P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
N OV / D EC 2017
Brandi Carlile joins the season, the secret lives of instruments, the power of tradition, plus a playlist for the holidays.
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CONTENTS
Stanford Live Staff & Sponsors Welcome
p—8
Upcoming Events Scene & Heard
p—10
p—14
Behind the Scenes Membership
Keepers of the Flame By Loren Schoenberg Performances by Jason Moran and the Sachal Ensemble Deal with Cultural Traditions
p—7
p—32
p—34
Stanford Live & p—36 Bing Concert Hall Donors Calendar
p—38
Plan Your Visit
P A G E— 2 2
Twelve Songs for
Photo Essay
Christmas
Meet Ronnie Burkett’s Marionettes From The Daisy Theatre
Pitchfork music critic Simon Reynolds
p—28
Offers a Personal Playlist p—16
Featurette
Artist Voices
The Secret Lives of
Rob Kapilow on the Jews
Instruments
Who Wrote Christmas
p—18
p—30
Infographic Mapping The Red Violin
p—20
5
p—39
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Nov/Dec 2017 Volume 10, No. 2
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7
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 Robert Cable Communications Manager Ryan Davis Associate Director of Engagement and Public Programs
IN-KIND PARTNERS
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 Sierra Gonzalez Director of Marketing, Communications, and Patron Services
MEDIA PARTNERS
Danielle Menona Development Associate Maurice Nounou Assistant Director of Ticketing and Sales
Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Sara Keats Marketing Manager Ciara Caya Customer Service Representative & Administrative Assistant
Egan O’Rourke Audio/Video Assistant Manager Kimberly Pross Director of Production
Stanford Live’s 2017–18 season is generously supported by Helen and Peter Bing.
Jeremy Ramsaur Lighting Manager
Underwriting for student ticket discounts for the 2017–18 season is generously provided by the Bullard family.
Nicola Rees Director of Development Toni Rivera Operations Coordinator Ivan Rodriguez Artist Liaison/Cabaret Manager Jan Sillery General Manager Bill Starr House Manager
Corporate Office
Krystina Tran Marketing 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. ©2017 Encore Media Group. Reproduction without written permission is prohibited.
On the cover: Brandi Carlile photo by David McClister. Page 8: Chris Lorway illustration by Hybrid Design. Pages 14- 15: Photos 1, 2, and 6 by Joel Simon; 3, 4, and 5 by Little Fang; 7 and 8 by Harrison Truong. Page 18: Photo by James Farley. Page 20-21: Infographic by Hybrid Design. Page 22: Photo by Clay Patrick McBride. Page 24: Photo courtesy of the Sachal Ensemble. Pages 28-29: Photos by Alejandro Santiago. Page 32: Rehearsal photo by Lucy White. Page 34: Photo by Joel Simon. Page 35: Dianne Reeves photo by Joel Simon.
7
WELCOME
C H R I S L O R WAY EXECUTIVE DIRECTOR
“Almost any American can connect on some level to a family background of having come across some ocean. They say, ‘My great-grandparents came from wherever...this is why we have this last name, why we do this thing at Christmas.’ All the details get watered down but don’t quite disappear.” — J H U M PA L A H I R I
You could make a strong argument
In the coming months, we have peppered
Stanford Live presents
that the holiday season is
the program with a series of events to
a wide range of the finest
responsible for America’s greatest
commemorate the season, including a
performances from around the
musical canon. Over the last
folk roots concert by cover artist Brandi
world, fostering a vibrant learning
century, hundreds of songs have
Carlile and our annual Chanticleer
community and providing dis-
been written to provide a nostalgic
concert at Memorial Church. We also
tinctive experiences through the
backdrop for family gatherings,
believe the holidays are a time for
performing arts. With its home at
staff parties, and visits to the mall.
dancing, so we’ve left space on the
Bing Concert Hall, Stanford Live
Where many of these songs came
floor of Bing to do so for both the
is simultaneously a public square,
from may surprise you. In this issue
Hot Sardines and the Klezmatics.
a sanctuary, and a lab, drawing
of Stanford Live magazine, Rob
on the breadth and depth of
Kapilow takes you to the Lower
Finally, Stanford Live is very excited to
Stanford University to connect
East Side of Manhattan, where
welcome Paul Phillips, Stanford’s new
performance to the significant
Jewish immigrants were crafting
director of Orchestral Studies. Members
issues, ideas, and discoveries of
many of the songs we know and
of the Stanford Philharmonia—with
our time.
love. And for those of you looking to
Paul at the helm—and violinist Lara
refresh your annual playlist, music
St. John will bring to life the music
journalist Simon Reynolds provides
of the iconic film The Red Violin. This
a list of his favorite holiday tunes.
project will be the start of a very exciting partnership. Stay tuned!
8
NOV / DEC 2017
Upcoming Events
DISCUSSION
T H E AT E R
CLASSICAL
Chuck
Longing Lasts
Sundays with the
Klosterman and
Longer
St. Lawrence
Simon Reynolds
Penny Arcade
St. Lawrence String Quartet
Nostalgia and Pop‑ Culture Throwbacks
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: W E D N E S DAY, N OV E M B E R 1, 7:30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: F R I DAY, N OV E M B E R 3, & SAT U R DAY, N OV E M B E R 4 8:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: S U N DAY, N OV E M B E R 5, 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
POST-SHOW TALK: NOVEMBER 3
Best-selling writer Chuck
Penny Arcade’s hilariously
The St. Lawrence String
Klosterman (But What If We’re
iconoclastic monologue,
Quartet, which has in the
Wrong: Thinking about the
created by one of Andy
past presented immersive
Present As If It Were the Past)
Warhol’s underground
encounters with the music
and Pitchfork music critic
superstars, addresses
of Franz Joseph Haydn,
Simon Reynolds (Retromania:
perennially political
holds an all-Haydn “Bing-
Pop Culture’s Addiction to
issues of class and gender
fest” with all six of his
Its Own Past) discuss how
and everyday woes
Opus 20 string quartets.
nostalgia drives pop culture
like gentrification.
and the music industry.
