EXPLORE! THE NILE PROJECT ANCHORS NEW SERIES ON...

JAN/FEB 2015PERFORMING ARTS SEASON MAGAZINE

EXPLORE!THE NILE PROJECT ANCHORS NEW SERIES ON ART & IDEASPLUSBILL T. JONES/ARNIE ZANE DANCE COMPANY, EMERSON STRING QUARTET, AND DIANNE REEVES RETURN

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Leading the Biomedical Revolution

You live at thecenter of a biomedical revolution

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Stanford Live is Stanford University’s world-class arts presenter and producer. We are committed to sharing, celebrating, and advancing the art of live music, dance, theater, and opera. We unite celebrated and emerging artists with the Stanford campus and greater Bay Area communities in a broad range of experiences to engage the senses and emotions, stimulate minds, and enrich lives. We value artistic vitality, learning, and an inclusive community.

FEATURE

12 Stanford’s Live Context BY JESSE HAMLIN

PROGRAMS16 JAN 18 Sundays with the St. Lawrence: St. Lawrence String Quartet

20 JAN 30 Bill T. Jones/Arnie Zane Dance Company

22 FEB 5 Emerson String Quartet

26 FEB 6 Dianne Reeves—Strings Attached

28 FEB 13 Haydn—Patronage & Enlightenment: Program 1



39 FEB 18 The Nile Project

42 FEB 22 Jordi Savall with Hespèrion XXI

STANFORD LIVE7 Stanford Live Staff & Sponsors

9 Welcome

10 Campus & Community

44 Stanford Live Donors

45 Bing Concert Hall Donors

46 Calendar

47 Things to Know

47 Parking / Venues / Seating

JAN / FEB 2015CONTENTS

60+ PERFORMANCES THIS SEASON

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Cover: The Nile Project, photo by Peter Stanley. Page 5: (Clockwise from top) Emerson String Quartet, photo by Lisa-Marie Mazzucco; Bill T. Jones/Arnie Zane Dance Company, photo by Paul B. Goode; Dianne Reeves, photo by Jerris Madison. Page 9: Photo by Linda A. Cicero/Stanford University News Service. Page 10: Photos by Joel Simon. Page 11: Chinese New Year; photo by Joel Simon; Bill T. Jones, photo by Stephanie Berger. Page 12: Photo by Matjaz Kacicnik. Pages 16: Photo by Marco Borggreve. Page 19: Photo by Eric Cheng. Page 20: Photo by Paul B. Goode. Page 21: Photo by Stephanie Berger. Page 22: Photo by Lisa-Marie Mazzucco. Page 26: Photo by Jerris Madison. Page 28: Photo by Marco Borggreve. Page 32: Stanford Philharmonia Orchestra, photo by Shau-Lian Liao. Page 39: Photo by Ahmed Hayman. Page 40: Photo by Peter Stanley. Page 42: Photo by David Ignaszewski.

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January/February 2015Volume 7, No. 3

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Happy New Year!

As we embark on the second half of our third season at Bing, I am very excited to tell you more about Stanford Live’s major new program, which was announced in our season brochure last April. It’s called Live Context, and through it, we will link select performances in our season to some of the significant issues, ideas, and discoveries of our time and connect you to the brilliant Stanford faculty who are deeply involved with research and scholarship on these topics. Only at one of the world’s great research universities can the performing arts be so deeply enriched by ideas being developed by great scholars and innovators.

We’ll launch Live Context in February with two sets of programs: Haydn—Patronage & Enlightenment and The Nile Project. In March, we’ll begin a series of events related to The Demo, the music and multimedia performance inspired by Stanford Research Institute computer scientist Douglas Engelbart’s legendary 1968 demonstration, which took place right here in Menlo Park. You definitely don’t want to miss The Demo on April 1 and 2! Please do read Jesse Hamlin’s excellent article in this issue for a more expansive overview. But those aren’t the only public offerings. We invite you to join us on January 29 for a free conversation with legendary choreographer Bill T. Jones on the eve of his company’s performance in Memorial Auditorium. Then on February 19, the great Spanish conductor Jordi Savall will give a free musical demonstration to preview his concert at Bing. See page 11 for a complete list of public programs.

I’d be remiss in not mentioning the new string quartet by John Adams that our friends in the St. Lawrence String Quartet will be premiering as a highlight of the group’s 25th anniversary. The St. Lawrence has quite a history with Adams—as does Stanford—and we’re thrilled to have co-commissioned this latest premiere.

Lastly, we thank you for being an essential part of the remarkable community that comes together to make these extraordinary artistic experiences possible. Without your dedication to the arts, these great performing artists could not be with us.

Very best wishes,

Wiley HausamExecutive Director, Stanford Live and Bing Concert Hall

Stanford Live is Stanford University’s world-class arts presenter and producer. We are committed to sharing, celebrating, and advancing the art of live music, dance, theater, and opera. We unite celebrated and emerging artists with the Stanford campus and greater Bay Area communities in a broad range of experiences to engage the senses and emotions, stimulate minds, and enrich lives. We value artistic vitality, learning, and an inclusive community.

FROM THEDIRECTOR


ARTIST VISITS

CAMPUS & COMMUNITY

Songs and Scenes OnstageDuring the fall quarter, Stanford Live helped bring professional visiting artists to the Department of Music’s Songs and Scenes Onstage class taught by Marie-Louise Catsalis and Nova Jiménez. The course encompassed studies in stagecraft, acting, and performance for singers and culminated in an opera scenes performance at Dinkelspiel Auditorium.

Makeup artist Linda Ontiveros demonstrated her stunning skills, and students had the opportunity to work with an accompanist trained in St. Petersburg and with San Francisco Opera singers Buffy Baggott, Daniel Cilli, Michael Desnoyers, and Eugene Brancoveanu. Stanford Live made this possible through support from The Andrew W. Mellon Foundation.

Visit live.stanford.edu/media for more photos.

SONGS AND SCENESONSTAGE

10 STANFORD LIVE MAGAZINE JANUARY/FEBRUARY 2015

MORE MUSIC AT BING

STANFORD SYMPHONY ORCHESTRA FRIDAY, JANUARY 30, 7:30 PMSATURDAY, JANUARY 31, 7:30 PMBING CONCERT HALLThe Stanford Symphony kicks off the new year at Bing with Gustav Holst’s The Planets, led by Jindong Cai and featuring the Symphony Silicon Valley Chorale and Cantabile Youth Singers of Silicon Valley.

TALISMAN CONCERTSUNDAY, FEBRUARY 8, 7:00 PM BING CONCERT HALLStanford’s a cappella group Talisman welcomes back alumni from the past 25 years to perform the music that has brought so many people together.

SHENZHEN SYMPHONY ORCHESTRA: CHINESE NEW YEAR CONCERTFRIDAY, FEBRUARY 20, 7:30 PMBING CONCERT HALLThis concert is presented as part of the 2015 Stanford Pan-Asian Music Festival. See panasianmusicfestival.stanford.edu for more info.

SHENZHEN SYMPHONY ORCHESTRA: NEW MUSIC FROM CHINASATURDAY, FEBRUARY 21, 7:30 PMBING CONCERT HALLThis concert is presented as part of the 2015 Stanford Pan-Asian Music Festival. See panasianmusicfestival .stanford.edu for more info.

UPCOMING EVENTS

STANFORD JAZZ ORCHESTRAWEDNESDAY, FEBRUARY 25, 7:30 PMBING CONCERT HALLAaron Lington, saxophonist and head of the San Jose State University jazz program, joins the Stanford Jazz Orchestra under the direction of Fredrick Berry.

STANFORD SYMPHONY ORCHESTRA AND STANFORD SYMPHONIC CHORUSFRIDAY, FEBRUARY 27, 7:30 PMSATURDAY, FEBRUARY 28, 7:30 PMBING CONCERT HALLStephen M. Sano conducts Brahms’s Academic Festival Overture and Ein deutsches Requiem with soprano Nancy Wait-Kromm and baritone Kenneth Goodson.

PUBLIC PROGRAMS

Bill T. Jones

BILL T. JONES IN CONVERSATIONTHURSDAY, JANUARY 29, 5:30 PMBING CONCERT HALL, GUNN ATRIUMThe public is invited to a free conversation with this legendary choreographer.

VIOLIN MASTER CLASSTHURSDAY, FEBRUARY 5, 1:00 PMBING CONCERT HALL STUDIOEmerson String Quartet violinist Philip Setzer leads a master class for Stanford students. The public is welcome to observe.

Chinese New Year Concert

JAZZ IN HOLLYWOODTHURSDAY, FEBRUARY 5, 12:00 PMCANTOR ARTS CENTER AUDITORIUMLoren Schoenberg, artistic director for the National Jazz Museum in Harlem, New York, returns with his popular series of jazz talks, which is part of the Koret Jazz Project.

THE NILE PROJECT STUDENT MATINEETHURSDAY, FEBRUARY 19, 11:00 AMBING CONCERT HALLThis groundbreaking collaboration brings together musicians from the 11 Nile Basin countries. Email [email protected] for more information.

MUSICAL DIALOGUE WITH JORDI SAVALLTHURSDAY, FEBRUARY 19, 7:00 PMBECHTEL INTERNATIONAL CENTERJoin the Spanish conductor and multi-instrumentalist for a free lecture and demonstration of Turkish and Iberian musical traditions with musicians Hakan Güngör and Yurdal Tokcan.

FRANCESCO DURANTE’S STABAT MATERTHURSDAY, FEBRUARY 26, 7:30 PMMEMORIAL CHURCHCome hear the modern premiere of this 13th-century Easter hymn prepared from a rare manuscript held at Stanford and performed by Stanford students in collaboration with the Philharmonia Baroque Orchestra’s chorale.


STANFORD LIVEFEATURE

STANFORD’S NEW SERIES EXPLORES ART AND ITS IDEAS BY JESSE HAMLIN

The Nile Project

Live Context is inspired by the conviction that the more you know about the ideas ingrained in a work of art, its historical context and contemporary resonance, the richer your experience of that art will be. And with the university’s deep intellectual and artistic resources, “this is something Stanford can do like nobody else can,” says Stanford Live’s Executive Director Wiley Hausam.

THE IDEAS IN ARTThe centerpiece of a yearlong exploration of the artist and the period, Haydn—Patronage & Enlightenment—which includes performances of chamber, choral, and orchestral music and an international conference focused on the culture and shifting support for the arts in the late 18th century—is one of three major events of Live Context.

The second program spills forth on February 18 with The Nile Project. That’s the collective of top musicians from Egypt,

Ethiopia, Sudan, and eight other Nile River Basin nations who have come together to create a uniquely East African sound and engage in a transnational conversation about the ecological sustainability of the river that’s essential to the lives of some 450 million people.

The group’s evening concert at Bing will be preceded by a symposium that day on “Women of the Nile”; a lecture highlighting Stanford’s collection of rare maps of the Nile region by Grant Parker, a music-loving associate professor of classics and codirector of Stanford’s Center for African Studies; and other water-related discussions particularly relevant in drought-plagued California, including a pre-concert forum featuring Barton “Buzz” Thompson, director of Stanford’s Woods Institute for the Environment.

Then on April 1 and 2, Stanford Live presents the world premiere of The Demo, a multimedia performance piece based on

the historic 1968 demonstration of early personal-computing technology by the Stanford Research Institute’s Douglas Engelbart, which among other things introduced videoconferencing, networked collaboration, and a little device called the mouse. Created and performed by composers Mikel Rouse and Ben Neill, the piece uses music, light, and sometimes hallucinatory video projections to re-create Engelbart’s mind-bending demo and the Bay Area gestalt of the 1960s and to reflect on how those now-ubiquitous technologies have developed and been put to use in ways he may not have envisioned or particularly liked.

Hausam had heard about the work-in-progress and knew it was perfect to premiere at Stanford: “How often are we going to see a large-scale work of art based on a technological revolution that happened here?” he asks.

To put the piece in context, Hausam sought out faculty

members and other prominent figures engaged with technology and human augmentation to talk about the scientific, social, and ethical issues involved.

The highlight will be a public conversation on April 2 at Bing with the celebrated technology writer Jaron Lanier, known for his humanistic vision, who will engage in what should be a lively discussion with Sebastian Thrun, the Stanford research professor and former Google-meister who founded the firm’s Google X, which brought forth the self-driving car and Google Glass. Expect a wide-ranging discussion touching on current technology and its implications, ethical issues of privacy and surveillance, and whatever else comes up that afternoon. Prior to this, on March 12, Stanford computer science professor James Landay, who specializes in computer-human interaction, gives a Green Library lecture about human augmentation.

A CULTURE OF INVESTIGATION“I like art that’s engaged with the issues that are going on in the world,” Hausam says. This new series aims to fulfill one of Stanford Live’s missions—“connecting great performance to the significant issues, ideas, and discoveries of our time,” to which Hausam adds, “and to all the brilliant people at Stanford who are doing these things.”

One of the invaluable people involved in this inaugural series is Stephen Hinton, Stanford’s Avalon Foundation Professor in the Humanities, professor of music, and director of the Stanford

Compared with Mozart and Beethoven, “Haydn gets the short end of the stick,” says violinist Geoff Nuttall of the

celebrated Stanford-based St. Lawrence String Quartet, who will make his passionate case for Haydn’s greatness—playing and talking about the composer’s music—throughout the weekend of February 13–15 as part of the campus-wide Haydn—Patronage & Enlightenment program. It’s the inaugural event of a new Stanford Live series called Live Context: Art + Ideas that will highlight the ideas that inform great works of art being performed here each season and connect them to the scholarship and research for which Stanford is renowned.


STANFORD LIVEFEATURE

Arts Institute. He organized the extensive campus-wide Haydn—Patronage & Enlightenment program, which presents three all-Haydn concerts that feature string quartets, orchestral works, and the so-called Nelson Mass and two days of discussions that include a lecture by University of Vienna scholar Wolfgang Fuhrmann called “Black Box Esterházy: The Elusive Figure of Haydn’s Most Important Patron” and the University of Toronto’s Caryl Clark on “Haydn’s Social Networks in London.”

