P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
SEP / OCT 2018
Music and Movement across the Globe, Instruments from the Banned Countries, Ryan Haddad on Dating, and More.
“First Republic shares our passion for innovation and world-class performance.” ANDREA MILLER
Founder, Artistic Director and Choreographer, Gallim Dance 2017-2018 Artist in Residence, The Metropolitan Museum of Art
(855) 886-4824 | firstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER
CONTENTS
Stanford Live Staff & Sponsors Welcome
P—10
Upcoming Events
P—12
Campus Partners
P—18
Scene & Heard
Behind the Scenes
Movements
Membership By Emily K. Holmes This season invites us to consider music’s relationship to the circulation of humans across time periods and continents.
P—20
P—40 P—42
Stanford Live & Bing Concert Hall Donors
P—44
Calendar
P—46
Plan Your Visit
P A G E — 30
P—9
P—47
Artist Voices
Infographic
Ryan Haddad and Tim Miller
Music and Musicians from the
on Dating
Banned Countries
p—22
p—28
Featurette
Timeline
Janáček’s Intimate Letters
Jordi Savall Traces the Routes of Slavery
p—26
p—38
5
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Sep/Oct 2018 Volume 11, No. 1
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
STAFF
FOUNDATION & GOVERNMENT PARTNERS
Paul Heppner President
Chris Lorway Executive Director
Mike Hathaway Vice President
Bryan Alderman Assistant Director of Development
Kajsa Puckett Vice President, Marketing & Business Development Genay Genereux Accounting & Office Manager Production Susan Peterson Design & Production Director Jennifer Sugden Assistant Production Manager Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers Sales Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Joey Chapman, Brieanna Hansen, Ann Manning, Wendy Pedersen Seattle Area Account Executives Carol Yip Sales Coordinator Marketing Shaun Swick Senior Designer & Digital Lead Ciara Caya Marketing Coordinator Encore Media Group Corporate Office 425 North 85th Street Seattle, WA 98103 p 800.308.2898 | 206.443.0445 f 206.443.1246 info@encoremediagroup.com www.encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.
Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Robert Cable Communications Manager Ryan Davis Associate Director of Engagement and Public Programs
IN-KIND PARTNERS
Robert DeArmond Web Developer Laura Evans Director of Music Programs, Education, and Engagement Drew Farley Technical Manager Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR and Administrative Associate Maurice Nounou Assistant Director of Ticketing and Sales Noreen Ong Executive and Contracts Administrator
MEDIA PARTNERS
Egan O’Rourke Audio/Video Assistant Manager Kimberly Pross Director of Operations and Production Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development
Stanford Live’s 2018–19 season is generously supported by Helen and Peter Bing.
Toni Rivera Operations Coordinator
Underwriting for student ticket discounts for the 2018–19 season is generously provided by the Bullard family.
Ivan Rodriguez Artist Liaison/Cabaret Manager Mike Ryan Director of Operations, Frost Amphitheater Bill Starr House Manager Krystina Tran Assistant Director of Marketing Max Williams Development Associate
PHOTO CREDITS On the cover: Jared Grimes performs in Spaces with the Jazz at Lincoln Center Orchestra, photo by Lawrence Sumulong. Page 10: Illustration by Hybrid Design. Page 18: Andy Warhol (U.S.A., 1928–1987), Detail from Contact Sheet [Photo shoot with Andy Warhol with shadow], 1986. Gelatin silver print. Gift of The Andy Warhol Foundation for the Visual Arts, Inc., 2014.43.2893. ©The Andy Warhol Foundation for the Visual Arts; El Anatsui (Ghana, b. 1944), Uwa, 2012. Aluminum and copper wire. C. Diane Christensen Fund for African Art and Phyllis Wattis Program Fund, 2017.7; Jess, The 5th Never of Old Lear, 1974, paper collage elements on 3-D support, 33 ⅛ x 27 15/16 in. Collection of Harry W. and Mary Margaret Anderson. Pages 20 & 21: Photos 1 and 8 by Azar Kafaei; 2, 3, 5, 6, and 7 by Harrison Truong; 4 by Joel Simon. Page 22: Photos courtesy of Ryan Haddad. Page 30: Photo by Jake Blakesberg. Page 32: Photo by Oliver Holmes. Page 34: Photo courtesy of Alliance Artist Management. Page 35: Photo by Marc Brenner. Page 40: Malpaso Dance Company, photo by Alex Boerner. Page 42 & 43: Photos by Harrison Truong.
9
WELCOME
C H R I S L O R WAY EXECUTIVE DIRECTOR
“I received a letter just before I left office from a man. I don’t know why he chose to write it, but I’m glad he did. He wrote that you can go to live in France, but you can’t become a Frenchman. You can go to live in Germany or Italy, but you can’t become a German, an Italian. He went through Turkey, Greece, Japan, and other countries. But he said anyone, from any corner of the world, can come to live in the United States and become an American.” — RO N A L D R E AG A N
When I came to Stanford two years ago,
of barber shops as centers of community
Stanford Live presents
it marked the second time I arrived in the
in the African diaspora. And Catalan
a wide range of the finest
United States as an immigrant. The first
composer Jordi Savall traces the music
performances from around the
was in the late 1990s to attend graduate
traditions that moved along the routes of
world, fostering a vibrant learning
school at Columbia. During those 10 years
the slave trade.
community and providing distinctive experiences through the
in New York, I experienced a society that came together around the tragedy of
This issue also provides a glimpse into two
performing arts. With its home at
9/11 and then slowly began to split apart
of our love-themed programs: Janáček’s
Bing Concert Hall, Stanford Live is
because of divisive rhetoric and a lack
Intimate Letters with Rob Kapilow takes us
simultaneously a public square, a
of empathy. Thus, we chose to present a
back to a time of poetry and penmanship
sanctuary, and a lab, drawing on
range of universal narratives this season
while Ryan Haddad’s solo play about
the breadth and depth of Stanford
aimed to connect rather than divide.
New York’s gay dating scene leaps ahead
University to connect perfor-
a century when relationships are often
mance to the significant issues,
mediated through technology.
ideas, and discoveries of our time.
Several programs explore the dynamics of human migration and the moral reckoning with universal human dignity that
Another highlight is the return of Wang
immigration compels societies to confront.
Ramirez for the U.S. premiere of Nitin
The Kronos Quartet—in partnership with
Sawhney’s Dystopian Dream. Commissioned
the Hamid and Christina Moghadam
by Stanford Live, the piece is a core
Program in Iranian Studies—will focus
component of our residency with Nitin. His
on music from Muslim-majority countries
powerful music combined with Honji and
subject to the recent travel ban. Poet
Sébastien’s dynamic movement language
and playwright Inua Ellams brings us an
creates a multisensory work that is not to
exciting new play that showcases the role
be missed! 10
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SEP / OCT 2018
Upcoming Events
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
JAZZ
POP
JAZZ
Charles Lloyd
Jon Cleary
The Baylor
and the Marvels
Project
With special guest Lucinda Williams KEY:
A M P L I F I C AT I O N
AU D I E N C E I N T E R AC T I O N
WHEN: F R I DAY, S E P T E M B E R 21, 7:30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, SEPTEMBER 22, 7:00 & 9:00 PM
VENUE: BING ST U D I O
WHEN: S U N DAY, S E P T E M B E R 2 3, 7:00 PM
VENUE: BING ST U D I O
Honored for his contributions
The piano player and
A husband. A wife. An
to jazz worldwide, including
songwriter is one of the great
astonishing debut. Two-time
awards from the Monterey
heirs to New Orleans’ world-
Grammy nominee the Baylor
Jazz Festival and the National
changing musical heritage.
Project is steeped in the heart
Endowment for the Arts,
An outsider from Kent,
and soul of jazz.
saxophonist Charles Lloyd
England, Cleary has become
brings his 80th-birthday
a beloved personality in his
celebration to the Bing.
adopted hometown.
Generously supported by the
Generously supported by the Koret Foundation JAZZ PROJECT
Koret Foundation JAZZ PROJECT
For the full calendar, visit live.stanford.edu.
