Stanford Live Magazine - Jan/Feb 2018

P E R FO R M I N G A RT S M AGA Z I N E

INSIDE

JAN / FEB 2 018

Cameron Carpenter unleashes his touring organ, a look at Bernstein and the American Sound, plus the greatest backup singer of all time.

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CONTENTS

Stanford Live Staff & Sponsors Welcome

p—6

Upcoming Events Scene & Heard

p—8

p—14

Behind the Scenes

Leonard Bernstein..

Membership

A Political Life

p—5

p—33

p—34

Stanford Live & p—36 Bing Concert Hall Donors

By Barry Seldes

Calendar

p—38

Plan Your Visit

P A G E ­­— 24

Infographic

Artist Voices

Cameron Carpenter’s International

Rob Kapilow on Bernstein’s

Touring Organ

West Side Story

p—16

p—22

Featurette

Featurette

Benjamin Millepied’s

Composing the American Sound

L.A. Dance Project p—30

p—18

Photo Essay Darlene Love: The Greatest Backup Singer Ever p—20

3

p—39

Jan/Feb 2018 Volume 10, No. 3

S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8

STAFF

FOUNDATION & GOVERNMENT PARTNERS

Paul Heppner Publisher

Chris Lorway Executive Director

Susan Peterson Design & Production Director

Bryan Alderman Assistant Director of Development

Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Carol Yip Sales Coordinator

Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Robert Cable Communications Manager

IN-KIND PARTNERS

Ryan Davis Associate Director of Engagement and Public Programs 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

MEDIA PARTNERS

Sierra Gonzalez Director of Marketing, Communications, and Patron Services Danielle Menona Development Associate

Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Sara Keats Marketing Manager Ciara Caya Customer Service Representative & Administrative Assistant

Maurice Nounou Assistant Director of Ticketing and Sales Noreen Ong Executive and Contracts Administrator

Stanford Live’s 2017–18 season is generously supported by Helen and Peter Bing.

Egan O’Rourke Audio/Video Assistant Manager

Underwriting for student ticket discounts for the 2017–18 season is generously provided by the Bullard family.

Kimberly Pross Director of Production Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development Toni Rivera Operations Coordinator Ivan Rodriguez Artist Liaison/Cabaret Manager

Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com

Jan Sillery General Manager Bill Starr House Manager Krystina Tran Marketing Manager

PHOTO CREDITS Encore Arts Programs is 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.

On the cover: Cameron Carpenter photo by Heiko Laschitzki. Page 3: Leonard Bernstein photo by Allan Warren, 1973.

Page 6: Illustration by Hybrid Design. Pages 14 & 15: Photos 1, 3, 5, 6, and 8 by Harrison Truong; 2, 4, and 7 by Azar Kafaei.

Pages 16 & 17: Photos by Marco Borggreve. Page 18: Photo by Rose Eichenbaum. Page 20: Photo by Christopher Logan.

Page 24: Photo by Paul de Hueck, courtesy of Leonard Bernstein Office. Page 27: Photo by Al Ravenna, 1955, courtesy of the Library of Congress. Page 28: Photo by Bob Serating. Page 30: Aaron Copland photo by Eric Auerbach. Page 32: Photo by Carl Van Vechten. Page 34: Photo by Steve Castillo. Page 35: Photo 2 by Harrison Truong; 3 and 4 by Joel Simon.

5

WELCOME

C H R I S L O R WAY EXECUTIVE DIRECTOR

“Jazz is a white term to define black people.

My music is black classical music.”

—NINA SIMONE

It could be argued that the 20th

We kick off 2018 with performances by

Stanford Live presents

century in America was when

one of the country’s oldest orchestras,

a wide range of the finest

the country solidified its identity

the St. Louis Symphony, and one of its

performances from around the

through innovation and growth.

newest dance ensembles, Benjamin

world, fostering a vibrant learning

The arts were a big part of this,

Millepied’s collaborative L.A. Dance

community and providing dis-

giving voice to both the triumphs

Project, which has injected a new energy

tinctive experiences through the

and the pains that faced the

into the Los Angeles dance scene. We’ve

performing arts. With its home at

nation during this period. In the

also added new shows including k.d.

Bing Concert Hall, Stanford Live is

coming months, Stanford Live

lang, Stew, and Ute Lemper, alongside

simultaneously a public square, a

continues its exploration of this

talks by the acclaimed music critic Alex

sanctuary, and a lab, drawing on

artistic evolution—presenting

Ross and iconic filmmaker John Waters.

the breadth and depth of Stanford

the music of Charles Ives and

University to connect perfor-

Duke Ellington and living national

Finally, Stanford Live is excited to

mance to the significant issues,

treasures like Darlene Love (who joins

announce a new partnership with the

ideas, and discoveries of our time.

forces with the Stanford Symphony

Stanford Concert Network to bring a

Orchestra in February). We also mark

series of student-curated performances

the centenary of Leonard Bernstein,

to the Bing Studio. Read about the

who—as educator, collaborator,

project and the students involved on

activist, and musical populist—was

page 33.

a powerful voice throughout this “American Century.”

6

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JAN / FEB 2018

Upcoming Events 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

CLASSICAL

POP

POP

St. Louis

Ana

Julian Fleisher

Symphony

Gasteyer

in Concert: 1975

David Robertson: Music Director Augustin Hadelich: Violin

Lance Horne: Music Director

Lance Horne: Music Director

WHEN: F R I DAY, JA N UA RY 19, 7:30 P M

WHEN: F R I DAY, JA N UA RY 26, 8:00 PM & SAT URDAY, JA N UA RY 2 7, 10:00 PM

VENUE: B I N G C O N C E RT HALL

VENUE: B I N G C O N C E RT H A L L ST U D I O

WHEN: F R I DAY, JA N UA RY 26, 10:00 PM & SAT U R DAY, JA N UA RY 2 7, 8:00 PM

VENUE: B I N G C O N C E RT H A L L ST U D I O

The St. Louis Symphony—

Audiences fell in love with

This roof-raising, barn-

the second oldest in the

Ana Gasteyer on six seasons

burning concert is devoted

nation—performs Thomas

of Saturday Night Live,

to the proposition that 1975

Adès’ Dances from the opera

where she unabashedly

was the very best year in

Powder Her Face, Benjamin

played and sang at full

American pop. With his

Britten’s Violin Concerto, and

tilt. When she steps up to

Rather Big Band behind him,

Shostakovich’s Symphony

the mic, she evokes the

Fleisher takes the audience

No. 1.

swagger of an era when a

to church where the gospel is

lady ruled a nightclub.

the music of the 1970s.

8

DANCE

L.A. Dance Project Benjamin Millepied: Artistic Director

Our life here Chris Gandel and Misty, joined in 2014

WHEN: F R I DAY, JA N UA RY 26 & SAT U R DAY, JA N UA RY 27, 7 : 30 P M

VENUE: MEMORIAL AU D I TO R I U M

POST-SHOW TALK: JA N UA RY 26

Former Paris Opera Ballet Artistic Director Benjamin Millepied founded the L.A. Dance Project in 2012 to make new work for a small group of dancers in collaboration with visual artists, musicians,

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CLASSICAL

Jeremy Denk and Stefan Jackiw Play Ives

WHEN: S U N DAY, JA N UA RY 2 8, 2 : 30 P M

VENUE: B I N G C O N C E RT HALL

Jeremy Denk, piano virtuoso and a MacArthur “Genius” award winner, visits the Bing with noted violinist Stefan Jackiw—and members of the Stanford Chamber Chorale— for a performance of all the sonatas of Charles Ives.

