage on December 9.
members, performs at the screening of The Red Violin on December 8 at Memorial Auditorium.
5
3
4
M O N T E BO O K E R
BRANDI CARLILE
Stanford Live launched its
Brandi Carlile and her
new presenting partnership
bandmates Tim and Phil
with Stanford Concert
Hanseroth closed out 2017
Network with a performance
as part of their Winter
by Monte Booker in the Bing
Acoustic Tour.
Studio on January 19.
5
6
S T U D E N T M AT I N E E
SONG OF LAHORE
The Bard met the big band
Pakistan’s Sachal Ensemble
on December 6 when Marcus
gave its first tour of the U.S.,
Shelby’s ace ensemble
which included a stop at Bing
offered K–12 students a
on November 15.
special performance of Duke Ellington’s suite inspired by Shakespeare. 8 7
8
H A P PY, J OYO U S
A CHANTICLEER
HANUKKAH
CHRISTMAS
On December 14, the
It wouldn’t be December at
Klezmatics brought the little
Stanford without the annual
known Hanukkah tunes of
concert of this beloved
Woody Guthrie to Bing.
a cappella male choir filling Memorial Church.
F E AT U R E T T E
1
Accelerating the Future Kronos Quartet’s Bold Initiative Comes to Stanford
By Thomas May Thanks to its untiring, consistent
Fifty for the Future: The Kronos Learning
commitment to new music, San
Repertoire is a five-year-long “legacy
Francisco–based Kronos Quartet has
project” that, with ten compositions
been reshaping how we think about
being released each year, by 2020 will
the string quartet itself—in both senses
have created a whole new repertoire
of the term: as a composition for a
of fifty pieces by living composers. But
particular medium and as the ensemble
bringing such a treasury of new music
of musicians who perform this type of
into existence is just one dimension
piece. But while commissioning and
of this hugely ambitious, generously
championing new works for string
conceived adventure. The pieces
quartet was already embedded in
themselves address a spectrum of issues
Kronos members’ DNA, in 2015 the
involved in quartet playing, at varying
group launched a project intended
levels of difficulty, and are meant to
to make a mark on an entire new
guide emerging ensembles in developing
generation of quartet players and
their skills. And accessibility is a key
their audiences.
component of the Fifty project:
2 16
S TA N FO R D L I V E M AG A Z I N E M A R / A P R 2 0 1 8
3 Kronos is making the essential ingredients available free of charge in a kind of living archive on its website (www.kronosquartet.org/fifty-for-thefuture/). Anyone can go there to find digital versions of the complete scores and Kronos’ recordings of each piece they’ve released to date, along with interviews, background information, and educational materials. Kronos has long been engaged in coaching young groups in conservatories and other venues around the world to pass on its experience with contemporary quartet music. “One issue we kept noticing is that these groups were having a lot of trouble locating scores and parts to play,” says David Harrington, violinist and founder of Kronos. “It’s so different from when I started out [in the early 1970s in Seattle] and could just go to the library and find the score and recording,” he adds, referring to his epiphany triggered by discovering Beethoven’s quartets, which first opened up Harrington to the unlimited potential of this art form. “Especially for young people who might come
(serendipity is a guaranteed delight
1.
to our shows and want to do similar
for anyone who delves into the Fifty
The Kronos Quartet
things, Fifty for the Future might be able
for the Future materials). Besides being
to have a similar effect.”
evenly divided between women and men, these fifty creative figures range
2. Tanya Tagaq is a category-defying
“Eclectic” is far too pale an adjective to
widely in age, cultural background,
musician who
convey the array of composers Kronos
and aesthetic. “Hopefully this will
practices the art of
has chosen to participate. Some names
result in a mosaic of not only musical
are famous—Laurie Anderson, Philip
and cultural and instrumental issues
Glass, Zakir Hussain (all of them with
but also notational issues,” Harrington
scores already released) and Terry
points out. “We are hoping to give
Garchik’s score for
Riley (whose piece is in the works)—
other players real entry points into the
The Green Fog will be
and quite a few should be famous
art from a variety of places.”
