UCSB Arts & Lectures - Spring Program 2017

Spring Program 2017

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engaged scholarship lies at the heart of any healthy society

Dear Arts & Lectures’ Friends and Supporters, Thank you for being here. I hope you’re ready to enjoy the adventure of bold moves and big ideas – because that’s what our community expects from Arts & Lectures, and what we are committed to present, year in and year out.

This spring, we’re delighted to welcome back a dear friend, Yo-Yo Ma, this time with Edgar Meyer and Chris Thile (pg. 38). If Yo-Yo Ma is “the Elvis of the cello” (as a critic once wrote), then surely Edgar Meyer is the No. 1 double bass player in our world and Chris Thile – the new host of A Prairie Home Companion – is unquestionably the master of the mandolin. The concert is sold out, and we’re thrilled with the community’s support for the special benefit event associated with this program: our Concert for a Cause in support for A&L’s extensive education and outreach programs.

I’m proud to note that we’re continuing to deepen and broaden Arts & Lectures’ impact with The Lynda and Bruce Thematic Learning Initiative. This year’s themes have inspired us to create a platform for everyone to extend the ideas we encounter on stage into our lives and our community through Thematic Learning Circles or “TLCs.” A forum for stimulating real change, TLCs enable patrons to participate actively in coffee hours, book clubs and panel discussions – or explore the online resources that will complement A&L events and pique your interest to learn more. For more information, future invitations and to sign up, email TLC@ArtsAndLectures.UCSB.edu.

Other spring highlights include 2011 Nobel Peace Prize laureate Tawakkol Karman (pg. 8), who played a key role in the Arab Spring and advocates for education and social equality, coming courtesy of UCSB’s Walter H. Capps Center. Author and entrepreneur Paul Hawken will give a special Earth Day message about addressing persistent ecological problems and reversing global warming (pg. 17). And from Nashville, Americana band Old Crow Medicine Show (pg. 41) performs its take on Bob Dylan’s influential Blonde on Blonde album.

Thank you again for supporting this program – with your contributions, your ticket purchases, your encouraging words, your emails and most importantly, by showing up today and joining us on this continuing adventure.

With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

The Lynda and Bruce Thematic Learning Initiative The Lynda and Bruce Thematic Learning Initiative is a multi-year educational project from Arts & Lectures that brings experiential and contextual lifelong learning opportunities to UCSB and Santa Barbara. This year’s themes:

Creating a Better World: Social Justice, Human Rights, Economic Security Creative Culture: The Intersection of Art, Technology and Design Apr 5 Colson Whitehead

National Book Award-winning author of The Underground Railroad

Apr 12 Terry Tempest Williams

John Muir Award winner and environmental activist

Apr 22 Paul Hawken

Pioneering environmental entrepreneur

Apr 26 Roomful of Teeth

Grammy Award and Pulitzer Prize-winning vocal project

Apr 27 Laila Lalami

Influential writer on Islamophobia and award-winning author

May 9 Chip Kidd

Award-winning book jacket designer and art director

May 13 Lynsey Addario

MacArthur fellow and photojournalist who documents humanitarian crises

Arts & Lectures Spring 2017 Book Selection Register online at AandLspring17book.eventbrite.com to reserve your FREE copy of Paul Hawken’s Drawdown.

Offer available to Paul Hawken lecture ticketholders and UCSB students while supplies last. Pick up at the Apr. 22 event at Campbell Hall.

With thanks to our visionary partners, Lynda Weinman and Bruce Heavin

Bring more TLC into your life with Thematic

Learning Circles

Have you ever wondered how to extend the conversation from the stage into your life?

Be a part of A&L’s Thematic Learning Circles and connect with others through coffee hours, book clubs, conversations and panel discussions with guest artists; plus books, videos, online resources, and more!

For details about how to participate in this exciting new initiative, email TLC@ArtsAndLectures.UCSB.edu or call Rachel at (805) 893-3458.

Colson Whitehead

An Evening with the Author of The Underground Railroad

photo: Erin Patrice O’Brien

Wed, Apr 5 / 7:30 PM (note special time) / Campbell Hall

Presented in cooperation with the UCSB MultiCultural Center With support from our Community Partner the Orfalea Family

The Lynda and Bruce Thematic Learning Initiative: Creating a Better World

Colson Whitehead’s newest novel, The Underground Railroad, is an Oprah’s Book Club 2016 selection, a No. 1 New York Times bestseller and the winner of the 2016 National Book Award for Fiction. Chosen by Amazon as the No. 1 book of 2016, it has been included in numerous 2016 best books lists, including The New York Times’ and The Washington Post’s top 10 books of the year. Describing the book, Oprah Winfrey writes, “After turning the final page, I knew immediately I’d read something that would never leave me.” The Underground Railroad is a magnificent tour de force that chronicles a young slave’s journey during a desperate bid for freedom in the antebellum South. The novel is a shattering meditation on the United States’ complicated political and racial history.

“The Underground Railroad reanimates the slave narrative, disrupts our settled sense of the past and stretches the ligaments of history right into our own era” (The Washington Post).

The Underground Railroad was Arts & Lectures’ Winter 2017 Book Selection. 400 free copies were made available to the general public and to students thanks to The Lynda and Bruce Thematic Learning Initiative.

Special thanks to

Whitehead is the New York Times bestselling author of The Intuitionist, John Henry Days, The Colossus of New York (a book of essays about the city), Apex Hides the Hurt, Sag Harbor, Zone One and The Noble Hustle. His writing has appeared in The New York Times, The New Yorker, New York Magazine, Harper’s and Granta among other publications.

A Pulitzer Prize and PEN/Faulkner Award finalist, he is the recipient of both a MacArthur Fellowship and a Guggenheim Fellowship. He has taught at universities across the country.

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

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Co-presented with the Walter H. Capps Center for the Study of Ethics, Religion, and Public Life

The 2017 Hamdani World Harmony Lecture

Tawakkol Karman An Evening with the

2011 Nobel Peace Prize Laureate Sat, Apr 8 / 7:30 PM (note special time) / Campbell Hall / FREE The Hamdani World Harmony Lecture Series is sponsored by Jamal and Saida Hamdani in loving memory of Dr. Sajjad and Zakira Hamdani Additional support from the Department of Religious Studies, the Orfalea Center for Global & International Studies, the Department of Global Studies, and the Center for Middle East Studies

In 2011, a peaceful revolution broke out in defiance of despotic regimes across the Arab world. From Tunisia to Egypt and Yemen and beyond, citizens rose up in support of prosperity and progress in nations where authoritarian rule suppressed – often violently – advances in freedom, justice, science, democratic elections and human rights. One of the key international faces of the movement that came to be known as the Arab Spring was the Yemeni journalist, politician, peace-builder and human rights activist Tawakkol Karman, who sparked her own activist streak by organizing student rallies in Sana‘a – the largest city in Yemen. By mobilizing forces against the regime of President Ali Abdullah Saleh, she helped push for his resignation the following year.

Karman was imprisoned on several occasions in 2011 – in some cases locked up in chains – prompting heightened protests for her release by fellow students, activists and politicians who began calling her “Iron Woman” and “Mother of the Revolution” for her efforts to mobilize the Yemeni populace against Saleh’s rule. When the Arab Spring exploded that year, her human rights efforts became known globally through social media channels and the Western embrace of her cause. By year’s end, she was the co-recipient of the 2011 Nobel Peace Prize, along with Liberian President Ellen Johnson Sirleaf and women’s rights activist Leymah Gbowee, lauded “for their nonviolent struggle for the safety of women and for women’s

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rights to full participation in peace-building work.” Karman is the first Yemeni, the first Arab woman and the second Muslim woman to win a Nobel Prize.

Born in Taiz – Yemen’s third-largest city – in 1979 to a lawyer and politician father who served in Ali Abdullah Saleh’s government, Karman studied commerce at the University of Science and Technology in Sana‘a before receiving a graduate degree in political science. While working as a journalist she co-founded Women Journalists Without Chains as a means of advocating for freedom of opinion and expression and democratic rights for women around the world. Later on in her career she became a senior member of the Al-Islah political party, an opposition movement whose core constituents include groups that were crucial in overthrowing Egypt’s regime in 2012.

A popular voice in the Arab world, she is also a noted journalist in Western countries, including the U.S. and the U.K., and speaks regularly on her triumphs and challenges as a human rights activist, politician and Arab Spring participant. She advocates directing key resources – including education, social equality and responsible investment – to dictatorships and developing nations where poverty is rampant and freedom is routinely suppressed. She offers hopeful solutions that promote the democratic spirit and end to despotic rule across the globe.

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Nā Lei Hulu I Ka Wēkiu and Masters of Hawaiian Music: George Kahumoku Jr., Nathan Aweau & Kawika Kahiapo Sun, Apr 9 / 7 PM (note special time) / Campbell Hall

With support from Judy & Bruce Anticouni

Program

Masters of Hawaiian Music (to be announced from the stage) - Intermission -

Nā Lei Hulu I Ka Wēkiu About Masters of Hawaiian Music George Kahumoku, Jr., guitar & vocals Nathan Aweau, bass, guitar & vocals Kawika Kahiapo, guitar & vocals

Ali‘i. His seven solo CDs have won him multiple Na Hōkū Awards, including Male Vocalist of the Year (the only person to have won three times), Song of the Year (twice) and Island Album of the Year, among others.

Three masters featured regularly at Maui’s renowned Slack Key Show bring Hawai‘i’s unique folk styles, with origins in the early 19th century Hawaiian paniolo (cowboy) culture, to 21st century stages.

Slack key guitarist David “Kawika” Kahiapo most recently won two 2015 Na Hōkū Awards for his two newest releases: one for Slack Key Guitar Album of the Year, the other for Island Album. A regular at Jack Johnson’s Kokua Fests, his slack key roots and commitment to Hawaiian culture run deep.

Four-time Grammy Award-winner and master slack key guitarist George Kahumoku, Jr., known as “Hawai‘i’s Renaissance Man,” is a multiple Na Hōkū Hanohano (Hawaiian Grammy) Award winner, a vocalist, storyteller, songwriter and author, teacher, sculptor, farmer and chef.

A talented multi-instrumentalist, Nathan Aweau has been part of such award-winning groups as HAPA, Ka‘eo and The

George Kahumoku, Jr., lives on Maui with his wife, Nancy, maintaining their three-acre farm, growing fruits and vegetables, dry-land taro (for his famous homemade poi) and tending goats, chickens, ducks and miniature horses. With more than 25 solo, collaboration and compilation CDs to his name, George celebrates more than 13 years of his famed weekly

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

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Slack Key Show on Maui, which produced four Grammy Award-winning CDs. He founded the Hawaiian Music Institute at University of Hawai‘i Maui College to preserve the legacy of Hawaiian music and to prepare the next generation for careers in music. A renowned storyteller, Kahumoku, Jr. collaborated on the book A Hawaiian Life with longtime friend Paul Konwiser to capture his hilarious, entertaining onstage stories. This project led to his film biography Seeds of Aloha. Kahumoku Jr.’s Annual Maui Slack Key Guitar and ‘Ukulele Workshop creates one of the great musical learning experiences in the Islands today and embodies his belief in sharing, celebrating and perpetuating the unique music and culture that is Hawai‘i.

Nathan Aweau was born into a musical family. His early years consisted of piano lessons, learning the guitar and ‘ukulele, and fostering a natural ability to sing. His passion for the electric bass made it rise to the top as his main instrument. He started his professional career while still in college, accompanying such performers as Gabe Baltazar, Henry Kapono, Loyal Garner and Nohelani. He was a member of the Na Hōkū Hanohano Award-winning group Ka‘eo and the award-winning group The Ali‘is. He also did a 15-year stint with the legendary Don Ho, as bass player and backup singer. Since 2002, he has released six solo CDs, which have won him multiple Na Hōkū Awards for Male Vocalist of the Year, Song of the Year and Jazz Album of the Year. In 2002, Nathan also became part

Nā Lei Hulu I Ka Wēkiu Patrick Makuakane, Director Dancers: Jerome Borjal, Christopher Brodie, Marleen Bush, Cassie Ching, Vivian Chu, Janet Auwae-McCoy, Kaila DeFries, Ryan Fuimaono, Rose Guthrie, Jason Laskey, Kailani Moran, Jason Ogao, Chris Pimentel, Rebekah Samorano, Sylvia Tewes, Desiree Woodward-Lee, Lehuanani Zane, Linda Zane Patty-Ann Farrell, lighting design Robert Klemm, stage manager

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of HAPA, with guitarist Barry Flanagan and chanter Charles Ka‘upu, for what became an 8-year creative collaboration.

Born on the windward side of O‘ahu, David “Kawika” Kahiapo finds inspiration in the breathtaking Ko‘olau mountain range, lush, green valleys and magnificent ocean views.

His interest in music began at an early age, when, inspired by his father, he spent many hours practicing guitar alone, then learning from “garage” jam sessions, when “Pops” Gabby Pahinui would show up at their house to play, further igniting his passion for ki-ho‘alu, or slack key guitar. At age 17, Kawika entered the professional music scene and has since contributed to more than 84 recording projects and he is a regular at slack key festivals. Kawika’s most recent solo releases won two Na Hōkū Hanohano Awards in 2015 – one for Best Slack Key Guitar for Ku‘u ‘Āina Aloha, the other for Best Island Music for Ho‘omaluhia. Kawika is also featured on George Kahumoku’s compilation CD Masters of Hawaiian Slack Key Guitar Vol. 2, which won the 2010 Grammy Award for Best Hawaiian Music Album.