Generously supported by Trine Sorensen and Michael Jacobson

CLASSICAL

T H E AT E R

POP

Cameron

Counting Sheep:

Darlene

Carpenter

A Guerrilla Folk

Love

Opera

Featuring the International Touring Organ WHEN: SAT U R DAY, F E B RUA RY 3, 7:30 P M

Lemon Bucket Orkestra WHEN: WEDNESDAY, FEBRUARY 7– SATURDAY, FEBRUARY 10, 8:0 0 P M

VENUE: B I N G C O N C E RT HALL

POP

Notes of a Native Song Stew and the Negro Problem

WHEN: F R I DAY, F E B RUA RY 2, 8 :0 0 P M

POST-SHOW TALK: EVENINGS

The singer-songwriter Stew—

WHEN: F R I DAY, F E B RUA RY 9, 7 : 30 P M

VENUE: B I N G C O N C E RT HALL

In a performance that

A sensation at the 2016

For more than 50 years,

promises to be one of a kind,

Edinburgh Festival Fringe,

singer Darlene Love has

Carpenter—who will be in

Counting Sheep, a Ukrainian

been making rock and

residence on campus—will

folk opera (featuring Toronto’s

roll’s world go ’round.

be playing his revolutionary

Lemon Bucket Orkestra, a

digital International Touring

guerrilla-folk party-punk

Presented in partnership

Organ.

band), recounts Ukraine’s Maidan Revolution.

VENUE: B I N G C O N C E RT H A L L ST U D I O

SAT U RDAY, F E B RUA RY 3, 2:30 & 8 : 0 0 P M

VENUE: B I N G C O N C E RT H A L L ST U D I O

With the Stanford Symphony Orchestra

with Music at Stanford and generously supported by the Bullard Family

JAZZ

CLASSICAL

T H E AT E R

Bill Charlap

Sundays with

The Fever

Trio

the St. Lawrence

Uptown/Downtown: From Broadway to Harlem

St. Lawrence String Quartet

600 HIGHWAYMEN

known for his 2008 Tony winner, Passing Strange— pays homage to the art and activism of James Baldwin.

WHEN: SAT U R DAY, F E B RUA RY 10, 7:30 P M

WHEN: S U N DAY, F E B RUA RY 1 1 , 2 : 30 P M

VENUE: B I N G C O N C E RT HALL

VENUE: B I N G C O N C E RT HALL

WHEN: W E D N E S DAY, F E B RUA RY 14 & T H U R S DAY, F E B RUA RY 1 5, 8:00 PM

VENUE: B I N G C O N C E RT H A L L ST U D I O

F RIDAY, F E B RUA RY 1 6, 7:00 & 9:00 PM

Charlap brings us on a tour

Joining forces with guest

600 HIGHWAYMEN present

of American popular song

violist Masumi Per Rostad, the

a story about a party and

with vocalists Mary Stallings

SLSQ performs a new work

request your participation.

and Freddy Cole.

by Stanford composer Mark Applebaum, alongside works

Generously supported by the

by Mozart and Tchaikovsky.

Koret Foundation

JAZZ PROJECT

11

Generously supported by the New England Foundation for the Arts’ National Theater Project,

Presented in partnership with

with lead funding from the

Music at Stanford

Andrew W. Mellon Foundation

JAN / FEB 2018

Upcoming Events

CLASSICAL

POP

DISCUSSION

Takács Quartet

Bumper Jacksons

Alex Ross

Marc-André Hamelin: Piano WHEN: F R I DAY, F E B RUA RY 23, 7:30 P M

The Search for the American Sound

VENUE: B I N G C O N C E RT HALL

WHEN: SAT U R DAY, F E B RUA RY 24, 8:00 & 10:00 PM

VENUE: B I N G C O N C E RT H A L L ST U D I O

WHEN: M O N DAY, F E B RUA RY 26, 6: 0 0 P M

VENUE: B I N G C O N C E RT H A L L ST U D I O

FREE

In the latest of its highly

Bursting with rich threads

MacArthur Fellow Alex Ross

anticipated visits to the Bing,

of Americana, the Bumper

has been the music critic

the Takács partners with

Jacksons’ playfully creative

of the New Yorker since

Canadian piano virtuoso

originals and reimagined

1996. Join him in the Bing

Marc-André Hamelin for

roots music earned

Studio when he discusses

the Dohnányi Piano Quintet

them the titles Artist of

how some of the greatest

No. 1, alongside works by

the Year and Best Folk

composers have sought

Beethoven and Schubert.

Band at the Washington

to fashion a distinctly

Area Music Awards.

American classical music.

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

WORLD

DANCE

Çudamani:

Monchichi

Gamelan and

Company Wang Ramirez

Dance of Bali

More Events JANUARY 31 Renée Fleming Generously supported by Helen and Peter Bing

WHEN: W E D N E S DAY, F E B RUA RY 28, 7:30 P M

VENUE: B I N G C O N C E RT HALL

WHEN: W E D N E S DAY, F E B RUA RY 2 8, 8:00 PM

VENUE: B I N G C O N C E RT H A L L ST U D I O

FEBRUARY 7 Rob Kapilow’s What Makes It Great?

The traditional Balinese

This fusion of hip-hop and

Generously supported

art of gamelan has

contemporary dance was

by Bonnie and Marty

captivated composers like

created by the duo Wang

Tenenbaum

Canadian Colin McPhee and

Ramirez, a couple onstage

Americans Lou Harrison,

and off. Monchichi is a piece

Save the Date

Charles Ives, John Cage, and

full of humor and self-

Emerging Artists Curated

Steve Reich.

deprecation, a love story in

by the Stanford Concert

different languages.

Network

Generously supported by the

January 19, February 23,

Western States Arts Federation

and March 2

and the National Endowment for the Arts

For the full calendar, visit live.stanford.edu.

12

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JAN / FEB 2018

Scene & Heard

2

1 4

6 7

14

3

1

2

S T R A D I VA R I U S

T H E DA I SY T H E AT R E

ENSEMBLE Master puppeteer Ronnie On October 29, Valery

Burkett works his magic with

Gergiev led his Stradivarius

the cast of The Daisy Theatre,

Ensemble, comprising top

presented in the Bing Studio

string players and soloists

in November.

from the Orchestra of the Mariinsky Theatre in St. Petersburg.

5

3

4

ANDREW BIRD

SA M A N T H A B E E

On October 20, the indie

It was a packed house in

innovator Andrew Bird,

Memorial Auditorium on

dubbed a “one-man

November 10 when Stanford

orchestra,” took the Bing

sociology professor Shelley

stage playing his violin,

Correll interviewed America’s

among other instruments,

“first lady of late night.”

to a series of experimental videos.

5

6

UNTIL THE LIONS

M A D S TO L L I N G

Ching-Ying Chien performs

Stephanie and Fred Harman,

with Akram Khan Dance

along with their daughter

Company in Until the Lions,

Allison Harman and Ravina

which had its exclusive Bay

Jain, pose with violinist Mads

Area engagement at Stanford

Tolling, whose performance

on September 27 and 28.

they sponsored on October 6.

7

8

M A RC U S S H E L BY

A BRIMFUL OF ASHA

In advance of his Such

Asha Jain, costar and

Sweet Thunder student

cocreator of A Brimful of

matinee, bassist Marcus

Asha, charms audience

Shelby looked at the

members before the play’s

history of the blues during

multiperformance run in the

a teacher workshop in the

Bing Studio in October.

8

Bing Studio on November 8.