performed at Bing
17
Inuit throat singing 3. Composer Jacob
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 M A R / A P R 2 0 1 8
“What we want is for composers to make something that feels like themselves— something that feels like they are defining their creativity, their work.” — DAV I D H A R R I N G TO N K RO N O S Q UA RT E T
Given such diversity, what guidelines
as “stop-motion animation for string
The string quartet is often considered
does Kronos set? “What we want is
quartet”—requires the musicians to play
one of the most daunting forms in
for composers to make something
whistling and gravity tubes as well as
classical music for composers and
that feels like themselves—something
large desk bells. Tanya Tagaq, who was
musicians alike—the music meant for
that feels like they are defining their
born in the High Arctic in Nunavut, is,
connoisseurs. Despite such associations,
creativity, their work. The music
characteristically for Kronos, a category-
Harrington hastens to underscore the
should be what it needs to be,” says
defying creative musician who practices
key role of youthful inspiration and the
Harrington, whose fellow Kronos
the art of Inuit throat singing and has
energy of those at an early point in
members include violinist John Sherba,
collaborated with Björk. “I love the way
their careers, or even just starting out.
violist Hank Dutt, and cellist Sunny
sound can embody your history, the way
During a visit to the Esterházy Palace
Yang. For Kronos, commissioning is
smells can,” she says. In her Sivunittinni
in Austria—where Joseph Haydn was
a very active process. It’s not about
(“The Future Ones”), Tagaq hopes “to bring
employed for a large part of his career
waiting for a perfected score to arrive
a little bit of the land to future musicians
and wrote the works that helped define
but a process that involves close
through this piece.”
the classical idea of the string quartet— Harrington chanced upon an assignment
collaboration with the composers. And sometimes that means the members
The multi-instrumentalist and composer
young Beethoven had undertaken: “It
of Kronos have to reach beyond their
Jacob Garchik, who has been involved
was his own copied-out version of one
strings and add another instrument
in collaborations with Kronos for
of Haydn’s Op. 20 quartets. Already
to the mix. The Korean composer Soo
years, arranged Tagaq’s music for the
Beethoven was eager to learn, and this
Yeon Lyuh’s Yessori, for example, adds
quartet and is doing similar work for
is how he studied. He didn’t wait to
a part for “a small gong, metal pot, or
other pieces in the project. His own
become a ‘mature composer.’ Waiting is
similar object.” Harrington explains,
score for Kronos will be featured in the
not something I recommend!”
“We recorded it with a Korean gong,
second half of the ensemble’s program:
but when we play it in concert, we use
music he wrote, applying “the Kronos
—Thomas May is a frequent contributor
a beautiful-sounding kitchen pot since
aesthetic,” to accompany filmmaker Guy
to Stanford Live. He blogs at
we don’t own a Korean gong. Whatever
Maddin’s The Green Fog–A San Francisco
https://memeteria.com.
is needed, we’ll add it.”
Fantasia (made with codirectors Evan Johnson and Galen Johnson), which
For the April 6 program at Bing Concert
offers a “parallel-universe version” of
Hall, Kronos is bringing examples of
Alfred Hitchcock’s classic film Vertigo
the unfolding Fifty for the Future rep to
using entirely original assemblages
Stanford for the first time. Both of these
of Bay Area footage. Seen at last
works, by Canadians, were initially
year’s San Francisco International
premiered in 2016. The composer and
Film Festival, The Green Fog was co-
sound artist Nicole Lizée’s Another
commissioned by Stanford Live to
Living Soul—which she describes
celebrate the festival’s 60th anniversary. 18
The Kronos Quartet Featuring Tanya Tagaq Fri, Apr 6, 7:30 PM Bing Concert Hall
How to build the best children’s hospital in the world
Don’t just follow best practices, write future ones.
Located on the Stanford University campus, the all-new Lucile Packard Children’s Hospital is one of the most technologically advanced, environmentally sustainable and family-friendly children’s hospitals in the world. With 3.5 acres of open space and gardens, next-generation technology, and artwork found throughout the hospital, we’re not just following best practices, we’re writing future ones. Learn more at newhospital.stanfordchildrens.org.