Artist Representative: Pasifika Artists Network Karen A. Fischer (808) 283-7007 karen@pasifika-artists.com www.pasifika-artists.com

Program ‘O ke Au Hawa‘i (Of this time Hawai‘i) – Larry Kimura ‘O Hānau ka Mauna Kea (Born is the Mountain of Wākea) – traditional Kāua i ka Makani (You and I in the Wind) – Palani Kahala Aloha e ka Piko (Love to the Summit) – Henry Enoka Ka Māmakakaua (The Company of Warriors) – Palani Vaughn Matsonia (Matson Ship) – Leialoha Kalaluhi Mele Hānau ‘o Kauikeaouli (Birth Chant of Kauikeaouli) – traditional

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He Mele no Kauikeaouli (A Song for Kauikeaouli) – Puakea Nogelmeier Blue Monday – New Order (Hawaiian chant – Solomon Huihui) Word Up – Cameo Lepe ‘Ula‘ula (The Red Comb of the Rooster) – traditional For the Love of You – Isley Brothers E Ho‘oloulou o Pīmoe (The Hooking of Pīmoe) – Lucia Tarallo He Mele Pāpa‘i (A Song for the Great Crab) – Puakea Nogelmeier I Left My Heart in San Francisco – George Cory/Douglass Cross ‘Ahulili (Jealous Mountain) – Scott Ha‘I Polehoonālani (Poleho of the Heavens) – Kuana Torres Kahele Aia i Ni‘ihau i Ku‘u Pawehe (There at Ni‘ihau is My Fine Mat) – traditional

About Nā Lei Hulu I Ka Wēkiu Nā Lei Hulu I Ka Wēkiu’s acclaimed dance company presents hula as a full theatrical experience that blends traditional and contemporary forms of Hawaiian dance.

Founded in 1985 by Director/Kumu Hula Patrick Makuakāne, the company is known for its contemporary style called hula mua, or “hula that evolves.” The style blends traditional movements with non-Hawaiian music like opera, electronic, alternative and pop. Both hula mua and traditional pieces are showcased in the company’s stage productions.

Nā Lei Hulu I Ka Wēkiu has enjoyed tremendous national success, dazzling audiences and critics alike. Makuakāne has won extensive recognition and numerous awards for his choreography and direction, including several Isadora Duncan Dance Awards (“Izzies”) and a lifetime achievement award from the San Francisco Ethnic Dance Festival.

The dance company holds its annual home season performances in October at the Palace of Fine Arts Theatre in San

Francisco and has performed throughout California and in other locations including New York, New Orleans, Las Vegas and Honolulu.

About the Director Patrick Makuakāne (Director, Kumu Hula) is a creative force in the hula world well known for his innovative choreography. His work is grounded in the traditions and fundamentals of hula, and he labors to keep traditional dances intact. He has also developed a unique style of hula (called hula mua) that uses modern music to provide a new dimension to the poetry of hula.

Born and raised in Honolulu, Hawai‘i, Makuakāne began dancing at the age of 13 and went on to study with some of Hawai‘i’s most recognized hula masters, including John Keola Lake and Robert Cazimero.

In 2000, he began intensive traditional studies with hula master Mae Kamāmalu Klein in Hawai‘i and, after three years, achieved the recognized status of kumu hula (hula master). This achievement culminated in a traditional ‘uniki ‘ailolo graduation ceremony and connects Makuakāne to a hula lineage stretching back for generations. His studies were made possible by funding from a prestigious two-year Irvine Fellowship in Dance.

Makuakāne has received a number of additional awards including: NACF Artist Fellowship (2014), awarded by the Native Arts & Cultures Foundation to nurture greater study, reflection, experimentation and discovery; Hewlett & Gerbode Foundations Choreographer Commissioning Award (2012), award from The Wallace Alexander Gerbode Foundation and The William and Flora Hewlett Foundation for the creation of Ka Leo Kanaka; National Museum of the American Indian (2010), grant award in support of the Kapalakiko Project, celebrating the long historical connection between Hawai’i and San Francisco; Individual Artist Commission (2009), a grant award from the San Francisco Arts Commission for the creation of Kumulipo, based on an epic and iconic Hawaiian creation chant composed before European contact; Creative Work Fund Commission (2008), grant supporting a commission for the creation of Maui Turning Back the Sky; Dance: Creation to Performance (2005), grant award from Dance/ USA and The James Irvine Foundation for the creation and public sharing of Daughters of Haumea.

Special thanks to

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

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Terry Tempest Williams

The Hour of Land: A Personal Topography of America’s National Parks Wed, Apr 12 / 7:30 PM (note special time) / Campbell Hall National Parks series sponsored by: Lillian Lovelace Sara Miller McCune

photo: Louis Gakumba

With support from our Community Partner the Orfalea Family

The Lynda and Bruce Thematic Learning Initiative: Creating a Better World Presented in collaboration with Channel Islands National Park and the UCSB Natural Reserve System

Terry Tempest Williams has been called “a citizen writer” who speaks out eloquently on behalf of an ethical stance toward life. A naturalist and fierce advocate for freedom of speech, she has consistently shown us how environmental issues are social issues that ultimately become matters of justice. “So here is my question,” she asks, “what might a different kind of power look like, feel like, and can power be redistributed equitably even beyond our own species?”

Williams, like her writing, cannot be categorized. She has testified before Congress on women’s health issues, been a guest at the White House, has camped in the remote regions of Utah and Alaska wildernesses and worked as “a barefoot artist” in Rwanda.

Known for her impassioned and lyrical prose, Terry Tempest Williams is the author of the environmental literature classic Refuge: An Unnatural History of Family and Place; An Unspoken Hunger: Stories from the Field; Desert Quartet; Leap; Red: Patience and Passion in the Desert; The Open Space of Democracy; and Finding Beauty in a Broken World. Her book When Women Were Birds was published in spring 2012. She is a columnist for the magazine The Progressive. She also wrote The Story of My Heart by Richard Jeffries, as rediscovered by Brooke Williams and Terry Tempest Williams, in which she and Brooke Williams expand upon the 1883 book by Richard Jeffries. Her most recent book, The Hour of Land: A Personal Topography of America’s National Parks, honors

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Supported in part by:

the centennial of the National Park Service and is a New York Times bestseller.

In 2006, Williams received the Robert Marshall Award from The Wilderness Society, their highest honor given to an American citizen. She also received the Distinguished Achievement Award from the Western American Literature Association and the Wallace Stegner Award given by the Center of the American West. She is the recipient of a Lannan Literary Fellowship and a John Simon Guggenheim Fellowship in creative nonfiction. In 2009, Williams was featured in Ken Burns’ PBS series on the national parks. In 2014, on the 50th Anniversary of the Wilderness Act, she received the Sierra Club’s John Muir Award.

Williams is currently the Provostial Scholar at Dartmouth College. Her writing has appeared in The New Yorker, The New York Times, Orion Magazine and numerous anthologies worldwide as a crucial voice for ecological consciousness and social change.

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

Special thanks to

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Compagnie Hervé KOUBI What the Day Owes to the Night photos: Nelson Romero Valarezo Saut Guayaquil

Tue, Apr 18 / 8 PM / Granada Theatre

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

Choreography: Hervé Koubi Dancers: Lazhar Berraoug, Riad Mendjel, Issa Sanou, Giovanni Martinat, Nadjib Meherhera, Abdelghani Ferradji, Zakaria Ghezal, Mourad Messaoud, Mohamed Medelsi, Houssni Mijem, El Houssaini Zahid, Adil Bousbara

What the Day Owes to the Night by Yasmina Khadra, set in the period before, and the aftermath of, the FrenchAlgerian war, spoke to Koubi’s imagination. Like the hero of the novel, an ordinary young boy who finds himself sent from one family to another, Koubi embarked on an exploration of his own family history that led him to identify with the novel’s protagonist.

“I met these dancers at an open audition in October of 2009 in Algeria. Ever since, my enthusiasm never ceases to grow because of their pleasure in dance, always remaining open to the requirements of a role. I try to stay away from creating the spectacular just for the spectacle and prefer to create something where the musicality of each dancer, of each body, serves the purpose of the performance.”

– Hervé Koubi

“It is like an orientalist of the 19th century came to Algeria to give life to his dreams,” describes Koubi. “I would like to give life to my dreams as a child born in France who discovered belatedly his true origins, and those of his parents, Algerian in their roots.”

Music: Maxime Bodson, Hamza El Din with Kronos Quartet, Johann Sebastian Bach, Sufi music Lights: Lionel Buzonie Costumes: Guillaume Gabriel

About the Program In 2009, Hervé Koubi organized an audition in Algeria for the debut of a work which would become What the Day Owes to the Night (Ce que le jour doit à la nuit).

Born and raised in France, Koubi learned as an adult that his parents had come to France from Algeria, sending him on a quest for self-discovery. The coming-of-age novel

Inspired by Oriental paintings and the lace of Islamic architecture, Koubi traces his own path, entangled like a complex weave. Koubi has always been fascinated by lace’s design.

“Lace,” Koubi maintains, “is before all else a way of creating ‘le jour’ (the day), the day in a cloth, rendered from material. The day in my story What the Day Owes to the Night is, as its title implies, a mixing up of time and a story of interweaving threads.”

Twelve dancers from Algeria and Burkina Faso were chosen from the open audition. The dancers, primarily with backgrounds in street dance and hip-hop, have displayed the strength and skill necessary for this long-term project, honed over time through their work together and with Koubi.

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About Hervé Koubi Of Algerian ancestry, Hervé Koubi earned a Doctorate of Pharmacology/Clinical Biology while also developing his career as a dancer/choreographer at the Aix-Marseille University. He started his studies in dance in Cannes with Michele and Anne-Marie Sanguin and Mathalie Crimi (co-founders of Espace 614 at Mouans-Sartoux).

He pursued his development at the Centre International de Danse Rosella Hightower in Cannes, then with the Opéra de Marseille. Koubi has worked with Jean-Charles Gil, Jean-Christophe Pare, Emilio Calcagno and Barbara Sarreau (all of whom greatly influenced the Ballet Preljocaj). In 1999, he joined the Centre Chorégraphique National de Nantes managed by Claude Brumachon and Benjamin Lamarche for the creation of Hôtel Central (2000). He worked with Karine Saporta at the Centre Chorégraphique National de Caen for the piece entitled Le Garage – Sitting on the Mystical Rock (2001).

He worked with Thierry Smits of Compagnie Thor in Brussels on Relief d’un banquet (2003) and on the international tour of D’Orient (2008-2009).

Koubi is sought after regularly by various professional dance schools in France as well as abroad. In 2012, he was invited

by Paola Cantalupo – director of the advanced school of dance in Cannes – to choreograph for the group’s contemporary male dancers for their professional dance diplomas.

In 2000, Koubi created his first personal project, Le Golem. Since 2001, he has collaborated with Guillaume Gabriel for the rest of his works to date. He created his work Menagerie in 2002 and Abattoirs, fantaisie... in 2004. In 2006, he worked with the musical artist Laetitia Sherrif for the creation of 4’30”. In 2007, he reworked the Croisette de Cannes’ 1997 piece The Flowering Hours for the Festival Cadence in Arcachon and created the unique contemporary work Moon Dogs, an exploration of the movements of hip-hop. In 2008, he created three choreographed works interpreted from three written works: Coppelia, a fiancée with enamel eyes, The Supremes and Brief visit with the living. He collaborated with the writer Chantal Thomas for the creation of The Supremes and with Roman Panassié for the creation of Brief visit with the living. In 2009, he started a collaboration with dancers from the Ivory Coast from the Beliga Kopé Company for the creation of Un rendez-vous en Afrique. From 2010 until the present, he accompanied a group of 12 dancers composed of 11 Algerians and one dancer from Burkina Faso for two different productions: El Din (2010 and 2011) and What the Day Owes to the Night (2013).

Coproductions: Ballet of the National Opera of Rhin – National Choreographic Center / National Choreographic Center of Creteil et du Val de Marne – Company Kafig / Palace of the Congress de Loudéac / Cultural Center of Vitré / Ballet Preljocaj – National Choreographic Center of Aix en Provence / Ballet Biarritz – Thierry Malandain – National Choreographic Center

The presentation of Cie Herve Koubi was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts

Compagnie Hervé Koubi is supported by the Region of Limousin, the Department of Correze, and the city of Brive, the Ministry of Culture, the Region PACA and the City of Cannes, the department Alpes Maritimes and The French Institute for some of its international tours.

Ce que le jour doit a la nuit has been dated Marseille Provence 2013 – European capital of culture.

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

Koubi’s collaborations on video-dance projects include Max Vadukul and Yoji Yamamato for Chic Chef (2009), Pierre Magnol for Body Concrete (2010) and Ovoid Edges (2012), Pierre Magnol and Michel Guimbard for Body Concrete 2 (2011) and Stephane Chazelon for A History of Traces (2012 – 2015).