As Hinton points out, Haydn was no longer bound contractually to work solely as Prince Esterházy’s court composer and “starts plying his wares in the public sphere, which is new. He becomes a key figure in this burgeoning market for published music. He starts accepting these invitations to go to London and becomes what we would call a freelance musician. He’s a really important transitional figure. He paves the way for the likes of his student Beethoven, who relied on patronage from a number of different people.”

Nuttall says Haydn “is considered not as gifted as Mozart, who wrote great melodies, and not as extravagantly interesting as Beethoven. But Haydn pushed the envelope, and a lot of the cool stuff he did, especially in terms of the symphony and string quartet, he started. He doesn’t get credit for a lot of the innovations that Beethoven did. And he was a tremendous influence on Mozart. One of the reasons Mozart struggled to write string quartets—and Mozart doesn’t struggle—was because he felt the weight of Haydn.”

Hinton, who’s teaching a continuing-education class on Haydn this spring, thinks it’s crucial that Stanford present performances “in the context of the liberal arts education we’re offering our students, to create a link between the concert hall and the classroom, and what performers do and what scholars do.”

MUSICAL CONNECTIONSMaking connections is what The Nile Project is about for Meklit Hadero, the beguiling Ethiopian-American singer who cofounded the group with Egyptian ethnomusicologist Mina Girgis in 2011. They started talking about how there’s very little cultural exchange in Africa itself and why, as Hadero puts it, “we had to come all the way to the United States to hear each other’s music. We all share this river, and yet we’re strangers in many ways. What if we brought the music of the neighbors to the neighborhood?”

That’s what they did, using funding from a Kickstarter campaign to travel around East Africa to find musicians who wanted not only to collaborate musically but also to talk with audiences and students at home and abroad about the ecological issues and political conflicts involving the world’s longest river. “Many of the development issues facing East Africa can in some way be tied to water and how we use it. It becomes a nexus point for a lot of other questions,” says Hadero, who hopes the musical collaboration serves as a model for international cooperation.

Jaron Lanier and Sebastian Thrun will engage in a public conversation on April 2.

Illinois at Urbana-Champaign, takes place simultaneously in 1968 and the present.

It’s a nonnarrative piece built on the narrative framework of Engelbart’s original demo, “giving you the information that was imparted in 1968 but finding a musical and theatrical way to both respect the original and reflect on it,” explains Rouse. The collage-like visual imagery, which Rouse will trigger live at a computer keyboard of the kind Engelbart used—Neill sets off synthesized sounds playing his MIDI-equipped “mutant” trumpet—draws on the history of computing, from early codes and algorithms to Facebook and contemporary advertising. “Everyone knows Jobs and Gates, but they don’t know that Engelbart had a huge effect on how they live their lives now,” Rouse says. “We couldn’t be happier to premiere this at Stanford, where it all happened.”•Jesse Hamlin has written for the San Francisco Chronicle and other publications over the past 30 years on a wide range of music and art topics. He also has written for the New York Times and Art & Auction and Columbia magazines.

The Nile Project features an extraordinary group of musicians, including the young Egyptian singer Dina El Wedidi, Kenyan percussionist Kasiva Mutua, and Ugandan multi-instrumentalist Michael Bazibu, who play original music merging their various traditions.

“To me it sounds really different and unique,” says Oakland-based Hadero. “We feel the potential for this East African sound to have a place in the world and to have meaning beyond the music.”

Composer Mikel Rouse describes the music he and Ben Neill wrote for The Demo, in which he plays Douglas Engelbart and Neill appears as the computer scientist’s associate Bill English, as a combination of techno beats and phrasing—“although the rhythms are much more complicated”—and ethereal, minimalist-style singing.

“The libretto is mostly made of code that you see on the screen,” says Rouse, whose piece, commissioned and developed by the Krannert Center for the Performing Arts in association with the eDream Institute at the University of


JANUARY 17—JULY 19, 2015

This exhibition is organized by the Fine Arts Museums of San Francisco in collaboration with the San Francisco Museum of Modern Art. Image: Janet Delaney, Second at Market Street, 1986. Archival pigment print. Image courtesy of the artist. © 2014 Janet Delaney

Janet Delaney: South of Market relates the complex history of a changing San Francisco neighborhood through an exhibition of more than 40 photographs from the 1970s and 1980s.

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ARTISTSSt. Lawrence String QuartetGeoff Nuttall, violinMark Fewer, violinLesley Robertson, violaChristopher Costanza, cello

PROGRAMFranz Joseph Haydn: String Quartet in F Minor, op. 20, no. 5, Hob. III:35 (1772) Allegro moderato Menuetto Adagio Finale: Fuga a due soggetti

John Adams: Second Quartet (2014, World premiere) Allegro molto Andantino – Energico

INTERMISSION

Ludwig van Beethoven: String Quartet in C-sharp Minor, op. 131 (1825–1826) Adagio, ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante, ma non troppo e molto cantabile Presto Adagio, quasi un poco andante Allegro

Sundays with the St. Lawrence is presented in partnership with Music at Stanford.

PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you.

PROGRAM: SUNDAYS WITH THE ST. LAWRENCEJANUARY 18 / 7:00 PM BING CONCERT HALL

Second Quartet was commissioned by Stanford Live, Carnegie Hall, The Juilliard School, the Library of Congress’ Dina Koston and Roger Shapiro Fund for New Music, and Wigmore Hall with the support of André Hoffmann, president of the Foundation Hoffmann, a Swiss grant-making foundation.


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FRANZ JOSEPH HAYDN (1732–1809) STRING QUARTET IN F MINOR, OP. 20, NO. 5, HOB. III:35 (1772)

By 1772, Franz Joseph Haydn, now 40, had already written more than 50 symphonies and spent a decade in the service of the Esterházy family. He had lived through the Sturm und Drang (storm and stress) period in the German arts, then reaching its peak. It left its mark in the increasingly subjective nature of his music. Each of the op. 20 quartets has a distinctive character. Each instrument speaks with an independent voice as an equal contributor to a seamless four-part texture. One of two quartets in the minor key, the F-minor quartet opens with a sustained, emotionally intense theme over a pulsing accompaniment. The mood is serious and purposeful; the tension is only slightly eased with the second theme. The Menuetto, too, is unusually severe, allowing just a glimpse of a folkdance in its central trio section. The slow third movement, now in a brighter major key yet still maintaining a feeling of poignancy, takes its underlying rhythmic pulse from the siciliano dance. Over it, the first violin weaves improvisation-like passages of great beauty.

Then there’s a surprise. This is one of three op. 20 quartets to have a fugal finale. While drawing inspiration from a form associated with the past (Bach was in midcareer when Haydn was born), Haydn’s F-minor fugue is sprightly and forward-looking in spirit. It is based on two short, independent subjects (due soggetti), the first of which presents a melodic pattern familiar to the Baroque. Melodically, it bears a close resemblance to a fugue in Handel’s Messiah (“And with His Stripes”) and to the A-minor fugue in the second book of Bach’s 48. The fugue proceeds in a hushed manner, marked “Sotto voce.” Its tension and contrapuntal complexity increase steadily throughout the movement until the music bursts out in a fortissimo canon in the crowning moment of an exceptional quartet.—© 2015, Keith Horner

JOHN ADAMS (1947) SECOND QUARTET (2014)

John Adams composed both of his string quartets with the St. Lawrence String Quartet in mind. But this latest work is actually the third he has composed for them. The original String Quartet (now likely to be known as the First Quartet) was written in 2008 and premiered in January 2009 at The Juilliard School, the work’s principal commissioner. The St. Lawrence String Quartet went on to perform that work many times throughout the world and made the first recording of it for Nonesuch Records.

Adams followed several years later with a grander idea: Absolute Jest, a 25-minute work for solo quartet and orchestra based on fragments from Beethoven, primarily from the opp. 131 and 135 string quartets. Commissioned by the San Francisco Symphony to celebrate its centennial season, Absolute Jest was given its first performance in March of that year under that orchestra’s music director, Michael Tilson Thomas, with the St. Lawrence String Quartet performing the solo parts. The orchestra has twice toured with Absolute Jest and has also recorded it for a forthcoming CD release. Adams and the St. Lawrence have performed the work together in London and Toronto and with the New World Symphony in Florida.

The Second Quartet is thus the third piece to result from this exceptionally fruitful relationship between a composer and his favorite chamber group. Speaking of their working relationship, Adams says, “String quartet writing is one of the most difficult challenges a composer can take on. Unless one is an accomplished string player and writes in that medium all the time—and I don’t know many these days who do—the demands of handling this extremely volatile and transparent instrumental medium can easily be humbling, if not downright humiliating. What I appreciate about my friends in the St. Lawrence is their willingness to let me literally ‘improvise’ on them as if they were a

piano or a drum and I a crazy man beating away with only the roughest outlines of what I want. They will go the distance with me, allow me to try and fail, and they will indulge my seizures of doubt, frustration, and indecision, all the while providing intuitions and frequently brilliant suggestions of their own. It is no surprise then for me to reveal that both the First Quartet and Absolute Jest went through radical revision stages both before and after each piece’s premiere. Quartet writing for me seems to be a matter of very long-term ‘work in progress.’ ”

Although not a string player himself, Adams admits to a lifelong absorption in the literature, having discovered the Beethoven, Mozart, and Bartók quartets as a teenager. While still a teenager, he often played clarinet in the great quintets by Mozart and Brahms, and during that formative time, he attended what he called “life changing” performances by both the Juilliard and the Budapest String Quartets.

The new quartet uses the same tropes as Absolute Jest in that it too is based on tiny fragments—“fractals,” in the composer’s words—from Beethoven. But the economy here is much stricter. The first movement, for example, is entirely based on two short phrases from the scherzo to the late Piano Sonata No. 31 in A-flat Major, opus 110. The transformations of harmony, cadential patterns, and rhythmic profile that occur in this movement go way beyond the types of manipulations favored in Absolute Jest.

Like the First Quartet, this new work is organized in two parts. The first movement has scherzo impetus and moves at the fastest pace possible for the performers to play it. The familiar Beethoven cadences and half cadences reappear throughout the movement like a homing mechanism, and each apparition is followed by a departure to an increasingly remote key and textural region.

The second part begins “Andantino,” with a gentle melody that is drawn from the opening movement of the same opus 110 piano sonata.

PROGRAM: SUNDAYS WITH THE ST. LAWRENCE


Here the original Beethoven harmonic and melodic ideas go off in unexpected directions, almost as if they were suggestions for a kind of compositional free association.

The Andantino grows in range and complexity until it finally leads into the Energico final part of the piece, a treatment of one of the shortest of the Diabelli Variations. This particular variation of Beethoven’s features a sequence of neighbor-key appoggiaturas, each a half step away from its main chord. Adams amplifies this chromatic relationship without intentionally distorting it. Like its original Beethoven model, the movement is characterized by emphatic gestures, frequent uses of sforzando, and a busy but convivial mood of hyperactivity among the four instruments.

LUDWIG VAN BEETHOVEN (1770–1827) STRING QUARTET IN C-SHARP MINOR, OP. 131 (1825–1826)

This, the greatest of Ludwig van Beethoven’s quartets, was the music that the gravely ill Franz Schubert asked to be played five days before his death. More than any other work, it epitomizes the profundity, inwardness, idiosyncrasy, and timelessness of Beethoven’s late compositions. Throughout his later works, Beethoven tended less and less to cast his music in the traditional three or four movements. Op. 131 contains seven throughout its 40-minute expanse. Unusually for Beethoven, it begins with a slow movement, a calm yet gently forceful fugue that Wagner said “floats over the sorrows of the world.” It gradually builds to its full intensity and prepares the listener for the scale and depth of what is to follow. The movement appears to explore every aspect of a four-note theme: G#, B#, C#, A. But then these four notes go on to provide the thematic underpinning of the entire quartet.

A chromatic shift upward leads to the second movement. It forms a bright and optimistic

balance to the first movement, tempered by frequent hesitations. Two sharp chords herald a brief, recitative-like third movement, which is just 11 bars long. The slow movement follows without pause. This is the emotional center of gravity of the entire quartet. It begins with another gentle theme marked “Dolce” (“Sweetly”) that Wagner called the “incarnation of innocence.” The scale of the movement is huge: a theme with six variations and a coda. Contrast again follows with the Presto, a brilliant scherzo. With its calm, ethereal mood, the brief Adagio enters another world. It serves as an introduction to the extended movement that follows. This final Allegro is the only movement written in sonata form. The profusion of themes, however, and the power of their utterance strain at the boundaries of the edifice. Wagner thought that the movement expresses “the fury of the world’s dance—fierce pleasure, agony, ecstasy of love, joy, anger, passion and suffering, lightning flashes and thunder rolls.”—© 2015, Keith Horner

ST. LAWRENCE STRING QUARTETCurrently celebrating its 25th-anniversary season, the St. Lawrence String Quartet (SLSQ) has developed an undisputed reputation as a truly world-class chamber ensemble. The quartet performs over 120 concerts annually worldwide and calls Stanford University home, where the group is ensemble-in-residence. The SLSQ continues to build its reputation for imaginative and spontaneous music-making through an energetic commitment to the great established quartet literature as well

as the championing of new works by such composers as John Adams, Osvaldo Golijov, Ezequiel Viñao, and Jonathan Berger.

The quartet maintains a busy touring schedule. Its 2014–15 season includes a three-concert series at the Library of Congress in Washington, DC, during which the quartet will play Stradivari instruments from the library’s prized collection. In January 2015, the SLSQ will premiere at Stanford University a string quartet by John Adams—his third work composed for the group. The quartet will also perform and give master classes around North America, with visits to Houston, Toronto, Philadelphia, Oberlin, Montreal, and many other cities. The SLSQ is proud to continue its long association with the Spoleto Festival in Charleston, South Carolina, during the summer season.