From The Green Fog
Photo Essay: Sights and Sounds
Filmmaker Guy Maddin and his team had never visited San The Green Fog—
Francisco before they began work on what would become
A San Francisco Fantasia
The Green Fog—A San Francisco Fantasia, but as they pored
Featuring the
through footage of the City by the Bay, they realized there
Kronos Quartet
would be no better cinematic tribute than a re-creation of
Fri, Apr 6,
the Hitchcock classic Vertigo. Co-commissioned by Stanford
7:30 PM
Live for the opening of the 2017 San Francisco Film Festival—
Bing Concert Hall
with an original score for the Kronos Quartet—the resulting homage is compiled of clips from hundreds of TV shows and films shot in San Francisco to create a sort of paralleluniverse version of the original. Here are a few scenes.
Maddin sourced clips from such movies and TV series as Hotel, High Anxiety, Dark Passage, Sudden Fear, The Towering Inferno, Flower Drum Song, Dirty Harry, An Eye for an Eye, Confessions of an Opium Eater, and Murder, She Wrote
20
Vincent Price is one of many actors who “portray” John “Scottie” Ferguson (Jimmy Stewart) in this mesmerizing cinematic collage based on Vertigo
San Francisco’s
(Image on the left-hand page)
cityscape is the main character of Guy Maddin’s The Green Fog
The Kronos Quartet performs at the world premiere
A scene featuring Joan Crawford drawn from 1952’s noir thriller Sudden Fear The Frenchinspired Victorian on Franklin Street used as the site of a high-end house of prostitution in 1981’s An Eye for an Eye
Martin Landau is among the many actors who show up in the film A
M A I N F E AT U R E
Film composer Danny Elfman, violinist Sandy Cameron, and conductor John Mauceri at the premiere of Elfman’s new concerto
Classical Music Goes Hollywood By John Mauceri The founding director of the Hollywood
a theater organ, or by a symphony
and the acoustic is achieved in the
Bowl Orchestra explains how as
orchestra. With the synchronization
reverse order: vision first, music
atonality bombarded the concert hall,
of image and recorded music, the
after. The effect for the audience,
traditional symphonists turned to film.
specificity of the music and the
though, is exactly the same.
drama could be as finely achieved Cinema was never silent. Music was
as Wagner’s music dramas, in which
In the years before the Second World
always a part of the performance
he coordinated the action and scenic
War, orchestral music was developing
tradition and, indeed, the success
design with the exact beats and
quite nicely, with a mixture of new
of the medium, whether that was
gestures of his scores. ln cinema, the
ideas of an ever-extended tonality, the
music played on an upright piano, on
collaboration between the visual
acceptance of violence as a worthy
22
“I say ‘bravo’ to my bank – First Republic’s performance has been extraordinary.” Y UA N Y UA N TA N
Principal Dancer, San Francisco Ballet
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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 M A R / A P R 2 0 1 8
aesthetic element in the language,
However, a generation of young
serious music critics supported what
and the continued influence of
composers who were born into the
might be called the “Second World War
popular dance form as well as exotic
horrors of the war in Europe began
School” to the exclusion of a vast and
instrumental colors from non-Western
their compositional life in the late
complex tradition of musical depiction
sources. And movie music was simply
1950s and early I960s, and what they
and storytelling that had always
another delivery system of these trends.
had to say was quite specific and, I
been at the heart of Western music.
believe, firmly rooted in their childhood experience. American universities and
The word contemporary no longer meant music composed at a certain time but referred to music of a certain style, even though that style had first been developed in the second half of the 20th century. And while many were quite convinced that those experiments in atonal and 12-tone music were just that, experiments, this nationality-free language spoke profoundly to this group of young and brilliant intellectual men. It was as if their earliest experiences seemed to find an appropriate voice in their new maturity, a maturity that needed to embrace that early trauma and confront the excesses of a romantic spirit that had been
All lu xury co n d o m i rro rs re fl e ct.
abused and an optimism that was now
OURS REFLECT A HAPPIER YOU.
