Stanford Live Magazine - Jan/Feb 2020

JANUARY–FEBRUARY 2020

INSIDE

1

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

The legacy of jazz composer James Reese Europe, Rhiannon Giddens on the roots of Americana music, dance legend Yang Liping, and more

CONTENTS

Stanford Live Staff & Sponsors

p—5

Welcome

p—6

Upcoming Events

p—8–14

Campus Partners

p—15

Scene & Heard

p—16–17

Behind the Scenes

p—33

The Radical Inclusiveness of Rhiannon Giddens

Membership

p—34–35

Stanford Live & Bing Concert Hall Donors

p—36–37

By Randy Lewis,

Calendar

p—38

Plan Your Visit

p—39

Copyright 2019. Los Angeles Times. Used with Permission.

Rhiannon Giddens and Francesco Turrisi change the conversation around the origins of folk and Americana.

p­­—18

Featurette

Infographic

Featurette

Get to Know Iconic Dancer and

How Manual Cinema Creates

At Stanford’s New Hospital, Art and

Choreographer Yang Liping

Live Shadow Puppet Shows

Nature Aim to Benefit Healing

Liping’s Rite of Spring will be

A look behind the scenes of

Stanford Health Care, Stanford Live’s

presented at Stanford Live in February.

Manual Cinema’s multimedia theater

season sponsor, discusses the link

performance No Blue Memories -

between art and wellness.

p—23

The Life of Gwendolyn Brooks.

p—26 p—24

Infographic

Featurette

The History of Back to Back Theater

The Legacy of James Reese Europe

For the past 30 years, the innovative

and the Harlem Hellfighters

Australian theater company has

An interview with Jason Moran on his

continued to address politics and

performance honoring the World War I

disability in performance.

era ragtime band

p—28

p—30 3

January/February 2020 | Volume 12, No. 3

STAFF

SEASON SPONSOR

Chris Lorway Executive Director Bryan Alderman Assistant Director of Development Karim Baer Associate Director for Campus Engagement and Public Programs Dawn Bercow Development Events Manager

FOUNDATION & GOVERNMENT PARTNERS

Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Kelsey Carman Marketing Manager Vanessa Chung Artist Liaison & Executive Assistant Robert DeArmond Web Developer

CORPORATE PARTNERS

Laura Evans Director of Music Programs, Engagement and Education Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR & Administrative Associate

PAUL HEPPNER President MIKE HATHAWAY Senior Vice President KAJSA PUCKETT Vice President, Sales & Marketing GENAY GENEREUX Accounting & Office Manager

Production SUSAN PETERSON Vice President, Production JENNIFER SUGDEN Assistant Production Manager ANA ALVIRA, STEVIE VAN BRONKHORST Production Artists and Graphic Designers Sales MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, SHERRI JARVEY, ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager CIARA CAYA Marketing Coordinator Encore Media Group 425 North 85th Street • Seattle, WA 98103 800.308.2898 • 206.443.0445 info@encoremediagroup.com encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve performing arts events in the San Francisco Bay Area and Greater Seattle Area. All rights reserved. ©2019 Encore Media Group.

Reproduction without written permission is prohibited.

Katie Haemmerle Communications Manager

IN-KIND PARTNERS

Danielle Kisner Stage Technician Maurice Nounou Associate Director of Ticketing and System Operations Nick Oldham Audio Engineer & A/V Manager Egan O’Rourke Production Manager Kimberly Pross Director of Operations and Production

MEDIA PARTNERS

Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development Toni Rivera Operations Coordinator Mike Ryan Director of Operations, Frost Amphitheater Bill Starr House Manager Krystina Tran Director of Marketing, Communications, and Patron Services Michelle Travers Artist Liaison Max Williams Development Programs Manager

Stanford Live’s 2019–20 season is generously supported

by Helen and Peter Bing.

Underwriting for student ticket discounts for the 2019–20 season is generously provided by the Bullard family.

Stanford Live’s 2019-20 season jazz programs are generously supported by the Koret Foundation.

The Stanford Live Commissions and Programming Fund is generously supported by the Hornik Family, Victoria and James Maroulis, and the Maurice and Helen Werdegar Fund for Stanford Live.

PHOTO CREDITS On the cover: Yang Liping, photo courtesy of artist; Page 3: Photo 1 by Karen Cox, 2 courtesy of Stanford Health Care, 3 by Camille Blake, 4 by Drew Dir, 5 by Jeff Busby; Page 15: Photo 1 by Ajamu, 2 by Michael Spencer, 3 by Jennifer Manna; Page 16–17: Photo 1 & 8 by Michael Spencer, 2 by Joel Simon, 3, 6 & 7 by Jess Yeung, 4 by Allie Foraker, 5 by Harrison Truong; Page 18–22: Photos 1, 3, 4 & 5 by Karen Cox, 2 courtesy of Creative Commons; Page 23: Photos courtesy of artist and Sadler’s Wells; Pages 24-25: Photo 1 by Nolis Anderson, 2 Courtesy of Manual Cinema, 3, 5 & 6 by Julia Miller, 4 by Paul Joseph; Pages 26-27: Photos courtesy of Stanford Health Care; Pages 28–29: Photo 1, 4, 5, 6 & 8 by Jeff Busby, 2 Courtesy of Geelong Performing Arts Centre, 3 by Nurith Wagner-Strauss, 7 courtesy of Back to Back Theatre; Page 30-32: Photos 1 by Camille Blake, 2 Courtesy of International Music Network; Page 33: Photos courtesy of Quinteto Latino; Pages 34–35: Photos by Joel Simon.

5

WELCOME

“Look at what’s happening in this world. Every day there’s something exciting or disturbing to write about.

With all that’s going on, how could I stop?”

Gwendolyn Brooks

Happy New Year! January marks the

From the opposite side of the globe, we

dawn of a new year and a new de-

welcome Yang Liping and her thrilling

cade—a time to reflect back on the past

take on Rite of Spring, which makes its

as we chart a course for the future. A

US debut at Stanford after sold out

century ago, poet Gwendolyn Brooks

performances in Australia, Europe,

was a child living on the South Side of

and Asia. In August, members of the

Chicago. Her experiences in both seg-

Stanford Live Advisory Council had

regated and integrated schools shaped

the opportunity to catch its European

a prolific writing career that focused on

premiere at the Edinburgh Internation-

issues of race and community. This win-

al Festival and were blown away by its

ter, Manual Cinema returns to Bing with

scale and beauty. It’s definitely not to

its signature take on her life and work.

be missed!

Shortly following Brooks’ birth, band-

We look forward to seeing you this

leader James Reese Europe returned

winter.

to America after years of entertaining troops and civilians across France with

Chris Lorway

his acclaimed ensemble, the Harlem

Executive Director

Hellfighters. His life was tragically cut short just as he was establishing himself as one of the pioneers of a new Black American sound—one that would lay the groundwork for the great jazz bands that would follow. As part of his Stanford Live residency, composer and musician Jason Moran pays homage to Europe and another of his heroes, Dr. Martin Luther King Junior (whose biopic Selma was scored by Moran).

6

UPCOMING

EVENTS C L AS SICA L

T H E AT E R

VO CA L

Kronos Quartet

Manual Cinema

Jason Danieley

The 60s, The Years That Changed America

No Blue Memories – The Life of Gwendolyn Brooks

WHEN:

VENUE:

WHEN:

VENUE:

WHEN:

VENUE:

W E D N E S DAY,

BING

F R I DAY &

BING

SAT U R DAY,

B I N G ST U D I O

JA N UA RY 1 5,

C O N C E RT

SAT U R DAY,

C O N C E RT

JA N UA RY 18,

7: 30 P M

HALL

JA N UA RY 17

HALL

7:00 & 9:00 P M

& 18, 7:30 P M

The groundbreaking Kronos

The multimedia shadow

In an evening of loving and

Quartet performs composer

puppetry masters of Manual

remembering, critically

Zachary James Watkins’

Cinema are back with a

acclaimed Broadway star

Peace Be Till, a work inspired

work about the celebrated

and concert performer Jason

by Mahalia Jackson’s

Pulitzer Prize–winning

Danieley shares stories and

advice that changed Rev.

Chicago poet Gwendolyn

songs filtered through jazz

Dr. Martin Luther King

Brooks (1917–2000), known

and Broadway standards.

Jr.’s March on Washington

for Annie Allen and A Street in

speech. The concert includes

Bronzeville.

more music from a decade that altered the nation.

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

8

C L AS SICA L

Sundays with the St. Lawrence Beethoven and Adams

WHEN:

VENUE:

S U N DAY,

BING

JA N UA RY 1 9,

C O N C E RT

2 : 30 P M

HALL

A cultural cornerstone

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Located steps from downtown Palo Alto and University Avenue and just blocks from Stanford, Webster House offers you worldclass community living.

of Stanford, the worldacclaimed St. Lawrence String Quartet continues its fabled partnership with the University. In honor of 250 years of Beethoven, they perform a selection of pieces from the legendary composer as well as John Adams’ Second String Quartet.

Webster House makes it easy for you to stay connected to the vibrancy of Palo Alto while enjoying convenient services and security for the future.