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An Evening with

Isabel Allende

photo: Lori Barra

Wed, Apr 19 / 7:30 PM (note special time) / Granada Theatre

Event Sponsors: Diana & Simon Raab With support from our Community Partner the Orfalea Family

Chilean author Isabel Allende won worldwide acclaim when her bestselling first novel, The House of the Spirits, was published in 1982. In addition to launching Allende’s career, the book also established her as a feminist force in Latin America’s male-dominated literary world.

She has since written 20 more works, including Of Love and Shadows, Eva Luna, Stories of Eva Luna, The Infinite Plan, Daughter of Fortune, Portrait in Sepia, a trilogy for young readers (City of Beasts, Kingdom of the Golden Dragon and Forest of the Pygmies), Zorro, Ines of My Soul, Island Beneath the Sea, Maya’s Notebook, Ripper and her latest book, The Japanese Lover. Books of nonfiction include Aphrodite, and three memoirs: My Invented Country, Paula (a bestseller that documents Allende’s daughter’s illness and death) and The Sum of Our Days.

Allende’s books, all written in her native Spanish, have been translated into 35 languages and have sold nearly 70 million copies. Her works weave intriguing stories with significant historical events. Settings include Chile throughout the 15th, 19th and 20th centuries, the California gold rush, the guerrilla movement of 1960s Venezuela, the Vietnam War and the 18th century slave revolt in Haiti.

Allende describes her fiction as “realistic literature,” rooted in her remarkable upbringing and the mystical people and events that fueled her imagination. Her writings are equally informed by her feminist convictions, her commitment to social justice and the harsh political realities that shaped her destiny. A prominent Chilean journalist in the late 1960s and early 1970s, Allende’s life was forever altered when

General Augusto Pinochet led a military coup in 1973 that toppled Chile’s socialist reform government. Allende’s cousin Salvador Allende, who had been elected Chile’s president in 1970, died in the coup. The Pinochet regime was marked early on by repression and brutality, and Allende became involved with groups offering aid to victims of the regime.

Ultimately finding it unsafe to remain in Chile, she fled the country in 1975 with her husband and two children. The family lived in exile in Venezuela for the next 13 years.

In 1981 Allende learned that her beloved grandfather, who still lived in Chile, was dying. She began a letter to him, recounting her childhood memories of life in her grandparents’ home. Although her grandfather died before having a chance to read the letter, its contents became the basis for The House of the Spirits.

In addition to her work as a writer, Allende also devotes much of her time to human rights. Following the death of her daughter Paula in 1992, she established in her honor a charitable foundation dedicated to the protection and empowerment of women and girls worldwide.

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

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

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

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Thomas L. Friedman

A Field Guide to the 21st Century: How to Live in an Age of Acceleration Thu, Apr 20 / 8 PM / Arlington Theatre

Event Sponsors: Susan & Craig McCaw Bestselling author of The World is Flat and New York Times foreign affairs columnist Tom Friedman is renowned for his direct reporting and sophisticated analysis of complex issues facing the world. According to Foreign Policy magazine, “Friedman doesn’t just report on events; he helps shape them.”

Friedman’s Hot, Flat and Crowded: Why We Need a Green Revolution – and How It Can Renew America, was a No. 1 New York Times bestseller. Friedman’s other bestsellers include Longitudes and Attitudes: The World in the Age of Terrorism and The Lexus and the Olive Tree, which Kirkus Reviews called “simply the best book written on globalization.”

Winner of three Pulitzer Prizes, he has covered the monumental stories from around the globe for The New York Times since 1981. Vanity Fair called him “the country’s best newspaper columnist.”

Ranked No. 2 on The Wall Street Journal’s list of Influential Business Thinkers, named to the 2011 Thinkers50 and the 2013 list of Foreign Policy’s Top Global Thinkers and considered one of America’s Best Leaders by U.S. News & World Report, Friedman is a frequent guest on programs such as Meet The Press, Morning Joe and Charlie Rose. His TV documentaries Searching for the Roots of 9/11, The Other Side of Outsourcing and Addicted to Oil have aired on the Discovery Channel. Friedman is featured in Showtime’s climate change documentary series Years of Living Dangerously, executive produced by James Cameron and Arnold Schwarzenegger.

In his new bestseller, Thank You For Being Late: An Optimist’s Guide to Thriving in the Age of Accelerations, Friedman offers a blueprint for overcoming the stresses and challenges of a world being transformed by technology, globalization, and climate change.

His previous New York Times bestseller, co-written with Michael Mandelbaum, was That Used to Be Us: How America Fell Behind in the World It Invented and How We Can Come Back. According to The Christian Science Monitor, “Anyone who cares about America’s future ought to read this book and hear the authors’ compelling case.”

Friedman’s The World is Flat has sold 4.5 million copies and won the inaugural Financial Times and Goldman Sachs Business Book of the Year Award. In 2012 Friedman updated his National Book Award-winner, From Beirut to Jerusalem, adding a fresh discussion of the Arab Awakenings and Arab/ Israeli relations in a new preface and afterword.

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In awarding Friedman his third Pulitzer Prize, the Pulitzer Board cited his “clarity of vision, based on extensive reporting, in commenting on the worldwide impact of the terrorist threat.”

Pre-signed books are available for purchase in the lobby

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

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Paul Hawken

Drawdown: The Most Comprehensive Plan Ever Proposed to Reverse Global Warming

photo: Terrance McCarthy

Sat, Apr 22 / 8 PM / Campbell Hall

In cooperation with the Community Environmental Council / Earth Day Festival and the Bren School of Environmental Science & Management With support from our Community Partner the Orfalea Family

The Lynda and Bruce Thematic Learning Initiative: Creating a Better World

Paul Hawken is one of the environmental movement’s leading voices. He has authored bestselling books on environmental movements and the impacts of commerce on living systems, founded successful, ecologically-conscious businesses and consulted with heads of state and CEOs on economic development, industrial ecology and environmental policy. Hawken is one of the pioneering proponents of corporate reform with respect to ecological practices, one of the themes on which he often focuses in his writing.

Hawken is the founder and Executive Director for Project Drawdown, a non-profit that describes when and how climate change can be reversed. The organization maps and models the scaling of one hundred substantive technological, social and ecological solutions to climate change. These solutions already exist and are all “no regrets” initiatives; they improve people’s lives, create jobs, restore the environment, enhance security, generate resilience and advance human health. The outcome of this research will be published and widely available through a book, an open-source database and an interactive digital platform.

Hawken is the editor of Drawdown: The Most Comprehensive Plan Ever Proposed to Reverse Global Warming, in collaboration with Project Drawdown, its research team and many others. Drawdown maps, measures, models and describes the 100 most substantive solutions to global warming. For each solution, the book describes its history, the carbon impact it provides, the relative cost and savings, the path to adoption and how it works. The

goal of the research that informs Drawdown is to determine if we can reverse the buildup of atmospheric carbon within 30 years. All solutions modeled are already in place, well understood, analyzed based on peer-reviewed science and are expanding around the world. In conducting its research, the organization found a plan, a blueprint that already exists in the world in the form of humanity’s collective wisdom, made manifest in applied, hands-on practices and technologies. Drawdown is the story of individuals, communities, farmers, cities, companies and governments doing something extraordinary for this planet, its people and its places.

Hawken has appeared in numerous media including the Today Show, Larry King, Talk of the Nation and Charlie Rose. He has been profiled or featured in hundreds of articles for publications such as The Wall Street Journal, Newsweek, The Washington Post, Business Week, Esquire and U.S. News & World Report. His writings have appeared in the Harvard Business Review, Resurgence, New Statesman, Inc, The Boston Globe, Christian Science Monitor, Mother Jones, Utne Reader, Orion and many other publications.

Hawken authors articles, op-eds and peer-reviewed papers and has written seven books including four national bestsellers: The Next Economy (Ballantine, 1983), Growing a Business (Simon and Schuster, 1987) The Ecology of Commerce (HarperCollins, 1993) and Blessed Unrest (Viking, 2007). The Ecology of Commerce was voted as the No. 1 college text on business and the environment

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

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by professors in 67 business schools. Natural Capitalism: Creating the Next Industrial Revolution (Little Brown, 1999) co-authored with Amory Lovins, has been read and referred to by several heads of state including President Bill Clinton, who called it one of the five most important books in the world today. His books have been published in over 50 countries and 28 languages. Growing a Business became the basis of a 17-part PBS series, which he hosted and produced. The program, which explored the challenges and pitfalls of starting and operating socially responsive companies, was shown on television in 115 countries and reached more than 100 million people.

Hawken has founded several companies, starting in the 1960s with Erewhon Trading Company, one of the first natural food companies in the U.S. that relied solely on sustainable agricultural methods. He went on in 1979 to co-found Smith & Hawken, the retail and catalog company, and in 1995, started Datafusion, a knowledge synthesis software company. In 2009, he founded OneSun, an energy company focused on ultra-low-cost solar based on green chemistry and biomimicry.

In 1965, Hawken worked with Martin Luther King Jr.’s staff in Selma, Alabama prior to the historic March on Montgomery. As press coordinator, he registered members of the press, issued credentials, gave dozens of updates and interviews on national radio and acted as marshal for the final march. That same year, he worked in New Orleans as a staff photographer for the Congress of Racial Equality, focusing on voter registration drives in Bogalusa, Louisiana and the panhandle of Florida, and photographing the Klan in Meridian, Mississippi, after three civil rights workers were tortured and killed. In Meridian, he was assaulted and seized by Ku Klux Klan members, but escaped due to FBI surveillance and intervention. Hawken has spoken, conducted research and traveled extensively throughout the world, undertaking journeys into insurgent-held territories of Burma to research tropical teak deforestation, as well as a 1999 humanitarian/photojournalistic trek to war-torn Kosovo and Macedonia.

Entrepreneur of the Year in 1990; Utne One Hundred Visionaries who could Change our Lives in 1995; Western Publications Association Maggie Award for Natural Capitalism as the best Signed Editorial/Essay in 1997; Creative Visionary Award by the International Society of Industrial Design; Design in Business Award for environmental responsibility by the American Center for Design; Council on Economic Priorities’ 1990 Corporate Conscience Award; Metropolitan Magazine Editorial Award for the 100 best people, products and ideas that shape our lives; the Cine Golden Eagle award in video for the PBS program “Marketing” from Growing a Business; California Institute of Integral Studies Award “For Ongoing Humanitarian Contributions to the Bay Area Communities”; and the Esquire magazine award for the best 100 People of a Generation (1984). In 2014, he was named one of the three Pioneers of Sustainability along with Professors Peter Senge and Michael Porter.

He has received six honorary doctorates.

Paul Hawken is the recipient of the 2017 Environmental Hero Award, which he will receive on April 22 at a 2 PM ceremony at Alameda Park as part of the Santa Barbara Earth Day celebrations.

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

Hawken has served on the board of many environmental organizations including Point Foundation (publisher of the Whole Earth Catalog), Center for Plant Conservation, Conservation International, Trust for Public Land, Friends of the Earth and National Audubon Society.

He has received numerous awards and recognitions, including: Green Cross Millennium Award for Individual Environmental Leadership presented by Mikhail Gorbachev in 2003; World Council for Corporate Governance in 2002; Small Business Administration

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Che Malambo

photo: Diane Smithers

Sun, Apr 23 / 7 PM (note special time) / Campbell Hall

Artists: Federico Arrua, Fernando Castro, Francisco Ciares, Claudio Diaz, Miguel Flores, Federico Gareis, Albanano Jimenez, Walter Kochanowski, Gonzalo Leiva, Facundo Lencina, Gabriel Lopez, Daniel Medina, Jose Palacio, Matias Rivas

One intermission

Concept, Choreography, Staging and Musical Composition by Gilles Brinas Choreography developed in collaboration with the artists Lighting Concept and Design by Gilles Brinas and Joshua Paul Weckesser Production Management by Bread and Roses Productions LLC Rhythm and Music Composition inspired by traditional Argentine folk music and performed by the artists

About the Company The Argentine based company Che Malambo excites audiences through precise footwork and rhythmic stomping, drumming of the bombos, and singing and whirling boleadoras (lassos with stones on the end). Presenting a thrilling, percussive dance and music spectacle, the company’s work celebrates the unique South American cowboy tradition of the gaucho. This powerhouse all-male company of gauchos is directed by French choreographer and former ballet dancer Gilles Brinas.

by the talented artists he found in Buenos Aires and was moved to create the company Che Malambo from the best malambo dancers in Argentina.

After premiering in Paris in 2007 and sporadically touring around the world, Che Malambo embarked on a brief but highly successful U.S. tour in 2013. In 2015, the company was invited to perform on the opening night of New York City Center’s annually sold-out series, Fall for Dance. In 2016, the company performed in more than 32 cities worldwide, and now they’re back for a full U.S. tour to introduce audiences of all ages, from all over America, to their version of the thrilling Argentine malambo.

Che Malambo brings fiery malambo traditions and virtuosic dancing to the contemporary stage for an exhilarating and entertaining show that is perfect for the entire family.

Danced solely by men, the malambo began in the 17th century as competitive duels that would challenge skills of agility, strength and dexterity. Zapateo, their fast-paced footwork, is inspired by the rhythm of galloping horses in their native Argentina.

Like many who fall under the spell of traditional dances, Gilles Brinas is fascinated and troubled by the malambo.