Anatomy of Designed by

Cameron Carpenter fell in love with

Cameron Carpenter

the organ at age four. For the next 20

Cameron Carpenter

and constructed by

years, loving the organ meant loving the

Featuring the

master organ builders

pipe organ—from the tiny instrument

International Touring

Marshall & Ogletree

in his Pennsylvania hometown to the

Organ

of Needham,

great organs at the Royal Albert Hall,

Feb 3, 7:30 PM

Massachusetts, the

Disney Hall, the Berlin Philharmonie,

Bing Concert Hall

ITO is the first digital

and hundreds more. But it was playing

touring organ to

the Marshall & Ogletree organ at Trinity

be heard on four

Church Wall Street in 2004 that made

continents: a full-

him realize the instrument’s potential

scale portable organ

beyond being merely a “pipe organ.”

sonically tailorable

The console footprint is

to any acoustic

approximately 9’ x 7’.

environment.

16

The organ also contains an internal LED lighting system that can be wirelessly controlled by the venue lighting technician.

an

Organ

C A M E RO N C A R P E N T E R

Carpenter’s organ is the eighth built by the company. He commissioned it in 2013, after years of design discussions, and premiered it at Lincoln Center in New York in 2014.

Carpenter used the

The heart of the ITO

ITO to record his

is a supercomputer

2014 Sony Classical

that contains

CD/DVD, If You Could

samples from 34

Read My Mind, with

great American pipe

music ranging from

organs, including

Leonard Bernstein’s

three organs from

Candide and Marcel

Cameron Carpenter’s

Dupré’s virtuosic

childhood.

Variations sur un Noël to Astor Piazzolla, Leonard Cohen, Gordon Lightfoot, and some of his own compositions.

17

F E AT U R E T T E

L.A. Dance Project performing Murder Ballades, featuring choreography by Justin Peck and an original score by Bryce Dessner.

Benjamin Millepied’s L.A. Dance Project Becoming a Company Like No Other

L.A. Dance Project presents a fusion

choreographed the movie Black Swan.

Dancer Rachelle Rafailedes shared a

of top-notch balletic technique,

But as head of L.A. Dance Project,

few thoughts with us about her own take

choreographic innovation, and

he is charting new frontiers for ballet

on L.A. Dance Project’s unique verve.

multidisciplinary collaboration.

in the 21st century. The company

Founded in 2012, L.A. Dance Project

champions dynamic emerging

What would you say distinguishes

is led by powerhouse choreographer

choreographers, such as Justin Peck,

L.A. Dance Project from other

and director Benjamin Millepied.

whose Murder Ballades will appear in

repertory companies?

Having established his career in

its program at Stanford, alongside the

I think what distinguishes L.A. Dance

the traditional centers of the dance

new Second Quartet by Noé Soulier.

Project from other repertory companies

world—as a principal dancer and

While supporting new original dance

is the wide spectrum of dance that the

choreographer at the New York City

compositions, the company is also

company performs as well as the means

Ballet and later as artistic director

expanding the dimensions of dance

in which it presents work. In a single

of the Paris Opera Ballet—Millepied

into an array of other media—from

evening, LADP’s repertory can stretch

is most widely known for having

cinema to fashion and digital curation.

from early American modern dance

18

S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8

“In a single evening, LADP’s repertory can stretch from early American modern dance such as Graham and Cunningham to Ohad Naharin and new creations by Benjamin Millepied.”

— R AC H E L L E R A FA I L E D E S C O M PA N Y DA N C E R

such as Graham and Cunningham

to create dance films in the beautiful

to Ohad Naharin and new creations

locations that LA has to offer.

by Benjamin Millepied. The extreme diversity in the repertory is unlike many

Los Angeles is often associated

other companies. Another aspect

with its film and entertainment

of L.A. Dance Project that is unique is that the company often performs in unconventional venues and via

industry but also has an established visual arts scene. Do the visual arts influence the making of the work?

unconventional methods such as

Benjamin is very interested in

exclusively online live performances.

collaborating with artists from all

From Los Angeles’ Union Station to

different genres when he is making

Philip Johnson’s Glass House and

or commissioning new work. He is

the gardens of Versailles, LADP pushes the boundaries of where and how dance can be presented.

How does Los Angeles affect the making of the work somehow, especially now that L.A. Dance Project has a permanent home in Los Angeles?

As a dancer, Los Angeles as a city is a breath of fresh air. It feels like there is an excitement about dance and art in general. In other cities that have established histories in dance, things can start to feel predictable; however,

very in tune with what is happening

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in many aspects of the art world, and I think he is excited to collaborate with artists that he admires and respects, regardless of the medium.

We have had beautiful sets made

by Barbara Kruger, Mark Bradford, Liam Gillick, Christopher Wool, and Sterling Ruby. Original scores by Nico Muhly have been commissioned as well as costumes designed by Rodarte and Alessandro Sartori. A focus of L.A. Dance Project is to bring many art forms together to create work that is fresh and forward-thinking.

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in LA there is a feeling of spontaneity and risk-taking that is refreshing. I think that vibrant energy finds its

L.A. Dance Project Fri, Jan 26 & Sat, Jan 27

way into the work that is made. I

7:30 PM

also believe that the city inspires our

Memorial Auditorium

director, Benjamin Millepied, to want

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The Greatest Backup Singer Ever

Darlene Love:

Rolling Stone proclaimed Darlene Love

in relative anonymity in the recording

Darlene Love

“one of the greatest singers of all time,”

studio backing up others—and in the

With the Stanford

while the New York Times declared that

process becoming the most successful

Symphony Orchestra

her “thunderbolt voice is as embedded

unknown singer in rock-and-roll history.

Fri, Feb 9

in the history of rock and roll as Eric

Now she’s finally having her moment.

7:30 PM

Clapton’s guitar or Bob Dylan’s lyrics.”

Here’s a look back at some milestones.

Bing Concert Hall

But if Love’s name doesn’t quite have the familiar ring of Clapton’s and Dylan’s, it’s because she worked for so many years

20

1962

Phil Spector Darlene Love caught the ear of groundbreaking producer Phil Spector and went on to sing backup (and uncredited lead) on the most well-known “girl group” songs to come out of his hit factory.

1963

1964

“Be My Baby,” the Ronettes Along with Love, Phil Spector invited a pre-famous Cher, Sonny Bono, Bobby Sheen, and Nino Tempo to participate in the backup vocal sessions for the hit “Be My Baby.” It was the first Ronettes song produced by Spector and it exemplifies his “Wall of Sound” production technique, where he layered lots of instruments and used echo effects.

1968

The Blossoms with Marvin Gaye With the Blossoms, Love contributed backing vocals behind many of the biggest stars of the 1960s, among them

“If I Can Dream,”

Marvin Gaye. In 2015, she joined an

Elvis Presley

all-star tribute to the singer to promote

“If I Can Dream” ranks as

epilepsy awareness.

Love’s all-time favorite Elvis song. She sang backup on his historic

1991

NBC special with the Blossoms and remembers, “Whenever we had a break, he would go, ‘Darlene! Do you know this one?’ He’d go get his guitar, and I’d say, ‘Yeah.

Come on, let’s sing it,’ and we’d go off in the corner to sing it.”

“Power of Love (Love Power),” Luther Vandross Luther Vandross was the

2013

last person Love ever sang background for and, according to her, was the only

Twenty Feet from Stardom

person that was serious about

Love’s story as a backup singer was

background singers. “Luther

at the center of the Oscar-winning

was the greatest,” she says,

documentary 20 Feet from Stardom.

“because he started out in

And she stole the show at the 2014

the business as a background

Academy Awards, receiving a standing

singer, so his sessions were

ovation after showing off her pipes.

always so much fun.”

21

ARTIST VOICES

Bernstein’s West Side Story: Reality, Identity, and the Imagination

By Rob Kapilow

In 1955, West Side Story’s

that poor and I’ve never

life in Shakespeare’s London.

to be religious rather than

book writer, Arthur

even known a Puerto Rican.”