12
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
TA L K
JAZZ
JAZZ
C O M E DY
Wynton Marsalis
Jazz at Lincoln
Tord Gustavsen
Nick Thune
in Conversation
Center Orchestra
Trio
Spaces
With Sigurd Hole and Jarle Vespestad
WHEN: T U E S DAY, S E P T E M B E R 25, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: W E D N E S DAY, S E P T E M B E R 26, 7:30 P M
WHEN: F R I DAY, S E P T E M B E R 2 8, 7:00 & 9:00 PM
VENUE: B I N G C O N C E RT HALL
VENUE: BING ST U D I O
WHEN: SAT U R DAY, S E P T E M B E R 2 9, 7:00 & 9:00 PM
VENUE: B I N G ST U D I O
Wynton Marsalis joins
Marsalis conceived Spaces
Tord Gustavsen and his trio
Nick Thune’s absurdist views
Stanford Live for a
as an “animal ballet,”
perform new compositions
and deadpan wit have
conversation about jazz,
performed by his own
as well as unique
distinguished his unique style
the relationship between
Jazz at Lincoln Center
arrangements of J. S. Bach
of storytelling mixed with
the arts and community,
Orchestra with dancers Lil
chorales and traditional
one-liners. The comedian and
and the irrepressible spirit
Buck and Jared Grimes.
Scandinavian hymns.
actor has appeared on The
Generously supported by
Generously supported by the
Generously supported by the
Stephanie and Fred Harman
Koret Foundation
Koret Foundation
and the Koret Foundation, with
of New Orleans.
additional support from the JAZZ PROJECT
JAZZ PROJECT
Western States Arts Federation JAZZ PROJECT
13
Tonight Show, Conan, and Late Night.
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
TA L K / P O P
WORLD
E A R LY M U S I C
DANCE
Nitin Sawhney:
Delgres
Philharmonia
Dystopian
Baroque Orchestra
Dream
Mozart Magnified
Nitin Sawhney and Wang Ramirez
A Musical Life
WHEN: SAT U R DAY, S E P T E M B E R 29, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: S U N DAY, S E P T E M B E R 30, 7:00 P M
WHEN: W E D N E S DAY, O C TO B E R 3, 7 : 30 P M
VENUE: BING ST U D I O
VENUE: B I N G C O N C E RT HALL
WHEN: T H U R S DAY & F R I DAY, O C TO B E R 4 & 5, 7 : 30 P M
VENUE: MEMORIAL AU D I TO R I U M
Acclaimed artist Nitin
Delgres, a 2018 Globalfest
A Bay Area treasure,
A theatrical realization of
Sawhney presents an evening
performer, makes music
Philharmonia Baroque
a concept originated by
of music and memories
rooted in a historical
Orchestra plays classical
Nitin Sawhney, Dystopian
featuring tabla artist Aref
moment: 1802, when slavery
jewels on period instruments.
Dream features animated
Durvesh and vocalist Eva
returned to Guadeloupe and
Nicholas McGegan leads
projections, flying by wire,
Stone.
some islanders escaped to
works by Mozart with the
and dazzling set design.
New Orleans.
Philharmonia Chorale.
Generously supported by the Koret Foundation
Generously supported by the Koret Foundation
15
POP
POP
Gavin
Diana
Turek
Gameros
WHEN: F R I DAY, O C TO B E R 1 2 , 9 : 30 P M
TA L K /C L A S S I C A L
FOLK
What Makes It
I’m with
Great?
Her
VENUE: BING ST U D I O
Deeply versatile in expression,
Network and MINT magazine,
Berkeley-based Diana
Turek serves up disco
Gameros hypnotizes with solo
shimmer, house music unz,
guitar and a voice that is “at
and electro-pop catchiness.
once strong and breathy—in
Drs. Ben and A. Jess Shenson VENUE: B I N G ST U D I O ( W E D) B I N G C O N C E RT HALL (THU)
WHEN: W E D N E S DAY, O C TO B E R 10, 7:30 P M
This folk trio featuring Sara
and audience fave Rob
Watkins (violin), Sarah Jarosz
Kapilow returns with
(banjo, mandolin, and guitar),
Janáček’s Intimate Letters on
and Aoife O’Donovan (guitar)
Oct. 10, followed the next
has garnered acclaim for
night by a look at legendary
its blend of instrumental
Broadway composer and
interplay combined with
lyricist Stephen Sondheim.
melodies.
an instant, wounded and boldly searching” (NPR).
Funds
VENUE: B I N G C O N C E RT HALL
Master musician, explainer,
VENUE: BING ST U D I O
Curated by Stanford Concert
Generously supported by the WHEN: W E D N E S DAY, O C TO B E R 10, 7:00 PM T H U R S DAY, O C TO B E R 11, 7 : 30 P M
WHEN: SAT U R DAY, O C TO B E R 1 3, 7:00 PM
T H E AT E R
NEW MUSIC
Hi, Are You
Kronos
Single?
Quartet
Ryan Haddad
Music for Change: The Banned Countries
WHEN: T H U R S DAY & F R I DAY, OCTOBER 18 & 19, 8:00 PM
VENUE: BING ST U D I O
WHEN: SAT U R DAY, O C TO B E R 2 0, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
Join writer/performer Ryan J.
The Grammy Award-winning
Haddad on a roller coaster
Kronos Quartet premieres
through New York’s gay dating
a new program featuring
scene, where the highs are
music from the original seven
high and the lows are lonely.
“banned” countries—Iran, Iraq, Libya, Somalia, Sudan, Syria, and Yemen—among others. With support from Stanford’s Hamid and Christina Moghadam Program in Iranian Studies
16
CHAMBER
Sundays with the St. Lawrence With Anne-Marie McDermott, piano WHEN: S U N DAY, O C TO B E R 14, 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
Stanford’s own St. Lawrence String Quartet opens its Sunday series with pianist Anne-Marie McDermott featured in Mendelssohn’s Piano Sextet.
P O P/ C A B A R E T
John Lloyd Young Broadway’s Original “Jersey Boy”
WHEN: SAT U R DAY, O C TO B E R 27, 7 : 0 0 & 9 : 00 P M
VENUE: BING ST U D I O
The multiple-award winner from Broadway’s Jersey Boys
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comes to the Bing Studio with music from the 1950s and 1960s all in the authentic style of rock and roll, doowop, and R & B.
A not-for-profit community owned and operated by Covia. License No. 435202504 COA# 328 EPLG751-02C 8/16
New fall exhibitions are opening at the Cantor Arts Center and
SEP / OCT 2018
Campus Partners
the Anderson Collection. At the Cantor: Contact Warhol: Photography without End, opening Sept. 29, features an unparalleled collection of Andy Warhol’s photography— including images never before exhibited—and other examples of the artist’s iconic work. On Oct. 17, artist El Anatsui will be in conversation as part of the
1
2018 Ruth K. Franklin Lecture
3
on the Arts of Africa, Oceania,
2
and the Americas. El Anatsui, whose work Uwa is on display at the Cantor, is known for sculptures that draw connections between consumption and the environment. At the Anderson: Salon Style II, opening Sept. 20, features collages, watercolors, drawings, and paintings on paper from the Anderson family’s collection. On Sept. 27, Spotlight on Elizabeth Murray opens with examples of Murray’s colorful shaped canvases. For more information, please visit arts.stanford.edu. 1
2
3
Contact Warhol:
Artist El Anatsui
Salon Style II
Photography without End
in Conversation
Opens Thu, Sep 20, 11:00 AM
Opens Sat, Sep 29, 11:00 AM
Wed, Oct 17, 6:00 PM
Anderson Collection at
Cantor Arts Center
Bing Concert Hall
Stanford University
Exhibition includes some images
Presented as part of the 2018
A second group of works
that may not be appropriate for
Ruth K. Franklin Lecture on
on paper from the Anderson
young viewers
the Arts of Africa, Oceania,
family’s collection
and the Americas
18
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SEP / OCT 2018
Scene & Heard
2
1 4
6 7
20
3
1 LU C I A M I C A R E L L I
2 MUSICA EN
E L JA R D I N On July 8, Stanford Live
Grammy Award-winning
welcomed violinist and
rapper Mala Rodríguez
vocalist Lucia Micarelli, best
and Mexican electronica
known for her collaborations
band Sotomayor took the
with Chris Botti and her role
stage for an evening of Latin
in the HBO series Treme.
hip-hop and dance on July 14.