He flew to Buenos Aires in search of this dance so typical of the Pampa region of Argentina. Brinas was drawn to the particular rhythms, the haunting characters and the lonely expressions of the gaucho who spends his life on horseback. The malambo is filled with deeply personal solos reflecting this rich tradition. Brinas was inspired

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

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Gilles Brinas A renowned dancer and choreographer, Gilles Brinas has performed with many prestigious companies in Europe including: Ballet de l’Opéra de Lyon (under the direction of Vittorio Biagi and Miklo Sparemblek), the Ballet of the 20th Century by Maurice Béjart at La Scala in Milan (choreographer Amedeo Amodio), the Grand Ballet de France and in the company of Robert Hossein (choreographer George Skibine). He has also worked with Peter Goss, Anne Beranger and Jean Golovin.

“The twentysomethings in Old Crow Medicine Show marry old-time string music and punk swagger.”

Rolling Stone

In 1979, Brinas founded the DEA Ballet and won the prize for humor in the 11th Bagnolet Competition.

In 1990, he was honored by the Charles Oulmont Foundation. In 2002, Brinas choreographed Bar Unión, a tango show with Sylvie Peron for Beinnale de la Danse.

His teachers and mentors include Lucia Petrova, Raymond Franchetti, Andrej Glegolski, Solange Golovin, Serge Golovin, Karol Toth, Vittorio Biagi, Milko Sparemblek and Peter Goss. Brinas has also practiced aikido with Hirokatsu Kobayashi and André Cognard and has studied Noh with the living national treasure, Hideo Kanze.

Exclusive Global Representation: IMG Artists 7 West 54th Street New York, NY 10019 (212) 994-3500 www.imgartists.com Tour Marketing and Publicity: C Major Marketing, Inc. Special thanks to

Thu, May 4 / 8 PM / Granada Theatre Tickets start at $35 / $19 UCSB students A Granada facility fee will be added to each ticket price

(805) 893-3535 / www.ArtsAndLectures.UCSB.edu Granada event tickets can also be purchased at: (805) 899-2222 www.GranadaSB.org

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UCSB Reads Author Event

Luis Alberto Urrea Into the Beautiful North

photo: Joe Mazza

Mon, Apr 24 / 8 PM / Campbell Hall / FREE

Presented as part of UCSB Reads, sponsored by the UCSB Library and the Office of the Executive Vice Chancellor with additional support from UCSB Arts & Lectures and a variety of campus and community partners

Luis Alberto Urrea is a prolific and award-winning writer, a master storyteller who uses his dual-culture life experiences to explore greater themes of love, loss and triumph.

Born in Tijuana to a Mexican father and an American mother, Urrea grew up in San Diego. Like so many great writers, Urrea got his start in literature writing poems to impress girls in junior high. His early heroes were all rock stars, but not being especially musically gifted Urrea chose to follow in the steps of his literary role models. “What I really wanted to be was Jim Morrison,” he has said “however, if I weren’t a writer, I’d be dead.”

As a young man, Urrea served as a missionary in the Tijuana dumps prior to receiving a teaching fellowship to Harvard University. The author of 16 books, he has published extensively in many genres and has received many prestigious awards. The Devil’s Highway, his non-fiction account of a group of Mexican immigrants lost in the Arizona desert, won the Lannan Literary Award and was a finalist for the Pulitzer Prize.

His highly acclaimed historical novels, The Hummingbird’s Daughter and Queen of America, together tell the epic story of Teresita Urrea, a great aunt who was a healer and Mexican folk hero. Collectively The Devil’s Highway, The Hummingbird’s Daughter and his novel Into the Beautiful North have been chosen by nearly 100 different cities and colleges across the country for community-wide reading programs.

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

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

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Release the Hounds An Evening with

Julian Lage & Chris Eldridge | Aoife O’Donovan photo: Chattman Photography

Tue, Apr 25 / 8 PM / Campbell Hall

Julian Lage & Chris Eldridge

Aoife O’Donovan

Julian Lage has, since childhood, been highly regarded in jazz and new music circles for his own work as well as for his collaborations with such artists as Gary Burton, Nels Cline, Fred Hersch and Jim Hall, among many others.

Chris Eldridge is equally noted in the progressive bluegrass world for his stints with The Seldom Scene and The Infamous Stringdusters, which led to his joining Chris Thile’s adventurous, Grammy Award-nominated quintet, Punch Brothers.

Aoife O’Donovan’s sophomore album, In the Magic Hour – produced by Tucker Martine (The Decemberists, Neko Case) – is a 10-song album full of the singer’s honeyed vocals, mixed with gauzy, frictionless sounds: splashing cymbals, airy harmonies and the leisurely baritone musings of an electric guitar. The New York Times writes: “Sweetness and sadness find a tenuous balance in the voice of Aoife O’Donovan – and in the songs on her second album... [it] evokes the reverberant chamber pop observations of Grizzly Bear... the lush austerity of Alison Krauss.”

Lage & Eldridge’s duo collaboration didn’t take off in earnest until they self-released a four-song EP, Close to Picture, in 2013. They were venturing into uncharted territory, beyond genre, reaching for a language of their own through the on-the-spot interplay of their guitars. Says Eldridge: “The whole point was to explore sounds and textures that are uniquely possible on a flat-top steel-string guitar. There hasn’t been a lot of exploration of what they’re uniquely capable of, their particular rich tonal palate, what they have to offer to the world that other instruments don’t.”

Avalon, the first full-length album from guitarists Julian Lage & Chris “Critter” Eldridge is a vivid snapshot of this duo’s repertoire, circa 2014; a portrait of a burgeoning friendship between two virtuosic players; and, at its heart, a pristinely recorded love letter to the sound of the acoustic guitar.

Previously, she’s wielded her instrument with tensile strength as the captivating lead singer through a myriad of collaborations: on the Grammy Award-winning album Goat Rodeo Sessions album by Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile, for a decade in the progressive string band Crooked Still and most recently as one third of I’m With Her, a trio with singers Sara Watkins and Sarah Jarosz. O’Donovan has also made regular appearances as a featured vocalist on A Prairie Home Companion and collaborated with some of the most eminent names in music, across a wide variety of genres from Alison Krauss to Dave Douglas. www.aoifeodonovan.com Special thanks to

www.lageeldridge.com

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Roomful of Teeth

photo: Bonica Ayala

Wed, Apr 26 / 7 PM (note special time) / Hahn Hall

Up Close & Musical series sponsored in part by Dr. Bob Weinman The Lynda and Bruce Thematic Learning Initiative: Creative Culture

Estelí Gomez, soprano Martha Cluver, soprano Caroline Shaw, alto Virginia Warnken, alto Steven Bradshaw, tenor Thann Scoggin, baritone Dashon Burton, bass-baritone Cameron Beauchamp, bass Program Caroline Shaw: Partita for 8 Voices I. Allemande II. Sarabande III. Courante IV. Passacaglia

William Brittelle: High Done No Why To

- Intermission -

Eric Dudley: Suonare / To Sound

Caleb Burhans: Beneath Toby Twining: Dumas’ Riposte Rinde Eckert: Cesca’s View Brad Wells: Otherwise

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

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About the Program Caroline Shaw: Partita for 8 Voices (2009-2011) The score’s inscription reads: “Partita is a simple piece.

Born of a love of surface and structure, of the human voice, of dancing and tired ligaments, of music, and of our basic desire to draw a line from one point to another.”

Each movement takes a cue from the traditional baroque suite in initial meter and tone, but the familiar historic framework is soon stretched and broken, through “speech, whispers, sighs, murmurs, wordless melodies, and novel vocal effects” (Pulitzer jury citation). Roomful of Teeth’s utterly unique approach to singing and vocal timbre originally helped to inspire and shape the work during its creation, and the ensemble continues to refine and reconsider the colors and small details with every performance. Allemande opens with the organized chaos of square dance calls overlapping with technical wall drawing directions of the artist Sol LeWitt, suddenly congealing into a bright, angular tune that never keeps its feet on the ground for very long. There are allusions to the movement’s intended simulation of motion and space in the short phrases of text throughout, which are sometimes sung and sometimes embedded as spoken texture. Sarabande’s quiet restraint in the beginning is punctured in the middle by an ecstatic, belted melody that resolves quietly at the end, followed soon after by the Inuit-inspired hocketed breaths of Courante. A wordless quotation of the American folk hymn “Shining Shore” appears at first as a musical non sequitur but later recombines with the rhythmic breaths as this longest movement is propelled to its final gasp. Passacaglia is a set of variations on a repeated chord progression, first experimenting simply with vowel timbre, then expanding into a fuller texture with the return of the Sol LeWitt text. At Passacaglia’s premiere in 2009, there was spontaneous applause and cheering at the explosive return of the D-major chord near the end – so feel free to holler or clap any time if you feel like it.

Of the premiere of Partita, New York magazine wrote that I had “discovered a lode of the rarest commodity in contemporary music: joy.” And it is with joy that this piece is meant to be received in years to come.

William Brittelle: High Done No Why To (2010) High Done No Why To was written while in residency with Roomful of Teeth and represents my initial attempt to synthesize their many amazing extended vocal techniques into a single coherent piece. I decided to use words as “sound” instead of “lyrics” in order to stay focused on texture and harmony (rather than getting caught up in an external narrative). The ending of the piece was written from midnight to 6 a.m. on the eve of our final rehearsal of the residency and is meant to bring a sense of catharsis to the end of a somewhat restless and angular piece.

– William Brittelle

Caleb Burhans: Beneath (2010) In my piece Beneath, I was looking to explore the full vocal range of Roomful of Teeth, which spans over four octaves. The title is drawn from an episode of the television show Buffy the Vampire Slayer entitled “From Beneath You, It Devours.”

– Caleb Burhans

Toby Twining: Dumas’ Riposte (2016) Aka Pygmy-influenced melody and jazz harmony intersect with three musico-poetic layers: the inner narrative of an immigrant or slave aboard a vessel at sea, the refrain “ultramarine and sienna,” and Dumas’ famous response to a racial slur.

– Toby Twining

Rinde Eckert: Cesca’s View (2009) I spent three weeks at a retreat in the Pyrenées. My apartment had this extraordinary view. Every night this lovely woman named Cesca fixed all of the residents dinner in her home. She and her husband Luis served us. We stayed late to talk about life and art over bottles of their excellent wine. Every morning I was awakened to the sound of bells – goats were being herded down the mountain.

– Rinde Eckert

– Caroline Shaw

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Eric Dudley: Suonare / To Sound (2010) Suoni suonano vicino e lontano Suono assorda e suono soffia Suoni suonano in sonno e in sogni Suono suona sempre Sounds sound near and sound far Sound deafens and sound whispers Sounds sound in sleep and in dreams Sound sounds always From a larger set of pieces called Wordplay, Suonare / To Sound is a meditation on qualities of timbre and language.

I was fascinated with the idea of writing complementary poems – each a direct translation of the other – that have interesting sonic properties of their own which are amplified when superimposed. In this case in English and Italian, a reflection on the nature of sound and its various guises in our everyday lives yields rich internal assonance and vowel harmony in both languages. My image for the musical setting was that of a cavernous, echoing space, with each of the voice parts moving as if in delayed reaction to the others. Slowly shifting harmonies in the lower voices trace a path through the English text, while the two soprano voices skim across the surface in Italian pirouettes, one an echo of the other. Roomful of Teeth gave the piece its premiere during our summer residency at the Massachusetts Museum of Contemporary Art in 2010.

About Roomful of Teeth Roomful of Teeth is a Grammy Award-winning vocal project dedicated to reimagining the expressive potential of the human voice. Through study with masters from vocal traditions the world over, the eight-voice ensemble continually expands its vocabulary of singing techniques and, through an ongoing commissioning process, forges a new repertoire without borders.

Founded in 2009 by Brad Wells, Roomful of Teeth gathers annually at the Massachusetts Museum of Contemporary Art (MASS MoCA) in North Adams, Mass., where they’ve studied with some of the world’s top performers and teachers in Tuvan throat singing, yodeling, Broadway belting, Inuit throat singing, Korean P’ansori, Georgian singing, Sardinian canto a tenore, Hindustani music, Persian classical singing and Death Metal singing. Commissioned composers include Rinde Eckert, Fred Hersch, Merrill Garbus (of tUnE-yArDs), William Brittelle, Toby Twining, Missy Mazzoli, Julia Wolfe, Ted Hearne and Ambrose Akinmusire, among many others.

Projects in 2016-2017 include The Colorado, a music-driven documentary film that explores water, land and survival in the Colorado River Basin (featuring former Kronos Quartet cellist Jeffrey Zeigler and Wilco’s Glenn Kotche); collaborations with A Far Cry and Nick Zammuto of The Books; appearances at new music festivals in the U.S., Canada and Sweden; and partnerships with nearly two dozen higher education institutions across the country.

Special thanks to

– Eric Dudley

Brad Wells: Otherwise (2012) Otherwise features Sardinian canto a tenore-inspired singing, belting, and some yodeling all in a melange to highlight a baritone in full bel canto glory. The title comes from one of my favorite Jane Kenyon poems but uses no text, only nonsense syllables as lyrics. It’s a celebratory little vocalise for Roomful of Teeth.

