UCSB Arts & Lectures - Fall Program 2018

Fall Program 2018

wine country cuisine in the heart of the Historic Arts District Fresh, local ingredients, prepared with care.

Excellent wines that reflect the quality and character of our region and work in concert with the cuisine.

Warm, inviting ambience with engaging service at a relaxed, leisurely pace. This is bouchon.

dinner nightly Sunday-Thursday 5-9pm | Friday-Saturday 5-10pm

bouchon 9 west victoria street

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805.730.1160

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bouchonsantabarbara.com

Community Commitment 25th

AWARDS

Annual Donations

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VAL

W Y NE S LE

When you do business with a community bank, you’re making a difference too.

Volunteered Annually

SANTA Y

For over 40 years, Montecito Bank & Trust’s dedicated associates have made a difference by working side-by-side with individuals, businesses and nonprofit organizations to create opportunities and help the local economy thrive.

BEST OF THE VALLEY 2017 SINCE 1925

2013 – 2017

2014 – 2018

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2017 Bank of the Year - Western Independent Bankers A Top Mortgage Lender 2017 - Santa Barbara Independent

montecito.bank • (805) 963-7511 Solvang • Goleta • Mesa • Santa Barbara • Montecito Carpinteria • Ventura • Camarillo • Westlake Village

Photo: Nell Campbell

The SBCC Promise Thanks to our community of generous supporters, the SBCC Promise provides all recent local high school graduates with access to an outstanding and affordable education at Santa Barbara City College.

All fees, books, and supplies are covered for two years.

Your gift makes it possible.

sbccpromise.org sbccpromise.org || (805) (805) 730730- 4416 4416

Dear Arts & Lectures’ Friends and Family, Welcome to Arts & Lectures’ 60th anniversary season and thank you again for choosing to spend an evening with us.

That’s right: for 60 years Arts & Lectures has connected the University to the community with public events that inspire, educate and entertain. You may not be among those for whom A&L means decades of special memories, but I hope that you will be making new memories tonight and will join us again soon.

As we move through this fall’s events, please think about how A&L presentations might help make you an informed voter. We bring a variety of perspectives and a range of ideas, believing that a thoughtful, informed citizenry yields an engaged, resilient community. A place we want to call home.

As much as we are awed and inspired by what happens on stage, day to day I am deeply moved by the generosity our of community, which fuels the magic on stage. I’m grateful to our Event Sponsors – if you know them, please thank them! – and to those angels who see Arts & Lectures as a vehicle for change, a force for good and a tool for meeting their personal philanthropic goals.

We are forever indebted to Sara Miller McCune and SAGE Publishing, our Corporate Season Sponsor, and we are again blessed to have as our Community Partners the Natalie Orfalea Foundation and Lou Buglioli, who have invested in our program as a strategy for making a difference now and in the future.

If you haven’t yet explored our Thematic Learning Initiative, brainstormed and funded by Lynda Weinman and Bruce Heavin, this is the time to do it! See pages 8 and 9 for details on how you can make what happens on stage come alive in your life and in our community in new and dynamic ways.

Free books, community dialogues, film screenings, intimate conversations – these are all part of the A&L Thematic Learning Initiative.

Lastly, another round of thanks to our Producers Circle members, who champion Arts & Lectures programs year in and year out, and our brilliant and gifted UC Santa Barbara students who support these programs on stage and in the classroom. Much gratitude to you all!

With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

What is it? Arts & Lectures’ Thematic Learning Initiative

extends the conversation from the stage into the community, inspiring lifelong learning opportunities that initiate change and empowerment. Join A&L and other knowledge seekers like you who want to learn more, know more and do more to improve ourselves and the world around us. Connect with others at intimate salon-style discussions, film screenings and added special public events. Receive online educational resources, sign up for book giveaways and more!

What does it cost? It’s FREE! Who participates? More than 2,000 community mem-

bers like you and local organizations like social services, health and wellness providers and civic organizations.

Get Involved! Visit www.Thematic-Learning.org or

email TLI@ArtsAndLectures.UCSB.edu to get updates and more information.

Fall 2018 Book Selection

Each quarter, we select a book written by an A&L speaker that expands on one of the season’s themes, and provide free copies for the community.

Rescue: Refugees and the Political Crisis of Our Time

by David Miliband In the midst of a global refugee crisis, what can we possibly do to help? With compassion and clarity David Miliband shows why we should care and what can be done, not just by governments but by citizens with the urge to change lives.

FREE copies of Rescue will be available beginning Oct. 1 at Arts & Lectures’ Campbell Hall Box Office and the Santa Barbara Central Library (40 E Anapamu St). Books available while supplies last. RELATED EVENT David Miliband public lecture, Nov 7 at Campbell Hall (p. 42)

photo: Grace Kathryn Photography

A Special Thank You to Event Sponsors The Muller Family

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Note new A&L Box Office location in Campbell Hall

With thanks to our visionary partners, Lynda Weinman and Bruce Heavin, for their support of the Thematic Learning Initiative A&L Council Member Lynda Weinman & CouncilAdvisor Member Lynda Weinman & A&LA&L Program Bruce Heavin with author J. D. Vance A&L Program Advisor Bruce Heavin with Trevor Noah

@ArtsAndLectures

2018-2019 Themes

Health Matters | Borders & Bridges

FREE EVENTS

Oct 4 Community Gospel Sing-in

with Victor Bell and members of UCSB Gospel Choir 7 PM / Campbell Hall Plaza

Related Event: Soweto Gospel Choir, Songs of the Free in Honor of Nelson Mandela’s 100th Birthday, following sing-in (p. 13)

Oct 11 Mood Disorders and the Creative Mind

Discussion with Kay Redfield Jamison 3 PM / Santa Barbara Central Library*

Related Event: Kay Redfield Jamison public lecture, An Unquiet Mind: Understanding Depression, Bipolar Illness and Suicide, Oct 11 (p. 19)

Oct 25 Enlightenment Now: The Case for Reason,

Science, Humanism and Progress

History Book Club Discussion (NOTE: Author will not be present) 10:30 AM / Santa Barbara Central Library*

Related Event: Steven Pinker public lecture, Enlightenment Now: The Case for Reason, Science, Humanism and Progress, Oct 18 (p. 29)

Oct 25 FILM: Human Flow

A film by Ai Weiwei 7:30 PM / Campbell Hall

Related Event: David Miliband public lecture, Rescue: Refugees and the Political Crisis of Our Time, Nov 7 (p. 42)

Oct 29 Learning Opp: What is CRISPR?

4 PM / Santa Barbara Central Library*

Related Event: Jennifer Doudna public lecture, Rewriting the Code of Life: CRISPR Biology and the Future of Genome Editing, Nov 8 (p. 43)

Nov 2 FILM: This is Home

Hosted by the International Rescue Committee 1 PM / Santa Barbara Central Library*

Related Event: David Miliband public lecture, Rescue: Refugees and the Political Crisis of Our Time, Nov 7 (p. 42)

Dec 3 Listening Party with Kronos Quartet’s David Harrington 7 PM / Santa Barbara Wine Collective, 131 Anacapa St., Ste. C Related Event: Kronos Quartet performance, Music for Change: The Banned Countries, Dec 4 (p. 56)

*Online registration recommended: www.Thematic-Learning.org

www.Thematic-Learning.org

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Arts & Lectures 60th Anniversary Season Opening Night!

Jazz at Lincoln Center Orchestra with Wynton Marsalis Spaces featuring Lil Buck and Jared Grimes Sat, Sep 29 / 8 PM / Granada Theatre

photo: Piper Ferguson

Running time: approx. 90 min., plus intermission

Event Sponsors: Jody & John Arnhold Sara Miller McCune

Spaces by Wynton Marsalis

Jazz at Lincoln Center Orchestra

Ch-Ch-Ch-Chicken Monkey in a Tree Pachyderm Shout Leap Frogs Mr. Penguin Please

Wynton Marsalis, Music Director, trumpet Ryan Kisor, trumpet Kenny Rampton, trumpet Marcus Printup, trumpet Vincent Gardner, trombone Chris Crenshaw, trombone Elliot Mason, trombone Sherman Irby, alto and soprano saxophones, flute, clarinet Ted Nash, alto and soprano saxophones, flute, clarinet Victor Goines, tenor and soprano saxophones, clarinet, bass clarinet Greg Tardy, tenor and soprano saxophones, clarinet Paul Nedzela, baritone and soprano saxophones, bass clarinet Dan Nimmer, piano Carlos Henriquez, bass Charles Goold, drums

- Intermission Like a Snake Those Sanctified Swallows A Nightingale King Lion Bees Bees Bees

with Lil Buck, dance Jared Grimes, dance and choreographic consulting by Damian Woetzel

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Jazz at Lincoln Center Orchestra The Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO) comprises 15 of the finest jazz soloists and ensemble players today. Led by Wynton Marsalis, Jazz at Lincoln Center managing and artistic director, this remarkably versatile orchestra performs a vast repertoire ranging from original compositions and Jazz at Lincoln Center-commissioned works to rare historic compositions and masterworks by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman, Charles Mingus and many others. The JLCO has been the Jazz at Lincoln Center resident orchestra since 1988, performing and leading educational events in New York, across the United States and around the globe. Alongside symphony orchestras, ballet troupes, local students and an ever-expanding roster of guest artists, the JLCO has toured more than 300 cities across six continents. Guest conductors have included Benny Carter, John Lewis, Jimmy Heath, Chico O’Farrill, Ray Santos, Paquito D’Rivera, Jon Faddis, Robert Sadin, David Berger, Gerald Wilson and Loren Schoenberg. The JLCO was voted best big band in the annual DownBeat Readers’ Poll from 20132016.

In 2015, Jazz at Lincoln Center announced the launch of Blue Engine Records, a new platform to make its archive of recorded concerts available to jazz audiences everywhere.

The first release from Blue Engine Records, Live in Cuba, was recorded on an historic 2010 trip to Havana by JLCO and was released in October 2015. Big Band Holidays was released in December 2015, The Abyssinian Mass came out in March 2016 and The Music of John Lewis came out in March 2017. Handful of Keys, featuring a group of all-star guest pianists, arrived in September 2017. To date, 14 other recordings featuring the JLCO have been released and internationally distributed: Vitoria Suite (2010); Portrait in Seven Shades (2010); Congo Square (2007); Don’t Be Afraid... The Music of Charles Mingus (2005); A Love Supreme (2005); All Rise (2002); Big Train (1999); Sweet Release & Ghost Story (1999); Live in Swing City (1999); Jump Start and Jazz (1997); Blood on the Fields (1997); They Came to Swing (1994); The Fire of the Fundamentals (1993) and Portraits by Ellington (1992).

Wynton Marsalis Wynton Marsalis is the managing and artistic director of Jazz at Lincoln Center and a world-renowned trumpeter and composer. Born in New Orleans, La. in 1961, Marsalis began his classical training on trumpet at age 12, entered The Juilliard School at age 17 and then joined Art Blakey and the Jazz Messengers. He made his recording debut as a leader in

1982 and has since recorded more than 60 jazz and classical recordings, which have won him nine Grammy Awards. In 1983 he became the first and only artist to win both classical and jazz Grammys in the same year and repeated this feat in 1984. Marsalis is also a respected teacher and spokesman for music education and has received honorary doctorates from dozens of U.S. universities and colleges. He has written six books: His most recent are Squeak, Rumble, Whomp!

Whomp! Whomp!, illustrated by Paul Rogers and published

by Candlewick Press in 2012, and Moving to Higher Ground: How Jazz Can Change Your Life with Geoffrey C. Ward, published by Random House in 2008. In 1997 Marsalis became the first jazz artist to be awarded the prestigious Pulitzer Prize in music for his oratorio Blood on the Fields, which was commissioned by Jazz at Lincoln Center. In 2001 he was appointed Messenger of Peace by Kofi Annan, SecretaryGeneral of the United Nations, and he has also been designated cultural ambassador to the United States of America by the U.S. State Department through their CultureConnect program. Marsalis was instrumental in the Higher Ground Hurricane Relief concert produced by Jazz at Lincoln Center.

The event raised more than $3 million for the Higher Ground Relief Fund to benefit the musicians, music industry-related enterprises and other individuals and entities from the areas in Greater New Orleans who were affected

by Hurricane Katrina. Marsalis helped lead the effort to construct Jazz at Lincoln Center’s home – Frederick P. Rose Hall – the first education, performance and broadcast facility devoted to jazz, which opened in October 2004.

Lil Buck Movement artist Charles “Lil Buck” Riley was born in Chicago, Ill. At an early age, his family moved to Memphis, Tenn., where he spent the majority of his youth and adolescence. While growing up in Memphis, Buck was introduced to an urban street dance style called Memphis Jookin’. He quickly took to the style and became a wellknown local dancer. While studying ballet at the New Ballet Ensemble, he was involved in groups such as Subculture Royalty and Heal the Hood. At age 19, Lil Buck moved to Los Angeles to pursue a full-time career in dance and performance, and he has been blazing his own trail ever since. In 2011 Lil Buck met Damian Woetzel, former New York City Ballet principal dancer and current director of the Aspen Institute Arts Program, who paired him with famous cellist Yo-Yo Ma in The Dying Swan, a performance that went viral on YouTube and catapulted Lil Buck’s career.

Since then he has performed with numerous elite artists, from Wynton Marsalis to Madonna. Lil Buck was a recipient of The Wall Street Journal Magazine Innovator Award in 2014, presented by Madonna. In 2015 he had the honor

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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of collaborating with Donatella Versace on an exclusive Lil Buck-inspired shoe and shirt line for Versace USA. Other notable credits include a contract with Cirque du Soleil’s MJ Immortal show in Las Vegas, choreography for Disney’s upcoming Nutcracker feature film and several national and international commercials. Between performances on stage and in front of the camera, Lil Buck is dedicated to working on his non-profit organization, M.A.I. (Movement Arts Is), which aims to break the molds and stereotypes of urban/ street dance culture in America.

Jared Grimes Jared Grimes is a quadruple threat who is making his mark in singing, dancing, acting, and choreographing.

He has danced alongside legends such as Wynton Marsalis, Gregory Hines, Ben Vereen, Jerry Lewis and Fayard Nicholas and has performed for President Barack Obama and Ted Kennedy at the Kennedy Center. Grimes has also toured with Mariah Carey under the choreography of Marty Kudelka and danced for artists such as Common, Salt-N-Pepa, En Vogue, Busta Rhymes and The Roots.

His theater credits include After Midnight on Broadway, Twist, Babes in Arms and Gentlemen Prefer Blondes (directed by John Rando at Encores and self-directed at Broadway Underground). Grimes has appeared in commercials for Coca-Cola, Subway and MTV and on such television shows as CBS’ Star Search, Showtime at the Apollo, ABC Family’s Dance Fever and The Jerry Lewis Telethon. His television acting credits include Fox’s Fringe and HBO’s Boardwalk Empire. He made his choreography debut in Cirque du Soleil’s Banana Shpeel off-Broadway, has choreographed commercials for Chili’s and assisted choreography with Kristin Denehy for Macy’s popular Kidz Bop commercial. He recently choreographed for After Midnight on Broadway and was associate choreographer for Holler If Ya Hear Me. His feature film credits include The Marc Pease Experience, starring Ben Stiller, Little Manhattan and First Born, starring Elizabeth Shue. Grimes was a lead in the Radio City Spring Spectacular, and he recently choreographed the feature film Breaking Brooklyn with director Paul Becker.

concerts, national and international tours, residencies, weekly national radio programs, television broadcasts, recordings, publications, an annual high school jazz band competition and festival, a band director academy, jazz appreciation curricula for students, music publishing, children’s concerts and classes, lectures, adult education courses, student and educator workshops, a record label and interactive websites. Under the leadership of Managing and Artistic Director Wynton Marsalis, Chairman Robert J. Appel and Executive Director Greg Scholl, Jazz at Lincoln Center produces thousands of events each season in its home in New York City, Frederick P. Rose Hall, and around the world.

Visit us at jazz.org Become our fan on Facebook: facebook.com/jazzatlincolncenter Follow us on Twitter: twitter.com/jazzdotorg Watch us on YouTube: youtube.com/jazzatlincolncenter Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis Jazz at Lincoln Center’s commissioning of Spaces was made possible, in part, by a leadership gift from Jody and John Arnhold and a generous grant from the Howard Gilman Foundation.

This project received support from:

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

Jazz at Lincoln Center Jazz at Lincoln Center is dedicated to inspiring and growing audiences for jazz. With the world-renowned Jazz at Lincoln Center Orchestra and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a yearround schedule of performance, education and broadcast events for audiences of all ages. These productions include

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Soweto Gospel Choir

Songs of the Free In Honor of Nelson Mandela’s 100th Birthday Thu, Oct 4 / 8 PM / Campbell Hall

photo: Brett Schewitz

Running time: approx. 90 min., plus intermission

Related Thematic Learning Initiative Event (see page 9)

Event Sponsor: Mary Becker in honor of Gary Becker

Choir Members Mirriam Chapole Mlungiseleni Jones George Kaudi Sibongile Makgathe Victor Makhathini Gugu Mbongwa Mazwe Mhlongo Siyabolela Mkefa

Original Msimango Semangele Mongatane Maserame Ndindwa Sipho Ngcamu Zanele Ngcamu Linda Sambo Phello Sejake Portia Skosana

About the Choir Hailing from the town of Soweto (South West Township), the birthplace of South Africa’s democratic movement’s struggle for freedom, Soweto Gospel Choir has thrilled audiences around the world with its stunning blend of African gospel, freedom songs and international classics.

Formed to celebrate the unique and inspirational power of African gospel music, the choir, comprised of South Africa’s greatest singers, is dedicated to sharing the joy of faith through music with audiences around the world.

Soweto Gospel Choir performed for Nelson Mandela on many occasions during his life and sang at his state funeral at home in South Africa as well as at his commemorative service at Westminster Cathedral in London, and they performed at the memorial service for Winnie MadikizelaMandela earlier this year. The choir recently performed at

the 2018 Nelson Mandela Annual Lecture, delivered this year by Barack Obama. Combining earthy rhythms with rich harmonies and sung in six of South Africa’s 11 official languages, as well as English, this special occasion promises to be a moving performance that will uplift the soul.

“The significance of Nelson Mandela’s 100th commemoration to South Africans is firstly and foremost a reminder of the role played by Nelson Mandela in moving South Africa from a position of being an undemocratic, oppressive society to one of a peaceful co-existence for all racial groups,” says Music Director Diniloxolo Ndlakuse. “Mandela represents love, peace, forgiveness and strength to the choir.

He is a symbol of inspiration to the choir.”

On Sept. 14, 2018, in honor of the centennial of Nelson Mandela’s birth, Soweto Gospel Choir released its highly-anticipated sixth album, Freedom, a collection of freedom songs from South Africa and beyond. The album features iconic struggle songs associated with the liberation movement in South Africa. For example, the album’s single, “Umbombela,” or “Train Song,” speaks of the travails experienced by black South Africans during the apartheid era, when migrant workers were forced to travel long distances away from their families in order to meet the harsh economic and political demands made by the government.

Freedom includes compositions by Miriam Makeba, Harry Belafonte, Letta Mbulu and Mbogeni Ngema, creator of the hit musical Sarafina!