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UPCOMING

EVENTS JA Z Z

FILM

C ON T E M P OR A RY M USIC

James Reese Europe and the Absence of Ruin

Selma

Laurie Anderson

Film with Live Score, featuring Jason Moran, Marvin Sewell, and orchestra conducted by Sarah Hicks

The Art of Falling

Jason Moran & the Harlem Hellfighters

WHEN:

VENUE:

WHEN:

VENUE:

W E D N E S DAY,

BING

SAT U R DAY,

MEMORIAL

JA N UA RY 2 2 ,

C O N C E RT

JA N UA RY 25,

AU D I TO R I U M

7: 30 P M

HALL

7:30 P M

WHEN:

VENUE:

W E D N E S DAY,

BING

JA N UA RY 29,

C O N C E RT

7:30 P M

HALL

Laurie Anderson is one of America’s most daring creative pioneers. Renowned for her Composer and pianist Jason

The 2014 Oscar-winning

multimedia presentations

Moran presents a meditation

movie tells the story of the

and groundbreaking use of

on the life, combat service,

1965 march from Selma to

technology in the arts, she has

and legacy of American

Montgomery, Alabama, that

cast herself in roles as varied

musician and jazz composer

protested segregationist

as visual artist, composer,

James Reese Europe,

repression and helped

poet, photographer, filmmaker,

who created the band of

lead to the passage of the

electronics whiz, vocalist,

World War I’s African-

Voting Rights Act later that

and instrumentalist.

American 369th regiment,

year. Jazz pianist Jason

the Harlem Hellfighters,

Moran provides a live score

and helped popularize

alongside guitarist Marvin

jazz throughout France.

Sewell and an orchestra conducted by Sarah Hicks.

Generously supported by Jeanne and Lawrence Aufmuth

C L AS SICA L

NFM Wrocław Philharmonic With Bomsori Kim, violin WHEN:

VENUE:

F R I DAY,

BING

JA N UA RY 31,

C O N C E RT

7:30 P M

HALL

Acclaimed violin virtuoso Bomsori Kim joins Poland’s NFM (National Forum of Music)

KEY

Wrocław Philharmonic under the baton of Giancarlo Guerrero.

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

10

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

VO CA L

La Passion de Jeanne d’Arc Orlando Consort WHEN:

VENUE:

SAT U R DAY,

BING

F E B RUA RY 1 ,

C O N C E RT

7 : 30 P M

HALL

NOW ON VIEW

Early music British quartet Orlando Consort performs a selection of a cappella works against a screening of Carl Dreyer’s 1928 silent film, La Passion de Jeanne d’Arc.

C L AS SICA L

Vladimir Feltsman The Russian Experiment: From Mystical to Avant-Garde WHEN:

VENUE:

W E D N E S DAY,

BING

F E B RUA RY 5,

C O N C E RT

7 : 30 P M

HALL

In The Russian Experiment, Feltsman plays works by dissident composers of his homeland, from Alexander Scriabin to the forgotten composers Scriabin influenced.

View more than 700 objects in the Stanford Family Collections that shed light on how Leland Jr.’s death led to the creation of a museum, university, and—by extension—the entire Silicon Valley. #MelancholyMuseum FREE ADMISSION museum.stanford.edu/melancholymuseum

UPCOMING

EVENTS T H E AT E R

FOL K

VO CA L

The Shadow Whose Prey the Hunter Becomes

Rhiannon Giddens with Francesco Turrisi

Talisman 30th Anniversary Concert

Back to Back Theatre WHEN:

VENUE:

WHEN:

VENUE:

WHEN:

VENUE:

W E D N E S DAY,

BING

F R I DAY,

BING

SAT U R DAY,

BING

T H U R S DAY,

ST U D I O

F E B RUA RY 7,

C O N C E RT

F E B RUA RY 8,

C O N C E RT

7:30 P M

HALL

7:30 P M

HALL

F R I DAY & SAT U R DAY, F E B RUA RY

In celebration of the a

5, 6, 7 & 8,

cappella group’s 30th

8: 0 0 P M

anniversary, Talisman

SAT U R DAY,

members and alumni from

F E B RUA RY 8, 2 : 30 P M

In this vivacious concert

the past three decades will

at the Bing, Giddens and

come together to sing and

Turrisi explore their cultural

showcase the many voices

In this play from the

crossovers and shared folk

that have contributed

innovative Australian theater

traditions, from American

to the group’s growth.

company, five activists with

minstrelsy to the Sicilian

intellectual disabilities hold

tarantella—and even farther

a public meeting to start a

back to Africa and the Middle

frank and open conversation

East

C L AS SICA L / JA Z Z

about a history we would prefer not to know and an

Co-presented with the Center

ambivalent future amid the

for Comparative Studies in

rapid development of AI.

Race and Ethnicity

Harlem Quartet WHEN:

VENUE:

S U N DAY,

BING

F E B RUA RY 9,

C O N C E RT

2:30 P M

HALL

The Harlem Quartet embraces classical, jazz, Latin, and contemporary

KEY

works. At the Bing, the group A M P L I F I C AT I O N

performs works by Dizzy

AU D I E N C E I N T E R AC T I O N

Wynton Marsalis, and more.

Gillespie, Billy Strayhorn,

12

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

C L AS SICA L

Philharmonia Baroque Orchestra The Well-Caffeinated Clavier with Music Director Designate Richard Egarr WHEN:

VENUE:

W E D N E S DAY,

BING

F E B RUA RY 1 2 ,

C O N C E RT

7 : 30 P M

HALL

Richard Egarr pairs Bach’s lighthearted vocal work, “Coffee Cantata,” with some of Bach’s grandest instrumental music.

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Joined by the extraordinary talents of Nola Richardson, James Reese, and Cody Quattlebaum, Eggar concocts another powerful

For more information, please visit our website at: WWW.PINEWOOD.EDU

brew of Bach’s brilliant music from the bench of the harpsichord.

C OM E DY

Catherine Cohen: Comedy at the Bing WHEN:

VENUE:

THURSDAY,

B I N G ST U D I O

FEBRUARY 13, 7:00 & 9:00 PM

Named one of five NYC comedians to look out for in 2018 by TimeOut, actress and comedian Catherine Cohen hosts a weekly standup show, Cabernet Cabaret, in New York City.

Cohen brings a cabaret-style performance to the Bing Studio.

At the show or on the go Encore is your companion to the Bay Area’s performing arts.

encorespotlight.com

UPCOMING EVENTS

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

JA Z Z / C L AS SICA L

C L AS SICA L

DA NC E / T H E AT E R

JA Z Z

A Night in the Piano Bar with Brandon James Gwinn

Hanzhi Wang

Rite of Spring

We Shall Overcome

Yang Liping

A Celebration of Dr. Martin Luther King Jr. feat. Damien Sneed

An Evening of Accordion

WHEN:

VENUE:

WHEN:

VENUE:

SAT U R DAY,

B I N G ST U D I O

S U N DAY,

BING

F E B RUA RY 1 5,

F E B RUA RY 1 6,

ST U D I O

8:00 PM

7: 0 0 P M

WHEN:

VENUE:

F R I DAY &

MEMORIAL

SAT U R DAY,

AU D I TO R I U M

WHEN:

VENUE:

F E B RUA RY 21

F R I DAY,

BING

& 22, 7:30 P M

F E B RUA RY 21,

C O N C E RT

7:30 P M

HALL

Chinese dance legend Yang Liping brings her stunning

Musical director, pianist, and

reimagining of Stravinsky’s

producer Damien Sneed’s

Rite of Spring to Stanford.

concert celebration of the life

Liping’s Rite of Spring spins an

of Dr. Martin Luther King Jr.

abstract legend of the path

includes an array of gospel,

of salvation embodied by the

spirituals, and inspirational

sacrificial peacock.

popular standards immortalized

The Bing Studio is

Praised for her captivating

transformed into a piano bar

stage presence and

for a sing-along show from

performances that are

singer-pianist Brandon James

technically and musically

The Stanford Live presentation

Gwinn, a staple pianist at the

masterful, groundbreaking

is generously supported by the

historic Greenwich Village

young accordionist Hanzhi

Koret Foundation.

piano bar Marie’s Crisis.

Wang visits for a first-time

He will be joined by special

show at the Bing.

guests from the Stanford community.

by the likes of Marvin Gaye, Aretha Franklin, Duke Ellington, Tina Turner, and many others.

DIS CUS SION

JA Z Z

National Geographic Live

Sounds of Cuba: Jane Bunnett & Maqueque

Dr. Kara Cooney: “When Women Ruled the World” WHEN:

VENUE:

WHEN:

VENUE:

W E D N E S DAY,

BING

F R I DAY &

B I N G ST U D I O

F E B RUA RY 26,

C O N C E RT

SAT U R DAY,

7:30 P M

HALL

F E B RUA RY 28 & 29, 7:00 &

In the season’s second

9:00 P M

National Geographic Live event, Dr. Kara Cooney, professor of Egyptology,

14

explores the reigns of

Canadian soprano sax/flutist

powerful ancient queens

Jane Bunnett showcases

to illuminate a time when

the best young female jazz

women ruled the world.

artists from Cuba.

CAMPUS Institute for Diversity in the Arts

offer hands-on experience and access to

DJ Lynnée Denise in Conversation with

This winter, Stanford’s Institute for

DJ culture, tools and artistry. Equipment

Fredara Hadley

Diversity in the Arts (IDA) welcomes

will be provided, no experience necessary.