devastatingly unacceptable. Truth was no longer Beauty—just look around. Movies, however, did not care. Movies—their directors, producers, studios, and, most of all, their
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audiences—simply continued on with theater music in the same Western lyric theater tradition. It continued to use the musical metaphors and similes that had developed since the era of the madrigals, while embracing, when appropriate, ideas of what was now called “contemporary music.” Because of this, a vast legacy of
Yo u r L i f e . Yo u r W a y.
orchestral music was composed, performed, recorded, and promulgated to hundreds of millions throughout
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the world not in concert halls but in movie palaces. Movies continued the magic lantern theatrical experience that Wagner imported for his Bayreuth Festspielhaus. And it is not surprising
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that composers of film music used
Alfred Hitchcock, could require
Wagner’s aesthetic and compositional
and inspire vastly different musical
ideas (the leitmotif device, epic scale,
styles—jazz, high Romantic, atonal,
and so on) and continue to do so today. So while it was quite normal for
pop, Russian constructivist—is just
Stanford Symphony Orchestra John Mauceri conducts a new violin concerto by Danny Elfman
one more example of the accepting
Sat, Mar 10, 7:30 PM
nature of film and film music.
Sun, Mar 11, 2:30 PM Bing Concert Hall
composers—like Aaron Copland, Miklós Rózsa, and William Walton—to write
That the greatest film composers were
for the movies and the concert hall
dismissed or even ridiculed by the
in the 1930s and 1940s, this became
composers and critics of contemporary
all but impossible in the late 1950s
music is, by now, very much beside the
and onward with the official language
point and should probably not be seen
of classical music being defined as
as an assessment of musical quality.
existing only within a certain style.
It was, and is perhaps best described
The European wunderkinder, who
as, a passionate difference of opinion.
had become American citizens—Max Steiner, Erich Wolfgang Korngold,
This article originally appeared in
Miklós Rózsa, Dimitri Tiomkin, and
the April 2011 issue of Gramophone
Franz Waxman—inspired the next
and is reproduced with permission
generation of cinema symphonists:
of the licensor through PLSclear.
The Triplets of Belleville Screening with Live Orchestra Sat, Apr 14, 7:30 PM Sun, Apr 15, 2:30 PM Bing Concert Hall Bing Fling Boston Pops Esplanade Orchestra The Music of John Williams Fri, Apr 20, 8:00 PM Bing Concert Hall
Elmer Bernstein, Jerry Goldsmith, Alex North, and Bernard Herrmann; and that influence continues today with John Williams, Danny Elfman, and Howard Shore. That Hans Zimmer works and lives in America brings the story full circle. Now it is up to classical music
Master of Liberal Arts
to look back and look around—which, of course, is exactly what it is doing these days—and that is a good thing. It is no longer unacceptable for a John Corigliano, a Philip Glass, or a Tan Dun to write for the movies. The Second World War School composers are, biologically speaking, passing out of this world. Their musical cosmos has left a memorial to a time that cannot ever be forgotten. Their music insists on our attention. Ironically,
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Political Science
willing to accept new influences, so that the same vast audience that can accept a Korngoldian uplift also accepts the seemingly chaotic opacity
That the output of one film director,
Environmental Science
Philosophy
cinema music, which has always been
Ligeti in one score by John Williams.
Art History
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their musical style has also permeated
of avant-garde composer György
Anthropology
MLA.STANFORD.EDU
Literature
F E AT U R E T T E
James Stewart kisses Kim Novak in Vertigo, which features a romantic score by Bernard Herrmann.
What Are the Greatest Film Scores of All Time? A compendium of film critics—Anne Billson, Robbie Collin, David Gritten, and Tim Robey—offer a few of their favorites.