Since 1998, the SLSQ has held the position of ensemble-in-residence at Stanford University. This residency includes working with music students as well as collaborating extensively with other faculty and departments to use music to explore a myriad of topics. Collaborations have involved the School of Medicine, the School of Education, the Law School, and others. In addition to their appointments at Stanford, the members of the SLSQ are visiting artists at the University of Toronto.

The foursome’s passion for opening up musical arenas to players and listeners alike is evident in its annual summer chamber music seminar at Stanford. Lesley Robertson and Geoff Nuttall are founding members of the group and hail from Edmonton, Alberta, and London, Ontario, respectively. Christopher Costanza is from Utica, New York, and joined the group in 2003. Mark Fewer, a native of Newfoundland, began his first season with the quartet in 2014, succeeding violinist Scott St. John. All four members of the quartet live and teach at Stanford.•


PROGRAM: BILL T. JONES/ ARNIE ZANE DANCE COMPANYJANUARY 30 / 7:30 PM MEMORIAL AUDITORIUM

PROGRAMStory/Time (2012)

Conceived and directed by Bill T. JonesChoreographed by Bill T. Jones with

Janet Wong and members of the company

Music by Ted CoffeyText by Bill T. JonesDecor by Bjorn AmelanLighting design by Robert WierzelCostume design by Liz PrinceAssociate set design by Solomon WeisbardRehearsed at the New 42nd Street Studios Costumes constructed by Carelli

Costumes

There will be no intermission.


ARTISTSBill T. Jones/Arnie Zane Dance CompanyBill T. Jones, cofounder and artistic directorJanet Wong, associate artistic directorTed Coffey

The CompanyAntonio Brown, Rena Butler, Cain Coleman Jr., Talli Jackson, Shayla-Vie Jenkins, I-Ling Liu, Erick Montes Chavero, Joseph Poulson, and Jenna Riegel

Production StaffStacey Boggs, Sam Crawford, Joseph Futral, and Carley Manion

The creation of new work by the Bill T. Jones/Arnie Zane Dance Company is made possible by the company’s partners in creation: Ellen Poss, Jane Bovingdon Semel and Terry Semel, Anne Delaney, Stephen and Ruth Hendel, Eleanor Friedman, and Sandra Eskin.

The creation of Story/Time was supported in part by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from the Andrew W. Mellon Foundation and the Boeing Company Charitable Trust.

Story/Time was co-commissioned by Peak Performances at Montclair State University and the Walker Art Center.

The production was developed in residence at ASU Gammage, Bard College, the Alexander Kasser Theater at Montclair State University, the University of Virginia, and the Walker Art Center.

20 STANFORD LIVE MAGAZINE JANUARY/FEBRUARY 201520 STANFORD LIVE MAGAZINE JANUARY/FEBRUARY 2015

ABOUT THE COMPANYThroughout the past 32 years, the Bill T. Jones/Arnie Zane Dance Company has shaped the evolution of contemporary dance through the creation and performance of more than 140 works. Founded as a multicultural dance company in 1982, the company was born of an 11-year artistic collaboration between Bill T. Jones and Arnie Zane. Today, the company is recognized as one of the most innovative and powerful forces in the modern dance world. The company has performed its ever-enlarging repertoire worldwide in more than 200 cities in 30 countries on every major continent. In 2011, the Bill T. Jones/Arnie Zane Dance Company merged with Dance Theater Workshop to form New York Live Arts of which Bill T. Jones is the executive artistic director.

The repertory of the Bill T. Jones/Arnie Zane Dance Company is widely varied in its subject matter, visual imagery, and stylistic approach to movement, voice, and stagecraft and includes musically driven works as well as works using a variety of texts. Some of its most celebrated creations are evening-length works including Last Supper at Uncle Tom’s Cabin/The Promised Land (1990, Next Wave Festival, Brooklyn Academy of Music), Still/Here (1994, Biennale de la Danse, Lyon, France), We Set Out Early . . . Visibility Was Poor (1996, Hancher Auditorium, Iowa City, Iowa), You Walk? (2000, European Capital of Culture 2000, Bologna, Italy), Blind Date (2006, Peak Performances, Montclair State University), Chapel/Chapter (2006, Harlem Stage Gatehouse), Fondly Do We Hope . . . Fervently Do We Pray (2009, Ravinia Festival, Highland Park, Illinois), Another Evening: Venice/Arsenale (2010, La Biennale di Venezia, Venice, Italy), Story/Time (2012, Peak Performances), and A Rite (2013, Carolina Performing Arts, University of North Carolina at Chapel Hill). The company is also currently touring Body Against Body, an intimate and focused collection of duet works drawn from the company’s 30-year history.

Bill T. Jones (artistic director/cofounder/choreographer) is the recipient of the 2014 Doris Duke Award; the 2013 National Medal of Arts Award; 2010 Kennedy Center Honors; a 2010 Tony Award for Best Choreography of the critically acclaimed FELA!; a 2007 Tony Award, 2007 Obie Award, and 2006 Stage Directors and Choreographers Foundation Callaway Award for his choreography for Spring Awakening; the 2010 Jacob’s Pillow Dance Award; the 2007 USA Eileen Harris Norton Fellowship; the 2006 Lucille Lortel Award for Outstanding Choreography for The Seven; the 2005 Wexner Prize; the 2005 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement; the 2005 Harlem Renaissance Award; the 2003 Dorothy and Lillian Gish Prize; and a 1994 MacArthur “Genius” Fellowship. In 2010, Mr. Jones was recognized as Officier de l’Ordre des Arts et des Lettres by the French government, and in 2000, the Dance Heritage Coalition named Mr. Jones an “Irreplaceable Dance Treasure.”

Mr. Jones choreographed and performed worldwide with his late partner Arnie Zane before forming the Bill T. Jones/Arnie Zane Dance Company in 1982. He has created more than 140 works for his company. In 2011, Mr. Jones was named executive artistic director of New York Live Arts, an organization that strives to create a robust framework in support of the nation’s dance and movement-based artists through new approaches to producing, presenting, and educating. For more information, visit www.newyorklivearts.org.

Arnie Zane (cofounder/choreographer) (1948–1988) was a native New Yorker born in the Bronx and educated at the State University of New York at Binghamton. In 1971, Arnie Zane and Bill T. Jones began their long collaboration in choreography and in 1973 formed the American Dance Asylum in Binghamton with Lois Welk. Mr. Zane’s first recognition in the arts came as a photographer when he received a Creative Artists Public Service (CAPS) fellowship in 1973. Mr. Zane was the recipient of a second CAPS fellowship in 1981 for choreography as well as two choreographic fellowships from the National Endowment for the Arts (1983 and 1984). In 1980, Mr. Zane was corecipient, with Bill T. Jones, of the German Critics Award for his work Blauvelt Mountain. Rotary Action, a duet with Mr. Jones, was filmed for television, coproduced by WGBH-TV in Boston and Channel 4 in London.•

“Rarely has one seen a dance company throw itself onto the stage with such kinetic exaltation.” —New York Times


ARTISTSEmerson String QuartetEugene Drucker, violinPhilip Setzer, violinLawrence Dutton, violaPaul Watkins, cello

PROGRAMLudwig van Beethoven: String Quartet in E-flat Major, op. 127 (1825) Maestoso – Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale Eugene Drucker, first violin

INTERMISSION

Ludwig van Beethoven: String Quartet in A Minor, op. 132 (1825) Assai sostenuto – Allegro Allegro ma non tanto Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart – Molto adagio – Neue Kraft fühlend – Andante Alla marcia, assai vivace Allegro appassionato


PROGRAM: EMERSON STRING QUARTETFEBRUARY 5 / 7:30 PM BING CONCERT HALL

We gratefully acknowledge the generous support of Michael Jacobson and Trine Sorensen.


LUDWIG VAN BEETHOVEN (1770–1827) STRING QUARTET IN E-FLAT MAJOR, OP. 127 (1825)

In 1822, Ludwig van Beethoven received a request for quartets from Prince Nikolas Galitzin, a nobleman and amateur cellist from St. Petersburg. The prince was a Beethoven connoisseur and agreed to pay whatever the composer thought suitable for three quartets, on the condition that he receive the dedication. Beethoven happily accepted the commission, but he responded slowly, as he still had to finish the Missa solemnis and the Ninth Symphony. It was not until 1825 that the first of these quartets, the op. 127 in E-flat major, was completed.

The first movement, Allegro, begins with an assertive maestoso introduction that, ending questioningly, moves seamlessly into the first theme. The theme is especially beautiful because of its elements: the tune, which is simple, folk-like, and of the variety used so often in Beethoven’s late work (such as the “Ode to Joy”); the cantus firmus bass in parallel motion with the tune; and the suspensions and resulting dissonances between the second violin, viola, and cello. The second theme, usually written in the dominant key, is presented here in the mediant minor. (Beethoven avoids the dominant key altogether in the movement.) After a strong affirmation of G minor, the second violin suggests G major, and the maestoso returns triumphantly to begin the development. After many twists and turns, that maestoso is heard again for the last time and is followed by a hypnotic, macabre waltz using fragments of the first theme. Instead of preparing the recapitulation with the dominant, Beethoven modulates to F minor, which is a passing harmony in the theme. The return, therefore, begins naturally but as a gentle surprise, and the theme is now decorated with running eighth notes. When the second theme returns, it is in the expected tonic key but in major, which softens the whole conclusion of the

movement. The coda dwells quietly on the main theme, the first violin reaching higher and higher as if for something unattainable.

The famous variation movement, Adagio, ma non troppo e molto cantabile, is one of Beethoven’s most miraculously beautiful creations. It has everything: endless variety of texture and dynamics, drama, pathos, and humor. Yet it is a perfect whole, a unified emotional experience. Few works of music penetrate the heart and mind to this degree.

Out of an unearthly introduction, the theme is born, its strains spanning an octave and a half and sung alternately by first violin and cello. After three cadential chords, the first variation begins, resembling the theme only in harmonic direction. The second variation, marked “Andante con moto,” is a lively dance played mostly in piano or pianissimo that sounds like a distant circus. Suddenly, two slow, sinister-sounding notes are played in unison, and the prayer-like E-major variation begins, marked “Adagio molto espressivo.” After all has been said, the music slips back to the key of A flat; the new key is added to the closing chords, and the texture becomes suddenly bare silence, the pulsations of the fourth variation return in pianissimo. A brief reminiscence of the movement follows with three distinct chords in E major representing the Adagio variation. The expressive pizzicati in the cello play an important role here, and the movement closes in complete fulfillment.

The Scherzando vivace is large and involved, and it begins like its counterpart in the Ninth Symphony with a fugal idea. After a little pizzicato fanfare, the cello takes the main subject in pianissimo and is soon joined by the viola playing the inversion. The tune is composed of contrasting elements: the staccato dotted figure is followed by a legato measure with a trill at the end. These motifs are constantly inverted and juxtaposed throughout the movement. At the double bar, a fortissimo unison passage leads to a soft, dance-like section that gradually crescendos to fortissimo and another unison passage.

Suddenly, the cello and viola play a dark little tune, changing to the time of the trio after a repeat of the previous section. The trio, marked “Presto,” is a wild rave, the first violin dashing off in minor with the other rollicking dance against an offbeat sforzando accompaniment. Near the end of the movement, after the return of the scherzo, a fragment of the trio is heard, the first violin attempting escape again. The scherzo returns patiently after a pregnant silence and finishes the movement emphatically.

So far, we have experienced majesty and poetry in the first movement, singing sensuousness in the variations, humor and a touch of insanity in the scherzo. Now, in the Finale, Beethoven offers something new and equally rewarding: a joyous compendium of folk tunes sometimes brusque and even crude but crafted with Mozartian elegance. The result is refreshing after the depth and complexity of the preceding movements, and the spirit recalls that of the “Ode to Joy” or the Shaker hymn “Tis the Gift to Be Simple.” The movement is in sonata form, with a false recapitulation starting with the first theme in the viola near the end of the development. The real return to the home key is so subtle as to be easily missed—with all the instruments playing pianissimo in the upper register and the tune in the first violin softened by the third instead of the tonic in the bass. A great metamorphosis takes place at the end of the recapitulation. As the violins trill, the cello and viola introduce a new triplet rhythm and new key. Swirling pianissimo scales create a hallucinatory effect. After gliding through several keys, the work moves toward a triumphant conclusion.—Notes by Archibaldus Holden

STRING QUARTET IN A MINOR, OP. 132 (1825)

While working on the String Quartet in A Minor during the winter of 1824–1825, Beethoven fell gravely ill. The condition left him seriously weakened, but he was


still able to finish the work by July 1825. Although it has the highest number of the three quartets (opp. 127, 130, and 132) that he composed at the behest of Russian nobleman and amateur cellist Prince Galitzin, it was actually second in order of composition. Study of Beethoven’s sketchbook shows that he originally planned the quartet in the traditional four movements, but on recovering from his sickness, he decided to replace the two middle sections with three movements, including the central Heiliger Dankgesang.

The quartet starts with a short, slow introductory motif that bears a similarity to the ones heard at the opening of the String Quartet No. 14, op. 131, and the Grosse Fuge, op. 133. Some think Beethoven used this motif—a slow, rising half step followed by a large leap—as a way of unifying these three works; others believe that the motifs in the three compositions resemble one another because they were all composed around the same time, and the inadvertent repetition of certain favorite melodic turns is almost inevitable. Emerging from the introductory measure is a brilliant violin flourish that leads to the main theme, played high in the register by the cello. Following some expansion, a new idea, starting with three repeated notes, is heard and quickly passes throughout the quartet, leading to still another distinctive idea—a flowing melody in the second violin over a nervous, agitated triplet accompaniment. Although one can conceive these themes as the subjects of traditional sonata form, such analysis violates the free spirit in which Beethoven created this amazing movement.

Wistful and nostalgic in tone, the second movement has two motifs that run throughout the entire opening section. The first is a pair of rising three-note figures; the other, and more important, is a long note that drops down with a flurry of faster notes. After many repetitions of the two melodic cells, Beethoven moves on to the middle section, a sort of mussette, with the first

violin sustaining a bagpipe-like drone under its high-pitched melody. The movement ends with a literal repeat of the opening section.