Ethnomusicology in the Digital Age and Beyond

visiting artist DJ Lynnée Denise. A lecturer in the African American Studies department at UCLA, she coined the phrase “DJ Scholarship” to reposition the role of the DJ from party purveyor to archivist, cultural custodian, and music information specialist with critical value.

DJ Lynnée Denise Presents: Black to Techno and the Black Music 80’s

Sweet Hall Conference Room 020

Jan 30, 7:00 PM

Fredara Hadley, scholar of

Black Community Services Center

ethnomusicology at Oberlin College,

In this public conversation and performance lecture, DJ Lynnée Denise

DJ Workshop with DJ Lynnée Denise

presents her work, while delving into ties

Jan 16, 12:30–2:00 PM

with underground movements, 1980s

Harmony House

culture, migration studies, and electronic

From turntables to mixing, beatmatching

Mar 5, 12:00–2:00 PM

discusses how ethnomusicology responds to the demands and trends of the digital age.

music of the African Diaspora.

to vinyl catalogues, this workshop will

The mural “Are You Sure Sweetheart,

Fredara Hadley, a visiting assistant

Lynnée Denise is this winter’s Visiting

That You Want To Be Well?” by artist

professor of Ethnomusicology at

Artist at the Institute for Diversity in the

Jess X. Snow at Harmony House, where

Oberlin, is involved with the Society

Arts (IDA). Photo courtesy of IDA.

IDA is located.

of Ethnomusicology, the International

Artist, scholar, and writer DJ

Association for the Study of Popular Music, and Experience Music Project’s Popular Music Conference.

PARTNERS 15

SCENE &

HEARD

1

2

3

4

5

16

1 — DAY R A M I R

6

GONZALEZ TRIO

5 — M U S I C A N U DA The Italian duo received a

Cuban jazz pianist Dayramir

huge encore and standing

Gonzalez performed with his

ovation immediately following

quartet in Bing Studio and

their show in the Studio.

surprised his fans at the end with a CD signing.

6— NASSIM

2— WILLIE NELSON

The five performances of NASSIM featured a different

7

Bay Area Willie Nelson fans

actor each night, resulting

filled Frost Amphitheater in

in unique and sometimes

October to see the legendary

humorous additions to Nassim

country singer tour with

Soleimanpour’s script.

his son Lukas Nelson & the Promise of the Real.

7 — H O L I DAY H E I S T W I T H T H E JA Z Z M A F I A

3 — J O S H UA B E L L & ALESSIO BAX

Jazz Mafia, the SF-based jazz ensemble that’s been a

Renowned violinist Joshua

Bay Area staple for a decade,

Bell and pianist Alessio Bax

returned to Stanford Live for a

were welcomed by a sold-out

five-night holiday show run in

crowd which included over 170

the Studio.

people seated on the stage.

8 — J O N B AT I S T E 4— KING’S SINGERS In his return visit to Bing

8

In addition to their

Concert Hall, Jon Batiste,

performance at the Bing,

bandleader of The Late

the King’s Singers led

Show with Stephen Colbert,

workshops on Stanford’s

performed a solo jazz set that

campus for for local high

got the crowd off their feet

school, university, and

and into a dance battle.

community choral groups.

17

M A I N F E AT U R E

Rhiannon Giddens is committed to promoting music from those who have historically been overlooked. Photo by Karen Cox.

The Radical Inclusiveness of Rhiannon Giddens

By Randy Lewis Copyright 2019. Los Angeles Times. Used with Permission.

Like a good gospel preacher midsermon,

an even-keeled chuckle. “People who

said. “I’m just asking, ‘Can we look at this

Americana musician Rhiannon Giddens

put Europe in the center of the universe,

a little more accurately?’ “

becomes more and more impassioned

they’re very fragile. They’ll say, ‘You’re so

when she talks about her ongoing efforts

smug, you’re stripping everything away

Her reference to the origins of the lute ties

-- a crusade, one might even call it -- to

from the Europeans.’ But Europe is merely

directly to her latest album, “There Is No

promote the musical contributions of

part of a larger global culture. Anybody

Other,” her collaboration with Italian jazz-

populations that have been overlooked,

who thinks the lute just came out of a

trained multi-instrumentalist Francesco

or, as she puts it, “disappeared.”

vacuum doesn’t know the history.”

Turrisi, with whom she’s on a U.S. tour.

“There’s so much push back, even against

“I’m not trying to strip anybody’s

A couple romantically and

a simple tweet,” Giddens, 42, said with

accomplishments from anyone,” she

professionally, Giddens and Turrisi have

18

“People who put Europe in the center of the universe, they’re very fragile. They’ll say, ‘You’re so smug, you’re stripping everything away from the Europeans.’

But Europe is merely part of a larger global culture.

Anybody who thinks the lute just came out of a vacuum doesn’t know the history.”

—Rhiannon Giddens

married their respective fascinations with the roots of their distant homelands on the new album. That project reunited her with American roots musician and producer Joe Henry, who shared a traditional folk album Grammy Award with her and the members of her former band, the Carolina Chocolate Drops, for their 2010 album, “Genuine Negro Jig.” “Musicians always find these points of connection,” she said of the bracingly eclectic collection that travels from folk-gospel standard “Wayfaring Stranger” to Italian opera composer Gian Carlo Menotti’s aria “Black Swan” to early 20th century singersongwriter-banjo player Ola Belle

The oud is a lute-like stringed instrument common in Middle Eastern music traditions.

Reed’s “Gonna Write Me a Letter” to several of Giddens’ own compositions.

“We all have the same urges: You sing this way, and I play that way. They really

The connective thread is Giddens’

“Rhiannon is next in a long line of singers

go to the same places.”

commanding and exceptionally versatile

that include Marian Anderson, Odetta,

and nuanced voice, which has made her

Mahalia Jackson, Rosetta Tharpe. She

The diversity of the album’s songs

one of the most lauded singers of the

can take this strange music that’s grown

showcases both musicians’ instrumental

new millennium.

out of this convergence of cultures, and take it back around the world. We need

dexterity — she moves from her main

that person in our culture.”

instrument, the minstrel banjo, to violin

“It was clear the first time I heard

and viola, while Turrisi hopscotches from

her at rehearsal,” superstar producer

accordion, cello, piano, oud and banjo

T Bone Burnett told The Times about

That’s precisely what she has continued

to a variety of percussion instruments

his impetus for drafting her to sing at a

to do to considerable acclaim on many

including frame drums and the tombak,

multi-artist concert he had organized a

fronts. The MacArthur Foundation

a Persian hand drum.

few years ago.

awarded her one of its so-called genius

19

M A I N F E AT U R E

“She can take this strange music that’s grown out of this convergence of cultures, and take it back around the world. We need that person in our culture.”

—T Bone Burnett, record producer and musician

grants in 2017, a $625,000 prize paid in

“I keep starting supergroups, writing

five installments, something that she says

ballets and things like that,” she

hasn’t so much transformed her world as

said. “I have to continue to work,

allowed her to continue pursuing projects

and I have to be touring, because

she’d always envisioned “without having

that’s how I earn a living. My idea

to stress about doing them.”

is to spread things out as much as I can. I like to pay people for what

Those projects include the tour de

they’re worth, and I also have to

force album released this year, “Songs

keep supporting my family while

of Our Native Daughters,” highlighting

I’m flying back and forth.” (Giddens

songs based on writings of 19th century

has a daughter, Aoife, 10 and a son,

African American girls and women.

Caoimhin, 6, from a previous marriage

Giddens collaborated with three other

with Irish musician Michael Laffan.)

notable musicians, Amythyst Kiah, Leyla McCalla and Allison Russell, in adding

Her impassioned scholarship spans

music to century-old letters and poetry

the rural mountain music of her native

expressing the impact of slavery on

North Carolina to the Celtic music in

those women.

which she immersed herself when she took up part-time residence in Ireland

The cushion of the MacArthur grant also

with Laffan, to the classical repertoire

gave her some financial security as she

she studied while pursuing opera

completed the music for “Lucy Negro,

training at the Oberlin Conservatory

Enjoy a meal with friends in the

Redux,” the first ballet score written

in Ohio.

dining room, stop by for cocktails

specifically for an African American

in the bar, or reserve one of our

ballerina, Kayla Rowser, who danced

Her renown caught the attention of

private event spaces... there’s a

the title role in the work that Nashville

documentary filmmaker Ken Burns,

Ballet premiered in February. The New

who tapped her for a significant role in

York Times called it “the kind of miracle

his latest series, “Country Music,” now

Nashville has never seen before.”

airing on PBS.

And the MacArthur grant also helps

“We love her to death,” Burns said in a

smooth the path as Giddens chips

separate interview. “In her debut, she’s

away at her first opera commission,

talking off-camera about stuff that

a work slated to premiere next year

ratifies a lot of assumptions people

at the prestigious Spoleto Festival of

have about country music. Then, we

performing arts in Charleston, S.C.

pull back and we see this African

Fine American Classics.

California Spirit.

place for everyone here.

At the Stanford Park Hotel 100 El Camino Real, Menlo Park / 650-330-2790 / menlotavern.com

20

American woman with dyed hair, and it helps deconstruct whatever defenses you might have and helps enable people to hear this music.