3 M I L E S TO H I P- H O P
4 O P E R A’ S F U T U R E
S TA R S 5
This summer’s outdoor
San Francisco’s acclaimed
concert series kicked off
Merola Opera Program, one
July 13 with Jazz on the Green
of the country’s foremost
featuring three artists: Miles
training centers, brought this
Electric Band; Kev Choice, a
summer’s crop of rising young
musician, emcee, and hip-hop
singers back to the Bing for
artist; and Sidewalk Chalk.
an evening of staged opera scenes on July 7.
8
5 CLASSIC ALBUMS
6 COMPUTER OR
LIVE
C O M P O S E R?
After the success of last
That was the question put
year’s Woodstock concert
forth during KQED’s Silicon
with Classic Albums Live,
Valley Conversation on July
the group returned to the
19 about the future of music.
Bing lawn with two more
Host Tonya Mosley poses
re-creations of rock favorites:
with panelist Ge Wang,
Fleetwood Mac’s Rumours
director of the Stanford
and Creedence Clearwater
Laptop Orchestra.
Revival’s Chronicle, Volume 1. 7 N OT R E A DY FO R
8 S TA N FO R D JA Z Z
NAPTIME
F E S T I VA L
On July 15, indie family music
Stanford Live and the
all-star Justin Roberts and
Stanford Jazz Festival
his Not Ready for Naptime
teamed up again this
Players dished out an
summer. In this intimate Bing
afternoon of whimsically
Studio show on July 1, bassist
rocking music for kids and
Or Bareket performed with
their parents.
pianist Nitai Hershkovits and guest guitarist Camila Meza.
F E AT U R E T T E
1
Are You Single? Ryan Haddad and Tim Miller Discuss Dating and Relationships
Drawing on his life experiences as a gay
or unspoken, about the possibility
man with cerebral palsy, Ryan Haddad
they may end up in a performance?
strives to bring authentic depictions of disability and intersectionality to
TM: Yeah, that happens. My personal
the stage. He and his mentor, the
life has been quite settled for a long
performance artist Tim Miller, with
time in terms of relationships. But there
whom Haddad studied autobiographical
was a period with my husband, Alistair,
storytelling, share highlights of their
when I knew I wanted to begin making
conversation with Stanford Live.
work about our political situation as a couple with him being an immigrant
RH: Your work draws on your personal
from Australia and unable to remain in
life—that’s what drew me to you and
the United States. I asked him to give me
continues to inspire me to do what I do.
the go-ahead, but I wouldn’t have done
When you enter relationships with people,
that even a year earlier because it would
particularly romantic relationships, is
have made our lives more complicated
there ever an understanding, spoken
to be talking about it so soon.
2 22
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
3 1. Ryan Haddad in his solo show Hi, Are You Single? 2. Performance artist Tim Miller 3. Tim Miller with Ryan Haddad
Right before I met Alistair, I did a piece called Naked Breath about what happens when a gay man who is HIV-negative, as I am, starts a relationship with a man who is positive. In 1993 or 1994, we were talking about it all the time. I mean, it’s still complicated. I asked my friend Andrew if I could. (We had an ongoing romance.) If he had said, “I really don’t feel comfortable,” I would have changed his name, but I still would have made the
happy and content in your marriage
be my uncle saying to me, “Could you be
piece because it was something important
with Alistair. As you look back on the
any more subtle?” Then, about two years
that had happened to me. And I felt it was
journey, on the road to finding him, what
ago, my director asked, “Could we just
important to create a piece that positively
does that reflection bring you today?
change it to what he is actually saying:
shows that men who are positive and
‘Could you be any more desperate?’”
negative can be in relationships, which
TM: I think that for me, I was such a
I thought I had graduated from that
is something we take for granted now
clumsy, ambitious young gay man. But
feeling. I experience encounters with
but is still by no means simple.
I don’t think in the scheme of things
men, and many times they’re fine. I
that I was being too much of an Attila
recently had an experience with a boy
RH: When you are living life, are you
the Hun with other people’s hearts.
who I really like—and I often like boys
constantly aware, “Oh, this could be
My own heart was broken a number
who don’t like me back. It’s something
something. This could be a scene or a
of times, as well. In retrospect, I wish
that I’m used to, but this particular
story or a whole piece”? Or do you let
I could have been a little less hyper-
one just hit me in a certain way that
life happen and then reflect on it later?
ambitious, but Manhattan invites the
was so lovely and intense. And I’m
ambitious. That’s why people go there.
realizing, “Oh I’m not really that far
TM: There are certain things you can’t
off from the boy who was 22 or 23 in
imagine not performing about. With
I wish in some ways I had been less
all the work I’ve done on immigration
nervous, less desperate, less anxious.
and marriage equality, how could I
But you know, you perform that in Hi,
I want to ask you to go back 25 years
Are You Single?—that very natural, urgent
to your courtship with Alistair—or
hunger and nervous desire to find love.
anyone really—and share what
I mean, it never goes away in our lives.
is one of your fondest memories
not perform about Alistair’s green card interview and us getting married? It was something I used to worry about more. Life is so much more
Delaware, Ohio.” It doesn’t go away.
of a lovely date with a lover.
complicated than our little creative
RH: No, and there have been pockets
ventures could ever get at.
of time over the past three years since
TM: The thing that I really think of is the
I began performing it where I felt like
beach. I think of those graceful days,
RH: Your personal life has been settled
I have moved on from this character.
which feel abundant in their hours—in a
for many years now, and you’re very
There was a line in the show that used to
good way, not like on a horrible day at
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S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
work or school when the clock doesn’t
RH: I’ve gone on many dates, or what
TM: I was thinking that as I talked
move—those days where it feels like
I thought were dates. But the best
about it.
there’s plenty of time to spend with
intimate moments for me have been
Alistair and our 16-year-old dog, Frida…
just a couple of sexual encounters
RH: But I will say that, recently, I was
to spend time together and talk and
that were very lovely and passionate.
with a guy who—for the first time in my
eat and walk the dog and have sex or
My mom would be like, “Oh my God!
adult life—made the beach accessible
not have sex, to go to the beach if it’s
That’s not a date,” and of course it’s
for me.
summer. We are always going to the
not. Sometimes, though, a guy will
beach. There, it’s a mixture of romantic
understand me and my body in a
TM: How did he do that? Where were
but also timeless and heavenly in
way that is intuitive and he will make
you?
a strange way. A bit like the image
me feel a kind of sexiness, that I AM
at the end of Longtime Companion.
SEXY. For as much as I get on that
RH: We were by a lake, with some
You’ve seen that movie, haven’t you?
stage and say, “I am beautiful, I am
other people too—but I was fixated on
sexy, I am...I am…I am…” and sort of
this person that I found to be Prince
perform the act of empowerment, the
Charming. He held both of my hands
truth is that when you are a disabled
and held me in the water the whole time,
TM: That final image—much criticized
body and naked with another human
totally supporting me physically and
at the time—was amazingly beautiful,
being, it’s incredibly vulnerable.
never letting me go for the entire hour
RH: No, but now I’m going to watch it. Encore_Warhol_final_ad1.pdf
1
7/24/18
10:55 AM
a brave conquering of the afterlife.
that we were in the water together. Just
You know, if we’re not going to do that
The beach is not an accessible place
like, “I’m going to do this for you: I’m
in the theater, what are we doing?
for me.
going to make this experience possible and accessible.” It’s impossible not to fall for the man who does that. For me, it was like, this is the most intimate thing I’ve ever experienced. But I don’t want to say more than that right now. It’s still relatively close to me, that story, the emotion of that beautiful moment in the water. And I want to save it for a play or performance piece of some kind. TM: What if you imagine, each time you perform the piece, that maybe someone falls in love that night. Maybe it’s you. Maybe it’s the person in the fourth row. I think your work creates the conditions for people to see each other, appreciate each other. And that includes you. Of course, you’re so lovable in your work, as well as cranky and funny. I think the work you make helps make that happen.