Over the third movement, Beethoven inscribed the words, “Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart” (“Holy Song of Thanksgiving to the Divinity by a Convalescent, in the Lydian Mode”). The sublime hymn expresses his gratitude for the return of good health; use of the Lydian mode, an ancient ecclesiastical scale (corresponding to the modern F scale but without a B flat), gives the music a spiritual tone. The music consists of five lines of a slow, solemn chordal hymn, with each line preceded by a faster-moving contrapuntal prelude. The vital and vigorous contrasting second section, Neue Kraft fühlend (“Feeling of New Strength”) evokes a sense of strength through alternating loud and soft measures that surge with a powerful, propulsive force. After varied returns of both sections, the movement ends with a free restatement of the Heiliger Dankgesang, marked on the score by Beethoven to be played “Mit innigster Empfindung” (“With the most intimate emotions”).

The raucous Alla marcia provides the sudden change in mood, from heavenly to earthly, which Beethoven seems to need following moments of deeply emotional expression. After a brief aggressive march, the music completely changes character and takes on the style of a recitative, a rhythmically free section, in which the first violin plays an improvisatory, speech-like melodic line over a minimal accompaniment in the other parts.

The finale follows the recitative without pause. Structurally, it combines rondo and sonata form. The basic songful and lyrical character is modified by an underlying turbulent rocking motion that throws an uneasy cast over the proceedings. The first private performance of the A-minor quartet was before an audience of 14 people at the Tavern Zunn Wilden Mann in Vienna by the Schuppanzigh Quartet on September 9, 1825.

The same players gave the public premiere two months later on November 6, 1825.—Notes by Melvin Berger from Guide to Chamber Music

EMERSON STRING QUARTETThe Emerson String Quartet has an unparalleled list of achievements over three decades: more than 30 acclaimed recordings, nine Grammys (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, Musical America’s Ensemble of the Year, and collaborations with many of the greatest artists of our time.

The arrival of Paul Watkins in 2013 has had a profound effect on the Emerson Quartet. Mr. Watkins, a distinguished soloist, award-winning conductor, and devoted chamber musician, joined the ensemble in its 37th season, and his dedication and enthusiasm have infused the quartet with a warm, rich tone and a palpable joy in the collaborative process. The reconfigured group has been greeted with impressive accolades. The New York Times claims, “One of the characteristics of the Emerson Quartet is that its players (the violinists Eugene Drucker and Philip Setzer and the violist Lawrence Dutton in addition, now, to Mr. Watkins) all have the ability and the instruments to produce a sweet and glossy sound—but do so sparingly. Instead, they establish a chromatic scale of timbres that range from dry and tart over clean and zesty all the way to lustrous and singing. Listening to them pass tiny rhythmic motifs around the group, I was struck by how evenly calibrated these timbres were.”

The quartet’s 2014 summer season began with engagements in Colombia, Ecuador, and Peru and a pair of concerts in Rio de Janeiro, Brazil. Following a tour of Japan, the quartet performed at the Ravinia, Tanglewood, Chamber Music Northwest, Aspen, Domaine Forget, Toronto, Austin, Norfolk, Cape Cod, and Mostly Mozart festivals. In a season of more than 80 performances, mingled with the quartet members’ individual artistic

PROGRAM: EMERSON STRING QUARTET


commitments, Emerson Quartet highlights featured numerous concerts on both coasts and throughout North America. In October, Mr. Watkins performed with the Emerson Quartet for the first time in Carnegie Hall. The program included the Schumann Piano Quintet with acclaimed pianist and colleague Yefim Bronfman. Multiple tours of Europe comprised dates in Austria, Ireland, Switzerland, France, Germany, and the United Kingdom.

The quartet continues its series at the Smithsonian Institution in Washington, DC, for its 35th season and in May is presented by colleagues David Finckel and Wu Han for the two final season concerts of the Chamber Music Society of Lincoln Center in Alice Tully Hall. Guest artists Colin Carr and Paul Neubauer will join the Emerson Quartet in a program that includes the New York premiere of Lowell Liebermann’s String Quartet No. 5, commissioned by a consortium of presenters through Music Accord.

As an exclusive artist for Sony Classical, the Emerson Quartet recently released Journeys, its second CD on that label, which features Tchaikovsky’s Souvenir de Florence and Schoenberg’s Verklärte Nacht. Future recordings are planned with Mr. Watkins.

Formed in 1976 and based in New York City, the Emerson Quartet was one of the first quartets formed with two violinists alternating in the first-chair position. In 2002, the quartet began to stand for most of its concerts, with the cellist seated on a riser. The Emerson Quartet took its name from the American poet and philosopher Ralph Waldo Emerson and is quartet-in-residence at Stony Brook University. In January of 2015, the quartet will receive the Richard J. Bogomolny National Service Award, Chamber Music America’s highest honor, in recognition of its significant and lasting contribution to the chamber music field.•

Cantor Arts Center - Stanford Live: Jan/Feb & March 2015 Programs Due: 12/5/14

We gratefully acknowledge support for the exhibition’s presentation at Stanford from the Clumeck Fund and the Mark and Betsy Gates Fund for Photography.

SHE WHO TELLS A STORYWOMEN PHOTOGRAPHERS FROM IRAN AND THE ARAB WORLD

January 28 – May 4

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CANTOR ARTS CENTER AT STANFORD UNIVERSITY3 2 8 L O M I T A D R I V E • S T A N F O R D , C A • 9 4 3 0 56 5 0 - 7 2 3 - 4 1 7 7 • M U S E U M . S T A N F O R D . E D U

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www.menlogrill.com100 El Camino Real, Menlo Park, CA

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• Breakfast, lunch, dinner and late night snacks

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PROGRAM: DIANNE REEVES—STRINGS ATTACHEDFEBRUARY 6 / 7:30 PM BING CONCERT HALL

ARTISTSDianne Reeves, vocalsRussell Malone, guitarRomero Lubambo, guitar

PROGRAMThis evening’s program will be announced from the stage.

There will be a pre-performance discussion at 6:30 pm with Russell Malone and Romero Lubambo hosted by Loren Schoenberg, artistic director of the National Jazz Museum in Harlem, New York.

We gratefully acknowledge the generous support of Dr. Mary T. Jacobson and Dr. Lynn Gretkowski.


This program was generously funded by the Koret Foundation. The Koret Jazz Project is a multiyear initiative to support, expand, and celebrate the role of jazz in the artistic and educational programming of Stanford Live.


ABOUT THE PROGRAMWhile Dianne Reeves has been exceedingly comfortable at work with a spectrum of different musicians over the years, her periodic collaborations with guitarists Russell Malone and, separately, Romero Lubambo have been heralded as if each of them was Ms. Reeves’s musical soul mate. It was only a matter of time before Ms. Reeves would embark on the project of Strings Attached—a tour with these two wondrous and impassioned guitarists. Their styles may seem worlds apart, but through Ms. Reeves, the common ground and artistic excellence of each artist results in musical rapture.

DIANNE REEVESA multiple Grammy winner, Dianne Reeves has recorded and performed extensively with the Jazz at Lincoln Center Orchestra featuring Wynton Marsalis, who said of Ms. Reeves, “She has one of the most powerful, purposeful, and accurate voices of this or any time.” Ms. Reeves has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. In addition, she was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first singer ever to perform at the famed Walt Disney Concert Hall.

Ms. Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy-winning A Little Moonlight, an intimate collection of standards. When Ms. Reeves’s holiday collection Christmas Time Is Here was released, Ben Ratliff of the New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CDs I’ve heard.”

More recently, Ms. Reeves has toured the world in a variety of contexts, which included a program titled Sing the Truth, a musical celebration of Nina Simone that also featured Lizz Wright and Angélique Kidjo.

Beautiful Life, Ms. Reeves’s newest recording, features some of the most engaging songs she has offered in her storied, extraordinary career. “Even in a world with much sadness,” says Ms. Reeves, “at its essence, life is beautiful, and I wanted to celebrate that which can be easily overlooked.” Most certainly, among those things not to be overlooked is Beautiful Life.

For more information, see www.imnworld.com /diannereeves and www.diannereeves.com.

RUSSELL MALONEGuitarist Russell Malone was born on November 8, 1963, in Albany, Georgia. His first exposure to music was through his church. As the church music began incorporating guitars, Mr. Malone found himself fascinated by the instrument. Before he was five, his mother bought him a toy guitar, and he began copying the church players. At ten, Mr. Malone developed an interest in the blues and country music after seeing such musicians as Chet Atkins, Glen Campbell, Johnny Cash, Roy Clark, B. B. King, and, especially, George Benson perform on television. Ultimately, it was jazz that Mr. Malone chose to play. He became a self-taught player influenced by players such as B. B. King, Wes Montgomery, George Benson, Kenny Burrell, and dozens of others whom he discovered through voracious research.

Mr. Malone first worked with master jazz organist Jimmy Smith in 1988 and between 1990 and 1994 toured with Harry Connick Jr. During the late 1990s, Mr. Malone toured internationally with Diana Krall, receiving critical acclaim for his role as Ms. Krall’s right hand both in concert and on her recordings. Mr. Malone has shared the stage with artists of the caliber of Eddie “Cleanhead” Vinson, Claude “Fiddler” Williams, Bucky Pizzarelli, Natalie Cole, Benny Green, Jack McDuff, John Hicks, Clarence Carter, Little Anthony, Freddy Cole, Mulgrew Miller, Kenny Barron, Roy Hargrove, Cyrus Chestnut, Roy Brown, and Patti Austin. Mr. Malone was also a featured performer in Robert Altman’s 1996 film Kansas City.

ROMERO LUBAMBOBorn in Rio de Janeiro, Brazil, in 1955, Romero Lubambo studied classical piano and music theory as a young boy. From the time he played his first notes on the guitar at 13, he devoted himself to that instrument. Mr. Lubambo graduated from the Villa-Lobos School of Music in Rio in 1978, an outstanding student of classical guitar; and in 1980, he received a degree in mechanical engineering from the Pontificia Universidade Católica do Rio de Janeiro.

In 1985, he left Brazil for New York, where he became very much in demand for both his authentic Brazilian sound and his command of a variety of styles. Mr. Lubambo has performed and recorded with many outstanding artists, including Dianne Reeves, Michael Brecker, Yo-Yo Ma, Kathleen Battle, Diana Krall, Herbie Mann, Wynton Marsalis, Jane Monheit, Kenny Barron, Ivan Lins, Grover Washington Jr., Vernon Reid, Flora Purim and Airto Moreira, Sadao Watanabe, Paquito D’Rivera, Harry Belafonte, Larry Coryell, Gato Barbieri, Leny Andrade, James Carter, Paula Robison, Dave Weckl, Claudia Acuña, Jason Miles, Regina Carter, Mauro Senise, and Cesar Camargo Mariano, among others. He has also established himself as a composer and performer on his own critically acclaimed recording projects as well as on those of Trio Da Paz, a Brazilian jazz trio Mr. Lubambo formed with Nilson Matta and Duduka da Fonseca.

Mr. Lubambo “may be the best practitioner of his craft in the world today,” according to Jazziz Magazine, which goes on to say that “the guitarist’s facility, creativity, and energy are in a class all their own.”•


ARTISTSSt. Lawrence String QuartetGeoff Nuttall, violinMark Fewer, violinLesley Robertson, violaChristopher Costanza, cello

Tara Helen O’Connor, fluteGeorge Barth, fortepiano

PROGRAMFranz Joseph Haydn: Trio in G Major for Flute, Violin, and Cello, Hob. IV:3, London Trio (1794) Spirituoso Andante Allegro

String Quartet in C Major, op. 76, no. 3, Hob. III:77, Emperor (1797) Allegro Poco adagio cantabile Menuet: Allegro e Trio Finale: Presto

INTERMISSION

Symphony No. 102 in B-flat Major (1794), flute, piano, and string quartet arranged by Johann Peter Salomon (1798) Largo – Vivace Adagio Menuet: Allegro Finale: Presto


PROGRAM: HAYDN— PATRONAGE & ENLIGHTENMENTFEBRUARY 13 / 7:30 PM BING CONCERT HALL


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FRANZ JOSEPH HAYDN (1732–1809) TRIO IN G MAJOR FOR FLUTE, VIOLIN, AND CELLO, HOB. IV:3, LONDON TRIO (1794)

Willoughby Bertie, the fourth Earl of Abingdon (1740–1799), was one of Franz Joseph Haydn’s leading patrons during the composer’s two extended visits to the British capital (1791–1795). He had already helped pave the way for Haydn’s great popularity with the London concert-going public through his promotion of Haydn’s music throughout the 1780s, including two concert series of his own from 1783 to 1784. Lord Abingdon was one of a group of supporters, led by violinist and impresario Johann Peter Salomon, who personally negotiated with the then celebrated composer to lure him to London. A friendship developed between the British nobleman and the wheelwright’s son from provincial Austria. Haydn visited Abingdon’s estate in the summer of 1794 and accompanied him to Hertfordshire in November. It was for the latter occasion that Haydn wrote a set of four trios, now known as the London trios, for the unusual combination of two flutes and cello. He presented one of the trios to Abingdon and another to his host for the day, Baron Aston. Befitting the skill set of leisured English gentlemen of the time, both were flute players of some ability. (Abingdon also composed—“miserably,” according to Haydn). The two trios were published and arranged in London a few years later, but all four fell into obscurity until revived early in the last century.

They are delightful works. The opening theme of the G-major trio is march-like and carefully designed to allow for an abundance of contrapuntal imitation by all three instruments. Technically, the flute writing would fall within the abilities of the amateur musician, given that flute, together with harpsichord and voice, were the instruments of choice in polite society. As with much music from classical and Baroque times, the flute line transfers comfortably to violin. The slow movement explores the sonorous, more intimate

lower register of the flute. In the finale, it is worth noting the consistent attention to detail Haydn brings to a score essentially designed for domestic music-making.