The singer, songwriter, multiinstrumentalist and music historian has spent much of her life happily transcending barriers separating different realms of music and culture, a proclivity that grew out of her upbringing as the daughter of an Anglo father and African American mother who married shortly after laws banning interracial marriage were struck down in the state.

U.S. history and issues of racism are deeply personal for Giddens and powerfully informed her journey with the Chocolate Drops, a group that researched and brought to the fore the central role African American musicians had in the emergence

3

of string-band music in the U.S. in the 18th and 19th centuries.

(Giddens is a banjo nerd who can happily talk all night about the 4

instrument’s origins in Africa.)

For her first post-Chocolate Drops solo album, “Tomorrow Is My Turn” in 2015, she saluted female musicians who had influenced her and shaped

3—Giddens

popular music socially, politically and/

recorded her

or aesthetically, including Odetta, Edith

latest release,

Piaf, Dolly Parton, Sister Rosetta Tharpe

there is no Other,

and Nina Simone.

with Italian

In 2017, she turned to the music of the

Francesco Turrisi.

civil rights movement in “Freedom

Photo by Karen Cox.

jazz composer

Highway,” tackling songs she’d written, for the most part.

4—Giddens and Turrisi perform at

Finally, she and Turrisi enlisted Henry

the Met Museum

to help them find a cohesive approach

in New York City

to the vastly disparate source material

on October 4,

that captured their fancy.

2019. Photo by Karen Cox. 21

M A I N F E AT U R E

the first black celebrities in the South ...

Johnson went from being hard to find to being impossible to escape.

Researching him was like writing a history of baseball and ‘rediscovering’ a hitter named Babe Ruth.”

During our interview, she also spoke of African American musicians highlighted in the Burns’ “Country Music” series, such as Lesley Riddle, who helped Carter Family patriarch A.P. Carter take down songs preserved through generations by oral tradition and bring them to wider audiences.

“So many of them are not just slighted but erased,” she said. “It’s all about Giddens and Turrisi will perform at Bing Concert Hall on Friday, February 7

what’s being sold, why it’s being sold

at 7:30 pm. Photo by Karen Cox.

and who it’s being sold to. Whether it’s money, nationalism, power or whatever, there’s always a reason

“I heard it and kind of fell over,” Henry

“The Americana scene is getting better,

why a narrative gets foisted upon

said. “I couldn’t respond fast enough.

but it has had its own problematic racial

something that didn’t happen before.”

I told her, ‘However you see this through,

stuff,” said Charles L. Hughes Jr., director

I encourage you not to lose your nerve.’ “

of the Lynne & Henry Turley Memphis

As that relates to country music, debates

Center at Rhodes College and author of

over who receives credit creatively —

Giddens’ simultaneous quest to move

“Country Soul: Making Music and Making

and who profits financially — folds back

music forward while understanding

Race in the American South.”

on her comment about simply wanting to frame the question more honestly.

and honoring the past is a big part of the reason she was recently chosen,

“For a long time, Americana was basically

along with pioneering 19th century

a white space, with just a few black artists

“I’m still trying to form it so it all makes

musician Frank Johnson, also from North

in a real rootsy scene often thought as

sense,” she said. “Why is this music

Carolina, as recipients of the Americana

being connected with the music of the

so popular? Because it is a music of

Music Assn.’s inaugural Legacy of

past,” Hughes said. “Rhiannon has really

working-class people coming from

Americana Award.

forced that issue in a powerful way.”

different backgrounds and coming into

The Legacy Award is part of a new

For her part, in discussing the Legacy

partnership with the National Museum

Award, Giddens typically redirected the

“Who is benefiting from it and who is

of African American Music, scheduled to

spotlight from herself to Johnson, whose

commodifying it? That’s where it gets

open next year in Nashville.

wide-reaching popularity and influence

into problems. But the music itself is

have largely been eliminated from musical

always innocent.”

all these amazing things.

The Americana Assn.’s partnership with

histories of the 1800s.

the African American music museum, and the choice of Giddens and Johnson

During her acceptance speech, Giddens

as the first Legacy award recipients, is

cited a recent New Yorker profile about

seen in some corners as a step in the

her that dug deeply into Johnson’s history,

right direction to begin addressing

quoting writer John Jeremiah Sullivan:

another racial imbalance.

“By any calculus, [Johnson] was one of

22

Rhiannon Giddens with Francesco Turrisi Fri, Feb 7 7:30 PM Bing Concert Hall

Get to Know Iconic Dancer and Choreographer Yang Liping

Her Work Yang Liping became known as the famed “Peacock Princess” after her 1986 award-winning dance performance in Spirit of the Peacock, a work inspired by the lithe arm and finger movements of the Dai peacock dance. After her rise as an international dance legend, Liping turned to choreography with 2017’s Under Siege and a trilogy that includes Dynamic Yunnan, Echoes of Shangri-la, and Tibetan Myth.

Upbringing and Influence Liping is a member of the Bai ethnic minority and grew up in Dali, a village in China’s southwest province of Yunnan.

With no formal training, the technique and elegance found in Liping’s dance and choreography is instead informed by her village’s folkloric dance traditions and her attention to the natural world. Once into her dance career, Liping returned to var-

A Masterpiece of Ancient and Modern Dance

ious villages throughout Yunnan to study the local dances and folk songs.

A culmination of Liping’s choreographic skill, Rite of Spring is a stunning reimagining of Stravinsky’s work that combines Tibetan concepts of life with folkloric influences from Yunnan. The touring production of The Rite of Spring comes to Stanford Live on February 21 and 22.

Rite of Spring Choreographed by Yang Liping Fri, Feb 21 & Sat, Feb 22 7:30 PM Memorial Auditorium

23

How Manual Cinema Creates Live Shadow Puppet Shows

“We’re invested in giving the audience choice so that they can watch the big screen above like a movie, or look down at any moment and watch the band jamming, or watch the human freneticism of the actors in real time making all of the images and emotional moments.”

Manual Cinema returns to Stanford Live with a multimedia production celebrating the life and poetry of Chicago poet Gwendolyn Brooks. The first black writer to receive the Pulitzer Prize, Brooks published more than 20 volumes of poetry and was an active member and educator in her Chicago community.

The performance from Manual Cinema combines theater, live music, shadow puppetry, cinema, biography, and poetry, bringing together a range of artists, many of whom are Chicago treasures like Brooks herself. Go behind the scenes to learn about the artistic collaboration that makes all the moving parts of the live cinema experience possible.

— Sarah Fornace Manual Cinema Artistic Director

Visuals After finalizing the script, the Manual Cinema team started storyboarding to assemble over 600 handmade paper cutouts and puppets. Performers, who are visible to the audience beneath a large 6 by 9 foot screen, then use four overhead projectors to manipulate the cut-outs and puppets as though they’re making a film with cuts and edits. In addition to puppets, visuals feature the poetry of Brooks

Storytelling

and her friend and poet Haki R. Mad-

No Blue Memories is the first show Manual

hubuti as well as original work by Ewing

Cinema has worked with outside writers.

and Marshall.

The Poetry Foundation reached out to Manual Cinema to create a piece that combines biography and poetry for Gwendolyn Brooks’ centennial celebration of her life and poetry. The Manual Cinema team then partnered with Chicago native poets Eve Ewing and Nate Marshall, asking them to write a script for a movie about Brooks. Their script opens up the poetry of Brooks while contextualizing her poems with events happening both in her personal life and society.

24

Manual Cinema No Blue Memories—The Life of Gwendolyn Brooks Fri Jan 17 & Sat Jan 18 7:30 PM Bing Concert Hall

Music As the puppets were being drawn, Manual Cinema sent the script and concept drawings to composers Ayanna and Jamila Woods, who are sisters and Chicago natives, to score the piece. Their score embraces poetry elements in Brooks’ work and borrows improvisational techniques from jazz. On stage, Ayanna is the bandleader, directing the band live in rhythm and in relationship to the puppetry and visuals from the performers.

Live Actors Performers also change in and out of dozens of costumes and wigs to work in shadow to play the characters and animate the movie live. Like the performers at the projectors, live actors and the back stage are all visible, giving the audience the joy of theater and live art while the cinema experience on the screen is moving in time and space through Brooks’ life.

Sound Quadraphonic sound design creates an immersive experience—like in a movie theater, there are speakers surrounding the audience. While most of Manual Cinema’s productions function like silent films, No Blue Memories is the first one to include dialogue spoken between characters. The audience will also hear city sounds—doors opening, door bells ringing. Other effects are expressionist, like the moments when Brooks’ students start writing and a sort of poetry magic appears and magic sounds sweep over the audience. It’s these sound effects that bring the puppets alive and 245

create the reality of the world.