Hi, Are You Single? Ryan Haddad Thu & Fri, Oct 18 & 19 8:00 PM Bing Studio
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Left Page 1. Leoš Janáček and Kamila Stösslová 2. The composer with his muse
1
Intimate Letters, with Strings Attached Excerpted from Intimate Letters: Leoš Janáček to Kamila Stösslová (John Tyrrell, translator), with permission from Princeton University Press
In 1917, the Czech composer Leoš Janáček met Kamila Stösslová while on holiday at a spa resort in Moravia. He was 63, and she was 26. Undeterred by her lack of feeling and her spasmodic replies, he sent her more than 700 love letters. And perhaps fueled by his own unrequited love, he went into high gear, composing some of his greatest music, including the String Quartet No. 2—called, fittingly, Intimate Letters, which is the focus of Rob Kapilow’s first program this season. What follows are snippets of their correspondence from 1917 to 1924. 2 26
F E AT U R E T T E
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
July 16, 1917 Accept these few roses as a token of my unbounded esteem for you. You are so lovely in character and appearance that in your company one's spirits are lifted; you breathe warmheartedness, you look on the world with such kindness that one wants to do only good and pleasant things for you in return. You will not believe how glad I am that I have met you…
LJ
August 20, 1919 You can't imagine what joy you've given me with that ring for luck. I'll certainly not lose it or break it. So you'll have an inheritance with me...
January 9, 1920 Your present, decorated with ribbons, is on my writing desk. I, who work by the pen, take great pleasure in it. I drag everyone to have a look at it. But with this silver pen I won’t write anything ordinary; when I take it in my hand, it will be something special that I write… August 27, 1922 So you can be angry such a long time? Believe me, you’ve made my holidays sad by it. It doesn’t matter about the holidays! But believe me that I need your twittering and your scrawling as the dry weather needs the rain, the dawn needs the sun, the sky needs the stars. Yes, that last comparison is the best. “What’s the sky without that little star?!...So, dear Mrs. Kamila, make up now for what you’ve not done! July 8, 1924 …Oh you know, Kamila, I’m so unutterably fond of you. I’d call out “Kamila” all the time! And sometimes, ah, I fear to say it...because it’s something not to be uttered. Not for this passion, for something higher...They say of me that I’ll live forever; that’s metaphorical. But it’s possible to live forever in other ways. Eternal life springs from you, from that dear Kamila. Oh, I’d write things like that without stopping! […]
August 20, 1919 I'm sending you here a Uttle ring with my name you'll like it and the main thing is that [the man] from whom this ring [comes] had great luck I've had it now for ten years and I've had luck too except that it got caught in my hair a lot. So I wish that for the next ten-twenty-thirty years that you wish the ring will bring you the same luck for yourself that I've had so far myself…
August 25, 1922 You know very well why I don’t want to stay at your place. For I still haven’t forgotten about the last time. Why cause pain to another person unnecessarily. I had thought I wouldn’t write to you again.
July 9, 1924 I hope you’ve got my letter already. I’m by the water the whole time, I’m already so black that I can’t even tell you… I write a bit sadly but I’ve read your letters and so I sense that love of yours for me. Where I’m sorry is if someone is suffering. It would have cost me my life. So be terribly cheerful because that’s what I wish… I never thought I’d correspond with some man and I resisted even you I didn’t want to talk to you. But fate wanted otherwise so we’ll now leave everything to fate. It’s better that you’re so old now if you were young my husband would never permit this…
July 15, 1924 You know that I opened your last letter with misgivings? And I had reason to. How can one not want you, when one loves you?... …But not to want you, though that’s an impossibility—I can’t do that. You are entire in my soul; so it’s enough for me to want you always. And to forget you, that would be sad for me and it’s impossible. So I’ll be merry according to your order… I walk here isolated; the weather’s chilly. Luckily I brought work with me.
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What Makes It Great? Janáček’s Intimate Letters With Rob Kapilow Wed, Oct 10, 7:30 PM Bing Studio
Music and Musicians from the Banned Countries For more than 40 years, San Francisco’s Kronos Quartet has embodied a spirit of fearless exploration. Its newest program, Music for Change, is a direct response to the 2017 executive orders limiting travel to the United States and highlights the rich diversity of artistic voices from the original seven “banned countries.” Here’s a snapshot of some of the notable musicians and music from the region.
3 1 2
4
L I BYA
I R AQ
Along with Morocco,
Iraq has developed a music
Algeria, and Tunisia, Libya
culture incorporating unique
inherited the musical
instruments such as the
traditions of Andalusian
coconut fiddle called the joza
Spain, developing its own
and the hammered dulcimer
unique manifestation of
as well as unique rhythms
this heritage in recent
including the 10-beat jurjuna
centuries, known locally
SY R I A
rhythm and the rousing chobi
IRAN
as ma’luf. Following
The center of the music world
rhythm, which accompanies
Persian music has a deep
independence, the new
in Syria is the city of Aleppo.
line dances.
history dating from well before
nation-state created large
In addition to being famous
the birth of Islam. In recent
state ensembles in the
for classical art music, Aleppo
centuries, Iran has developed
middle of the 20th century
is also known for a genre of
creative new manifestations
in an effort to promote
beloved sing-along songs called
of Persian music culture and
traditional Libyan music,
qudud halabiya. The dabkeh is
refined elegant instruments
led by prominent figures
a folk dance popular throughout
like the kamancheh, setar, and
like singer and composer
Greater Syria, an obligatory
tar, creating a high classical
Mohamed Hassan.
component of weddings and
art form that is the pride of
other celebratory events.
the present-day nation-state of Iran.
28
6
2
3
4
YEMEN
Yemen was home to a dynamic Jewish population
1
that was geographically isolated from other Jewish peoples and developed its
5
own unique music and dance
6
traditions. Starting in 1949, the majority of the Yemenite Jewish population migrated to Israel. They brought with
7
them devotional songs
7
(diwans) with rich poetry and rhythmic dances propelled by instruments called sahn nuhasī, which are large copper plates also used as regular kitchenware.
5
SOMALIA
Somalia shares musical attributes with other countries of the Horn of Africa. One of the common instruments in the region is the shareero, a type of lyre. Similar to Sudanese music, the music of Somalia is also pentatonic.
S U DA N
Sudan’s music is different from the music of the rest of the Arab world in that the musical scales are composed of only
—Compiled by Ari Marcus, ‘18
five rather than seven notes per octave. In other words, Sudanese music is pentatonic
Music for Change: The
rather than heptatonic. This
Banned Countries
difference gives Sudanese
Kronos Quartet
music a unique character and
Sat, Oct 20
was central to the style of
7:30 PM
musicians like Abdel Karim
Bing Concert Hall
el Kabli. 29
M A I N F E AT U R E
1
Movements By Emily K. Holmes
Whether we move across the globe
when in peril. When considering why
As daunting a task as this imperative
for an indefinite stay or just cross
and how people move and migrate, it is
might seem, the stakes of minimizing
the street for the afternoon, we are
essential to avoid what contemporary
the diversity of our collective individual
creatures who live in states of near
Nigerian novelist Chimamanda Ngozi
experiences into one dominant
constant transit. Our experiences of,
Adichie calls “the danger of the single
narrative are high: “The consequence
and reasons for, travel from one place
story” in her eponymous 2009 TED talk
of the single story is this: it robs people
to another are as innumerable and
(viewed over 15 million times online).
of dignity. It makes our recognition
varied as we are ourselves: we might
Adichie reflects on the impossibility
of our equal humanity difficult.”
change locations briefly to travel, when
of “engaging properly” with a subject
afforded a chance at leisure—or to
without taking into account “all of the
For, as Adichie astutely notes, dominant
evacuate in urgent search of safety,
stories of that place and that person.”
narratives are related to power and
30
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M A I N F E AT U R E
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
2 1. The Kronos Quartet performs its new program, Music for Change: The Banned Countries 2. Inua Ellams, the Nigerian-born author of Barber Shop Chronicles
privilege. “Power is the ability to not
stories that comprise any issue, group,
profound loss. These are no small topics,
just tell the story of another person but
or location. Making room for multiplicity
and these performances together
to make it the definitive story of that
creates a verdant new potential for
attend to the relevant social, political,
person,” she observes. Such defining
rebalancing justice, equality, and human
and historical contexts surrounding the
statements—dependent on intentionally
dignity—and this upcoming season at
creation of music and our varied life
selective information that denies nuance
Stanford Live features a much-needed
journeys.