STRING QUARTET IN C MAJOR, OP. 76, NO. 3, HOB. III:77, EMPEROR (1797)

In 1796, the year following Haydn’s final return from London, the city of Vienna was under threat of invasion from Napoleon. French troops led by Napoleon were advancing from the Po Valley into Styria. Other troops were advancing from the east and both were closing in on Vienna in a pincer-like move. Vienna was in a state of emergency, and a civilian militia had been mobilized to protect the city. Following a state commission, Haydn, a strong nationalist, contributed a beautiful, heartfelt national song to the cause. “Gott erhalte Franz den Kaiser” (“God Protect Emperor Franz”) echoes the patriotism of the British “God Save the King.” It was a bold challenge to the “Marseillaise,” the national anthem of France, and was instantly adopted as the Austrian national anthem. In fact, so universal was the appeal of Haydn’s melody that it was later to be used as the “Brotherhood” anthem of Freemasonry; as the German national anthem “Deutschland, Deutschland über Alles”; and even as the Protestant hymns “Praise the Lord! Ye Heavens, Adore Him” and “Glorious Things of Thee Are Spoken.”

The slow movement of the String Quartet op. 76, no. 3, is a set of variations on this celebrated, dignified tune. Hence the quartet’s nickname Emperor, or Kaiser. Each instrument in turn introduces the solemn melody, while the other three instruments weave an increasingly intricate web around it. Admiring Haydn’s melody in the early 1900s, an English music critic, Cecil Gray, commented, “One cannot imagine the ‘Marseillaise’ or any other anthem serving as the thematic basis of a movement of a string quartet. Haydn’s melody inhabits all three worlds—the world of religion, the world of

national politics, and the world of pure art. It is perhaps true to say that it is the greatest tune ever written.”

Haydn goes further than basing his slow movement on this famous melody. He structures the entire work around the slow movement and makes it the focal point of the quartet. The melody also finds its way into the first movement. Its five-note theme derives from the German title of Haydn’s patriotic song: G (Gott), E (erhalte), F (Franz), D (den), C (Kaiser). This cryptic message would have been recognized in Haydn’s day as one of the many “learned” effects he used in his late quartets, a complement to such popular elements as the lively country dance he fashions out of the same notes over a viola and cello drone in the central development section. The intensity and dignity of the four slow-movement variations is set into relief by the forthright minuet. The finale, an intense, powerful movement, then completes the strong architectural structure Haydn has built.

SYMPHONY NO. 102 IN B-FLAT MAJOR (1794), FLUTE, PIANO, AND STRING QUARTET ARRANGED BY JOHANN PETER SALOMON (1798)

Haydn wrote a total of 12 symphonies for London, now referred to collectively as the London symphonies. The first six were given during his first visit (1791–1792). He wrote No. 102 in London after the 1793–94 concert season had finished in time for its premiere the following season. Thanks to the continuous intrigue and politicking among those presenting concerts in the British capital, the venue for the concert series of impresario and orchestra leader Johann Peter Salomon had been switched from the Hannover Square Rooms to a hall abutting the main stage of the King’s Theater in the Haymarket. Haydn’s earliest biographer Albert Christoph Dies reports that a great chandelier fell and shattered in this hall during the first performance of the Symphony No. 102. Since the audience was

PROGRAM: HAYDN—PATRONAGE & ENLIGHTENMENT


crowded around the orchestra to have a clear view of the composer who was directing from the keyboard, no one was injured. People cried, “A miracle,” and, for reasons unfathomable, the nickname Miracle has stuck to what recent research has shown to be the wrong symphony—No. 96—ever since.

Nevertheless, No. 102, written for Haydn’s second visit to the British capital in the 1794–95 season, contains as many miraculous moments as any of the London symphonies. It is certainly the most tautly written. A stately, though increasingly mysterious, introduction takes us deep into the minor key until the opening movement explodes and further explores the descending theme of the introduction. Now it is punctuated with off-the-beat accents, taken to unexpected keys, and put through canonic development—all with tremendous momentum. In the particularly expressive slow movement, a reworking from Haydn’s recently composed Piano Trio in F-sharp Minor, the tension remains close to the surface, as though ready to explode at any point. A solo cello line adds a distinctive color to its texture. An insistent minuet and calming trio maintain the unusually wide expressive range of Haydn’s score thus far, while the fiery finale adds the flavor of opera buffa and even self-mockery to the mix. The young Beethoven was to pick up on many of the thumbprints of this superb late Haydn symphony—the comical unravelling of its finale finds an echo in his Fourth Symphony.

After leaving London, well pleased with the financial rewards of his two visits, Haydn signed over rights to his 12 London symphonies to Salomon. The canny impresario then rented out rather than published his orchestral parts and saw the potential for wide sales if he were to arrange the symphonies for domestic music-making. His first venture was to make a reduction for piano “with the optional accompaniment of violin and cello.” This was followed by a fuller, more novel arrangement, announced in the Times on June 19, 1798, “for five

Instruments, vizt. Two Violins, a German Flute, a Tenor, and a Violoncello: with an Accompaniment for the Piano Forte ad libitum.” Salomon subsequently sold these arrangements to other European publishers, including Simrock in Bonn, Germany, who brought out Salomon’s transcription of No. 102 in March 1799. This is the reduction that will be performed today. —© 2015, Keith Horner

ST. LAWRENCE STRING QUARTETSee page 19.

Tara Helen O’Connor is a charismatic performer noted for her artistic depth, brilliant technique, and colorful tone that spans every musical era. Winner of an Avery Fisher Career Grant and a two-time Grammy nominee, she was the first wind player to participate in the CMS Two program and is now a Season Artist of the Chamber Music Society. A Wm. S. Haynes flute artist, she is a regular participant in the Santa Fe Chamber Music Festival, Music@Menlo, the Chamber Music Festival of the Bluegrass, Mainly Mozart, Spoleto USA, Chamber Music Northwest, Music from Angel Fire, Banff Centre programs, Ocean Reef Chamber Music Festival, and the Bravo Vail Valley Music Festival. She is a founding member of the Naumburg Award–winning New Millennium Ensemble and a member of the woodwind quintet Windscape and the legendary Bach Aria Group. She has appeared on A&E’s Breakfast with the Arts and Live from Lincoln Center. She has recorded for Deutsche Grammophon, EMI Classics, Koch International, and Bridge Records. Dr. O’Connor is the area head of the wind department at Purchase College’s School of the Arts Conservatory of Music and is the chair of classical music studies. Additionally, she is on the faculty of the Bard College Conservatory of Music and the contemporary-performance program at Manhattan School of Music. Her yearly summer flute master class at the Banff Centre in Canada is legendary.

George Barth is presently enjoying his 28th year at Stanford where, as a senior professor, he holds the Billie Bennett Achilles Directorship of Keyboard Programs. In 2007, he and his colleague Kumaran Arul began producing their series of internationally acclaimed Reactions to the Record symposia on early recordings and musical style, which have featured a host of distinguished scholars and performers as well as award-winning student research from their team-taught performance seminar of the same name. Professor Barth’s recordings on period instruments include Schubert’s Winterreise with mezzo-soprano Miriam Abramowitsch and the Beethoven cello sonatas with cellist Stephen Harrison of the Ives Quartet. His essays have been published in The New Grove Dictionary, Early Music, Hungarian Quarterly, Music & Letters, Early Keyboard Studies Newsletter, Notes, Humanities, and the Eastman Studies in Music series.•

SFLG 111213 SLA034 1_6v.pdf



ARTISTSStanford Philharmonia OrchestraStanford Chamber ChoraleStanford Chamber Strings

St. Lawrence String QuartetGeoff Nuttall, violinMark Fewer, violinLesley Robertson, violaChristopher Costanza, cello

Jindong Cai and Stephen M. Sano, conductors

PROGRAMFranz Joseph Haydn: Symphony No. 1 in D Major (1759) Presto Andante Finale: Presto

Symphony No. 44 in E Minor, Trauer (1772) Saturday program only Allegro con brio Menuetto: Allegretto (canone in diapason) Adagio Finale: Presto

Symphony No. 104 in D Major, London (1795) Sunday program only Adagio – Allegro Andante Menuetto: Allegro Finale: Spirituoso

INTERMISSION

Mass in D Minor: Missa in angustiis, Hob. XXII:11, Nelson Mass (1798) Kyrie Gloria Credo Sanctus Benedictus Agnus Dei


PROGRAM: HAYDN— PATRONAGE & ENLIGHTENMENTFEBRUARY 14 / 7:30 PM FEBRUARY 15 / 2:30 PM BING CONCERT HALL


SYMPHONY NO. 1 IN D MAJOR (1759)

Franz Joseph Haydn identified this bright and cheerful D-major symphony to two of his biographers as his first and 1759 as its year of composition. Naturally, the world of music scholarship has questioned both statements, but it remains No. 1 in the catalog. It’s one of some 15 symphonies that Haydn wrote during the four years of his first appointment as kapellmeister to Count Morzin, whose court was based in Vienna in the winter and Lukavec in Bohemia in the summer. Little is known about Haydn’s time in the employment of the Bohemian count or, indeed, whether it was the senior Morzin, Franz Ferdinand Maximillian, or his son to whom Haydn reported. But we can be grateful to the family for Haydn’s earliest symphonies plus several keyboard sonatas, trios, and other chamber music before a budgetary crisis abruptly brought the idea of music at court beyond their means.

Like the majority of Haydn’s earliest symphonies, Symphony No. 1 is in a three-movement overture style, with the first movement being the most substantial. In it, Haydn’s style is noticeably assured—fluent and given to throwing out the occasional surprise. The compact, bustling movement, in which each half is repeated, is built upon several thematic ideas introduced in a prolonged opening crescendo. It’s a technique that Haydn continued to refine throughout the next half century and the remaining 105 symphonies in his catalog. He also used it in the central slow movement, for strings alone, now built around a descending triplet figure followed by four repeated notes. The three-note figure is inverted in the breezy finale as horns and oboes rejoin the strings.

SYMPHONY NO. 44 IN E MINOR, TRAUER (1772)

In his old age, Haydn is said to have asked for the slow movement of this E-minor symphony to be played at his funeral, though there’s no proof of this. The symphony was

performed, however, at a commemorative concert in Berlin immediately following his death. And the name Trauer-Sinfonie (Mourning Symphony) has been attached to this emotionally charged symphony ever since. When he wrote it, Haydn’s reputation as the leading composer of symphonies and string quartets was already taking hold well beyond the provincial world he served for a half century. “I was cut off from the world,” Haydn said of his employment to the Esterházy family. “No one around me could have doubts about me or torment me, and I was forced to become original.” When he first arrived as vice kapellmeister to Prince Paul Esterházy, the 29-year-old Haydn had immediately begun to compose symphonies to display the talents of the household musicians. His job description was something like composer-in-residence plus acting music director—in addition to having responsibility for a host of other duties, including those of librarian and personnel manager. By 1766, his responsibilities increased considerably, and Haydn had become kapellmeister of the royal household, with an increase of 50 percent in his salary. “Haydn had his hands full,” his biographer Georg Griesinger wrote in the year of Haydn’s death. “He had to conduct all the music, help with the rehearsals, give lessons, and even tune his own keyboard instrument in the orchestra. He often wondered how it had been possible for him to have composed so much music as he did when he was forced to lose so many hours in purely mechanical tasks.”

When he wrote the Trauer Symphony, Haydn was also writing, supervising, and directing operas for Prince Nikolaus Esterházy, who had by now succeeded his brother. Something of the drama of the opera house carries over into the symphonies of the time, the mid-1760s to mid-1770s, including the Trauer with its driving opening movement and strictly canonic minuet that only manages a smile in its central trio section. Its score also is characterized by sudden changes of dynamics, sudden pauses, no less sudden and surprising leaps in the melodies, driving rhythms, fast repeated

(tremolando) figures in the string writing, syncopation, and a restless overall feeling. With the serene Adagio, the urgency of the first two movements passes into a muted calm. But the tension returns to propel the finale to a furious, unrelenting conclusion.

SYMPHONY NO. 104 IN D MAJOR, LONDON (1795)

In many ways, Haydn found himself in the right place at the right time when he made his two extended visits to London in the early 1790s. What he found was a vibrant city—economically prosperous, the center for world trade, and home to a highly educated leisure class eager to hear the latest new music from Europe’s most celebrated composer. London was four times the size of Vienna, which Haydn had been visiting regularly as the Esterházy court moved the short distance from its estates in Eisenstadt and Esterháza to its residence in the Habsburg capital city.The attractions of the British capital were many. “My arrival caused a great sensation throughout the entire city and for three successive days I was mentioned in all newspapers; everyone is eager to know me,” Haydn wrote back to Vienna. With a large concert-going public, London supported a subscription concert series that rivalled the popularity of the productions of the city’s long-established Italian opera. The press regularly reported on concerts as both major artistic and social events in the calendar. “A new composition from such a man as Haydn is a great event in the history of music,” wrote the Morning Herald in 1792 after the premiere of one of the London symphonies. Audiences of around 500 heard the first performances of the majority of these 12 symphonies at the Hannover Square Rooms. The later symphonies were presented in the concert hall of the King’s Theater, seating 800. Its orchestra was correspondingly large for the time, some 60 musicians, with double woodwind, including clarinets. As a result, Haydn’s music became more outgoing and broadly based while, paradoxically perhaps,


appealing even more to the connoisseur in the sophistication of its ever-evolving construction, development, subtlety, and wit. “Novelty of idea, agreeable caprice, and whim combined with all Haydn’s sublime and wonten [sic] grandeur, gave additional consequence to the soul and feelings of every individual present,” wrote an enraptured correspondent for the Times after the premiere of the third of the London symphonies.