– Brad Wells

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

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Laila Lalami

Muslims in America: A Secret History

photo: April Rocha Photography

Thu, Apr 27 / 7:30 PM (note special time) Campbell Hall / FREE

With support from our Community Partner the Orfalea Family

The Lynda and Bruce Thematic Learning Initiative: Creating a Better World

Laila Lalami was born and raised in Morocco, a place whose past and present permeate her writing. A novelist, short story writer and essayist, Lalami is a unique and confident voice in the conversations about race and immigration that increasingly occupy our national attention. Originally building a strong following through her literary blog “MoorishGirl,” Lalami is a regular contributor to The Nation, Newsweek and the Los Angeles Times, weighing in on issues in the Arab world and North Africa. With what Junot Díaz calls “spare elegant prose” and Paul Yamazaki terms “carefully-wrought characters,” Lalami’s fiction confronts the same questions of race, displacement and national identity that she addresses so eloquently in her essays and criticism.

issues facing its citizens – especially its still-hopeful young – is both sensitive and startling” (Los Angeles Times).

Her first book, Hope and Other Dangerous Pursuits, was inspired by a brief article buried on a French newspaper’s website. It mentioned that 15 Moroccan would-beimmigrants had drowned crossing the Strait of Gibraltar trying to get to Spain. The collection of short stories about a group of immigrants attempting to escape Morocco for a better life in Europe explores the intriguing, sometimes uncomfortable closeness between Lalami’s own experiences and the lives of these fictional immigrants.

Lalami is currently working on a novel about the murder of a Moroccan in California as well as a nonfiction book about the modern immigrant experience in America.

Her next novel, Secret Son, revisits questions of identity and class. The main character is Youssef El Mekki, a shy, bookish young man living in a slum in Casablanca who discovers that his father is a wealthy businessman. When Youssef ’s father welcomes him into a sophisticated, highly corrupt world, Youssef must renegotiate complex issues of family, ideology and society. Lalami’s depiction of contemporary Moroccan life, “illuminating the social, political, religious and poverty

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The Moor’s Account was a finalist for the 2015 Pulitzer Prize for Fiction. It imagines the life of the first black explorer of America: a Moroccan slave. In 1527, a Spanish expedition to Florida met with disaster. Four survivors – three Spanish noblemen and a Moroccan slave – lived with Native American tribes for six years before escaping. The slave – Mustafa al-Zamori, called Estebanico – was never asked to share his story. Finally, Lalami gives him a voice in The Moor’s Account, which Salman Rushdie called “an absorbing story of… a frightening, brutal and much-falsified history.”

Lalami’s writing has been published in Newsweek, the Los Angeles Times, The Washington Post, The Guardian, The New York Times and The Nation, where she pens a monthly column. Lalami has received a Fulbright Fellowship, a British Council Fellowship, a Lannan Foundation Residency Fellowship and a Guggenheim Fellowship. She teaches creative writing at the University of California at Riverside.

For more information: www.lailalalami.com.

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

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We educate. We entertain. We inspire.

photo: David Bazemore

UCSB students in a choreography workshop with Janet Wong, Associate Artistic Director for Bill T. Jones / Arnie Zane Company

Together, we make a difference.

Arts & Lectures’ extensive education outreach programs serve more than 30,000 students and community members each year.

We’re making a difference on-stage and off.

A&L members know that their contributions help fund our outreach programs, causing a ripple effect of inspiration throughout the community.

With your help, A&L visiting artists and speakers will continue to impact young minds in the classroom while they are challenging and inspiring audiences from the stage.

Our gratitude to the following education sponsors: WILLIAM H. KEARNS FOUNDATION

Our Community Partner the Orfalea Family

Connie Frank & Evan Thompson

Please consider a contribution to A&L this year.

Join us in making a difference all year long.

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Dinner with author Gloria Steinem

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Arts & Lectures Leadership Circle member and former Council Co-chair Sara Miller McCune recently expanded her generous support with an estate gift.

Sara Miller McCune with Gloria Steinem

We are deeply honored when friends and members choose to remember us with bequests and planned gifts, providing cultural enrichment for future generations.

A&L's Sandy Robertson spoke to Sara about this special gift.

What motivated you to leave part of your estate to UCSB Arts & Lectures?

I believe A&L is an incredible program which brings “town and gown� together in a way that delivers 200 events in every year that would rarely be found in any city of our size, featuring the highest quality of performing arts events with speakers ranging from Nobel Laureates to great minds on an incredible span of topics. And each event or speaker ALSO does some sort of educational or community outreach program!

No wonder A&L is consistently ranked as one of the best programs of its kind offered by any University in North America! WOW! What is it about Arts & Lectures that you would like to preserve for generations to come?

Its breadth and quality, plus its commitment to diversity in terms of not only variety of offerings, but also the span of audiences and interests. I cannot imagine the intellectual void that would be created in Santa Barbara if A&L was diminished or cut back.

What can you tell us about the process of making a planned gift? How complicated is it?

Making a legacy gift is both easy and painless. Plus the University has staffers who can assist if help is needed to provide model language to add to an existing will, or one that is being drafted or revised.

When is the best time to make a planned gift?

Now is best, to my way of thinking. Why put off something that can be done without much fuss and will give so much pleasure to so many people for such a long time to come?

What would you say to someone who is considering a planned gift to A&L? "Go for it!"

Invest in Our Future Help keep Santa Barbara culturally vibrant for future generations with a planned gift to Arts & Lectures.

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UC Santa Barbara Arts & Lectures wishes to recognize those who are leading the way to educate, entertain and inspire by participating in

UC Santa Barbara Arts & Lectures is honored to recognize donors 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 based upon cumulative giving during The Campaign

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Anonymous (4) Judy & Bruce Anticouni ◊ Jody & John Arnhold Monica & Timothy Babich Gary & Mary Becker Arlene* & 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 Audrey & Timothy O. Fisher ◊ Ralph H. Fertig* Genevieve & Lewis Geyser Patricia Gregory, for the Baker Foundation Carla & Stephan* Hahn Eva & Yoel Haller ◊ The James Irvine Foundation Luci & Rich Janssen Ellen & Peter O. Johnson Gretchen Lieff Lillian & Jon* Lovelace lynda.com Marilyn & Dick Mazess Susan & Craig McCaw Sara Miller McCune ◊ Susan McMillan & Tom Kenny Kay R. McMillan Orfalea Foundation Natalie Orfalea & Lou Buglioli Diana & Simon Raab Lady Leslie Ridley-Tree SAGE Publishing Patricia & James Selbert Harold & Hester Schoen* Fredric E. Steck Heather & Tom Sturgess ◊ Anne & Michael Towbes James Warren Marsha* & Bill Wayne Lynda Weinman & Bruce Heavin ◊ William H. Kearns Foundation Irene & Ralph Wilson ◊ Yardi Sytems, Inc.

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$1,000,000 Eva & Yoel Haller ◊‡ lynda.com Susan & Craig McCaw ‡ Sara Miller McCune ◊‡ Heather & Tom Sturgess ◊‡ Anne & Michael Towbes ‡ Lynda Weinman & Bruce Heavin ◊‡

$500,000 - $999,999 Anonymous ‡ Audrey & Timothy O. Fisher ◊‡ William H. Kearns Foundation ‡ Orfalea Foundation Lady Leslie Ridley-Tree SAGE Publishing ‡

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$100,000 - $249,999 Anonymous ‡ Arlene* & Barrie Bergman Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Ellen & Peter O. Johnson Susan McMillan & Tom Kenny ‡ Kay R. McMillan ‡ Natalie Orfalea & Lou Buglioli ‡ Diana & Simon Raab ‡ Marsha* & Bill Wayne Yardi Systems, Inc. ◊ Indicates those who have made plans to support UCSB Arts & Lectures through their estate. ‡ Indicates those that have made gifts to UC Santa Barbara Arts & Lectures endowed funds, in addition to their annual program support

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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.

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Rich Janssen, Co-Chair Kath Lavidge, Co-Chair Timothy Babich Barrie Bergman Marcy Carsey 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

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Arts & Lectures Ambassadors Arts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by providing advice to the A&L Miller McCune Executive Director, cultivating new supporters and assisting with fundraising activities.

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Murray Perahia, piano

photo: Felix Broede

Sat, Apr 29 / 7 PM (note special time) / Campbell Hall

Program Bach: French Suite No.6 in E Major, BWV 817 Allemande Courante Sarabande Gavotte Polonaise Menuet Bourrée Gigue

Schubert: Four Impromptus, D. 935 No. 1 in F Minor, Allegro moderato No. 2 in A-flat Major, Allegretto No. 3 in B-flat Major, Theme (Andante) with variations No. 4 in F Minor, Allegro scherzando - IntermissionMozart: Rondo in A Minor, K. 511 Beethoven: Piano Sonata in C Minor, op. 111 Maestoso: Allegro con brio e appassionato Arietta: Adagio molto, semplice e cantabile

About the Program Johann Sebastian Bach (1685-1750): French Suite No. 6 in E Major, BWV 817 In May 1720, Bach – then music director at the Cöthen court – accompanied his prince to Carlsbad, where Leopold was taking the waters, and returned to Cöthen in July to discover that his wife had died while he was gone.

Bach, then 35 years old, waited nearly eighteen months to marry again, and his choice was a good one. In December

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1721 he married the twenty-year-old Anna Magdalena Wilcken, daughter of a court trumpeter and herself an accomplished musician – she would bear Bach thirteen children and survive him by a decade. In the first years of their marriage Bach composed for her a Clavierbüchlein (“little keyboard book”), just as he had written a similar volume several years earlier for his son Wilhelm Friedemann.

Composed for her instruction or perhaps simply for her pleasure, this was a collection of short keyboard pieces that

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were certainly first performed within the Bach household.

In Anna Magdalena’s Clavierbüchlein are early versions of five of the six works that would later be published as Bach’s French Suites.

notion that this music is improvised should be speedily discounted – Schubert’s impromptus are very carefully conceived music, set in a variety of forms that include variation, rondo, and minuet.

Let it be said right from the start: the name French Suite is misleading, and while it has become inseparably a part of this music, Bach never heard that name. For him, these were simply a set of short keyboard suites that he wrote for his young wife. There is nothing consciously – or even unconsciously – French about them, just as there is nothing recognizably English about Bach’s English Suites: in both cases, these nicknames were attached to the music after the composer’s death. The French Suites (inevitably, we have to use that name) are in the standard four-movement suite sequence – allemande, courante, sarabande, and gigue – into which Bach introduces a variety of dance movements, always between the sarabande and gigue. All movements are in binary form. In contrast to the English Suites, which are large-scale works stretching out to nearly half an hour, the French Suites seem tiny. This is small-scaled, intimate music, and these suites – even with their six to eight movements – last only about a dozen minutes each.

Some have hailed Schubert as the inventor of the impromptu and the composer who freed piano music from sonata form – they see these pieces as opening the way for the wealth of short piano pieces by composers such as Chopin, Schumann, Mendelssohn, and others. Too much has been made of this. A number of composers earlier than Schubert, including Mozart and Beethoven, had written short piano pieces not in sonata form, and several composers before Schubert had used the title Impromptu. Still, Schubert’s impromptus have become the most popular music published under this title – when someone says “impromptu,” we automatically think of Schubert.

No. 6 in E Major was the only one of the French Suites not part of Anna Magdalena’s Clavierbüchlein – it apparently dates from shortly after the Bach family’s move to Leipzig in 1723. Its eight movements are all extremely concise.

The Allemande is full of bright energy, while the Courante features rapid exchanges between the performer’s hands and the Sarabande offers rich rolled chords. There are four interpolated movements: a firm Gavotte, a Polonaise (the only polonaise in the six suites), a Bourrée in duple meter (Bach’s metric marking is simply 2), and a Menuet (there is some debate among scholars as to whether the Bourrée or the Menuet should come first). Bach rounds matters off with a spirited Gigue in 6/8, somewhat in the manner of his Two-Part Inventions.

Franz Schubert (1797-1828): Four Impromptus, D.935 Schubert wrote his eight Impromptus for piano during the summer and fall of 1827, probably in response to a request from his publisher for music intended for the growing number of amateur musicians with pianos in their homes: this music is melodic, attractive, and not so difficult as to take it out of the range of good amateur pianists. The term “impromptu” lacks precise musical meaning. It refers to a short instrumental piece, usually for piano, without specified form; the title suggests music that gives the impression of being improvised on the spot. But the

This program offers the four impromptus Schubert wrote in December 1827, less than a year before he died; they were not published until 1839. The Impromptu in F Minor is one of Schubert’s longest, and any amateur pianist who takes this music up had better be a good one. Its structure is unusual. A number of Schubert’s impromptus are in ABA form (he will even label the center section “Trio” sometimes), but the Impromptu in F Minor has been compared to a sonata-form movement: it presents two quite elaborate theme-groups, both extended and full of subordinate ideas, and then Schubert brings back both groups, as if recapitulating them – the effect is of a sonata-form movement without a development section. This is generally wistful music, and despite moments of energy the atmosphere is subdued and dark. Schubert marks the opening Allegro moderato, and that moderate pace continues throughout. The opening theme – energized by dotted rhythms and turns – spins off some very active secondary material, full of chordal writing and passages that send the right hand into the piano’s highest range. The second theme group glides darkly along a steady murmur of sixteenth-notes – though this music is very quiet, Schubert marks it appassionato. It is the right hand that has this steady pattern of murmuring sixteenths and the left has the fragmentary theme, which means that the left hand must frequently cross over to play above the right. Schubert brings back both these groups and then concludes quietly with a brief reminiscence of the very beginning.