Presented in partnership with Music at Stanford
10
DISCUSSION
JAZZ
JAZZ
WORLD
In Conversation
Jason
Patricia Barber
Song of Lahore
with
Moran
Trio
Sachal Ensemble
Samantha Bee
In My Mind
WHEN: F R I DAY, N OV E M B E R 10, 7 : 30 P M
VENUE: MEMORIAL AU D I TO R I U M
WHEN: SAT U R DAY, N OV E M B E R 11, 7:30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, N OV E M B E R 1 1 , 8:00 PM & 10:00 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, N OV E M B E R 1 5, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
Canada’s Samantha Bee,
In this centenary year of
The resident jazz pianist and
Inspired by the documentary
who learned her craft as a
Thelonious Monk’s birth, jazz
vocalist from Chicago’s Green
film of the same name, Song
correspondent on The Daily
virtuoso Jason Moran explores
Mill brings her trio to the Bing.
of Lahore is a cross-cultural re-
Show with Jon Stewart, has
Monk’s roots and impact.
Generously supported by
creation of songs made iconic
Generously supported by the
Stephanie and Fred Harman
Koret Foundation and the
and the Koret Foundation
become a sharp political commentator with a ribald voice that never loses its charm or its funny.
National Endowment for the Arts
by Duke Ellington, the Beatles, Dave Brubeck, Henry Mancini, and Richard Rodgers. Join us for a free screening
JAZZ PROJECT
of the film on November 8.
JAZZ PROJECT
T H E AT E R
WORLD
T H E AT E R
CLASSICAL
The Daisy
Victoria
Betty
Rolston String
Theatre
Hanna
Buckley
Quartet
Ronnie Burkett WHEN: W E D N E S DAY, N OV E M B E R 15– SAT U R DAY, N OV E M B E R 18, 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
Story Songs WHEN: W E D N E S DAY, N OV E M B E R 29, 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: F R I DAY, D EC E M B E R 1 , & SAT U R DAY, D EC E M B E R 2 8:00 PM
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: S U N DAY, D EC E M B E R 3, 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
S U N DAY, N OV E M BE R 19, 7:00 PM
The Jerusalem-based singer-
With legendary performances
These rising Canadian stars
Don’t bring the kiddies to
songwriter is known for
in such shows as 1776, Cats,
came together in 2013,
puppeteer Ronnie Burkett’s
mesmerizing interpretations
and Sunset Boulevard to
eventually winning first prize
rather bawdy, thoroughly
of Jewish texts that combine
name a few, Betty Buckley
at the Banff International
entertaining The Daisy Theatre.
Middle Eastern sounds with
has been dubbed the
String Quartet Competition.
rap and hip-hop.
“voice of Broadway.”
That same year, the ensemble won the John Lad Prize, which brings it to the Bing.
11
CLASSICAL
JAZZ
The Red Violin
The Hot Sardines’
Film with Live Orchestra Featuring Lara St. John
Holiday Stomp
WHEN: F R I DAY, D EC E M B E R 8, 7 : 30 P M
VENUE: MEMORIAL AU D I TO R I U M
WHEN: SAT U R DAY, D EC E M B E R 9, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
Canadian violinist Lara St.
Dance ’til you drop to a
John, with the help of a live
yuletide blend of hot jazz,
orchestra featuring members
including swinging renditions
of the Stanford Philharmonia,
of classics like The Nutcracker
will perform the score at a
Suite and “White Christmas”
screening of The Red Violin,
and less traditional tunes like
which follows an antique
Ella Fitzgerald’s “Santa Claus
violin’s odyssey from Europe
Got Stuck in My Chimney.”
to modern Montreal. Copresented with Music
Generously supported by the Koret Foundation
at Stanford This film is rated R.
JAZZ PROJECT
POP
CLASSICAL
WORLD
An Evening with Brandi Carlile
A Chanticleer
The Klezmatics
Winter Acoustic Tour
Christmas
Happy, Joyous Hanukkah
WHEN: F R I DAY, D EC E M B E R 15, 7:30 P M
VENUE: M E M O R I A L AU D I TO R I U M WHEN: W E D N E S DAY, D EC E M B E R 1 3, 7 : 30 P M
VENUE: MEMORIAL C H U RC H
WHEN: T H U R S DAY, D EC E M B E R 14, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
The Grammy–nominated singer-songwriter, who first rose to wide acclaim with the 2007 hit The Story, comes to Stanford with longtime bandmates Tim and Phil Hanseroth (aka “the twins”) as part of their holiday tour.
12
It wouldn’t be December at
Woody Guthrie and
Stanford without the annual
Hanukkah? Who knew? The
concert of this beloved a
Grammy-winning Klezmatics
cappella male choir, filling
riff off Guthrie’s original
Memorial Church with sound
melodies and create new
and hearts with joy. Who
tunes in this unremittingly
knows? Your first visit may
cheerful fusion of klezmer
launch a family tradition.
music and American sounds.
Business, meet box office. Encore connects your business to arts patrons wherever they are. To learn what Encore can do for your business, visit encoremediagroup.com.
SPOKEN WORD
Selected Shorts Holiday Nostalgia
WHEN: S U N DAY, D EC E M B E R 10, 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
Pinewood is an independent, coeducational, non-profit, K–12 college-prep school. Students benefit from small
class size, challenging academic curricula,
A public radio watchword for years, Selected Shorts broadcasts weekly on 150 listeners across the country— not to mention its devoted podcast audience. At the Bing, the nostalgia of the holidays takes center stage with host Chris Bauer
Passionate Expertise High Academic Expectations Unlimited Exploration
(The Wire, True Blood) and
Grounded Moral Examples
reader Christina Pickles
Confident Self-Expression
(St. Elsewhere, Legends of the Fall).
K12 enrichment activities. through
stations to some 300,000
and a wide choice of
We offer an environment where each student is a respected and vital member of our educational community. We invite you to explore the opportunity for your student to become a part of the Pinewood tradition of academic excellence. For more information, please visit our website.
www.pinewood.edu
NOV / DEC 2017
Scene & Heard
2
1 4
6 7
14
3
1
2
B U F F Y SA INTE- MA RIE
B U F F Y SA INTE- MA RI E
Buffy Sainte-Marie, a critical
Prior to the show, Shawon
voice for indigenous issues
Kinew, from Stanford’s Art
and the recipient of the
and Art History Department,
Polaris Prize (Canada’s top
introduced Sainte-Marie in
musical honor), launched
her native language.
the Stanford Live season on September 22.
