Gustavo Dudamel Residency at Princeton - December 2018 Program

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Dear Friends,

Welcome to Princeton University Concerts! Thank you for joining us as we mark our 125th anniversary 2018-19 season in a year-long musical party, celebrating both our historic past and our exciting future. Our “guest of honor,” Artistin-Residence Maestro Gustavo Dudamel, is the perfect embodiment of this celebration—I can think of no one better poised to propel the great traditions of live classical music forward in a vibrant, socially-relevant, and powerful way. The residency that Maestro Dudamel has crafted is a true testament to music’s capacity to bring people together and to serve as a platform for individual, societal, and world change. I very much hope that we, as a series and as a community, will continue to honor and realize this capacity for the next 125 years and beyond. Warmly,

Marna Seltzer Director of Princeton University Concerts

On the cover: Carlos Cruz-Diez, Induction Chromatique à double fréquence Ire, Paris, 2011, Chromography on aluminum, 100 x 300 cm, Cruz-Diez Art Foundation Collection





Welcome by Gustavo Dudamel


On the Art of Change by Darren Walker


Program: Saturday, December 1, 2018


Program: Sunday, December 2, 2018


About the Program


Complete 2018–19 Dudamel Residency Schedule


About Gustavo Dudamel


About the Participants


About Carlos Cruz-Diez


Celebrating 125 Years by Scott Burnham


Our Supporters and Donors


December 2018 Dear Friends, Art is the education of the soul. It unlocks the imagination, encourages creative risk and exploratory self-expression, and embodies the skills and values that will define our future. That is why I care deeply about ensuring that the greatest expressions of our humanity are passed along to our next generations and encouraging young people to discover the potential of their own creative capacities. As Artist-in-Residence of Princeton University Concerts’ 125th anniversary season, I am honored by the opportunity to engage with the brilliant, committed, curious, and diverse Princeton community. Participating in this august environment is an immense privilege for me—growing up in Venezuela, I never had access to the kind of outstanding academic scholarship for which Princeton is renowned. But I had a mentor, Maestro José Antonio Abreu, who believed in me and taught me to understand different intellectual disciplines as mutually enriching aspects of our human imagination. In my career I have seen how music transcends these disciplines and acts as a catalyst for deeper human understanding and social transformation. Connecting artistic and intellectual worlds and uniting respected experts with inspired young people over the course of this residency, we will celebrate the bridges between communities and generations built through the unique language of music. I am particularly excited to engage with students across campus, to conduct the Princeton University Orchestra and Glee Club, to welcome young musicians from leading social-musical projects across the country, and, in cooperation with my Dudamel Foundation, to work with educators and children from vital programs in Trenton. I wish to thank Marna Seltzer and her remarkable team for everything they have done to make this dream possible. My gratitude to all our distinguished academic and creative contributors and to the members of my extended “musical families” at the Metropolitan Opera Orchestra, the Los Angeles Philharmonic, and the Berlin Philharmonic, who share a thirst for artistic excellence and a commitment to the values of quality education. And thanks to you, our public, for joining us in the spirit of adventure that, through what we share, we may enrich our experience of the world – and be moved to better it.


Gustavo Dudamel

On the Art of Change

On the Art of Change By Darren Walker, © 2015 For as long as I can remember, the arts have imbued energy and meaning into my life. As a small child in a little Southeast Texas town, I pored over the glossy pages of art magazines that my grandmother, a domestic, brought me from the homes of the wealthy families for whom she worked. Page after page, hour after hour, my mind visited worlds from which I otherwise would have been excluded. In many ways, because of the arts, my economic situation never limited my expectations for myself. The arts broadened my horizons — my very sense of the possible. As a student at the University of Texas at Austin, I first saw the Dance Theatre of Harlem, and everything clicked. My life was changed forever. As a young professional in New York City in the 1980s, I fell in love with the city’s museums and galleries and treasured institutions, the likes of which I had never experienced before. I found a passion for the performing arts — for Alvin Ailey and others — and for the theater, documentary film, and the writers of Harlem, especially Langston Hughes and James Baldwin. It was Baldwin — a Ford Foundation grantee — who wrote, “The artist cannot and must not take anything for granted, but must drive to the heart of every answer and expose the question the answer hides.” To me this rang true, because I was insatiably curious about the world, and in art I found meaning. This was at a time, by the way, when I fell in love with an art dealer — and was introduced to a new world of artists, collectors, curators, and critics. As a result of all this, I am a fervent believer in the transformational, uplifting power of artistic expression. In fact, I am a product of it. I ardently believe I would not be the president of the Ford Foundation if not for my exposure to the arts. And, in turn, throughout my two-decade career in philanthropy, I have advocated for creative visionaries. I have sought new ways to support them and to amplify voices of those artists around the globe who are not being heard. AN UNDERLYING CRISIS: OUR MENTALITY OF INSTRUMENTALITY And yet, given the importance of art and culture in my life and in society, I have noticed a troubling trend during the last few years.

We all know how repressive regimes stifle creativity and persecute artists who rouse public sentiment for the sake of public good. But even where artists do enjoy freedom of expression, artists and art institutions are forced to justify their contributions in economic terms alone. Their relevance — their very existence — is often defended with studies and statistics. All of this reflects a larger trend, of course: Our culture has bought into the idea that if something cannot be measured, then it somehow does not matter. No doubt, it is not easy to quantify the so-called impact of a musician, dancer, painter, or filmmaker — let alone a graffitist or video-game coder. In my eyes, though, this is no excuse for only supporting those things that deliver immediately quantifiable returns. SHORT TERM-ISM IS THE ENEMY OF ART This is a problem not limited to art and artists. It reveals and reinforces a societal illness — a perversion and distortion. With increasing regularity, we prioritize short-term gain over long-term good. This kind of short-termism has infected so many dimensions of our lives. Education. Health care. Development. Business. Government. It has disrupted the way our society makes decisions. Take an example from our own recent experience: helping the city of Detroit, Michigan, to navigate its unprecedented bankruptcy without losing its soul or the Detroit Institute of Arts, whose collection was owned by the people. At the Ford Foundation, we watched as billionaires circled above the city, waiting to strip down and sell off the museum and its masterpieces. Such “asset monetization” may have made sense in the short term. In the longer term, however, it was unacceptable. These potential buyers simply were not invested in the Detroit of 2020, of 2030, of 2050 — let alone in the people who live there now. The Grand Bargain that emerged — which we were proud to support — preserved the pensions of hard-working citizens and a cultural institution that will be treasured for generations to follow. It is precisely this focus on the next decade — on the next century — that must animate our thinking and working. | 5

On the Art of Change

ECONOMIES OF EMPATHY The good news is we can change our pervasive shortsighted outlook. We can prioritize long-term investments in community and in culture. And the arts? The arts are an indispensable ingredient in the recipe for progress and change. Apart from generating economic value, the arts and culture create economies of empathy. And because of that, we have seen them play an integral part in building a wide range of social movements, from the civil rights movement to the Arab Spring. Artists challenge the status quo and give voice to those left out and left behind. Artists imagine a better world and inspire others to join in building it. They move us to hope, joy, compassion, resolve, and ultimately action. THE ART OF CHANGE Because our work at the Ford Foundation is rooted in building social justice movements, my colleagues and I are devoted to a process of rediscovery — exploring how the arts and creativity can intersect with, interact with, and inspire all of our work for social change. As a step of this process, we have invited a number of cultural visionaries to join us as fellows — to prompt and inform our own thinking. Their work will challenge us to reimagine ways the arts can help solve social problems.

WHY THE ARTS ARE AT THE HEART OF OUR MISSION Today, our reliance on and reverence for short-term, marketbased justifications reveals a profound imbalance in the way our society is organized — an inequality of the highest order. For some of us, less access to art means our shared insights are shallower, our collective creativity is duller, and our lives are just more boring. Plain and simple. For those among us who struggle the most, however, the stakes are significantly higher. When people in the 21st century’s equivalent of my childhood town — all around the world — are denied an opportunity to connect with art, their imaginations are starved of the fuel to fully fire. Their horizons are pulled in and closed off. Their dreams are curtailed, and senses of possibility diminished. Their social movements are deterred and derailed. We cannot allow this to continue. We owe ourselves better. We still can be a society that celebrates art — that, literally, treasures creative expression. And we must continue working to translate this aspiration into action. Twenty-some months into my presidency at the Ford Foundation, I hear friends and colleagues asking, “Where does the foundation stand on arts and culture today?” My answer is that, for us, they remain right where they belong — at the heart of everything we think about, invest in, and stand for.