Like the Mississippi River

ethnic—closer to the actual

for Kern, Catfish Row for

experiences of anti-Semitism

an almost completely

For Sondheim, never having

Gershwin, the Wild West

shared by Robbins, Laurents,

unknown 26-year-old

been poor or Puerto Rican

for Copland, and Annie

and Bernstein. But that story

Stephen Sondheim and

instinctively made him

Oakley for Berlin, the New

had already been done in

told him that Leonard

feel like he would be a

York City street gangs

the play Abie’s Irish Rose,

Bernstein was looking

bad match for the show,

depicted in West Side

and when Bernstein and

for someone to co-write

though it didn’t seem to

Story ultimately existed

Laurents happened to read

lyrics for an updated

bother anyone else on the

nowhere but in Bernstein’s,

an article in the Los Angeles

musical version of Romeo

creative team. It never

Robbins’, Sondheim’s, and

Times about rioting Chicano

and Juliet. However, when

struck them as odd that four

Laurents’ imaginations.

gangs in Los Angeles, the

Laurents explained that

upper-class, white, Jewish,

they intended to reset

gay men were writing a

The original idea had been

Jewish-Catholic East Side

Shakespeare’s play in

musical about poor, tough,

to set the story on the East

Story into a ripped-from-

the present-day world of

inner-city Puerto Rican

Side of New York, not the

the-headlines West Side Story

Puerto Rican street gangs

gangs, though in many

West Side, with a Jewish

transformed the project.

in New York City, Sondheim

respects, the reality of New

Maria and an Italian-

instantly said that he was

York City gang life was as

Catholic Tony at the time

Though a great deal of

the wrong man for the job

remote from their personal

of Easter and Passover.

critical attention has been

because “I’ve never been

experience as Elizabethan

The conflict was intended

paid to West Side Story’s

Laurents, approached

idea of turning an outdated

22

S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8

“In a profound sense, it was this desire for connection that drove Bernstein’s creative life as an educator, conductor, composer, and collaborator”

depiction of contemporary

they all had considerable

of City Ballet dancers.

that drove Bernstein’s

New York City gang life, that

firsthand experience with

Perhaps the biggest

creative life as an educator,

was never what the show

prejudice and intolerance as

difference between Romeo

conductor, composer, and

was really about. The music

Jewish gay men with leftist

and Juliet and West Side Story

collaborator, and it was

actual teenagers danced to

politics in the conservative

is the fact that Maria does

at the center of his entire

in gyms was rock and roll,

1950s of Eisenhower, the

not die in the end. In the

personality. Perhaps it

not Bernstein’s sophisticated

Cold War, and Joseph

show’s powerful final scene,

was only in his art that

reworking of Latin American

McCarthy’s fanatical anti-

Maria’s grief over Tony’s

this kind of connection

dance music, and their

Communist crusade.

death moves the two gangs

could be perfectly realized,

to end their feud, unite, and

and perhaps it is only in

dance moves bore no real resemblance to the ones

In the libretto for “Tonight,”

lift Tony’s body together.

the artificial world of a

Jerome Robbins invented.

Laurents writes an

The tragedy has allowed the

musical that prejudice

The street slang that the

extraordinarily poetic

community to reach a new

can be overcome. But a

Sharks and the Jets used

stage direction—“And now

space, a new communion. It

belief in its possibility—a

in the musical—“Cut the

the buildings, the world

is a place Bernstein strove to

belief that there is a

frabbajabba” and “Chung!

fade away, leaving them

reach over and over again

“somewhere” where this

Chung!”—was actually

suspended in space.”

in the ending of theater

kind of connection can

invented by Laurents so that

Though West Side Story

pieces like Candide (“Make

happen—is, in its own

it would not be mistaken

may have been inspired

Our Garden Grow”) and

way, a happy ending.

for reality.

by New York City gang life,

Mass (“Pax: Communion”),

this stage direction offers

as well as in his famous

On the first page of his

the real location where

performance of Beethoven’s

copy of Romeo and Juliet,

the story takes place: an

Ninth Symphony when the

Bernstein had scrawled, “An

imaginary world where the

Berlin Wall fell in 1989. He

out and out plea for racial

buildings and the city have

wanted to lead us to a place

tolerance. Prejudice will

faded away, where Tony and

where “Alle Menschen werden

be the theme of the new

Maria could use a kind of

Brüder”—where all men shall

work,” and that was what

stylized language Sondheim

be brothers, where difference

Rob Kapilow’s

the show was ultimately

found unbelievable, where

and prejudice are overcome,

What Makes It Great?

about. Though neither

Bernstein’s operatic impulses

where we are all connected.

Songs of Leonard Bernstein

Laurents, Robbins, nor

could flourish, and where

Bernstein had any firsthand

Robbins’ gangs could

In a profound sense, it was

experience with gang life,

move with the precision

this desire for connection

Wed, Feb 7, 7:30 PM

23

Bing Concert Hall

M A I N F E AT U R E

1

Leonard Bernstein: A Political Life

By Barry Seldes On the morning of May 14, 1959, an

theater—would be proof visible of

leading the New York Philharmonic

excited crowd of thousands gathered

New York’s cultural ascendancy. In

in a performance of Aaron Copland’s

at Broadway and West 64th Street to

the words of urban-planning czar

Fanfare for the Common Man. Bernstein

witness ground-breaking ceremonies

Robert Moses, Lincoln Center would

then introduced the guest of honor,

for the Lincoln Center for the Performing

make the city the “World Center of the

President Eisenhower, who thanked

Arts. The day was a glorious one for

Performing Arts,” a complement to its

the artists and praised the many

New Yorkers, for their new complex—

place as “World Political Capital.”

people within government, labor, business, and charitable foundations

concentrating in one place the city’s world-class dance, orchestral, and

Festivities began at 11 a.m. with master

who had worked to make Lincoln

operatic ensembles and a new repertory

of ceremonies Leonard Bernstein

Center possible. He predicted that the

24

S TA N FO R D L I V E M AG A Z I N E JA N / F E B 2 0 1 8

“increasing interest in America in cultural

Copland’s Fanfare, only a tiny minority

matters” would “influence...peace and

of the onlookers were likely aware, as

understanding throughout the world.”

Bernstein certainly was, that only six

The president then dug up a shovelful of

years before, in 1953, Eisenhower had

earth to inaugurate construction of the

banned a performance of Copland’s

center’s first building, Philharmonic Hall,

Lincoln Portrait at his inauguration

and turned to shake Bernstein’s hand.

because Copland was a supporter of left-wing causes. Did the crowd know

This handshake was a fitting way to

that President Truman, in February

celebrate the partnership between

1950, had banned Bernstein’s music

American political aspiration and high

from overseas State Department

culture. For some years, Bernstein had

libraries and functions? Or that in

been a cultural ambassador for the

1953, Eisenhower’s State Department

United States. He had toured Latin

had revoked Bernstein’s passport on

America with the New York Philharmonic

the grounds that the maestro was a

in 1958 and, at the behest of the State

security risk, returning it only after

Department, was about to go on tour to

Bernstein, his conducting career on the

the Soviet Union, a trip that had great

verge of wreckage, agreed to sign an

significance in the administration’s

affidavit confessing to political sins?

quest for a thaw in the otherwise glacial

These darker events were certainly

Cold War. If anyone fit E. B. White’s

in Bernstein’s mind, and perhaps

idea of the immigrant to the city who

Eisenhower’s, as the two Olympians

greatly enhances its life and culture, it

shook hands in joint celebration.