5
3
4
TAYLO R MAC
A RT S I N T E N S I V E
Stanford Live and the Curran
As part of a three-week
teamed up to produce Taylor
workshop, students from
Mac’s A 24-Decade History of
Stanford’s Arts Intensive
Popular Music over four days
helped design and build
in San Francisco.
new costumes and other production elements.
5
6
ARTS INTENSIVE
TAYLO R MAC
Prior to the San Francisco
On September 27, Mac
run, Arts Intensive students
presented a new abridged
pose backstage at the Curran
version of A 24-Decade History
with costume designer
created especially for Bing
Machine Dazzle.
Concert Hall.
7
8
TAYLO R MAC
TAYLO R MAC
Mac involves a member of
Mac works the audience
the audience on the Bing
during the abridged
stage.
performance at the Bing.
8
ARTIST VOICES
Twelve Songs for Christmas By Simon Reynolds
Pitchfork music critic Simon
Slade, “Merry Xmas
Paul McCartney, “Wonder-
The Greedies, “A Merry
Reynolds and best-selling
Everybody,” 1973
ful Christmastime,” 1979
Jingle,” 1979
writer Chuck Klosterman
Fronted by the Lennon-
This ought to be too
What most likely started out
are two of today’s sharpest
as-foghorn blast of Noddy
ingratiatingly sickly to
as a beery jape conceived
wits breaking down what
Holder, Slade was Britain’s
stomach, but Macca’s deft
in a Soho pub—“let’s give a
makes pop culture tick. In
biggest hit-maker during
craftsmanship and clever
brace of yuletide standards a
advance of his conversation
the glam early 1970s. But
touches (synth squiggles like
lumpen sub-punk do-over,
at the Bing, Reynolds was
out of its half-dozen number
bubble bath, that burbling
shall we lads?”—became a
kind enough to put together
ones, it is “Merry Xmas
reverb-shimmered bass) make
minor UK hit.
a short playlist in time for
Everybody” that has endured
this song charming rather
the holidays. It’s a selection
as a hardy perennial.
than cloying.
Wizzard, “I Wish It Could Be
The Stranglers, “Don’t Bring
Fresh from her disco-noir
Christmas Everyday,” 1973
Harry,” 1979
remake of Peggy Lee’s “Is
Another glam-era chart
Punk-era misanthropes
That All There Is?”—with
topper, Wizzard’s Roy Wood
the Stranglers released
altered lyrics so decadent
was a pasticheur with an
this morosely languid ditty
that original lyricists Leiber
uncanny facility for repli-
about heroin—personified
and Stoller had the cover
cating the signature sound
as the creepy and insidious
version suppressed—Cristina
of admired predecessors.
“Harry”—as a Christmas
made a contribution to
Not for the first time, the
single in 1979. Amazingly
ZE Records’ A Christmas
target of Wood’s sincere
they would have a huge
Album that was a nihilist
flattery here is Phil Spector.
winter hit a couple of years
subversion of the seasonal
later with another song
song, festering not festive.
that might surprise you. Listen on live.stanford.edu/xmas
John Lennon and Yoko Ono/ Plastic Ono Band, “Happy Xmas (War Is Over),” 1971 It’s hard to believe that the man capable of the acrid disillusion of “Working Class Hero,” “God,” and “My
Cristina, “Things Fall Apart,” 1981
Mummy’s Dead” could just
about smack, the gorgeously
one year later record this
bittersweet and implicitly
soppy sway-along.
hymnal “Golden Brown.” 16
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7
Maccca's deft craftsmanship and clever touches make this song charming rather than cloying.
X Project, “Walking in
Wrapping,” 1982
the Air,” 1993
Best known for “I Know What
This rambunctious bass-
Boys Like,” these Akron New
booming rave anthem is
Wavers also scored with this
a Christmas song only by
wonderfully tart tale about
association, sampling Welsh
being too busy and too jaded
choirboy Aled Jones’ hit
to celebrate the holidays.
single “Walking in the Air.”
The Pretenders,
Killer Mike, “A Christmas
“2000 Miles,” 1983
Grind,” 2003
Another Akron New Waver,
Off the album Crunk and
Chrissie Hynde is one of
Disorderly, “A Christmas Grind”
rock’s true originals as a
belongs to a surprisingly
vocalist, with her magnetic
sizeable subgenre of holiday-
alloy of tender and tough,
themed rap songs: Kurtis
needy and nasty. But
Blow’s “Christmas Rappin’,”
here the edge softens and
the Treacherous Three’s
Hynde allows herself a
“Santa’s Rap,” Run DMC’s
completely moist moment
“Christmas in Hollis,” Ludacris’
of Christmassy wistfulness.
“Ludacrismas,” Master P’s
Proud to Support the Arts at Stanford
“Christmas in da Ghetto,” Frankie Goes to Hollywood, “The Power of Love,” 1984 Frankie dominated 1984 with
Ying Yang Twins’ “Ho Ho
Personal attention
Ho,” and Run the Jewels’ “A
thoughtful litigation
Christmas F*cking Miracle.”
final resolution
a triptych of singles with epic
Our goal is to preserve our client’s dignity and humanity.
themes. “Relax” was about sex, transgression, and shock
Chuck Klosterman &
(it was banned by the BBC);
Simon Reynolds
“Two Tribes” grappled with
A Conversation on
war, Armageddon, and U.S.
Nostalgia and Pop-
vs. USSR geopolitics; and the
Culture Throwbacks
ballad “The Power of Love”
Wed, Nov 1, 7:30 PM
hymned the redemptive
Bing Concert Hall
FA M I LY L AW G R O U P, P. C .
575 Market Street, Suite 4000 San Francisco, CA 94105 415.834.1120 www.sflg.com
power of devotion and faith.