No. 2 in A-flat Major is a stately minuet whose main theme Schubert marks sempre legato. Its trio section moves to D-flat major and drives along an unending sequence of triplets before the return to the opening material. No. 3 in B-flat Major is based on the famous theme that Schubert had first used in his incidental music to the play Rosamunde in 1823.

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This graceful melody appealed so much to him that he used it in his String Quartet in A Minor (1824) and again in this impromptu, where it serves as the basis for a set of five extended variations. The theme itself may be simple, but these variations are exceptionally difficult. Schubert brings back the theme for a quiet restatement at the end, and this too involves another variation of the famous melody. Schubert specifies that No. 4 in F Minor should be performed Allegro scherzando, and there is an element of play about this lively music, which dances energetically along its 3/8 meter. This is brilliant music, and Schubert rounds it off with an exciting – and very brief – coda.

Wolfgang Amadeus Mozart (1756-1791): Rondo in A Minor, K.511 The manuscript of Mozart’s haunting Rondo in A Minor is dated March 11, 1787. The previous year had seen the successful premiere of The Marriage of Figaro in Vienna, and in a few months Mozart would begin work on Don Giovanni.

Now, at the height of his powers and of his fame in Vienna, Mozart wrote this dark and expressive rondo for piano. The normal notion of a rondo – as a sparkling fast movement used as a finale – is inaccurate here: the tempo marking is Andante, and this measured movement shows none of the athletic stride of the finales of Mozart’s piano concertos. The emphasis in the Rondo in A Minor is not on display but on expression, and Mozart scholar Alfred Einstein has spoken of the “whole depth of its emotion, the perfection of its style, its chiaroscuro of major and minor.”

The rondo theme itself, a stately and grave melody in 6/8, is already decorated on its initial appearance by the turns that will mark Mozart’s treatment of this theme. Also striking is the chromatic slide of this theme, which gives the music so much of its expressiveness. As this simple melody repeats, it grows more ornate, more encrusted with turns and rhythmic variations, yet it retains its powerful expressiveness – these embellishments are not mere decorations but are part of the powerful evolution of Mozart’s already-moving original idea.

The Rondo proceeds through a series of these increasingly complex repetitions and finally vanishes quietly on fragments of the original theme.

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Ludwig van Beethoven (1770-1827): Piano Sonata in C Minor, op. 111 The years 1813-1821 were exceptionally trying for Beethoven.

Not only was he having financial difficulties, but this was also the period of his bitter legal struggle for custody of his nephew Karl. Under these stresses, and with the added burden of ill health, Beethoven virtually ceased composing in these years.

Where the previous two decades had seen a great outpouring of music, now his creative powers flickered and were nearly extinguished; in 1817, for example, he composed almost nothing. To be sure, there was an occasional major work – the Hammerklavier Sonata occupied him throughout all of 1818 – but it was not until 1820 that he put his troubles, both personal and creative, behind him and was able to marshal new energy as a composer.

When this energy returned, Beethoven took on several massive new projects, beginning work on the Missa Solemnis and making early sketches for the Ninth Symphony.

And by the end of May 1820 he had committed himself to write three piano sonatas for the Berlin publisher Adolph Martin Schlesinger. Although Beethoven claimed that he wrote these three sonatas – his final piano sonatas – “in one breath,” their composition was actually spread out over a longer period than he expected when he agreed to write them. He finished the Sonata in E Major immediately, but ill health postponed the other two. Notes in the manuscript indicate that Beethoven completed Opus 110 in December 1821 and Opus 111 in January 1822, but he was still revising them the next spring prior to their publication.

Beethoven’s final sonata is in only two movements: a powerful opening movement in two parts and a concluding movement in theme-and-variation form. Ernest Hutcheson notes that Beethoven’s performance markings for these three sections offer not just indications of speed but also the clearest possible suggestions about interpretation. The markings translate: “Majestic,” “with energy and passion,” and “very simple and singing.”

The brief opening section – only sixteen bars long – is largely static and serves to gather energy and prepare for the Allegro con brio e appassionato, which leaps suddenly out of a quiet murmur of thirty-second notes. The Allegro’s opening three-note figure sounds as if it must be the beginning of a fugue theme, but while there are fugal elements in its development, Beethoven never treats the theme as a strict fugue. This movement, built upon the continual recurrence of the opening three-note figure, seethes with an energy almost brutal and slashing.

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By complete contrast, the final movement is all serenity.

Beethoven marks it Arietta (“little aria”), and the lyric theme that will serve as the basis for variation is of the utmost simplicity and directness. The theme is followed by five variations, and these variations are not so much decorations of the theme as they are the organic development of it. Each variation seems slightly faster than the one before it (though the underlying tempo of the movement remains unchanged), and the final variation – long, shimmering, and serene – serves as an extended coda to the entire movement. This final variation employs trills that go on for pages. Can it be that Beethoven – who had been deaf for years when he wrote these works – made such heavy use of trills so that he could at least feel the music beneath his hands even if he could not hear it?

When Beethoven’s copyist sent this sonata to the publishers, they wrote back to ask if there was a movement missing – they could not believe that Beethoven would end a sonata like this. But this is exactly the form Beethoven wanted, and his final piano sonata ends not in triumph but in a mood of exalted peace.

Program notes by Eric Bromberger

About Murray Perahia In the more than 40 years he has been performing on the concert stage, American pianist Murray Perahia has become one of the most sought-after and cherished pianists of our time, performing in all of the major international music centers and with every leading orchestra. He is the Principal Guest Conductor of the Academy of St Martin in the Fields, with whom he has toured as conductor and pianist throughout the United States, Europe, Japan and Southeast Asia.

Born in New York, Perahia started playing piano at the age of 4 and later attended Mannes College where he majored in conducting and composition. His summers were spent at the Marlboro Festival, where he collaborated with such musicians as Rudolf Serkin, Pablo Casals and the members of the Budapest String Quartet. During this time, he also studied with Mieczysław Horszowski. In subsequent years, he developed a close friendship with Vladimir Horowitz, whose perspective and personality were an enduring inspiration. In 1972, Perahia won the Leeds International Piano Competition, and in 1973 he gave his first concert at the Aldeburgh Festival, where he worked closely with Benjamin Britten and Peter Pears, accompanying the latter in many lieder recitals. Perahia was co-artistic director of the Festival from 1981 to 1989.

In the past season Perahia toured with the Academy of St Martin in the Fields, play-conducting all five of Beethoven’s piano concertos. He started the 2016-17 season with European recitals followed by a tour of Asia with performances in Hong Kong, Taipei, Shanghai, Beijing, Seoul and Tokyo. His spring 2017 tour of the U.S. includes recitals in Aliso Viejo, Vancouver, San Francisco, Santa Barbara, Denver, Chicago, Washington, D.C., at Princeton University and New York’s Carnegie Hall as well as performances with the Cleveland Orchestra.

Perahia has a wide and varied discography. In October 2016, he released a highly anticipated recording of Bach French Suites, his first album on the Deutsche Grammophon label. Sony Classical has issued a special boxed set edition of all his recordings including several DVDs entitled The First 40 Years. His recording of Brahms’ Handel Variations, which won the Gramophone Award in 2011, was described as “one of the most rewarding Brahms recitals currently available.” Some of his previous solo recordings feature a 5-CD boxed set of his Chopin recordings, Bach’s Partitas Nos. 1, 5, and 6 and Beethoven’s Piano Sonatas, opp. 14, 26, and 28. He is the recipient of two Grammy Awards for his recordings of Chopin’s complete Etudes and Bach’s English Suites Nos. 1, 3, and 6, and several Gramophone Awards including the inaugural Piano Award in 2012.

Recently, Perahia embarked on an ambitious project to edit the complete Beethoven Sonatas for the Henle Urtext Edition. He also produced and edited numerous hours of recordings of recently-discovered master classes by the legendary pianist Alfred Cortot, which resulted in the highly acclaimed Sony CD release Alfred Cortot: The Master Classes.

Perahia is an honorary fellow of the Royal Academy of Music, and he holds honorary doctorates from the Juilliard School, Oxford University, the Royal College of Music, Leeds University and Duke University. In 2004, he was awarded an honorary KBE by Her Majesty The Queen, in recognition of his outstanding service to music.

Mr. Perahia appears by arrangement with IMG Artists Special thanks to

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

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2017 Benefit for Arts & Lectures Education and Outreach Programs

Yo-Yo Ma – Edgar Meyer – Chris Thile

photo: Danny Clinch

Tue, May 2 / 7 PM (note special time) / Granada Theatre

This concert will be performed without intermission

Event Sponsor: Lady Leslie Ridley-Tree

Yo-Yo Ma, cello The many-faceted career of cellist Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences and to his personal desire for artistic growth and renewal. Mr. Ma maintains a balance between his engagements as a soloist with orchestras worldwide and his recital and chamber music activities. His discography includes over 100 albums, including 18 Grammy Award winners.

Mr. Ma serves as the Artistic Director of Silkroad, an organization he founded to promote cross-cultural performance and collaborations at the edge where education, business and the arts come together to transform the world. More than 80 works have been commissioned specifically for the Silk Road Ensemble, which tours annually. Mr. Ma also serves as the Judson and Joyce Green Creative Consultant to the Chicago Symphony Orchestra’s Negaunee Music Institute. His work focuses on the transformative power music can have in individuals’ lives and on increasing the number and variety of opportunities audiences have to experience music in their communities.

Mr. Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at the age of 4, attended the Juilliard School and, in 1976, graduated from Harvard University. He has received numerous awards, among them the Avery Fisher Prize (1978), the National Medal of Arts (2001) and the Presidential Medal of Freedom (2010). In 2011, Mr. Ma was recognized as a Kennedy Center Honoree. Mr. Ma has joined the Aspen Institute Board of Trustees. He has

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performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony.

For additional information, see: www.yo-yoma.com, www.silkroadproject.org, and www.opus3artists.com.

Edgar Meyer, bass In demand as both a performer and a composer, Edgar Meyer has formed a role in the music world unlike any other. Hailed by The New Yorker as “the most remarkable virtuoso in the relatively un-chronicled history of his instrument,” Mr. Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore. His uniqueness in the field was recognized with a MacArthur Fellowship in 2002.

As a solo classical bassist, Mr. Meyer can be heard on a concerto album with the St. Paul Chamber Orchestra conducted by Hugh Wolff, featuring Bottesini and Mr. Meyer concertos both alone and with Yo-Yo Ma and Joshua Bell. He has also recorded an album featuring three of Bach’s Unaccompanied Suites for Cello. Mr. Meyer was honored with his fifth Grammy Award in 2015 for Best Contemporary Instrumental album for his Bass & Mandolin collaboration with Chris Thile.

As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world. His music has been

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premiered and recorded by Emanuel Ax, Joshua Bell, Yo-Yo Ma, the Boston Symphony Orchestra, Béla Fleck, Zakir Hussain, Hilary Hahn and the Emerson String Quartet, among others.

Collaborations are a central part of Mr. Meyer’s work. He has been, and remains, a member of numerous groups, whose members include Chris Thile, Béla Fleck, Zakir Hussain, Sam Bush, Jerry Douglas, Mark O’Connor, Yo-Yo Ma, Emanuel Ax, Joshua Bell, Mike Marshall and Amy Dorfman, among others. His debut album in 1985 featured the first public appearance of Strength in Numbers, whose members were Bush, Douglas, Fleck, O’Connor and Mr. Meyer.

Mr. Meyer began studying bass at the age of 5 under the instruction of his father and continued further to study with Stuart Sankey. In 1994, he received the Avery Fisher Career Grant and in 2000 became the only bassist to receive the Avery Fisher Prize. Currently, he teaches bass in partnership with Hal Robinson at the Curtis Institute of Music in Philadelphia.

Award for Best Contemporary Instrumental Album. Punch Brothers released their latest album, The Phosphorescent Blues, in January 2015 and a follow up EP, The Wireless, in November of the same year. Most recently, Mr. Thile released a double album with Brad Mehldau titled Chris Thile & Brad Mehldau (January 2017).

Beginning in fall of 2016, Mr. Thile took the helm of A Prairie Home Companion, a public radio favorite since 1974.

Garrison Keillor, the show’s creator and host announced: “He is, I think, the great bluegrass performer of our time and he is a beautiful jazz player. There just isn’t anything he can’t do – and he is very enthusiastic about live radio.”

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

For more on Edgar Meyer and to view his updated calendar of events, visit www.edgarmeyer.com

Chris Thile, mandolin Multiple Grammy Award-winner and MacArthur Fellow Chris Thile, a member of Punch Brothers and Nickel Creek, and now the host of A Prairie Home Companion, is a mandolin virtuoso, composer and vocalist. With his broad outlook that encompasses classical, rock, jazz and bluegrass, Mr. Thile transcends the borders of conventionally circumscribed genres, creating a distinctly American canon and a new musical aesthetic for performers and audiences alike.

A child prodigy, Mr. Thile first rose to fame as a member of Grammy Award-winning trio Nickel Creek, with whom he released three albums and sold more than two million records. In 2014, along with a national tour, the trio released a new album, A Dotted Line, their first since 2005.