Among their many accolades, Soweto Gospel Choir has earned two Grammy Awards, released two No. 1 Billboard

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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World Music Chart albums and earned the distinction as the only South African music act to ever perform at the Academy Awards. They have performed with notable artists including Stevie Wonder, Peter Gabriel, Bono, Pharrell Williams, Kirk Franklin, Chance the Rapper and the recently-departed Aretha Franklin, among many others. Soweto Gospel Choir counts among their supporters the late Nelson Mandela, Archbishop Desmond Tutu (the official patron of the choir) and the current President of the Republic of South Africa, Cyril Ramaphosa.

Soweto Gospel Choir’s first recording, Voices From Heaven, was released in 2004, leading to the choir’s first international tour. Blessed, released in 2005, and African Spirit, released in 2007, earned the ensemble their first and second Grammy Awards. They released a CD and DVD titled Live at the Nelson Mandela Theatre in 2008 and in 2009. Soweto Gospel Choir became the first South African artists to perform at the Academy Awards when they sang “Down to Earth,” Peter Gabriel’s Academy Award-nominated song from WALL-E, with John Legend. In 2010 they released the Grammy-nominated album Grace, and collaborated with U2 for ESPN’s FIFA World Cup promotional campaign, which garnered a Sports Emmy Award. In 2013, they celebrated their 10th anniversary with Divine Decade: Soweto Gospel Choir & Friends.

Choir Management Milton Ndlakuse, Musical Director Vincent Jiyane, Choir Master Mulalo Mulovhedzi, General Manager Mary Mulovhedzi, Administrator Touring Crew Toni Rudov, Company Manger Maija Putans, Stage Manager Andrew Ride, Touring Lighting Designer/Operator Leon June Jr., Touring Audio Designer/Operator Producers Andrew Kay, International Producer Margot Teele & Toni Rudov, Associate Producers www.sowetogospelchoir.com Exclusive North American Representation: IMG Artists 7 West 54th Street, New York, NY 10019 Phone: 212-994-3500 / Fax: 212-994-3550 / www.imgartists.com

ser ies Acrobatic One-Ring Circus

Cirque Mechanics 42FT: A Menagerie of Mechanical Marvels

Sun, Oct 14 / 7 PM / Granada Theatre Event Sponsors: Susan McMillan & Tom Kenny Kay McMillan Corporate Sponsor: Yarn-spinning Masters

Ojai Storytelling Festival on Tour Sun, Oct 21 / 3 PM / Campbell Hall

Grammy-winning Roots Music for Families

The Okee Dokee Brothers Sat, Dec 1 / 3 PM / Campbell Hall Hip Hop Extravaganza

Black Violin

Classical Boom Tour

Sat, Jan 26 / 3 PM / Campbell Hall FREE to Family Fun Series Subscribers

Mountainfilm on Tour Kids’ Showcase Sun, Mar 10 / 3 PM / Campbell Hall Gauchos from Argentina

Che Malambo

Wed, May 1 / 7 PM / Granada Theatre Corporate Sponsor:

Special thanks to Pastor Victor Bell and the UCSB Gospel Choir

Buy the series and save 20%!

Single tickets also available

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Jonah Goldberg

Suicide of the West: How the Rebirth of Tribalism, Populism, Nationalism and Identity Politics is Destroying American Democracy Sun, Oct 7 / 7:30 PM / Campbell Hall

Event Sponsors: Susan & Craig McCaw Jonah Goldberg holds the Asness Chair in Applied Liberty at the American Enterprise Institute and is a senior editor at National Review and a fellow at the National Review Institute. A bestselling author, his nationally-syndicated column appears regularly in more than 100 newspapers across the United States. He is also a weekly columnist for the Los Angeles Times, a member of the board of contributors to USA Today, a Fox News contributor, and a regular member of the Fox News All-Stars on Special Report with Bret Baier. He was the founding editor of National Review Online. The Atlantic magazine has identified Goldberg as one of the top 50 political commentators in America.

Among his awards, in 2011 he was named the Robert J. Novak Journalist of the Year at the Conservative Political Action Conference (CPAC). He has written on politics, media and culture for a wide variety of leading publications and has appeared on numerous television and radio programs. He is the author of the recently-released New York Times bestseller Suicide of the West, as well as two previous New York Times bestsellers: The Tyranny of ClichÊs and Liberal Fascism. Books are available for purchase in the lobby and a signing follows the event

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Preet Bharara Ethics and the Law

Tue, Oct 9 / 7:30 PM / Campbell Hall

Presented in association with the UCSB Pre-Law Advising Program Preet Bharara is an American lawyer who served as U.S. attorney for the Southern District of New York from 2009-2017, nominated to the position on May 15, 2009, by President Barack Obama. His nomination was unanimously confirmed by the U.S. Senate, and he was sworn in on August 13, 2009.

Bharara earned a reputation as one of “the nation’s most aggressive and outspoken prosecutors,” according to The New York Times. His office’s case against SAC capital, for example, resulted in the largest fine ever paid in the history of insider-trading prosecution. In 2012, Bharara was featured on the cover of Time magazine and appeared on its list of the 100 Most Influential People in the World.

As U.S. attorney, Bharara oversaw the investigation and litigation of all criminal and civil cases brought on behalf of the United States in the Southern District of New York.

He supervised an office of more than 200 assistant U.S. attorneys, who handled a high volume of cases involving terrorism, narcotics and arms trafficking, financial and healthcare fraud, cybercrime, public corruption, gang violence, organized crime and civil rights violations.

With Bharara at the helm, the office experienced one of the most productive periods in its history. Early in his tenure, he formed the Terrorism and International Narcotics Unit, which has continued the office’s long history of prosecuting leaders and associates of global and domestic terrorists, narco-terrorists, cartels and money-laundering organizations. Its convictions have included major terrorists, arms traffickers and even a Somali pirate.

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The office continued the tradition of being at the forefront of prosecuting financial misconduct, and secured convictions of numerous insider-trading defendants, including Raj Rajaratnam and Rajat Gupta. The Civil Frauds Unit brought a number of significant civil actions alleging financial and healthcare fraud and collected hundreds of millions of dollars in settlements for fraud relating to faulty lending practices. His office held to account several of the world’s largest corporations for misconduct including defrauding consumers, causing environmental damage and violating U.S. sanctions abroad. The Complex Frauds and Cybercrime Unit also prosecuted some of the most cutting-edge financial fraud cases, in addition to sophisticated tax fraud, bank fraud and cybercrime cases involving core members of the hacking groups LulzSec and Anonymous, the drug trafficking website Silk Road and digital currency providers.

Under Bharara’s supervision, the office also brought a series of significant and systemically revelatory public corruption cases against members of New York city and state governments: New York state senators and assemblymen, New York city councilmen, the former majority leader of the New York State Senate and the former speaker of the New York State Assembly.

The office continued its traditional civil rights work by, for example, conducting a multi-year investigation into the treatment of adolescent males at Rikers Island and filing Americans with Disabilities Act cases against leading New York City institutions like Avery Fisher Hall in Lincoln Center, while simultaneously bringing new and innova-

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tive cases under the Uniformed Services Employment and Reemployment Rights Act. The office also prosecuted more than 1,000 violent members and associates of various gangs, including the Bloods, Latin Kings and Trinitarios, in an effort to make communities in the Southern District safer for their residents.

Bharara has delivered the keynote address at the commencements of Fordham Law School, Columbia Law School, Cardozo School of Law, UC Berkeley School of Law, Pace University School of Law and New York University School of Law, and in 2014 he spoke at Harvard Law School’s Class Day ceremony.

On April 1, 2017, Bharara joined the NYU School of Law faculty as a distinguished scholar in residence.

In September, 2017, Bharara launched Stay Tuned with Preet, a podcast about justice and fairness.

Prior to becoming the U.S. attorney, Bharara served as chief counsel and staff director of the U.S. Senate Judiciary Committee’s Subcommittee on Administrative Oversight and the Courts. During his tenure, he helped lead the Senate Judiciary Committee investigation into the firing of United States attorneys.

From 2000-2005, Bharara served as an assistant U.S. attorney in the Southern District of New York, where he prosecuted a wide range of cases involving organized crime, racketeering, securities fraud, money laundering, narcotics trafficking and other crimes.

Bharara was a litigation associate in New York at Swidler Berlin Shereff Friedman from 1996-2000 and at Gibson, Dunn & Crutcher from 1993-1996. He graduated magna cum laude from Harvard College with an A.B. in Government in 1990 and from Columbia Law School with a J.D. in 1993, where he was a member of the Columbia Law Review.

Special thanks to

Speaking with Pico series Join Pico Iyer in discovering fresh and hopeful ways to think about tomorrow from visionaries creating new worlds today.

Zen Buddhist Visionary

Joan Halifax

Tue, Oct 23 / 7:30 PM Event Sponsors: Dori & Chris Carter

Presented in association with the UCSB Department of Religious Studies

MacArthur “Genius” and Award-winning Writer

George Saunders Mon, Jan 28 / 7:30 PM Event Sponsors: Leslie Sweem Bhutani Bob & Siri Marshall Journalist and Bestselling Author

Susan Orlean

Thu, Mar 14 / 7:30 PM Media Sponsor:

National Book Award Winner

Andrew Solomon Thu, May 16 / 7:30 PM Event Sponsor: Anonymous

All events at UCSB Campbell Hall

Buy the series and save 20%!

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Celebrating the 50th Anniversary of the UCSB Department of Chicana and Chicano Studies

Aida Cuevas

with Mariachi Juvenil Tecalitlán Totalmente Juan Gabriel photo: Courtesy of Aida Cuevas

Wed, Oct 10 / 8 PM / Granada Theatre Program will be announced from the stage

Presented in association with Old Spanish Days in Santa Barbara

Dubbed “the Queen of Mariachi,” Aida Cuevas is an esteemed figure in Mexico, beloved for her unswerving devotion to traditional mariachi music and for her mastery of its demanding vocal forms. With 39 album releases, Cuevas as garnered a Grammy Award, a Latin Grammy Award and seven Latin Grammy nominations in the Best Mariachi/ Ranchero Album category.

Cuevas became the first female singer in the mariachi genre to win a Grammy when she was honored at the 2018 awards for Best Regional Mexican Music Album for her CD Arrieros Somos (Versiones Acústicas). The album is a collection of acoustic versions of Mexican classics by renowned composer Cuco Sánchez. She previously won a Latin Grammy for Best Tango Album for her 2010 release De Corazón a Corazón… Mariachi Tango.

Mañana, as well as new songs from Totalmente Juan Gabriel Vol. II, including Gracias por Todo, Cada Vez, Cada Vez and Buscando el Séptimo Amor. Cuevas also performs many ranchero classics such as Traición a Juan and the José Alfredo Jiménez compositions Me Equivoque Contigo and No Me Amenaces. Her unique voice and style have allowed her to cultivate a successful career spanning decades, leaving a remarkable imprint in the history of Mexican music.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

Cuevas’ latest release, Totalmente Juan Gabriel Vol. II, is the second of five CD installments in which she pays tribute to the legendary singer and songwriter. Gabriel produced two albums for Cuevas: 1983’s Aida Cuevas Canta a Juan Gabriel and 1985’s Éxitos. The first volume of Totalmente Juan Gabriel was released in 2013. Cuevas now celebrates the life and career of her dearest friend and greatest mentor with a special U.S. tribute tour. She is the only artist authorized by the Juan Gabriel estate to record and tour his music.

Cuevas is a master of mariachi art song performing a full range of mariachi numbers, including the falsetto heavyweight El Pastor, the iconic Juan Gabriel hits Te Doy las Gracias, Te Vas a Quedar con las Ganas and Quizás

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Kay Redfield Jamison

An Unquiet Mind: Understanding Depression, Bipolar Illness and Suicide Thu, Oct 11 / 7:30 PM / Campbell Hall

Related Thematic Learning Initiative Event (see page 9)

Event Sponsors: Diana & Simon Raab Author of An Unquiet Mind, Kay Redfield Jamison is an international authority and researcher on mood disorders.

Named a Hero of Medicine by Time magazine, she has unique insight into the world of mental illness.

Jamison has published more than 100 articles in academic journals. She has shared her expertise on various television programs and was one of five people featured in the PBS series Great Minds of Medicine.

Jamison went public with her own struggle with manic depression in a 1995 Washington Post article and subsequent New York Times bestseller, An Unquiet Mind: A Memoir of Moods and Madness, which according to the late Oliver Sacks, “stands alone in the literature of manic depression for its bravery, brilliance, and beauty.” Since its release, she has become a trusted advocate for the millions who suffer from mental illness.

In her profoundly enlightening lectures, she addresses the clinical and personal realities of depression and bipolar disorder in a manner that encourages dialogue, empathy and hope.

The author of the national bestseller Night Falls Fast: Understanding Suicide, Jamison co-authored the standard medical textbook on manic depression, Manic-Depressive Illness: Bipolar Disorders and Recurrent Depression and is the author of Exuberance: The Passion for Life.

A finalist for the Pulitzer Prize in biography, her 2017 book, Robert Lowell, Setting the River on Fire: A Study of Genius, Mania, and Character is a psychological account of Pulitzer Prize-winning poet Robert Lowell and his remarkable ability to write amid manic episodes.Jamison’s book Touched with Fire: Manic-Depressive Illness and the Artistic Temperament was awarded the Lewis Thomas Prize, which recognizes scientific works that reach a wider audience outside of the laboratory. Inspired by her work, director Paul Dalio dramatized his own battle with manic depression and bipolar disorder in Touched with Fire, a 2016 film starring Katie Holmes.

A recipient of the prestigious MacArthur Fellowship, Jamison is currently the Dalio Family Professor in Mood Disorders, a professor of psychiatry at the Johns Hopkins University School of Medicine, and the co-director of the Johns Hopkins Mood Disorders Center. She is an honorary professor of English at the University of St. Andrews in the U.K. Books are available for purchase in the lobby and a signing follows the event

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Company Wang Ramirez

Honji Wang and Sébastien Ramirez, Artistic Directors

Borderline Sat, Oct 13 / 8 PM / Granada Theatre

photo: Frank Szafinski

Running time: approx. 70 min., no intermission

Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg Irma & Morrie Jurkowitz Barbara Stupay

About the Program

About the Company

Borderline marks a turning point in Sébastien Ramirez and Honji Wang’s research and choreographic language. The dance expands in a dialogue between technique and the art of rigging, while the reflection on human relationships now includes the reality of living together in our democracies.

Social boundaries are evoked by the interplay of physical forces on the stage as well as through testimonies – collected from the dancers’ friends and relatives or from the media, and broadcasted in voice-over.

Since the creation of Company Wang Ramirez, Honji Wang and Sébastien Ramirez have produced and choreographed dance-theater pieces that have won them many awards and accolades. Following their presentation of AP15 at the Apollo Theater in New York, Ramirez and Wang received the 2013 Bessie Award for Outstanding Performer. Their work Monchichi was one of the 2017 Bessie Award nominees for Outstanding Production following its performance at BAM Fisher.

The rigging element, a scenic tool notorious as deus ex machina in Greek tragedy, allows us to approach weightlessness to create timeless poetics. In the interaction with the rigger, the body becomes the object of a game of balance and freedom. Attached to cables, the five dancers expose the desire for freedom inherent in all forms of dance, especially hip hop, which discovers new ways to thwart gravity in its virtuosity of footwork.

Wang and Ramirez developed a conceptual dance performance for the opening celebration of MADE Space, an arts hub in Berlin, and in 2015, they contributed choreography to Madonna’s Rebel Heart Tour. In 2016, Sadler’s Wells invited them to direct and perform a dance work made to Nitin Sawhney’s album Dystopian Dream.

The gestures and the costumes create images that reflect Greek and Korean traditions in animality, as well as in our desires and angsts. Between the promise of freedom and the violence of keeping our bodies on the ground is a space allowing the invention of a new gestural approach. With great fluidity, the piece displays accents of acrobatics, visual poetry and the urban universe. It extends to the ground, where gravitational borderlines shift horizontally in a mobile scenography that continues to evolve throughout the performance.

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Wang and Ramirez never cease in their quest to find new choreographic expression built on technical virtuosity, poetry, humor and the questioning of human identities. They currently encourage and explore strong artistic collaborations with artists from different fields.

Acclaimed by international audiences, the company has been invited to perform at major theaters and festivals including Théâtre de la Ville, La Villette and Théâtre National de Chaillot (Paris), Sadler’s Wells (London), Apollo Theater (New York) and Mercat de les Flors (Barcelona), and receives the support of important international co-producers.

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Honji Wang Honji Wang is a dancer, choreographer and artistic director born and raised in Germany by Korean parents.

Her dance language is an abstraction of hip-hop dance and bears traces of earlier martial arts and ballet training. She is recognized as an artist who brings contemporary and hip hop dance together in an exceptionally organic fashion.

Wang was invited to audition for Madonna in New York, where her outstanding performance earned her an invitation to tour and perform on the singer’s Rebel Heart Tour.

She was invited to perform a duet with acclaimed British choreographer Akram Khan titled The Pursuit of Now, accompanied by well-known pianist Shahin Novrasli. Wang also collaborated with avant-garde female flamenco dancer Rocío Molina in the duet Felahikum as well as with New York City Ballet principal dancer Sara Mearns in the duet No.1.

Sébastien Ramirez Born in the south of France, Sébastien Ramirez is an internationally-renowned dancer, choreographer and artistic director.

Ramirez specializes in the use of aerial work as well as choreographic rigging development. Since the founding of his company, he has developed a new vision of space and choreography, and brought hip-hop dance to a new and wider audience.

Ramirez contributed to the creation phase of Madonna’s Rebel Heart Tour in New York City and choreographed for her live show. He also conducted a personal training on floorwork movement for the creation of Akram Khan’s solo DESH, and was invited by Sadler’s Wells as one of the five choreographers of RIOT OffSpring, a unique dance piece performed to Igor Stravinsky’s iconic The Rite of Spring played by Southbank Sinfonia.

Additional Biographies Louis Becker (performer) has a strong base in b-boying and broadened his artistic expressions with contemporary dance, acrobatics and drama. Winner of an impressive number of dance battles, he also tours internationally with Company Constanza Macras.

Johanna Faye (performer) has her dance roots in breaking, as well as experience in contemporary dance and impro-

visation. Faye has been working with choreographers like Amala Dianor, Jérémie Belingard, Tishou Aminata Kane and Sylvain Groud.

Saïdo Lehlouh (performer) is a charismatic b-boy who was spotted early on for his extraordinary dance skills, stage presence and interpretation. From the very beginning, he participated in important dance-theater productions with artists such as Storm (Théâtre de Chaillot, Paris; National Dance Center, Pantin; Hebbel am Ufer, Berlin); Constanza Macras (Berlin) or Norma Claire (French Guiana).

Alister Mazzotti (rigger and performer) has performed and coordinated stunts, fights and physical effects for more than 500 movies, commercial and theatrical productions during the past 25 years. He has headed action departments on Oscar-winning movies (special effects: The Pianist, stunts: The Lives of Others) and received nominations (Taurus, DAFF) for outstanding stunt work.

Jean-Philippe Barrios, a.k.a LACRYMOBOY (composer) is a percussionist, drummer and composer who has been playing music and collaborating with choreographers for more than two decades. As a performer – musician, dancer or actor – he is a member of many international companies, including Brodas Bros (Barcelona).

Cyril Mulon (lighting design) has studied camera and light design and is also the company’s technical director. Serving as lighting and stage manager for Peter Brook’s company Théâtre des Bouffes du Nord (Paris, France) for over a decade, he gained a wide scope of artistic and technical experience. His eclectic career reaches from documentary, video and photography to light design for theater productions, operas and dance.