was Leonard Bernstein. Born in Boston in 1918 and arriving in New York in

Such were the paradoxes and ironies

1941, soon to become a champion of

of that day—the fanfare, waving flags,

American music, he was the composer

and hearty handshakes masking a

of the great New York ballet Fancy Free

closely guarded tale of presidentially

and the New York musicals On the Town

authorized censorship, intimidation,

(1944), Wonderful Town (1953), and West

and humiliation. This tale, and other

Side Story (composed in 1957 and just

aspects of Bernstein’s political life—his

coming to the end of its great Broadway

blacklisting by CBS in 1950, his later

run at the time of the Lincoln Center

removal from the blacklist, and his

groundbreaking), and he had been

return to the podium of the New York

the principal conductor of the New

Philharmonic as principal conductor

Imagine twenty-six enchanted

York Philharmonic. Now, on this day

and then music director—is the one I

acres of organic gardens,

of celebration, the already formidable

tell in my book Leonard Bernstein: The

Bernstein, the most magisterial of New

Political Life of an American Musician.

orchards & vineyards for your

York’s creative and performing artists, was receiving the president’s personal

Those who have written about

recognition as the sovereign of this

Bernstein have tended to avoid

new center for the performing arts.

thematic discussion of his political life. This gap is unfortunate, because

Yet this seemingly unambiguously

Bernstein was highly political. He was

celebratory day had interesting

inevitably responsive to developments

ironies, known only by Bernstein and

in the political and moral climate; his

a few others. For example, as the

choice of texts to set to music often

maestro gave the downbeat to the

revealed his political concerns. To

philharmonic’s brass section to begin

ignore the impact of political forces 25

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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 JA N / F E B 2 0 1 8

upon Bernstein is to miss out on much

the other sources they illuminate

Bernstein never deserted his

of what enlivened and motivated him.

reveals Bernstein as a politically

progressivism. In the 1940s, he had

engaged man. One comes to see

continued to hold to the idea that an

Deep study of the archival

that his political commitments and

enduring Popular Front might realize

documents—from the Leonard

activities were highly important to

in peace­time the wartime utopian

Bernstein Collection at the Library

him, that he was victimized because

goals of a united humankind. Like so

of Congress to the extensive dossier

of them, and that they often played a

many other progressives, Bernstein

the FBI kept on his activities—and

significant role in his artistic career.

learned the price of not toeing the line set by the orthodox Cold Warriors. He was blacklisted, but he was lucky: the liberal humanists who operated the machinery of the cultural Cold War got him off the blacklist without most of the public knowing he had been on it, years before the blacklist era came to an end and, in fact, while others were still being victimized. He also knew how to take advantage of the American cultural media’s need to create and fetishize stars for commodification’s

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But Bernstein brooded about those “dark times” when, as Hannah Arendt wrote, following Bertolt Brecht’s poem “To Those Born Later,” malign forces operate and the citizen must make choices of relatively great consequence. To disengage from politics and take flight into other realms, such as the aesthetic or the scientific domains, would be craven; to confront these political forces alone was quixotic or even suicidal. Lone individuals might manage to remain ethically connected to their fellows by remaining mindful of the evil and malignant power. They do not forget the dark times, and one such individual was Leonard Bernstein. Once off the blacklist and safely established as music director of the New York Philharmonic, he could have easily taken an inner migration into sheer aestheticism and into purely private issues of the inner life or the family.

Instead, he retained and acted upon his progressive impulses. He appeared in political rallies and meetings from

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 JA N / F E B 2 0 1 8

3 1.

Leonard Bernstein conducting.

2.

Bernstein at work in 1955.

3.

President Dwight D. Eisenhower breaking ground for Lincoln Center in 1959.

the 1960s until his death in 1990; he

well that he would invite FBI inquiry.

one in his Norton Lectures at Harvard

was a member of the Committee

And true to form, J. Edgar Hoover,

in 1973. But he did attempt to express

for a Sane Nuclear Policy (SANE)

ever frustrated in finding evidence

his philosophic outlook through his

and participated in the civil rights

to arrest Bernstein for denying

music, and in this form, he did think

and anti-Vietnam War movements;

Communist Party membership in his

profoundly. In his attempt, mistaken

and he pointedly refused to accept

1954 affidavit, tried to destroy him in

as it was, to ground tonality within

George Bush’s invitation to the White

the early 1970s. Bernstein survived,

the innate capacities of the human

House because of cuts in federal

but the “dark times” prevailed, and

mind and thereby provide evidence of

funding for the arts. He intervened,

over the next nearly 20 years until his

its universality, he sought a common

in short, to defend the progressive

death in 1990, he continually sought

aesthetic ground on which humanity

heritage from its detractors and to

to express in musical form the deep

might find common incantation

shore up liberals demoralized by the

contradictions in American culture.

and expression. He had formed this universalistic outlook at the family

conservative onslaught. Some of his celebrity service work was of relatively

Bernstein’s optimism was that of an

dinner table in the Hebrew prophetic

symbolic significance—for example,

extrovert, but in his later decades,

declarative voice of his father. He may

his appearance in Montgomery to

this upbeat aspect of his personality

have upset his father by not taking on

meet the marchers who had come

cohabited with the darker, prophetic

a rabbinical voice in the synagogue,

from Selma—next to the heroic

vision of a Jeremiah contemplating

but his concert halls were in a sense

activities of others. But the authentic

America gone off track, if not, at times,

gathering points for congregations,

Leonard Bernstein, not the celebrity,

gone mad. He was not a prophet-

assemblies wherein his voice might

quietly sought out Daniel Berrigan in

philosopher with a systematic body

light in his audience a glimmer of

Danbury Penitentiary, knowing full

of thought, though he tried to create

that lost tribe, united humanity.

28

musical theater and reaches a wide and receptive audience. But by his own assessment, Bernstein never found the text for which to compose music that would break the hearts of his fellow Americans and let them gain a glimpse into their history and their potential for social renewal. That text remained, as we know, elusive. But Bernstein did find one means for prophetic expression.

His predecessor Mahler had stretched

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and Bernstein had found in Mahler’s music the long narrative of catastrophe and terror that had engulfed European

FA M I LY L AW G R O U P, P. C .

civilization in the first half of the 20th century and seemed to go on endlessly.

Mahler spoke for his generation about the loss of belief in enlightened and progressive values. And so in conducting Mahler, perhaps more than any other composer, Leonard Bernstein the ecstatic magus was able to communicate to orchestra and audience his own tragic vision.

Excerpted from Leonard Bernstein: The Political Life of an American Musician with permission from the University of California Press.

Rob Kapilow’s What Makes It Great?

Songs of Leonard Bernstein Wed, Feb 7, 7:30 PM Bing Concert Hall Bill Charlap Trio Sat, Feb 10, 7:30 PM Bing Concert Hall The American Sound Curtis on Tour Sunday, Mar 4, 4:00 PM Bing Concert Hall

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L A W

entered the concert-hall canon and

Business, meet box office.

F A M I LY

He composed a lot of music that has

Proud to Support the Arts at Stanford

1

Composing the American Sound How Musicians Served as Architects of Modern American Identity

Inspired by Leonard Bernstein’s quest to capture some national essence through his musical compositions, we wanted to call attention to some of his contemporaries engaged in the project of defining a multifaceted

the opening section of Billy the Kid; the texture and soul of the heartland seemed implicit in their sparse, openended contours, their lonely but happy melodies, their tangy tonal harmonies, and their climactic tableaux of

American sound in classical music.

sounding brass and drums. At the

AARON COPLAND

collectivist ethos of the New Deal and

Copland seized the nation’s attention by forging a universally recognizable national sound. Works such as Billy the Kid, Rodeo, Lincoln Portrait, Fanfare for the Common Man, and Appalachian Spring became synonymous with the “open prairie,” as Copland titled 2 30

same time, the music matched the Second World War period—the spirit of “common discipline,” as Roosevelt put it in his first inaugural address.