The opening movement of No. 104 embodies all the virtues of an opening movement of a classical symphony, notably balance, simplicity, and transparency. The bare bones of its commanding introductory fanfare could not be simpler. Yet it holds the seeds of the entire symphony in its interval of a

rising fifth, together with the melancholy violin figure that follows the fanfare. The fanfare’s repetition during the imposing, slow introduction becomes increasingly mysterious, building a feeling of anticipation as the music leads into the quicker main movement. Here, the seeds quickly sprout, branching into sturdy offshoots with no need for a second theme. Haydn continues with great economy of means in the slow movement, which is based on a theme that is remarkably similar—as is that of the contrasting middle section in the minor key. The minuet is a study in contrasts, between the majesty of the grand outer sections and the modesty of the little trio between. Compact and economical as ever, the finale is anchored by a rustic drone over which a busy, folk-like theme plays (it’s said to be a Croatian folk melody by some). Contrast is provided to its sophisticated development with a quiet, broadly spaced, and calming sequence of chords from the strings. Haydn was happy with the work we now refer to as the London Symphony (though it is no more “London” than its 11 companions). He made 4,000 gulden at its premiere at a benefit concert—“Dr. Haydn’s Night,” as it was advertised—on May 4, 1795. “Such a thing is only possible in England,” he said at the time. Haydn lived the remaining 14 years of a long life in Vienna still composing, rejuvenated by his visits to England—though he did not write another symphony.—© 2015, Keith Horner

FRANZ JOSEPH HAYDN (1732–1809) MASS IN D MINOR: MISSA IN ANGUSTIIS, HOB. XXII:11, NELSON MASS (1798)

“Laus Deo” (“Praise God”), Haydn wrote at the end of the score of his London Symphony, the last of his symphonies. It was his practice as a devout Catholic to offer a similar acknowledgment to God for the creativity given to him at the beginning and end of most of his compositions. Haydn returned to court life in Austria after two extended periods in London (1791–1795)

Haydn—Patronage & Enlightenment ConferenceFebruary 13 and 14 Bing Concert Hall Studio

Haydn—Patronage & Enlightenment explores the life and work of the classical composer in the broad context of late 18th-century culture. Supplementing a yearlong series of concerts is a two-day conference with talks by noted international scholars and performers—including speakers from Cornell University, the University of Vienna, and the de Young Museum—interspersed among performances. These programs are generously supported by The Andrew W. Mellon Foundation.

Highlights:James Webster (Cornell University) Haydn and the Enlightened Politics of Music

Tom Beghin (McGill University) Haydn’s Piano Sonatas: A Discussion and Performance

James Johnson (Boston University) French Patrons in the Age of Haydn

Colin Bailey (de Young Museum) French Patrons in the Age of Haydn

St. Lawrence String Quartet Why Haydn? A Lecture and Performance

For more information, visit live.stanford.edu/livecontext.


“He had an incredible imagination—with just four instruments he created a whole world of tone and gesture. When I’m playing Haydn, I feel like a kid in a candy shop. I never get tired of it.” —Geoff Nuttall, St. Lawrence String Quartet


at the age of 63, celebrated throughout Europe. The musicians he supervised now totaled just seven or eight string players primarily employed to accompany the church music that his new patron, the young Prince Nikolaus II, now required, rather than the symphonies, chamber music, and operas of his predecessors. Haydn also directed a court harmonie group of eight winds. The two groups combined for performances of a series of six masses that he wrote for the main performance period in September and October to commemorate the name day of the prince’s wife. The Nelson Mass is the third in this series of late masses, and it was composed between two ambitious oratorios, The Creation and The Seasons, which fired Haydn’s imagination.

Haydn, however, had grown physically exhausted and began composition of his new mass later than usual in the year. By July 1798, his patron had dismissed the wind musicians in a cost-cutting exercise, leaving only the resident strings. Haydn set to work, adding organ, which he himself played, three trumpets specially hired for the occasion, and timpani. This distinctive sonority is a hallmark of Haydn’s Mass in D Minor. (The organ part was replaced by winds in an arrangement by a colleague, Joseph Fuchs, which Haydn is believed to have sanctioned.) The title that Haydn entered in his own handwritten catalog (though never an official title) is Missa in angustiis, literally Mass in Strained Times—likely a wry reference to the tight deadline within which Haydn was working.

The scheduled performance was September 9, the feast of the Most Holy Name of Mary, the day that Austrians also mark their defeat of Turkish forces in 1683. The connection with Nelson came about two years later when Rear Admiral Sir Horatio Nelson heard a performance of the work Haydn simply called Missa while visiting Eisenstadt. His name has become firmly attached to the mass, Haydn’s most popular mass, ever since.

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Its drama begins right away in the stirring D-minor Kyrie. In this prayer for deliverance, the mood is urgent and driving, with taut contrapuntal writing for the chorus and dramatic, serene writing for the soprano soloist. It’s the only time Haydn set this text in a minor key. The Gloria is decidedly symphonic, revealing Haydn’s successful fusion of the old and the new—the fugues and counterpoint of the Baroque sacred choral music with the latest symphonic form. The bass soloist takes the lead through its reflective, majestic Qui tollis section, while the return of the opening leads into an impressive concluding fugue. In the Credo, again in three parts, Haydn affirms the beliefs of the Christian faith in a spirited strict canon at the fifth. The central Et incarnatus brings an especially tender meditation on the mystery of the virgin birth, in which Haydn deploys a lifetime of compositional skill. Trumpet chords heighten the sense of awe throughout the taut Sanctus—the brief and solemn moment in the liturgy before the Act of Consecration. A solemn march rhythm underlines the grave intensity of the Benedictus, striding inexorably toward stern trumpet fanfares on the words “Blessed is he who comes in the name of the Lord.” A repeat of the Osanna music from the Sanctus releases the tension. The vocal soloists, led by soprano, offer reassurance as the slow-moving, tranquil Agnus Dei opens. This moves to vigorous counterpoint as the choir members’ voices overlap and pray for peace in an uplifting Dona nobis pacem.

ST. LAWRENCE STRING QUARTET

See page 19.

The Stanford Philharmonia Orchestra is a select chamber orchestra of 45 performers. The orchestra offers accomplished student musicians an opportunity to perform a rich repertoire of traditional and contemporary works in a small orchestra setting. It is dedicated to providing high-quality live performances on the Stanford campus and throughout the Bay Area. The orchestra also provides opportunities for its musicians to collaborate with renowned artists visiting and performing at Stanford.

The Stanford Philharmonia presents three concerts each year, one per academic quarter. It is run like a professional ensemble. There are only five rehearsals for each concert, concentrated in a period of no more than four weeks. The Stanford Philharmonia is open to all members of the Stanford community with the prerequisite that they have one year of experience in the Stanford Symphony Orchestra or special consent of the music director. It is also open to qualified non-Stanford community members.

Jindong Cai is the Gretchen B. Kimball Director of Orchestral Studies and an associate professor of music in performance at Stanford University. He serves as music director and conductor of the Stanford Symphony Orchestra, the Stanford Philharmonia Orchestra, and the Stanford New Ensemble. He is also the artistic director of the Stanford Pan-Asian Music Festival, which he founded in 2005. Professor Cai serves as the principal guest conductor of the Shenzhen Symphony Orchestra in China and the Mongolian State Academic Theater of Opera and Ballet.

Born in Beijing, Professor Cai received his early musical training in China, where he learned to play the violin and the piano. He came to the United States for his graduate studies at the New England Conservatory of Music in Boston and the University of Cincinnati College-Conservatory of Music. In 1989, he was selected to study with famed conductor Leonard Bernstein at the Tanglewood Music Center. He won the Conducting Fellowship Award at the Aspen Music Festival in 1990 and 1992. Before coming to Stanford, Professor Cai served on the faculty at the Louisiana State University, the University of Arizona, the University of Cincinnati College-Conservatory of Music, and the University of California at Berkeley. He held assistant conducting positions with the Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, and Cincinnati Chamber Orchestra.Professor Cai has received much critical

acclaim for his orchestral and opera performances. In 1992, his operatic conducting debut took place at Lincoln Center’s Mozart Bicentennial Festival in New York, when he appeared as a last-minute substitute for the world premiere of a new production of Mozart’s Zaide. The New York Times described the performance as “one of the more compelling theatrical experiences so far offered in the festival.” As a guest conductor, Professor Cai has conducted many orchestras in the United States and around the world. He maintains strong ties to his homeland and has conducted most major orchestras in that country.

Professor Cai has won the ASCAP Award for Adventurous Programming of Contemporary Music three times. He has recorded for the Centaur, Innova, and Vienna Modern Masters labels. His recording with the Cincinnati Philharmonia Orchestra, which contains music by William Grant Still and other African American composers, was reviewed as “a startling album, both for its professionalism and its sonic excellence” and was widely broadcast on National Public Radio.

Together with Sheila Melvin, Professor Cai has coauthored several New York Times articles on the performing arts in China and a book, Rhapsody in Red: How Western Classical Music Became Chinese. The China Quarterly called the book “delightful” and claimed, “It opens up a cultural arena much neglected in scholarship on China.”

The Stanford Chamber Chorale is the Stanford Department of Music’s most select choir, comprising 25 students drawn from both graduate and undergraduate populations at Stanford University. Hailing from across the United States and around the world, these singers represent a broad diversity of academic disciplines and degree programs. As members of the Chamber Chorale, these Stanford students meet a demanding schedule of performing, touring, and recording while maintaining their rigorous academic programs. Over the years, the chorale has toured in the



United States, Canada, Japan, China, Great Britain, Austria, Germany, Israel, Italy, and France. On tour, the ensemble has appeared in a notable list of venues, including the National Gallery of Art; the Smithsonian American Art Museum; the great British cathedrals in Ely, Exeter, Lincoln, Newport, Salisbury, Wells, and York; Llandaff Cathedral (Cardiff); St. James’s Church, Piccadilly (London); the chapels of St. John’s College and Trinity College (Cambridge); the chapels of New College, Magdalen College, and Jesus College (Oxford); the Berlin Philharmonie; Rikkyo University Chapel, Hakodate Geijutsu Hall, and Kitahiroshima-shi Geijutsu Bunka Hall in Japan; the Great Hall of the People (Beijing), Shanghai Concert Hall, and Oriental Art Center (Shanghai); and Benaroya Music Center (Seattle). The Chamber Chorale also has been featured on broadcasts from BBC Radio, Austrian national television, and the American Forces Network.

The chorale has performed collaboratively with some of the most renowned performing organizations in the world, including the Tallis Scholars; the Joyful Company of Singers; the Choir of Trinity College, Cambridge; the Choir of Royal Holloway, University of London; the Berlin Philharmonic Orchestra; the St. Hedwig Cathedral Choir (Berlin); the Chamber Choir of the Berlin University of the Arts; the Kronos Quartet; the specialist period-instrument ensembles Chatham Baroque and the National Gallery of Art Chamber Players; and master flamenco guitarist Paco Peña. Dedicated to the performance of literature best suited to the small choral ensemble, the Chamber Chorale has had the honor of receiving works from renowned composers Randall Thompson, Kirke Mechem, Christopher Tin, Howard Helvey, Giancarlo Aquilanti, Takeo Kudo, Jiri Laburda, and Paul Crabtree.

Through its recordings and tours, the chorale continues to gain recognition in the international choral community. The ensemble’s most recent CD, Illumine: Christmas at Stanford, qualified in five

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categories for the 2013 Grammy preliminary ballot, including for the category of Best Choral Performance. The chorale’s extensive touring activities continue to heighten the visibility of both the ensemble and Stanford University’s commitment to music performance and the arts.

Stephen M. Sano is a professor and the chair of the Department of Music at Stanford University and the inaugural chair holder of the Professor Harold C. Schmidt Directorship of Choral Studies at Stanford University, where he directs the Stanford Chamber Chorale and Symphonic Chorus. He holds master’s and

doctoral degrees in both orchestral and choral conducting from Stanford and a bachelor’s degree in piano performance and theory from San Jose State University. Professor Sano has appeared as guest conductor with many of the world’s leading choral organizations, including the Choir of Trinity College, Cambridge; the Joyful Company of Singers (London); the Choir of Royal Holloway, University of London; the Kammerchor der Universität der Künste Berlin; and the Kammerchor der Universität Wien (Vienna). He has served on the conducting faculty of the Wilkes University Encore Music Festival of Pennsylvania and frequently appears as guest conductor of the Peninsula Symphony Orchestra in its collaborative concerts with the Stanford Symphonic Chorus. A dedicated teacher at Stanford, Professor Sano was recipient of the 2005 Dean’s Award for Distinguished Teaching. He has studied at the Tanglewood Music Center and is in frequent demand as a master class teacher, conductor, and adjudicator in choral music. To date, he has taught master classes in and conducted festival, honor, municipal, and collegiate choirs from more than 20 U.S. states as well as England, Austria, Germany, Canada, Australia, and Japan.

An accomplished pianist, Professor Sano has won numerous piano competitions and has served as accompanist to many leading artists visiting the Bay Area and as harpsichordist with the International Chamber Orchestra of Rome. He is also active in his ancillary fields of interest: Hawaiian choral music, the music of Queen Lili’uokalani, ki ho‘alu (Hawaiian slack-key guitar), and North American taiko (Japanese American drumming). As a slack-key artist, his recordings have been nominated as finalists for the prestigious Na Hoku Hanohano Award and the Hawaiian Music Award. His most recent release, Songs from the Taro Patch, was on the preliminary ballot for the 2008 Grammy Award. Professor Sano’s choral recordings can be heard on the Arsis Audio, Pictoria, and Daniel Ho Creations labels His slack-key guitar recordings can be heard on the Daniel Ho Creations and Ward Records labels.•


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ARTISTSMohamed Abouzekry, Alsarah, Michael Bazibu, Hany Bedeir, Nader Elshaer, Dina El Wedidi, Meklit Hadero, Jorga Mesfin, Kasiva Mutua, Sophie Nzayisenga, Dawit Seyoum, Steven Sogo, and Selamnesh Zemene

PRODUCERSMina Girgis, president and CEOMiles Jay, musical director

PROGRAMThe Nile Project

The program will be announced from the stage.