Borderline Artistic Direction and Choreography: Honji Wang and Sébastien Ramirez Performers: Louis Becker, Johanna Faye, Saïdo Lehlouh, Alister Mazzotti, Sébastien Ramirez, Honji Wang Rigging Development: Jason Oettlé and Kai Gaedtke Rigger: Alister Mazzotti Musical Composition: LACRYMOBOY With the participation of: Christophe Isselee and the voices of: Chung-Won Wang and Henri Ramirez Lighting design: Cyril Mulon Dramaturgical Collaboration: Catherine Umbdenstock Set Design: Paul Bauer Costume Design: Anna Ramirez Creation Producer in 2013: Dirk Korell Production Management Services: Academy for Dance and Theatre Arts Technical / Production Manager: Bartolo Cannizzaro

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Exclusive North American Representation John Luckacovic / Eleanor Oldham info@2luck.com | www.2luck.com The original soundtrack of Borderline is available on lacrymoboy.bandcamp.com and on iTunes (artist: LACRYMOBOY).

Coming in Spring

Co-production L’Archipel, scène nationale de Perpignan (in the frame of a creation residency) Théâtre de la Ville, Paris Parc de La Villette, Paris Initiatives d’Artistes en Danses Urbaines (Fondation de France – Parc de la Villette with the support of Caisse des Dépôts and Acsé) Mercat de les Flors Barcelone (in the frame of creation residencies at Graner) Act’art – Conseil départemental de Seine-et-Marne Centre Chorégraphique National de Créteil et du Val-de-Marne / Company Käfig TANZtheater INTERNATIONAL, Hannover Support Regional Council Occitanie / Pyrénées-Méditerranée Regional Cultural Affairs Directorate Occitanie County Council Pyrénées Orientales With thanks to Centre Culturel Jacques Prévert à Villeparisis for the creation residency Hebbel am Ufer (HAU) for the research possibilities in Berlin With the support of Montpellier Danse, residency at Agora, cité internationale de la danse Company Wang Ramirez – Clash66 receives support from Regional Cultural Affairs Directorate Occitanie, by Regional Council Occitanie / PyrénéesMéditerranée and by County Council Pyrénées Orientales. The company receives the support of Foundation BNP Paribas for the development of its projects. Honji Wang and Sébastien Ramirez are associated artists of Théâtre de la Ville, Paris and supported by l’Archipel, scène nationale de Perpignan.

From France

Ballet Preljocaj

La Fresque (The Painting on the Wall)

www.wangramirez.com Follow @WangRamirez on Facebook, Twitter, Instagram, YouTube and Vimeo Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

Tue, Apr 16 / 8 PM / Granada Theatre Tickets start at $35 / $19 UCSB students A Granada facility fee will be added to each ticket price

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Cirque Mechanics

42FT: A Menagerie of Mechanical Marvels Chris Lashua, Founder, Creative Director, Producer, Machine Designer Sun, Oct 14 / 7 PM / Granada Theatre

photo: Maike Schulz

Running time: approx. 80 min., plus intermission

Event Sponsors: Susan McMillan & Tom Kenny Kay McMillan Corporate Sponsor:

Aloysia Gavre, Co-Director, Choreographer Sean Riley, Set Designer, Artistic Rigger Michael Picton, Composer Steven Ragatz, Writer Anthony Powers, Lighting Designer Caroline Rogers, Costume Designer Nata Ibragimov, Artist, Illustrator, Poster & Headpiece Designer Aida Lashua, Co-Producer, Collaborator Janeen Johnson, Creative Team Liaison, Director of Production Joe D’Emilio, Lighting Designer Kevin Rogers, Technical Lead, Performer Cast: Wes Hatfield, captain, coach, acrobat Justin Therrien, clown Ariel Mosier, acrobat, Cyr wheel Gregory Mcelroy, acrobat, Cyr wheel Kae Henning, acrobat, trapeze artist Kae Henning, acrobat, trapeze artist Brooke Neilson, acrobat Chase Jarvis, acrobat Tatiana Vasilenko, juggler Battulga “Tulga” Battogtokh, strongman Javen Mungun Ulambayar (Mooj), acrobat, trapeze artist

About the Program 42ft in diameter has been the measure of the circus ring for 250 years. Englishman Philip Astley discovered that horses galloping inside this ring provide the ideal platform for acrobatic feats, these equestrian acrobatics, along with clowns and flyers are a large part of what we’ve all come to know as the circus.

This 250th anniversary of Astley’s circus, inspired Cirque Mechanics to produce a one-ring traditional circus show in their own modern mechanical way. 42ft – A Menagerie of Mechanical Marvels follows the story of a down and out roustabout filled with wanderlust and enamored with the circus, willing to persevere in order to reach his dream of performing under the big top. 42ft displays life in a tent show by exposing the glamour inside the ring and the vitality of the back lot.

To capture the authenticity of the traditional, Cirque Mechanics has assembled a veritable menagerie of circus acts worthy of the ring, like the strong man, the Russian swing, the trapeze, the ladder, slack wire and juggling. And to celebrate the important role animals have played in circus throughout its history, 42ft features a captivating performer riding on a stunningly life-like mechanical horse!

In 42ft, Cirque Mechanics dares us to let our imagination run away and jump inside this remarkable ring full of the lore, the beauty, the grit and the thrill of the circus.

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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About Cirque Mechanics Cirque Mechanics was founded in 2004 by Boston native and German Wheel artist, Chris Lashua, after the success of his collaborative project with the Circus Center of San Francisco, Birdhouse Factory. Cirque Mechanics quickly established itself as a premiere American circus, with its unique approach to performance, inspiring storytelling and innovative mechanical staging. Spectacle Magazine hailed it as “the greatest contribution to the American circus since Cirque du Soleil”.

Cirque Mechanics, although inspired by modern circus, finds its roots in the mechanical and its heart in the stories of American ingenuity. The shows, rooted in realism, display a raw quality, rarely found in modern circus, that makes their message timeless and relevant. The stories are wrapped in circus acrobatics, mechanical wonders and a bit of clowning around. The troupe has created four extraordinary productions; Birdhouse Factory, Boomtown, Pedal Punk, and new for the 18-19 season- 42FT- A Menagerie of Mechanical Marvels.

Chris Lashua Company founder Chris Lashua hails from Boston, Mass., where he spent most of his youth riding a BMX bike. He was discovered by Cirque du Soleil and created/performed a BMX bike act that was entirely his own. He was then commissioned to build a “german wheel” act for the company, which he performed for several years in Cirque du Soleil’s production of Quidam, cementing his reputation as a visionary of circus gadgetry. His engineering chops and creative energy led him to run away with his own circus company, Cirque Mechanics.

Lashua believes that innovative mechanical apparatus and the relationship between performer and machine sets his company apart and is at the heart of what makes Cirque Mechanics unique. He has delivered on this unique approach in the company’s theatrical productions: His innovative machines interact with acrobats, dancers, jugglers and contortionists on a 1920s factory floor in Birdhouse Factory, a gold rush era town in Boom Town and a bicycle shop in Pedal Punk, as well as accompanying world-renowned symphonies in the Orchestra Project.

When Lashua is not developing material for a theatrical show, he is building other wacky performance devices for events, most recently the Paddleship, a portable stage that not only floats, but can be navigated by pedal-powered paddle wheels. Lashua is a producing partner of the Vegas International Variety Arts Festival (VIVAFest). He was also recently featured as a guest lecturer at the annual Association for Theater in Higher Education Conference.

A Note of Thanks From the Producers We want to thank our family…our three wonderful sons, Zion, Quinn and Iago…for their unconditional love and support, their enthusiasm, their imagination and for adopting the spirit of a true circus family by discussing act ideas, narrative and plot points at the dinner table and helping in the shop with painting, building and clean up! Our parents for taking us to the circus as children and allowing us to dream. Our cast and crew for their tireless efforts and their collaborative energy. Marc Baylin and his team at Baylin Artists Management for believing in our company and setting us on a new path. Lori Pullen and the University of Las Vegas for their sponsorship.

Armand Thomas for his continuing support of us, our family and our projects.

Bo Bogatin and Kurt Nelson for keeping us honest and legal. Andy Espo for his friendship, clear head and objectivity. Bryan Schuette and the boys at United Machine, for fabricating and creating and trusting us with their equipment. Terry Pittman, at The Bike Shop in Henderson for helping to make the mechanical horse go, Don Seiersen at Vishnu Creative for his great graphic support, Maike Schulz Photography for her wonderful and stunning images, Renee Clinton for being a champion of our work and our friends and family at Cirque du Soleil for continuing to set the bar higher. The creation process was long and arduous, but extremely rewarding. We had so much fun designing and exploring, training and rehearsing. Our goal is that you are entertained and our hope that you are moved. Finally thank you to our audiences for your loyalty and your faith in our company, for the laughs, the applause and the appreciation for the circus arts.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

Now, in 42ft: A Menagerie of Mechanical Marvels, Lashua builds on the might of his engineering mind, his passion for the circus and all things mechanical by designing a veritable menagerie of mechanical devices worthy of the generations of circus shows and acts the production aims to honor.

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Seong-Jin Cho, piano photo: Harald Hoffmann / Deutsche Grammophon

Tue, Oct 16 / 7 PM / Campbell Hall

Presented in association with the UCSB Department of Music

Program J.S. Bach: Chromatic Fantasia and Fugue in D minor, BWV 903 Schubert: Fantasie in C Major, op. 15, D.760 (“Wanderer”) Allegro con fuoco ma non troppo Adagio Presto Allegro Chopin: Polonaise-fantaisie in A-flat major, op. 61 - Intermission -

Mussorgsky: Pictures at an Exhibition Promenade The Gnome Promenade (2nd) The Old Castle Promenade (3rd) Tuileries (Children’s Quarrel After Games) The Ox-Cart Promenade (4th) Ballet of the Unhatched Chicks “Samuel” Goldenberg and “Schmuÿle” Promenade (5th) The Market at Limoges (The Great News) The Catacombs Cum mortuis in lingua mortua Baba-Yaga (The Hut on Hen’s Legs) The Bogatyr Gates (In the Capital of Kiev)

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About the Program The first half of this evening’s program illustrates the evolution of the keyboard fantasia. Defining characteristics of this genre include virtuosity, freedom from strict formal structures and improvisation. As composers gradually wrote with less room for improvisation, performers became increasingly bound to the notes written on the page.

Though the fantasias on tonight’s program contain no improvisation beyond small ornaments, the genre’s improvisatory spirit remains.

Johann Sebastian Bach (1685-1750): Chromatic Fantasia and Fugue in D minor, BWV 903 Johann Sebastian Bach, his wife Maria Barbara and their several children spent nearly a decade in the city of Weimar, where he served the court of Duke Ernest Augustus I. Though quite successful in this post, tensions built between the high-strung Bach and his new employer. Bach attempted to resign from his position several times before the exasperated duke had him arrested and jailed for insubordination. Upon release from his month-long imprisonment, Bach again submitted his resignation, which the duke, at last, accepted.

Soon after, Bach and his family moved north to the city of Köthen, where he would remain for six years. Yet troubles of a different sort were to follow, as Maria Barbara died unexpectedly. Bach, who had been traveling at the time, learned only of her death and burial upon returning home weeks later. The widowed Bach would marry Anna Magdalena Wilcke, a soprano 16 years his junior, 17 months later.

It is during this tumultuous period that scholars believe Bach composed the Chromatic Fantasia and Fugue. The Fantasia opens with an extended florid passage for the right hand. Much of the music in the fantasy is unaccompanied, lending it the air of an improvised aria. As the title indicates, this highly chromatic work contains frequent sharp and flat notes outside the written key signature. These accidental notes, combined with seemingly improvised melodies, imbue the music with a dreamy and untethered quality. Separating the opening fantasy from a subsequent recitative is a series of dissonant, tortured arpeggiated chords arranged in a sequence known in Bach’s era as the “Teufelsmühle,” or “Devil’s Mill.”

The theme of the fugue develops from a short, simple ascending line. The music grows denser and more dissonant as it meanders through numerous keys. Bach’s journey through this harmonic labyrinth becomes increasingly agitated before culminating in an emphatic climax.

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Franz Schubert (1797-1828): Fantasie in C major, op. 15, D.760 (“Wanderer”) Schubert composed the Fantasie in C major in one burst of creative energy in November 1822, a period that coincides with the cessation of his mysteriously unfinished Eighth Symphony. While some scholars posit that it was Schubert’s wholehearted commitment to the Fantasie that derailed the Eighth, others suggest the real culprit was an illness – likely syphilis – that began to outwardly manifest in late 1822.

The disease left Schubert bedridden and unable to compose for weeks, and marked a turning point toward a more mature compositional style.

Schubert’s Fantasie takes its nickname from “Der Wanderer,” a poem by Georg Philipp Schmidt he had set to music in 1816. Despite this link between the two pieces, Schubert himself never referred to the Fantasie by this now-popular sobriquet.

The first movement, an epic Allegro con fuoco (“with fire”), opens with a driving stressed-unstressed-unstressed rhythm low in the bass. This rhythmic pulse permeates the entire Fantasie, and Schubert uses this repetitive figure as a jumping off point to explore myriad new ideas, much like the famous four-note motive in Beethoven’s Fifth Symphony. Harsh, clanging chords sound in the last section of the movement before fading to a quiet and somber finish. If the opening bars were blazing fire, the closing notes may be so much smoldering embers.

While all four movements quote melodic material from “Der Wanderer,” the second adheres most closely to the spirit of the original song in tempo, rhythm and mood (Schubert even keeps the key signature, C-sharp minor).

What begins as a somber march grows calm and peaceful, ultimately careening toward a turbulent close.

Rollicking and jovial, the third movement surges with seemingly relentless energy, propelled by an insistent dotted rhythm throughout. The final movement, though the shortest of the four, is by no means any less demanding. It begins simply, with low octaves that build in intensity and complexity. The glittering finale continues to swell, culminating in an ending as majestic as the opening bars.

The song “Der Wanderer” ends in melancholy as a ghostly breath calls, “There, where you are not, there is happiness.”

If the wanderer of Schubert’s song seems cursed to roam solitudinous paths, the wanderer envisioned within the Fantasie emerges triumphant, having at last found their way home.

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Frédéric Chopin (1810-1849): Polonaise-fantasie in A-flat major, op. 61 Chopin’s relationship with the writer Amantine Lucile Aurore Dupin (pen name George Sand) remains one of the more talked-about relationships in classical music. Both were independently famous (already an easy target for gossip), and Sand’s past lovers and her age (six years older than Chopin) only added fuel to the fire. In the summers, Chopin and Sand retreated from Paris to her Loire Valley estate, where they and Sand’s two children could escape the stifling Parisian heat. The summer of 1845 saw Chopin begin the Polonaise-fantasie, one of his last completed compositions. Chopin struggled with the Polonaise, as well as a few other pieces he was working on at the time, and spent the next year writing in fits and starts, scraping by with the help of friends, patrons and Sand.

By the following summer, frustrations were, to put it mildly, running high between Chopin and Sand. Sand had long since tired of tending to Chopin’s constant illness and moodiness. In a letter to a friend, she referred to the ailing composer as her “third child.” Soon after, Sand published a novel, Lucrezia Floriani, a very thinly-veiled account of their relationship. In the novel, the titular character enters into a disastrous relationship with a needy, tempestuous Polish prince. Chopin may have taken the hint, as the couple split the following year, never to meet again.

and done more to help. The following year, a mutual friend of Mussorgsky and Hartmann’s, influential critic Vladimir Stasov, organized a major exhibition of the deceased artist’s sketches and paintings at the Imperial Academy of Arts in St. Petersburg.

By mid-June, Mussorgsky was feverishly composing a cycle based on the exhibition. “Hartmann is boiling,” he wrote to Stasov, “like Boris [Gudonov, Mussorgsky’s most enduring opera] boiled.” Within three weeks, Mussorgsky had completed Pictures at an Exhibition and penned a heartfelt dedication to Stasov. Though Mussorgsky seemed to have every intention of publishing Pictures, it was not until five years after his own premature death that it would go to print with the help of fellow Russian composer Nikolai Rimsky-Korsakov. To date, Pictures remains the only of Mussorgsky’s piano compositions of lasting significance, due in no small part to the numerous existing arrangements, most notably the 1922 orchestration by Maurice Ravel.

In Pictures, Mussorgsky places himself, and us along with him, as spectator amidst the grand display of Hartmann’s drawings. Mussorgsky weaves a recurring “Promenade” theme throughout. In its first iteration the theme moves at a steady, jovial walking tempo, unaccompanied, like a man wandering alone through a vast gallery. Yet the meter is irregular, moving back and forth, suggesting the observer is not content to merely skim at a fixed pace.

The expansive opening measures, slow and stately yet rhapsodic, give way to a lively polonaise. The polonaise, a Polish national dance and later a genre of piano music, had inspired Chopin for most of his life. He composed his first polonaise at the age of 7. This Polonaise, his last, indeed borrows the characteristic dotted rhythm in its opening section, yet the fantasie element, more so than the dance, dominates this roving work.

The first sketch depicts a small, shambling gnome, whose ungainly steps Mussorgsky illustrates with recurring sixnote bursts and angular, lurching melodies. A mournful troubadour sings a wistful song in the following sketch, “The Old Castle.” The alternating, pervasive interval heard in “Tuileries” is that of a minor third, heard across cultures in children’s playground taunts.

Much of the Polonaise-fantasie reflects its composer’s subdued and introspective personality. Even the more explosive sections contain shades of melancholy, though as with Schubert’s “Wanderer,” triumph carries the day. A return of the work’s opening gestures serves as a bridge to a vehement yet recklessly happy, virtuosic finale.

The lumbering “Cattle” depicted in the fourth sketch stand in stark contrast to the music of the fifth. Hartmann drew the sketch that inspired “Ballet of the Unhatched Chicks” from a memory of the ballet Trilby, which had appeared in St. Petersburg two years before his death. Quick and frenzied with darting trills, everything about this music gives the impression of tiny canary chicks hatching and flitting about.

Modest Mussorgsky (1839-1881): Pictures at an Exhibition In the summer of 1873 Mussorgsky’s close friend, the architect and artist Viktor Hartmann, died suddenly of an aneurysm at the age of 39. Mussorgsky was wracked with guilt, convinced he should have noticed the warning signs

“‘Samuel’ Goldenberg and ‘Schmuÿle,’” a portrayal of two Jewish men, one rich and one poor, took its inspiration from a pair of drawings Hartmann gave Mussorgsky early in their friendship; it is unknown whether they appeared in Stasov’s exhibit. The seventh sketch shows a bustling French market filled with quarreling townspeople and livestock running amok.

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Solemn, dusty chords hang in the fetid air of the Parisian catacombs, the eighth sketch. An ominous descending bass line, commonly used in music associated with death, slinks through the tomb. A shimmering trill in the right hand represents light reflecting off piles of bones. In the original manuscript, Mussorgsky scrawled, “The creative spirit of the dead Hartmann leads me toward the skulls, invokes them; the skulls begin to glow softly.”

In the last two sketches Mussorgsky presents a diptych of Russia. The first tells of the child-eating witch Baba-Yaga, who lives in a hut perched on the legs of a chicken. The final sketch depicts a massive set of gates Hartmann had designed in honor of Tsar Alexander II. Mussorgsky pens a noble theme befitting a king, following it with a Russian Orthodox hymn. The opening Promenade theme returns in one last majestic refrain as triumphant church bells ring out across eternity.