17
F A M I LY
The Waitresses, “Christmas
L A W
— S I M O N R E Y N O L D S O N PAU L M C C A RT N E Y ’ S “ WO N D E R F U L C H R I S T M A S T I M E "
F E AT U R E T T E
Lara St. John performs in The Red Violin
The Secret Lives of Instruments From the Artists Who Played Them The title “character” in The Red Violin—
Lara St. John, violin soloist in
brought out and sold, but it’s a very
a perfect, red-colored instrument—
The Red Violin screening:
poignant story nevertheless. It’s on loan
inspires passion, making its way
The 1779 Guadagnini (Turin) I have
to me thanks to an anonymous donor.
through several owners and countries
played on for the past 17 years has a
over three centuries. In anticipation
story similar to The Red Violin. It came
Wu Man on the 2013 airline incident
of the performance here at Stanford,
to the American continent in the 1920s
that destroyed her precious, custom-
we thought it would be fun to hear
as a gift from a father to his young son,
made pipa, a plucked four-string
from a few artists who have played
who was studying with Efrem Zimbalist
Chinese instrument:
or will play at Stanford about the
and performed at the Hollywood
An instrument is a life, not a piece of
provenance of and their relationship
Bowl. Unfortunately, he contracted
luggage. My other pipa had been with
to their own instruments.
tuberculosis and died at 17, and his
me for 18 years and basically established
heartbroken father entombed him with
my music career in the United States.
this Guadagnini and some bows. A few
Right after it was broken, when I told
years later during the Depression, the
Man Rui Xing (the master instrument
family needed money, so the violin was
craftsman) in Beijing the story, he was
18
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7
very cool—he said, “Don’t worry, I will
string. By the early 20th century, it
from performing and toward business,
make you a new one.” There is a space
seems that the instrument was in
this friend decided to sell the cello
in my heart for my old pipa. It’s like a
the hands of a Jewish family. This
to me in 2007. I have never been so
relationship between two people, the
unnamed family fled Europe in the
charmed by a musical instrument, and
instrument and yourself. But the new
1930s and arrived in America, and the
I look forward to the day when another
one had a new sound and a different
cello was unfortunately forgotten and
young cellist can fall for it, too!
quality that I was excited to try. We get
left to deteriorate in a closet. Andrew
along very well now.
Dipper, a Minnesota-based luthier, bought the pieces in the 1970s and,
Geraldine Walther, violist for the
after several years, decided to piece it
The Red Violin
Takács Quartet:
back together. As he studied the wood,
Film Screening with Live Orchestra
When I joined the quartet 12 years
Dipper noticed that in an earlier time
Fri, Dec 8, 7:30 PM
ago, I had been playing on a beautiful
the cello had indeed had ten peg holes.
Memorial Auditorium
instrument on loan to me by the San
He knew that he just had to reconstruct
Francisco Symphony that I knew I
this beautiful and voluptuous wooden
would have to return. So the Takács
body back into its original five-string
Quartet managed to find a beautiful
form. What he ended up with was
Guadagnini viola for me that came
such a superb specimen. In the early
Philharmonia Baroque
from an amateur player’s great
1990s, it was put up for auction in Los
Orchestra & Chorale
collection. I have since learned this
Angeles, where a good friend and
Fri, Mar 9 & Wed, Apr 25, 7:30 PM
viola was used by the great English
appraiser took one look at it and paid
Bing Concert Hall
violist Watson Forbes, in the London-
for it outright. Eventually turning away
based Aeolian Quartet during the 1930s and 1940s. All that spring, after I had won the job, that viola sat in its case looking at me, wondering when I would get to know it. It needed another visit to the workshop to be just right for me, and now, from being a stranger, it has become a real friend for me onstage and off in times of slight panic as well as great euphoria. William Skeen, cellist with Philharmonia Baroque Orchestra: Most players aren’t able to know much of the backstory to their instrument, but I know something about mine. Built in the late 17th century as a five-string cello, this instrument probably lived much of its life as a normal fourstring cello. Cellos with five strings, though relatively common in the 17th and early 18th centuries, had fallen out of fashion by the end of the 18th century. It must have been at this point that the instrument lost its fifth
Takács Quartet Fri, Feb 23, 7:30 PM Bing Concert Hall
Mapping The Red Violin
The Red Violin tells the story of a mysterious red-colored violin and its many owners. This guide traces its winding path through five distinct historical moments and cultural milieus.
The Red Violin Film Screening with Live Orchestra Fri, Dec 8, 7:30 PM Memorial Auditorium
FILM
CREMONA
VIENNA
1681
1793
Nicolò Bussotti is a
The violin comes into the
violin maker whose wife,
possession of Kaspar Weiss,
Anna Rudolfi, is pregnant.
a young but brilliant
Anna asks her servant
violin prodigy.
Cesca to foretell her unborn
—Compiled by Francesca Dawis
child’s future. H I S TO RY
The world’s earliest and most
Haydn composed his six
renowned luthiers—Nicolò
Apponyi Quartets in Vienna
Amati, Bartolomeo Giuseppe
in 1793 just after he made his
Guarneri, and Antonio
first visit to London—where,
Stradivari—were all from
for the very first time, the
Cremona, making it a center
composer heard his music
of musical instrument
played for the public rather
manufacturing.
than in performances restricted to the Esterházy court.
20
OX FO R D VIENNA
MONTREAL
SHANGHAI
CREMONA
OX FO R D Late
1890s
SHANGHAI Late
1960s
MONTREAL
1997
Frederick Pope comes across
In the chaos of China’s
An appraiser arrives in Montreal
the Gypsy procession setting
Cultural Revolution, any
and, almost immediately, he
up camp on his estate,
ideas or items deemed
notices the Red Violin and believes
as a Gypsy woman plays
“bourgeois” are denounced
it may be the legendary lost violin
the violin.
and marked for destruction.
of Nicolò Bussotti.
Romani music is mainly
Chairman Mao Zedong initially
Canada played a significant role in
instrumental and usually
allowed Western music in his
aiding China’s resurgence after the
performed on classical
country, so long as it “served
Cultural Revolution. Beginning in
guitar and fiddle.
the Chinese, and art served
the early 1980s, Canadians
politics.” But in the 1960s, Mao
collaborated with Chinese colleagues
became more reactionary in his
in areas such as management,
fear of Western elements.
education, agriculture, health, the environment, and higher education teaching.
21
M A I N F E AT U R E
1
Keepers of the Flame By Loren Schoenberg
Tradition has been defined as “the
quite different but that actually
decades after, audiences preferred
handing down of information,
share commons goals at their root.
to dance to live musicians—imagine
beliefs, and customs by word of
that! And as the music became more
mouth or by example from one
Popular music has always been derived
sophisticated, another audience
generation to another without
from its function as music to dance
developed who preferred to listen
written instruction.� Stanford Live
to. The social rituals that surround the
to the music rather than dance, and
is presenting two ensembles, Jason
dance were vital before the explosion
venues began to cater to their desire.