—Alex Ross, the New Yorker, 2007

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 JA N / F E B 2 0 1 8

3

VIRGIL THOMSON As a composer and a critic throughout a life that nearly spanned the 20th century, Virgil Thomson helped American music find its own voice and its own audience. His music has often, and correctly, been called “witty,” though he once said, “I don’t think music’s ever very funny.” It has also correctly been called “cosmopolitan,” but it is rooted in and draws its strength from the music he heard in childhood: hymns that he used to play as an organist in the Southern Baptist church his family attended, popular songs of the 19th century, and the jazz and ragtime that were intensively cultivated in Kansas City, Missouri, where he was born in 1896.

—Joseph McLellan, the Washington Post, 1989 CHARLES IVES

1.

His music has been judged to be ahead

WILLIAM GRANT STILL

of its time and uniquely innovative,

Add another member to the growing

rebellious, and modernist. At the same

company of American musical

2.

time, Ives’ personal history, writings,

embryonics…Mr. Still has a very

Charles Ives.

and use of vernacular materials in his

sensuous approach to music. His

music—the sources and strategy of

employment of his instruments is at

quotation and borrowing—reveal an

once rich and nude and decided. The

allegiance to a past remembered, a

upper ranges of his high soprano have

4.

premodern, 19th-century America.

an original penetrating color. And the

Carlos Chávez.

Cultural nostalgia and aesthetic

use of jazz motives…is more genuinely

innovation seem inextricably but

musical than any to which they have

counterintuitively linked in Ives’ music.

been put, by Milhaud, Gershwin, or

—Leon Botstein, Charles Ives and

anyone else.

His World, 1996

—Paul Rosenfeld, Musical Chronicle, 1925 31

Aaron Copland.

3.

Florence Price.

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 JA N / F E B 2 0 1 8

CARLOS CHÁVEZ No other composer who has used folk material has more successfully solved the problem of its complete amalgamation into an art form…

[His music] exemplifies the complete overthrow of 19th-century Germanic ideals which tyrannized over music for more than a hundred years…[it is] healthy, clear, and clean sounding without shadows or softness…Chávez is one of the few American musicians about whom we can say that he is more than a reflection of Europe…one of the first authentic signs of a New World with its own new music.

—Aaron Copland, the New Republic, 1928 LOUIS BALLARD Music history is replete with examples of composers who championed the cause of oppressed people. Composers and their music sustained the spirit of their people at a time of foreign cultural attack and domination.

Dvořák, in 1893, predicted that America should have a form of nationalistic music built upon Indian music and black slave songs. So I felt that I was in good company when I took up my pen to express the sufferings of my people, 4

their regeneration and hopes for a better future life.

—Louis Ballard, program note for

FLORENCE PRICE

American nationalist elements are

Nationalism was the backdrop

integral to the style. The deceptively

against which African American

simple musical structure of their

composers in the 1920s and early

orchestral music is inherently bound

1930s adapted old artistic forms

to the folk tradition in which they

into self-consciously racial idioms.

are rooted…Price’s music reflects

The affirmation of the values of

the romantic nationalist style of

The Search for the American Sound

the black cultural heritage had a

the period but also the influence

With Alex Ross

decisive impact on William Grant

of her cultural heritage. Her music

Mon, Feb 26, 6:00 PM

Still, Florence Price, and William L.

demonstrates that an African

Bing Concert Hall Studio

Dawson, who had as their primary

American composer could transform

goal the incorporation of Negro

received musical forms, yet articulate

The American Sound

folk idioms, that is, spirituals, blues,

a unique American and artistic self.

Curtis on Tour

and characteristic dance music in

—Rae Linda Brown, program note for

Sun, Mar 4, 4:00 PM

symphonic forms. In the orchestral

Price’s Symphony No. 1 in E Minor,

Bing Concert Hall

music of these composers, the African

performed at Lincoln Center, 1994 32

Incident at Wounded Knee, 1999

JAN / FEB 2018

Behind the Scenes

Stanford University is a hotbed of emerging talent, brains, and vision. Over the last year, we’ve been working on making Stanford Live a proving ground for tomorrow’s leaders in live music and the performing arts. Starting this winter, the Bing Concert Hall Studio will be home to a series of performances curated by the Stanford Concert Network.

1 3

We’ve handed over the

2

creative reins to SCN and invited them to assign six lead student producers to scout and book promising young artists who would speak to the diverse Stanford student body. This new series kicks off with Monte Booker (Jan. 19) and Kweku Collins (Feb. 23). And our student producers are involved in every step of the process!

Meet three of our student curators.

C H R I S LO RWAY E X EC U T I V E D I R EC TO R

1

2

3

J OSE SERR AN O

J ENNY NOVA

K EL LY B L A K E

Hometown:

Hometown:

Hometown:

Chicago, IL

Sonoma, CA

Manhattan Beach, CA

Class Year/Study:

Class Year/Study:

Class Year/Study:

Senior/Political Science

Sophomore/Data Science

Sophomore/Management

Life-Changing Performance:

& Sociology

Science & Engineering

Paul McCartney at

Life-Changing Performance:

Life-Changing Performance:

Lollapalooza

Grimes at Outside Lands

John Mayer

Nostalgia Song: “You Get

Nostalgia Song: “Rivers and

Nostalgia Song:

What You Give” by the New

Roads” by the Head and the

“Basket Case” by Green Day

Radicals

Heart

Genre Curating:

Genre Curating: Hip-hop

Genre Curating: Casual funk

Alternative/indie rock

33

Membership

JAN / FEB 2018

1

Bing’s Fifth Anniversary January 11, 2018, marks the

take place in Bing, whether

his own birthday by DJing a

fifth anniversary of Bing

looking forward with world

dance party in the lobby.

Concert Hall’s opening. As we

premieres or closing our

blow out our five candles, it’s a

eyes to experience ancient

We wouldn’t be able to

time to think about some other

Byzantine chant in the

celebrate any of this without

exciting numbers. Over the last

digitally simulated acoustics

our generous donors. We are

five years, Bing has hosted over

of Istanbul’s Hagia Sophia.

deeply grateful to the inaugural Bing Concert Hall donors (on

500 events, and we’ve issued Bing has revealed possibilities

page 37), whose initial gifts

we couldn’t have imagined

made the building of the hall

Bing has been a place to

when it opened, from last

possible; to our generous

experience astonishing

summer’s mini re-creation of

Bing Experience Fund donors,

artistry, with performances

Woodstock on the lawn to

whose endowment gifts

by musical legends such as

the new cabaret space we’ve

have supported access and

Yo-Yo Ma, Audra McDonald,

created in the Bing Studio.

programming at Bing; and to

over 275,000 tickets!

all our Stanford Live donors,

Wynton Marsalis, Sheryl And it’s been a place to have

whose ongoing gifts to our

fun! After a stellar cabaret

Annual Fund continue to make

We’ve experienced unique

set, Tony-winning actor Alan

Bing Concert Hall a home for

programs that could only

Cumming even celebrated

amazing arts experiences.

Crow, and Philip Glass.

34

2

3

4

Bing Memberships, concert and series sponsorships, and giving to our Annual Fund all help make Bing Concert Hall a home for amazing arts experiences. To make a gift to support Stanford Live, please contact Danielle Menona at 650.725.8782 or dmenona@live.stanford.edu.