and omits room for difference—can
and nuanced counterbalance to the
be more easily weaponized against
shortsighted view towards topics of
These sonic stories use innovative
vulnerable targets. One might consider
migration, movement, and immigration
approaches to explore the ideas of
the current American administration’s
in the public realm, using music as a
circulation with all complexities intact—
aggressive anti-immigration rhetoric,
catalyst for empathetic connection.
even the most painful sides of human history. Catalan composer Jordi Savall,
which has slung denigrating language as verbal assault against migrants
Offering a thoughtful complement to
who has long been known in his prolific
and carried out policies that enforce
last season’s theme of contemplating
career for his attention to the cross-
traumatizing treatment of asylum-
what makes us different and how we
pollination of music between cultures
seekers, including young children,
shape our unique identities, this season
and time periods, remains committed
among other harmful practices. The
invites us to consider music’s relationship
to telling multilayered musical histories
antidote against such attempts at
to the circulation of humans across time
with poignant awareness of cultural and
myopic representation, to work towards
periods and continents. This topic opens
social roots. His latest composition, The
restoring dignity, Adichie concludes, is
discussions of the universal qualities of
Routes of Slavery, showcases the varied
to make room for multiple stories, to be
navigating a course through life, finding
musical traditions impacted by—and
keenly hungry to engage with the many
connections, and enduring through
created in resilient response to—the
32
Allied Arts Guild trauma of enslavement. Beginning
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with a reading of a text by Aristotle and continuing with written narrative
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interludes across many eras, the composition centers on music created during the transatlantic slave trade between 1444 and 1888. The performance additionally highlights musical evolutions from the intercultural exchanges with music in the Caribbean and Central and South America, acknowledging the many locations impacted by slavery. Though the performance is deeply historical, it additionally highlights the ongoing consequences of slavery, such as present-day racism, the refugee crises in relation to the Mediterranean Sea, and the continued existence of human trafficking. With a cast of 32 musicians from 15 countries and three continents, The Routes of Slavery exemplifies a remarkable creative approach that doesn’t shy away from the full complexity of human history and evidences music’s role as healer, community builder, and a tool for change. Presented in close partnership with the Hamid and Christina Moghadam Program in Iranian Studies and Stanford Live, Music for Change: The Banned Countries, from the Kronos Quartet, includes a selection of pieces by composers from countries originally included in the 2017 Executive Order, or travel ban: Iran, Iraq, Libya, Somalia, Sudan, Syria, and Yemen. The program features works composed specifically for the performance, new collaborations with musicians from several of these countries (a frequent practice and core value for the group), and signature works from the quartet’s extensive repertoire. The director of the Hamid and Christina Moghadam Program, Professor Abbas Milani, comments: “For more than four decades the Kronos Quartet has been a source of sublime music, an indispensable beacon of exhilaration
Autumn Open House
Saturday, October 27, 2018 11 am to 3 pm • Children’s activities include face painting, jugglers, cookie and pumpkin decorating, plus story time • Costumes encouraged 75 Arbor Road, Menlo Park, CA www.AlliedArtsGuild.org
Benefits Lucile Packard Children’s Hospital Stanford
M A I N F E AT U R E
S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
and healing, a shining example of
on interviews with undocumented
community. Through song and speech,
art as the embodiment of the better
young people living, working, and
the Barber Shop Chronicles portrays
angels of our souls. In these troubled
studying in the United States. López
witty, raw, and heartwarming stories of
times, no one other than the inimitable
recently told the New York Times that
friendship, family relations, identity, and
Kronos could help us recognize and
the play’s mission evolved and adapted
intercultural exchanges, with region-
celebrate the dignity, humanity,
over the last year in response to the
specific musical interludes to transition
and joy in the now sadly ‘banned’
unpredictable changes in immigration
between locales. The importance of
cultures and people.” In addition to
policies, which further sparked a
the barber shop as a core space for
the performance, the musicians are
sense of urgency; he became further
community for African-American men
developing resources to further share
committed to portraying the stories
(as well as for folks of other genders)
the work with the campus community
shared with him as a grounding and
may be better established stateside,
and have been integral partners in
humanizing response to representations
and Ellams’ global narratives add
fostering conversation about the travel
in the mass media and politics.
to the richness of multiple stories centered on key gathering spaces
ban’s impact on cultural exchange. In Inua Ellams’ Barber Shop Chronicles,
for connection like this one.
The new oratorio Dreamers, by Cuban-
the Nigerian-born and London-based
American playwright Nilo Cruz and
playwright cleverly anchors the stories
For so many of the pieces described
Peruvian composer Jimmy López,
of his characters—African men and
above, another thread beyond the
likewise uses its stage as a platform to
men from the African diaspora—in
varied experiences of global movement
shine light upon overshadowed voices.
barber shop scenes set in six cities.
and migration is memory. Music—a
Performed by soprano Ana María
Each rotating vignette is played by
form of communication not tethered to
Martínez, a chorus, and Esa-Pekka
the same actors and singers and
language—is heard, felt, and embodied
Salonen conducting the Philharmonia
poignantly showcases the barber
by both performers and listeners.
Orchestra of London, the piece is based
shop as a space for gathering in
3 3. Catalan composer and music historian Jordi Savall 4. The original company of Barber Shop Chronicles at the National Theatre, London
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S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 8
The multifaceted musician, producer,
personal relationships to immigration.
puts his own life on center stage in a
and composer Nitin Sawhney is keenly
Influenced by his Indian heritage, the
new orchestration reflecting upon his
aware of this relationship. His persistent
British-born musician has explored
past, developed during his residency
passion for intercultural musical
Indian independence, drawing from
at Stanford; the composition, which
exchanges was once the subject of a
his parents’ and his own experiences,
features tabla artist Aref Durvesh
miniseries of his own design for BBC
in his previous compositions. After
and vocalist Eva Stone, showcases a
Radio 2’s Spin the Globe program, and his
more than two decades of composing,
blend of music, memories, and the
own practice prominently addresses his
producing, and performing, Sawhney
inseparable points of intersection. Music is a creative medium particularly well-suited to multiplicity. Whether started by a singular author or not, performances are most often made manifest through collaboration. To truly work together—to make something, one might say, great—requires selfawareness, acknowledgement of and respect for individuality, and an openness to constant learning. But it is not every collaboration that results in a performance that moves us, shakes us to our core, and stirs up our own memories of making our way through life, loving in all its forms, and coping with loss as we grow. Embracing the strength found in rejecting the single story doubtlessly requires repeated attempts and flexibility and no small amount of patience; the stories of migration,
I N S P I R I N G T H E B E S T I N O U R K- 1 2 S T U D E N T S
movement, and displacement deserve this, and more. And it’s worth the effort—for, as Adichie tells us, “when we
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reject the single story, when we realize that there is never a single story about any place, we regain a kind of paradise.” —Emily K. Holmes is a freelance writer
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Bing Concert Hall Studio Cabaret
Experience a New Side of Bing Concert Hall In Our Underground Studio Cabaret Stanford Live’s new, intimate cabaret space in the Bing Concert Hall Studio is the perfect venue to experience a wide variety of performers up close and personal. Relax and enjoy an evening of live entertainment in this unique setting. Coming up this fall: jazzy nights with pianist Jon Cleary, Tord Gustavsen Trio, and The Baylor Project; Creole blues with Delgres; comedy night with Nick Thune; Latin roots with Diana Gameros; and more being added throughout the year.
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live.stanford.edu 650.724.2464
Tracing the Routes of Slavery
Despite the fact that for hundreds of years European nations deported more than 25 million Africans into slavery, the public at large is still insufficiently aware of this period in history—one of the most ignoble and painful. A new multicultural project from Jordi Savall and his musicians on The Routes of Slavery marks a world first in the history of music, and of the three continents involved in the trade in African slaves and their exploitation in the New World.
PORTUGAL
H I S PA N I O L A
JAMESTOWN, VIRGINIA
BARBADOS
1444
1505
1619
1657
The voyage of Captain
On September 15, King
The first African slaves arrive
Richard Ligon publishes A
Lançarote de Freitas, for
Ferdinand writes a letter
in British North America.
True and Exact History of the
the service of God and
to Nicolás de Ovando, the
Island of Barbados, in which
the Infant Prince Henry, is
governor of the West Indies,
he describes the music of
the first major commercial
making several requests,
the slaves.
venture of the Portuguese
including for the dispatch
in West Africa.
of 100 slaves for the mines in Hispaniola (present-day Dominican Republic and Haiti).