The Adventures of Robin Hood
Gone with the Wind (1939, Max Steiner)
An American Tragedy needed a real
(1938, Erich Wolfgang Korngold)
Max Steiner’s reeling masterpiece is
heart-bursting score, and Waxman was
A nostalgic choice: the first score
the film score to end all film scores, but
the man to supply it. The main theme’s
I recall being aware of as perfect
also the one to start them: its deluxe
infinitely mellow and versatile—suitable
accompaniment to a film. Czech-born
romanticism and flashes of cartoonish
for an elegant dance shuffle or slowed
Korngold was already an eminent
good humor prefigure the great
right down to capture the very essence
conductor and composer in Vienna and
Hollywood music that would follow, and
of doomed love. (Tim Robey)
Berlin before fleeing to Hollywood to
Elmer Bernstein, John Williams, John
avoid Nazism. He had a penchant for
Barry, and Hans Zimmer all owe it a
A Streetcar Named Desire
jaunty, breakneck orchestral sequences,
mighty debt. (Robbie Collin)
(1951, Alex North)
ideal for Errol Flynn’s swashbuckling epics like this one. (David Gritten)
Credited as one of the first crucial jazz A Place in the Sun (1951, Franz Waxman)
scores, North’s music for Elia Kazan’s
George Stevens’ grand, classical
electric battle of the sexes starts with
treatment of Theodore Dreiser’s
a two-note trumpet burst that’s like
26
S TA N FO R D L I V E M AG A Z I N E M A R / A P R 2 0 1 8
Bond films’ saddest moment—it still
dreams, and the slinky seduction
gives me goose pimples and still makes
between sax and clarinet in “Four
me cry. (Anne Billson)
Deuces” is unforgettable. (TR) On the Waterfront (1954, Leonard Bernstein)
The Godfather (1972, Nino Rota) Rota’s astonishing score not only enhanced the popularity of the first
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A curiosity, this—Bernstein’s only film
two Godfather films but ingeniously
commission. It can stand alone as a
underscored the immigrant family
20-minute piece and contains a lyrical
experience with passages with a broad
interlude for the love story and recurring
emotional range: majestic, joyous,
percussive passages to signal violence.
solemn, frivolous, and melancholic.
Intriguingly, its urban, dissonant mood
One discerns deeply felt sentiment and
prefigures the music Bernstein wrote for
yearnings for a birthplace and a culture
the stage musical West Side Story. (DG)
left behind. (DG)
Vertigo (1958, Bernard Herrmann)
Suspiria (1977, Goblin)
The one and only—probably the prime
Right from the music-box ostinato that
test case for music that’s thrillingly
spider-walks over its opening credits,
effective in context while also fit for
Dario Argento’s immortal giallo begins
the concert hall in every way. It’s
in a state of hysterical panic and only
Herrmann’s most romantic score
cranks things up from there. The witches’
yet also his most chilling, giving all
stew of synths, drums, celesta, and
Hitchcock’s giddy, spiraling motifs the
bouzouki comes courtesy of the Italian
Personal attention
feel of a lush nightmare into which we’re
prog rock ensemble Goblin, whose
thoughtful litigation
inescapably tumbling. (TR)
work on Argento’s fairy tale of blood-
final resolution
red shoes and shattered nerves is, for The Good, The Bad and the Ugly
me at least, the most inventive and
(1966, Ennio Morricone)
accomplished score in a genre renowned
The coyote-call theme that opens
for them. Simply put, it’s what fear
Ennio Morricone’s score for the third
sounds like. (RC)
film in Sergio Leone’s Dollars trilogy
—© Telegraph Media Group Limited 2013
is now so much a part of Western movie lore that it is easy to forget how strange it must have sounded to cinemagoers at the time, who were used to the symphonic sweep of Hollywood productions such as The Magnificent Seven. The melodies blow through you
The Green Fog— A San Francisco Fantasia Featuring the Kronos Quartet Fri, Apr 6, 7:30 PM Bing Concert Hall
like a cold wind from the plains: this could be the most complete evocation of a landscape in all film music. (RC) On Her Majesty’s Secret Service (1969, John Barry) When I first saw this in the cinema with my dad, the reprise of John Barry’s title theme during the ski chase gave me goose pimples, and Louis Armstrong
The Triplets of Belleville Screening with live orchestra Sat, Apr 14, 7:30 PM Sun, Apr 15, 2:30 PM Bing Concert Hall Boston Pops Esplanade Orchestra The music of John Williams Fri, Apr 20, 8:00 PM Bing Concert Hall
singing “We Have All the Time in the 27
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World” made me cry. Classic action and
treatment of Blanche DuBois’ faded
F A M I LY
a riveting insult—but there’s a forlorn
CAMPUS VOICES
A John Waters Roundtable With Jon Davies and Michael Kinney
John Waters has been
What makes John Waters
MK: And have a very “normal”
and the normalcy that
called The Sultan of Sleaze,
a distinctly American
upbringing as kind of the
is often associated with
The Prince of Puke, and
filmmaker?
epitome of this stereotypical
mid-century suburban
queer kid in 1960s America
domesticity.