F E AT U R E T T E

Leo Villareal, Buckyball, 2019. Collection of Stanford Health Care; commissioned by Stanford Health Care with the generous support of Cissy Pao & Shinichiro Watari. ©Leo Villareal

At New Hospital, Art and Nature Aim to Benefit Healing Modified from Grace Hammerstrom’s article for Inside Stanford Medicine

Hundreds of pieces of artwork

The answer was more than 400 outdoor

in the recently opened Stanford

sculptures, indoor murals, paintings,

Hospital, along with rooftop gardens

videos and other works, all donated or

and an orchard, are helping patients

paid for by donations, as well as 4 acres

and family members heal while uplifting

of garden space. The art and gardens

the spirits of the healers.

help create a mood, Wolf said: “We want people to walk in, feel welcome,

Connie Wolf, consulting director

and know they are in a place where

of the hospital’s art program, and

their health and spirit matter.”

others involved in planning for the

Artist Jinnie Seo (right) and studio assistant Jihyun Lee during installation of Rays of Hope, 2019; collection of Stanford Health Care; commissioned by Stanford Health Care with the generous support of Margaret Jonsson Rogers; ©Jinnie Seo

hospital knew that art and nature aid

Both artwork and gardens have

in recovery. As Wolf describes, they

become standard elements in

wondered, “How can we create an

hospitals that adhere to evidence-

environment that supports the patients’

based design. Research has shown

healing and well-being, provides

that an environment filled with art

comfort to their families, and offers

and nature can lower blood pressure

relief to the complex and challenging

and anxiety, reduce the use of pain

work of the staff?”

medications, and shorten hospital stays.

26

Much of the artwork incorporates nature,

The sculpture lies in one of the five

science or spirituality. “I’m inspired by

interconnected rooftop gardens on the

light,” said artist Jinnie Seo. “There’s

third level of the building, with walking

physical light and spiritual light and light

paths and places to sit and view the

within each of us.”

nearby hills. A vertical garden outside the interfaith chapel, also on the third

Seo spent two months before the

floor, creates an additional private space

hospital opened painting Rays of Hope,

for reflection.

a mural in the interfaith chapel, with an assistant. She used a rendering as a guideline, but every stroke was freeform and spontaneous as she drew inspiration from the space. For some, the image is reminiscent of butterflies taking flight, she said. Sporting twelve different shades of metallic paint with a high-gloss finish, the mural shimmers in the chapel’s natural light.

“I wanted to give a person a space to pause and be still, even for one moment,” Seo said. “That moment can last an eternity and be a life-changing experience.”

Artist Leo Villareal, meanwhile, brought his passion for form and geometry to the 30foot Buckyball, which features three nested spheres. The centerpiece of the hospital’s entrance plaza, Buckyball is illuminated at night in a never-repeating sequence of colors and patterns. Villareal was inspired by the geodesic dome popularized by Below, on the street level, stands an

Ned Kahn,

orchard of 85 trees including ginkgo,

Air Cube, 2018;

“I’ve always been interested in underlying

loquat, apricot, olive, buckeye and live

collection

structures and rules and geometry,”

oak, each selected for its medicinal

of Stanford

Villareal said. “The same geodesic

or food-bearing properties in Eastern,

Health Care;

structure was discovered in a carbon

Western and Native American cultures.

commissioned by

molecule by nanotechnologists,” he

There’s also a dog park, complete with a

Stanford Health

added. “I thought it would be interesting

water fountain and fire hydrant.

Care with the

to take something that you could never

Even inside the hospital nature is present:

generous support

see with a naked eye and expand it on this

each patient room has floor-to-ceiling

of William Reller;

monumental scale.”

windows to let in natural light while

© Ned Kahn

architect and inventor Buckminster Fuller.

providing views of the nearby foothills.

Ned Kahn’s Air Cube, a 1,000-pound metal sculpture, interacts with the wind

“There’s such a commitment at Stanford

in the third-floor garden. Kahn aimed

to recognizing that art and nature are

to symbolically replicate the forms and

part of the healing process,” Wolf said

forces of nature by creating art that

shortly before the hospital opened its

interacts with natural processes. Air Cube

doors in mid-November. “They help

is lined with rows of metal flaps that move

create an environment where people can

freely and reflect light in dynamic and

think about improving their health, their

ever-changing ways.

ability to heal.”

27

A History of Back to Back Theatre In February, Back to Back Theatre brings to Stanford Live their play The Shadow Whose Prey the Hunter Becomes, an ambitious work about the impact of automation on human intelligence.

The company has been on a mission to create unique works exploring the intersection of the political and the ethereal. What assumptions do we make about the role of theater, its actors, and the work they generate? While Back to Back Theatre’s works may often be seen as controversial, the role of art in spurring dialog to catalyze communication and change is a creative hallmark that the ensemble proudly advocates.

1988 Back to Back Theatre’s first performance, Big Bag, was held at the Geelong Performing Arts Centre in Geelong, Australia, where the ensemble has been based for over 30 years.

2007 Back to Back Theatre has won the Melbourne, peer-based Green Room Award four times on two separate productions (small metal objects in 2007 and

1999

Ganesh Versus the Third Reich

Artistic Director Bruce

in 2012) for excellence

Gladwin joins Back to Back

in ensemble performance,

Theatre. Gladwin’s commit-

directorship, and production.

ment to collaborating with the ensemble’s actors in the cultivation of new works has given Back to Back Theatre a unique creative voice.

218

2013 The company published their first book with Wales-based

2019

Performance Research Books

In 2019 the company received

titled, We’re People Who Do

a $100,000 grant from

Shows―Back to Back Theatre

Creative Victoria to spearhead

Performance, Politics, Visibility,

a script for the company’s first

a book about the history and

feature film, co-authored by

work of Back to Back Theatre

the company’s ensemble of

since its inception. It includes

actors, which will be based

essays on some of their most

on the theatre production of

regarded plays including

Ganesh Versus the Third Reich.

Food Court (right), Ganesh Versus the Third Reich, and small metal objects.

2011 International controversy sparked over Back to Back Theatre’s unconventional take on the Hindu deity Ganesh in the play Ganesh Versus the Third Reich. The impetus behind creating such a contentious

2019

work stemmed out of a desire

Back to Back Theatre has

to encourage dialog about

been on the small screen as

cultural appropriation as well

well, producing a 28-minute

as the ethics of Back to Back

television pilot titled Oddlands,

Theatre’s enrollment of actors

which screened nationally

with intellectual disabilities.

on ABC, with plans to continue on to a six-part TV series.

The Shadow Whose Prey the Hunter Becomes Back to Back Theatre Wed, Feb 5 - Sat, Feb 8 8:00 PM Sat, Feb 8 2:30 PM Bing Studio 229

F E AT U R E T T E

The Legacy of James Reese Europe and the Harlem Hellfighters An Interview with Jason Moran

By Loren Schoenberg Born in Mobile, Alabama 15 years

band member after a concert in Boston.

featuring acclaimed pianist and 2010

after Appomattox, composer/

Dr. Martin Luther King Jr.’s lasting legacy

MacArthur fellow Jason Moran. As a

conductor James Reese Europe took

has inspired generations of civil rights

jazz musician, he has expanded the

idiomatically pure African-American

activists, and uplifted the nation and

boundaries that defined the idiom

music to Carnegie Hall and inspired a

the world with his messages of peace.

he inherited, stretching not only his music but his modes of expression

generation’s worth of artists to challenge

to face a rapidly changing world.

any and all racial barriers in their way.

Both men will be recognized in

In 1918, he gave up an ever-burgeoning

two special programs this January

career to lead what became known as

at Stanford Live—James Reese

Moran shares his thoughts on both works

the Harlem Hellfighters. He died the

Europe and the Absence of Ruin and a

with Loren Schoenberg, Senior Scholar

following year, stabbed by an unstable

screening of Selma with live score—

at the National Jazz Museum in Harlem.

30

“The combination of orchestra and choruses from the U.S. and China reflects the magnitude of the undertaking, and also creates a piece for many participants, just like the building of the railroad.”

The stage of Jason Moran’s meditation on the life and music of jazz composer James Reese Europe. Photo by

Camille Blake.

Martin Luther King’s legacy is as

right near each other because they

bang of jazz.” There’s something that

celebrated as Europe’s remains

represent a kind of citizen that rarely

happens with that scale of musicians

obscure. To place him in chronological

gets the amplitude that they both had.

that he’s using, and also the change of

context, Europe had been gone for

technique that they’re playing with—all

just under a decade when King was

Do you think it is fair to say that

that kind of coming together launches

born in Atlanta, Georgia. He died

Duke Ellington was the second

the country into another mode.

at the same age as Europe, 39.

James Reese Europe?

They are both such rare citizens of our

Yes. Definitely. That’s clear. You can’t

researched for 60 years. There

country that I’m kind of overwhelmed at

get to Ellington without James. And

are few books on Europe alone.

having to play both of these programs

I’ve been trying to dub him the “big

Were there sources you discovered

King’s life has been analyzed and

31

something that I’ve learned how to do.

F E AT U R E T T E

My first favorite pianist is Thelonious Monk, and he did that with everybody’s music. So it feels like the duty of the artist playing someone else’s song to also find your way into the song, to find the story that you want to tell in the song.