We work on complex issues, but we have seen, time and again, how the arts can play a role in stirring our passions and awakening our creativity and empathy.

Simply put, less art leads to more inequality. More inequality leads to less justice. And this is not something with which any of us should be comfortable.

This role of arts and culture is not an add-on to our other work to improve lives. Rather, it is part and parcel — it is central, really — to changing beliefs and behaviors.

Darren Walker is President of the Ford Foundation. Gustavo Dudamel is a 2018 Ford Foundation “Art of Change” Fellow. This essay is adapted from an address delivered at the Skoll World Forum on April 17, 2015.

Calling all student writers & visual artists

WIN UP TO $1000 2018–2019

WIN UP TO $1000

Reflect on the relationship between the ARTS (broadly conceived) & FAITH, NATURE, or SOCIAL CHANGE. Inspired by the Gustavo Dudamel Residency: Uniting Our World through Music For more information, visit

6 | Princeton University Concerts


Saturday, December 1, 2018, 8:00PM | Richardson Auditorium, Alexander Hall

Art, Education, & Social Change in Latin America: A Public Conversation GUSTAVO DUDAMEL DON MICHAEL RANDEL Brief Pause


“Aguinaldos, Parrandas y Gaitas” is a sixty-minute celebration of Venezuelan holiday music that brings families best wishes for the year to come. The repertory resembles a trip through different regions and songs of Venezuela, bringing audiences to small villages and cities famous for their music. First Act: Aguinaldos A tribute to Simón Díaz, Vicente Emilio Sojo, and María Rodriguez, legends of folk music and pioneering stars of the caroling tradition of Venezuelan Aguinaldos, this part of the program offers three different takes on the genre from Cumaná, Los Llanos, and Guatire. Second Act: Parrandas Parrandas from Caracas, Barlovento, and the Andean region are celebratory in nature and are often set for parading musicians, reflecting on the happy notes of the year and positive wishes for the year to come. Closure: Gaitas A quite festive and danceable genre, widely common in the far west of Venezuela, particularly the state of Zulia, Gaitas are a must for December in Venezuela and in this segment two variants are explored: Gaita de tambora and Gaita de furro. | 7


Sunday, December 2, 2018, 2:00PM | Richardson Auditorium, Alexander Hall

Musical Preview at 1:00PM by students from the Boston String Academy, an El Sistema-inspired program

QUARTET 212 David Chan, Violin | Catherine Ro, Violin | Dov Scheindlin, Viola | Rafael Figueroa, Cello with Emily D’Angelo, Mezzo-soprano

FRANZ JOSEPH HAYDN (1732–1809) String Quartet No. 41 in D Major, Op. 50, No. 6 (“The Frog”) Allegro Poco adagio Minuet: Allegretto—Trio Finale: Allegro con spirito

OTTORINO RESPIGHI (1879–1936) “Il Tramonto” (“The Sunset”) for Mezzo-soprano and String Quartet


DONNACHA DENNEHY (b. 1970) Strange Folk (World Premiere)

GIUSEPPE VERDI (1813–1901) String Quartet in E Minor Allegro Andantino Prestissimo Scherzo fuga: Allegro assai mosso

This concert will be followed by a topical discussion between Gustavo Dudamel and Deborah Borda.

8 | Princeton University Concerts

About the Program

About the Program By Peter Laki, © 2018 FRANZ JOSEPH HAYDN (1732–1809) String Quartet No. 41 in D Major, Op. 50, No. 6 (“The Frog”)

tonal adventures and moments of suspense. The end of the recapitulation modulates from D minor to a tender D major.

Haydn’s fifty-eight mature string quartets are unparalleled for their enormous variety in form and texture, achieved within a fixed and unchanging structural framework. Invariably cast in four movements that adhere to a limited number of formal types (sonata, ternary form, variation, rondo), no two realizations of those types are ever exactly alike. Unique solutions and surprising turns appear on every page.

The most striking features of the minuet are the perky dotted figures that appear both as long-short and short-long, while the Finale—in addition to the above-mentioned “frog-like” bariolage—brings more virtuosic passages for the first violin (reaching some unusually high notes). The “frogs” become particularly active during the development section, as well as in the concluding coda, where they finally quiet down.

The quartets of Op. 50—the fifth of Haydn’s nine completed sets of six—show the composer, at age 55, at the height of his creative powers. They are known as the “Prussian” quartets, because they were dedicated to Frederick William II, King of Prussia (1786–97). Since the King was an avid cello player, some of the quartets contain prominent cello solos, at a time when the cellist in a quartet rarely had to do more than provide harmonic support for the group. The D-major quartet, too, features a few special moments for the cello, but the listener’s attention will be more frequently drawn to the virtuosic passages of the first violin. In fact, the nickname by which many people know this piece (“The Frog”) comes from a particular string technique with which the first violinist begins the last movement (the other players follow suit but do not use the device as often as does the leader). The technique, known as bariolage, involves a rapid alternation of strings, in this case made even more special by the fact that the violinist plays the same pitch on two alternating strings: once as an open string, and once using a finger of the left hand (“unison bariolage”). It was the resulting unusual sound effect that reminded some early commentators of the croaking of the frog—the moniker is certainly not by Haydn himself.

Among the peculiarities of this quartet, not least is the fact that all four movements end softly. Instead of increasing the excitement to a high point, Haydn opted each time for understatement and a gentle smile.

Fundamentally a brilliant and sunny composition, “The Frog” surprises, above all, by the way the sun can suddenly disappear behind a passing cloud, to re-emerge a moment later in all its original brightness. Haydn accomplishes this by way of abrupt modulations, interruptions in the constant flow of sixteenth notes, or—as in the middle section of the minuet—general rests where the music comes to a complete halt. In addition, the first movement has a central development section that is longer than usual, allowing for a large number of darker tonal detours and texture changes. The second movement, Poco adagio, is a melancholy, lavishly ornamented instrumental song in D minor. Somewhat unusually for a slow movement, it follows sonata form as does the first movement. As a result, there is room for more

OTTORINO RESPIGHI (1879–1936) “Il Tramonto” (“The Sunset”) for Mezzo-soprano and String Quartet English Romantic poetry enjoyed great popularity in Italy at the turn of the 19th century. Percy Bysshe Shelley (1792–1822), who had died in a tragic sailing accident off the Italian coast, was particularly loved by the peninsula’s literati, especially after a new translation of his poems by Roberto Ascoli had come out in 1905. Ottorino Respighi felt so close to Shelley that he based three major works on his poems: two, “Aretusa“ (1911) and “La Sensitiva” (1914–15) for solo voice and orchestra, and “Il Tramonto” (1914) for voice and string quartet. In “The Sunset,” Shelley told of the incomprehensible tragedy of a young man dying next to his lady after a night of love and of the woman’s silent grief as she yearns for peace in the grave. Our knowledge about Shelley’s own senseless death at the age of 30 adds an additional element of poignancy to the poem; the poet’s fate couldn’t have been far from Respighi’s mind when he composed his deeply introspective and yet dramatically expressive elegy. With simple vocal lines set over exquisite, frequently modulating harmonies, this soulful lament exudes great tranquility and shows considerable restraint even at the most tragic moment. Thematic unity and homogeneity of texture were the highest priorities to Respighi, who chose to avoid major musical contrasts between the love scene and the subsequent narrative of mourning. Happiness and despair are both experienced calmly: the music portrays human beings who live and die in harmony with a higher truth which we all have to accept. | 9

About the Program

IL TRAMONTO Roberto Ascoli, after Percy Bysshe Shelley

THE SUNSET By Percy Bysshe Shelley

Già v’ebbe un uomo, nel cui tenue spirto (qual luce e vento in delicata nube che ardente ciel di mezzo-giorno stempri) la morte e il genio contendeano. Oh! quanta tenera gioia, che gli fè il respiro venir meno (così dell’aura estiva l’ansia talvolta) quando la sua dama, che allor solo conobbe l’abbandono pieno e il concorde palpitar di due creature che s’amano, egli addusse pei sentieri d’un campo, ad oriente da una foresta biancheggiante ombrato ed a ponente discoverto al cielo! Ora è sommerso il sole; ma linee d’oro pendon sovra le cineree nubi, sul verde piano sui tremanti fiori sui grigi globi dell’ antico smirnio, e i neri boschi avvolgono, del vespro mescolandosi alle ombre. Lenta sorge ad oriente l’infocata luna tra i folti rami delle piante cupe: brillan sul capo languide le stelle. E il giovine sussura: “Non è strano? Io mai non vidi il sorgere del sole, o Isabella. Domani a contemplarlo verremo insieme.”