The King of Schlock—all titles he wears proudly. In
MK: In a way, the people
and then flourishing after
advance of his appearance
around John Waters all
he finds other like-minded
JD: I think there is a
with Stanford Live, we
had these relatively tame
people. That’s an interesting
nostalgia for queer identity
invited two aficionados of
upbringings but also these
part about the Dreamlanders
as something monstrous
the iconic Baltimore-born
extreme personalities that
[Waters’ cast and crew of
and criminal. The Life
filmmaker to share their
were maybe only the product
regulars] and John Waters—
magazine exposé on
insights. Jon Davies, a
of having lived in suburban
they all kind of found each
homosexuality in America
Ph.D. student in Stanford’s
areas. How do you reconcile
other through, or despite,
came out in 1964, which
Department of Art and Art
this other personality or
those normalized American
was when Waters was
History, wrote an M.A. thesis
identity within that very
environments.
making his first short films.
called “Trash Is Truth” on
cookie-cutter environment?
There was the beginning
queer performance in
What role does nostalgia
of a sea change. I think he
American underground
JD: Yeah, and that seems to
play in the worlds that
understood that being seen
film with a chapter on
get taken up in the way John
John Waters creates?
as a problem or perversion
Waters and his longtime
Waters talks about his past
collaborator Divine. Michael
and Divine as well. There’s
MK: For me, nostalgia is
films always seemed to be
Kinney, a Ph.D. student in
that book by Divine’s mother,
connected to his ability to
looking back on a model
musicology at Stanford,
and the joy of it is seeing
stand back and say, you
of queer identity that was
has presented papers on
Divine through her eyes and
know, this whole ideal of
prior to “liberation.”
Waters’ use of music in
just that idea that Divine
the American Dream is very
developing an aesthetic
could emerge from the most
strange. I think that the
of disgust.
banal circumstances.
nostalgic worlds he creates
has a lot of power to it. His
critique his upbringing 28
S TA N FO R D L I V E M AG A Z I N E M A R / A P R 2 0 1 8
How does music contribute
JD: It seems to me a very
documentaries that he’s
to his subversive
distinctly queer cultural
become iconic for a much
cinematic aesthetic?
practice to be reading those
greater audience than I think
pop objects against the grain.
many of us ever imagined.
MK: In Waters’ early films,
Also, I think it’s important
he uses a mix of many
that he was so plugged into
MK: I always think it’s funny
different genres to enhance
the experimental film world
seeing him on talk shows.
his aesthetic of trash. But
in New York and seeing what
Everyone’s just so uneasy
he also uses songs that are
people like Kenneth Anger
around him, and I think that’s
often the B-sides of records.
(in L.A.) were doing. Anger’s
a good thing. He’s someone
Like in Pink Flamingos, you
soundtrack for Scorpio Rising
that forces you to check your
have these early proto-punk,
consists entirely of pop
values and your judgements
surfer-rock B-sides that no
songs that are kind of turned
at all times.
one’s ever heard of, and I
against themselves, and it
think that kind of adds that
was quite early to do that in
JD: I definitely think of
grittiness. But also in Pink
this avant-garde realm.