Moran and his Big Bandwagon and
of technology and social media began
the Sachal Ensemble, that deal with
to render them less important, if not
Duke Ellington had a particularly
their specific cultural traditions in
altogether moot. Similarly, before the
felicitous phrase to represent music
ways that on the surface sound
advent of recordings, and for many
that made your toes tap; he called
22
“First Republic takes extraordinary care of us and provides flawless service.” H E L G I TO M A S S O N, Artistic Director & Principal Choreographer, San Francisco Ballet M A R L E N E TO M A S S O N, Former Dancer, Wife and Mother
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S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7
2 1. Jason Moran reimagines Thelonious Monk’s historic 1959 Town Hall concert 2. Members of the Sachal Ensemble perform music from Song of Lahore
it “encouraging the terpsichorean
for jazz, has long been pursuing an
Fats Waller’s music that transposes
urge.” And no matter how seemingly
approach to jazz that takes into
the Harlem of the 1930s squarely into
complex or fascinating or deep the
consideration not only the notes
contemporary times without losing
music becomes, if part of you isn’t
played but also the historical and
the essence of the original. Not one
vibrating in rhythm, it might be time
cultural contexts that produced
to shy away from nontraditional
to see the doctor. The three spheres
those notes. His brilliant adaption
approaches—after all, his mentor was
of music are traditionally said to
of a signal event in jazz history—
the brilliant and idiosyncratic pianist
be rhythm, melody, and harmony.
Thelonious Monk’s 1959 Town Hall
Jaki Byard—Moran uses multimedia
There’s a fourth one, as well. The
concert—is as much Moran as it is
throughout his Monk program that
writer Stanley Crouch has named it
Monk. And that is as it should be.
is all functional; it relates directly
timbre, which means the sound of
Monk himself was the legatee of the
to Monk and in novel ways.
music. Of all of these spheres, rhythm
brilliant Harlem stride piano players of
is the primal one; after all, we are
the first decades of the 20th century.
The Sachal Ensemble has also found
conceived in rhythm. Whether the
All throughout his music are echoes
its own voice using the music of the
music has its roots in Harlem USA or
of the music of Fats Waller, James
past as its roots. In the group’s native
in Lahore, Pakistan, focusing on the
P. Johnson, and their peers. What
Pakistan, a rich musical culture with
rhythms that you’ll be hearing from
made Monk’s music so original was
a determinedly international mix
both ensembles is the entryway into
that he found a way to combine those
was suddenly made verboten in 1977
a deeper appreciation of the music.
influences into a new, coherent whole.
with the imposition of Sharia law.
That is what Jason Moran has done,
All of a sudden, an entire population
Pianist Jason Moran, currently the
in turn, with Monk’s world. He has
of musicians and people whose
Kennedy Center’s artistic director
also created a program dealing with
livelihood was tied to music was left
24
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7
adrift. Miraculously, over the ensuing
Brubeck, an inveterate listener to new
Tigers recording in 1995. McBride
years, various members of what was
sounds and musicians, called it “one
later became the director of the Dave
once a large musical aristocracy
of the most interesting recordings
Brubeck Summer Jazz Colony and
managed to keep the traditions alive.
of the song I’ve ever heard.” He was
continues to be a major presence
Producer and music lover Izzat Majeed,
also entranced with bassist Christian
across many musical genres. Besides
along with Mushtaq Soofi, secretly
McBride (no stranger to jazz at
being an artistic director at the
gathered these musicians at his Sachal
Stanford), whom he invited to play
National Jazz Museum in Harlem,
Studios, for many years making sure to
on his classic Young Lions and Old
among many other distinguished
keep their activities under the radar. Many times, this undertaking came at great personal risk, as you will see in Song of Lahore, a documentary film about their trip to New York to play with Wynton Marsalis at Lincoln Center. And it is that award-winning documentary that brings them to Stanford. It had a particularly strong effect on Chris Lorway, executive director of Stanford Live. “After seeing the brilliant documentary,” he wrote, “I was struck by two things that are important to consider at this moment: how soft power—like the State Department’s Jazz Ambassadors program—was used in the late 1960s to mitigate international perceptions of racial division and inequality; and how the Lahore musicians’ sometimes frustrating rehearsals with
A l l l uxur y condo mir ror s re f lect .
OURS REFLECT A HAPPIER YOU.
Jazz at Lincoln Center can be seen as a metaphor for the immigrant experience, an often challenging transition into the melting pot.” Dave Brubeck made a huge impact on Pakistan’s musicians during his
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1958 U.S. State Department tour. “Take Five,” recorded the following year, was Brubeck’s most well-known recording, and something about it resonated with the musicians who eventually formed
Yo u r L i f e . Yo u r W a y.
the Sachal Ensemble. They had no idea when they posted their version of the Brubeck piece on YouTube in 2011 that
CA RCFE #410508359 COA #318 BRE# 01066367
it would explode internationally. It was covered by the BBC, and something about the blend of traditional Pakistani instruments with the undulating curves of a jazz classic created a new sound.
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positions, McBride is also the host of NPR’s outstanding radio series Jazz Night in America. Jason Moran’s Monk project was featured extensively on one of its broadcasts.
Learn more at encoremediagroup.com.
On top of the music, an insightful interview with Moran is interspersed throughout, adding so much depth to the understanding of what he’s after with this ambitious project. He pulls no punches when it comes to the challenges faced by the musicians who make this music in the contemporary world. Moran talks about being questioned by the police while doing nothing but waiting in his car for his wife to come down from their Harlem apartment. And in Song of Lahore, one of the featured players learns about the murder of one of their colleagues for no other reason than that he was carrying an instrument. The various forms of privilege that are given to or denied members of society are not an abstract thing for the people whose music you’ll be listening to, and it is that quality, the feeling of purpose and mission, that unites both ensembles in what they do. To be sure, the realities of day-to-day life in Pakistan and in the United States are very different, but when it comes down to it, the way that the ruling class deals with “the other” is what ultimately defines them. Put side-by-side, these two ensembles coming from opposite ends of the planet bring not only dancing rhythms and the virtuosic control of instruments replete with many surprises of tone and time but also a joie de vivre that must be heard in person to be truly felt. As the Bing’s superb acoustics and sightlines have resonated with audiences, its reputation has also spread in the musical community. Somehow, the hall has a chameleonlike ability to make any sized ensemble,
from the largest right down to a solo artist, sound as if they’re in the perfect, intimate setting. It’s a rare and wonderful opportunity that is being presented for the Stanford community to welcome all of these musicians to its home. There will be pre-concert lectures, and the more intrepid attendees will more than likely be able to meet the artists, as well. And that’s where the real magic happens.