As a soloist, Mr. Thile has released five albums including his most recent, Bach: Sonatas and Partitas, Vol.1, which was produced by renowned bassist Edgar Meyer.

In February 2013, Mr. Thile won a Grammy Award for his work on The Goat Rodeo Sessions, collaborating with Yo-Yo Ma, Edgar Meyer and Stuart Duncan. In September 2014, Mr. Thile and Meyer released their latest album collaboration, Bass & Mandolin, which won the Grammy

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

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An Evening with

David Sedaris

photo: Ingrid Christie

Wed, May 3 / 8 PM / Arlington Theatre

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s preeminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today.

David Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames and Let’s Explore Diabetes with Owls, each of which became an immediate bestseller. The audio version of Let’s Explore Diabetes with Owls was a Grammy nominee for Best Spoken Word Album. He is the author of the New York Times bestselling collection of fables entitled Squirrel Seeks Chipmunk: A Modest Bestiary (with illustrations by Ian Falconer). He was also the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’ pieces appear regularly in The New Yorker and have twice been included in The Best American Essays. There are a total of 10 million copies of his books in print and they have been translated into 25 languages.

He and his sister Amy Sedaris have collaborated under the name The Talent Family and have written a half dozen plays which have been produced at La Mama, Lincoln Center and The Drama Department in New York City.

These plays include Stump the Host, Stitches, One Woman Shoe, which received an Obie Award, Incident at Cobbler’s Knob and The Book of Liz, which was published in book form by Dramatists Play Service. Sedaris’ original radio

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pieces can often be heard on the public radio show This American Life. Sedaris has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His most recent audio recording of new stories (recorded live) is David Sedaris: Live for Your Listening Pleasure (2009). A feature film adaptation of his story C.O.G. was released after a premiere at the Sundance Film Festival (2013). Since 2011, he can be heard annually on a series of live recordings on BBC Radio 4 entitled Meet David Sedaris.

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

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

David Sedaris’ next book is a collection of his diaries, entitled Theft by Finding: Diaries (19772002), to be published in June.

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Old Crow Medicine Show Performing Blonde on Blonde

photo: Laura E. Partain

Thu, May 4 / 8 PM / Granada Theatre

Ketch Secor, vocals, fiddle, guitar, mandolin, banjo, harmonica Critter Fuqua, vocals, guitar, accordion, Dobro, banjo, drums Morgan Jahnig, bass Kevin Hayes, guitjo, vocals, kazoo Chance McCoy, guitar, vocals, fiddle, Dobro, banjo Cory Younts, keyboards, vocals, mandolin, drums, snare, whistle Joe Andrews, pedal steel, vocals, banjo, mandolin, Dobro, bass drum One intermission

Old Crow Medicine Show started busking on street corners in 1998 in New York state and up through Canada, winning audiences along the way with their boundless energy and spirit. They eventually found themselves in Boone, N.C., where they caught the attention of folk icon Doc Watson while playing in front of a pharmacy. He invited the band to play at his festival, MerleFest, helping to launch their career.

Shortly thereafter, the band was hired to entertain crowds between shows at the Grand Ole Opry in Nashville, Tenn.

It’s been more than 19 years since these humble beginnings.

The band has gone on to be inducted as members of the Grand Ole Opry and has won two Grammy Awards: Best Folk Album for Remedy (2014) and Best Long Form Music Video for Big Easy Express (2013). Additionally, their classic single “Wagon Wheel” received the Recording Industry Association of America’s Platinum certification in 2013 for selling more than one million copies.

Old Crow Medicine Show has toured the world playing renowned festivals and venues such as Bonnaroo, Red Rocks Amphitheatre, Cambridge Folk Festival, Coachella, London’s Roundhouse, Ryman Auditorium, Barclays Center, New Orleans Jazz Fest, The Fox Theater Atlanta, The Kennedy Center Concert Hall, Summerstage in Central Park, Forecastle, the Newport Folk Festival and several appearances on A Prairie Home Companion. They’ve toured with artists such as Willie Nelson & Family, Brandi Carlile, Mumford & Sons, The Lumineers, John Prine, The Avett Brothers and others.

In 2011 Old Crow found themselves embarking on the historic Railroad Revival Tour with Mumford & Sons and Edward Sharpe and the Magnetic Zeros. This tour had the bands riding a vintage train from California to New Orleans, playing shows along the way. The magic of this musical excursion across America’s vast landscape is captured in the Emmet Malloy-directed documentary, Big Easy Express.

Old Crow Medicine Show now have five studio albums to their name, three of which were released by Nettwerk Records – O.C.M.S. (2004) and Big Iron World (2006) produced by David Rawlings, and Tennessee Pusher (2008) produced by Don Was. In 2012, ATO Records released the Ted Hutt-produced Carry Me Back, on which they continued to craft classic American roots music. The band’s latest album, Remedy (2014), released by ATO Records and also produced by Ted Hutt includes new Old Crow classics like “Sweet Amarillo,” “8 Dogs 8 Banjos” and “Brushy Mountain Conjugal Trailer.”

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

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

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Elizabeth Gilbert

In Conversation with Pico Iyer

photo: Timothy Greenfield-Sanders

Sat, May 6 / 7:30 PM (note special time) / Granada Theatre

Event Sponsors: Loren Booth Christine & William Fletcher Gretchen Lieff With support from the Beth Chamberlin Endowment for Cultural Understanding and our Community Partner the Orfalea Family

Elizabeth Gilbert’s memoir Eat, Pray, Love exploded onto the scene in 2006. The bestseller famously chronicled the year Gilbert spent traveling the world after a shattering divorce, catapulting its author from respected but little-recognized writer to a woman Oprah Winfrey called a “rock star author.”

Educated at NYU, Gilbert hails from rural Connecticut.

Fearless reporting skills and an abiding appreciation for working-class values have colored her writing from the beginning.

Gilbert worked in a Philadelphia diner, on a western ranch and in a New York City bar to scrape together the funds to travel. Her writing was published in Harper’s Bazaar, Spin and The New York Times Magazine. Her work caught the attention of editors at GQ, and she became a stalwart at that publication, producing provocative pieces that soon grew into books and even a film: 2000’s Coyote Ugly. Gilbert was a finalist for a National Magazine Award, and her work was anthologized in Best American Writing 2001.

Gilbert’s first book of short fiction called Pilgrims was a New York Times Most Notable Book and won a Ploughshares award. Her first novel, Stern Men, won the Kate Chopin Award in 2001. Her third book, The Last American Man, was a finalist for the National Book Award.

In 2010, Gilbert published Committed: A Love Story, the highly anticipated follow-up to Eat, Pray, Love. Committed tells the story of Gilbert’s unexpected plunge into a second marriage – this time to Felipe, the man with whom she falls in love at the end of Eat, Pray, Love. Part memoir, part meditation on marriage as a sociohistorical institution, Committed is rich with Gilbert’s trademark humor and sparkling prose.

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Named one of the Best Books of the Year by The New York Times, O, The Oprah Magazine, NPR, and Time, Gilbert’s novel The Signature of All Things is a sweeping story of botany, exploration and desire, spanning across much of the 19th century. The author’s first novel in over a decade, it was described by O, The Oprah Magazine as “the novel of a lifetime” and praised by The Washington Post as “that rare literary achievement: a big, panoramic novel about life and love that captures the idiom and tenor of its age.” It is being produced as a miniseries by PBS’s Masterpiece.

Since the transformative memoir Eat, Pray, Love, Gilbert has dedicated herself to exploring the mysteries of creativity and courage. Out of this period she has written a brilliant nonfiction treatise, Big Magic: Creative Living Beyond Fear, digging deep into her own generative process to share her wisdom and unique perspective.

Pre-signed books by both authors are available for purchase in the lobby

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

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An Evening with

Chip Kidd

photo: John Madere

Tue, May 9 / 7:30 PM (note special time) / Campbell Hall / FREE

The Lynda and Bruce Thematic Learning Initiative: Creative Culture

Chip Kidd is “the closest thing to a rock star” in the world of graphic design (USA Today). He is associate art director at Alfred A. Knopf, where he has been a jacket designer since 1986. It is safe to say that over the course of two decades he has changed the way book jackets are perceived – from merely a protective covering to a work of art that sells the book. A notable example is the iconic T. rex image he designed for Michael Crichton’s Jurassic Park, already anticipating how it could be used for movie promotion.

Kidd is a novelist (his first novel, The Cheese Monkeys, was published in 2001); he is the driving force behind the Pantheon graphic books program, which includes the work of Art Spiegelman, Chris Ware, and Marjane Satrapi; and he is also very active in the world of graphic design beyond books through his freelance work, which includes the art direction and cover design of Paul Simon’s 2006 album, Surprise. Bringing all his work together in 2005, Rizzoli published Chip Kidd: Book One, a collection of his jackets and the story of his life so far, introduced by John Updike and with contributions from authors David Sedaris, Donna Tartt and Elmore Leonard.

Kidd lectures frequently on graphic art and design, comics and his book jacket work.

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

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

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Brooklyn Rider with Kayhan Kalhor and Mathias Kunzli

photo: Erin Baiano

Thu, May 11 / 7 PM (note special time) / Campbell Hall

Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Michael Nicolas, cello Kayhan Kalhor, kamancheh Mathias Kunzli, percussion

Program Colin Jacobsen: A Mirror for a Prince Busalik Golestan A Walking Fire

- Intermission Kayhan Kalhor: Traditional Persian kamancheh improvisation Kayhan Kalhor: Silent City

Philip Glass: String Quartet No. 7 Colin Jacobsen: Beloved, do not let me be discouraged

About the Program Colin Jacobsen (b. 1978): A Mirror for a Prince I have had a love affair with Persian classical and folk music ever since meeting kamancheh virtuoso and composer Kayhan Kalhor. There’s something in this music that seems to speak to an epic sense of time and history, but is always grounded in an intensely personal and poetic state of mind.

A Mirror for a Prince refers to conduct manuals created for rulers that constructed models of kings to emulate or avoid (Machiavelli wrote perhaps the most famous western version, Il Principe...). The first two pieces in the suite are from a collection of 16th and 17th Century music from the Ottoman court, which apparently contained quite a number of Persian musicians, as, according to Kayhan and some other authorities, the renown of Persian musicians had spread to Istanbul. In fact, the word Ajam, (an Arabic/Turkish

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scale whose western equivalent is Major and Persian is Rast Panjgah) was used in Ottoman music culture to describe not just the scale, but referred to “Old Iran” and its musicians. Kayhan shared with me the melodic skeleton for these pieces, which were reconstructed (much as a Jordi Savall will do with old European music) by an Iranian musician and scholar named Arash Mohafez. So, in a certain sense, there’s a big game of telephone over the centuries going on here, as Mohafez himself says that his aim wasn’t purely to attempt playing these melodies as they were done in the Ottoman/ Safavid era, but to bring them to life using his own taste and modern Persian music values. In turn, I had to use the resonance and rich sonorities of five string players and percussion to make choices about how these melodies could sound

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in yet another context. One interesting feature is that they are often in lengthy rhythmic cycles (in the case of Busalik, 48 beats). This is because they evolved out of sophisticated poetic forms, and it’s beautiful to hear how this rhyming scheme plays itself out melodically and rhythmically. A Walking Fire, (the third piece in the suite) is a movement from a suite of pieces of the same name I wrote originally for Brooklyn Rider. The title comes from a line of poetry by the 13th century Sufi mystic Rumi, in which he is praising his friend and mentor Shams-i-Tabrizi, saying that he is a living embodiment of love, literally “a walking fire.”

– Colin Jacobsen

Philip Glass (b. 1937): String Quartet No. 7 Philip Glass is perhaps most widely known for his dramatic scores to such iconic films as The Hours, Kundun, Mishima, and Koyaanisqatsi, as well as for his operatic works, namely Einstein on the Beach and Satyagraha. Having recorded the composer’s then complete works for string quartet (Orange Mountain Music, 2011*), we found that the broad and pervasive appeal of his musical language coupled with our desire to expand the traditional boundaries of the string quartet helped to foster a deep sense of connection to this music. From the very first notes of our rehearsal process, we felt an affinity to the glowing sonorities and the way the music coaxed us towards a truly collective spirit as a quartet.

The openness of the music and the ability of these quartets to be both of their time and curiously “unstuck” from time caused us to draw connections to other familiar sounds such as the urban mechanization of Brooklyn to the drone-infused textures of Persian music and beyond; all of this made the music more deeply rooted in our collective “Brooklyn Rider” experience. The expansive single movement of the Seventh String Quartet (2014), almost Bach-ian in the clarity of its expression, represents his very latest contribution to the genre, and was premiered as a collaboration between the Nederlands Dans Theater and the Kronos Quartet with choreography by Paul Lightfoot and Sol Léon.

– Nicholas Cords (*Please look for an upcoming recording by Brooklyn Rider of the Sixth and Seventh string quartets of Philip Glass on Orange Mountain Music.)