38
The Routes of Slavery Jordi Savall Sun, Nov 4 4:00 PM Bing Concert Hall
FRANCE
MASSACHUSETTS
FRANCE
BIRMINGHAM, ALABAMA
1685
1782
1848
1963
The “Black Code,” promulgated
Abandoned by her master,
The decree on the abolition
In Why We Can’t Wait, which
by Louis XIV, is the name by
the slave Belinda Sutton,
of slavery is published.
describes the 1963 Birmingham
which the royal edict of March
aged 70 years, petitions the
campaign, Martin Luther
1685 on the “Policing of Blacks”
legislature of Massachusetts
King Jr. writes, “Few people
was enforced until 1848.
for a pension as reparations
consider the fact that, in
after a lifetime of labor.
addition to being enslaved for two centuries, the Negro was, during all those years, robbed of the wages of his toil.”
39
SEP / OCT 2018
Behind the Scenes
Part of the process of season planning involves visiting different venues to experience the works under consideration for Stanford Live. I believe that it’s crucial that one member of the curatorial team sees a work live in advance of programming it. Over the summer, Laura Evans and I
1
were able to see a number of shows at Toronto’s Luminato
4 2
Festival. And just last month, our new Frost Director of Operations Mike Ryan and I toured Colorado’s stunning Red Rocks Amphitheater to better understand operating procedures at outdoor venues in preparation for reopening Frost Amphitheater next summer. Here are a few shots from our travels.
3
C H R I S LO RWAY E X EC U T I V E D I R EC TO R
1
2
3
4
R E D RO C K S
AT T H E I L LU S I O N I S T ’ S
M A L PA S O DA N C E
R I OT
TA B L E
C O M PA N Y
Red Rocks is a naturally
In a private dining room,
This Cuban company
RIOT took the Dublin Fringe
formed outdoor venue just
Scottish illusionist Scott Silven
performed Dreaming of Lions
Festival by storm in 2016,
outside of Denver. While there,
hosted an evening of dining
along with other works with
winning the award for Best
we saw the artists Portugal.
and whiskey tasting interwoven
Arturo O’Farrill and the Afro
Production. It’s a fun mix
The Man and Leon Bridges.
with illusion, mentalism, and
Latin Jazz Ensemble.
of dance, drag, circus,
storytelling.
and comedy.
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60 Bay Area locations. Stanford pediatricians, now in your neighborhood at Peninsula Pediatric Medical Group in Menlo Park
Access to Excellence.
S E P / O C T 2018
Membership
Stephanie and Fred Harman pose with Wynton Marsalis following his performance in September 2016.
Meet Our Members FRED HARMAN
a high level. But at Stanford, I
level, both create shared,
I love being involved in an
was grateful to find so many
communal experiences that
organization that presents
musical outlets including the Longtime Stanford Live
are emotionally powerful and
some of the world’s top
Stanford Band (for just five
supporter Fred Harman
greatly enrich community life.
artists in some of the most
years!), Jazz Ensemble, and
becomes chair of our Advisory
Given all the time we spend
stunning venues around,
pit orchestra for Ram’s Head
Council this fall. He recently
in front of screens, these
including Bing Concert Hall
productions. Music was my
shared his thoughts on
moments bring us back to an
and the soon-to-reopen Frost
main thing and that naturally
Stanford Live as he looks
essential human experience
Amphitheater. It’s an honor to
carried over as an alum
ahead to his new role.
that most everyone is craving.
support Stanford’s and Chris
supporting Stanford Live.
How did your connection to
You and your wife, Stephanie,
performing arts on behalf of
As a co-owner of the Golden
have many volunteer
our community both in and
State Warriors, this is an
I grew up playing trumpet in
commitments, such as
around Stanford.
exciting time for you! What
a family of classically trained
serving on the Stanford
connects basketball and live
musicians but lacked the
Hospital Board. So why
performance?
discipline to play classically at
deepen your involvement
I suppose at a very basic
with Stanford Live now?
Stanford Live begin?
Lorway’s aspirations for the
42
Membership Relaunch Earlier this year, Stanford Live relaunched our membership program with streamlined membership levels and additional benefits. Members can now enjoy 12 months of member benefits from the date of their membership gift, replacing our former season-based membership program. We offer four member presale levels, with no minimum ticket purchase, plus complimentary ticket exchanges throughout the season. At higher levels, members receive invitations to exclusive events, fee-free ticket orders, reserved parking, and more. Not a Stanford Live member? Join today at live.stanford.edu or contact the membership team at supportstanfordlive@stanford.edu or 650.725.8782.
Join the Future of Frost Stanford’s beloved Frost Amphitheater is undergoing an extensive renovation and will reopen in spring 2019. With a new, state-of-the-art stage, improved patron amenities, and accessibility, Frost will be able to host events in style—from concerts to ceremonies to screenings—including a Stanford Live summer performance series. We invite you to be part of Frost’s exciting future. Your gift of any size will help renew this historic venue. Gifts of $1,000 or more will receive special recognition. For more information or to give online, please visit arts.stanford.edu/frost.
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Stanford Live Members Stanford Live thanks the following members for their support: BING CIRCLE ($25,000+) Anonymous Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Scott & Molly Forstall Jill Freidenrich Mary & Clinton Gilliland Marcia & John Goldman Drs. Lynn Gretkowski & Mary Jacobson Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Stephanie & Fred Harman Rick Holmstrom & Kate Ridgway The Hornik Family Leslie & George Hume Fong Liu Deedee & Burton McMurtry Phyllis Moldaw Barbara Oshman Mindy & Jesse Rogers Marian & Abraham Sofaer Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum David Wollenberg Priscilla & Ward Woods
BING DIRECTOR’S CIRCLE ($15,000–$24,999)
SUSTAINER ($2,500–$7,499)
Joan F. Lane Leatrice Lee Debra & Mark Leslie Carrick & Andrew McLaughlin Linda & Tony Meier Nancy & Lawrence Mohr William Reller Condoleezza Rice Madeline & Isaac Stein
Keith Amidon & Rani Menon Jonathan, Frances & Alison Axelrad Jim & Becky Campbell James Canales & James McCann William Coggshall & Janet Littlefield Sissy & Theodore Geballe Judy & Jerrol Harris Kari & Michael Kirk Charlotte & Larry Langdon Betsy & Matt Matteson Judy M. Mohr & Keith W. Reeves Betsy Morgenthaler Og & Ogina Kenneth Weinberg Albert Yu & Mary Bechmann Foundation
BING ARTIST’S CIRCLE ($7,500–$14,999) Anonymous (5) Fred Alvarez & Beth McLellan Alvarez Carla Baird & David Crane Felicity Barringer & Philip Taubman Alison & Joe Barta Sally Benson & Terry Surles Recia & Mark Blumenkranz Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Regina & Gerhard Casper Diane & Stephen Ciesinski Ann & David Crockett Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey William Draper III Debbie Duncan & Bill Stone Barbara Edwards Melissa & Trevor Fetter Mary & William Fitch Jean-Marc Frailong & Richard Halton Maggie & Fred Grauer Ann M. Griffiths Gail & Walter Harris Eleanor & Bruce Heister Anne & Jack Holloway Larry Horton & George Wilson Elizabeth & Zachary Hulsey Mary Ittelson Lucie Jay Sallie De Golia-Jorgenson & John Jorgenson Betty & Bob Joss Roberta & Charles Katz Lisa Keamy & Lloyd Minor Kathy & John Kissick Ingrid Lai & William Shu Carolyn & William Langelier Laura & Gary Lauder Bren & Lawrence Leisure Cynthia & Richard Livermore Rick & Amy Magnuson Jane & Michael Marmor Victoria & James Maroulis Jim McLaughlin & Cathy McMurtry Bill Meehan David Morandi Tashia & John Morgridge Dean Morton Susan & Bill Oberndorf John O’Farrell & Gloria Principe Lynn & Susan Orr Anthony Paduano & Ruth Porat Donna & Channing Robertson Barbara & Greg Rosston Tom Sadler & Eila Skinner Meryl & Rob Selig The Honorable & Mrs. George P. Shultz Barbara & Arnold Silverman Dr. Harise Stein & Mr. Peter Staple Diane & Hal Steuber Andrea & Lubert Stryer Lena & Ken Tailo Carol & Doug Tanner Lorna & Mark Vander Ploeg Karin & Paul Wick Susan & David Young