For Selma, since it’s a film score, it’s a very different task than to play a concert. We know how the story ends before we walk into the theater. But we aren’t sure how we’ll feel as it evolves on the screen. A lot of the way the music works in the film is really just as support, and I think of it as James Reese Europe directed the Harlem Hellfighters, the WWI ragtime band

emotional support for the audience. None

of the 369th Regiment. Photo Courtesy of International Music Network.

of the issues that are in the film are ever

as you dug into Europe’s life that

night, going to battle, bringing the

The revolution sometimes comes from

made a large impression on you?

fighters but also bringing the music.

a very humble space, but the ideas and

resolved. They aren’t resolved today.

figures are large, whether it’s James Noble Sissle, another major figure

Your large-scale tributes transcend

Reese Europe—who grew up in Alabama

whose legacy remains obscure, wrote

musical genres, and use multi-media

and D.C., then moved to New York in

an unpublished book about James

effects so originally and memorably,

search of his dream as a violinist and

Reese Europe that’s on the Library of

that they seem to go way beyond

later formed this union and went off

Congress website. He put down every

what a film or theater piece could.

to war—or MLK, whose parents raised

feeling that he had about working with

Which is part of why doing this piece is

him in a way to put him on the path to

James Reese Europe. In it, you hear

my kind of go at it. The way we attack

make the kind of change he envisioned.

this awe that he has for his teacher, his

it is very abstract. I attack the legacy of

mentor, the person he was on the lines

James Reese Europe through a missing

Now we live in a contemporary society

with, marching with, playing with.

marker. There aren’t enough markers.

where I can’t imagine where we’d

The Arlington Cemetery is the marker

be without figures like them. Maybe

One of the most remarkable scenes

we have for him. We have the marker

somebody else would have stepped in

in your Europe piece takes place in

uptown in Harlem for the 369 . But

and done something different. But it’s

the bottom of a ship crossing the

there’s not enough. The film that’s part

because of the kind of bravery that

Atlantic. How did that evolve?

of our show has this totally black square

happens on those bandstands, that are

that is just sitting there, sometimes in the

on view, and on these streets, fighting for

It came from Noble Sissle’s book. He

middle of a street or in the middle of a

people, that Europe and King go together.

was in the thick of everything when

park, that you have to start to imagine,

they [the Harlem Hellfighters] made

“Well, whose story goes on there?”

th

that first trip back across the Atlantic.

And I’m studying that trip back across

Were there similar challenges in

the Atlantic in an ancestral way. They

adapting the music from such

were brought here in slave ships, and

disparate eras as Europe’s and King’s

now generations later, here they go,

for these two very different projects?

back across the Atlantic, to fight for this country that essentially enslaves

James Reese Europe’s music signals

them. Sissle talks about the musicians

every kind of Great Black Music that

who had to be quiet. They were at

occurs after it, from the early 1900s on.

the bottom of the boat, and they’d be

Whether it’s R&B, whether it’s hip-hop,

playing the song really softly, “Steal

whether it’s rock-and-roll, whether

Away.” There’s something powerful

it’s some free stuff. That music is easy

about painting a picture of a ship at

to open up in that way, because it’s 32

James Reese Europe and the Absence of Ruin Jason Moran & the Harlem Hellfighters Wed, Jan 22 7:30 PM Bing Concert Hall Selma Film with Live Orchestra Sat, Jan 25 7:30 PM Memorial Auditorium

BEHIND

Bringing the Arts to Schools through

reflection of their values and identities.

Stanford Live’s Teaching Artist Program

The best art and music reflect the world

By Armando Castellano

and culture in which it is created, and the music learning that Stanford Live supports in East Palo Alto does just that.

Since 2017 I have been Stanford Live’s Lead Teaching Artist in East Palo Alto’s Ravenswood City School District. A

I also work with a professional wind

teaching artist is a professional working

quintet, Quinteto Latino. We commission

musician who engages with communities

composers to create works for students to

to create collaborative projects. As

perform with the quintet. What is unique

an artist embedded in East Palo Alto

about the composers and musicians is

schools on behalf of Stanford Live, I have

that they reflect the identities of the

been given the opportunity to engage in

students in the schools, culturally and

conversation with the community over

racially. We collaborate with students to

several years, developing relationships,

create works that represent the values

assessing needs, listening to stories, and

and lives of the students and communities

acting as an advocate on behalf of the

being served. The works are performed

arts learning communities in the public

collaboratively with the students, in the

schools. A key component of my work

communities they live in! This community-

is the idea that the projects and music

based, student-centered approach inspires

my students create and perform are a

true ownership of the works created.

SCENES

THE

Castellano helps fourth grade students

Stanford Live Lead Teaching Artist

Students at Willow Oaks pose with

at Willow Oaks School compose music

Armando Castellano. He founded

Castellano after practicing and studying

for their May 2019 concert at Café Zoë

Quinteto Latino, a Bay Area quintet

music.

in Menlo Park.

that performs works by Latino composers and builds community through their music.

33

MEMBERSHIP

Jorge and Molly Tapias at their home. Photo by Joel Simon.

Connecting the Community through the Arts An Interview with Jorge and Molly Tapias

Jorge (’94) and Molly (’94) Tapias

Lots of hair bands! Around high school

You have eclectic tastes in your Stanford

are Stanford Live members, and

my sister was plugged into the cultural

Live shows. Do you have some favorites?

Jorge recently joined our Advisory

scene in East L.A., and she took me to a

Council. We sat down with them to

co-op called Self-Help Graphics. It was

Molly: Nufonia Must Fall, this incredible

learn more about their involvement

kind of famous artists as well as high

live puppet musical story, was so moving.

in the arts and community.

school kids just wanting to do art—we

They let us walk down to the stage

actually still have a bunch of Self-Help

and answered questions, and being

How did your interest in the arts begin?

Graphics art in the house.

let in on the secret made it even more

Jorge: When I was a kid my older

Molly: My mom made some art in high

She has a way of connecting with the

brother was into art. I’d see him with

school and college that we had hanging

audience and showing this depth of

sketchbooks and paints, and it was a fun

in our house, so I remember appreciating

emotion. You could just feel the room

view into how people create. For my 12th

that everyday people can make art, and

respond, and she had us all on our feet.

birthday he took me to my first concert,

it can be something that’s really striking

Both of those performances for me are

the Summer Strut at Anaheim Stadium.

and intriguing.

life memories I won’t ever forget.

astounding. And then recently, Lucibela.

34

“It’s about bringing vitality in the arts into a place I think is hungering for it, to people who are seeking access to art in all of its forms that inspires curiosity, thinking, emotion” —Jorge Tapias In addition to being a Stanford Live member, Jorge Tapias serves on the Stanford Live Advisory Council. Photo by Joel Simon.

You’re both active volunteers

around our community. I think that’s part

the same story I told, how my brother

at Stanford and in the broader

of the role that Stanford Live plays.

took me here, my sister took me there.

community. What role do

That’s what I’m hoping for.

you see Stanford Live playing

What led you to become members of

in the community?

Stanford Live?

Jorge: It’s about bringing vitality in the

Jorge: There’s some responsibility we feel

arts into a place I think is hungering for

to support programs we believe in with

it, to people who are seeking access

respect to opening up that conversation,

Jorge: It’s another dimension of that

to art in all of its forms that inspires

opening Stanford up to the community.

same support. They’re a super engaged,

curiosity, thinking, emotion. The other

I love that idea, and we wanted to be a

supportive group of people, an example

night [at National Geographic Live] I

small part of helping that happen.

of “it takes a village.” I hope I bring ideas

With many volunteer commitments already, what led you to join our Advisory Council?

and support, and I also feel it’s important

thought, what a great way to start some sort of political, cultural conversation

Our daughter loves going to Bing shows,

around art, around our neighborhoods,

and maybe in thirty years she’ll tell you 35

to contribute my own perspective.

Stanford Live Members Stanford Live thanks the following members for their support: BING CIRCLE ($25,000+) Anonymous (2) Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong 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 Victoria & James Maroulis Deedee McMurtry Barbara Oshman Mindy & Jesse Rogers Marian & Abraham Sofaer Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum Maurice & Helen Werdegar David Wollenberg Priscilla & Ward Woods

BING DIRECTOR’S CIRCLE ($15,000 - $24,999) Shawn & Brook Byers Joyce Chung & Rene Lacerte Jill Freidenrich Lynn & Jim Gibbons Morton Grosser Catherine & Franklin Johnson Joan F. Lane Leatrice Lee Debra & Mark Leslie Carrick & Andrew McLaughlin Linda & Tony Meier Nancy & Lawrence Mohr David Morandi William Reller Condoleezza Rice Susan & David Young

BING ARTIST’S CIRCLE ($7,500 - $14,999) Anonymous (5) Fred Alvarez & Beth McLellan Alvarez Felicity Barringer & Philip Taubman Alison & Joe Barta Sally Benson & Terry Surles Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Regina & Gerhard Casper Diane & Stephen Ciesinski Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey William Draper III Barbara Edwards Mary & William Fitch 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 Lisa & Marc Jones Sallie De Golia-Jorgenson & John Jorgenson Betty & Bob Joss Roberta & Charles Katz Lisa Keamy & Lloyd Minor Kathy & John Kissick Iris & Hal Korol Caroline Labe Ingrid Lai & William Shu Carolyn & William Langelier Bren & Lawrence Leisure Cynthia & Richard Livermore Rick & Amy Magnuson