Colin Jacobsen: Beloved, do not let me be discouraged The title of Beloved, do not let me be discouraged comes from a line of 16th century Turkish poetry by Fuzuli and is taken from his version of the legendary tale of Layli and Magnun, a story about ill-fated lovers that has many obvi-

ous parallels to Romeo and Juliet. To be magnun is literally to be crazy for love, and we first learned about this widely popular story in the Middle East and beyond during our trip to Iran. In our ears, Persian music expresses a deep desire to lose oneself in love. With a performer like Kayhan, this desire is communicated vividly, even to someone completely unfamiliar with the tradition. Additionally, the piece has links to the troubadours of 14th century Italy. The idea of medieval courtly love was a central theme of the music and poetry of the troubadours, and the very idea of this sort of ennobling love was influenced by early Arabic literature. During the 14th century, Persia and Italy enjoyed strong connections through trade in luxury goods, architecture, art and metalwork. One of our early impressions of Kayhan’s instrument was that it seemed to evoke the sound world of Europe before the advent of the modern family of string instruments when the voices of early string instruments such as the rebec, the Renaissance fiddle and the lira da braccio were more humanistic, natural and intimate.

Colin, the composer of Beloved, describes the process of pulling together the material as follows: Much inspiration for this piece came from working within that creative cauldron, the Silk Road Ensemble, with Alim Qasimov, the great Azeri Mugham singer, on a chamber version of Hajibeyov’s opera, Layla and Majnun. There was a melodic fragment that caught my ear, and after working with it for a while it developed into the rhythmic piece that forms the second half of Beloved, do not let me be discouraged. This represents the feverish longing of the lover for his or her beloved and the divine inspiration that the mere thought of him or her brings.

At the same time that I was working on this Layla and Majnun-inspired piece, I stumbled across the genre of sacred songs called Laude which were sung in the vernacular in 14th century Italy. There was a striking similarity of devotional feeling characterized by joyful praise and ecstatic penitence between these Laude and the Layla and Majnun theme.

Apparently, the genre is related to the music of the troubadours of France and Spain in the earlier Middle Ages whose music in turn may be related to the Middle Eastern idealization of a beloved.

One particular Laude, “Plangiamo,” gave me the proverbial goose bumps on first hearing. It happened to be in the same mode as the rhythmic piece I had already written but was in a free, improvised

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

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and rhetorical style that I thought would make a great introduction to Beloved, do not let me be discouraged if some thought were given to a specific arrangement for our ensemble. This “Plangiamo” is the kind of melody that reveals more and more of itself each time it’s heard, much the way a beloved, divine or human, can give one an endless feeling of wonder.

– Nicholas Cords

Kayhan Kalhor (b. 1963): Silent City Arr. Ljova (b. 1978) When we performed Silent City a few years ago in Berkeley, California, we were deeply moved when a small group of audience members from New Orleans found us afterwards and, nearly in tears, told us that the piece had acted as a balm for their harrowing experiences during and after Hurricane Katrina. Though the piece was sparked by the destruction of Hallabjah in Kurdistan Iraq, it was always intended to serve as a universal testament to fallen cities and civilizations. But even more central to Silent City is the idea that life always returns, sprouting anew out of the empty landscape.

Commissioned through the Silk Road Project in conjunction with a Harvard University course entitled “First Nights,” the piece allowed us to develop Kayhan’s ideas amongst ourselves and through the collective ear and life experience of the class itself. The variety of observations and personal anecdotes in response to our musical ideas was truly inspiring and allowed two things to happen: It gave us a greater awareness of the emotional content encoded in the music and it inspired our sense of the piece as an open dialogue between performers and audience members. The musical narrative itself unfolds in reverse-time. The opening scene is a whispered and sparse musical atmosphere, evoking a world in which a disaster has occurred, either through humanity’s own hands or by the destructive forces of nature. The echoes of distant voices return, slowly building in intensity toward an urgent climax and point of release. This substantial first portion of the piece is completely improvised, allowing us to collectively work within the mode to create a visceral sense of that barren world. We employ a variety of techniques including independent loops, call and response, echoes, and the intoning of open harmonies to reflect the slowly changing emotional landscape. A lamenting chant sings out afterwards on the kamancheh, employing a traditional melody from Turkey. This leads into a Kurdish melody that repeats itself above a densely shifting harmonic world, ultimately yielding to a joyful dance in 7/8 meter that vividly depicts life flowing back again.

Brooklyn Rider Hailed as “the future of chamber music” (Strings), Brooklyn Rider offers eclectic repertoire in gripping performances that continue to attract legions of fans and draw rave reviews from classical, world and rock critics alike.

Last season, the group celebrated its 10th anniversary with the groundbreaking multi-disciplinary project Brooklyn Rider Almanac, for which it recorded and toured 15 specially commissioned works, each inspired by a different artistic muse. This season, Brooklyn Rider releases an album with Anne Sofie von Otter entitled So Many Things on Naïve Records, including music by Colin Jacobsen, Caroline Shaw, John Adams, Nico Muhly, Björk, Sting, Kate Bush and Elvis Costello, among others.

Together they will tour material from the album and more in the U.S. and Europe, including stops at Carnegie Hall and the Opernhaus Zurich.

After performances together at the Jacob’s Pillow Dance Festival in Massachusetts in July, the quartet will tour the U.S. with choreographer Brian Brooks and former New York City Ballet prima ballerina Wendy Whelan, performing Some of a Thousand Words. Using music from composers John Luther Adams, Tyondai Braxton, Philip Glass, Evan Ziporyn and a new composition from Brooklyn Rider’s Colin Jacobsen, the intimate series of duets and solos featuring Brooks and Whelan foregrounds the live onstage music of the quartet as a dynamic and central creative component.

Other recent recording projects include 2016’s The Fiction Issue with music by Gabriel Kahane, 2013’s A Walking Fire on Mercury Classics and The Impostor with Béla Fleck on Deutsche Grammophon/Mercury Classics, plus 2011’s much-praised Brooklyn Rider Plays Philip Glass on the composer’s Orange Mountain Music label. Violinist Johnny Gandelsman launched In a Circle Records in 2008 with the release of Brooklyn Rider’s eclectic debut recording, Passport, followed by Dominant Curve in 2010, and Seven Steps in 2012. A long-standing relationship between Brooklyn Rider and Iranian kamancheh player Kayhan Kalhor resulted in the much-praised 2008 recording Silent City. www.brooklynrider.com facebook.com/BklynRider twitter.com/Brooklyn_Rider

– Nicholas Cords

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Mathias Kunzli

Multi-Grammy Award nominee Kayhan Kalhor is an internationally acclaimed virtuoso on the kamancheh, who through his many musical collaborations has been instrumental in popularizing Persian music in the West and is a creative force in today’s music scene. His performances of traditional Persian music and multiple collaborations have attracted audiences around the globe. He has studied the music of Iran’s many regions, particularly Khorason and Kordestan, and has toured the world as a soloist with various ensembles and orchestras including the New York Philharmonic and the Orchestre National de Lyon.

Hailing from Switzerland, drummer/percussionist Mathias Kunzli has become ubiquitous in the New York City music scene. His desire and ability to adapt to a wide range of musical styles have enabled him to collaborate with artists ranging from Regina Spektor to the Silk Road Ensemble, and he has appeared in some of the world’s most prestigious concert halls, arenas, and festivals including Carnegie Hall, Royal Albert Hall, Sydney Opera House, Avery Fisher Hall, Alice Tully Hall, Outside Lands Festival, Montreal Jazz Festival, Montreux Jazz Festival, Monterey Jazz Festival, and many more.

photo: Todd Rosenberg

Kayhan Kalhor

Kalhor is co-founder of the renowned ensembles Dastan; Ghazal: Persian & Indian Improvisations; and Masters of Persian Music. Kalhor has composed works for Iran’s most renowned vocalists Mohammad Reza Shajarian and Shahram Nazeri and has also performed and recorded with Iran’s greatest instrumentalists. He has composed music for television and film and was featured on the soundtrack of Francis Ford Coppola’s Youth Without Youth in a score that he collaborated on with Osvaldo Golijov. In 2004, Kalhor was invited by American composer John Adams to give a solo recital at Carnegie Hall as part of his Perspectives Series and in the same year he appeared on a double bill at Lincoln Center’s Mostly Mozart Festival, sharing the program with the Festival Orchestra performing the Mozart Requiem. Kayhan is a member of Yo-Yo Ma’s Silk Road Project and his compositions appear on several of the Ensemble’s albums.

Kunzli attended the Dante Agostini Drum School in Olten, Switzerland, and was the drummer for the Swiss Youth Jazz Orchestra – a national group that toured Switzerland and Italy – for five consecutive years. In 1995, Kunzli received two scholarships from Boston’s prestigious Berklee College of Music and moved to the U.S. He has had the privilege of studying with a great and diverse roster of teachers including Jamey Haddad, Zohar Fresco, Joe Hunt, Ian Froman, Giovanni Hidalgo, Adam Nussbaum, Danny Gottlieb, Tommy Campbell, Hal Crook, Greg Hopkins, Marco Kaeppeli and Fritz Renold.

Exclusive Management for Brooklyn Rider and Kayhan Kalhor Opus 3 Artists 470 Park Avenue South, 9th floor North New York, NY 10016 www.opus3artists.com

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

47

Lynsey Addario

A Photographer’s Life of Love and War

photo: Rebecca Hale

Sat, May 13 / 3 PM / Campbell Hall

With support from the Harold & Hester Schoen Arts & Lectures Endowment

The Lynda and Bruce Thematic Learning Initiative: Creating a Better World

Lynsey Addario began photographing professionally for the Buenos Aires Herald in Argentina in 1996 with no previous photographic training or studies. She eventually began freelancing for the Associated Press in New York, where she worked for several years before moving abroad to New Delhi, India to cover South Asia. In 2000, Addario first traveled to Afghanistan under Taliban rule to document life and oppression under the Taliban and has since covered conflicts in Afghanistan, Iraq, Libya, Lebanon, Darfur and Congo. She photographs features and breaking news focused on humanitarian and human rights issues across the Middle East, South Asia and Africa.

Women. She was part of the New York Times team to win the 2009 Pulitzer Prize for International Reporting for her photographs in “Talibanistan,” Sept 7, 2008. In 2010, Addario was named one of 20 women on Oprah Winfrey’s Power List for her “power of bearing witness,” and she was one of Glamour Magazine’s 20 women of the year in 2011. In 2014, Addario was included as one of 11 renowned women photographers in the National Geographic Women of Vision exhibition and photography book. She is the author of It’s What I Do: A Photographer’s Life of Love and War which is currently being adapted into a Steven Spielberg film starring Jennifer Lawrence.

In 2015, American Photo Magazine named Addario as one of the five most influential photographers of the past 25 years, saying she changed the way we saw the world’s conflicts.

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

photo: © courtesy of Lynsey Addario

Addario’s recent bodies of work include an ongoing reportage on Syrian refugees for The New York Times, ISIS’ push into Iraq, the civil war in South Sudan and African and Middle Eastern migrants arriving on Sicily’s shores for The New York Times. Addario was the official photographer for the Nobel Peace Center’s 10th peace prize exhibition, photographing 2014 winners Malala Yousafzai and Kailash Satyarthi for an exhibition at the Nobel Peace Center in Oslo, Norway in December 2014.

Addario has been the recipient of numerous awards, including the MacArthur Fellowship or “Genius Grant” in 2009 and the Overseas Press Club’s Oliver Rebbot award for best photographic reporting from abroad in magazines and books for her series Veiled Rebellion: Afghan

48

@ArtsAndLectures

Naomi Klein

Our Environmental Future: Connection, Collaboration, and Creation

photo: Kourosh Keshiri

Wed, May 17 / 7:30 PM (note special time) / Granada Theatre / FREE

Co-presented with Pacific Standard magazine as the keynote address in the Women and the Environment Conference

Naomi Klein is an award-winning journalist, syndicated columnist and author of the international bestsellers This Changes Everything: Capitalism vs The Climate (2014), The Shock Doctrine: The Rise of Disaster Capitalism (2007) and No Logo (2000).

This Changes Everything was an instant New York Times bestseller and has been translated into over 25 languages. Nominated for multiple awards, it won the 2014 Hilary Weston Writers’ Trust Prize for Nonfiction.

A documentary inspired by the book, and directed by Avi Lewis, premiered at the Toronto International Film Festival in September 2015.

Since This Changes Everything was published, Klein’s primary focus has been on putting its ideas into action.

She is one of the organizers and authors of Canada’s Leap Manifesto, a blueprint for a rapid and justice-based transition off fossil fuels. The Leap has been endorsed by over 200 organizations and tens of thousands of individuals and has inspired similar climate justice initiatives around the world.

In November 2016, she was awarded Australia’s prestigious Sydney Peace Prize for “exposing the structural causes and responsibility for the climate crisis, for inspiring us to stand up locally, nationally and internationally to demand a new agenda for sharing the planet that respects human rights and equality and for reminding us of the power of authentic democracy to achieve transformative change and justice.”

Klein is a member of the board of directors for climateaction group 350.org. In 2015, she was invited to speak at the Vatican to help launch Pope Francis’ historic encyclical on ecology, Laudato si’.

Klein is a Puffin Foundation Writing Fellow at The Nation Institute and her column for The Nation magazine is syndicated internationally. Recent articles have also appeared in The New Yorker, The Boston Globe, The Guardian, The London Review of Books and Le Monde.

She has multiple honorary degrees and in 2014 received the International Studies Association’s IPE Outstanding Activist-Scholar award.

For more information about the Women and the Environment Conference, go to weconference.events Pre-signed books are available for purchase in the lobby

Special thanks to

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

49

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