There late was One within whose subtle being, As light and wind within some delicate cloud That fades amid the blue noon’s burning sky, Genius and death contended. None may know The sweetness of the joy which made his breath Fail, like the trances of the summer air, When, with the Lady of his love, who then First knew the unreserve of mingled being, He walked along the pathway of a field Which to the east a hoar wood shadowed o’er, But to the west was open to the sky. There now the sun had sunk, but lines of gold Hung on the ashen clouds, and on the points Of the far level grass and nodding flowers And the old dandelion’s hoary beard, And, mingled with the shades of twilight, lay On the brown massy woods—and in the east The broad and burning moon lingeringly rose Between the black trunks of the crowded trees, While the faint stars were gathering overhead.— ‘Is it not strange, Isabel,’ said the youth, ‘I never saw the sun? We will walk here To-morrow; thou shalt look on it with me.’

Il giovin e la dama giacquer tra il sonno e il dolce amor congiunti ne la notte: al mattin gelido e morto ella trovò l’amante. Oh! nessun creda che, vibrando tal colpo, fu il Signore misericorde. Non morì la dama, né folle diventò: anno per anno visse ancora. Ma io penso che la queta sua pazienza, e i trepidi sorrisi, e il non morir... ma vivere a custodia del vecchio padre (se è follia dal mondo dissimigliare) fossero follia. Era, null’altro che a vederla, come leggere un canto da ingegnoso bardo intessuto a piegar gelidi cuori in un dolor pensoso. Neri gli occhi ma non fulgidi più; consunte quasi le ciglia dalle lagrime; le labbra e le gote parevan cose morte tanto eran bianche; ed esili le mani e per le erranti vene e le giunture rossa del giorno trasparia la luce. La nuda tomba, che il tuo fral racchiude, cui notte e giorno un’ombra tormentata abita, è quanto di te resta, o cara creatura perduta!

That night the youth and lady mingled lay In love and sleep—but when the morning came The lady found her lover dead and cold. Let none believe that God in mercy gave That stroke. The lady died not, nor grew wild, But year by year lived on—in truth I think Her gentleness and patience and sad smiles, And that she did not die, but lived to tend Her aged father, were a kind of madness, If madness ’tis to be unlike the world. For but to see her were to read the tale Woven by some subtlest bard, to make hard hearts Dissolve away in wisdom-working grief;— Her eyes were black and lustreless and wan: Her eyelashes were worn away with tears, Her lips and cheeks were like things dead—so pale; Her hands were thin, and through their wandering veins And weak articulations might be seen Day’s ruddy light. The tomb of thy dead self Which one vexed ghost inhabits, night and day, Is all, lost child, that now remains of thee!

“Ho tal retaggio, che la terra non dà: calma e silenzio, senza peccato e senza passione. Sia che i morti ritrovino (non mai il sonno!) ma il riposo, imperturbati quali appaion, o vivano, o d’amore nel mar profondo scendano; oh! che il mio epitaffio, che il tuo sia: Pace!” Questo dalle sue labbra l’unico lamento.

‘Inheritor of more than earth can give, Passionless calm and silence unreproved, Where the dead find, oh, not sleep! but rest, And are the uncomplaining things they seem, Or live, a drop in the deep sea of Love; Oh, that like thine, mine epitaph were—Peace!’ This was the only moan she ever made.

10 | Princeton University Concerts

About the Program

DONNACHA DENNEHY (b.1970) Strange Folk (World Premiere) Note by Donnacha Dennehy Written for the Dudamel Residency marking the 125th anniversary of Princeton University Concerts, Strange Folk abounds in open fifths, gutsy double-stops, cross-relations, and cross-rhythms. It’s like someone from way off imagining a weird folk culture somewhere else. I was thinking a little of the incredible fascination that we had for all things American when I was a kid growing up in Dublin. This may have influenced the sound of it. Princeton University Concerts is grateful to Professor Dennehy for writing this piece for Quartet 212 on the occasion of Gustavo Dudamel’s residency at Princeton University.

GIUSEPPE VERDI (1813–1901) String Quartet in E Minor Verdi’s only major piece of instrumental chamber music owes its existence to the fact that the composer happened to have some extra time on his hands in Naples. The production of his opera Aida was being delayed due to the illness of the leading lady, and Verdi, forced to wait for a couple of weeks in his hotel room, decided to show what an Italian could do with a genre considered quintessentially “Germanic.”

in the opera, where the fugue is sung to the words Tutto nel mondo è burla (“Everything in the world is a jest”), in the quartet, too, contrapuntal writing is associated with hilarity. The fugue theme is extremely agile so that it creates a truly comical effect when the four imitating voices carry it in four different directions at the same time. Yet the music becomes even humorous when the counterpoint stops. Underneath a long-sustained note of the first violin, the second violin and viola play halting, fragmented phrases; finally, the fugue turns into a single mad rush as all four instruments play in the same rhythm and in a faster tempo, bringing the quartet to its brilliant conclusion. Peter Laki, a native of Budapest, Hungary, graduated from the Franz Liszt Academy of Music in 1979 and received a PhD from the University of Pennsylvania in 1989. He served as program annotator of the Cleveland Orchestra and has taught courses at Case Western Reserve University, Kent State University, John Carroll University, and Oberlin College. Since 2007, he has served as a visiting associate professor at Bard College. Dr. Laki is the author of numerous musicological articles and editor of ‘Bartók and His World.’ He writes program notes for many orchestras and performing arts organizations around the country and lectures at many international conferences, most recently in Budapest.

While chamber music was not cultivated to any great extent in 19th-century Italy, Verdi was intimately familiar with the quartets of Haydn and Beethoven. Having thoroughly absorbed all aspects of that illustrious tradition, he combined the glorious melodies one would expect from the great opera composer with a perfect mastery of quartet writing. The opening Allegro offers a surfeit of striking themes—a few more than traditional sonata form would require. Scored in a technically demanding way, the music provides continuous excitement and a great many surprising moments. The second movement, Andantino, is based on a simple melody suggesting a lighthearted serenade, but the harmonic development is quite sophisticated and contains some rather dramatic episodes. The third movement is a scherzo in Prestissimo tempo. The main section is sparkling and vivacious, with a more lyrical Trio where the cello sings a glorious, broad melody that would not be out of place in one of Verdi’s operas. The main section is then repeated, as dictated by tradition. After this movement in scherzo form, the fugue that ends the quartet actually carries the word “scherzo” in its title. This “scherzo-fugue,” as many commentators have pointed out, anticipates the great fugue that concludes Falstaff, Verdi’s last opera, written twenty years after the quartet. Just as | 11


SCHEDULE OF RESIDENCY EVENTS This schedule will continue to be updated. For more information visit



Saturday, December 1, 2018

Monday, January 7, 2019




A public conversation between Maestro Dudamel and Don Michael Randel followed by a celebratory concert by Betsayda Machado and Jorge Glem.

MUSICIANS FROM THE LOS ANGELES PHILHARMONIC Works by Mozart, Pärt, and a new work by Princeton faculty composer Juri Seo. Musical Preview at 6:00PM by students from the Youth Orchestra of Los Angeles (“YOLA”). Post-concert talk moderated by Maestro Dudamel.