1 OPENING NIGHT

2 PHILIP GLASS

3 S H E RY L C ROW

4 I N P RO G R E S S

“Isn’t this exciting?” Michael

Stanford Live launched its

Country and pop music

The first musical performance

Tilson Thomas gushed to

fifth season in September

star Sheryl Crow performed

within the still-unfinished

the opening-night audience

2016 with a performance of

a sold-out show in October

Bing Concert Hall actually

before leading the San

Philip Glass’ complete piano

2014 and still made time for

took place in June 2012

Francisco Symphony in

études, kicking off the iconic

Stanford students beforehand

when the Stanford Laptop

John Adams’ Short Ride in a

composer’s 80th-birthday

to share her life stories in a

Orchestra (SLOrk) played

Fast Machine. The inaugural

celebrations.

private conversation.

a private concert for the construction crew.

weekend included seven concerts in three days.

35

Stanford Live Donors Stanford Live thanks the following donors for generously supporting the 2017–18 season.

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SUSTAINER ($2,500–$4,999) Keith Amidon & Rani Menon Jonathan, Frances, & Alison Axelrad Deborah & Jonathan Berek Celeste & Wendell Birkhofer James Canales & James McCann William Coggshall & Janet Littlefield Stanley Falkow & Lucy Tompkins The Stephen and Margaret Gill Family Foundation Judy & Jerrol Harris Karen Hohner & Randall Keith Mary Ittelson Iris & Hal Korol Charlotte & Larry Langdon Judy Mohr & Keith Reeves Og & Ogina Ann Tsukamoto-Weissman & Irving Weissman Susan & David Young

BING ARTIST’S CIRCLE ($7,500–$14,999) Anonymous Felicity Barringer & Philip Taubman Luiz Barroso & Catherine Warner Alison & Joe Barta Sally Benson & Terry Surles Nancy & James Bildner Recia & Mark Blumenkranz Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Diane & Stephen Ciesinski Carla Baird & David Crane Ann & David Crockett Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey Phyllis & William Draper III Debbie Duncan & Bill Stone Barbara Edwards Melissa & Trevor Fetter Mary & William Fitch Jean-Marc Frailong & Richard Halton Lynn & James Gibbons Fred Grauer Ann Griffiths Gail & Walter Harris Eleanor & Bruce Heister Anne & Jack Holloway Larry Horton & George Wilson Elizabeth & Zachary Hulsey Wende & Tom Hutton Sallie De Golia-Jorgenson & John Jorgenson Betty & Bob Joss Roberta & Charles Katz Lisa Keamy & Lloyd Minor Kathy & John Kissick Ingrid Lai & William Shu Sujitpan Lamsam & Scott Sagan Carolyn & William Langelier Bren & Lawrence Leisure Robert Lence Debra & Mark Leslie Cynthia & Richard Livermore Jane & Michael Marmor Victoria & James Maroulis Jim McLaughlin & Cathy McMurtry Bill Meehan Nancy & Lawrence Mohr 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 Charlotte & George Shultz Barbara & Arnold Silverman Peter Staple & Harise Stein

PARTNER ($1,000–$2,499) Anonymous Marian & Jim Adams Lysbeth Anderson & John Working Keith Baker Linda & Laurence Baker Lindy Barocchi Lisa Barrett Bernard Beecham & Cheryl Lathrop Jill & Bruce Bienenstock Carolyn & Gary Bjorklund Susan Breyer Terri Bullock Jane & Peter Carpenter John Carter & Edie Goldberg Alexis & David Colker Joanne & Michael Condie Janet & Richard Cory Sommer William Coughran Jr. Toni Cupal & Mike Volpi Thomas Dienstbier & Joyce Firstenberger Stan Drobac & Michelle Swenson Diane Elder & Bruce Noble Margaret Ann & Don Fidler Betsy & David Fryberger Jane & Bruce Gee Susan Goodhue Ed Haertel & Drew Oman Eric Hanushek & Margaret Raymond Nancy & Jerre Hitz Leslie Hsu & Richard Lenon Lucie Jay Julie Kaufman & Doug Klein Grace Kim Kay & Ed Kinney Amy L. Ladd M.D. Sally & Charles Lannin Albe & Ray Larsen Ayleen & Emory Lee Philip Lee & Carlene Wong Shirley Liebhaber Marge & Roger Lobbes

36

Joan Mansour Yoshiko Matsumoto & John Ryan Dick Miller & James Stutts Evelyn Miller & Fred Snively Betsy Morgenthaler Paula Moya & Ramon Saldivar Joyce & Joseph Nishimura Edward & Nadine Pflueger Robert & Shirley Raymer Laura Richardson Sara Eisner Richter & Michael Richter Nancy & Norman Rossen Lela & Gerry Sarnat Doris Sayon J. Schwabacher Family Diane Shemanski Deborah & Michael Shepherd Charles Sieloff Srinija Srinivasan Onnolee & Orlin Trapp Mary & John Wachtel Kenneth Weinberg Mariko Yang Sharon & Robert Yoerg

ADVOCATE ($500–$999) Anonymous (8) Laura Adams Bill Albright & Jeryl Hilleman Dorothy & Ted Anderson Lois & Edward Anderson Janice & William Anderson Markus Aschwanden & Carol Kersten Therese Baker-Degler Corrine & Alan Barkin Jeff & Jamie Barnett Marie & Douglas Barry Brigid Barton & Orrin Robinson Elaine Baskin & Kenneth Krechmer Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Mary Bechmann Ann & John Bender Mildred & Paul Berg Susan Berman & Leon Lipson Charlotte & David Biegelsen Matthew Bien & Grace Lee Stephanie Biorn Richard Bland & Marlene Rabinovitch Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Charles Bliss & Caroline Bowker Linda & Steve Boxer Prudence Breitrose Maude & Philip Brezinski Joan B. Brown Thomas Bush & Grace Sanchez Lise Buyer Thomas Byrnes Katharine Carroll & Alison Rosenthal Tasha Castaneda Andrew Chan Donald Cheu Gloria & Michael Chiang Shelli Ching Joyce Chung & Rene Lacerte Ann Clark Holly & Andrew Cohen Mark Cohen & Jackie Pelavin Sheila Cohen & Richard Mazze Lisa K. Colburn Kalyani Comal & Arun Ramakrishnan Paula Cooper Jacqueline & Robert Cowden Suzanne & Bruce Crocker Melanie & Peter Cross Ken Daigle & John Schramm III Jo & John De Luca Richard De Luce Cornelia Dekker

Donato Desopo & Marian Sagan Christina Reid Dickerson Michael Dickey Harvey L. Dixon Carol Dressler Michael Duff Kathleen Dumas Robert Dutton & Carol Walsh-Dutton Ellen & Tom Ehrlich Eleanor Eisner Patricia Engasser Anna Espinosa Dennis Facchino & Angela Sowa Sally & Craig Falkenhagen Lynne & Michael Federle Alex Fielding Joan & Allan Fisch Shela & Stephen Fisk Barry Fleisher Diana & Freeman Ford Margaret Forsyth & Glenn Rennels Rona Foster Sarah & Stanley Freedman Carol & Joel Friedman Aileen Furukawa Catharine & Daniel Garber Dianne & Wesley Gardiner Karen & Edward Gilhuly Charles Goldenberg & Pamela Polos Margaret Gong Edward Goodstein Elizabeth & Jeff Grammer Brian Gray Sally Gressens & Lee Yearley Ester Gubbrud & Charles Ross Elizabeth M. Gulevich Jeanette & Harold Guthart Jamie Hale Sara & Michael Hammond David Hants & Ilze Silis Celia & Terry Harms Joyce & James Harris Stephen Harris Joerg Heilig Anne & William Hershey Freda Hofland & Lester Thompson Robin & Linc Holland Tamaki & Takeo Hoshi Chris Iannuccilli & Michele Schiele Alyson & James Illich Sally & Rob Jackson Dorothy & Rex Jamison Leigh & Roy Johnson Lil & Todd Johnson Robert Jones Martha & Michael Kahn Pamela S. Karlan Inge Keuppens & Marc Vanlerberghe Edie & Bob Kirkwood Barbara Klein & Stanley Schrier Phillip Klimke Renate Klipstas Christina Kong Maureen & Kerry Kravitz Nora & Charles Kruger Jean Lane Janna & Kurt Lang Lisa Lapin Cathy & Stephen Lazarus Cynthia & Bob Leathers Hau Lee Lucy & Jason Lee Joan & Philip Leighton Doreen & David Leith Roxanne Leung Sanford Lewis Adele & Mark Lieberman Marcia Linn & Jack Morris Laurel & Joe Lipsick Sherry Listgarten Deveda & Ernest Littauer Kristen K. Lo Penny & John Loeb Teri Longacre Kathryn Naylor Low