Oscar Wilde a lot.
like Little Richard’s “The
Where and in what ways
MK: That’s true. I hadn’t
Girl Can’t Help It” that are
do you see the influence
thought about that, but
used as musical backing
of John Waters in popular
they’re analogous. I think he’s
for Divine walking through
culture today?
present every time we feel the
Flamingos, you have songs
right to laugh at stuff that
downtown Baltimore. And it’s very clear that they’re
JD: Something that I’m just so
pushes boundaries. I think
appropriating this Jayne
delighted by every day when
he’s also there in how we
Mansfield image for Divine
I wake up is that he’s become
respond to irony, especially in
in this very ironic way.
this kind of public intellectual
film, and in terms of what we
Irony is key to how music
and a widely celebrated
find shocking but also what
is used in Waters’ films.
figure. He’s in so many
we have the tolerance for. JD: I think that’s such a good point that so much of what makes up mainstream culture
“Nostalgia is connected to his ability to stand back and say, you know, this whole ideal of the American Dream is very strange.”
is so degraded now and should be shocking to us, but we’re kind of immune to it. But then what I think makes his films so enduring is there’s always this extremely strong wit and intelligence behind the shock.
—MICHAEL KINNEY
John Waters in Conversation With Noah Cowan, SFFILM Wed, Apr 18, 7:30 PM Bing Concert Hall
29
The world’s first karaoke machine, the Juke 8, was built by Japanese inventor and musician Daisuke Inoue in 1971. But it is Filipino inventor Roberto del Rosario who holds the machine’s patent.
Karaoke Culture in the Philippines Manila Disco Fever
The Philippines was heavily influenced
region—the obsession with karaoke.
Manila Disco Fever
by Western pop music, so perhaps that’s
Whether it’s a universal love of singing
Sat, Apr 7,
one reason why the Filipino cover band is
or the thrill of humiliating oneself in
7:30 PM
such a global export. In April, we take a
front of others (maybe both), no
Bing Concert Hall
trip down memory lane with the sounds of
matter where you are around the globe,
Manila Disco Fever. But first, here’s a look
you’ll find a karaoke system in many
at another musical phenomenon of the
Filipino homes.
30
Filipinos are born belters. So they’ll try their best to imitate Whitney, Celine— anyone who has a powerhouse voice.
Filipinos have their own versions of Western talent programs like The X Factor. These shows include The Singing Bee, which is a singing karaoke and spelling game competition. And of course, what country doesn’t have its own version of the The Voice?
Even Filipino celebrities like boxer Manny Pacquiao enjoy singing publicly. On the late-night show Jimmy Kimmel Live, for instance, Pacquiao created a viral hit when he performed a duet of John Lennon’s Imagine with actor Will Ferrell.
Just don’t request “My Way.” In the past decade, many Filipino bars have banned this Frank Sinatra song after reports of violent attacks during its performance. Did emotions run high because someone sang out of tune?
31
MAR / APR 2018
Behind the Scenes
PUTTING IT TOGETHER The process for thinking about our 2018–19 season started late last spring, immediately following the release of the 17–18 season brochure. Our team of curators compiled ideas that explored life, love, and loss and the cross-cultural rituals that accompany us on this journey. This framework allowed us to
1
start a dialogue with artists
3
and agents about works
2
that would tell this story. Many of these conversations took place at three major conferences: the Western Arts Alliance (a gathering of West Coast presenters), the International Society for the Performing Arts, and the Association of Performing Arts Presenters in New York. In addition to an extensive meeting schedule, these conferences include showcase performances and “pitch” sessions where artists share information about projects they are developing. C H R I S LO RWAY E X EC U T I V E D I R EC TO R
1
2
3
ISPA
C HO IR! C HO IR! C HO IR!
A PA P
Chris presents Taylor
Chris Lorway, Ryan Davis,
Stanford’s Director of
Mac with the ISPA 2018
and Stanford Concert
Music Programs Laura
Distinguished Artist Award.
Network student Rosalind
Evans (right) with Laura
Mac’s A 24-Decade History
Lutsky sing David Bowie’s
Greer of the Apollo Theater
of Popular Music was
“Heroes” with David Byrne
and Alison Loerke of Alia
copresented by Stanford
at the Choir! Choir! Choir!
Productions at the Geri Allen
Live and the Curran in San
showcase at the Under the
Tribute concert at Tishman
Francisco earlier this season.
Radar Festival.
Auditorium during this year’s Association of Performing Arts Presenters conference.