PARTNER ($1,000–$2,499) Anonymous (7) Marian & Jim Adams Therese Baker-Degler Lisa Barrett Deborah & Jonathan Berek Mildred & Paul Berg Celeste & Wendell Birkhofer Carolyn & Gary Bjorklund Linda & Steve Boxer Susan Breyer Joan & Thomas Brown Terri Bullock John Carter & Edie Goldberg Tasha Castaneda Andy & Mary Chan Donald Cheu Holly & Andrew Cohen Joanne & Michael Condie Toni Cupal & Mike Volpi Cornelia L. Dekker Debra Demartini Tom Dienstbier & Joyce Firstenberger Sally Dudley & Charles Sieloff Diane Elder & Bruce Noble Patricia Engasser Sally & Craig Falkenhagen Stanley Falkow & Lucy Tompkins Margaret Ann & Don Fidler Doug Fitzgerald & Amy Ladd Rona Foster & Ken Powell Lorien French Betsy & David Fryberger Aileen Furukawa Daniel Garber & Catharine Fergus Garber Jane & Bruce Gee Ed Haertel & Drew Oman David Hants & Ilze Silis Eric Hanushek & Margaret Raymond Joerg & Christine Heilig Anne & William Hershey Caroline Hicks Leslie Hsu & Richard Lenon Rex & Dede Jamison Pamela S. Karlan Julie Kaufman & Doug Klein Randall Keith & Karen Hohner Ed & Kay Kinney Albe & Ray Larsen Ayleen & Emory Lee Lucy & Jason Lee Shirley Liebhaber Kristen & Felix Lo Joan Mansour Sandra & Joseph Martignetti Yoshiko Matsumoto & John Ryan Richard Mazze & Sheila Cohen Vicky & Jim Merchant Dick Miller & James Stutts Chris & Saira Morace Martha Morrell MD & Jaime Tenedorio PhD Celia Oakley & Craig Barratt Mary Jane & Richard Otte Carmela & Eli Pasternak
Carol & Myles Berg Shawn & Brook Byers Lynn & Jim Gibbons Morton Grosser Catherine & Franklin Johnson Marlo Kahn Kitch & Justin Kitch
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Jin-Piao Trust Shirley & Bob Raymer Kathy & Gary Reback Rossannah Reeves Sara Eisner Richter & Michael Richter Diane & Joe Rolfe Amy Rosenberg & John Slafsky Nancy & Norman Rossen Diana & Philip Russell Doris Sayon Elizabeth & Mark Schar Fund of The Greater Cincinnati Foundation Jane Shaw & Peter Carpenter Deborah & Michael Shepherd Susan Speicher Srinija Srinivasan Linda & Jeffrey Suto Michelle Swenson & Stan Drobac Onnolee & Orlin Trapp Ben Wegbreit Dr. Irving Weissman & Ann TsukamotoWeissman Karen & Rand White Mansie & Gary Williams Dr. Carlene Wong & Dr. Philip Lee Elizabeth F. Wright Sharon & Robert Yoerg
ADVOCATE ($500–$999) Anonymous (8) Laura Adams Bill Albright & Jeryl Hilleman Janice & William Anderson Lois & Edward Anderson Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Ann & John Bender Susan Berman & Leon Lipson Charlotte & David Biegelsen Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Patty Boone & Dave Pfefer David Braker Prudence Breitrose Laura Breyfogle & David Warner Maude & Philip Brezinski Katharine Carroll & Alison Rosenthal Chanin & Dotson Family Nona Chiariello & Chris Field Joyce Chung & Rene Lacerte Ann Hammond Clark Suzanne & Bruce Crocker Melanie & Peter Cross Ken Daigle & John Schramm III Richard De Luce Christina Reid Dickerson Michael Dickey Michael Duff Kathleen Dumas Robert Dutton & Carol Walsh-Dutton Eleanor Eisner Maria & George Erdi Anna Espinosa Jeffrey Fenton Alex Fielding Joan & Allan Fisch Robert Flanagan & Susan Mendelsohn Drs. Margaret L. Forsyth & Glenn D. Rennels Sarah & Stan Freedman Carol C. & Joel P. Friedman Leah & Lawrence Friedman Martha Gates & Spencer Commons Elizabeth Gish Charles Goldenberg & Pamela Polos Margaret & Ben Gong Brian & Susan Gray Sara & Michael Hammond Fran & Steve Harris Katherine Hill & Edward Stabler Linc & Robin Holland Chris Iannuccilli & Michele Schiele Alyson & James Illich
Sally & Rob Jackson Leigh & Roy Johnson Lil & Todd Johnson Katherine Jolluck & Norman Naimark Carol Kersten & Markus Aschwanden Mary Lou Kilcline Barbara Klein & Stanley Schrier Renate Klipstas Christina Kong Jeffrey Koseff & Thalia Anagnos Linda & Fredric Kraemer Edward & Miriam Landesman Mr. & Dr. Kurt F. Lang Cathy & Stephen Lazarus Joan & Philip Leighton Doreen & David Leith Roxanne Leung Sanford Lewis Irene Lin Drs. John & Penny Loeb Teri Longacre & Richard Hildebrandt Rachel & Zohar Lotan Kathryn Naylor Low Patricia & George Lundberg Vera Luth Ruth Lycette Kathy Mach & David Scherer Charlene & Dick Maltzman S. Martin & R. Zemlicka Marylin McCarthy Penny & Jim Meier Elyce Melmon Evelyn Miller Christine & Ronald Orlowski Shari & Donald Ornstein Nancy & Stephen Player Barbara & Warren Poole Kitty & Lee Price Richard & Karen Recht Christine Robles Maureen & Paul Roskoph Elise & Jay Rossiter Loren & Shelley Saxe Paula & George Schlesinger Schwabacher Family Robyn & Mark Setzen Craig Sherman & Susan Shin Judith & William Shilstone Diane & Branimir Sikic Mary Ann Sing Hannah & Richard Slocum Karen & Frank Sortino Barbara & Charles Stevens Tracy Storer & Marcia Kimes Eleanor Sue Rosi & Michael Taymor Jan Newstrom Thompson & Paul Goldstein Penelope & Robert Waites Joan & Roger Warnke Patti & Ed White John & Jane Williams Polly Wong & Wai Fan Yau Mitchell & Kristen Yawitz
SUPPORTER ($250–$499) Anonymous (15) Matthew & Marcia Allen Dana & Juliana Andersen Richard & Delores Anderson Dan & Leslie Armistead James & Jennifer Bae Anne & Robert Baldwin Betsy & George Bechtel Bethel Berhanu Pamela Bernstein Barbara Blatner-Fikes & Richard Fikes Christopher & Jane Botsford Caroline Bowker & Charles Bliss Ruth Brill Beverly Brockway Alex & Sonya Brousilovsky Jefferson Burch & Christine Weigen Lottie & Henry Burger Francis & Nancy Cavagnaro
Beth Charlesworth Susan Christiansen Albert & Betty Cohen Susie Cohen & Barry Weingast Elaine Costello & Warren Dougherty Richard & Suzanne Cottle Patricia & Tim Daniels Lothar de Temple Bernadine Donoghue Debra Doucette Maureen & Paul Draper Ellen & Tom Ehrlich Melanie & Stephen Erasmus Patricia & Fred Evans Joyce Farrell & Brian Wandell Nancy & Tom Fiene Barry Fleisher Shelley Floyd & Albert Loshkajian Madeleine Frankel Amy C. Friedman E. Alexander Glover The Goldhaber-Fiebert Family Paul Goldstein & Dena Mossar Harry & Diane Greenberg Linda & John Griffin Ann & Barry Haskell Tanya Hastings Karin Heck Jeffrey & Caron Heimbuck Wendy & John Hillhouse Jeanne Hochman Bebe & Rich Hoppe Rob Huffman & Emily Smith Edmon Jennings Patricia Johnson Jane & Bill Johnson Zeev Kaliblotzky Stina & Herant Katchadourian Ron Katz & Libby Roth Barney & Keats Shirley Kelley Lynn & Richard Kelson Michael & Wendy Kirst Norman & Nina Kulgein Ralph & Rose Lachman Uri Ladabaum Cathy & Dick Lampman Catherine Kawon Lee Y. K. Lee Laurie Leventhal-Belfer Reuben Levy Claire & Herbert Lindenberger Edward Lohmann Marion & Erick Mack Nancy Marks & Steve Mitchel Jane & Thomas Marshburn Mark Mathisen Laure & Sam Mazzara James McClelland & Heidi Feldman Meghan McGeary & Chih Sung Maura McGinnity & Erik Rausch Wallace Mersereau Alan F. Miller Rudolf Moos Mary Mourkas Coralie & Gerhard Mueller Kathryn & Peter Muhs Jean & Bryan Myers Fred & Kirstin Nichols Theodor & Lisa Nissim Michael McFaul & Donna Norton Joan Norton Cynthia & James Nourse Richard Olshen Dick & Sandi Pantages Gary Peltz Joseph Pickering Klaus & Ellen Porzig Lowell & Carole Price Jennifer Rose Ruth Rothman John Sack & Jeff Rensch Linda Sampson Lisa Scheidecker & Andrew Velline Angela & Samuel Schillace Joy & Richard Scott