FREE but ticketed

Tickets: $30, $10 students with valid ID

Sunday, December 2, 2018 2:00PM

QUARTET 212 & EMILY D’ANGELO, Mezzo-soprano

Tuesday, January 8, 2019 7:00PM


Works by Haydn, Respighi, Verdi, and a new work by Princeton faculty composer Donnacha Dennehy. Musical Preview at 1:00PM by students of the Boston String Academy, an El Sistema-inspired program. Post-concert talk with Maestro Dudamel and New York Philharmonic President Deborah Borda, free to ticketholders.

Wednesday, January 9, 2019

Tickets: $30, $10 students with valid ID


A conversation in Spanish between Maestro Dudamel and Professor Javier Guerrero. Venue TBD. FREE

EL SISTEMA: A PANEL DISCUSSION Moderated by Professor Stanley Katz. Panelists include Elsje Kibler-Vermaas (YOLA, Acting Director of Education), Anne Fitzgibbon (Harmony Program, Founder and Executive Director), and Lou Chen ’19. McCosh 10. FREE


MUSIC MADE VISIBLE: METAPHORS OF THE EPHEMERAL A gallery reception. Works by artist Marsha Levin-Rojer. Bernstein Gallery, Woodrow Wilson School. FREE

RELATED EVENTS November 30, 2018– January 31, 2019

“Music Made Visible: Metaphors of the Ephemeral,” an exhibition by artist Marsha Levin-Rojer Bernstein Gallery, Woodrow Wilson School. FREE, open Monday–Friday, 9:00AM–5:00PM


EXPLORING ART & NATURE Monday, April 22, 2019 7:30PM


Friday, April 26, 2019 7:30PM

With a score by Gustavo Dudamel, this film by Alberto Arvelo recounts Simón Bolívar’s struggle to liberate South America. A Q&A will follow.

PRINCETON UNIVERSITY ORCHESTRA & GLEE CLUB GUSTAVO DUDAMEL, Conductor Works by Schubert, Tchaikovsky, and Mendelssohn. Pre-concert panel discussion at 6:30PM moderated by Professor Stanley Katz with Professors Rachel Price and Javier Guerrero.

Screening and tickets at the Princeton Garden Theatre

This concert is sold out.

Tuesday, April 23, 2019 7:00PM


Saturday, April 27, 2019 4:00PM

Works by Schubert, Wagner, and a new work by Princeton faculty composer Steven Mackey. Musical Preview at 6:00PM by students from the Harmony Program of New York City. Post-concert talk moderated by Maestro Dudamel.

The program above is repeated in a concert FREE and open to all. Patriots Theater at the War Memorial, Trenton, NJ. FREE but ticketed. Tickets will be released on Monday, April 1, 2019

Tickets: $30, $10 students with valid ID

Wednesday, April 24, 2019 8:00PM

LATE NIGHT CHAMBER JAM Amateur musicians are invited to join members of the Berlin Philharmonic in a community sight-reading fest! FREE but reservations required


Sunday, April 28, 2019 3:00PM

EL SISTEMA FESTIVAL PERFORMANCE The residency concludes in a public concert featuring hundreds of students from Trenton Music Makers, the El Sistema New Jersey Alliance, and invited guests. FREE, a Communiversity event

Thursday, April 25, 2019 8:00PM

THE ARTIST IN SOCIETY Gustavo Dudamel in conversation with Fintan O’Toole, one of Ireland’s leading public intellectuals, moderated by Professor Melissa Lane. A reception will follow. FREE but reservations required


TICKETS 609-258-9220

BEHIND THE SCENES In addition to public events, Maestro Dudamel will engage with campus and community partners in a number of ways: a conversation at the Center for Human Values; visits with student musicians in the Trenton Music Makers program and in Trenton Public Schools; and classroom discussions on a range of topics including conducting, the human voice, and Verdi opera.

About Gustavo Dudamel

About Gustavo Dudamel

A lifelong advocate for music education and social development through art and champion of access to the arts for young people around the world, Gustavo Dudamel is in his tenth year as Music and Artistic Director of the Los Angeles Philharmonic. Under his direction, the LA Phil has become one of the leading orchestras in the world, admired for its unmatched commitment to new music, diversity and inclusion, and the development of groundbreaking digital initiatives. Shaped by his childhood experience with El Sistema, the extraordinary program of immersive musical training initiated in 1975 by José Antonio Abreu, Dudamel also marks his 19th season as Music Director of the Simón Bolívar Symphony Orchestra of Venezuela. Dudamel carries on the work of the late Maestro Abreu with his ongoing commitment to El Sistema in Venezuela and by supporting numerous Sistema-inspired projects around the world, including Big Noise in Scotland, Vienna’s Superar program, SerHacer in Boston, and El Sistema Sweden. His 2018 “Americas” tour with the Vienna Philharmonic was highlighted by an Art and Citizenship workshop in Mexico City bringing together 300 young people from across North and South America in an expression of cultural solidarity. He has worked to raise awareness of the importance of music education by appearing at the United Nations and The White House and delivered an address on the unity of the Arts and Sciences at the 2017 Nobel Prize Concert. Dudamel also

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continues to expand the reach of his Youth Orchestra Los Angeles (“YOLA”) initiative. Founded in 2007, the program has provided access to quality music education to tens of thousands of children from underserved communities around Los Angeles. 2019 will see the construction of a new Frank Gehry-designed facility for YOLA in Inglewood, California. One of the few classical musicians to truly reach mainstream audiences while maintaining the highest musical integrity, Gustavo Dudamel has been featured three times on CBS’ 60 Minutes and was the subject of a PBS special, Dudamel: Conducting a Life. He has been interviewed by Christiane Amanpour on CNN, Conan O’Brien on Late Night with Conan O’Brien, Stephen Colbert on The Late Show, and Elmo on Sesame Street. He had a cameo role in Amazon Studio’s award-winning series Mozart in the Jungle and, together with members of YOLA, became the first classical musician to participate in the 2016 Super Bowl halftime show, appearing alongside pop stars Coldplay, Beyoncé, and Bruno Mars. In 2017, he was the youngest-ever conductor to lead the Vienna Philharmonic’s famous New Year’s Day Concert, watched annually by over 60 million people in 90 countries. At John Williams’ personal request, Dudamel guest-conducted on the soundtrack for Star Wars: The Force Awakens; he also recorded James Newton Howard’s soundtrack to Disney’s holiday blockbuster The Nutcracker and the Four Realms, in which he makes an on-screen cameo.

About Gustavo Dudamel

Dudamel’s cinema, TV, radio, and online broadcasts have reached hundreds of millions of people around the world. Dudamel’s Grammy® Award-winning discography also includes landmark recordings of John Adams’ Gospel According to the Other Mary (commissioned and performed by the Los Angeles Philharmonic); the soundtrack to the motion picture The Liberator, for which Dudamel composed the score; a Richard Strauss disc with the Berlin Philharmonic; Mahler Symphonies 5 and 7 with the Simón Bolívar Symphony Orchestra; and Mahler 9 with the Los Angeles Philharmonic. A special charity LP release of Mendelssohn’s “Scottish” Symphony with the Vienna Philharmonic raised funds for music education projects in Latin America, and children from Vienna’s El Sistema-inspired Superar program participated in his most recent Deutsche Grammophon release, Mussorgsky’s Pictures at an Exhibition. Dudamel has independently produced an all-Wagner recording available exclusively for download and streaming, a set of the complete Beethoven symphonies from Barcelona’s Palau de la Música, and a broadcast of two Stravinsky ballets in cooperation with the Berlin Philharmonic’s Digital Concert Hall. In recognition of his advocacy for the proliferation of the arts in the Americas, he received the 2018 Paez Medal of Art and the Pablo Neruda Order of Artistic and Cultural Merit, the Americas Society Cultural Achievement Award in 2016, and the 2014 Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society from the Longy School of Music. He was named Musical America’s 2013 Musician of the Year, one of the highest honors in the classical music industry, and was voted into the Gramophone Hall of Fame. In October of 2011, he was named Gramophone Artist of the Year, and, in May of the same year, was inducted into the Royal Swedish Academy of Music in consideration of his “eminent merits in the musical art.” The previous year, he received the Eugene McDermott Award in the Arts at MIT. Dudamel was