Film Screening: Song of Lahore Wed, Nov 8, 6:00 PM Oshman Hall Jason Moran Sat, Nov 11, 7:30 PM
Our life here
Bing Concert Hall Sachal Ensemble
Chris Gandel and Misty, joined in 2014
Wed, Nov 15, 7:30 PM Bing Concert Hall
Amazing
SMILES Frequent Wags.
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Esmé Massengill, this bastard “love child of Tallulah Bankhead and Mr. Magoo,” reminds me constantly how silly, vulgar, dangerous, and ridiculous puppetry can—and should—be.
Jolie Jolie Band and Rosemary Focaccia alternate in our final number of the show. Jolie is fierce and French, a faded rose from the heyday of Parisian cabaret. Rosemary Focaccia is a warhorse from the stages of Vegas. Where Jolie is simultaneously funny and heartbreaking in her battered romantic haze, Rosemary is as vulgar and brash as the town she plays.
Mrs. Edna Rural is easily one of the most beloved of The Daisy Theatre cast. Her saltof-the-earth, simple, and always somewhat confused interpretation of the world around her is unabashedly Canadian.
Meyer Lemon & Little Woody are my loving nod to vaudeville, which The Daisy Theatre format borrows heavily from. These are two of my favorite characters, although, oddly, I consider them one marionette.
Meet the Marionettes Schnitzel,
Photo Essay
the little fairy boy without wings, is a fan favorite, and regardless of the antics of any given Daisy show, Schnitzel’s goodnight to the audience closes every show.
In his narrative essay “On the Marionette
We invited master puppeteer Ronnie
Theater,” the German Romantic poet and
Burkett to share some of his favorite
dramatist Heinrich von Kleist suggests
creations for this vintage art form.
that marionettes exhibit a certain inherent grace onstage—in contrast to the awkwardness and inhibitions of human performers. This season, the art
The Daisy Theatre
of marionette theater seemed like an
Ronnie Burkett,
apt medium for reflecting on the cultural
Theatre of Marionettes
force of nostalgia—that distorting pang
Wed, Nov 15–Sun, Nov 19
felt for a more innocent time, when
Bing Concert Hall Studio
things were simpler. But were they really? 29
ARTIST VOICES
The Jews Who Wrote Christmas By Rob Kapilow
When Alexander II, the great
plan worked, and between
many Jews in show business,
names but all traces of
Russian reformer who freed
1881 and 1914 more than two
Minnie Marx—the mother
their Jewishness, as well.
the serfs, was assassinated
million Jews left Russia, with
of the Marx Brothers—said,
As outsiders, they were
in 1881, his son Alexander III
America being the prime
“Where else can people
extraordinarily sensitive
ascended to the throne,
destination. Though the
who don’t know anything
to the hopes and dreams
and it quickly became clear
influx of Jewish immigrants
make so much money?”
of the American middle
that his repressive regime
had a major impact on
would have an enormous
the country as a whole, no
The overwhelming impulse
wanted to enter. And in the
impact on every aspect of
single city was affected
among the children of Jewish
1940s, as a deeply troubled
Russian society. What was
more than New York City.
immigrants was toward
America watched the world
class they so desperately
not nearly as clear was that
assimilation, and the first
collapse amidst the horror
his regime would also have a
Many of these poor
step in becoming “American”
of World War II, Jewish
major impact on the history
immigrants congregated
nearly always involved
songwriters provided comfort
of the Broadway musical
in the filthy tenements of
changing their names. Israel
by creating a songbook for
and the entire soundtrack
New York’s Lower East Side,
Baline became Irving Berlin,
a secular Christmas that
of America’s Christmas.
where they desperately
Jacob and Israel Gershowitz
they invented purely out of
tried to eke out a living in
became George and Ira
their own imaginations.
Alexander III did everything
whatever menial jobs they
Gershwin, Hyman Arluck
he possibly could to undo
could find. Since the Jews
became Harold Arlen, Asa
Before Irving Berlin’s “White
his father’s liberal reforms
were forbidden entrance into
Yoelson became Al Jolson,
Christmas” broke all sales
and stigmatize the Jews.
nearly all of the professions
and Isidore Hochberg
records in 1942, composers
According to one of
and had restricted access
became “Yip” Harburg.
had spent little time focusing
Alexander’s closest advisors,
to higher education, a
the hope was that “one-third
surprisingly large number
However, in their desire
it seemed as if their appeal
of the Jews will convert, one
found their way into the
to become mainstream
could only be short-term and
third will die, and one-third
world of popular music. When
Americans, most of them
seasonal. But 1942 was the
will flee the country.” The
asked why there were so
left behind not only their
first Christmas that millions
on Christmas songs because
30
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 7
of American soldiers would
Christmas,” “Rockin’ around
spend away from their homes,
the Christmas Tree,” “Winter
and “White Christmas” struck
Wonderland,” “It’s the Most
a deep chord both overseas
Wonderful Time of the
and at home. Though the
Year,” and “Let It Snow! Let
song contains only two
It Snow! Let It Snow!” were
images of Christmas—
all written by these largely
treetops glistening and
unknown Jewish songwriters.
children listening to sleigh bells—that was enough to
In 1957, Irving Berlin tried to
allow Americans to imagine
ban Elvis Presley’s recording
a reassuring, idealized,
of “White Christmas,” but it
Norman Rockwell, Currier
quickly reached number one
and Ives, small town, New
on Billboard’s Pop LP chart. Its
England past with sleigh rides
phenomenal success opened
and falling snow: a mythic,
the floodgates for the rock
secular American Christmas
versions of Christmas songs
on which the country
that continue to inundate the
could project its dreams.
market each year. But this all began with the children
The phenomenal success
of Jewish immigrants,
of “White Christmas” led
desperate to leave their
other Jewish songwriters
pasts behind and become
to follow Berlin’s path, and
part of mainstream America.
they quickly began to create
And today, at this polarizing
a songbook for the new
moment in our history, when
secular holiday. Though
the place of immigrants in
names like George Wyle
our society is under intense
(born Bernard Weissman),
scrutiny, it might be valuable
Eddie Pola (Sidney Pollacsek),
to remember that these songs
Felix Bernard, Jay Livingston
of immigrants have become
(Jacob Levison), Ray Evans,
the voice of America’s
Gloria Shayne Baker (Gloria
Christmas. They are the
Shain), Robert Wells (Robert
music of America’s melting
Levison), Robert May, and
pot. They are the soundtrack
Johnny Marks might be
of the American dream.