Cho collaborates with conductors at the highest level such as Sir Simon Rattle, Valery Gergiev, Esa-Pekka Salonen, Gianandrea Noseda, Antonio Pappano, Myung-Whun Chung, Vladimir Ashkenazy, Yuri Temirkanov, Kzysztof Urbanski, Marek Janowski, Vasily Petrenko, Jakub Hrusa, Leonard Slatkin and Mikhail Pletnev.

Born in 1994 in Seoul, Seong-Jin Cho started learning the piano at 6 and gave his first public recital at age 11. In 2009 he became the youngest-ever winner of Japan’s Hamamatsu International Piano Competition. In 2011 he won third prize at the Tchaikovsky Competition in Moscow at the age of 17. In 2012 he moved to Paris to study with Michel Béroff at the Paris Conservatoire National Supérieur de Musique, where he graduated in 2015. He is now based in Berlin.

Mr. Cho records exclusively for Deutsche Grammophon

Program notes © Andrew McIntyre, 2018

For more information on Seong-Jin Cho, visit www.seongjin-cho.com

Seong-Jin Cho

Management for Seong-Jin Cho: Primo Artists, New York, NY www.primoartists.com

With an overwhelming talent and innate musicality, SeongJin Cho is rapidly embarking on a world-class career and is considered one of the most distinctive artists of his generation.

Cho was brought to the world’s attention in the fall of 2015 when he won the coveted Gold Medal at the Chopin International Competition in Warsaw. This same competition launched the careers of artists such as Martha Argerich, Murizio Pollini, Garrick Ohlsson and Krystian Zimerman.

In January 2016, Cho signed an exclusive contract with Deutsche Grammophon. The first recording was released in November 2016 featuring Chopin’s First Concerto with the London Symphony Orchestra and Gianandrea Noseda and the Four Ballades. A solo Debussy recording was then released in November 2017. In November 2018, he released a Mozart album featuring sonatas and the D minor concerto with the Chamber Orchestra of Europe and Yannick Nézet-Seguin.

An active recitalist, he performs in many of the world’s most prestigious concert halls. In the 2018-19 season, he will play the main stages of Carnegie Hall, Amsterdam’s Concertgebouw, Berlin Philharmonie Kammermusiksaal, Frankfurt’s Alte Oper, Los Angeles’ Disney Concert Hall, Zurich’s Tonhalle-Maag and Munich’s Prinzregentheater plus at the Verbier Festival, Gstaad Menuhin Festival and Rheingau Festival among several other venues.

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Presented in Association with the SAGE Center for the Study of the Mind

Steven Pinker

Enlightenment Now: The Case for Reason, Science, Humanism and Progress Thu, Oct 18 / 7:30 PM / Campbell Hall

Related Thematic Learning Initiative Event (see page 9)

Event Sponsors: Susan & Craig McCaw Steven Pinker is a cognitive scientist who has been named one of the 100 Most Influential People in the World by Time magazine. His keynotes have helped millions demystify the science behind human language, thought and action. Pinker is a Harvard professor, TED speaker and bestselling author who has twice been nominated for the Pulitzer Prize. Highly respected in the scientific community, his work and opinions are extensively covered in the mainstream media and have won a wide general audience.

In Enlightenment Now: The Case for Reason, Science, Humanism and Progress, Pinker argues that despite fear-mongering and political upheaval, peace, prosperity, knowledge and happiness are on the rise. “The world is getting better, even if it doesn’t always feel that way,” writes Bill Gates, in a review of the book. “I’m glad we have brilliant thinkers like Steven Pinker to help us see the big picture.

Enlightenment Now is not only the best book Pinker’s ever written. It’s my new favorite book of all time.”

Enlightenment Now is the follow-up to The Better Angels of Our Nature: Why Violence Has Declined, which was a No. 1 Amazon bestseller. That book inspired audiences worldwide with its core message that, if you look at the facts, we are living in the most peaceful human era ever.

and Rules; The Stuff of Thought: Language as a Window into Human Nature and The Sense of Style: The Thinking Person’s Guide to Writing in the 21st Century.

A native of Montreal, Steven Pinker is Johnstone Professor of Psychology at Harvard University. Previously, he taught at Stanford and MIT. He is a fellow of the American Academy of Arts and Sciences and the American Association for the Advancement of Science. He has won a number of teaching prizes, and his research on visual cognition and the psychology of language has received numerous awards, including the Troland Research Award from the National Academy of Sciences.

Books are available for purchase in the lobby and a signing follows the event

Special thanks to

Pinker’s other bestselling books include The Blank Slate: The Modern Denial of Human Nature (“Required reading.”

Los Angeles Times) and How the Mind Works (“A model of scientific writing: erudite, witty and clear.” New York Review of Books). Pinker’s acclaimed “language” series includes The Language Instinct: How the Mind Creates Language, Words

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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St. Paul & The Broken Bones with special guest Black Pumas Sun, Oct 21 / 7 PM / Arlington Theatre Paul Janeway, vocals Jesse Phillips, bass and guitar Browan Lollar, guitar Andrew Lee, drums Al Gamble, keyboards Allen Branstetter, trumpet Chad Fisher, trombone Amari Ansari, saxophone Event Sponsors: Erika & Matthew Fisher St. Paul & The Broken Bones formed in 2012, releasing their debut album Half the City in 2014 and its follow up, 2016’s Sea of Noise, to much acclaim. Those strong efforts helped place them on the national scene, and the band worked hard to prove they were no mere retro-soul band.

They’ve toured the world relentlessly – including being selected to open for the Rolling Stones and headlining two nights at the Ryman Auditorium – and have made TV appearances including the Late Show with David Letterman, Jimmy Kimmel Live, Conan, Austin City Limits and two appearances on the Late Show with Stephen Colbert, one being the very first episode.

Paul Janeway’s fearless showmanship, thoughtful lyrics and dedication to his performance soon became the band’s calling card. Paired with the inventive and skillful direction of co-bandleader Jesse Phillips as well as a full eight-man roster comprised of some of the best young instrumentalists in the South, they soon became a must-see event. In addition to Janeway on lead vocals and Phillips on bass and guitar, the lineup is rounded out by Browan Lollar (guitars), Andrew Lee (drums), Al Gamble (keyboards), Allen Branstetter (trumpet), Chad Fisher (trombone) and Amari Ansari (saxophone), who replaced Jason Mingledorff following the album’s recording.

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Over time Janeway has learned the art of balancing expectations and how to reconcile his past with his future, just as his band as learned how to overcome their perception by pushing against its ceiling. In embracing those things he cannot change, he has forged ahead as an artist and as a man. And with his band’s new album, Young Sick Camellia (RECORDS), Janeway has created a space for St. Paul & The Broken Bones to rival any forward-thinking band making music today, based on a concept all-too-familiar to him: family, and how we love them despite our differences.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

@ArtsAndLectures

photo: Minori Murakami and Zoren Gold (Halifax); David Bazemore (Iyer)

Joan Halifax

In Conversation with Pico Iyer Tue, Oct 23 / 7:30 PM / Campbell Hall

Presented in association with the UCSB Department of Religious Studies

Event Sponsors: Dori & Chris Carter

Joan Halifax Joan Halifax is a Buddhist teacher, Zen priest, anthropologist and pioneer in the field of end-of-life care. She is founder, abbot and head teacher of Upaya Institute and Zen Center in Santa Fe, N.M. She received her Ph.D. in medical anthropology in 1973 and has lectured on the subject of death and dying at many academic institutions and medical centers around the world. Halifax received a National Science Foundation Fellowship in Visual Anthropology, was an Honorary Research Fellow in Medical Ethnobotany at Harvard University and a Distinguished Visiting Scholar at the Library of Congress.

From 1972-75, Halifax worked with psychiatrist Stanislav Grof at the Maryland Psychiatric Research Center with dying cancer patients. She has continued to work with dying people and their families and to teach health care professionals and family caregivers the psycho-social, ethical and spiritual aspects of care of the dying. She is director of the project on Being with Dying, founder of the Upaya Prison Project, which develops programs on meditation for prisoners, and founder of the Nomads Clinic in Nepal.

She studied for a decade with Zen Teacher Seung Sahn and was a teacher in the Kwan Um Zen School. She received the Lamp Transmission from Thich Nhat Hanh and was given Inka by Rōshi Bernie Glassman.

A founding teacher of the Zen Peacemaker Order and founder of Prajna Mountain Buddhist Order, Halifax’s work and practice for more than four decades has focused on engaged Buddhism. Her books include: The Human

Encounter with Death (with Stanislav Grof); The Fruitful Darkness: A Journey Through Buddhist Practice; Simplicity in the Complex: A Buddhist Life in America; Being with Dying: Cultivating Compassion and Wisdom in the Presence of Death; and the recently-released Standing at the Edge: Finding Freedom Where Fear and Courage Meet.

Pico Iyer Pico Iyer is the author of two novels and 13 works of non-fiction and his books have been translated into 23 languages. He has also written the introductions to more than 60 other works as well as liner notes for Leonard Cohen and a screenplay for Miramax. He is currently Ferris Professor of Journalism at Princeton University and he will be bringing out three new books next year, including Autumn Light, to appear in April, and A Beginner’s Guide to Japan, to appear in the fall. He recently gave three talks for TED in the space of three years, and they have received more than 8 million views so far.

Books by both authors are available for purchase in the lobby and a signing follows the event

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Joan Baez

Fare Thee Well... Tour 2018 Thu, Nov 1 / 8 PM / Arlington Theatre

Event Sponsors: Sara Miller McCune Earl Minnis Shortly after her Rock and Roll Hall of Fame induction in April, 2017, Joan Baez announced: “While 2018 will be my last year of formal, extended touring, I’m looking forward to being on the road with a beautiful new album about which I am truly proud. I welcome the opportunity to share this new music as well as longtime favorites with my audiences around the world.”

The new album, Whistle Down the Wind, produced by three-time Grammy Award winner Joe Henry gathers material by some of Baez’s favorite composers, from Tom Waits and Josh Ritter to Eliza Gilkyson and Mary Chapin Carpenter. Henry recorded it with Baez over 10 days of sessions in Los Angeles.

Whistle Down the Wind is Baez’s first new studio album in a decade – since 2008’s critically-acclaimed, Grammynominated Day After Tomorrow, produced by Steve Earle.

The past decade’s milestones included the PBS American Masters series premiere of her life story, Joan Baez: How Sweet the Sound (2009), which underscored the 50th anniversary of Baez’s debut at the 1959 Newport Folk Festival.

Baez’s seminal debut album of 1960 was honored by the National Academy of Recording Arts and Sciences in 2011, which inducted it into the Grammy Hall of Fame, and subsequently by the Library of Congress in 2015, which selected it for preservation in the National Recording Registry. That same year, Amnesty International bestowed its highest honor on Baez, the Ambassador of Conscience Award, in recognition of her exceptional leadership in the fight for human rights.

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Baez’s first solo exhibition of paintings – titled “Mischief Makers” – was presented in Mill Valley, Calif., in 2018.

The collection of portraits celebrated risk-taking visionaries who brought about social change through nonviolent action.

Joan Baez remains a musical force of nature of incalculable influence. She marched on the front line of the civil rights movement with Martin Luther King, Jr., shined a spotlight on the Free Speech Movement, took to the fields with Cesar Chavez, organized resistance to the Vietnam War, inspired Václav Havel in his fight for a Czech Republic, saluted the Dixie Chicks for their courage to protest the Iraq war and stood with longtime friend Nelson Mandela in London’s Hyde Park as the world celebrated his 90th birthday. Baez’s earliest recordings fed a host of traditional ballads into the rock vernacular, before she unselfconsciously introduced Bob Dylan to the world in 1963. Thus began a tradition of mutual mentoring that continues on Whistle Down the Wind and which will reverberate long into the future across Baez’s lifetime of recordings.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

@ArtsAndLectures

Jeff Goldblum & The Mildred Snitzer Orchestra photo: Pari Dukovic / universal Music

Sat, Nov 3 / 8 PM / Campbell Hall Jeff Goldblum, piano John Storie, guitar James King, sax Alex Frank, bass Joe Bagg, organ Kenny Elliott, drums Program will be announced from the stage.

Jeff Goldblum’s longtime hobby might come as a surprise to his fans.

The actor, now 61 years old, has been performing in movies, television, and on stage for more than four decades. In addition to Jurassic Park, he’s acted in Independence Day, The Grand Budapest Hotel, The Big Chill, The Fly and dozens of other films and TV shows, where he provides that uniquely wry, charming and unpredictable edge.

But before Jeff Goldblum was an actor, he played piano.

“I’m from Pittsburgh, and I played piano when I was a kid,” Goldblum said before a recent performance. “I got the idea to play out and about in cocktail lounges when I was like, 15, and got a job or two.”

Goldblum says he still prioritizes his acting career, so the shows have not always been exactly weekly. But when he’s not busy, he’ll get his band together for the very loose, improvised three-hour show at an L.A. club called Rockwell.

“So we have a kind of hootenanny, or be-in, or some kind of a jam session is what they call it,” Goldblum says, “and people seem to enjoy it.”

Goldblum recently signed with Decca Records and recorded his first full-length record, Jeff Goldblum & the Mildred Snitzer Orchestra: The Capitol Studios Sessions, which will be released on November 9, 2018.

Special thanks to

Ever since, whenever he’s not playing a character on set, he’s playing a piano at home: “These days and for many years, I just hardly spend a day where I don’t pass a piano in my place and just play for as long as I can.”

Sometime in the 1990s – and he can’t recall exactly when – Goldblum got a band together through a friend of a friend named John Mastro, who had connections in the local music scene. “We just started playing,” says Mastro, who still manages the band. There was “no advertising or anything. It was just something to do.” The semi-regular group of professional jazz players that perform with Goldblum even took on a name: The Mildred Snitzer Orchestra, after a friend of Goldblum’s family back in Pittsburgh.

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Tarana Burke

‘me too.’ Movement Mon, Nov 5 / 7:30 PM / Campbell Hall

With support from the Harold & Hester Schoen Arts & Lectures Endowment Presented in association with the UCSB Department of Feminist Studies and the UCSB Department of Black Studies Tarana Burke is best known for founding the ‘me too.’ movement and has dedicated her life to social justice work and giving strength to those who have experienced sexual trauma or harassment. She is one of the Silence Breakers named Time magazine’s 2017 Person of the Year, and was selected as one of Time’s 100 Most Influential People of 2018. Years before ‘me too’ became a viral hashtag, Burke founded Just Be Inc., a non-profit that helps victims.

The simple yet courageous #metoo hashtag campaign has generated more than 13 million Facebook posts and tweets, emerging as a rallying cry for people everywhere who have survived sexual assault and sexual harassment. Burke’s powerful, poignant story as creator of what is now an international movement that supports survivors will move, uplift and inspire.

A sexual assault survivor herself, Burke works under the banner of the ‘me too.’ movement, which is housed at Brooklyn-based Girls for Gender Equity, where she serves as senior director. Burke provides insight into the current state of affairs and outpouring of sexual assault and harassment allegations, addresses pressing issues of respect, dignity and power dynamics in schools, workplaces and politics and shines a light on the stories of survivors and voices that continue to be marginalized.

Special thanks to

#metoo is not just an overnight hashtag sensation; Burke has dedicated more than 25 years of her life to social justice and to laying the groundwork for a movement that was initially created to help young women of color who survived sexual abuse and assault. The movement now inspires solidarity, amplifies the voices of thousands of victims of sexual abuse and puts the focus back on survivors. In her upcoming book, Where the Light Enters, Burke discusses the importance of the ‘me too.’ movement as well as her personal journey from “victim to survivor to thriver.”

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@ArtsAndLectures

photos (bottom row): David Bazemore; (top) Alexandre Galliez

Have fun tonight.

Plan for tomorrow.

Help sustain Santa Barbara’s vibrant cultural life for the benefit of future generations, by making Arts & Lectures part of your estate plan.

The 7 Fingers (Les 7 doigts)

Thu, Feb 7 / 7 PM / Granada Theatre

Together, let’s protect our future.

To discuss planned giving, call Sandy Robertson at (805) 893-3755.

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photo: David Bazemore

Education for All

For 60 years, Arts & Lectures has brought the world’s greatest artists and thinkers to the Santa Barbara community, enriching the lives of children and adults of all ages and backgrounds.

And we’re not stopping! With your help, we’ll continue to do this, now and forever.

If you want to find leverage to change the world, find a student.”

– Nicholas Kristof,

Our gratitude to the following education sponsors:

Pulitzer Prize-winning journalist and humanitarian A&L’s award-winning educational outreach program serves more than 30,000 community members annually.

Here are just a few examples of what we do:

• Assemblies in elementary and secondary schools • Workshops and conversations with artists and speakers • Ticket subsidies for students at all levels • The Thematic Learning Initiative’s lifelong learning opportunities • School-time presentations for students at The Granada Theatre • Lecture-demonstrations and artist panels in University classes • Master classes for students and community members • Post-show Q&As with audiences of all ages • Free family performances in underserved neighborhoods

To help support A&L’s educational outreach program, call (805) 893-2174 36

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Russell Steiner Monica & Timothy Babich Connie Frank & Evan Thompson Dorothy Largay & Wayne Rosing Ginger Salazar & Brett Matthews Office of the Executive Vice Chancellor

Support Arts & Lectures: (805) 893-2174

$100+

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Invitations to post-performance meet-and-greet opportunities with featured artists and speakers

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Invitations to Producers Circle receptions with featured artists and speakers

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Invitation to Intermission Lounge in the McCune Founders Room during A&L performances and lectures at The Granada

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Invitation to A&L’s exclusive Season Announcement Party in June

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Free parking at all ticketed A&L events at UCSB Campbell Hall Opportunity to bring guests to a select A&L public event

Invitations to A&L fundraisers Opportunity to attend master classes and other educational outreach activities Complimentary ticket exchange when your plans change Recognition in A&L quarterly event programs Ability to donate back tickets as a tax-deductible donation photo: David Bazemore

Ex ec

$5,000+

Invitation to a reception at a private residence with featured artist or speaker

VIP Ticketing and Concierge Service and Priority Seating

Invitation to a season preview event

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ut ive Pr od uc er Le sC ad irc er le sh ip Cir cle

irc le

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Membership Benefits

Pr od uc er sC

of Fri en d

UCSB Trustee and A&L Executive Producers Circle members Duncan & Suzanne Mellichamp with mezzo-soprano Joyce DiDonato

Cir cle

photo: Grace Kathryn Photography

Join Arts & Lectures Today

$10,000+

Leadership Circle includes all the benefits of Executive Producers Circle plus your own personalized membership experience.

To inquire about membership, including joining our Leadership Circle ($10,000+), please call Director of Development Dana Loughlin at (805) 893-5679 to discuss a customized membership experience.

Remember Us Help secure our future – and theirs – by remembering Arts & Lectures as part of your estate planning.

Please call Sandy Robertson at (805) 893-3755 to learn more.

Jazz pianist Joey Alexander in a jam session with students at San Marcos High School Violinist Joshua Bell connects with young fans following his performance at The Granada Theatre

Support Arts & Lectures: (805) 893-2174

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UC Santa Barbara Arts & Lectures is honored to recognize contributors whose lifetime giving to A&L has made a profound impact on our community.

Anonymous Jody & John Arnhold Audrey & Timothy O. Fisher Eva & Yoel Haller

The Orfalea Family Susan & Craig McCaw SAGE Publishing Sara Miller McCune

Heather & Tom Sturgess Anne & Michael* Towbes Lady Leslie Ridley-Tree Lynda Weinman & Bruce Heavin

We also recognize contributors whose lifetime giving to A&L is $100,000 or more.