inducted into l’Ordre des Arts et des Lettres as a Chevalier in Paris in 2009 and received an honorary doctorate from the Universidad Centroccidental Lisandro Alvarado in his hometown of Barquisimeto, Venezuela. He also received an honorary doctorate from the University of Gothenburg in 2012. In 2008, the Simón Bolívar Youth Orchestra was awarded Spain’s prestigious annual Prince of Asturias Award for the Arts and, along with his mentor José Antonio Abreu, Dudamel was given the “Q Prize” from Harvard University for extraordinary service to children. He was named one of Time magazine’s 100 most influential people in 2009. Gustavo Dudamel was born in 1981 in Barquisimeto, Venezuela. He began violin lessons as a child with José Luis Jiménez and Francisco Díaz at the Jacinto Lara Conservatory. He continued his violin studies with Rubén Cova and José Francisco del Castillo at the Latin American Academy of Violin. His conducting studies began in 1993 when he was hired as an Assistant Conductor with the Amadeus Chamber Orchestra. In 1996, he studied with Rodolfo Saglimbeni and was named Music Director of the Amadeus Chamber Orchestra. In 1999, he was appointed Music Director of the Simón Bolívar Youth Orchestra and began conducting studies with the orchestra’s founder, Dr. Abreu. Dudamel achieved international attention by winning the inaugural Bamberger Symphoniker Gustav Mahler Competition in 2004. He then went on to become Music Director of the Gothenburg Symphony (2007–2012), where he currently holds the title Honorary Conductor. Inspired by Dudamel’s early musical and mentoring experiences, the Gustavo Dudamel Foundation, a registered charity, was created in 2012 with the goal of promoting access to music as a human right and a catalyst for learning, integration, and social change. For more information about Gustavo Dudamel, visit his official website:

About the Gustavo Dudamel Foundation The Gustavo Dudamel Foundation is committed to highlighting and enriching the crucial nexus between the arts and society. The Foundation believes that music provides a universal language that transcends differences and encourages individual empowerment and social integration. For that reason, its mission is to expand access to music and art for as many children as possible, while providing tools and opportunities for young people to shape their creative futures.

The Dudamel Foundation is proud to contribute to the lasting impact of Maestro Dudamel’s 2018/19 residency at Princeton University by supporting the ongoing engagement between Princeton University and vital musical-social initiatives in Trenton, New Jersey and the Tri-State region. For more information about the Foundation, please visit | 15

About the Participants

About the Participants DIEGO “EL NEGRO” ÁLVAREZ, Percussion Diego “El Negro” Alvarez is a master percussionist, Latin Percussion artist and cajón player born in Venezuela. Son of Afro-Venezuelan mezzo-soprano Morella Muñoz, Diego grew up in and around both traditional percussion and academia. He lived in Spain for sixteen years where he propelled his career mixing Latin Percussion with the Spanish cajón, and performing alongside the most prestigious flamenco companies in the world such as Joaquín Cortés, Antonio Canales, Sara Baras, Nuevo Ballet Español, and Paco Peña, among others. Álvarez has 12 Latin Grammy® nominations, and he is a Latin Grammy® Award-winner for his involvement in Sera by La Vida Bohème in 2010. He promotes the cajón as a universal instrument, showing its roots to Peruvian and flamenco music. He now lives in Los Angeles where he continues work on different flamenco and jazz projects. This concert marks his Princeton University Concerts debut.

BOSTON STRING ACADEMY Boston String Academy (BSA) is a non-profit organization, inspired by the Venezuelan El Sistema model which believes in music as a vehicle for social change. The organization provides rigorous string instrument instruction to children in underserved communities. BSA aims to provide instruction of the highest quality, laying a musical foundation that could take a child to college or conservatory. The program makes mastery of a string instrument reachable by eliminating obstacles that stand in an inner-city family’s way. 100% of tuition is subsidized, programs are offered in/near the children’s schools, and private lessons and instrument rentals are included in the orchestral training. BSA was founded in November 2012 by Marielisa and Mariesther Alvarez and Taide Prieto. They are graduates from The Boston Conservatory and of El Sistema programs in their home countries of Venezuela and Peru, and have modeled BSA on that experience. It currently offers three programs in the Chinatown and Allston neighborhoods, serving more than 100 students. As part of an effort to expose students to the highest level of musical expression, BSA provides students with opportunities to perform and work with internationally acclaimed artists including violist Rictor Noren, violinists Midori, Lynn Chang and Martin Chalifour, cellists David Ying and Mihail Jojatu, bassist Edicson Ruiz, and world renowned conductors Gustavo Dudamel and Sir Simon Rattle.

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BSA students have performed out of state and internationally and have been selected to participate in festivals such as the Dudamel Foundation’s “Encounters/Encuentros” in Mexico City, National Take a Stand Festival in Los Angeles, Boston University Tanglewood Institute, Sphinx Performance Academy, Greenwood Music Camp, and Kinhaven Music School, among others.

Violin Simón Benaim Peter Cho Alphie Detemple Scarlet Falcón Rian Finn Sofía Francisco Zhuo Rui Jiang Zhuo Yan Jiang Annabelle Lee Anne Liang Angelina Moy Estrella Sanchez Lalwani Surpitski Eliza Youngman Annie Yuan Fiona Yuan Lola Zulps

Cello Daylan Comas Erick Liang Clarice Mullady William Parkes Darren Seto Yulia Yuan

Viola Samuel Benaim Edward Brodney-McDevitt Ana Isabel Cardona Lydia Cho Kento Lind Aaron Moy

Jorge Soto Conductor

Faculty Marielisa Alvarez Co-Director, Violin/Viola Mariesther Alvarez Co-Director, Violin/Viola Taide Prieto Co-Director, Cello Anthony Morales Violin/Viola Instructor

DEBORAH BORDA President and Chief Executive Officer, New York Philharmonic Throughout her career, Deborah Borda has extended the artistic, commercial, and technological boundaries of American symphony orchestras. She became President and Chief Executive Officer of the New York Philharmonic in September 2017. Prior posts include President and CEO of the Los Angeles Philharmonic; Executive Director of the New York Philharmonic; General Manager of the San Francisco Symphony; President and Managing Director of The Saint Paul Chamber Orchestra; and Executive Director of the Detroit Symphony Orchestra. Within her first few months after returning to the New York Philharmonic in 2017, Ms. Borda assembled a new leadership team to support her and Music Director Jaap van Zweden’s vision for the Orchestra.

About the Participants

A $50 million launch fund to usher in a new era of fiscal stability was completed in November 2017. During her first decade in Los Angeles, Ms. Borda reinvigorated plans to build and launch Walt Disney Concert Hall, oversaw the addition of a new shell for the Hollywood Bowl, and reimagined and diversified programming at both venues. She also spearheaded the appointment of music director Gustavo Dudamel, with whom she invested in groundbreaking educational initiatives, including the founding of YOLA (Youth Orchestra Los Angeles) and the National Take a Stand initiative. She received an Honorary Doctor of Music degree from the Curtis Institute of Music. In 2018 she was elected to the American Academy of Arts & Sciences and was also named Chair of the Avery Fisher Artist Program.