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unfamiliar today, they— along with better-known
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songwriters like Mel Tormé, Jule Styne, and Sammy Cahn—wrote the core of the secular Christmas-song repertoire. “Do You Hear What I Hear?”, “Silver Bells,” “The Christmas Song,” “Rudolph the Red-Nosed Reindeer,” “A Holly Jolly
Rob Kapilow’s
T H E CLEMENT HOTE L
What Makes It Great?
711 El Camino Real Palo Alto, CA 94301
Feb 7 & Apr 11, 7:30 PM
www.theclementpaloalto.com
Bing Concert Hall
P 650.322.7111 31
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F 650.322.7222
NOV / DEC 2017
Behind the Scenes
You may have noticed the words “commissioned by” or “coproduced by” attached to certain Stanford Live shows. Both of these phrases indicate that we have made a commitment to the development of the work prior to it being presented in its final form. These funds support workshops, writing/composing time, 1
and investment in sets, props, and costumes.
3 2
So why would we do this? There are three primary reasons: 1) to support artists during the creation process so that they have adequate time and resources to realize their vision for a work; 2) to have the first right to present a work in our market; and 3) to build an institutional brand among artists and peers as being artist-centric and good partners. Here are some other shows that we have commissioned for this and for future seasons. — C H R I S LO RWAY E X EC U T I V E D I R EC TO R
1
2
3
T REEMONIS HA
THE GRE E N FOG
DYSTOP IA N D RE A M
A new adaptation of Scott
Filmmaker Guy Maddin’s
This exciting new dance
Joplin’s almost unknown 1911
take on Vertigo with a new
work, in which Wang Ramirez
work, the first black opera
score for the Kronos Quartet,
directs and performs, is
composed in North America
in partnership with SFFILM.
made to Nitin Sawhney’s
to survive to the present day.
acclaimed 2015 album of the same name.
To support Stanford Live’s commissioning fund, please contact Nicola Rees at nicola.rees@stanford.edu or 650.497.4809.
32
“City National helps keep my financial life in tune.” So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship. City National is The way up® for me.
Michael Tilson Thomas Conductor, Educator and Composer
©2017 City National Bank
Hear Michael’s complete story at cnb.com/Tuned2SF
CNB MEMBER FDIC
The way up.
®
Call (866) 618-5242 to learn more or visit cnb.com
Membership
NOV / DEC 2017
1
A Jazz-Filled Season The Koret Foundation Makes Performances and Community Programs Possible For Stanford Live, 2017−18
piece on the life of Louis
campus, as guest jazz artists
will be our biggest jazz season
Armstrong. And we’ve been able
frequently coach Stanford jazz
ever, with six main-stage
to introduce remarkable new
students, in partnership with
concerts by leading jazz
artists like Esperanza Spalding
Stanford’s Department of Music.
figures, six shows by eclectic
and Cécile McLoren Salvant.
artists in our new Studio series,
We’re especially excited for our
and a K–12 student matinee.
The Project also supports a
first full jazz season in the Bing
This is just the latest milestone
partnership with the National
Studio, generously sponsored by
in the Koret Jazz Project, our
Jazz Museum in Harlem.
Stanford Live donors Stephanie
initiative that began in 2009
Saxophonist/scholar Loren
and Fred Harman. Coming up
through the generous support
Schoenberg, the Museum’s
on January 20, the Studio’s
of the Koret Foundation.
founder, brings his mix of
intimate, club-style setting
erudition, musicianship, and
will host the U.S. debut tour of
Over the last several years,
storytelling to his popular Jazz
piano virtuoso Uriel Herman
Koret support has enabled
Talks, pre-show discussions,
and his Quartet, who combine
jazz programs as varied as
and student coaching
jazz, Middle Eastern influences,
celebrated vocalist Dianne
sessions. Jazz is also central
and alternative rock for a
Reeves and a family theater
to our educational mission on
uniquely captivating sound.
34
2
3
4
Stanford Live’s performances and programs are made possible through the generous gifts of individual donors and the support of all our Stanford Live members. To make a gift to support Stanford Live, please contact Danielle Menona at 650.725.8782 or dmenona@live.stanford.edu. 1 J E L LY A N D G EO RG E
2 S T R I N G S AT TAC H E D
3 JA Z Z TA L K S
4 URIEL HERMAN
Winner of the top prize in
The regal-voiced Dianne
For several years, Loren
The classically-trained pianist
the 2010 Thelonious Monk
Reeves, heir to the soaring
Schoenberg’s jazzy talks
and composer Uriel Herman,
International Vocal Jazz
jazz tradition of Sarah
have been a favorite with
who comes to the Bing Studio
Competition, Cécile McLorin
Vaughan and Ella Fitzgerald,
audiences at the Cantor Arts
in January, operates on the
Salvant first came to Bing
appeared most recently in
Center and the Anderson
seam between jazz, rock, and
in 2014. She returned last
2015 with her Strings Attached
Collection at Stanford.
grunge with influences of
season in a celebration of
program, featuring her
the music of Jelly Roll Morton
intimate trio.
Israeli sound.
and George Gershwin.