PROGRAM: THE NILE PROJECTFEBRUARY 18 / 7:30 PM BING CONCERT HALL

This program is generously supported by the National Endowment for the Arts and the Western States Arts Federation.


ABOUT THE NILEThe Nile, one of the world’s most iconic rivers, has captivated the imagination of millions throughout time. Originating in two sources—Lake Victoria in East Africa and Lake Tana in the Ethiopian highlands—the 6,670-kilometer river flows northward through a diversity of climates, landscapes, and cultures before passing through Egypt and emptying into the Mediterranean Sea.

The 437 million inhabitants of the Nile River Basin are projected to more than double within the next 40 years, placing an ever increasing demand for Nile water, water that is tied to all aspects of life—from the food on tables to the electricity that powers homes to people’s health. Even now, people living along the Nile are vulnerable to water-related hardships. At least five nations in the Nile River Basin are facing water stress. Seven of the eleven Nile countries continue to suffer from undernourishment rates higher than 30 percent. Fewer than 10 percent of Nile Basin residents have access to electricity. The core issue at hand is how to peacefully allocate Nile Basin water among eleven nations with different needs and priorities, whose populations are all skyrocketing.

This mounting resource scarcity has contributed to a geopolitical conflict between upstream and downstream riparian states. Tremendous political capital has been expended to draft the Nile Cooperative Framework Agreement, an international treaty to govern water distribution and infrastructure projects differently from the existing 1959 Egyptian-Sudanese treaty giving Egypt the majority of the water rights annually. While the agreement has yet to win mutual consensus, the arduous negotiation process has exposed the deep-seated mistrust between countries, the absence of opportunities for citizen-led dialogue, and the lack of a unified identity and vision for the future development of a shared Nile ecosystem.

The Nile River Basin is wrought with political, environmental, economic, and social challenges requiring a new approach to better address the myriad issues it faces. As regional tensions flare, The Nile Project offers a unique grassroots strategy to effectively mobilize thousands of people across the Nile Basin and beyond in constructive cross-cultural dialogue and collaboration.

ABOUT THE NILE PROJECTThe Nile Project is transforming the Nile conflict by inspiring, educating, and empowering an international network of university students to cultivate the sustainability of their ecosystem. The project’s model integrates programs in music, education, dialogue, leadership, and innovation to engage students across disciplines and geographies. The project focuses on the three areas described below.

Musical Collaborations: The Nile Project brings together artists from the eleven Nile countries to make music that combines the region’s diverse instruments, languages, and traditions. The concert experience aims to inspire cultural curiosity, highlight regional connections, and showcase the potential of transboundary cooperation.

Dialogue and Education Programs: Participatory workshops and cross-cultural dialogues provide university students with unique intellectual experiences, deepening their understanding of the Nile ecosystem and stimulating new ways of thinking, communicating, and doing.

Live Context Events

Mapping the NileWednesday, February 11, 5:00 pm Green Library, Bender RoomStanford professor Grant Parker uses rare maps in Stanford’s Special Collections to reveal the various representations and perceptions of the Nile.

Women of the Nile: An Untapped ResourceWednesday, February 18, 12:00 pm–1:30 pmStanford Black Community Services CenterNile Project musicians and Stanford experts come together in a lively lunchtime talk about women’s roles in community water conservation in East African societies.

The Harmony of Water: Musical Collaboration, Water Cooperation, and Networks of PeaceWednesday, February 18, 5:00 pm–6:30 pmBing Concert Hall StudioNile Project founder and ethnomusicologist Mina Girgis leads a group discussion with Stanford experts in policy, ecology, and social entrepreneurship.

For more information, visit live.stanford.edu/livecontext.

PROGRAM: THE NILE PROJECT


Leadership and Innovation Programs: The Nile Fellowship and Nile Prize programs incentivize university students to apply their education and training toward mobilizing their peers and pioneering innovative solutions to the Nile Basin’s complex and interrelated challenges.

For more information, see www.nileproject.org, www.facebook.com/nileproject, and https://twitter.com/nileproject.

ABOUT THE ARTISTS

Mohamed Abouzekry: Despite his tender years, this oud player has a stunning command of his instrument as well as an open ear for other forms, skills that got him a recent album deal with Harmonia Mundi.

Alsarah: Based in Brooklyn, this soulful Sudanese singer and ethnomusicologist crafts songs that have won high praise from roots-music tastemakers like Songlines magazine.

Michael Bazibu: A member of Uganda’s leading traditional music and dance company, Ndere, for the past 17 years, Mr. Bazibu plays several traditional Ugandan stringed and percussion instruments with virtuosic grace.

Hany Bedeir: When the biggest stars in the Middle East need a daff (hand drum) or riq (traditional tambourine) player, they call Mr. Bedeir, whose percussion skills have also earned him a teaching position at several respected Cairo institutions.

Nader Elshaer: Born in the culturally rich town of Port Said, Egypt, Mr. Elshaer taught himself accordion and ney (end-blown reed flute), only to fall in love with the tones of the kawala (end-blown cane flute) and its role in Arabic classical music.

Dina El Wedidi: With experience that spans Arabic classical music, edgy theater, and street protest, this young singer has most recently worked with Brazilian heavyweight Gilberto Gil on her debut album.

Meklit Hadero: Cofounder of The Nile Project, this American-based Ethiopian singer frequently digs deep into soul and hip-hop but never loses sight of her roots.

Jorga Mesfin: This self-taught sax player meshes jazz with Ethiopia’s wealth of musical forms and ideas, both as a respected band leader and favorite sideman for greats like Mulatu Astatke.

Kasiva Mutua: Kenyan percussionist and singer Ms. Mutua may have learned drumming from her grandmother, but she has developed her own knack for powerful Afropop beats. Her expressive playing can tell a story on its own or keep a band perfectly in the pocket.

Sophie Nzayisenga: The first female master of the inanga (Rwandan traditional zither), Ms. Nzayisenga learned at her internationally acclaimed father’s knee before setting out to make the instrument her own.

Dawit Seyoum: Known for his flexibility, Mr. Seyoum rocks both the krar and the bass krar, the six-string powerhouse harps at the heart of much of Ethiopia’s music.

Steven Sogo: Burundi’s leading bassist, this multilingual multi-instrumentalist can play anything with strings, including the umiduri, Burundi’s answer to the berimbau (musical bow). Add to that Mr. Sogo’s wonderful voice, and it’s easy to see why he was named a World Bank musical ambassador.

Selamnesh Zemene: Hailing from a long line of unique culture bearers in northern Ethiopia, this young singer has brought her traditions to collaborations with indie darlings like Debo Band and The Ex.•

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PROGRAM: JORDI SAVALL WITH

HESPÈRION XXI FEBRUARY 22 /

2:30 PM BING CONCERT HALL

PROGRAMIstanbul: Music from the Ottoman Empire in dialogue with the Armenian, Greek, and Sephardic traditions

ITaksimDer makām “Uzzäl uşūleş Darb-i feth” Dervis Mehmed, Mss. Dimitrie Cantemir (209)La rosa enflorece – Maciço de rosas Sephardic tradition (I. Levy I.59, III.41)Alagyeaz and Khnki tsar Armenian traditionDer makām-ı Hüseynī Semâ’î Mss. D. Cantemir (268)

IIHisar Ağir Semai Ottoman lamentTa xyla (Greek)/Çeçen kızı (Turkish)Ene Sarére Armenian lamentDer makām-ı Uzzäl Sakîl Mss. D. Cantemir (324) “Turna” Semâ’î

INTERMISSION

IIIPaxarico tu te llamas Sephardic tradition (Sarajevo)Al aylukhs Armenian song and danceDer makām-ı Räst “Murass’a” Mss. D. Cantemir (214) uşūleş Düyek Hermoza muchachica Sephardic traditionTaksim

IVHov arek Armenian lamentKoniali Turkish and Greek song and danceUna pastora Sephardic tradition

TaksimDer makām-ı Hüseynī Sakīl-i Ağa Riżā Mss. D. Cantemir (89)


ARTISTSHespèrion XXITurkeyHakan Güngör, kanunYurdal Tokcan, oudArmeniaHaïg Sarikouyoumdjian, ney and dudukGreeceDimitri Psonis, santurMoroccoDriss El Maloumi, oudSpainDavid Mayoral, percussionJordi Savall, vielle, lyra, and direction

This program is made possible with the support of the Departament de Cultura of the Generalitat de Catalunya and the Institut Ramon Llull.


JORDI SAVALL Jordi Savall is one of the most multifariously gifted musicians of his generation; his career as a concert performer, teacher, researcher, and creator of new projects, both musical and cultural, makes him one of the principal architects of the current revaluation of historical music. Together with Montserrat Figueras, he founded the ensembles Hespèrion XXI, La Capella Reial de Catalunya, and Le Concert des Nations. He has recorded more than 170 CDs, most of which are on Alia Vox. In 2001, Mr. Savall and Ms. Figueras received a Grammy Award for Dinastia Borja and the Midem Classical Music Award for Jerusalem, City of Two Peaces. In 2008, he was named an Artist for Peace as part of UNESCO’s Goodwill Ambassadors program. In 2009, he was appointed Ambassador of the European Year of Creativity and Innovation by the European Union. Most recently, he received the Léonie Sonning Music Prize in Denmark, joining the company of Daniel Barenboim, Cecilia Bartoli, Mstislav Rostropovich, Olivier Messiaen, and many others. According to the Guardian, “Jordi Savall testifies to a common cultural inheritance of infinite variety. He is a man for our time.”

HESPÈRION XXIFor 40 years, Hespèrion has led the way into the vibrant world of medieval, Renaissance, and Baroque music. From Hespèrion XX’s beginning in Basel, Switzerland, the founding director, Jordi Savall, and his cofounders, Montserrat Figueras, Lorenzo Alpert, and Hopkinson Smith, never wavered from their initial motivation. Thanks to the energy of its members, Hespèrion XXI has conquered a new world of nations and extracted the precious ore of their musical traditions. Harvesting the music of Europe, the Middle and Far East, and the New World, Hespèrion XXI has revealed Sepharad through live performances and recordings of Judeo-Christian songs, golden-age Spain, the madrigals of Monteverdi, the Creole villancicos of Latin America, and much more. Guided by the energy and commitment of Mr.

Savall and Ms. Figueras, Hespèrion XXI has succeeded in uniting the common threads of disparate cultures.

HAKAN GÜNGÖRSince 1993, Mr. Güngör has performed and recorded with many renowned artists. In addition to Jordi Savall and his Hespèrion ensembles, Mr. Güngör has appeared with Yo-Yo Ma, Kudsi Erguner, Renaud Garcia-Fons, Fazil Say, and Okay Temiz. Mr. Güngör is on the faculty of Halic University, is a resident kanun player at Istanbul Radio House, and produces the popular Műzik deyince show for the music channel of Turkish Radio and Television.

DRISS EL MALOUMICombining his love for words and music, Mr. Maloumi has written and composed such French shows as Oiseau de lune, L’amour sorcier, and Caravane de lune. He has earned a reputation for successfully mixing traditional Moroccan Sufi music with jazz and Baroque idioms in such albums as Noches and Jazz aux Oudayas.

HAÏG SARIKOUYOUMDJIANHaïg Sarikouyoumdjian has collaborated with Jordi Savall and Hespèrion since 2009. With them, he has participated in many performing and recording projects around the world. Their collaboration on the CD Armenian Spirit, released in 2012 by the Alia Vox label, has been widely praised.

DIMITRI PSONIS Dimitri Psonis founded the groups Metamorphosis, Krusta, Acroma, and P’An-Ku, and he has worked with singers and instrumentalists of many nations. His music interests range from specialized studies and interpretation of classic Ottoman music to the performance of popular music of Greece and Turkey. His work can be heard on CDs and film soundtracks. Collaborating with early music ensembles like the Limoges Baroque Ensemble and Speculum Musicae, Mr. Psonis has performed and recorded regularly with Jordi Savall and Hespèrion since 2000.

DAVID MAYORALA frequent member of Jordi Savall’s ensembles since 2005, David Mayoral is a wide-ranging and versatile percussionist. In his student years, he worked with renowned masters of piano, ear training, historical percussion, and classical Arabic percussion, and he studied in formal courses and master classes with Glen Velez (frame drumming and req), Keyvan Chemirani (zarb), and Pejman Hadadi (zarb and daff).