We are very grateful for their longtime, visionary support of A&L and for believing, as we do, that the arts and ideas are essential to our quality of life.

Recognition is based on cumulative, lifetime giving.

Anonymous (3) Judy & Bruce Anticouni Monica & Timothy Babich Gary* & Mary Becker Barrie Bergman Meg & Dan Burnham Annette & Dr. Richard Caleel Marcy Carsey and the Carsey Family Foundation Marcia & John Mike Cohen Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Barbara Delaune-Warren Ralph H. Fertig* Genevieve & Lewis Geyser

Patricia Gregory, for the Baker Foundation Carla & Stephen* Hahn The James Irvine Foundation Luci & Rich Janssen Ellen & Peter O. Johnson Gretchen Lieff Robert Lieff Lillian Lovelace lynda.com Marilyn & Dick Mazess Susan McMillan & Tom Kenny Kay R. McMillan Mission Wealth

Much gratitude to our Community Partners:

Montecito Bank & Trust Natalie Orfalea & Lou Buglioli Diana & Simon Raab The Roddick Foundation Patricia & James Selbert Harold & Hester Schoen* Fredric E. Steck James Warren Marsha* & Bill Wayne Dr. Bob Weinman William H. Kearns Foundation Irene & Ralph Wilson Susan & Bruce Worster Yardi Systems, Inc.

Public Lectures Support:

& Lou Buglioli

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Support Arts & Lectures: (805) 893-2174

Council for Arts & Lectures

Arts & Lectures Legacy Circle

Arts & Lectures is privileged to acknowledge our Council, a group of insightful community leaders and visionaries who help us meet the challenge to educate, entertain, and inspire.

Arts & Lectures is pleased to acknowledge the generous donors who have made provisions for future support of our program through their estate plans.

Rich Janssen, Co-chair Kath Lavidge, Co-chair Timothy Babich Barrie Bergman Dan Burnham Marcy Carsey Marcia Cohen Timothy O. Fisher Tom Kenny Susan McCaw Sara Miller McCune Natalie Orfalea Lady Leslie Ridley-Tree Fredric E. Steck Tom Sturgess Anne Towbes Milton Warshaw Lynda Weinman

Judy & Bruce Anticouni Estate of Helen Borges Estate of Ralph H. Fertig Audrey & Timothy O. Fisher Eva & Yoel Haller Kim L. Hunter Susan Matsumoto & Mel Kennedy Sara Miller McCune Lisa A. Reich Estate of Hester Schoen Connie J. Smith Heather & Tom Sturgess Lynda Weinman & Bruce Heavin Irene & Ralph Wilson

Arts & Lectures Program Advisor Bruce Heavin

Arts & Lectures Ambassadors Arts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by cultivating new supporters and assisting with fundraising activities.

Judy Anticouni Monica Babich Meg Burnham Annette Caleel Eva Haller Luci Janssen Donna Christine McGuire Maxine Prisyon Heather Sturgess Anne Towbes Sherry Villanueva

Leadership Circle The Leadership Circle is a group of key visionaries giving $10,000 to $100,000 or more each year, making a significant, tangible difference in the community and making it possible for A&L’s roster of premier artists and global thinkers to come to Santa Barbara.

List current as of August 31, 2018

$100,000+ Anonymous (2) Jody & John Arnhold Monica & Timothy Babich Marcy Carsey and the Carsey Family Foundation Audrey & Timothy O. Fisher ◊‡ William H. Kearns Foundation Susan & Craig McCaw Sara Miller McCune ◊‡ Natalie Orfalea & Lou Buglioli Diana & Simon Raab Lady Leslie Ridley-Tree SAGE Publishing ‡ Lynda Weinman & Bruce Heavin ◊‡

$50,000+ Anonymous Loren Booth Marcia & John Mike Cohen ‡ Dorothy Largay & Wayne Rosing Erika & Matthew Fisher Ellen & Peter O. Johnson Heather & Tom Sturgess ◊‡ The Towbes Family

$25,000+ Anonymous Meg & Dan Burnham ‡ Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg Bettina & Glenn Duval G.A. Fowler Family Foundation Hutton Parker Foundation Luci & Rich Janssen ‡ Irma & Morris Jurkowitz Marilyn & Dick Mazess Earl Minnis Mission Wealth Montecito Bank & Trust Jillian & Pete Muller Jill & Bill Shanbrom Fredric E. Steck ‡ Russell Steiner Barbara Stupay Sheila Wald Dr. Bob Weinman Noelle & Dick Wolf Susan & Bruce Worster Yardi Systems, Inc.

$10,000+ Anonymous (3) Betsy Atwater Barrie Bergman Albert & Elaine Borchard Foundation Lyn & David Anderson Margo Baker Barbakow & Jeffrey Barbakow Mary & Gary* Becker ‡ Leslie Sweem Bhutani Tracy & Michael Bollag Sheila & Michael Bonsignore Jessica Smith & Kevin Brine Kimberly & Andrew Busch Elizabeth & Andrew Butcher Casa Dorinda Retirement Residence Dori & Chris Carter Virginia Castagnola-Hunter Tana & Joe Christie Christine & Bill Fletcher COMPASS Connie Frank Foundation Julianna Friedman John Gabbert Martha Gabbert Lisa & Mitchell Green Patricia A. Gregory, for the Baker Foundation Lisa & George Hagerman Eva & Yoel Haller ◊‡ Mandy & Daniel Hochman Hollye & Jeff Jacobs

Support Arts & Lectures: (805) 893-2174

Susan McMillan & Tom Kenny ◊‡ Gretchen Lieff Robert Lieff Lisa & Christopher Lloyd Cindy & Steve Lyons Siri & Bob Marshall Jacquie & Harry McMahon Kay R. McMillan ‡ Sharon & Bill Rich Ginger Salazar & Brett Matthews Suzi & Glen Serbin Laura Shelburne Stephanie & Jim Sokolove Linda Stafford-Burrows Kirstie Steiner & John Groccia Diane Sullivan Anne Towbes ‡ Judy Wainwright & Jim Mitchell Nicole & Kirt Woodhouse Wyatt Technology Corporation Merryl Snow Zegar & Charles Zegar

Producers Circle Recognition is based upon a donor’s cumulative giving/pledges within a 12-month period. Every effort has been made to assure accuracy. Please notify our office of any errors or omissions at (805) 893-2174.

List current as of August 31, 2018

Executive Producers Circle $5,000+ Anonymous Judy & Bruce Anticouni Paul Blake & Mark Bennett Jessica & John Bowlin Lyn Brillo Nancy Brown Sarah & Roger Chrisman NancyBell Coe & William Burke ‡ Deborah David & Norman A. Kurland Wendy & Jim Drasdo Brillo-Sonnino Family Foundation Virginia Gardner Melinda Goodman & Robert Kemp Larry & Robyn Gottesdiener Judith Hopkinson ‡ Shari & George Isaac Elaine & Herbert Kendall Linda Kiefer & Jerry Roberts ‡ Nancy & Linos Kogevinas Jill & Neil Levinson Ellen McDermott Charney & Scott Charney Suzanne & Duncan Mellichamp Peter R. Melnick Val & Bob Montgomery

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Maia Kikerpill & Daniel Nash Nancy Newman Leila & Robert Noël Jami & Frank Ostini Julie & Richard Powell Susan Rose Judi & Larry Silverman Mark Sonnino Carol Spungen & Debbi Spungen The Stone Family Foundation Leah & Robert Temkin Bonnie & Terry Turner Betsey Von Summer-Moller & John Moller Carolyn & Philip Wyatt Crystal & Clifford Wyatt Laura & Geofrey Wyatt

Anonymous (4) Allyson & Todd Aldrich Roxana & Fred Anson Pat & Evan Aptaker Marta Babson Stephanie & Dennis Baker Nicole & Andrew Ball Laurel Beebe Barrack Jill & Arnie Bellowe Jennifer & Jonathan Blum Susan E. Bower Susan D. Bowey Michael Brinkenhoff Merryl Brown Wendel Bruss Gail & John Campanella Susan & Claude Case Robin & Daniel Cerf Beth Chamberlin Endowment for Cultural Understanding Sue & Jay W. Colin Howard Cooperman William B. Cornfield Lilyan Cuttler & Ned Seder Ann Daniel DD Ford Construction Phyllis DePicciotto & Stan Roden Deanna & Jim Dehlsen Jane Delahoyde & Edwin Clark David W. Doner, Jr. Julia Emerson Cinda & Donnelley Erdman Olivia Erschen & Steve Starkey Doris & Tom Everhart Miriam & Richard Flacks Priscilla & Jason Gaines Anna & David Grotenhuis Paul Guido & Stephen Blain Laurie Harris & Richard Hecht

Robin & Roger Himovitz Donna & Daniel Hone Jodie Ireland & Chris Baker Carolyn Jabs & David Zamichow Susan & Palmer Jackson Jr. Emily & Blake Jones Linda & Sidney Kastner Lauren Katz Susan Keller & Myron Shapero Julie & Jamie Kellner Margaret & Barry Kemp Connie & Richard Kennelly Linda & Bill Kitchen ‡ Jill & Barry Kitnick Carol Kosterka Patricia Lambert & Frederick Dahlquist Zoë Landers Karen Lehrer & Steve Sherwin The Léni Fund Chris & Mark Levine Denise & George Lilly Peggy Lubchenco & Steve Gaines Maison K Dona & George McCauley Nancy McGrath Amanda McIntyre Ronnie & Chase Mellen Diane Meyer Simon Ginger & Marlin Miller Ronnie Morris & Tim Cardy Maryanne Mott Nanette & Henry Nevins Elizabeth & Charles Newman Fran & John Nielsen Dale & Michael Nissenson Jan Oetinger Joan Pascal & Ted Rhodes Constance Penley Ann & Dante Pieramici Ann Pless Stacy & Ron Pulice Lisa A. Reich ◊ & Robert Johnson Kyra & Tony Rogers Gayle & Charles Rosenberg Bobbie & Ed Rosenblatt Dr. William E. Sanson Lynda & Mark Schwartz Anitra & Dr. Jack Sheen Stephanie & Fred Shuman Christine Smith Anita & Eric Sonquist Joan Speirs Lynne Sprecher Dale & Gregory Stamos Bunny Freidus & John Steel Prudence & Robert Sternin Debra & Stephen Stewart Mary Jo Swalley Denise & James Taylor Patricia Toppel

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Support Arts & Lectures: (805) 893-2174

Producers Circle $2,500+

Barbara & Samuel Toumayan David Tufts & Cris Dovich Sandra & Sam Tyler Kathryn & Alan Van Vliet Sherry & Jim Villanueva Esther & Tom Wachtell Sue & Bill Wagner Pamela Walsh Alexis & Mike Weaver Kathy & Bill* Weber Judy & Mort Weisman Irene & Ralph Wilson ◊ Winick Architects Linda & Roger Winkelman Deborah & Robert Wright Deann & Milton Zampelli

Circle of Friends $1,000+ Anonymous Jen & Skip Abed Anti-Defamation League Peggy & Steve Barnes Ella and Scott Brittingham Frank Burgess Lynne Cantlay & Robert Klein Carolyn Chandler Toni & Bruce Corwin Sallie & Curt Coughlin Deneen Demourkas Mary Dorra Sheri Eckmann Nancy Englander & Harold Williams* Caryn & Chris Felipe Vasanti & Joel Fithian Carole & Ron Fox Gail & Harry Gelles Genevieve & Lewis Geyser Susan Gwynne Jane & Norman Habermann Tammy & Kim Hughes Mary Jacob Valerie Cavanaugh & William Kerstetter Roberta Sengelmann & Tamir Keshen Pamela Lewis Bernadette Marquez Alixe & Mark Mattingly Rosemary & Nicholas Mutton Natalie Myerson Carol & Steve Newman Nancy & Douglas Norberg Ellen & Jock Pillsbury E.D. Polk & J.P. Loganbach Vicki Riskin & David W. Rintels Michelle Robie Julie & George Rusznak Janis B. Salin Doris Schaffer

Diane & Chuck Sheldon Delia Smith Trudy Smith Daryll & John Stegall Nina Terzian Amy & George Tharakan Lindsey Turner Claire & Glenn Van Blaricum Pilar Von Hummel and Nicholas Moller Richard Watts Melissa & Tobin White

$500+ Christine Allen American Riviera Bank Linda & Peter Beuret Renee & Paul Dektor Melody & Joe Delshad Jeffrey Donahue Sasa & Richard Feldman Patricia & Michael French Beth & Dodd Geiger Danson Kiplagat Elinor & James Langer Janice Toyo & David Levasheff Fima & Jere Lifshitz Almeda & J. Roger Morrison Lang Ha Pham & Hy Tran Lorie & Michael Porter Anne Ready & David Gersh Morgan Reis Robin Rickershauser Christina & Neil Wood Susan Tortorici Elena Urschel Cortney Warren- Fishkin Anna & Don Ylvisaker

$250+ Julie Antelman Ariana & Christopher Arcenas-Utley Rochelle & Mark Bookspan Sue & John Burk Colman Daniel Penny Darcy Edward & William* DeLoreto Victoria Dillon Elizabeth Downing & Peter Hasler Michael K. Dunn Ann & David Dwelley Margaret & Jerrold Eberhardt Rebecca & Gary Eldridge Sandra Howard Hannah-Beth Jackson & George Eskin Stacey & Raymond Janik Lynn Kingsland Thomas Luria Kathlyn & William Paxton Deborah & Ken Pontifex Julie & Chris Proctor

Mark Rosenthal Maryan Schall Erlaine H. Seeger Gary Simpson Stephanie Slosser Smart & Final Charitable Foundation Beverly & Michael Steinfeld Christiane Schlumberger Lisa Stratton & Peter Schuyler Sissy Taran Gail & David Teton-Landis Anne & Tony Thacher Patricia Tisch Jocelyne Tufts Christine VanGieson Carol Vernon Gordon Walsh Mary Walsh Jo Ellen & Thomas Watson Diana Woehle

$100+ Anonymous (3) Toni & Frank Abatemarco Rebecca & Peter Adams Catherine Albanese Lynn & Joel Altschul Vickie Ascolese & Richard Vincent Mickey Babcock Bernadette Bagley Marsha Barr Nan & John Bedford Virginia Beebe Jon Beeson Norrine Besser Lee Bethel Vail Bixler Joan Bradshaw Dorothy & William K. Brokken Susan Brunn Dr. Ruth Maria Capelle Jennifer Capps Jane Carlisle Scout Centrella Roxanne & John Chapman Mary Elizabeth Claassen Arthur Collier & Robert Greenberg Stephen Cox Jeanette M Curci Patricia Dallam Mary Dase Adrianne & Andrew Davis Gwen & Rodger Dawson Lila Deeds Joan & Thomas Dent Patricia Ellis Susan Epstein Christine Fancher Casey Fang

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Granting Organizations The Baker Foundation Albert & Elaine Borchard Foundation California Arts Council The Carsey Family Foundation Cohen Family Fund of the Community Foundation for Southeast Michigan Audrey Hillman Fisher Foundation William J.J. Gordon Family Foundation William H. Kearns Foundation The Léni Fund National Endowment for the Arts The Roddick Foundation

Support Arts & Lectures: (805) 893-2174

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Arts & Lectures Endowments The Fund for Programmatic Excellence The Commissioning of New Work Fund The Education and Outreach Fund Beth Chamberlin Endowment for Cultural Understanding The Harold & Hester Schoen Endowment Sonquist Family Endowment

Thank You! Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

Arts & Lectures Staff Celesta M. Billeci, Miller McCune Executive Director Roman Baratiak, Associate Director Ashley Aquino, Contracts Analyst & Executive Assistant Sarah Jane Bennett, Performing Arts Manager Meghan Bush, Director of Marketing & Communications Michele Bynum, Senior Artist Lyndsay Cooke, Performing Arts Coordinator Kevin Grant, Senior Business Analyst Valerie Kuan, Financial Analyst Rachel Leslie, Manager of Ticketing Operations Mari Levasheff, Marketing Business Analyst Dana Loughlin, Director of Development Hector Medina, Marketing & Communications Production Specialist Bonnie A. Molitor, Chief Financial & Operations Officer Caitlin O’Hara, Senior Writer/Publicist Cathy Oliverson, Director of Education Sandy Robertson, Senior Director of Development & Special Initiatives Isaac Sheets, Development Analyst Heather Silva, Programming Manager

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David Miliband

Rescue: Refugees and the Political Crisis of Our Time

photo: Myrto Koutoulia / IRC

Wed, Nov 7 / 7:30 PM / Campbell Hall

Presented in association with the UCSB Department of Global Studies Related Thematic Learning Initiative Event (see page 9)

Event Sponsor: The Muller Family

David Miliband is the president and CEO of the International Rescue Committee. He oversees the agency’s relief and development operations in more than 30 countries, its refugee resettlement and assistance programs throughout the United States and the IRC’s advocacy efforts in Washington and other capitals on behalf of the world’s most vulnerable people.

Miliband has had a distinguished political career in the United Kingdom. From 2007-2010, he served as the youngest foreign secretary in three decades, driving advancements in human rights and representing the United Kingdom throughout the world. His accomplishments have earned him a reputation as, in former President Bill Clinton’s words, “one of the ablest, most creative public servants of our time.” In 2016 he was named one of the World’s Greatest Leaders by Fortune Magazine.

Miliband is also the author of the book Rescue: Refugees and the Political Crisis of Our Time. As the son of refugees, he brings a personal commitment to the IRC’s work and to the premise of the book: that we can rescue the dignity and hopes of refugees and displaced people. And if we help them, in the process we will rescue our own values.

Books are available for purchase in the lobby and a signing follows the event

Special thanks to

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@ArtsAndLectures

Jennifer Doudna

Rewriting the Code of Life: CRISPR Biology and the Future of Genome Editing Thu, Nov 8 / 7:30 PM / Campbell Hall

Related Thematic Learning Initiative Event (see page 9)

Event Sponsors: Monica & Timothy Babich As an internationally-renowned professor of chemistry and molecular and cell biology at UC Berkeley, Jennifer Doudna and her colleagues rocked the research world in 2012 by first describing a simple way of editing the DNA of any organism using an RNA-guided protein found in bacteria. This breakthrough technology, called CRISPR-Cas9, has redefined the possibilities for human and non-human applications of gene editing, including opening up and accelerating the development of new genetic surgeries to cure disease, novel ways to care for the environment and nutritious foods for a growing global population challenged by climate change.

Doudna is the executive director of the Innovative Genomics Institute, an investigator with the Howard Hughes Medical Institute and a member of the National Academy of Sciences, the National Academy of Medicine, the National Academy of Inventors and the American Academy of Arts and Sciences. She is also a foreign member of the Royal Society and has received many other honors including the Breakthrough Prize in Life Sciences, the Heineken Prize, the BBVA Foundation Frontiers of Knowledge Award, the Japan Prize and the Kavli Prize. She is the co-author with Sam Sternberg of A Crack in Creation, a personal account of her research and the societal and ethical implications of gene editing.