EMILY D’ANGELO, Mezzo-soprano Canadian-Italian mezzo-soprano Emily D’Angelo, winner of the 2016 Metropolitan Opera National Council Audition Finals, made her professional operatic debut in 2016 as Cherubino in Le nozze di Figaro at the Spoleto Festival dei Due Mondi under the baton of James Conlon. She is currently in her second year as a member of the Lindemann Young Artist Development Program at the Metropolitan Opera. The 2018/2019 season will include a return to the Canadian Opera Company for her role debut as Dorabella in Così fan tutte, and her company debuts with Berlin Staatsoper Unter den Linden as Cherubino in Le nozze di Figaro, and the Santa Fe Opera as Dorabella in Così fan tutte. Her debut season at the Metropolitan Opera includes singing Annio in La clemenza di Tito, Second Lady in The Magic Flute, and Soeur Mathilde in Dialogues des Carmélites, which will be conducted by music director Yannick Nézet-Séguin and broadcast in movie theatres across the world as a Met Live in HD. As well as being a winner of the Metropolitan Opera National Council Audition Grand Finals, D’Angelo was also the 2018 Operalia winner of the First Prize, Zarzuela Prize, Birgit Nilsson Prize, and Audience Prize. She was the First Prize winner of the 2018 George London Competition, the 2017 Innsbruck International Cesti Competition for Baroque Opera, the 2017 Gerda Lissner International Voice Competition, the 2017 Canadian Opera Company Quilico Awards Competition, the 2016 American National Opera Association Competition, and the 2015 Canadian Opera Company Centre Stage Competition. She was awarded Second Prize, the Radio-Canada Audience Choice Award, and the Best Canadian Artist Award at the 2018 Montreal International Competition, and was also awarded Second Prize at the 2017 Neue Stimmen Competition and the 2015 OREL Foundation Ziering-Conlon Competition. In 2016 she was honored with the Premio Monini from the Spoleto Festival dei Due Mondi, was a grateful recipient of

the Jaqueline Desmarais Foundation Grant, and was named one of Canada’s “Top 30 Under 30” Hot Classical Musicians. Hailing from Toronto, D’Angelo received her Bachelor of Music in Voice Performance from the University of Toronto where she was the winner of the Norcop Prize in Song, and the Tecumseh Sherman Rogers Graduating Award. She is a graduate of the Canadian Opera Company Ensemble Studio. This concert marks her Princeton University Concerts debut.

JORGE GLEM, Cuatro Virtuoso of the Venezuelan cuatro, Jorge Glem is a Latin Grammy® winner born in Cumaná, Venezuela. He started his musical training at age of six under masters Eberto Zapata and Alexander Mariña. In 2004 he was awarded first place for “Best Cuatrista” in the Llanero Festival “El Silbón de Oro” and second place in the 1st International Exhibition “La Siembra del Cuatro.” He has collaborated with world class musicians such as the Puerto Rican band Calle 13, Gustavo Dudamel, keyboard player Jordan Rudess, singer Rubén Blades and clarinetist Paquito D’Rivera. Using unconventional techniques Glem draws a seemingly limitless array of sounds from the cuatro, a four-stringed Venezuelan folk instrument. He is also a mandolinist and producer. Jorge Glem has represented Venezuela and its musical traditions in more than twenty countries including the United States, Mexico, Guatemala, Colombia, Puerto Rico, Uruguay, Austria, Germany, China, Portugal, Spain, Panama, and many others. This concert marks his Princeton University Concerts debut.

BETSAYDA MACHADO, Singer Betsayda Machado is a prodigious singer and folk music artist from Venezuela. She is one of fourteen siblings born to Nicolasa Martinez and Pedro Machado, a street musician and legendary trumpet player from the rural region of Barlovento. Growing up in the tradition of Parrandas she was accustomed to singing in the street and performing homeby-home concerts in her town. For over twenty years she lived between El Clavo and Caracas, Venezuela maintaining a close connection to the town’s local parranda but also joining traditional projects in the city such as Vasallos del Sol and Un Solo Pueblo with whom she traveled throughout Venezuela, America, Europe, and Asia. In 2016, she recorded the traditional songs of her village for the first time with producer Juan Souki in the album Loe Loa - Rural (Recordings Under the Mango Tree). The album was featured in The New York Times Best Albums of the Year list in 2017. Since then she has traveled with the Parranda | 17

About the Participants

throughout the United States, Canada, and Europe and has been nicknamed “The Voice of Venezuela.” Her work has been featured by NPR’s Tiny Desk, CNN’s Great Big Story, Songlines Magazine and defined by Jon Pareles of The New York Times as “The kind of group that world music fans have always been thrilled to discover: Vital, accomplished, deeply rooted” Very few know the universe of traditional Venezuelan music like Betsayda Machado. Her dream and determination is for the traditional genres to be known, preserved and respected in Venezuela and abroad. This concert marks her Princeton University Concerts debut.

QUARTET 212 Quartet 212 is an exciting new ensemble on the international scene. Comprising four leading players from the legendary Metropolitan Opera Orchestra in New York City, the quartet was formed at the Musique et Vin au Clos Vougeot festival in the Burgundy region of France. The quartet’s name pays homage not only to the group’s Manhattan roots (212 is the area code for New York City), but also to the town of Beaune, France (postal code 21200), where the quartet played its first concert in 2012. Quartet 212’s playing is notable for its uncommon vitality, vivid characterization, remarkable unanimity of attack, and above all the expressive and vocal quality derived from the players’ long experience in the world of opera. Quartet 212 has collaborated with many of today’s greatest artists including cellists Yo-Yo Ma and Gary Hoffman, violinist Cho-Liang Lin, tenor Matthew Polenzani, and pianists Menahem Pressler and Jean-Yves Thibaudet. Individually, the members of the quartet are distinguished soloists and teachers in their own right, and have been prize winners at the Tchaikovsky, Piatigorsky, Casals, and Indianapolis international competitions. The players of Quartet 212 share a passion for mentoring leading instrumentalists and singers of the younger generation, and for the fine wines of Burgundy. Their first recording, a disc of the Mozart and Weber clarinet quintets with French clarinetist Pierre Génisson, has won numerous awards including The Sunday Times (London) “Album of the Week” and the prestigious “Choc de l’Année” award from the French press. Quartet 212 will work with Maestro Dudamel for the first time when he makes his MET opera debut conducting Verdi’s Otello December 14–January 10. This concert marks Quartet 212’s Princeton University Concerts debut.

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DON MICHAEL RANDEL President Emeritus, The Andrew W. Mellon Foundation, The University of Chicago Don Michael Randel has devoted his venerable career to the performing arts, higher education, and philanthropy. Mr. Randel is President Emeritus of the Andrew W. Mellon Foundation (2006–2013) and President Emeritus of the University of Chicago (2000–2006). He is the editor of The Harvard Dictionary of Music, The Harvard Biographical Dictionary of Music, and The Harvard Concise Dictionary of Music and Musicians. He has served as editor-in-chief of the Journal of the American Musicological Society. After serving on the faculty of Syracuse University, he joined the music faculty of Cornell University, where he remained for more than three decades, ascending from Department Chair to Vice Provost, to Dean of the College of Arts and Sciences, and, ultimately, to Provost. He is a member of the board of the New York City Ballet, the Lyric Opera of Chicago, and CNA Financial. He has also served on the boards of the Chicago Symphony Orchestra, Carnegie Corporation of New York, the Argonne National Laboratory, and Rockefeller University. He is a current member of the Princeton University Concerts Committee and the Advisory Council of the Princeton University Department of Music. Mr. Randel earned bachelor’s, master’s, and doctoral degrees in music from Princeton University. His scholarly interests include medieval liturgical chant, especially in Spain, medieval Arabic music theory, secular polyphony in France and Spain in the fifteenth and sixteenth centuries, Latin American popular music, and the songs of Robert Schumann and Cole Porter.

BAM RODRIGUEZ, Bass Grammy® award winner bassist Bam Rodriguez started his career with the prestigious El Sistema youth orchestra program in Venezuela, where he performed with Gustavo Dudamel. Soon after he moved to Belgium and the Netherlands to continue his studies. Today he resides in New York City, from where he has toured, recorded and performed with pianist Chucho Valdés, clarinetist Paquito D’ Rivera, pianist Arturo O’Farrill, author Deepak Chopra, vocalist Claudia Acuña, saxophonist Ray Santos, and the San Francisco Symphony. He has performed at Carnegie Hall, Lincoln Center, The Kennedy Center and Davies Hall in San Francisco. This concert marks his Princeton University Concerts debut.