Liqun Luo Ruth Lycette Emily Ma Kathy Mach & David Scherer Charlene & Dick Maltzman Allison & Nino Marakovic Sandra & Joseph Martignetti Bettina McAdoo & Gordon Russell Marylin McCarthy Chris McKillop Penny & Jim Meier James & Victoria Merchant John Metcalfe Maureen Missett Jose Montoya David Moor Martha Morrell & Jaime Tenedorio James Murphy Mariam Nayiny Kirstin & Frederic Nichols Christine & Ronald Orlowski Shari & Donald Ornstein Kevin Osinski & Marc Sinykin Carmela & Eli Pasternak Nancy & Stephen Player Barbara & Warren Poole Mary & Matthew Powell Kitty & Lee Price Kathryn Pryor Kathleen Quinn Katherine & Gary Reback Richard & Karen Schneider Recht Rossannah Reeves Kyoko Robinson Christine Robles Diane & Joe Rolfe Amy Rosenberg & John Slafsky Maureen & Paul Roskoph Annette & William Ross Ann Rossi Elise & Jay Rossiter Diana & Philip Russell Thompson W. Ryan Loren & Shelley Saxe Elizabeth & Mark Schar Paula & George Schlesinger Cora Schmid Sue Schmitt Brent & Michelle Schmitz Nancy & Richard Schumacher Vandana & Arvind Sharma Lee Ann & Martin Shell Craig Sherman & Susan Shin Judith & William Shilstone Katie & John Shoven Judy & Lee Shulman Diane & Branimir Sikic Mary Ann Sing Hannah & Richard Slocum Cristina Valdes Smith Karen & Frank Sortino Susan Speicher Nancy Stanwood Barbara & Charles Stevens Judith Stewart Edward Storm Eleanor Sue Linda & Jeffrey Suto Rosalinda & Michael Taymor Carol & Christopher Thomsen Alicia Torregrosa & Stuart Weiss Connie Turkington Ann & John Varady Wendy & Roger Von Oech Penelope & Robert Waites Joan & Roger Warnke Ben Wegbreit Karen & Rand White Mansie & Gary Williams Polly Wong Robert Wood Marilyn & Irvin Yalom Wai Yau Mary H. Young

Roy Zemlicka Jiecheng Zhang Selma Zinker

SUPPORTER ($250–$499) Byron Bader Mary Bellack Dana Bloomberg Ann & George Crane Judith Dean & Ben Encisco Susan Emerick Leah & Lawrence Friedman Paul Goldstein & Dena Mossar Jane & William Johnson Vera Luth Meghan McGeary & Chih Sung Maura McGinnity & Eric Rausch Wendy McPherson Elyce Melmon Elisabeth Merkel John Micek Jean & Bryan Myers Joan Norton Cynthia & James Nourse Audrey Shafer Carla Shatz Nerija Sinkeviciute-Titus Gayle & Scott Spencer Elizabeth Trueman & C. Raymond Perrault Susan & Lew Wexler Jeri & Kevin Wheaton

PERFORMANCE SPONSORS Jeanne & Larry Aufmuth Helen & Peter Bing Roberta & Steven Denning Scott & Molly Forstall Marcia & John Goldman Stephanie & Fred Harman The Hornik Family Michael Jacobson & Trine Sorensen Bonnie & Marty Tenenbaum

INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 Anonymous Nathan Cummings Foundation, with the support and encouragement of Jaimie Mayer Ann and Gordon Getty Foundation Drs. Ben and A. Jess Shenson Funds National Endowment for the Arts

$1,000–$9,999 California Arts Council Aaron Copland Fund for Music Kinder Morgan Foundation Mid Atlantic Arts Foundations New England Foundation for the Arts Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 12/18/17. For corrections, or to make a contribution, please contact Danielle Menona at 650.725.8782 or dmenona@stanford.edu.

To learn more about giving to Stanford Live, visit live.stanford/edu/give. § Deceased

37

2017–18 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide strategic advice on programmatic goals and visions, financial sustainability, communications and marketing, community outreach and education, and the overall arts branding at Stanford University.

Leslie P. Hume, Cochair George H. Hume, Cochair Jeanne Aufmuth Peter Bing Fred Harman Rick Holmstrom 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

MAR / APR 2018

Calendar

Wed

APR 20

MARCH

APRIL 11

The Music of Duke Ellington

Thu

Rob Kapilow’s What Makes It

MARCH 1

Great?

Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma

Sat–Sun APRIL 14–15

Fri

The Triplets of Belleville

MARCH 2

k.d. lang

Wed

Ingénue redux 25th

APRIL 18

Anniversary Tour

John Waters in Conversation with Noah Cowan (SFFILM)

Sat

Sat

MARCH 3

MARCH 17

SsingSsing

Ute Lemper and the

Thu APRIL 19

Vogler String Quartet Sun

Paris Days, Berlin Nights

MARCH 4

The American Sound

Sun

Curtis on Tour

MARCH 18

Songs of Freedom: Mitchell, Lincoln, and Simone Fri

Zurich Chamber Orchestra Fri

APRIL 20

Bing Fling Boston Pops Esplanade

MARCH 9

Orchestra

APRIL

Corelli the Godfather Philharmonia Baroque Orchestra

Wed

Fri

APRIL 25

APRIL 6

Sat–Sun

Kronos Quartet featuring

MARCH 10–11

Tanya Tagaq

Beethoven Unleashed Philharmonia Baroque Orchestra and Chorale

Stanford Symphony Orchestra with John Mauceri,

Sat

conductor, and Sandy

APRIL 7

Cameron, violin

APRIL 29

Manila Disco Fever

Sundays with the St. Lawrence

Fri–Sat

Sun

Sun

St. Lawrence String Quartet

MARCH 16–17

APRIL 8

Machine de Cirque

Toumani and Sidiki Diabaté

Sun APRIL 29

Uriel Herman Quartet

BUY TICKETS TODAY!

Presented by Stanford Live

LIVE.STANFORD.EDU OR 650.724.BING (2464)

Stanford University, 365 Lasuen Street,

Visit the Stanford Live website for updates.

Second Floor Littlefield Center, MC 2250

All programs and prices are subject to change.

Stanford, CA 94305

38

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

2

Frost Amphitheater

3

Memorial Church

4

Memorial Auditorium

5

Stanford Ticket Office

6

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public transportation

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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.

39

information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit http://visit.stanford.edu/plan/ parking.html.

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With our expanded locations, access to exceptional health care is closer than ever—whether you live in the Peninsula, South Bay, or East Bay. Supported by one of the best hospitals in the nation, our connected team of primary care doctors and specialists are near where you work, live, and play.

For more information, call 844.394.6907 or visit stanfordhealthcare.org/primarycare