32
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Membership
MAR / APR 2018
1
An Exciting Time to Join Everything we do, from
full months of recognition and
reopening, we’ll become a full-
presenting world-renowned
benefits starting on the day
year presenter. With all this in
performers to bringing artists
you become a member.
mind, we’ll be discontinuing our ticket subscription program.
to underserved schools, depends on the generosity of
A thrilling event on the
Members and patrons will
our members. As we celebrate
horizon is the reopening of
be able to purchase tickets
our fifth anniversary, it’s
the Frost Amphitheater in
on a per-show basis with no
an exciting time to be, or
summer 2019, and a special
minimum requirements, which
to become, a Stanford Live
benefit for members will
gives our members and patrons
member, as we roll out a
be presale access to Frost
greater flexibility in choosing
redesigned and improved
concerts. We’ll also continue
their favorite performances.
membership program that’s
to offer presale access to all
more in tune with the changing
Stanford Live performances
If you’re already a member,
nature of our organization and
for members, from our
you’ll be receiving details,
our audience’s needs.
Bing Members ($7,500+)
and we’ll be sharing more in
through our Supporter-
our next magazine. We’re so
Memberships will now be
level members ($250+).
grateful for your support, and
based on an annual cycle,
Bing is jumping these days,
we look forward to welcoming
rather than the season you join,
with new shows added all
you to our redesigned
so you will always receive 12
the time, and with Frost
membership program!
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 C E L E B R AT E D A RT I S T S
2 S T U D E N T M AT I N E E S
3 MASTER CLASSES
4 MEET AND GREETS
In one of the most
Stanford Live matinee
Opportunities abound for
At a post-performance
anticipated events of the
programs are open to all
Stanford students to interact
reception last season, Yo-Yo
season, acclaimed soprano
Bay Area K–12 schools
with visiting artists, such as
Ma (returning on March 1)
Renée Fleming made her
and teachers. Pictured are
this recent dance class led by
mingles with Deedee and Burt
recital debut at the Bing on
younsters at December’s
members of the L.A. Dance
McMurtry, Cathy McMurtry,
January 31.
performance by Marcus
Project in January.
and Jim McLaughlin.
Shelby and his ace ensemble.
35
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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 & Ken Powell Sarah & Stanley Freedman Carol & Joel Friedman Aileen Furukawa Catharine & Daniel Garber Dianne & Wesley Gardiner Martha & Spencer Gates 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 M. Carol Stevens & William Kay 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 Patti & Ed 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 The Bullard Family Roberta & Steven Denning Margaret Dorfman 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 Foundation New England Foundation for the Arts Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 1/25/18. 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 advice on the strategic direction of the organization. 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
M AY / J U N E 2 0 1 8
Calendar
JUNE 2
MAY 16
Wed
M AY
JUNE
MAY 9 The Cornel West Concerto
Fri & Sat
Arturo O’Farrill and the
MAY 4 & 5
Afro-Latin Jazz Orchestra
JUNE 2
Wed
Flamenco Sketches
Lost & Found Dancespace Project
MAY 16
Sun
JUNE 10
Aesthetics of Nostalgia
Breathtaking: A Cornetto
Ragazzi Boys Chorus
In Conversation with
and a Voice Intertwine
30th Anniversary Concert
Claudia Rankine
San Francisco Early
Chano Domínguez
Sun
Whiteness and the
MAY 6
Sat
Music Society MORE SHOWS! Stay tuned for details about the 2018–19 season to be announced in late April!
MAY 6
MAY 9
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All programs and prices are subject to change.
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38
Plan Your Visit
Things to Know The Interlude Café in Bing
Change your plans?
Large-print programs
Concert Hall’s lobby serves
Exchange your tickets or make
are available with 72
guests before performances
a tax-deductible donation at
hours’ notice given to
and during intermission. For
live.stanford.edu/changes.
the administrative office.
complete hours, menus, and
Please send all requests to stanfordlive@stanford.edu.
preordering options, visit
Wheelchair seating, with up
live.stanford.edu/dining.
to three companion seats per wheelchair space, is available
Volunteer usher positions
Latecomers arriving after
for all performances. Please
are available throughout the
curtain time will be seated
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
administrative office—call
Patron Services prior to the
650.723.2551 or email us at
show for more information.
stanfordlive@stanford.edu.
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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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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