35
Stanford Live Donors Stanford Live thanks the following donors for generously supporting the 2017–18 season. PRODUCING SPONSORS Helen & Peter Bing Roberta & Steven Denning Scott & Molly Forstall Marcia & John Goldman The Hornik Family
PERFORMANCE SPONSORS Mary & Clinton Gilliland Stephanie & Fred Harman Michael Jacobson & Trine Sorensen Bonnie & Marty Tenenbaum
BING CIRCLE ($25,000+) Anonymous Jeanne & Larry Aufmuth Helen & Peter Bing Sharon & Edward Bullard Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Jill & John Freidenrich Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Drs. Lynn Gretkowski & Mary Jacobson Stephanie & Fred Harman
Rick Holmstrom & Kate Ridgway Leslie & George Hume Michael Jacobson & Trine Sorensen Deedee & Burton McMurtry Phyllis Moldaw Barbara Oshman Mindy & Jesse Rogers Bonnie & Marty Tenenbaum
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 Diane & Hal Steuber Andrea & Lubert Stryer Lena & Ken Tailo Carol & Doug Tanner Lorna & Mark Vander Ploeg David Wollenberg
BING DIRECTOR’S CIRCLE ($15,000–$24,999) Carol & Myles Berg Shawn & Brook Byers Marcia & John Goldman Morton Grosser Catherine & Franklin Johnson Joan F. Lane Leatrice Lee Sandra Magnussen Carrick & Andrew McLaughlin Linda & Tony Meier William Reller Condoleezza Rice Marian & Abraham Sofaer Madeline & Isaac Stein Karin & Paul Wick
BENEFACTOR ($5,000–$7,499) Fred Alvarez & Beth McLellan Alvarez Regina & Gerhard Casper Sissy & Theodore Geballe
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 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 (3) 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 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 Bren & Lawrence Leisure Robert Lence Debra & Mark Leslie Cynthia & Richard Livermore Jane & Michael Marmor Victoria & James Maroulis Jim McLaughlin & Cathy McMurtry Nancy & Lawrence Mohr David Morandi Tashia & John Morgridge Dean Morton Susan & Bill Oberndorf
PARTNER ($1,000–$2,499) Anonymous (2) Marian & Jim Adams Lysbeth Anderson & John Working Keith Baker Linda & Laurence Baker Lindy Barocchi Lisa Barrett Jill & Bruce Bienenstock Gary & Carolyn Bjorklund Susan Zaroff Breyer McKenzie Brooks Terri Bullock Jane & Peter Carpenter John Carter & Edie Goldberg Alexis & David Colker Joanne & Michael Condie Janet & Richard Cory Sommer William Coughran Jr. Thomas Dienstbier & Joyce Firstenberger Stan Drobac & Michelle Swenson Diane Elder & Bruce Noble Anna Espinosa Margaret Ann & Don Fidler Betsy & David Fryberger Jane & Bruce Gee Susan Goodhue Ed Haertel & Drew Oman Eric Hanushek & Margaret Raymond Leslie Hsu & Richard Lenon Lucie Jay Julie Kaufman & Doug Klein Grace Kim
36
Kay & Ed Kinney Iris & Hal Korol Sally & Charles Lannin Albe & Ray Larsen Ayleen & Emory Lee Philip Lee & Carlene Wong Shirley Liebhaber Marge & Roger Lobbes 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 Nancy & Norman Rossen Lela & Gerry Sarnat Doris Sayon J. Schwabacher Family Diane Shemanski Charles Sieloff Onnolee & Orlin Trapp Mary & John Wachtel Kenneth Weinberg Mariko Yang Wai Yau Sharon & Robert Yoerg
ADVOCATE ($500–$999) Anonymous (7) 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 Marie & Douglas Barry Brigid Barton & Orrin Robinson Elaine Baskin & Kenneth Krechmer Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Mary Bechmann Bernard Beecham & Cheryl Lathrop 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 Tasha Castaneda Andrew Chan Donald Cheu Gloria & Michael Chiang Shelli Ching 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
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SUPPORTER ($250–$499) Anonymous Byron Bader Mary Bellack Ann & George Crane Judith Dean & Ben Encisco Susan Emerick Leah & Lawrence Friedman Paul Goldstein & Dena Mossar Jane & William Johnson Vera Luth Wendy McPherson Elyce Melmon Elisabeth Merkel Jean & Bryan Myers Joan Norton Grady Seale Audrey Shafer Carla Shatz Nerija Sinkeviciute-Titus Gayle & Scott Spencer Elizabeth Trueman & C. Raymond Perrault Susan & Lew Wexler Jeri & Kevin Wheaton
STANFORD LIVE LEGACY GIFT Audrey Avis Aasen-Hull §
INSTITUTIONAL PARTNERS $100,000+ Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 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 Association of Performing Arts Presenters California Arts Council Aaron Copland Fund for Music Kinder Morgan Foundation New England Foundation for the Arts Western States Arts Federation Contributions listed are in support of the 2017–18 season and were received between 4/1/2017 and 9/30/2017. 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 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
JAN / FEB 2018
Calendar
JAN. 31
Sun
Sat
JANUARY 28
FEBRUARY 10
Jeremy Denk and
Bill Charlap Trio
Stefan Jackiw play Ives
With special guests Mary Stallings and Freddy Cole
Wed Sun
JANUARY 31
Renée Fleming
FEBRUARY 11
Sundays with the St. Lawrence St. Lawrence String Quartet
FEBRUARY Sat
Wed–Fri
FEBRUARY 3
FEBRUARY 14–16
Cameron Carpenter
The Fever 600 HIGHWAYMEN
JANUARY
Wed Fri
FEBRUARY 7
Fri JANUARY 19
St. Louis Symphony
Rob Kapilow’s What Makes It
FEBRUARY 23
Great?
Takács Quartet
Songs of Leonard Bernstein
With Marc-André Hamelin, piano
Sat
Wed–Sat
JANUARY 20
FEBRUARY 7–10
Uriel Herman Quartet
Counting Sheep
FEBRUARY 28
Lemon Bucket Orkestra
Çudamani: Gamelan and
Wed
Fri & Sat
Dance of Bali
JANUARY 26 & 27
Fri
L.A. Dance Project
FEBRUARY 9
Darlene Love With the Stanford Symphony Orchestra
JAN. 26 & 27
FEB. 3
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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
preordering options, visit
Wheelchair seating, with up
live.stanford.edu/dining.
to three companion seats per
stanfordlive@stanford.edu.
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
3
Memorial Church
4
Memorial Auditorium
5
Stanford Ticket Office
6
Anderson Collection at
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Parking for Memorial Church
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Roth Way, on Museum Way, and on Lasuen Street.
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Directions For driving directions or
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RO SERR A
public transportation
BLVD
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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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can be found in the Galvez S
Museum Way, Roth Way, and
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Alumni Center
101
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Alumni Café, Arrillaga
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Stanford University
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Parking for Bing Concert
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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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