About Carlos Cruz-Diez

About Carlos Cruz-Diez “In my works, color appears and disappears during the course of a dialogue with real space and time. What also emerges is the undeniable fact that the information we have acquired and the knowledge we have memorized throughout our lifetime are, probably, not true... at least to some extent. When we view color through an ‘elementary prism’ that has been stripped of pre-existing meanings, it can awaken other sensory perception mechanisms that are more subtle and complex than those that have been ingrained in us by our cultural conditioning and the constant, ubiquitous barrage of information we face in our contemporary society.” – Carlos Cruz-Diez, “Reflexión sobre el color” [Reflection on Color], Fundación Juan March, Paris, 2009

The French-Venezuelan artist Carlos Cruz-Diez (Caracas, 1923) has lived and worked in Paris since 1960. He is a major protagonist in the field of Kinetic and Optical art, a movement that encourages “an awareness of the instability of reality.” (Jean Clay, “La peinture est finie” [Painting is finished], Robho. [Paris: s.n.], no. 1 [1967]). His body of work has established him as one of the key 20th-century thinkers in the realm of color. Carlos Cruz-Diez’s visual art explores the perception of color as an autonomous reality evolving in space and time, unaided by form or support, in a perpetual present. His artworks are housed in permanent collections of prestigious institutions such as the Museum of Modern Art (MoMA), New York; Tate Modern, London; Musée d’Art Moderne de la Ville de Paris; Centre Pompidou, Paris; Museum of Fine Arts, Houston; and Wallraf-Richartz Museum, Cologne.

About the Cruz-Diez Art Foundation “We want to become a source of inspiration, to rouse curiosity, to promote discovery, to encourage inventiveness and to think outside the box, regardless of the field.” – Adriana Cruz Delgado, President of the Cruz-Diez Art Foundation. The Cruz-Diez Art Foundation is a non-profit organization committed to preserving, promoting and transmitting the artistic and conceptual legacy of Carlos Cruz-Diez, a major kinetic artist and thinker of color theory of the 20th century. Created in Houston, Texas in 2005 at the Cruz-Diez family’s initiative and continued participation, the activities of the Cruz-Diez Art Foundation are diverse and globally-reaching. The Cruz-Diez Art Foundation considers safeguarding the future of the artist’s works, his research on color, his life philosophy and artistic education its priorities. Cruz-Diez has always included family in his work, making the next generation conscious of his legacy and through sharing their expertise.

The Cruz-Diez Art Foundation holds an extensive art collection. Selected and donated by the artist, with both historical and recent artworks that encompass all of Cruz-Diez’s artistic researches, the collection is available for lending to exhibitions, along with curated pedagogical exhibitions. Thanks to privileged access to Cruz-Diez’s meticulously kept archives the Cruz-Diez Art Foundation is able to issue Certificates of Authenticity and update the artist’s Catalogue Raisonné. The Cruz-Diez Art Foundation also focuses on education and culture by developing pedagogical activities for a new public audience of children and young people. For more information about the Foundation and our activities, please visit | 19

Celebrating 125 Years of Music Making


2018-2019 SEASON

Glimpses of a Remarkable History: Princeton University Concerts over the Past 125 Years By Professor Emeritus Scott Burnham, © 2018 Imagine Princeton in 1894, the year Princeton Borough began governing itself as an entity fully independent from Princeton Township. And now imagine the Old Princeton Inn, a building that stood where Borough Hall stands today. At half past three on a Monday afternoon in late October, a group of music enthusiasts gathered there to enjoy a concert performance by the renowned Kneisel Quartet. They concluded with a piece of new music, namely Antonin Dvorák’s most recent string quartet, the so-called “American” quartet, which the Kneisel players had premiered in Boston some months earlier and which was one of the fruits of Dvorák’s extended stay in America. That inaugural concert was organized by the “Ladies Musical Committee,” founded in 1894 by Philena Fobes Fine. Mrs. Fine was a remarkable spirit who persuaded the community to rally round and underwrite this new venture, which in its early years presented about six concerts annually. She was the first in a long line of such spirits: to an extraordinary degree, the history of Princeton University Concerts is a history of determined women making wonderful things happen. The initial committee was all women, and the driving forces for supporting and managing the concert series throughout the entire history of Princeton University Concerts have been mostly women, exclusively so for the first fifty years. Mrs. William F. Magie became chair of the committee after Mrs. Fine’s death in 1928 (in an interesting parallel, her husband, William F. Magie, had succeeded Mrs. Fine’s husband, Henry B. Fine, in the role of Princeton University’s Dean of Faculty back in 1912). And for a fifteen-year span during the 20s and 30s, Mrs. Williamson U. Vreeland did much of the heavy lifting, organizing the concerts, choosing the artists, and managing the finances. Had you been around in the 1920s, you would have caught the Princeton debut of violinist Fritz Kreisler in March of 1920;

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or heard Pablo Casals, then lauded as the world’s greatest cellist, play Bach in 1922; or heard 23-year-old Jascha Heifetz play five encores after his concert on April 7, 1924; or attended the historic concert in 1925 that featured Polish pianist, composer, and statesman Ignacy Jan Paderewski in a program including Beethoven’s “Waldstein” Sonata and Liszt’s Hungarian Rhapsody. Not to mention a steady array of orchestral performances by the New York Philharmonic, The Philadelphia Orchestra, and the Boston Symphony Orchestra. A turning point for the Ladies Musical Committee came in 1929, marking a new and crucial stage in its relationship with Princeton University. The first move was to stabilize and augment the committee’s finances. Mrs. Fine had led the concert series for over thirty years at the time of her death. During those years, she had managed to raise about $35,000 to support the concerts. In 1929, Mrs. Jenny Hibben and others helped increase that number to about $52,000, and the committee established a fund in Mrs. Fine’s memory, stating that the monies had “been raised for the purpose of securing for Princeton audiences better music than they could otherwise afford.” The name of the committee changed to Princeton University Concerts Committee at this time as well, but its constitution insisted that “at least a majority of the members shall be women” (this wording was not altered until 1977!). In accordance with the name change, the University became increasingly involved throughout the 1930s and 40s. Nominations to the committee had forthwith to be approved by the President of Princeton University (the President at the time was John Grier Hibben, husband of Mrs. Jenny Hibben); the university Controller’s Office soon began keeping the books; and in 1946 President Harold Dodds authorized payment for the building of a stage set that would enable the chamber concerts to move to McCarter Theater, where the orchestral concerts and showcase recitals were already happening. When Mrs. Magie resigned in 1944, Professor Roy Dickinson Welch took over as head of the committee. Welch was also the father of the Music Department, which began in 1934 as a subsection of the Art and Archaeology Department. A dozen years later, in 1946, Music became an official university department, housed in Clio Hall. In that same year, Welch hired Mrs. Katharine (“Kit”) Bryan as concert manager. They had collaborated before: in 1935, Mrs. Bryan co-founded the Princeton Society of Musical Amateurs with Welch; the group still exists today. Among the many highlights during Mrs. Magie’s tenure was the historic 1937 appearance of American singer Marian Anderson, who sang four sets of arias and lieder and then concluded with a stirring set of spirituals. Also notable were several concerts by the Trapp Family Singers in the early 1940s. Highlights of Mrs. Bryan’s early years as concert

Celebrating 125 Years of Music Making

manager include performances by the recently formed Bach Aria Group, founded and directed by Princeton legend William H. Scheide. When Mrs. Bryan retired in 1964, she was replaced by Mrs. Maida Pollock, who greatly professionalized the entire operation, bringing it up to speed in ways that are still in effect today. A force of nature, Mrs. Pollock ran the Princeton University Orchestra as well and was also very involved with the Princeton Friends of Music. Due to the greatly increased expense of hiring symphony orchestras, the concert series stopped programming orchestras in 1975 and began focusing exclusively on chamber music. In a recent interview, Pollock asserted that her most cherished goal was to get a worthy concert hall for chamber music up and running at the university, and in the 20th year of her 22-year tenure, her efforts were finally rewarded. Richardson Auditorium became the concert hall it is today in 1984, thanks to a donation from David A. Richardson ‘66, in memory of his father David B. Richardson ’33, a lifelong enthusiast of classical music. One of the most memorable nights of Mrs. Pollock’s reign was almost a disaster, because Spanish singer Victoria de los Ángeles had to cancel at nearly the last minute. Pollock quickly obtained the services of Russian soprano Galina Vishnevskaya, who happened to be the wife of Mstislav Rostropovich; he played the piano for her in an electrifying performance. After Mrs. Pollock retired, Nate Randall took over in 1988. Randall broadened the purview of Princeton University Concerts, introducing programs of jazz music and world music. He also oversaw the 100th anniversary season of the series, and assisted with the inauguration of the Richardson Chamber Players, along with their Co-Founding Director, Michael Pratt. Our current Concert Director, Marna Seltzer, came to Princeton in 2010. Recognized by Musical America in 2017 as one of their