Michael & Jane Marmor / The Marmor Foundation Cathy McMurtry Tashia & John Morgridge Dean Morton Susan & Bill Oberndorf John O’Farrell & Gloria Principe Lynn & Susan Orr Anthony Paduano & Ruth Porat Donna & Channing Robertson Amanda & Michael Ross Barbara & Greg Rosston Mark & Theresa Rowland Tom Sadler & Eila Skinner Meryl & Rob Selig The Honorable & Mrs. George P. Shultz Barbara & Arnold Silverman Dr. Harise Stein & Mr. Peter Staple Madeline & Isaac Stein Tracy Storer & Marcia Kimes Andrea & Lubert Stryer Lena & Ken Tailo Carol & Doug Tanner Lorna & Mark Vander Ploeg Karin & Paul Wick

Caroline Hicks Leslie Hsu & Richard Lenon Rex & Dede Jamison Pamela S. Karlan Randall Keith & Karen Hohner Carla Murray Kenworthy Ed & Kay Kinney The Klements Amy Ladd & Doug Fitzgerald Albe & Ray Larsen Ayleen & Emory Lee Y. K. Lee Fred Levin & Nancy Livingston Marcia C. Linn Kristen & Felix Lo Edward Lohmann Sandra & Joseph Martignetti Jr. Bettina McAdoo & Gordon Russell Dick R. Miller & James M. Stutts Dr. Martha J. Morrell & Dr. Jaime G. Tenedorio Celia Oakley & Craig Barratt Og & Ogina Daniel & Ginger Oros Carmela & Eli Pasternak Edward & Nadine Pflueger Tony, Myrla & Sarah Putulin Shirley & Bob Raymer Kathy & Gary Reback Rossannah Reeves Sara Eisner Richter & Michael Richter Diane & Joe Rolfe Amy Rosenberg & John Slafsky Debbie & Stuart Rosenberg Ali Rosenthal & Kat Carroll Nancy & Norman Rossen Diana & Philip Russell Scott D. Sagan & Sujitpan Lamsam Lela & Gerry Sarnat Doris Sayon Elizabeth & Mark Schar Fund of The Greater Cincinnati Foundation Ted & Linda Schlein Robyn & Mark Setzen Katherine Shah Lee Ann & Martin Shell Deborah & Michael Shepherd Elizabeth & Russell Siegelman Charles Sieloff Nerija Sinkeviciute-Titus & Jason Titus John Stern & Susan Anderes Barbara & Charles Stevens Maryanna & Charles Stockholm Eleanor Sue & Wendy Mines Jeff & Linda Suto Michelle Swenson & Stan Drobac Onnolee & Orlin Trapp Mary & John Wachtel Karen & Rand White Mansie & Gary Williams Dr. Carlene Wong & Dr. Philip Lee Elizabeth F. Wright Sharon & Robert Yoerg

SUSTAINER ($2,500 - $7,499) Keith Amidon & Rani Menon Jonathan, Frances & Alison Axelrad Celeste & Wendell Birkhofer Joan & Tom Brown James Canales & James McCann William Coggshall & Janet Littlefield Diane Elder & Bruce Noble Sissy & Theodore Geballe The Stephen & Margaret Gill Family Foundation Greg Goodman & Susan Schnitzer Judy & Jerrol Harris Charlotte & Larry Langdon Joan Mansour Betsy & Matt Matteson Judy M. Mohr & Keith W. Reeves Betsy Morgenthaler Paula & Bill Powar Srinija Srinivasan Kenneth Weinberg Dr. Irving Weissman & Ann TsukamotoWeissman

PARTNER ($1,000 - $2,499) Anonymous (10) Marian & Jim Adams Margaret Anderson Pat Barnes & Kathy Keller Lisa Barrett Deborah & Jonathan Berek Karen S. Bergman Matthew Bien & Grace Lee Carolyn & Gary Bjorklund Lissy & Byron Bland Tab Bowers & Michie Kasahara Linda & Steve Boxer Terri Bullock Thomas Byrnes Tasha Castañeda Rowland Cheng & Shelli Ching Donald Cheu Jamie & Linda Clever Holly & Andrew Cohen Joanne & Michael Condie Jack & Angela Connelly Bill & Bridget Coughran Ann & David Crockett Bruce Daniel Debra Demartini Tom Dienstbier & Joyce Firstenberger Patricia Engasser Sally & Craig Falkenhagen Stanley Falkow & Lucy Tompkins The Feinstein Family Margaret Ann & Don Fidler Rona Foster & Ken Powell Betsy & David Fryberger A. A. Furukawa Daniel Garber & Catharine Fergus Garber Jane & Bruce Gee Mike & Myra Gerson Gilfix Eric Giovanola Cate & Michael Glenn Susan Goodhue Matthew Goodman Ed Haertel & Drew Oman Eric Hanushek & Margaret Raymond Paul Harrison & Irene Lin Tine & Joerg Heilig Anne & William Hershey

ADVOCATE ($500 - $999) Anonymous (15) Lois & Edward Anderson Richard & Delores Anderson Marie & Douglas Barry Richard A. Baumgartner & Elizabeth M. Salzer Charlotte & David Biegelsen Richard Bland & Marlene Rabinovitch Barbara Blatner-Fikes & Richard Fikes Norm Blears Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Patty Boone & Dave Pfefer Prudence Breitrose Laura Breyfogle & David Warner George Brown Drs. Julie Buckley & Eric Fung Thomas Bush & Grace Sanchez Enrique & Monica Caballero The Cha Family Gregory Chan Chanin & Dotson Family Gloria & Michael Chiang Jane Chung, MD Ann Hammond Clark Chris & Gina Clarke Kalyani Comal & Arun Ramakrishnan Jonah & Jesse Cool Suzanne & Bruce Crocker Melanie & Peter Cross Richard De Luce Michael Dickey Rosleyn Dumesnil Cori Duncan & Marco Marinucci Ellen & Tom Ehrlich Eleanor Eisner

36

Maria & George Erdi James Feit Jeffrey Fenton Joan & Allan Fisch Shelley Fisher Fishkin Sarah & Stan Freedman Carol C. & Joel P. Friedman Markus Fromherz & Heike Schmitz Karen & Edward Gilhuly Charles Goldenberg & Pamela Polos Sara & Jeremy Goldhaber-Fiebert Margaret & Ben Gong Mike & Loren Gordon Jonathan & Natsuko Greenberg Ester Gubbrud & Charles Ross The Harrick Family Fran & Steve Harris Robin Hatfield Linc & Robin Holland Serena Hu & John Lenox Chris Iannuccilli & Michele Schiele Karen Imatani David Israel Sally & Rob Jackson Melinda & Jim Johnson Leigh & Roy Johnson Lil & Todd Johnson Carol Kersten & Markus Aschwanden Mary Lou Kilcline Michael & Wendy Kirst Renate Klipstas Christina Kong Linda & Fredric Kraemer Mr. Joseph & Dr. Caroline Krauskopf Kerry & Maureen Kravitz Gary & Yuko Kushner Edward & Miriam Landesman Kurt F. Lang & Dr. Janna Smith Lang Cathy & Stephen Lazarus Cynthia & Bob Leathers Joan & Philip Leighton Sanford Lewis Jose Teodoro Limcaoco Laurel & Joe Lipsick Dr. Leon Lipson & Susan Berman Drs. John & Penny Loeb Rachel & Zohar Lotan Liqun Luo Vera Luth Ruth Lycette Susan Lydick Alisa & Neil MacAvoy Kathy Mach & David Scherer Charlene & Dick Maltzman Christopher & Jane Manning Marylin McCarthy Christina & Bill McClure Dr. C. Kwang Sung & Meghan McGeary Millbrey McLaughlin & Larry Klein Penny & Jim Meier Elyce Melmon Linda Membreno Evelyn Miller Andres J. Montoya Arabella & George Napier Katherine Nelson Fred & Kirstin Nichols Christine & Ronald Orlowski Shari & Donald Ornstein Sandra & Scott Pearson Nancy & Stephen Player Barbara & Warren Poole The Randall Family Anna Ranieri & Stephen Boyd Richard & Karen S. Recht Ann Rossi Elise & Jay Rossiter Nicole & Amir Dan Rubin Lisa Rutherford David Sacarelos & Yvette Lanza Carla Scheifly Paula & George Schlesinger The Schwabacher Family Kent & Tracey Seymour Judith & William Shilstone Judy & Lee Shulman Diane & Branimir Sikic Mary Ann Sing Hannah & Richard Slocum Matthew Sommer Karen & Frank Sortino Saroja Srinivasan Trisha Suppes Jorge & Molly Tapias Rosi & Michael Taymor Rachel Thomas Katherine Tsai Penelope & Robert Waites Patti & Ed White Melanie & Ron Wilensky John & Jane Williams Polly Wong & Wai Fan Yau Mitchell & Kristen Yawitz