Books are available for purchase in the lobby and a signing follows the event

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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National Choreography Center of Créteil and Val-de-Marne

Compagnie Käfig

Mourad Merzouki, Artistic Director

Pixel Tue, Nov 13 / 8 PM / Granada Theatre

photo: Patrick Berger

Running time: approx. 70 min., no intermission

Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg Irma & Morrie Jurkowitz Barbara Stupay

Mourad Merzouki, Artistic Direction and Choreography Adrien Mondot & Claire Bardainne, Digital Production Armand Amar, Music Artists: Marc Brillant, Antonin Tonbee Cattaruzza, Elodie Chan, Aurélien Chareyron, Yvener Guillaume, Amélie Jousseaume, Ludovic Lacroix, Ibrahima Mboup, Paul Thao, Sofiane Tiet, Médésséganvi Yetongnon (known as Swing)

About the Program We are constantly exposed to images, videos and digital media. Screens are everywhere. One only needs to walk down the streets of capitals around the world to imagine what will be the city of tomorrow: a large exposure to images, which is now part of our everyday life.

The Pixel project was born when I first met Adrien Mondot and Claire Bardainne, from the fascination I felt at that moment: it was like I wasn’t able to discern the difference between the real and the virtual world, and I rapidly decided to try a new association using these new technologies with and for dance.

The first experience mixing dance and interactive video has been breathtaking for the performers who are part of the project. With curiosity and openness, I face this adventure of a new world created by the light projection developed by the Adrien M / Claire B Company. The challenge is making

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both worlds interact with each other, striking a subtle balance between both techniques so that dance and abstract representations answer each other without one getting the upper hand. I follow that quest for motion which I keep developing and improving with each of my creations, with new constraints and new partners.

How does the dancer perform in a space made up of illusions, on a 3D set, when video may by turns accompany motion as well as hinder it?

Besides video projections, I wanted Armand Amar’s music to fit closely with the choreography and the images.

Accompanying the performers, his music brings out the energy as well as the poetry within the dancer’s body.

These new paths of discovery allow me to work on this extension of reality and to face a synthetic world. It was odd as a choreographer – who feeds off bodies and material – to create dance that inhabits a space where the body only faces dreams, to develop gestures in the moving landscapes created by Adrien M and Claire B. I wanted to open up a way for the synthetic world of digital projection to interact with the dancer’s reality.

Each artist has playfully immersed themself in an unknown world, with a sharing mind, relying on the virtuosity and energy of hip hop mixed with poetry and dreams, to create a show at the crossroads of the arts.

– Mourad Merzouki

@ArtsAndLectures

Mourad Merzouki A major figure on the hip-hop scene since the early 1990s, choreographer Mourad Merzouki works at the junction of many different disciplines, including. He adds circus, martial arts, fine arts, video and live music to his exploration of hip-hop dance. Without losing sight of the hip-hop movement’s roots, of its social and geographical origins, this multidisciplinary approach opens up new horizons and reveals complete new outlooks.

Beginning at the age of 7, Merzouki was trained in the circus school of Saint-Priest, in Lyon’s eastern suburbs, while also practicing martial arts. At 15, he gravitated toward dance through hip-hop culture. From there he began working on choreography and soon created his first dance company, Accrorap, in 1989, with Kader Attou, Eric Mezino and Chaouki Saïd. With Accrorap, he further developed hip-hop movements while simultaneously exploring other dance genres with his contemporaries Maryse Delente, Jean-François Duroure and Josef Nadj.

Accrorap performed Athina during the 1994 Dance Biennale in Lyon and gained acclaim for bringing hip hop from the street to the stage, enabling the troupe to perform internationally. It was during a performance in Croatia at a refugee camp that Merzouki discovered the power of dance to communicate and express emotion.

In 1996 Merzouki decided to establish his own company.

Naming it after his inaugural piece, Käfig (which means “cage” in Arabic and German), he set a symbolic tone that represents his openness and refusal to become locked into a single style.

From 1996 to 2006, Merzouki created 14 pieces that explored the world of dance through a multitude of styles, and was instrumental in the creation of the Pôle Pik choreography center in Bron as well as the Karavel Festival.

In June 2009 Merzouki was appointed director of the National Choreography Center of Créteil and Val-deMarne, where he developed a project called Dance: A Window on the World, with a central focus on openness.

While continuously creating and performing new works, Merzouki also provides training and supports the choreographic arts and independent groups through unique awareness experiences. In 2013 he created the Kalypso Festival, bringing the mainstream promotion of hip-hop dance companies to Paris.

In March 2016 he was appointed artistic advisor for Pôle en Scènes in Bron, where he brought together the Pôle Pik

choreography center, the theater Espace Albert Camus and the Fort, leading to one common goal of training, creating and promoting performing arts. He stays true to his artistic approach by creating bridges between disciplines, opening the spaces to an always wider audience.

Mourad Merzouki is member of the support committee for choreographic art of the French ministry of culture (DRAC Île-de-France) and the sponsorship committee for dance of Caisse des Dépôts.

Adrien Mondot & Claire Bardainne The Adrien M / Claire B Company creates many forms of art, from stage performances to exhibitions combining digital arts with live performing arts. The company is co-directed by Claire Bardainne and Adrien Mondot.

They place the human body at the heart of technology, developing and customizing their own IT tools. The company operates as a research and creativity workshop looking for a live digital world: mobile, organic, ephemeral, random, sensory.

Armand Amar An autodidact fascinated by extra-European music, Armand Amar learned to play tabla, zarb and the conga and studied under various masters of traditional and classical music. Through the discovery of dance in the 1970s, he found a direct relationship to music: the power to improvise freely and the advantages of authentic, on-the-spot exchanges. Since then he has worked with various choreographers from different branches of contemporary dance, including Marie-Claude Pietragalla, Carolyn Carlson, Francesca Lattuada and Russell Maliphant.

Additional Artist Biographies After a 10-year period of practicing capoeira, street acrobatics and parkour (the art of movement), Marc Brillant joined the Malabar Company and discovered the Cyr wheel. His atypical career led him to join prestigious street performance companies, circus and dance companies, mostly accompanied by his Cyr wheel. Not only does he use his wheel in an acrobatic way, but he also uses his capoeira skills to create a language with the floor, around and out of the wheel. This particular style allowed him to join the Czech company La Putyka and the Pietragalla Company, before joining the Compagnie Käfig to participate in Pixel. He is also developing his own artistic project with his company Le Quatrième Corollaire.

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Antonin Cattaruzza, known as Tonbee, was trained in contemporary dance, ballet and modern jazz a the wellknown Académie Internationale de la Danse in Paris. He then learned hip-hop dance at Centre de Danse du Galion.

He danced on tour in musicals and shows for various singers such as Slimane and TAL. Tonbee also worked as choreographerfor M Pokora, X Factor Liban, the videogame Just Dance and more. Later he started working for hip-hop dance companies including Trafic de style, Dyptik, Massala and Käfig.

Elodie Chan has long been interested in the culture and arts of the Chinese circus. She was trained in contortion

by Liu Wei in Paris. Since 2013, she has trained with the Tianjin Acrobatic Troupe, the national school of the Beijing Circus and with Canadian performers. She has also taken contemporary dance classes in Paris. Designing contortion shows, in which she is looks for fluidity and an endless movement, she has participated in several events, cabarets, TV shows and musicals. She joined the ranks of the Pixel show in 2014.

She joined the 6ème Dimension Company on the shows Je Me Sens Bien (2010 Beaumarchais-SACD Award) and Satisfaite... before joining Compagnie Käfig.

Ludovic Lacroix has been travelling across France for several years to participate in dance competitions (Battle of the Year 2006, regional battles, etc.). In 2011 he performed in the musical Ali Baba, and he has honed his skills working with companies such as Fradness, Alexandra N’Possee, Us Latino, Daskik and Compagnie Käfig, with Pixel, since 2013.

Ibrahima Mboup, known as Ibou Sene, started rollerblading in Senegal at the age of 17. He rapidly became a role model in the African and international rollerblading field.

He trains in slalom, acrobatic jump, speed and dance. He won his first championship in 2007. Mboup has created shows with the company Roller Dance Africa and is invited regularly to the festival ETNOSUR in Spain. He leads many educational activities in schools, and joined Compagnie Käfig in 2016 as a dancer on rollerblades for Pixel.

After almost eight years of practicing hip hop, Aurélien Chareyron has participated in several contests in France and abroad, winning the Express Yourself contest (Paris), placing second at the XXL Championship in London, third at the UDO European Street Dance Championship and making the quarterfinals of the TV show La Meilleure Danse. In 2010 he joined the Metamorphoz Company, directed by Mohamed Rouabah, and then the Pixel team in 2014.

Paul Thao was born in 1984 in Nîmes. He started breakdance at the age of 14 and later discovered other hip-hop styles, training alongside Storm, Poppin Taco, Junior Almeida and Ronnie from Full Force Crew. Thanks to these experiences, he started to teach in 2003. In 2006 he joined the companies MIX and Groove, and the following year the company Evasion, touring throughout France until 2011.

The same year, he was cast as a dancer in the movie Planet B-Boy. He joined the artistic team of Pixel in 2015.

Yvener Guillaume started dancing hip hop when he was 12. He studied ballet, jazz and contemporary dance, singing and comedy at the Académie Internationale de la Danse and has worked with choreographers Maurice Béjart, Kamel Ouali, Nasser Martin Gousset, Hiroaki Umeda, Fouad Boussouf, Simhamed Benhalima and Mourad Merzouki. He has acted in advertisements, films and TV series, and has both won and been asked to judge various dance contests. Guillaume has also developed significant pedagogical work, teaching internships, classes and workshops in France and abroad. He joined the Pixel team in 2013.

Sofiane Tiet was born in Belfort in 1986. He left his hometown in 2003 to move to Paris, where he learned jazz, ballet and contemporary dance at the Académie Internationale de la Danse. In 2009 he joined the Japanese company S20, created by Hiroaki Umeda, and toured for two years. In 2013 he was cast as a dancer for Puma’s The Quest video series, which enabled him to train and gain experience in various capital cities around the world. He joined Compagnie Käfig in 2015.

Amélie Jousseaume began her dance training with jazz and hip hop before turning to breakdance and working with the Echos-liés (winners of the 2009 TV show Incroyable Talent). In 2012 she joined the ranks of the team Ayong, within the Moral Soul Company. At the same time, she choreographed and performed as a soloist in the children’s play L’Arbre des Découvertes by Karine Thomas.

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Médésséganvi Yetongnon (known as Swing), was trained in hip-hop dance as part of the Bordeaux team La Smala.

Traveling from street shows to battles, he won the French national championship and reached third place at the Battle of the Year 2010. He joined the Rick Odums center and took lessons in jazz, ballet, modern and contemporary dance. He has become a professional with several companies: Les Echos-liés, Malka, RV6K and Funky Feet in Belgium. He joined Compagnie Käfig for Pixel in 2014.

@ArtsAndLectures

Artistic Direction and Choreography: Mourad Merzouki Concept: Mourad Merzouki and Adrien M / Claire B Digital Production: Adrien Mondot & Claire Bardainne Music: Armand Amar (Sarah Nemtanu, violin; Julien Carton, piano; Nuria Rovira Salat, vocals.

Additional music: Anne-Sophie Versnaeyen.Drum programming “Les Plocks” – Artback Society: Stéphane Lavallée and Julien Delaune. Vincent Joinville, recording, mixing, sound design; Martin Fouilleul, modular synthesizer)

Coming in Winter

Assistant to the Choreographer:Marjorie Hannoteaux Artists: Marc Brillant, Antonin Tonbee Cattaruzza, Elodie Chan, Aurélien Chareyron, Yvener Guillaume, Amélie Jousseaume, Ludovic Lacroix, Ibrahima Mboup, Paul Thao, Sofiane Tiet, Médésséganvi Yetongnon (known as Swing) Lighting Design: Yoann Tivoli, assisted by Nicolas Faucheux Stage Design: Benjamin Lebreton Costume Design: Pascale Robin, assisted by Marie Grammatico Paintings: Camille Courier de Mèré and Benjamin Lebreton Producer: Centre chorégraphique national de Créteil et du Val-de-Marne / Compagnie Käfig Co-producers: Maison des Arts de Créteil, Espace Albert Camus in Bron With the support of: Compagnie Adrien M / Claire B Light Control: Stéphane Loirat Video Management: Eve Liot Sound Control: Alexis Lazar Stage Management: François Michaudel Exclusive North American Tour Representation: Rena Shagan Associates, Inc. The National Choreography Center of Créteil and Val-de-Marne / Compagnie Käfig – directed by Mourad Merzouki is funded by the Ile-de-France Regional Cultural Affairs Office – Ministry of Culture and Communication, the Val-deMarne Department and the City of Créteil. It receives the assistance of Institut Français for its international tours.

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Montreal-based Cirque Troupe

(Les 7 doigts) Réversible

Thu, Feb 7 / 7 PM / Granada Theatre Tickets start at $25 $19 UCSB students and youth (18 & under) A Granada facility fee will be added to each ticket price

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra

photo: Kaupo Kikkas

Tõnu Kaljuste, Founding Conductor Fri, Nov 16 / 7 PM / Campbell Hall

Presented in association with the UCSB Department of Music Event Sponsors: Marilyn & Dick Mazess

Program

About the Program

Pärt: “Cantus in Memoriam Benjamin Britten”

Arvo Pärt (b. 1935): “Cantus in Memoriam Benjamin Britten” for string orchestra and bell (1977/1980)

Pärt: “Salve Regina” Pärt: “Adam’s Lament” - Intermission Gesualdo: “Moro, lasso, al mio duolo” (arr. Tõnu Kaljuste) Dean: “Carlo”

photo: Kaupo Kikkas

Sumera: Concerto per voci e strumenti

“Cantus in Memory of Benjamin Britten,” one of Arvo Pärt’s most frequently performed works, was written for string orchestra and a bell in 1977. It is a proportional canon developed from a descending A minor scale. The canon has five different entries, the scale is heard at five different speeds simultaneously and it gets shorter by repetitions until all voices find their way home. This way the whole work seems to form a long cadence in A minor. “Cantus” has also been called a “trenchant declaration in the war against atonalism.”

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The composer had made a basic plan for his “Cantus” when he heard on the radio the news of Benjamin Britten’s death.

Some of Britten’s works were broadcast for the occasion, and these astonished Pärt with their fragility and transparency. Pärt has since said, “Why did the date of the death of Benjamin Britten – 4th of December 1976 – affect me so deeply? At that time I had reached a point where I was able truly to sense how great the loss was. I had recently discovered Britten. Right before his death I had started appreciating the incredible purity of his music. And in addition, I had for a long time wanted to meet Britten personally, and now it was no longer possible.” This is when the composer’s wish became ripe to finish his unfinished work and dedicate it to Britten.

“Salve Regina” (2001/2011) “A commission from Essen Cathedral in 2001 provided an opportunity for me to write a work linking all four of the church’s choirs with organ accompaniment. One children’s choir, male choir, female choir and mixed choir were placed in the galleries around the church; that spatial and sonic combination impressed me, inspired me and awoke in me the emotion of communal singing – precisely that which brings the spirits and souls of a congregation together.

“Musically, ‘Salve Regina’ could be comparable to a funnel – and, like a funnel, the work begins with large circles, slowly turning and becoming more and more concentrated and grave until it reaches the deepest point. The mighty sonic mass on the one hand and the very sparsely used ‘simple’ musical material in constant three-quarter meter on the other finally condense in the coda, like in an undertow until they reach the point of greatest possible concentration.”

– Arvo Pärt “Salve Regina,” a hymn to the Virgin Mary originally composed for choir and organ, was written in 2001 for the 75th birthday of Hubert Luthe, Bishop of Essen Cathedral.

The edifice is especially known for its Golden Madonna, considered to be the oldest image of the Madonna in the Occident. Commissioned by Enzo Restagno and the 2011 MITO Festival, Pärt scored “Salve Regina” for choir and string orchestra. “Salve Regina” is a slow and majestic procession, its subtle motion mainly due to the changing sound colors; the choir begins unisono, gradually building to reach an eight-part polyphonic texture. © ECM Records

“Adam’s Lament” (2009) Arvo Pärt’s “Adam’s Lament” for chorus and orchestra was commissioned by the cultural capital cities Istanbul and Tallinn in 2010 and 2011. It is based on the writings of Silouan the Athonite (1866-1938), in which the Russian Orthodox monk describes Adam’s pain at the loss of Paradise. This was not the first time Pärt was inspired to compose a work based on Silouan’s texts; in 1991 he published “Silouan’s Song” (“My soul yearns after the Lord”) for string orchestra (recorded on ECM with the “Te Deum,” the “Magnificat” and the “Berlin Mass”).

For Pärt, “Adam’s Lament” has great poetic and expressive power, with its central message of love and humility. When setting the work, the composer internalized Silouan’s words completely; they determined the substance and structure of the text (sung in church Slavonic), its punctuation, number of syllables and accentuation of the music down to the smallest detail. Pärt noted, “That perfect melding caused me somehow to think less of a work of art when I was composing.”

The piece is dedicated to Archimandrit Sophrony, Silouan’s pupil and biographer, who also published the monk’s writings in the 1950s. They have been translated into more than 20 languages, and critics consider them to be among those works without which no serious anthology of Russian poetry will be complete in future.

Pärt has spoken extensively of Adam’s importance to St. Silouan and to himself: “The name Adam is like a collective term which comprises humankind in its entirety and each individual person alike, irrespective of time, epochs, social strata and confession. We could say that he is all of us who bear his legacy and we, Adam, have been suffering and lamenting for thousands of years on earth. Adam himself, our primal father, foresaw the human tragedy and experienced it as his personal guilt. He has suffered all human cataclysms, unto the depths of despair.”

Carlo Gesualdo (1566-1613): “Moro, lasso, al mio duolo” (arr. Tõnu Kaljuste) Brett Dean (b. 1961): “Carlo” (1997) The music of Carlo Gesualdo, Prince of Venosa (15661613) has exerted a powerful influence on composers down the ages. His highly-charged, mannerist, idiosyncratic vocal music constitutes “a gallery of dramatically-lit portraits of human emotions with a heavy emphasis on the extremes

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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of joy and despair” (to quote former Hilliard Ensemble singer Gordon Jones). Amongst the most experimental and expressive music of its period, it continues to invite reinterpretation and modern responses.

Today’s concert features Gesualdo’s “Moro, lasso” from the Sixth Book of Madrigals (1611) in a transcription for string orchestra by Tõnu Kaljuste. This serves to set the scene for “Carlo,” a major ‘biographical’ piece based on the life and music of Gesualdo, written by Australian composer Brett Dean in 1997. Dean writes, “With Carlo Gesualdo one should not try to separate his music from his life and times.

The texts of his later madrigals, thought to be written by Gesualdo himself, abound with references to love, death, guilt and self-pity. Combine this with the fact that I have always found his vocal works to be one of music’s most fascinating listening experiences and you have the premise for my piece.” “Carlo” takes up the opening chorale from “Moro, lasso.” Then a vocal collage unfolds, and quotes from the madrigal are also taken up and developed further by the orchestra – until we arrive at the sound-world of 20th century music. By “moving between two time-zones” musically, Dean conveys a sense of Gesualdo’s troubled psyche. “Carlo” was originally scored for fifteen solo strings, sampler and pre-recorded tape, but conductor Tõnu Kaljuste suggested this version, with live singers.

Lepo Sumera (1950-2000): Concerto per voci e strumenti (1997) Text: Doris Kareva Made up phonetically associated words and names, Doris Kareva’s poem is untranslatable. For instance, the sounds of kiriküüt, küll-küll-kiriküüt are understandable, but only to an Estonian listener: In the Estonian folk tradition it is the sound of nightingale’s singing.