Lorraine & Jerry Seelig Judy & Denis Severson Carla Shatz Matthew Sommer & Ih-hae Chang Scott & Gayle Spencer Kathy Stark & Christopher Aoki Elliot & Karen Stein Suzanne Stout Elizabeth Trueman & Raymond Perrault Ina Trugman James Tuleya & Karen Hurst Brigitte & John Turneaure Debbie Vallarino Teri & Mark Vershel Lisa Voge-Levin Dr. and Mrs. R. Jay Whaley Jeri & Kevin Wheaton Diane Wieder Curt Williams Warren Wu Cristina Zappacosta Selma Zinker
PERFORMANCE SPONSORS Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Mary & Clinton Gilliland Marcia & John Goldman Stephanie & Fred Harman Leslie & George Hume Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum David Wollenberg
INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 Anonymous California Arts Council Chamber Music America Nathan Cummings Foundation, with the support and encouragement of Jaimie Mayer Ann and Gordon Getty Foundation National Endowment for the Arts Drs. Ben and A. Jess Shenson Funds $1,000–$9,999 Aaron Copland Fund for Music Kinder Morgan Foundation New England Foundation for the Arts Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 8/8/18. For corrections, or to make a contribution, please contact us at 650.725.8782 or supportstanfordlive@stanford.edu. To learn more about giving to Stanford Live, visit live.stanford.edu/give. § Deceased
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2018–19 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide advice on the strategic direction of the organization. Fred Harman, Chair Jeanne Aufmuth Peter Bing Rick Holmstrom David Hornik George H. Hume Leslie P. Hume Bren Leisure Betsy Matteson Linda Meier Trine Sorensen Srinija Srinivasan Doug Tanner David Wollenberg Ex officio: Maude Brezinski Stephen Sano Matthew Tiews
Bing Concert Hall Donors BUILDING DONORS Peter and Helen Bing Cynthia Fry Gunn and John A. Gunn John Arrillaga Family Anne T. and Robert M. Bass Roberta and Steve Denning Elizabeth and Bruce Dunlevie Jill and John Freidenrich Frances and Theodore Geballe Andrea and John Hennessy Leslie and George Hume Susan and Craig McCaw Deedee and Burt McMurtry Linda and Tony Meier Wendy Munger and Leonard Gumport Jennifer Jong Sandling and M. James Sandling Regina and John Scully Madeline and Isaac Stein Akiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND DONORS With appreciation for the following donors, who provide major support for programming and musical instruments for Bing Concert Hall. Anonymous Apogee Enterprises, Inc. The Adolph Baller Performance Fund for Bing Concert Hall Friends of Music at Stanford Fred and Stephanie Harman Fong Liu Elayne and Thomas Techentin, in memory of Beatrice Griffin Bonnie and Marty Tenenbaum The Fay S. and Ada S. Tom Family Turner Corporation The Frank Wells Family Maurice and Helen Werdegar
NOV / DEC 2018
Calendar
NOV 1 & 2
Thu-Sat
Wed
NOVEMBER 8 -10
DECEMBER 5
Barber Shop Chronicles
Philharmonic Fire
Fuel Theatre Company &
Philharmonia Baroque
the National Theatre
Orchestra
Sat
Fri
NOVEMBER 10
DECEMBER 7
Czech Philharmonic
Dwayne Dopsie and the Zydeco Hellraisers
Wed Sat
NOVEMBER 14
NOV Thu & Fri NOVEMBER 1 & 2
Estonian Philharmonic
DECEMBER 8
Chamber Choir
Paula West
Thu
Wed
NOVEMBER 15
DECEMBER 12
Circa
Neil Gaiman in Conversation
A Chanticleer Christmas
Sat
Fri
Fri
Humans
NOVEMBER 3
H. K. Gruber’s Frankenstein
NOVEMBER 30
DECEMBER 14
Decoda Ensemble
Christmas Time Is Here Dianne Reeves
Sun
DEC
NOVEMBER 4
The Routes of Slavery
Sat
Jordi Savall
DECEMBER 1
Miramar
Wed
Sat DECEMBER 15
Nat King Cole & Me Gregory Porter Sun
NOVEMBER 7
DECEMBER 16
David Bowie’s Blackstar
Sonos Handbell Ensemble
Ambient Orchestra with
with Frederica von Stade
Maya Beiser NOV 7
NOV 8–10
SINGLE TICKETS NOW ON SALE!
Presented by Stanford Live
LIVE.STANFORD.EDU OR 650.724.BING (2464)
Stanford University
Visit the Stanford Live website for updates.
365 Lasuen Street, Second Floor
All programs and prices are subject to change.
Littlefield Center, MC 2250 Stanford, CA 94305
46
Plan Your Visit
Things to Know The Interlude Café in Bing
Change your plans?
Large-print programs
Concert Hall’s lobby serves
Exchange your tickets or make
are available with 72
guests before performances
a tax-deductible donation at
hours’ notice given to
and during intermission. For
live.stanford.edu/changes.
the administrative office.
complete hours, menus, and
Please send all requests to stanfordlive@stanford.edu.
preordering options, visit
Wheelchair seating, with up
live.stanford.edu/dining.
to three companion seats per wheelchair space, is available
Volunteer usher positions
Latecomers arriving after
for all performances. Please
are available throughout the
curtain time will be seated
indicate your needs when
year. For more information,
at a suitable interval in the
purchasing tickets so that an
please send an email to
program or at intermission.
appropriate location can be
bstarr@stanford.edu.
We recommend that you
reserved for you.
arrive at least 30 minutes Sign language interpreting
prior to performances.
is available with five business Assisted-listening devices
days’ notice given to the
are available. Please visit
administrative office—call
Patron Services prior to the
650.723.2551 or email us at
show for more information.
stanfordlive@stanford.edu.
Performance Venue Information Bing Concert Hall &Bing UN
Concert Hall Ticket Office AR
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Frost Amphitheater
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Memorial Church
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Memorial Auditorium
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Stanford Ticket Office
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Anderson Collection at
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Directions For driving directions or
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public transportation
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can be found along the Oval at the end of Palm Drive, on
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Lot and on Lasuen Street, the Oval.
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101
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Alumni Café, Arrillaga
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Parking for Bing Concert
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Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays after 4:00 pm and on weekends at all times. Disabled parking, loading, and servicevehicle restrictions are enforced at all times.
47
information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit http://visit.stanford.edu/plan/ parking.html.
PREDICT PREVENT CURE
precisely
Precision Health is a fundamental shift to more proactive and personalized health care that empowers people to lead healthy lives. Stanford Medicine is driving this transformation by leveraging the art and science of medicine to predict and prevent disease before it strikes and cure it decisively if it does. med.stanford.edu
Published on Sep 4, 2018
Music and Movement across the Globe, Instruments from the Banned Countries, Ryan Haddad on Dating, and More.
Published on Sep 4, 2018
Music and Movement across the Globe, Instruments from the Banned Countries, Ryan Haddad on Dating, and More.