YURDAL TOKCANOsman Yurdal Tokcan, has combined traditional performance practices with music and instruments of today. He is also an avid and respected teacher of the oud in workshops and master classes. Active in the music culture of his homeland, Mr. Tokcan founded the Istanbul Sazendeleri (Musicians of Istanbul) to encourage the spread of instrumental Turkish music. In addition, he has performed and toured with ensembles throughout the world. He has worked on film scores (The Passion of the Christ and Kingdom of Heaven) and on many CDs released in Europe and the U.S. Among them are two recordings with Jordi Savall, La sublime porte and Istanbul: Dimitrie Cantemir.•


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Dr. & Mrs. Irving WeissmanDarlene WiglerJohn & Lysbeth Working

ADVOCATE ($500–$999)AnonymousMarilyn & Herbert AbramsLaura AdamsMarcia & Matthew AllenJanice & William AndersonMarkus Aschwanden & Carol KerstenMildred & Paul BergCharlotte & David BiegelsenSusan & Richard BlishVera & Karl BlumeBonnie & William BlytheLinda & Steven BoxerBradley BreymanMaude & Phil BrezinskiJames Brooks & Sukey BryanLeeann & Jorge CaballeroLeon CampbellCurtis & Dudley CarlsonLinda CarsonJohn CarterMarta CervantesNelson ChangDonald Henry CheuHenry CheungAnn ClarkWilliam Coggshall & Janet LittlefieldHolly & Andrew CohenSheila Cohen & Richard MazzeKalyani ComalCathy & Steve CombsLance ConnJacqueline & Robert CowdenAnn & George CraneSuzanne & Bruce CrockerJoni CropperMelanie CrossNorman DishotskyHarriet & Sidney DrellStan Drobac & Michelle SwensonSally Dudley & Charles SieloffDana & Andy EckertSteve EglashEllen & Thomas EhrlichSally & Craig FalkenhagenDana FenwickGeorge FernJoan & Allan FischBarry FleisherMargaret Forsyth & Glenn RennelsRona FosterCarol & Joel FriedmanJudy & Otis FrostAileen FurukawaDonna Tepe GartonAnita GilliamSabine & Bernd GirodMatthew Glickman & Su Hwang Edie GoldbergSusan GoodhueDiane Greene & Mendel RosenblumSally Gressens & Lee YearleyMary Ann & John GrilliSteven GuggenheimJames S. Harris, Jr.Judith & Jerrol HarrisKeith HennesseyMiriam & Albert HenleyLisa HenriksenLance HillRichard T. HoppeAlyson & James IllichDorothy & Rex JamisonLil JohnsonLeigh & Roy JohnsonGrady & Kenneth KaseLisa & Kenneth KelleyEdie KirkwoodPeter Klipstas


BING CONCERT HALLDONORSMaureen & Kerry KravitzNora & Charles Kruger Terri Lahey & Stephen SmithSally & Charles LanninDanielle Lapp & Jerome YesavageAyleen & Emory LeeShirley LeeYune LeeDoreen & David LeithMarion LewensteinShirley LiebhaberMarcia Linn & Jack MorrisLaurel & Joseph LipsickDeveda & Ernest LittauerKristen & Felix LoPenny & John LoebSharon LongPeggie MacLeodAddie & Al MacovskiLeslie & Timothy MaierCharlene & Richard MaltzmanRichard MamelokNino MarakovicIngrid MarlowThomas MarshburnMorton MaserJackie & Bob MathesValerie McGuireMolly & Bill McKennaAsena & Nicholas McKeownPenny & James MeierLuis Mejia & Julie SkeltonRani MenonJudy MohrDavid MoorPaula Moya & Ramon SaldivarLinda & William NorthwayPeter Nosler & Julie VeitchMargaret OishiChristine & Ronald OrlowskiGinger & Daniel OrosKevin Osinski & Marc SinykinMary Jane & Richard OtteMargo ParmacekKaren RechtRossannah ReevesKathleen & Michael RoederDiane & Joe RolfeAlice & Howard RosenbergMaureen & Paul RoskophDiana RussellPhilip RussellShelley & Loren SaxeNancy & Elliot SchrierJohn SchwabacherLorraine & Gerard SeeligLalit ShahaniWilliam ShilstoneDiane & Branimir SikicKerry SpearBarbara & Charles StevensEdward StormLinda & Jeffrey SutoChristopher ThomsenOnnolee & Orlin TrappRonald TrugmanSally & George TruittTing &

Randy VogelWendy & Roger Von OechMary & James WeersingWafa WeiRand Nelson WhiteBernard WidrowAbigail & Henry WilderMansie & Gary WilliamsMarilyn WolperRobert WoodSharon & Robert YoergSelma Zinker

SUPPORTER ($250–$499)Susan & David AbernethyDorothy & Theodore Anderson

Phyllis & Donald BaerRichard Baumgartner & Elizabeth SalzerLauren BlackCharles Bliss & Caroline BowkerBarbara & Robert BowersLise BuyerStephanie Chao & Brian EuleSusan & Robert ChristiansenGay & Steve ClyburnMark CohenRalph Cohen & Susan MillionJean & Michael CouchJudith Dean & Ben EnciscoCarol & Robert DresslerMaria & George ErdiLindaGrace & Martin FrostElisabeth & David GarciaDianne & Wesley GardinerCharles Goldenberg & Pamela PolosPaul GoldsteinMyrtle & Patrick GunningMary & Dale KaiserStina & Herant KatchadourianTobye & Ronald KayeSuzanne KoppettCaroline & Joseph KrauskopfGrace LeeJoan & Philip LeightonLeslie & Tai-Ping LiuKathryn LowVera LuthRuth LycetteMaura McGinnity & Eric RauschGayle & Grady MeansTia & Frazier MillerNorman NaimarkKirstin & Frederic NicholsJoan NortonDonald OrnsteinCarmela PasternakC. Raymond Perrault & Elizabeth TruemanDarryl PutmanRuth RothmanGloria & Matthew SakataNancy & Richard SchumacherAlfred SpivackEleanor SueThomas WandlessJoan & Roger WarnkePatti & Ed WhiteChristina Wyss-CorayMarilyn & Irvin YalomJane & Warren Zuckert

FOUNDATION & GOVERNMENT PARTNERS

$100,000+The Andrew W. Mellon FoundationKoret Foundation

$50,000–$99,999The William and Flora Hewlett Foundation

$10,000–$49,999The Ann and Gordon Getty FoundationNational Endowment for the Arts

$5,000–$9,999Silicon Valley Creates

$1,500–$4,999Association of Performing Arts PresentersKinder Morgan FoundationWestern States Arts Federation

Contributions listed are in support of the 2014–15 season and were received between 05/01/14 and 11/24/14. Program deadlines and limitations prevent us from listing all of our greatly appreciated donors. For corrections, or to make a contribution, please contact Danielle Menona at 650.725.8782 or [email protected].

BUILDING DONORSPeter and Helen BingCynthia Fry Gunn and John A.

GunnJohn Arrillaga FamilyAnne T. and Robert M. BassRoberta and Steve DenningElizabeth and Bruce DunlevieJill and John FreidenrichFrances and Theodore GeballeAndrea and John HennessyLeslie and George HumeSusan and Craig McCawDeedee and Burt McMurtryLinda and Tony MeierWendy Munger and Leonard

GumportJennifer Jong Sandling and

M. James SandlingRegina and John ScullyMadeline and Isaac SteinAkiko Yamazaki and Jerry Yang

BING EXPERIENCE FUND DONORSWith appreciation for the following donors who provide major supportfor programming and musical instruments for Bing Concert Hall.

AnonymousApogee Enterprises, Inc.The Adolph Baller Performance

Fund for Bing Concert HallFriends of Music at StanfordFred and Stephanie HarmanFong LiuElayne and Thomas Techentin,

in memory of Beatrice GriffinBonnie and Marty TenenbaumThe Fay S. and Ada S. Tom FamilyTurner CorporationThe Frank Wells FamilyMaurice and Helen Werdegar

2014–15 ADVISORY COUNCILThe purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide strategic advice on programmatic goals and vision, financial sustainability, communications and marketing, development goals and strategies, community outreach and education, and the overall arts branding at Stanford University.

Leslie P. Hume, Co-chairGeorge H. Hume, Co-chairPeter BingJim CanalesJohn GoldmanFred HarmanBren LeisureBetsy MattesonLinda MeierSrinija Srinivasan

BING CONCERT HALL CORE TEAMJenny BilfieldPeter BingMaggie BurgettJaneen GiustiWiley HausamDon IntersimoneDavid LenoxKären NagyMatt RodriquezMatthew Tiews


SEPTEMBER 2014

SUN, SEPT 21Chris Thile and Edgar MeyerSAT, SEPT 27Sound + Vision: Arts Open HouseSUN, SEPT 28Toumani and Sìdiki Diabaté

OCTOBER

THURS, OCT 2Emmylou HarrisSUN, OCT 5Kronos QuartetTHURS, OCT 9Philharmonia Baroque OrchestraTUES, OCT 14 *FREE* Memorial ChurchHarmony for Humanity:Daniel Pearl World Music Days Concert

FRI, OCT 17Sheryl CrowSAT, OCT 18 *FOR FAMILIES*Dan Zanes and FriendsSUN, OCT 19St. Lawrence String QuartetTHURS, OCT 30–SUN, NOV 2Bing Concert Hall StudioBlind Summit TheatreThe Table

NOVEMBER

SAT, NOV 1PomplamooseSUN, NOV 2Orpheus Chamber OrchestraWED, NOV 5Philharmonia Baroque OrchestraFRI, NOV 14Apollo’s FireMonteverdi’s Vespers of 1610

DECEMBER

FRI, DEC 5Brad Mehldau Trio

SAT, DEC 6Sing and Play the BingTHURS, DEC 11 Memorial ChurchA Chanticleer Christmas

JANUARY 2015

SUN, JAN 18St. Lawrence String QuartetFRI, JAN 30 Memorial AuditoriumBill T. Jones/Arnie Zane Dance Company Story/Time

FEBRUARY

THURS, FEB 5Emerson String QuartetFRI, FEB 6Dianne ReevesStrings AttachedFRI, FEB 13 Haydn—Patronage & Enlightenment St. Lawrence String Quartet

SAT, FEB 14 & SUN, FEB 15Haydn—Patronage & EnlightenmentStanford Chamber Chorale Stanford Chamber StringsSt. Lawrence String Quartet Stanford Philharmonia Orchestra

WED, FEB 18The Nile ProjectSUN, FEB 22Jordi Savall with Hespèrion XXI

MARCH

THURS, MAR 5Susan Graham, mezzo-sopranoSUN, MAR 8Cecilia String QuartetWED, MAR 11Philharmonia Baroque OrchestraTHURS, MAR 19San Francisco SymphonySUN, MAR 22 *FOR FAMILIES*Memorial AuditoriumCirque MechanicsPedal Punk

APRIL

WED, APR 1 & THURS, APR 2The DemoFRI, APR 3 *FREE* Memorial ChurchGood Friday Concert: St. Lawrence String QuartetFRI, APR 10Australian Chamber OrchestraSUN, APR 12St. Lawrence String QuartetWED, APR 15DakhaBrakhaSUN, APR 19Los Angeles Children’s ChorusTUES, APR 21 Memorial AuditoriumCompagnie KäfigKäfig BrasilWED, APR 22SFJAZZ CollectiveSUN, APR 26Imani Winds

MAY

SUN, MAY 3Avi AvitalFRI, MAY 15Selected Shorts Live in Performance

WED, MAY 20Sondheim Songbook

JUNE

FRI, JUN 5 & SAT, JUN 6 *FOR FAMILIES* Bing Concert Hall StudioCompagnia T.P.O.Bleu! The Mediterranean Sea

TICKETS & INFORMATION LIVE.STANFORD.EDU OR 650.724.BING (2464)

More free events still to be announced—visit the Stanford Live website for updates!All programs subject to change.

Presented by Stanford LiveStanford University365 Lasuen Street, Second FloorLittlefield Center, MC 2250Stanford, CA 94305

2014 – 2015 PERFORMING ARTS SEASON


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1 Bing Concert Hall & Bing Concert Hall Ticket O ce2 Frost Amphitheater3 Memorial Church4 Memorial Auditorium5 Stanford Ticket O ce6 Anderson Collection at Stanford University

P Public Parking--- Walking PathF Alumni Café, Arrillaga Alumni CenterNOTE: MAP NOT TO SCALE

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INFORMATION

PERFORMANCE VENUE INFORMATION SEATING INFORMATION

BING CONCERT HALL MEMORIAL AUDITORIUM

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 service-vehicle restrictions are enforced at all times.

Parking for Bing Concert Hall and Frost Amphitheater can be found in the Galvez Lot and on Lasuen Street, Museum Way, Roth Way, and the Oval.

Parking for Memorial Church can be found along the Oval at the end of Palm Drive, on Roth Way, on Museum Way, and on Lasuen Street.

The Stanford Marguerite is Stanford University’s free public shuttle service. The shuttle travels around campus and connects to nearby transit, shopping, dining, and entertainment. For detailed schedules and maps, please visit transportation.stanford.edu/marguerite.

Bike to the Bing!Bing Concert Hall is a bicycle-friendly venue with 244 bike racks available in front of the main entrance and student entrance. Bicycles are not allowed to obstruct walkways, railings, doorways, or ramps intended for use by pedestrians or people with disabilities. Improperly parked bikes will be removed and impounded by Stanford Public Safety.

DirectionsFor driving directions or public transportation information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit www.stanford.edu/dept/visitorinfo/plan/parking.html.

Please allow 30 minutes to find parking and take your seat before the performance. Or come early, easily find parking, and enjoy a meal or a glass of wine and a snack at the new Interlude Café!

THINGS TO KNOW

Wheelchair seating, with up to three companion seats per wheelchair space, is available for all Stanford Live performances at every price level. Please indicate your needs when purchasing tickets so that an appropriate location can be reserved for you.

Assisted-listening devices are available for Stanford Live performances. Please visit Patron Services prior to the show for more information.

Sign language interpreting is available for Stanford Live performances with five business days’ notice given to the administrative office—call 650.723.7247 or email us at [email protected].

Large-print programs are available with 72 hours’ notice given to the administrative office. Please send all requests to [email protected].

Latecomers arriving after curtain time will be seated at a suitable interval in the program or at intermission. We recommend that you arrive at least 30 minutes prior to performances.

Please turn off all cell phones and any other light- or sound-emitting devices before the performance. Also, please note the use of cameras—including cell phone cameras—and recording devices is strictly prohibited.

The primary restrooms in Bing Concert Hall are located on the stage level, easily accessible by going down the stairs at Doors C and F or by using the lobby elevator near the information desk. Additional restrooms are located on the lobby level across from Door D near the café.

The Bing lobby and box office open 60 minutes prior to the performance. Auditorium doors open 30 minutes prior to curtain.

The Interlude Café in Bing Concert Hall’s lobby serves guests before each performance and during intermission. For complete hours, menus, and preordering options, visit live.stanford.edu/dining.

Cell phone service is limited at Bing Concert Hall, especially in the auditorium, because of the design of the building. Medical professionals and others who may need to be reached during a concert can either check in a cell phone or pager device at the Patron Services desk or direct outside callers to call the Patron Services desk, with their seat location, at 650.725.3095. The desk is located across the lobby from Door F at the Coat Check.

Volunteer usher positions are available throughout the year. For more information, please send an email to [email protected].

Seating at Memorial Church is general admission. Access to the reserved-seating section is available for donors of $250 or more.


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