About the Choir The Estonian Philharmonic Chamber Choir (EPCC) is one of the best-known choirs in the world. The EPCC was founded in 1981 by Tõnu Kaljuste, who was the artistic director and chief conductor for 20 years. He was succeeded by Paul Hillier and then Daniel Reuss. In the fall of 2014 Latvian Kaspars Putnins assumed the title of artistic director.

The repertoire of the choir extends from Gregorian chant and baroque to the music of the 21st century, with a special focus on Estonian composers such as Arvo Pärt, Veljo Tormis, Erkki-Sven Tüür, Galina Grigorjeva and Tõnu

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Kõrvits, and introducing their output to the world. Each season the choir gives about 60-70 concerts both in Estonia and abroad.

The EPCC has cooperated with a number of outstanding conductors including Claudio Abbado, Helmuth Rilling, Eric Ericson, Neeme Järvi, Paavo Järvi, Olari Elts, Andrew Lawrence-King, Roland Böer, Frieder Bernius, Stephen Layton, Marc Minkowski, Sir Colin Davis, Louis Langree, Paul McCreesh, Andrés Orozco-Estrada and Gustavo Dudamel.

The EPCC has also worked with world-class orchestras such as the London Symphony Orchestra, the Mahler Chamber Orchestra, the Berlin Rundfunk Orchestra, the Salzburg Camerata, Les Musiciens du Louvre-Grenoble, the Philip Glass Ensemble, the Frankfurt Radio Symphony Orchestra, the Basel Chamber Orchestra, the Los Angeles Philharmonic, the Sarasota Orchestra, the Estonian National Symphony Orchestra and the Tallinn Chamber Orchestra.

The EPCC has been a welcome guest at numerous music festivals and outstanding venues all over the world: the BBC Proms, Mozartwoche, Hong Kong Arts Festival, Salzburg Festspiele, Festival Aix-en-Provence, International Cervantino Festival, Vale of Glamorgan Festival, SchleswigHolstein Musik Festival, Sydney Opera House, Wiener Konzerthaus, Amsterdam Concertgebouw, Barbican Centre, Dublin National Concert Hall, Flagey Concert Hall in Brussels, Esplanade Concert Hall in Singapore, the Kennedy Center in Washington, Carnegie Hall, the Metropolitan Museum and Lincoln Center in New York and the Walt Disney Concert Hall in Los Angeles.

Another important aspect in the choir’s life is recording music for ECM, Virgin Classics, Carus, Harmonia Mundi and Ondine. EPCC recordings have twice won Grammy Awards for Best Choral Performance: in 2007 for the album Arvo Pärt: Da Pacem with conductor Paul Hillier (Harmonia Mundi) and in 2014 for Arvo Pärt: Adam’s Lament with conductor Tõnu Kaljuste (ECM). All in all, the choir has 14 Grammy nominations. The choir’s recordings have also won Diapason d’Or and Gramophone awards. Visit www.epcc.ee for more information.

About the Orchestra Tallinn Chamber Orchestra (TCO) was founded in 1993 by conductor Tõnu Kaljuste. In two decades it has become one of Estonia’s signature orchestras and a welcome guest on numerous stages in Europe and around the world.

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The orchestra has gained recognition for its artistically-integral programs, style-sensitive play and mastery of interpretation, and its musicians are highly-rated string players who regularly perform as soloists and chamber musicians.

Tallinn Chamber Orchestra has a long-standing relationship with the Estonian Philharmonic Chamber Choir – joint performances and recordings have garnered international acclaim for both parties. Conducted by Tõnu Kaljuste, together they recorded Arvo Pärt’s “Te Deum” for ECM record company in 1993. The record earned high ratings from the world’s leading music critics and remained in the top ten of record sales for months.

Tõnu Kaljuste was the orchestra’s chief conductor from 1993-1995 and 1996-2001. Juha Kangas was artistic director in 1995-1996 and 2001-2003. The following decade was curated by Tallinn Philharmonic Society’s artistic director, Eri Klas. Since autumn 2013 the chief conductor of TCO has been Risto Joost.

John Storgårds, Pietari Inkinen, Jaakko Kuusisto, Richard Tognetti, Terje Tonnesen, Alexander Rudin, Florian Donderer, Dmitri Sitkovetski and highly rated Estonian conductors like Olari Elts, Neeme Järvi, Kristjan Järvi and many others have led the orchestra as guest conductors.

TCO has performed in many music festivals, including MITO SettembreMusica (Milan/Turin, 2004, 2017), the Budapest Autumn Festival (2005), Festival Arturo Benedetti Michelangeli (Italy, 2007), Festival Cervantino (Mexico, 2012), Vale of Glamorgan Festival (Wales, 2015) and MDR Musiksommer (Germany 2017). Concert tours have taken the orchestra to the United States, Canada, Japan, China, Brazil, Argentina, Mexico, Tunis and most European countries.

In 2013 Tallinn Chamber Orchestra received the Estonian Music Council’s Interpretation Prize.

TCO performed on the album Arvo Pärt: Adam’s Lament, which won conductor Tõnu Kaljuste a Grammy in 2014.

Visit www.filharmoonia.ee for more information.

Tõnu Kaljuste Tõnu Kaljuste has established himself as a leading interpreter of music by György Kurtag, Krzysztof Penderecki, Giya Kancheli and Alfred Schnittke, and also of Estonian composers such as Arvo Pärt, Erkki-Sven Tüür, Veljo Tormis, Heino Eller and Tõnu Kõrvits. For the album Arvo Part: Adam’s Lament by ECM Records with the Estonian

Philharmonic Chamber Choir, Sinfonietta Riga, Tallinn Chamber Orchestra and the Latvian Radio Choir, the Estonian conductor was awarded a Grammy Award in 2014.

Kaljuste founded the Estonian Philharmonic Chamber Choir in 1981 and the Tallinn Chamber Orchestra in 1991 and performed with the choir and orchestra in major concert venues and festivals around the globe. He has held the position of principal conductor with both the Swedish Radio Choir and the Netherlands Chamber Choir.

A committed advocate for the work of Arvo Pärt, Kaljuste has lately featured the composer in numerous concerts.

He is a frequent guest conductor for orchestras such as the London Philharmonic, BBC Symphony Orchestra, Swedish Radio Symphony, Orchestra dell’Accademia Nazionale di Santa Cecilia, Budapest Festival Orchestra, Tonkünstlerorchester, Iceland Symphony, Noord Nederlands Orkest, RTE Symphony Orchestra Ireland, Czech Radio Symphony, Mahler Chamber Orchestra, Camerata Salzburg, Akademie für Alte Musik Berlin, Scottish Chamber Orchestra, Orchestre de Chambre de Lausanne, Norwegian Chamber Orchestra and Japan Century Symphony Orchestra. He also works regularly with the RIAS Kammerchor and Latvian Radio Choir.

Kaljuste has an extensive discography on the ECM, Virgin Classics and Caprice labels. Recent recordings include Gesualdo, featuring music by Brett Dean, Erkki-Sven Tüür and Carlo Gesualdo da Venosa, Mirror, with works by Tõnu Kõrvits and Arvo Part: The Symphonies with the Wroclaw Philharmonic. In addition to a Grammy Award, many of his recordings have won prestigious prizes such as the Diapason d’Or, Cannes Classical Award, Edison Award and Classical BRIT Award.

Tõnu Kaljuste is a member of the Royal Music Academy of Sweden and recipient of the Japanese ABC Music Award and the Robert Edler Prize for choir music. Since 2004 he has been artistic director of the Nargen Opera Festival, presenting music and opera performances on the Estonian coast.

The Estonian Philharmonic Chamber Choir records for many labels, most prominently ECM, BIS, Harmonia Mundi, and Ondine This tour is just one facet of the ESTONIA 100 celebration of Estonian independence. www.ev100.ee/en

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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The Tallest Man on Earth

When the Bird Sees the Solid Ground Tour Wed, Nov 28 / 8 PM / Campbell Hall

Event Sponsors: Suzi & Glen Serbin Kristian Matsson is an artist from Dalarna, Sweden, who performs under the name The Tallest Man on Earth. Since 2006 Matsson has released four full-length albums and headlined globally in some of the most prestigious venues in the world. In 2017 Matsson began to explore new ways of releasing music. Beginning with The Light in Demos, Matsson recorded new songs to video and released them in series. This work led to his most recent project, a more ambitious series of new music releases titled When the Bird Sees the Solid Ground.

When the Bird Sees the Solid Ground is a five-part series.

Each song is a new, original studio recording that includes the simultaneous release of an accompanying video directed by Kristian Matsson. Both the music and videos were produced as the series progressed during the winter, spring and summer of 2018 in Sweden and the U.S., with Matsson splitting his time behind the microphone and the camera.

Songs and videos were released every seven weeks and culminated in a cohesive body of work.

Solo shows in support of When the Bird Sees the Solid Ground are taking place in select cities worldwide.

Special thanks to

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Jake Shimabukuro The Greatest Day Tour

photo: Coleman Saunders / Americus Studios

Thu, Nov 29 / 8 PM / Campbell Hall

Almost everyone in Hawaii has strummed a ukulele at one time or another. But at the age of 14, Jake Shimabukuro realized that he was doing something a little different with the four-stringed instrument – okay, a lot different.

Shimabukuro’s wholly unique approach to the ukulele started early. As a youngster growing up in Honolulu, Hawaii, Shimabukuro started playing the instrument at the age of four, learning the basics from his mother Carol and then developing his craft further by studying musical masters such as Eddie Kamae, Ohta-San and Peter Moon. As he matured, Shimabukuro also found inspiration from guitar players, drummers, pianists singers and even athletes.

In 2005, Shimabukuro’s touring career really came to life with a video on YouTube. “I didn’t even know what YouTube was at the time, so I was totally surprised when people started telling me they’d seen a video of me playing ‘While My Guitar Gently Weeps,’” he says. “Before I got a chance to check it out myself, the video had gone viral and a lot of music industry folks seemed to know about it. It was crazy!” Shimabukuro’s deeply beautiful and original take on George Harrison’s love ballad, one which captured colors and moods never associated with the ukulele before, opened the floodgates, and the 2006 release of Gently Weeps (produced by Mac McAnally) – which mixed his own originals with equally adventurous versions of “Ave Maria” and “The Star-Spangled Banner” – was an unqualified success.

Shimabukuro’s records have topped the Billboard world music charts on numerous occasions, and as a live performer he has become one of the hottest tickets around.

He’s played with world-renowned orchestras and at prestigious venues such as the Hollywood Bowl, Lincoln Center and the Sydney Opera House, and has dazzled audiences at music festivals including Bonnaroo, SXSW, the Playboy Jazz Festival and Fuji Rock Festival. He even performed for that rarest of audiences: Her Majesty Queen Elizabeth II. Even with the constant demands on his time – Shimabukuro tours roughly half the year and makes frequent appearances on radio and television shows such as the Today Show, Good Morning America, Jimmy Kimmel Live! and NPR’s Morning Edition – his album output hasn’t slowed. In 2016, he recorded the all-original Nashville Sessions at Music City’s famed Ronnie’s Place studio with producer R.S. Field (Steve Earle, Webb Wilder) and the ace rhythm section of bassist Nolan Verner and drummer Evan Hutchings. He returned to the same city and studio – and with the same gang, too (augmented by guitarist Dave Preston) – for his newest record, The Greatest Day, which was released in August 2018.

“I had such a great time working with R.S. Field on Nashville Sessions,” Shimabukuro explains, “and I knew I wanted to continue working with him on The Greatest Day. On the last record, it was pretty much the sound of a live trio, which sounded fresh, raw and organic. We were basically writing and improvising in the studio. Now we’ve

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expanded to a quartet, which has added more colors and variety to the overall production. Once we recorded the live takes, we experimented with overdubs, and added horns, strings and keys, and other funky sounds. There are even some vocals on a few cuts.”

The 12 tracks that comprise The Greatest Day feature some of Shimabukuro’s most imaginative and adventuresome playing yet. Half of the album is devoted to originals, on which the instrumentalist reaches new heights of compositional distinction. And on the covers, Shimabukuro’s prodigious skills allow him to achieve the impossible, transcending his material – no mean feat considering some of the classics and standards he’s tackling.

Coming in Spring George Hinchliffe’s

Ukulele Orchestra of Great Britain

Among the self-penned tunes, there’s the blissed-out title track, so effervescent and airy that it transports the listener into the clouds. Shimabukuro wrote the song the night before going into the studio. Shimabukuro, Verner and Hutchings recorded their parts first. Later, Dave Preston added a joyous, Edge-like guitar riff that really finished the tune. “It came together so quickly,” Shimabukuro says, “and when I heard the final mix, I just thought, ‘Wow, this has been the greatest day!’”

Along with his tremendous professional achievements, Shimabukuro’s personal life is filled with riches: He’s a loving husband and proud father of two boys. While balancing career with family, he also remains firmly rooted in his commitment to community, frequently performing at schools in Hawaii and overseas, urging youngsters to find their passion and live drug-free.

Special thanks to

“Sheer fun and outright daffiness tied to first-rate musicality and comic timing.”

The New York Times

Thu, Apr 4 / 8 PM / Campbell Hall Tickets start at $35 / $15 UCSB students

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@ArtsAndLectures

Jeh Johnson

National Security: Challenges and Opportunities

photo: Taylor Hooper Photography

Sun, Dec 2 / 3 PM / Campbell Hall

Jeh Johnson is the former U.S. Secretary of Homeland Security. He served in that position from December 2013 to January 2017. Johnson now practices law at Paul, Weiss, Rifkind, Wharton & Garrison LLP. Johnson has been affiliated with Paul, Weiss on and off since 1984, and was elected the firm’s first African-American partner in 1994. Johnson is also currently on the board of directors of Lockheed Martin and the Center for a New American Security, and a non-resident senior fellow at the Harvard Kennedy School. Since leaving public office in January 2017, Johnson has testified before Congress three times, and is a frequent commentator about national and homeland security issues on ABC, CBS, MSNBC, CNN and other news outlets.

As Secretary of Homeland Security, Johnson was the head of the third largest cabinet department of the U.S. government, consisting of 230,000 personnel and 22 components, including TSA, Customs and Border Protection, Immigration and Customs Services, U.S Citizenship and Immigration Services, the Coast Guard, the Secret Service and FEMA. Johnson’s responsibilities as Secretary included counterterrorism, cybersecurity, aviation security, border security, port security, maritime security, protection of our national leaders, the detection of chemical, biological and nuclear threats to the homeland, and response to natural disasters. In three years as Secretary of DHS, Johnson is credited with management reform of the Department which brought about a more centralized approach to decision-making in the areas of budgets, acquisition and overall policy. Johnson also raised employee morale across the Department, reflected in the September 2016 Federal Employee Viewpoint Survey.

Prior to becoming Secretary of Homeland Security, Johnson was General Counsel of the Department of Defense (20092012). In that position, Johnson is credited with being the legal architect for the U.S. military’s counterterrorism efforts in the Obama administration. In 2010, Johnson also co-authored the report that paved the way for the repeal of the Don’t Ask, Don’t Tell policy by Congress later that year. In his book Duty, former Secretary of Defense Robert Gates wrote that Johnson “proved to be the finest lawyer I ever worked with in government – a straightforward, plain-speaking man of great integrity, with common sense to burn and a good sense of humor.” In his final days as General Counsel of the Defense Department, Johnson made the first of three appearances at the Oxford Union, this one an address entitled “How Will the War Against al Qaeda End?” The address received international attention and acclaim.

In October 1998, Johnson was appointed by President Bill Clinton to be General Counsel of the Department of the Air Force, and served in that position until January 2001. Earlier in his career, Johnson was an Assistant United States Attorney for the Southern District of New York (1989-1991).

Johnson is a fellow in the American College of Trial Lawyers and a member of the Council on Foreign Relations. He is a graduate of Morehouse College (1979) and Columbia Law School (1982), and the recipient of nine honorary degrees.

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Kronos Quartet

with Mahsa Vahdat Music for Change: The Banned Countries

photo: Jay Blakesberg

Tue, Dec 4 / 8 PM / Campbell Hall David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello with Mahsa Vahdat, vocals Related Thematic Learning Initiative Event (see page 9)

Kronos Quartet For more than 40 years, San Francisco’s Kronos Quartet has pursued a singular artistic vision, combining a spirit of fearless exploration with a commitment to continually reimagine the string quartet experience. In the process, Kronos has become one of the most celebrated and influential groups of our time, performing thousands of concerts worldwide, releasing more than 60 recordings of extraordinary breadth and creativity, collaborating with many of the world’s most intriguing and accomplished composers and performers, and commissioning more than 950 works and arrangements for string quartet. Kronos has received over 40 awards, including the Polar Music and Avery Fisher prizes, two of the most prestigious awards given to musicians.

Since 1973, Kronos has built a compellingly eclectic repertoire for string quartet, performing and recording works by 20th-century masters (Bartók, Webern, Schnittke), contemporary composers (Vladimir Martynov, Aleksandra Vrebalov, Sahba Aminikia), jazz legends (Charles Mingus, Maria Schneider, Thelonious Monk), rock artists (Jimi Hendrix, The Who’s Pete Townshend, Sigur Rós), and artists who defy genre (performance artist Laurie Anderson, visual artist Trevor Paglen, spoken-word poets from Youth Speaks).

Integral to Kronos’ work is a series of long-running collaborations with many of the world’s foremost composers, including “Father of Minimalism” Terry Riley, on projects such as the NASA-commissioned Sun Rings (2002) and a four-album box set in 2015; Philip Glass on an all-Glass CD

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in 1995 and recent premieres of string quartets No. 6 (2013) and No. 7 (2014); Azerbaijan’s Franghiz Ali-Zadeh, featured on the 2005 CD Mugam Sayagi; Steve Reich, with whom Kronos has recorded the Grammy-winning composition Different Trains (1989), Triple Quartet (2001), and WTC 9/11 (2011); and many more.

Kronos has collaborated with performers from around the world, including the Chinese pipa virtuoso Wu Man, Azeri vocalist Alim Qasimov, Bollywood “playback singer” Asha Bhosle, Inuit throat singer Tanya Tagaq, the Romanian gypsy band Taraf de Haïdouks, Malian griot musicians Trio Da Kali and Iranian vocalist Mahsa Vahdat. Kronos has also performed live and/or recorded with artists such as Paul McCartney, David Bowie, Patti Smith, Allen Ginsberg, Angélique Kidjo, Zakir Hussain, Tom Waits, Rokia Traoré, Van Dyke Parks, Howard Zinn, Betty Carter, Caetano Veloso, k.d. lang, Nine Inch Nails, Amanda Palmer, Jherek Bischoff, The National and múm. In dance, the famed choreographers Merce Cunningham, Paul Taylor, Twyla Tharp, Eiko & Koma, and Paul Lightfoot and Sol León (Nederlands Dans Theater) have created pieces with Kronos’ music.

Kronos’ work has been featured prominently in films, including the Academy Award-nominated documentaries How to Survive a Plague (2012) and Dirty Wars (2013).

Kronos recorded full scores by Philip Glass (Mishima and Dracula), Clint Mansell (Darren Aronofsky’s Noah, The Fountain, and Requiem for a Dream), Terry Riley (François Girard’s Hochelaga terre des âmes), and Jacob Garchik (Guy

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Maddin’s The Green Fog: A San Francisco Fantasia), as well as contributed music to 21 Grams, Heat, La grande bellezza (The Great Beauty), and many other films. A Thousand Thoughts, a live documentary co-directed and written by filmmakers Sam Green and Joe Bini that features live narration by Green and live music by Kronos, debuted at Sundance Film Festival 2018 and Wexner Center for the Arts.