“30 Movers and Shapers,” Seltzer’s many audience-friendly innovations have clearly established Princeton University Concerts at the forefront of the future of classical music. These include new ways to interact with the musical artists, such as live music meditation sessions, late-night chamber jams, and “Performances Up Close” that feature onstage seating. In introducing these additional ways to get involved in music, Marna Seltzer continues to honor the original and sustaining intention of Philena Fobes Fine: that Princeton University Concerts should reflect the values of our community as a whole. As such, it enjoys pride of place as perhaps the finest ongoing town/gown affiliation in Princeton. The history of Princeton University Concerts has been remarkably consistent for these past 125 years. Passionate, committed women (and a few men) have presented the premier musical artists of their age, from fiery 20-somethings taking the concert world by storm to larger-than-life stars who can captivate us merely by taking the stage. An exalted lineup of the world’s finest string quartets has always maintained pride of place in the series, from the Kneisel Quartet in the first decades through the Budapest Quartet in the 1930s to the Takács, Brentano, and Jerusalem Quartets today. A special relationship has always endured between all these musical artists and their Princeton presenters. Back in the day, Mrs. Fine, Mrs. Magie and Mrs. Vreeland often entertained artists after the concert; as an early history of the Concerts Committee put it: “the artists came to think of Princeton people as their friends.” That holds true now more than ever, for our visiting artists regularly declare that they love playing in Richardson Auditorium, they love the way they are treated by Marna and her staff, and they love all of you, who so demonstrably value the experience of music, who take in and give back the brilliant energy of their cherished performances. “Music offers infinite capacity for infinite self-renewal.” This is what Music Department founder Roy Dickinson Welch fervently believed, and this is what Princeton University Concerts will continue to offer us, one unforgettable concert after another.

Thank You Princeton University Concerts is grateful for the partnership of the following organizations that have contributed programming and support to make Gustavo Dudamel’s residency possible: Bernstein Gallery, Woodrow Wilson School of Public and International Affairs | Center for Arts & Cultural Policy Studies at the Woodrow Wilson School of Public and International Affairs I Cruz-Diez Art Foundation I Gustavo Dudamel Foundation Humanities Council: David A. Gardner ‘69 Magic Project | Lewis Center for the Arts I Princeton Garden Theatre I Princeton University Center for Human Values I Princeton University Department of Music | Princeton University Program in Latin American Studies I Trenton Music Makers | 21

SUPPORT US Supporting Princeton University Concerts is critical to our future. Ticket sales cover less than half of the cost of presenting the very best in world-class music. Remaining funds come, in part, from our generous endowment, left to PUC by the Ladies’ Musical Committee in 1929. We remain eternally grateful for the support of the Philena Fobes Fine Memorial Fund and the Jesse Peabody Frothingham Fund.

Other support comes from donors like you. We are grateful to the individuals whose support at all levels ensures that the musical performance remains a vital part of Princeton, the community, and the region. If you wish to make a donation to Princeton University Concerts, please call us at 609-258-2800, visit princetonuniversityconcerts. org, or send a check payable to Princeton University Concerts to: Princeton University Concerts, Woolworth Center, Princeton, NJ 08544.

We are deeply grateful for all of the support we receive from our donors, staff and volunteers. The list below acknowledges gifts of $100 or more, received between April 1, 2018 and November 1, 2018. If you see an error, or would like to make a change in your listing, please contact the Concert Office at 609-258-2800. Brahms ($500+) John & Leigh Constable Bartlett Anne & Klaus Florey Lor & Michael Gehret Hinda Greenberg Stan & Adria Katz Norman & Nancy Klath Gail E. Kohn Andrew Moravcsik & Anne-Marie Slaughter Don Michael Randel Ralph & Joan Widner Mendelssohn ($250-499) Melanie & John Clarke Chris Coucill & Liz Fillo Ellis & Phyllis Finger Brandon C. Gaines Russell & Helen Kulsrud Melissa Lane & Andrew Lovett Anya & Andrew Littauer Donald Mills Jacqueline Mislow Ellen Morehouse Lucy Anne S. Newman Harriet Rubenstein Anne & Mitch Seltzer Marcia Snowden Kurt & Judit Stenn William Stowe & Karin Trainer Alec Tsuo & Xiaoman Chen Helmut & Caroline Weymar Susan Wilson Beethoven ($100-249) Sigmund Amster Rita Z. Asch Karen I. Blu Theodore Chase, Jr. Radu Constantinescu John Madison Cooper Joanne Elliott Arthur C. Eschenlauer Roe Goodman Lilian Grosz Pei Ying Hsiang Janet Joshua Judith Klotz Richard Kraeuter Maurice D. Lee, Jr.

22 | Princeton University Concerts

Marsha Levin-Rojer Celia Lidz Daniel Lister Edward Martinsen Elizabeth Morgan & Steven Lestition Armando Orozco Elaine Pascu Suzanne & Charles Rebick Inez & Richard Scribner Laura Sinderbrand Alice Small Claire H. Thomas Andros Thomson Jeanette Tregoe Anne M. Van Lent Princeton University Concerts Marna Seltzer Director John Burkhalter Subscription Manager Kerry Heimann Operations & Patron Services Manager Olga Kalantarov-Hautin Graphic Designer Dasha Koltunyuk Marketing & Outreach Manager Deborah Rhoades Accounts Manager Lisa Tkalych 125th Anniversary Project Manager 2018–2019 Princeton University Concerts Committee Michael Gehret Chair Scott Burnham Gabriel Crouch Ellis Finger Christine Gage Brandon Gaines John Hoffmeyer ‘19 Wendy Heller Gail E. Kohn Dorothea von Moltke Don Michael Randel Marcia Snowden William Stowe Marue Walizer

2018­–2019 Student Ambassadors of Princeton University Concerts Sérgio Martins De Iudicibus ‘20 Co-Chair Tim Ruszala ‘20 Co-Chair Campus Venue Services Nick Robinson Director Kathleen Coughlin Assistant Director, Performing Arts Services James Allington Audio Engineer Anne Cutrona Theater Operations Technician Matthew Halbert Theater Operations Technician Lindsay Hanson Artist Services Manager Mary Kemler Assistant Director, Client Resources Bryan Logan Production Manager, Performing Arts Services Sharon Maselli Audience Services Manager Bill Pierce Theater Operations Technician James Taylor Systems and Support Manager

Presenting the world’s leading classical musicians at Princeton University since 1894, Princeton University Concerts aims to enrich the lives of the widest possible audience. We are grateful to Wendy Heller, Chair/Scheide Professor of Music History, and the Department of Music for its partnership in and support of this vision. For more information about the Department and its vibrant student and faculty led programming, please visit

The artwork on this program cover, Induction Chromatique à double fréquence Ire, is by artist Carlos Cruz-Diez. Chromatic Inductions are closely related to the phenomenon of post-image, which is also known as the retinal persistence or simultaneous contrast effect. This means that if a viewer stares at a red plane briefly and then looks away, the retina preserves the image for a few seconds, but the image appears green, which is the induced color, or the complementary color. In other words, the retina of the eye, after gazing at a colored plane for a certain length of time, retains, even after it looks away, an image of the colored plane, which is perceived as a complementary color. These phenomena occur separately, one after the other; Chromatic Inductions, however, reproduce them all at the same time. They therefore manage to stabilize—and render visible—a phenomenon that can only be captured fleetingly and under very special circumstances. The color that appears is both there and not there; it has a virtual existence, but is just as real as the pigments that have been used. The artist has said “These are linear structures that simplify the perception of the phenomenon of complementary color or simultaneous contrast that is normally a fleeting, more complex event.” Carlos Cruz-Diez, a friend of Maestro Dudamel, is considered to be one of the greatest artistic innovators of the 20th and 21st centuries. His art draws out the kinetic energy of color much in the same way that Maestro Dudamel energizes our world through music.


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