SUPPORTER ($250 - $499) Anonymous (28) Mark Agnew Matthew & Marcia Allen Eugene An Dana & Juliana Andersen Daniel Appelman & Deborah Soglin Linda Ara Adrian Arima & Monica Yeung Arima Dan & Leslie Armistead Anne & Robert Baldwin Simon Bare Deborah Barney & William Keats Brigid Barton & Orrin Robinson Grace Baysinger Betsy & George Bechtel Bernard Beecham & Cheryl Lathrop Amy Beim Marilyn Belluomini Rachel Bensen Bethel Berhanu Pamela Bernstein Yuet Berry Justin Birnbaum Ruth Brill Beverly Brockway Bill Brownell Cliff & Ronit Bryant Bernard Burke Frances Burr Karen & Ben Cain Michael A. Calabrese Peter & Jane Carpenter Mike Cassidy Cecily Chang Dr. James Chang & Dr. Harriet Roeder Alexander Chapman Beth Charlesworth Gautam Chaudhary Marianne Chen Ada Cheung Nona Chiariello & Chris Field Robert & Susan Christiansen Albert & Betty Cohen Susie Cohen & Barry Weingast Bud & Roxanne Coleman Moby Coquillard & Judy Heller Iva Correia Alana Corso Elaine Costello & Bud Dougherty George Crow Alan Crystal James Cunningham Anthony Custodio & Meredith Ackley William Damon & Anne Colby Tim & Patricia Daniels Anne O. Dauer Hilary Davis & Sanford Ratner Ingrid Deiwiks Howard Demroff Stephanie Dolin Virginia & Gregory Donaldson Debra Doucette Janet Driscoll Katharine & William Duhamel Alison Elliott & Steve Blank Renee Euchner Charles Evans & Luis Stevens-Evans Patricia & Fred Evans Joyce Farrell & Brian Wandell Tracy Fearnside & Joe Margevicius Laura Fechete Nancy & Tom Fiene Kristen E. Finch Renee Fitzsimons Barry Fleisher Leigh Flesher & Mark Bailey Shelley Floyd & Albert Loshajian Reg & Cynthia Ford Gregory Franklin Leah & Lawrence Friedman Adam Frymoyer Tim Gallaher Gary Gibbons Sarah & Patrick Gibbs Bernd & Sabine Girod Carl & Elizabeth Gish Matthew Glickman & Su Won Hwang Molly Barnes Goodman & Randolph Goodman Ron & Jan Grace Tatiana Granoff & Robert Olson Walter Greenleaf Renee & Mark Greenstein Marla Griesedieck Linda & John Griffin Waldo Griffin Andrew Gutow & Madeleine Blaurock Insook Han Ginger Harmon Courtney Harrison

Ann & Barry Haskell Howard & Nancy Hassen Yael Hasson Jeffrey & Caron Heimbuck R. Carl Hertel Lance Hill The Hittle Family Ron Ho & Christina Lai Susan Holmes Linda Hubbard William Hurlbut Keith Jantzen Dave Jefferson Arthur Johnson Jane & Bill Johnson Zeev Kaliblotzky Patricia Chambers Kalish Bob Kanefsky Pearl Karrer Melanie & Perry Karsen Stina & Herant Katchadourian Ron Katz & Libby Roth Jeffrey & Marcia Keimer Shirley Kelley Maureen Kelly Lynn & Richard Kelson Tahsin N. Khan Stephanie Kimbro Kenton J. King Ralph King & Leslie Chin James Kitch Dan Klotz Cynthia Krieger & Stuart Friedman Leslie Kriese The Kirincich Family Norman & Nina Kulgein Ralph & Rose Lachman Lila LaHood Cathy & Dick Lampman Ed Landels & Martha McDaniel Jacob Langsner Donna Lera Laurie Leventhal-Belfer & Howard Belfer Lee Levitt Raymond & Kathleen Levitt Living Trust Reuben Levy Hongquan Li Susan Li Yanbin Li Sandra Lillie Randall & Lori Livingston Sarah Longstreth & Tom Culbertson Carol & Hal Louchheim Ellen & James Lussier Adrian & Margot Maarleveld Marion & Erick Mack Helen & David MacKenzie Fred Malouf Grainger Marburg & Katie Woodworth Carol Matre & Richard Swanson Leslie Mayerson Laure & Sam Mazzara James McElwee Nancy & Patrick McGaraghan Maura McGinnity & Erik Rausch Hillary McKinney Leslie McNeil Wallace Mersereau John Micek Alan F. Miller James Miller Monica Moore & Deborah Burgstrum Rudolf Moos Coralie & Gerhard Mueller Kathleen Murren Snehal & Hemali Naik Kevin & Brenda Narcomey Susan Nash The Neumann Family Joan Norton Richard & Susan Olshen Erik & Jill Olson Dick & Sandi Pantages Kartikey Patel Gary & Sandy Peltz Ann Perry Caroline Petersen Helen Pickering Klaus & Ellen Porzig Bert & Anne Raphael James Reilly Martin Reinfried Laurie Reynolds Angela Riccelli Barry & Janet Robbins Annette & William Ross Ruth Rothman Joel & Rachel Samoff Denise Savoie & Darrell Duffie Mary Schlosser Celestine & Scott Schnugg Kevin Scott Joy & Richard Scott

Grady Seale Michael Sego Carla Shatz Winnie & Gil Siegel Abby & Roger Simons Ashka Simpson Mindy Spar Kerry Spear & Tim Bell Helen & David Spiegel Kathy Stark & Christopher Aoki Elliot & Karen Stein Sandra & James Stoecker Rebecca & Ben Stolpa Jenny Stone Jay Jackman & Myra Strober Yannie Tan Nicholas Telischak Lothar & Ilse de Temple Harold & Jan Thomas Chris & Carol Thomsen Mary Toman Elizabeth Trueman & Raymond Perrault Anne Tuttle Jeanine Valadez & Reynette Au Victoria Valenzuela The Vargas Family Teri & Mark Vershel Madeleine & Anders Viden Lisa Voge-Levin Roger & Wendy Von Oech Rita & Newton Wachhorst Lora Wadsworth Joan & Roger Warnke Hans & Frauke Weiler Joseph & Erika Wells The Wendling Family Dr. & Mrs. R. Jay Whaley Jeri & Kevin Wheaton Ann & Matt White Anne Wilbur Justina Williams Paul Williams & Helge Ternsten Catherine Wilson & Steven Callander Jennifer & Phil Winters Mike Wright Warren Wu Marilyn & Irvin Yalom Mariko Yoshihara Yang & Phillip Yang Mary H. Young Nicholas Yu Yao Zou

PERFORMANCE SPONSORS Helen & Peter Bing Mary & Clinton Gilliland Marcia & John Goldman Stephanie & Fred Harman Leslie & George Hume Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum The Wollenberg Foundation

INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation Stanford Medicine The William and Flora Hewlett Foundation $10,000 - $49,999 Anonymous California Arts Council Capital Group Ann and Gordon Getty Foundation National Endowment for the Arts Drs. Ben and A. Jess Shenson Funds Wells Fargo $1,000 - $9,999 Aaron Copland Fund for Music The Amphion Foundation, Inc. New Music USA Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 12/2/19.

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

37

2019–20 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 Lisa Jones Cathy McMurtry Roger McNamee Linda Meier Trine Sorensen Srinija Srinivasan Doug Tanner Jorge Tapias David Wollenberg

Ex officio: Maude Brezinski Stephen Sano Anne Shulock

Bing Concert Hall Donors BUILDING DONORS Peter and Helen Bing Cynthia Fry Gunn and John A. Gunn The 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 Burton § 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

Coming Up This Spring Sun

Fri

M A RC H

Tue

MAR 13

APR 5

Comedy at the Bing: Colin

Invoke Multi-String Quartet

Quinn

MAR 3

Wed

Common in Conversation Wed MAR 4

Sat

APR 8

MAR 21

Margaret Atwood in

Sounds of Cuba: Bobi

Conversation

Céspedes

Michael Barenboim & West-

Fri

Eastern Divan Ensemble

Sun

APR 10

MAR 22

St. Lawrence String Quartet:

Sounds of Cuba: Alfredo

Good Friday Liturgical

Rodríguez & Pedrito Martinez

Performance Haydn’s Seven Last Words

Sat Wed

CALENDAR

MAR 28 Dorrance Dance

Fly Higher

APR 15

Charlie Parker @ 100

Rebirth of a Nation

Tue

Paul D. Miller aka DJ Spooky feat.

Catalyst Quartet

APRIL

MAR 10

Dorrance Dance

Sat

Wed & Thu

SOUNDspace

APR 18

APR 1 & 2

Tue

The Choir of St. John’s College,

MAR 10

Cambridge

Maria Schneider Orchestra

PBO Sessions Fri

Jewish Songlines – Performers,

APR 3

Patronage, and Prejudice

Bang on a Can All-Stars A Musical Utopia

Wed MAR 11

Treemonisha

Philharmonia Baroque Orchestra

Thu–Sun

Romantic Reflections: Cherubini,

APR 23–26

Mendelssohn, and Schubert

Scott Joplin’s Treemonisha

Thu

Mon

Gong Linna

MAR 12

Dreamers’ Circus

APR 27

Sarah Chang with Telegraph

Sat

String Quartet

APR 4

Fri

Gong Linna: Cloud River

MAR 13

Mountain

Cécile McLorin Salvant with

Bang on a Can All-Stars

Darcy James Argue Ogresse Single Tickets Now On Sale!

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the Galvez Lot and on Lasuen Street,

ARB

Museum Way, Roth Way, and the Oval.

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Frost Amphitheater

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website: live.stanford.edu.

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Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays

Alumni Café, Arrillaga

after 4:00 pm and on weekends at all times.

Alumni Center

Disabled parking, loading, and service-vehicle restrictions are enforced at all times.

39

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