The quartet tours extensively each year, appearing in concert halls, clubs, and festivals including Carnegie Hall, Lincoln Center Out of Doors, Big Ears, BAM Next Wave Festival, the Barbican in London, WOMAD, UCLA’s Royce Hall, Amsterdam’s Concertgebouw, Shanghai Concert Hall, the Sydney Opera House and Haydn Hall at Schloss Esterhazy. Kronos is equally prolific and wide-ranging on recordings, including Pieces of Africa (1992), a showcase of African-born composers that simultaneously topped Billboard’s Classical and World Music lists; Nuevo (2002), a Grammy and Latin Grammy-nominated celebration of Mexican culture; and the 2004 Grammy-winner, Alban Berg’s Lyric Suite, featuring soprano Dawn Upshaw. Kronos’ most recent releases include Folk Songs, featuring Sam Amidon, Olivia Chaney, Rhiannon Giddens and Natalie Merchant singing traditional folk songs; the collaborative album Ladilikan with Trio Da Kali, an ensemble of Malian griot musicians assembled by Aga Khan Music Initiative; the collaborative album Landfall with multi-disciplinary artist Laurie Anderson; and Clouded Yellow, a collection of work written for Kronos by Bang on the Can founding composer Michael Gordon. Music publishers Boosey & Hawkes and Kronos have released two volumes of Kronos Collection sheet music.

The nonprofit Kronos Performing Arts Association (KPAA) manages all aspects of Kronos’ work, including the commissioning of new works, concert tours and home season performances, education programs, and a self-produced Kronos Festival. In 2015, Kronos launched Fifty for the Future: The Kronos Learning Repertoire, an education and legacy project that is commissioning – and distributing for free – the first learning library of contemporary repertoire for string quartet. Designed expressly for the training of students and emerging professionals, ten new works (five by women and five by men) are being composed each year over the next five years. Scores and parts, recordings, videos, performance notes, and composer interviews are available on kronosquartet.org. Lead partner Carnegie Hall and an adventurous group of project partners, including presenters, academic institutions, foundations and individuals, have joined forces with KPAA to support this exciting program.

Mahsa Vahdat Mahsa Vahdat (born 29 October 1973, Tehran, Iran) is an Iranian artist and singer and strong advocate of freedom of expression. Her music style is contemporary expression rooted in old traditional and folk and regional music of Iran that she developed for many years. She writes most of her songs. She took piano and Setar lessons and received Persian singing instruction from various musicians in Iran.

She entered Tehran Arts University in 1993 and graduated with a B.A. in Music.

Since 1995, Vahdat has performed as an independent singer and musician in many concerts and festivals in Asia, Europe, the U.S. and Africa, with musicians from Iran, Europe and America. She has also appeared on stage with her sister Marjan Vahdat in many concerts. Her career has provided a deeper knowledge about Iranian poetry and music to large audiences in Europe, America, Asia, Oceania and Africa. Vahdat has developed her personal style based on the Persian vocal tradition of classical and regional folk music, with a contemporary expression. She has always searched for ways to make her music relevant to the present world. Even if the origin of her style is Iranian, she believes in her music’s ability to express a universal message of humanism and freedom. Her collaboration with musicians from Iran and many other parts of the world has contributed to the development of her personal expression.

Following her participation in Lullabies from the Axis of Evil (2004), Mahsa started a long lasting collaboration with the Norwegian record label Kirkelig Kulturverksted (KKV), which led to the worldwide release of a series of records.

Since 2007 Vahdat has been one of the ambassadors of Freemuse Organization, which advocates freedom of expression for musicians and composers worldwide. In 2010, she was granted the Freemuse Award and in 2013 her album Twinklings of Hope (with her sister Marjan Vahdat) won an Independent Music Award. In 2015 her album Traces of an Old Vineyard was named one of the 10 best albums of the year by Songlines magazine in the U.K. In 2016 her a cappella album The Sun Will Rise won a German Record Critics Award.

Special thanks to

(805) 893-3535 www.ArtsAndLectures.UCSB.edu

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Lyle Lovett and Robert Earl Keen Wed, Dec 5 / 8 PM / Campbell Hall

Event Sponsors: Loren Booth Fredric E. Steck

Lyle Lovett

shouted back at Keen by thousands of fans a night (“and the party never ends!”) – just to punctuate the point with a flourish, but it’s the part about the journey that gets right to the heart of what makes Keen tick. Some people take up a life of playing music with the goal of someday reaching a destination of fame and fortune; but from the get-go, Keen just wanted to write and sing his own songs, and to keep writing and singing them for as long as possible.

Whether touring as a duo or with his Acoustic Group or Large Band, Lovett’s live performances show not only the breadth of this Texas legend’s deep talents, but also the diversity of his influences, making him one of the most compelling and captivating musicians in popular music.

Over time, Robert Earl Keen has recorded 19 albums and has thousands of shows under his belt with still no end in sight. From his humble beginnings on the folk scene, he has blazed a peer, critic and fan-based trail that’s earned him living legend (not to mention pioneer) status in the Americana music world. Although he has never been known to wear his Texas heart on his sleeve, he has long been regarded as one of the state’s finest (not to mention top drawing) true singer/songwriters. Keen remains as committed to and inspired by his muse as ever. REK has led his road-savvy band from coast to coast, where they have carved out a place in the Americana pantheon alongside writers/performers Steve Earle, Lyle Lovett, Willie Nelson, George Strait, Miranda Lambert and Eric Church among others.

A singer, composer and actor, Lyle Lovett has broadened the definition of American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texasbased musician fuses elements of country, swing, jazz, folk, gospel and blues in a convention-defying manner that breaks down barriers.

Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music’s most vibrant and iconic performers.

Among his many accolades – besides the four Grammy Awards – he was given the Americana Music Association’s inaugural Trailblazer Award and was named Texas State Musician.

His works, rich and eclectic, are some of the most beloved of any artist working today.

Robert Earl Keen

“The road goes on forever ...”

It’s not always easy to sum up a career – let alone a life’s ambition – so succinctly, but those five words from Robert Earl Keen’s calling-card anthem just about do it. You can complete the lyric with the next five words – the ones routinely

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It isn’t always easy being Robert Earl Keen, but somebody’s got to do it. And now more than ever he is up to the task and loving every minute of it.

Special thanks to

@ArtsAndLectures

Patricia Kopatchinskaja, violin Polina Leschenko, piano

photo: Marco Borggreve

Tue, Dec 11 / 7 PM / Hahn Hall

Event Sponsor: Barbara Delaune-Warren Up Close & Musical Series Sponsor: Dr. Bob Weinman

Program

Patricia Kopatchinskaja

Bartók: Violin Sonata No. 2, Sz. 76 I. Molto moderato II. Allegretto

Molodovan born violinist and “one of the most distinctive voices in the violin world,” Patricia Kopatchinskaja’s unique approach shows itself in her diverse repertoire ranging from baroque and classical works played on gut strings, to new commissions and re-interpretations of modern masterpieces.

Poulenc: Sonate pour violon et piano, FP 119 I. Allegro con fuoco II. Intermezzo, tres lent et calme III. Presto Tragico, strictement la double - IntermissionEnescu: Sonata No. 3 for Violin and Piano, op. 25 I. Moderato malinconico II. Andante sostenuto III. Allegro con brio, ma non troppo mosso Ravel: Tzigane, M.76

2018-19 is another exciting season as she continues to collaborate with leading conductors and orchestras.

Kopachinskaja began the season with a debut for Orchestre Symphonique de Montreal (Kent Nagano) and performances with the Bayerisches Staatsorchester (Kirill Petrenko) as well as a European tour with Kammerorchester Basel (Heinz Holliger). Further ahead, she will perform Schoenberg’s Violin Concerto with the Berliner Philharmoniker and make another important debut with Cleveland Symphony Orchestra performing Eötvös Seven. Performances of Tchaikovsky’s Violin Concerto will also become a hallmark of Kopatchinskaja’s season, including dates with the Los Angeles Philharmonic and City of Birmingham symphony orchestras conducted by Mirga Gražinytė-Tyla, and Teodor Currentzis and Musica Aeterna on tour to Japan.

On the recital platform, Kopatchinskaja partners regularly with artists such as Anthony Romaniuk, Jay Campbell and Sol Gabetta, appearing at leading venues such as the Berlin Konzerthaus, Vienna Konzerthaus and Concertgebouw Amsterdam. With pianist Polina Leschenko she released Deux in 2018 for Alpha, which the duo toured to summer festivals including Mecklenburg-Vorpommern, Engadin

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and Gstaad this year. The 2018-19 season will see the duo make their collective debut on tours to the U.S. and Japan, including performances in Washington, San Francisco, Nagoya and Tokyo.

With the Saint Paul Chamber Orchestra, Kopatchinskaja has held the position of artistic partner since 2014, and was awarded a 2018 Grammy in the Best Chamber Music/Small Ensemble Performance category for Death and the Maiden, recorded with the Orchestra and released on Alpha Classics.

Other accolades include the prestigious Swiss Grand Award for Music, which recognizes exceptional talent and innovation, awarded by the Federal Office of Culture for Switzerland in 2017.

Last season began with the world premiere of her new project Dies Irae at the Lucerne Festival where she was ‘artiste étoile.’ Following the success of Bye Bye Beethoven with Mahler Chamber Orchestra in 2016, the second staged project was conceptualized using a theme from the Latin Requiem Mass and features music from composers such as Scelsi, Biber and Ustwolskaja. The project was given its North American premiere as part of Kopatchinskaja’s position as music director at the Ojai Music Festival this summer. Other highlights included appearances at the Salzburger Festspiele for pieces by Ustwolskaja and Hartmann.

A prolific recording artist, the last few seasons have seen a number of releases on Alpha Classics including an album of Kancheli’s music with Gidon Kremer and the Kremerata Baltica and a disc of duos entitled TAKE TWO. Kopatchinskaja has recorded Schumann’s Violin Concerto and Fantasy with WDR Sinfonieorchester Köln under Heinz Holliger for Audite and a selection of concerti by Bartók, Ligeti and Peter Eötvös for Naïve Classique, which claimed Gramophone’s Recording of the Year award in 2013 and a 2014 Grammy nomination.

Find her on facebook @patriciakopatchinskaja

Polina Leschenko Polina Leschenko was born in St.Petersburg into a family of musicians and began playing the piano under her father’s guidance at the age of six. Two years later she made her solo debut with the Leningrad Symphony Orchestra in St. Petersburg. She studied with Sergei Leschenko, Vitali Margulis, Pavel Gililov, Alexandre Rabinovitch-Barakovsky and Christopher Elton. At the age of 16 she received her Higher Diploma with the greatest distinction from the Royal Conservatory in Brussels.

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Leschenko works with orchestras around the world including Camerata Salzburg, Hallé, London Mozart Players, Scottish Chamber, Bournemouth Symphony, Britten Sinfonia, Bern Symphony, Russian National, I Pomeriggi Musicali in Milan, Orquesta de Euskadi and Australian Chamber orchestras. A regular visitor to the Hallé, she performed in their 150th birthday celebration concert in February 2008, and in September 2008 she toured South America with the orchestra and Sir Mark Elder. As an accomplished and admired chamber musician, Polina Leschenko also performs frequently at many festivals, including Aldeburgh, Cheltenham, Risor, Stavanger, Istanbul, Progetto Martha Argerich in Lugano, the Salzburg Festival and Musiktage Mondsee. Regular collaborations with artists include Patricia Kopatchinskaja, Alissa Margulis, Priya Mitchell, Daniel Rowland, Alexander Sitkovetsky, Ivry Gitlis, Maxim Rysanov, Mark Drobinsky, Natalie Clein, Heinrich Schiff, Torleif Thedéen and the Auryn Quartet. Leschenko has given major solo recitals in Vienna’s Konzerthaus, Amsterdam’s Concertgebouw and New York’s Carnegie Hall as well as in Salzburg, Milan, London, Paris, Brussels, Minnesota and Atlanta.

In 2009 Leschenko began a new position as international chair in piano at the Royal Welsh College of Music & Drama in Cardiff, where she had a three-year residency.

In 2003 Polina Leschenko recorded a debut CD for EMI in the series Martha Argerich Presents... with works by Liszt, Chopin, Kreisler/Rachmaninov, Brahms and Bach/ Feinberg. She has also recorded a well-received disc of Prokofiev chamber music with Martha Argerich, Christian Poltéra and Roby Lakatos, for Avanticlassic, with whom she has a recording contract. Her recital disc –featuring an all-Liszt program including the B minor Sonata – was released in May 2007 by Avanticlassic. The album has won several awards: a Choc du Monde de la Musique, Pizzicato magazine’s Supersonic and a Joker from Belgian magazine Crescendo. Released by EMI Classics was a recording of Glinka’s Sextet as part of the Martha Argerich and Friends Live from the Lugano Festival series, from 2009.

Special thanks to

@ArtsAndLectures

Blind Boys of Alabama Holiday Show featuring Ruthie Foster

Sun, Dec 16 / 7 PM / Campbell Hall

photo: Jim Herrington

Program will be announced from the stage.

Event Sponsors: Hutton Parker Foundation Sharon & Bill Rich

Blind Boys of Alabama The Blind Boys of Alabama have the rare distinction of being recognized around the world as both living legends and modern-day innovators. They are not just gospel singers borrowing from old traditions; the group helped to define those traditions in the 20th century and almost single-handedly created a new gospel sound for the 21st.

Since the original members first sang together as kids at the Alabama Institute for the Negro Blind in the late 1930s (including Jimmy Carter, who leads the group today), the band has persevered through seven decades to become one of the most recognized and decorated roots music groups in the world.

Touring throughout the South during the Jim Crow era of the 1940s and 1950s, the Blind Boys flourished thanks to their unique sound, which blended the close harmonies of early jubilee gospel with the more fervent improvisations of hard gospel. In the early 1960s, the band sang at benefits for Dr. Martin Luther King, Jr., and was a part of the soundtrack to the Civil Rights movement. But as the years passed, gospel fans started to drift away and follow the many singers who had originated in the church but were now recording secular popular music. And the Blind Boys, who refused many offers to cross over to secular music, also saw their audiences dwindle. However, the Blind Boys persevered and their time came again, starting in the 1980s with their starring role in the Obie Award-winning musical The Gospel at Colonus, which began a new chapter in their incredible history. It’s almost unbelievable that a group of blind, African-American singers who started touring

during a time of whites-only bathrooms, restaurants and hotels went on to win five Grammy Awards, a Lifetime Achievement Grammy, be inducted into the Gospel Music Hall of Fame and perform at the White House for three different presidents.

Few would have expected them to still be going strong – stronger than ever, even – so many years after they first joined voices, but they’ve proved to be as productive and musically ambitious in recent years as they were in the beginning. In 2001, they released Spirit of the Century on Peter Gabriel’s Real World label, mixing traditional church tunes with songs by Tom Waits and the Rolling Stones, and won the first of their Grammy Awards. The next year they backed Gabriel on his album Up and joined him on a world tour, although a bigger break may have come when David Simon chose their cover of Waits’ “Way Down in the Hole” as the theme song for the first season of HBO’s acclaimed series The Wire. Subsequent Grammy-winning albums have found them working with the likes of Ben Harper, Robert Randolph, Aaron Neville, Mavis Staples, The Preservation Hall Jazz Band, Allen Toussaint and Willie Nelson.

In 2013, the band worked with Justin Vernon (of Bon Iver) to release I’ll Find A Way, a powerful collection of gospel and spiritual songs new and old, featuring some of the Blind Boys’ most fervent vocals as well as contributions by a new generation of Blind Boys fans, including Merrill Garbus of tUnE-yArDs, Patty Griffin and Justin Vernon himself. In 2014, the Blind Boys released Talkin’ Christmas!,

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a collaboration with Taj Mahal that continued the band’s streak of creating original and interesting work. It includes new versions of Christmas standards, covers of hidden gospel gems and seven brand-new holiday songs featuring Money Mark on keyboards, Taj Mahal on vocals and songwriting collaborations with Stax Records soul legend William Bell.

In 2017, the Blind Boys released Almost Home on the band’s own BBOA Records label, in collaboration with Amazon Music. The 12-song collection serves as a fitting capstone to a seven-decade career that has both defined the sound of the American South and pushed it forward from the 20th century and into the 21st. Almost Home was recorded over four different sessions with four different Grammy Award-winning producers in four different cities.

John Leventhal recorded the Blind Boys and their band in New York City, as did Vance Powell in Nashville, Chris Goldsmith in Seattle and Los Lobos’ Steve Berlin at FAME Studios in Muscle Shoals. The album is composed primarily of original songs which focus on the remarkable journey of the band’s surviving original members at the time: longtime leader Clarence Fountain and current leader Jimmy Carter. It features songwriting contributions from an exceptional collection of artists including Valerie June, North Mississippi Allstars, Phil Cook, John Leventhal, Marc Cohn, Ruthie Foster and more. Almost Home succeeds in looking backwards, while still sounding as vital and modern as ever.

Since they released their debut single, “I Can See Everybody’s Mother But Mine,” on the iconic Veejay label in 1948, the Blind Boys have been hailed as “gospel titans”

by Rolling Stone, have collaborated with artists such as Stevie Wonder, Prince and Lou Reed and performed on some of the world’s most prestigious stages. The New York Times said that they “came to epitomize what is known as jubilee singing, a livelier breed of gospel music,” adding that “they made it zestier still by adding jazz and blues idioms and turning up the volume, creating a sound… like the rock ’n’ roll that grew out of it.” The New Yorker simply called them “legendary.”

The Blind Boys’ live shows are roof-raising musical events that appeal to audiences of all cultures, as evidenced by an international itinerary that has taken them to virtually every continent. The Blind Boys of Alabama have attained the highest levels of achievement in a career that spans over 75 years and shows no signs of diminishing.

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Ruthie Foster In the tight-knit musical community of Austin, Texas, it’s tough to get away with posturing. You either bring it, or you don’t.

If you do, word gets around. And one day, you find yourself duetting with Bonnie Raitt or standing on stage with the Allman Brothers at New York’s Beacon Theater and trading verses with Susan Tedeschi. You might even wind up getting nominated for a Best Blues Album Grammy – three times in a row. And those nominations would be in addition to your seven Blues Music Awards, three Austin Music Awards, the Grand Prix du Disque award from the Académie Charles-Cros in France, a Living Blues Critics’ Award for Female Blues Artist of the Year and the title of “inspiring American Artist” as a United States Artists 2018 Fellow.

There’s only one Austinite with that résumé: Ruthie Foster.

In the small rural town of Gause, Texas, the worship services at a community church and influences like Mavis Staples and Aretha Franklin created the foundation of Ruthie Foster’s vocal capabilities and -genre-defying sound.

That uniqueness echoes a common theme in Foster’s life and career: marching to the beat of her own drum.

Joining the Navy was one way for Foster to carve out her own path. It was during her time singing for the Navy band Pride that her love for performing became apparent. After leaving the service, Foster signed a development deal with Atlantic Records and moved to New York City to pursue a career as a professional musician.

The label favored Foster as a pop star. In another bold move, she walked away from the deal and returned to the Lone Star State. There she solidified her place as an up-andcoming singer/songwriter and began a two-decade musical partnership with Blue Corn Music.

It’s not only Ruthie’s music that endears her fans to her; she has been recognized by United States Artists as an “inspiring” American artist, and, in early 2018, was awarded a fellowship in recognition of that title.

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